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Artist Interview with Tess Fowler

Tess Fowler Self PortraitTess Fowler is a California-based comic book illustrator. Her work includes a handful of books for Zenescope, including issues of the Charmed series, and a number of sketch card jobs for properties such as Marvel, Lord of the Rings, and Indiana Jones. In addition she publishes a web comic at, and creates portrait and pin up commissions in Copic marker and ink.

Tell us about yourself!
I was born and raised in Northern California’s Silicon Valley. I have no formal art training. They tried to put me in art classes in junior high and high school but I either flunked out of them for disobeying directions, or begged until they switched me to drama classes.

Are you self taught?

The comic book community is small and close knit. There is always someone to offer tips or tricks for improvement. I’ve been tutored by some very lovely pros along the way.

When did you first become interested in creating comics?

From the time I was very small I made my own comics. I folded up stacks of paper and bound them with the traditional three staples. I had my own system for this where I tore apart a cardboard box and laid out my books flat, then opened the stapler and placed it over the fold line, followed by slamming my hand down to make the staple puncture the entire stack. Then I folded all the staples down with a butter knife. While other kids were outside enjoying the sunshine, or playing video games with their friends, I was sitting alone with a pile of markers making picture stories. I took my art very seriously even as a kid because I always felt like I had to be ready for the day I’d make real comics.

Blue Bloods by Tess FowlerGogol Bordello by Tess Fowler










What’s the most challenging thing about working on a comic series?

Definitely deadlines. I like to add a lot of detail into my work and that’s just not feasible when a book needs to hit the shelves by a certain date. That’s why I started my own web comic, so I could have an outlet for my love of detail. It’s made me ten times faster.

And the best thing about working on comics?
The best part of working on comics will always be the work itself, for me. The act of creating a visual story onto a once blank sheet of paper is a magical experience that is hard to describe. But aside from that I have to say I really adore the fans. I’ve met such unbelievably wonderful people in this line of work.

Willow by Tess FowlerDo you prefer traditional or digital media?
I do everything traditionally, except for scanning of course. All of my commissions and pin ups are done in Copic markers and Multiliners. For me there is nothing that can replace the feeling of paper beneath my fingers as I create my art.

What are you working on right now? Any personal projects?
I’m currently working on Charmed for Zenescope Entertainment, which is my fifth project for the company.  And I’m inking the entire book in Copic multiliners. I also have my own web comic called Boris and Charlie which is also inked with multiliners. It’s about a little eight year old girl who lives with a giant closet monster and a talking cat.

How long have you been using Copic products? How did you first learn about them?
I first discovered Copic products back in 2006 when I was working a comic book convention and saw them on another artist’s table. After experimenting with them myself that following winter I never turned back. They replaced every other product for me because of their versatility.

What’s your favorite Copic product and why?
I can’t live without my Copic sketch markers. The brush tip and square tip in the same marker give me a greater ability to play with effects, especially in portraiture. Blending and layering is made easy because the color flow is so smooth.

Web Comic by Tess Fowler
The Boys by Tess Fowler

What advice would you give to girls interested in pursuing a career in the comic book industry?
Follow your heart, listen to your gut…and carry a really big stick. :)

Find Tess on the web:
Check out Tess’s web comic at
Become a fan on Facebook!

1/12/2012 11:14:11 PM | Comments (0) | Send a Message (PeaMail) | Vote for this Blog Post

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Guest Tutorial: Coloring Hair by Brandi York

Copic Tutorial - Coloring Hair by Brandi YorkThis week, illustrator Brandi York shares how to color realistic hair with Copics. Enjoy!

Rendering realistic hair with Copics is not especially difficult with a little practice. Copic Sketch markers, with their brush tips, are ideal for rendering varied line widths to help represent the hair. My high school art teacher once told me, “Never try to draw every single hair. You’ll go insane. Just draw every direction.” This is just as true in Copics as any medium.

Once I have my skin tones in, I keep in mind my light source and go from there. With marker, you have to keep your light areas in mind, since you can’t go back and lighten areas very easily or very much.

With that in mind, I start with the color I want the highlights of the hair to be. Since her hair is a deep auburn, I start with E70 and lay in where the light will be hitting her hair. I keep the strokes loose and light-handed, moving with the direction of the hair, letting the brush trail off. Most of the ends will be covered by the darker color once finished, but I like the effect as I’m playing. I repeat the process with E71, filling in the rest of the area. At this point, it’s starting to get the effect of hair, but is still pretty rough.

