marker rendering - the basics by letraset

8/9/2019 Marker Rendering - The Basics by Letraset

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1Telephone: +44 (0)1233 658875 Fax: +44 (0)1233 658879 Email: [email protected]

Letraset Limited, Kingsnorth Industrial Estate, Wotton Road, Ashford, Kent, TN23 6FL

Marker Techniques

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DLR049



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Getting to know Tria

RellsThe pens are very long lasting, but when they do run out, they can be easily relled using a unique cartridge based system. You

simply replace the clear barrel section with a new one (available separately). This is done by removing the black caps on either end of

the barrel.

ModularityIt is also possible to interchange and replace the nibs. Due to Tria’s modular design, the parts come apart quite easily, so you can swap

around and customize the pen set up however suits you best.

NibsTria has three built in nibs. It features a broad, ne and brush nib, all easily accessible

and providing a variety of different width strokes.

Color SpaceTria uses a color space made up of 300 references.

These are logically laid out, with even graduations of useful,

contemporary colors.

Each Tria color is referenced using a special alphanumeric code

– this allows you to intuitively know where it sits within the

color space.

The color space works using principles of Hue, Saturation and

Luminosity - these are already established ways of identifying

color, and form the basis of existing digital and print reproduction.

So Tria integrates as part of the overall design process.



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Marker Rendering – The Basics

PreparationYou could try starting out with a selection

of markers based around the color wheel

segments. Use the main hues of the Tria

color space as a guide, combining a black

plus one or two grays and a blender. This

will give the maximum color mixing range

from a limited selection of markers.

Various Letraset Tria Marker Sets are

available. These have the advantage of

being pre-selected by artists for specic

design disciplines. Also, you’ll tend to pay

less for the pens this way, compared with

buying them separately.

Art SurfacesTria Markers use transparent, dye-based colours. They perform best on bright white

paper, plus some interesting effects can be produced on tinted surfaces. Remember the

color of the paper will inuence how the applied marker color appears.

Tria ink s are alcohol based and may ‘bleed’ through thinner papers. It’s advisable to

use a backing sheet for protection. The best thing is to use a Bleed Proof Marker Pad

(Letraset supplies a popular range in A4, A3 and A2 sizes). This kind of paper provides a

good level of saturation and tonal graduation.

Before using any color, test on a scrap

of paper rst to check how it will come

out. Some artists lay all the colors out

like this before starting, then it’s easy to reference whilst working.

It’s well worth planning out your color scheme in advance – take time to test out color

combinations, and the results of different blends and overlays.

You may want to work from a photocopy of your original drawing. Always a good idea to

preserve your original in case of any mistakes.

G346M555 B625

G338

G339

G346

R866

R555

M555

B544

B555

B625

B247

C847

C647

M137

V546

V327 C647V327



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Mixing Color When two Tria colors overlap, they will combine to produce a third color. This depends not only on the two colors used, but on the

order in which they are applied – the second color will tend to dominate.

If two pale colors are overlaid, the resulting mix will show through well. If one color is much stronger, it will virtually block out the

paler color.

To mix colors together before application, use a smooth, ink resistant material. A piece of plastic or acetate makes a good makeshift

palette. You can use the colorless Tria Blender to mix and pick up the ink from your ‘palette’. Much the same as using an artist’s brush.

An advantage of markers is that the blended color can still be reactivated on the palette after long periods of time – just by using the

alcohol lled Blender on the dried color pigment.

The Tria Blender may also be used for mixing colored pencils. This can produce subtle variations in hue – for example, add blue pencil

to a yellow marker and you’ll get a greenish color.

Handling and ApplicationHold the marker lightly – the key to marker rendering is quick, deft strokes. Where you

hold the barrel will make a difference. Holding it nearer the middle will give you a uid

sweeping effect. For greater control, hold nearer the nib.

Apply color evenly without lifting your hand from the page. This keeps up the momentum

in your work and avoids ink collecting in unsightly patches.

When lling larger areas, it helps to apply the ink in a circular (gentle) scrubbing motion.

This prevents any streaking and provides a perfectly smooth, at nish.

Color DepthMarker color get darker the more layers you apply. Always work from light to

dark (because you can’t lighten darker shades). Add in dark shadows and accent

colors last.

Depth of tone can be effectively created by

overlaying a closely related darker colour

over the original. This works particularly

well when rendering skin tones.



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Blending Color When one color is put down next to or over another dried color, normally the edge

between will remain dened and sharp. If the second color is overlaid quickly, while the

rst is still wet, then they will blend into each other.

To create a smooth graduation between two colours use a Tria Blender Marker,

which will merge wet or dry colours. Blends vary on different papers, so try a small

sample rst.

To achieve a lighter, more translucent effect when using marker inks, touch the broad

nib of a colored Tria against the broad nib of the blender. Then use the blender to apply

the transferred ink to your art surface – this gives a very subtle application of color.

Also, try drawing graphite grey pencil next to marker, then using

the blender to merge together. As always, experimentation is

the way to discover new effects.

Saturating Color Tria Marker inks are able to provide very richly saturated colors – the

level of saturation depends to a large extent on the kind of paper

used. For example, cartridge papers with higher ink absorption will

generally provide more intense color renditions.

On marker paper, you can use under coloring on the reverse. This

is very effective, apply color to both sides of the paper, then re-

apply the front layer again. Once dried, the result will be a much

more vibrant, vivid color.



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Lightening Color This can be achieved by rst coating your work surface with a generous layer of colorless Blender. Then quickly (before the Blender

dries) apply color over the top. The pre-applied Blender will have the effect of dropping back the overlaid color, resulting in a more

subtle effect.

Also, try using a Vellum type paper. This

will have a very smooth surface, with

low absorption – this can be useful for

producing softer, less intense colors.

Another technique is to work on tracingpaper – do this by selectively applying

color to the reverse only. Color applied in

this way will naturally show through to the

front for a translucent appearance.

Graduating Color This can be done in much the same way as with other paint media. Apply the original marker color then use the Blender to

loosen the pigment and drag it across the art surface. As the color becomes gradually more transparent, the result is a smooth

transition from darker to light.



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L t t Li it d Ki th I d t i l E t t W tt R d A hf d K t TN23 6FL

Inking Line Work Tria Marker ink is alcohol based, so other

spirit based pen are likely to bleed or

smudge if used in conjunction. The Tria

‘Illustrator’ Marker is water based, it

produces line work that will not smudge

with Tria Markers.

Letraset also supplies a range of high

quality black Fine Liners. These come in

various widths and contain water based,

pigmented inks. They provide smooth,

accurate performance and can be used

for outlining and detailing your marker

work without bleeding into the marker

0.1 mm

0.3 mm0.7 mm

0.5 mm

Making CorrectionsTry to avoid using correction uid – it will

prevent the ink being absorbed into the

paper when coloring over and you’ll end

up with a pale patch in your artwork. It

is sometimes possible to overcome thisproblem by compensating with a slightly

darker toned marker.

Since it’s generally quite difcult to correct

mistakes with markers, it’s a good idea

to make a photocopy before coloring.

Letraset’s Bleed Proof Paper is useful

for tracing over existing line work – at

70gsm it has good enough show through

for tracing.

marker rendering - the basics by letraset

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