 Well, hi there, it's Sandy Olnok, and today we're going to do a little saturation study in terms of the Copic blues, and I'm going to start off with this color combination sheet. It's a three downloadable. There's a whole bunch of different designs in the PDF that you can download and print out and test out your own combinations, but what I wanted to show you was the Copic numbering system and how that plays into saturation. The first number, I hope you know this by now, the first number is the saturation number out of the two digits. So the zero means it is a highly saturated color. It doesn't mean it's light. It means it's an intense, strong, bright color. And that color can be light or dark. It can still be dark and be really intense in color. It really depends on that. That first number means that intensity, and the second number is how light or dark it is. When we move into the B1 family, there is no B10. So we're not getting in apples to apples with the star that we just colored on the left, but we are getting an idea of how this color grouping feels. It also has a B18, so it goes darker. It doesn't go as light, but it goes darker. Each one of the color families has a different range of numbers. I don't know the science behind why they picked it, but that's what they did. And that's what we end up using as artists to color with these markers. The B2s start to get a little bit more desaturated. We're starting to get a little grayer feel with each number every time that first digit goes up. It just gets ever so slightly grayer. Now there's some in the collection where you have an extra color you need. Like here I was using the 32, 34, and 39. And in order to get from the 39 to the 34, I kind of needed 37 in between. So there's sometimes when you have too big a gap between those last digits that you just need something in between. Then there's some color families, the fours, where there's only two numbers. There's a 41 and a 45. That's all you got. Fortunately, they blend together, and you can use other colors to blend with it. But I'm sticking with just the families for this exercise. Now this one is the B9s. They have the widest spread of numbers. The B99 is super dark, the 91 is really light, and then there's a 95 in between. You can work really hard to blend it to kind of make a criss-cross in between there. But you can also add a 97 in between the 99 and the 95 in order to get a little transition. There's a 93 that's a little purpley. And there's a couple colors that go a little purpley, like the B6s, but we're going to leave that for another day. I'm going to make a card now with this stamp set from Reverse Confetti called Picture Perfect. And I'm going to talk about why I'm choosing each one of the saturated colors because saturation can have an effect on what the eye sees and how you communicate distance. And with most things, I'm going to say most because it really depends on lighting, but with a lot of things, you're going to end up wanting more intense, more saturated colors close to you. And things that are further away are going to be more grayed out. So I'm using the B3 family for the foreground portion of this. So it's not my super brightest because the super brightest is going to be that movie screen. The characters here are being lit by that movie scene, the screen that's facing them. And the light is hitting their faces. We don't see their faces. So we're only seeing the backs of them. Some of that intensity is going to be here because they're in the foreground, but they're also still going to be dark. So even though this is a bright color, I'm using a lot of the darker shades in order to communicate that darkness. And for each one of these, I'm using a range of from the darkest to the lightest and working my way up, I'll even put a little white pen highlight on some of the shiny parts of the cars when I get to that. And I did decide to add a little fatness to the tires. It didn't seem thick enough. Maybe I don't know enough about cars. They didn't quite seem thick enough holding up those cars. But I'm going to use the same B3 family for the foreground, for the earth that they're on, including these shadows. So I'm going to use the really dark color for the shadows. And it's all radiating out from that movie screen. So I wanted to indicate that. So I'm using the same colors that are in the cars. They're all at the same plane in the scene. They're all in the front. Next up, I'm going to work on the background. The background I want to push far away. When you've got a background that's in the distance, it's often not very bright because you have all kinds of particles in the air in between you and what you're seeing. So you're going to see something that's maybe a little more grayed out. The color's a little distorted because it's in the distance. And I'm using the B9s for this whole background because it's in the distance. And I want to push that far away. And I'm going to do a gradation from the B9s at the top down to the bottom. Noticing that the B93 there that I just used is kind of purpley. Notice that. I'm going to just go over it with the B9-1 because I didn't like that purple being added in there. And then blend that out toward the bottom. And this allows me, just having this gradation going from the dark down to the light, allows me to put a city in the background. So I'm picturing that they're at a movie theater on the other side of the river from the city, the city's in the distance. You could also put mountains or trees or something back there if you want this to be a more rural scene, whatever you want. Just some simple shapes in the background is enough to communicate that. And then I'll use the same kind of gradation in the B9 family to bring the shading down and let it slowly blend into that lighter B9-1 color at the bottom. So next up is going to be the movie screen. The movie screen in this particular instance is the source of the light. And even though it's not backlit, I'm going to treat it that way. Movie projectors are back behind the audience in most circumstances. But I'm going to treat it as though the light is emanating from the movie screen itself. I'm putting a dark frame around it because that's what's drawn into the stamp itself. I kind of used a gray, not sure why I did that. I will fix that later on. But the center portion, I looked up Looney Tunes end screens just to see what they did and how they handled them. There's a big black dot in the middle of the whole target. But most of them are done in reds or yellows, those kinds of colors. Since I was doing it in blues, I had to translate that somehow. And they have a dark red around the outside. They're kind of a desaturated sort of red. And then the center target is more intense in color, has a little bit of dimension to it. So there's a little bit of shading around it to make it look a little more dimensional. And I tried communicating that through my coloring with these B0s. But notice the kinds of blues I'm getting, they're much more saturated, much more intense. And then it's time to add in some of the contrast and the dark that I saw online. So I started with the B3-9 for the center for that dot. And then I started using the other B3s in the section around the outside edges as it starts to come in toward that center target. Because I wanted a more desaturated color, I didn't want it fully desaturated so it looked like part of the background. I needed it to be brighter. So I just slowly started working those colors in using the undercoat of the B05 that was already there. I have some of that intensity of color, but also the darkness and a little slight bit of desaturation because of the B3s that are added. So there is the movie screen. The sign, I didn't want to pop so much. It was just feeling like it was gonna be too much of a bright distraction. So I went into that using some of the B9s just to darken it up a little bit and make it duller. Realize I had forgotten a shadow behind the bears that would be cast on their car so that you wouldn't see any light on the top of the car behind them. And then decided I wanted a slight bit of brightness maybe to the sign, not a ton, but just a little bit. And then I added some of that B05 as well to that outside frame so it didn't feel gray. The gray was bothering me since everything else was in blues. But I hope you can see the difference between all of these different blues now when they're all in one picture and how they can help you to communicate some distance in a scene. Now for the most part, you're not gonna do an entire scene in blue for the most of the time. It's not gonna be needed. But remember that when you're choosing colors for backgrounds and foregrounds because that can help you to communicate distance even when it's not the same color using the desaturated ones in the far distance is a big help. Now if you're new to Copic Markers and you would like some basic instruction, I have classes, but I also have a blog post on my blog that has a whole bunch of my Copic Marker basics videos on it. So you can get a start on Copics before you're ready to take a class if you wanna go see those videos. And that's it. I will see you guys later. Have a great day. Be sure to hit that like button if you enjoy this. Subscribe if you haven't. And I will see you again very soon. Take care. Bye-bye.