Copic Tutorial - Coloring Hair by Brandi York
With that in mind, I start with the color I want the highlights of the hair to be. Since her hair is a deep auburn, I start with E70 and lay in where the light will be hitting her hair. I keep the strokes loose and light-handed, moving with the direction of the hair, letting the brush trail off. Most of the ends will be covered by the darker color once finished, but I like the effect as I’m playing. I repeat the process with E71, filling in the rest of the area. At this point, it’s starting to get the effect of hair, but is still pretty rough.

Next, I take E74, and flesh things out a little more, adding some more depth and control to the hair, followed by E77, using the same light-handed brush strokes.

Copic Tutorial - Coloring Hair by Brandi YorkTo bring out some of the red in the auburn hair, I switch to RV99, to bring some reddish hue into the hair, fading it out with E74 and E77. I follow that up with BV29 for the deepest darks of the hair. I also decided that the lights were too light (her hair was looking very shiny and that wasn’t exactly the effect I was going for) so I used E71 and E74 to knock down the lights a little bit.

As always, there’s a lot of back and forth, fading out the strokes to allow for reasonably smooth transitions, giving the overall illusion of hair. Practice your strokes beforehand to get a feel for the loose movement of hair.

Copic Tutorial - Coloring Hair by Brandi YorkColors used:
Face – R000, R20, E01, E04, E49, E57, BV20, BV23, BV31
Hair – E70,E71, E74, E77, RV99, BV29

Share your illustrations with us on Facebook and Twitter!

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ComicMaster Product Review by Brandi York

Thank you to Brandi York for the following review of our ComicMaster Lightbox!

The ComicMaster Lightbox. What more is there to say but Wow?

The surface area is large, but the lightbox itself is not. Back in the day, (well, okay, maybe not *that* long ago), most lightboxes were huge. I mean, giant boxes of wood with florescent tubes inside that flickered when they came on and often had a darkened line down the center if the light didn’t overlap well. The ComicMaster measures less than an inch think, not a foot, like the last box I used. This also means it weighs nothing by comparison to many other lightboxes out there. Easy to use then stash away to clear table space. Always a big plus when you have a small studio like I do!

And the light itself is incredible. LEDs keep the surface nice and cool while really lighting up the room. I had no trouble seeing my light pencil sketch through the heavy Copic Marker Sketchbook paper, even with all of my studio lights on. (And there are a lot of them.) With all of the lights on, my husband even commented on just how bright the LEDs are. I did have to turn the studio lights off for tracing a black and white photo printout, but as soon as the lights went out, even the photo was clear as day through the thickness of the Sketchbook paper.

I particularly love the “legs” on the underside. You can prop up the lightbox up both horizontally and vertically, to make long-term tracing more comfortable. (Good for inking those detailed pieces.)

All in all, if you’re going to spend the money on a lightbox, spend the money on a good lightbox that will last you a long time and not take up lots of precious studio space.

Brandi York - Comic Master

Brandi York - Comic Master
Disclosure: Brandi York was compensated with a ComicMaster Lightbox in exchange for her review.

1/5/2012 9:19:33 PM | Comments (0) | Send a Message (PeaMail) | Vote for this Blog Post

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Artist Interview with Abdul H Rashid

Abdul H RashidAbdul H Rashid is a talented comic artist whose work is featured in the NEW-GEN series distributed by Marvel Comics. Read on to learn more about his work and love for Copics!

Tell us about yourself!

I’m a proud native son of Flint, MI. I’ve been drawing since the age of two, from what my Dad has advised me. I use to copy images my older brother drew, replicating them to an almost exact detail…naturally, that generated some level of attention. Over the years, I was exposed to various advance-level art environments, which I picked up on very quickly. Any and all aspects of art have always been something I could integrate into my daily practice with little effort. I was a student at the Interlochen Arts Camp for a couple of summers and had the opportunity to have independent study course while in HS at the Flint SW Academy. I can honestly say, that I was very fortunate with the little “formal training” I was given, to be able to develop my craft in such a supportive atmosphere. That is something I thank my Dad for as being one of my most important and consistent supporters along with the rest of my Family.

Who are some of your favorite artists/creators? 
I think you’ll hear these names come up from most of us in the industry that grew up with their art and innovative creativity in the late 80′s and thru the 90′s…Jim Lee, Todd McFarlane, Frank Miller, and (the late) Dwayne McDuffie. For varied reasons, each of these artists/creators has made it a point to develop established and creator-owned projects that have major influences in the industry. It’s my turn now. lol

Abdul H RashidWhen did you first become interested in creating comics?
I’ve always loved how art can tell a story, but not until reading ”The Dark Knight Returns” by Frank Miller, and “Watchmen” by Alan Moore, did I really consider venturing (seriously) into the arena of creating comics. The story telling and flow, both visually and literary, were done so well that it was one of those “ah-ha” moments for me that had me saying…”I want to do that when I grow up!” The idea of developing a product that allows for readers/viewers to have fun and escape from the “real world”, even for a brief moment, was and is something very important to me.

What’s it like having Mark Hamill on board as a Creative Consultant at NEW-GEN?
Very, very surreal!!! He and I sat next to each other during the NEW-GEN NYC Comic Con panel addressing the attendees for the announcement of the movie and the current comic storyline. There were well over 1000-plus people there, and I was simply more caught up with the fact that I was sitting next to such an iconic figure in the industry like Mr. Hamill. I’m significantly inspired by the level of professionalism projected by Mr. Hamill as well as the way he interacted with the fans during the Con…which is something that I intend to make a part of my growth in the industry. I think that the NEW-GEN project can only benefit greatly from having such input and experience infused in it coming from such a resource. I am more than excited to see things develop into film and projects beyond. I see NEW-GEN being something that many people won’t expect and will be pleasantly surprised with.


What’s the most challenging thing about working on a comic series?
My situation is a bit more unique than most artists as I have had the opportunity to help with the evolution of the project from a wider creative position. Developing both the visual and written content has been EXTREMELY fun and a great learning tool for the other projects that I am working on now and in the future. The biggest challenge that most artist would probably say…in general…is time. There is NEVER enough. Sometimes, I find myself wishing for 48-hour days during the times I’m creating.

Do you prefer traditional or digital media?
I actually favor both…and utilize them in regards to specific stages of the creative process. I love the traditional pencil and inks for the actual illustrations. Something about the “hands on” dynamic of that process via the “old school” tools is really fun to me. From the digital side…the colors that come from some of the software that’s out today (when used by a solid pro) are SO vibrant and amazing to bringing the black/white inks to life. I’m definitely a proponent for both.

What are you working on right now? Any personal projects?
I’m working on a few projects for the coming year. Of course, I will be working closely with APNG Enterprises on the NEW-GEN franchise as we wrap up the current storyline New Dawn that explains the origin of the main “super-dude” of the series, as well as the developments for the feature film going into production.

In regards to personal projects…I am developing a project line of new series and characters coming out of my studio, AHR Visions. It will generate a variety of series that will crossover to various multi-media as they evolve. The flagship titles are The 8 (Centered around a society of super-powered immortals engaged in an underground war unknown to the rest of the world), The Black Rose (Imagine Batman merging with the gangster movie King of New York), ReBirth (Sci-Fi anthology series in the spirit of Ghost in a Shell and Akira), Lady Skorn (The studio’s premiere female hero) and a few other projects, beginning summer 2012! I am very excited and anxious to be contributing new ideas into the industry. I’m hoping the fans really enjoy them all.

What’s your favorite Copic product and why?
Not to sound too much like a commercial, but I am a huge fan of the Multiliner pens. When inking, it is SO IMPORTANT to have a strong presentation of line boldness and sharpness. The Copic Multiliners are surprisingly precise in application. I find them to be a very comfortable and enjoyable brand of pen to utilize…especially for the amount of drawing I do. Having a tool that is just fun to use is pivotal to the creative process.

Abdul H Rashid

Favorite band or musician at the moment?
I’m more of an “Old School” music fan. My taste varies from Public Enemy to Wu-Tang as far as Hip-Hop. I dig Rob Zombie to Rage Against the Machine. I’m into everything really…hip-hop, rock, R&B, classical. Well, I can’t do pop-rock or country. I struggle with those two. (lol)

Any words of advice for new artists? 
Practice, practice, and practice some more. Keep focused and stay targeted to your objective. You’ll get rejections, but keep learning from them. Make your own way and demand for the attention through your talent and professionalism. And be more than just “an artist”, be an all-around total-package. Illustrate, write, contribute to project development and creation…be able to do it all. BUT, be sure all you do is solid!

Find Rashid on the web:
AHR Visions
Visit APNG Enterprises for all things related to the NEW-GEN franchise and the developments of the current comic story arc and feature film.

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Artist Interview with Traci Bunkers

Traci BunkersTraci Bunkers, author of “The Art Journal Workshop” and “Print & Stamp Lab,” is a passionate mixed-media & fiber artist who loves rusty things, glitter glue, old books to cut up and cheap cameras. Since making her own books and art journaling have been a long time passion of hers, she always feels better after getting her art on by slapping some paint down and working in her journal. Through her one-woman business Bonkers Handmade Originals, she sells her nifty creations such as hand-dyed spinning fibers and yarns, original rubber stamps, handmade books, kits and original artwork. She has been teaching workshops across the US since the early 90s and has branched out into online workshops. Visit her website at for more information and to sign up for her mailing list.

Where are you from originally?
I grew up in Roeland Park, Kansas, which is a little suburb of Kansas City. Then I moved to Lawrence, KS for college, which is about 45 minutes away. And I never left! (except when I went to school in France for a year.)

Tell us a bit about your life and growing up, and when art became an important part of it:
I remember art always being in my life, and always making things as a kid. My Mom sewed all of our clothes, and my Dad was a stone mason. So doing things with my hands and being creative came naturally. I also had a great-uncle who was a printer, and gave me lots of pads of paper to draw on.

Traci Bunkers - Mixed Media Artist

Traci used the Copic Airbrush System to create these journal pages.

What is your earliest memory of drawing or creating art?
I remember when I was in kindergarten, my teacher made comments on my drawings that I colored things the wrong colors and didn’t stay in the lines. I guess that hasn’t changed. I still have a little clay statue that I made as a kid of my dog (but it looks more like a cat).

What inspires you to create?
I think for me, I just have this feeling inside that I have to do it. And I’m happier when I’mdoing something creative, whether it’s taking pictures, or slapping some paint into my journal. And the more creative things I do, the more I’m inspired to create.

In what kind of environments have you learned about or “trained” in art?
I took all kinds of art classes in junior high and high school, including photography, printmaking, weaving and ceramics. Then in college I majored in graphic design. For my junior year of college, I went to la Villa Arson art school in Nice, France. But aside from that, I do a lot of experimenting on my own.

Traci Bunkers - Mixed Media Artist

You’ve said you like finding the extraordinary in the ordinary. What are a couple of your best extraordinary finds or creations from ordinary things?
Some of my best “finds” I’ve used as printing or stamping tools. My first book, “Print & Stamp Lab” has a lot of these finds in them–such as using those oval and round corn cushions (for corns and bunions on your feet) to print with. And my favorite is using flip flops as printing blocks. Not only can you stamp the textured sole, but they can also be used as moldable foam to make your own stamps.

If you were stranded on an island, and all your basic needs were being met.  What three additional items would want to have? Tell us why, or explain what you would do with them:
Only three? My art journal, a Pentel Pocket Brush pen, and my bag of Copic sketch markers. (But I’d sneak in some glitter glue, too.) With the markers and brush pen, I could write and draw in my journal. Then I’d glitz it up with the glitter glue. I guess I’d have to apply it with my fingers, but I’m okay with that. I’d love to have a camera with me on that island, but then I’d either need some film and a photo lab, or my laptop & printer.

What’s your favorite part about being an artist?
That I get to make stuff! I get to do what I love for a living. I’m also never bored because I have so many different creative things I like doing. I also love experimenting with new materials and seeing what I can do with them.

Traci Bunkers - Mixed Media Artist
What is the worst part about being an artist?
The financial part of it. Making a living as an artist is not easy. But I can’t imagine doing anything else.

How did you develop your particular art style?
Hmm, well that’s a tough one. I guess it evolved over time, and keeps evolving. I like to work intuitively, just doing what feels right, and working without laboring over decisions on what I’m doing.

Can you briefly describe your process?
When it comes to working in my art journal, I usually first apply a thin layer of gesso. Then I start layering on collage and paint. While I’m doing that, I start adding some text, stamping or writing a headline of sorts of what I’m journaling about. Then I get into more details with handwriting. I add photos, stamp with rubber stamps, and draw on the page with different coloring media. I basically work on the page until there’s no more room left to add anything. I don’t have a set way of working really. I do all of those things, but not in any certain order.

Do you wake up in the morning and know whether or not you’re going to have particularly creative or artistic day? What are the signs?
Not really. But I pretty much work all the time. I do start almost every day off by walking my dog through the cemetery that’s across the street from my house. I usually take my iPod Touch with me to take pictures. It’s a good way to start the day. I often get great ideas or problem-solve while I’m walking my dog.

Tell us more about working with layers (you mention them in your artist statement):
I find I like to use layering in all of the different media that I work in. In photography, I like to take pictures that use reflections or double-exposures, layering different images, color and textures on top of each other to create a new image. When I dye spinning fiber and yarn, I layer colors in the dye pot to get a rich, multi-colored effect. An0d when working in my journal, I apply thin layers of paint and collage, adding and subtracting as I work, revealing what’s underneath a layer while creating another one.

Traci Bunkers - Mixed Media Artist
When and how did you start using Copic markers?
Some years ago I was teaching at an art event in a hotel that had a “store” set up near the classrooms. I think that was the first time I saw a Copic Sketch marker. I liked the size of it and bought one to try it out. I was hooked! In my journals, I often draw outlined letters for my “headlines.” I like to use the Copic Markers to color in the letters.

What motivated you to use them?
Since I work in layers, I like to use permanent pens, markers & stamp pads. That way if I’ve done some work and decide to apply another layer of paint or a wash of color on top of it, I can do it without things running or bleeding. Since Copic markers are permanent, they work great for my style of working. I also love using the Copic Airbrush System with stencils to create backgrounds or borders in my artwork. I probably mainly use the brush side of the sketch markers. I like to color things in with them. The size makes it go fast!

Who are some of your favorite artists?
The main one who comes to mind is Hundertwasser. I love his sense of color and organic shapes in his drawings. As far as journals go, Dan Eldon and Peter Beard. I love that they use their photographs in their journals and also rework them to create a new piece of artwork, which is something I like to do too. I’m also drawn to outsider artists.

You’ve published two books and have numerous online tutorials. Tell us a bit about them:
My first book is “Print & Stamp Lab.” It’s a DIY book that shows you how to make 52 different stamps and printing tools from things around the house, or from things that are normally used for other purposes (like flip flops and corn cushions that I mentioned earlier.) My second book is “The Art Journal Workshop.” It gives basic information on different mixed-media materials that can be used in art journaling, then has 20 different journaling exercises. I’m known for my “raw journaling,” so the exercises in this book go beyond the surface and into deeper self-exploration through journaling. It also comes with a DVD that has 6 videos of me creating some of the journal pages in time-lapse photography. Right now, I’m working on a kid’s book called “Print It!” It’s a short book for a British publisher that has 12 projects for kids to make They learn how to make the stamping or printing tool, and make a project that uses it at the same time. That book will be out in 2012. Aside from those books, I’ve got online videos such as me creating a journal page, how to mount rubber stamps, how to use henna stencils in an art journal using both paint and the Copic Airbrush System, and how to make moldable foam stamps, and some others. They are all on my blog at

Traci Bunkers - Mixed Media Artist
Tell us about your 30 Days of Journaling project:
Last winter I needed something to get me going. I felt like I wasn’t doing anything creative just for me and wanted to change that. So I decided to do 30 days of carving, where I carved a stamp and blogged about it everyday for 30 days. I also did a sketch or drawing and posted it too. I got such a great response and enjoyed doing something creative everyday, that I wanted to do 30 days of something else. Bianca Mandity, inspired by my 30 days of carving, told me she was going to do 30 days of journaling. I decided to do it too. So everyday for 30 days, we both worked in our journals and blogged about it. Normally I do a journal page from start to finish in one sitting, but didn’t have time to do that everyday for this. So I set a time limit of a half hour, and whatever I got done in that time was what I did for the day. Then the next day, I’d finish what I had worked on the day before, or start a new journal page. Before this experience, there were times I just didn’t work in my journal because I felt I didn’t have enough time for a whole journal page. This showed me a new way of working and that I could work in my journal in small amounts of time. It also showed me that I could follow through with a commitment like that! Since then, I’ve done two rounds of “30 Days of Get Your Art On” where I just did some sort of art every day and posted it on my blog. And in December I did “30 Days of Drawing.” Check out my blog to see all of those.

Watch Traci use Copic Sketch markers and the Copic Airbrush System in an art journal:

Find Traci on the web:
Etsy Shop

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Guest Tutorial – Airbrushing Comics by Jayleen Weaver (Marker Guru)

Comics creator Jayleen Weaver (Marker Guru) runs Gurukitty Studios with her sister. They’re self-described as the craziest little comics and animation studio to ever try to hash out a living. She’s been kind enough to share a bit about skills using the Copic Airbrush System (ABS) in comics production, below. Check it out.

Leaellynasaura by Jayleen Weaver (Marker Guru)


E00, BV0000, E0000, BV31, BV23, BV25, Y11, Y0000, BV29, G40, E21, YG01, YG93, YG03, YG91, B000, RV02, E71, YG11, Y13, G85, G82, G99


Copic Sketch markers, Copic Multiliner .3 cool grey, Zig 2 way glue, X-press It blending card – 8.5 x 11 (image size 6×8), Copic Airbrush System (ABS), Iwata SmartJet Compressor

About the Project

I’ve been working on a Dinosaur Calendar for a while as a compliment to my Comic book I‘m working on called “Hello, Albertosaurus”.

This one is a Leaellynasaura, which is a small dinosaur that lived in the Conifer forests of the south Pole. It lived in a time when there were two seasons in the south pole – warm summers and freezing winters – so I went with a early spring setting for this little dinosaur. I thought this would be a nice January image.

I like using the Copic Airbrush for some nice atmospheric effects and free form background elements in areas where line art might be too much.


Layout & Planning

I start each piece of art work with a sketch and some colour planning. I scan the sketch and print it out a few times on a couple sheets of X-Press It blending card (whatever paper the final will be on). My inkjet printer seems to be OK with having Copics go over top. I do a few different versions of colour schemes and lighting and find the one I like best and run with it.

planning thumbnails

Planning thumbnails



Next I ink the image in whatever colour is appropriate. I used a cool grey .3 Copic Multiliner in this instance as I thought black line art would be too bold for the look I was going for. I used a light pad and place my sketch below my good paper, and ink onto a new sheet. I made sure to leave no ink where the out of focus foreground elements would be.

inked image

Inked image



Base Colours
On to the colouring! I first choose my shadow colour and my light colour. They’re usually complimentary colours. In this case Blue Violets were my shadow colour and pinky yellows were my light colour. I start blocking in where all the shadow and light areas will be. I used BV31 and BV23 for the shadow areas, and E00 for the light areas. I also used BV0000 for the foreground ferns that are going to be out of focus and a bit lighter than the mid ground. I make sure that anywhere I want the intense glows I leave white or almost white.

shaded image

Light and shadow placement



I then work out some more detailed shading in the overall image and pick where my darkest and lightest areas are going to be (BV29). I also go in with a little bit of yellow in some of the areas where the light will be most intense (Y11).

detailed shaded image

Colour shaded image



Colour Washes
I start doing some “washes” of colour over the image now, giving each area just a hint of colour. I make the main areas mainly muted colours or pale colours, and the foreground leaves I made intense Yellow Green (YG01), the conifers on the side are a combination of G85, G82 and G99, and the forground leaves are BV0000 and some G40.

I made the foreground appear out of focus by keeping them lighter colours, and every time I went to colour in the little gaps I soaked the paper with lighter colour first. Then the darker colours had a diffused look. I went over and over the leaves around the edges with the lightest colour and let it push the darker colours away. I also used a gradient of colours around the edges, instead of one, and let them blend together.

color washes

Marker coloured image



Next I photocopied my image, and then cut out the background area. This is going to be used an airbrush mask. Mask off the important areas before airbrushing.

Photocopied image cut to be used as an airbrushing mask.

Photocopied image cut to be used as an airbrushing mask


The last step was to airbrush, and this is where it really comes alive. I used BV23 to darken up the right side, and to give the hint of some forest in the back ground. I then took Y13 and airbrushed in the sun area and around the Leaellynasaura. I took off the stencil, then free hand airbrushed in more glowing yellow around the trees, and the rocks; Just to punch it up a little. I then took RV02 and did a little bit of pink in the side to make the yellow to violet transition a little easier on the eyes.

Airbrushing the image with stencil in place

Airbrushing the image with stencil in place

That’s all there is too it!


Finished image

Try your hand at this technique and post your results to our Facebook wall, or share with us on Twitter.

If you liked her tutorial, let her know – connect with Marker Guru, here:

Gurukitty Studios is currently accepting submissions to a Comic Anthology:

1/3/2012 10:06:50 PM | Comments (0) | Send a Message (PeaMail) | Vote for this Blog Post

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