 there. It's Sandy Olnok doing some complex implied line, or you may know it as no line coloring. I'll be using this stamp set from Art Impressions. It comes with the dies. It's kind of nice that they include the dies in the package for a lot of their stamps now. I've stamped it in a no-line ink, which is just a light ink. You could use any really light ink. As long as it's an ink that's going to work with your Copics, you're fine with that. And I did not mask out the rabbit. I actually stamped the snowman first, knowing that I would be coloring the rabbit right over top anyway. And I wanted to have some dramatic lighting in this, so I wasn't worried about any of those lines that we're going to crisscross. However, it made it a little challenging to find the lines of the rabbit. So you need to watch the stamp set. There's packaging that will show you where the lines are. But in general, I don't think anyone should really do this kind of coloring on this stamp because there are so many lines and little pieces of fabric and patches and wrinkles in fabric and buttons and just so many details that it's really difficult to do this without lines. However, I started, and it wasn't until about halfway through that I realized this was probably the dumbest stamp to do this with. But nonetheless, nobody watches videos really on Thanksgiving Eve, so I thought I'll just schedule it for Thanksgiving Eve, and it'll be a treat for those who spend time on YouTube, and everyone else can just ignore it. I don't know that anyone's going to actually try doing this coloring on it. If you do good luck to you, it's really hard, and you'll see how difficult it gets as we go. But if you are someone who has had some major fails with your implied line coloring or your no line coloring, there could be a reason. It's best done with simpler stamps. Something this complex is just really, really difficult, and you need to be committed to keep going. The whole thing, by the time I was done, you'll see the epic end to it. It was about two hours of coloring, so that's a lot for one card, and I would not necessarily recommend that. You could do it probably in less without the background, so I did a crazy background for it. But nonetheless, it is a lot of work to do this kind of a thing. You also have to have faith in yourself that you can pull a rabbit out of a hat, and not just a rabbit in a scarf, but that you can do it because it's very easy to get discouraged. By the time you get partway through it, it's going to look messy, because there's no black lines, and if you're used to having really crisp black stamped lines, then having a brown edge meeting a gray edge looks really soft and mushy, because there's no contrast between it. As I've talked about in countless times, contrast is what our eye sees, and sometimes that contrast is by the stamped lines, but the stamped lines also make it look cartoony. It doesn't allow you to make it look realistic, so that is where implied line coloring or no line coloring comes in, because you can create something that looks like you did the drawing, and I was probably going faster than I should have when doing this. This is sped up a little bit as well, and that might have been part of the reason why I just had kind of a crazy hot mess, but I also just had difficulty following the image, because there are so many lines, so many wrinkles, so many everything, and I was trying to work out if I were to do the jacket, I wanted the pockets to remain, and if I did a coat of the gray over the whole jacket, yes, I know enough to know where to put the wrinkles back in, and I could add the patches in, in different colors and stuff, but I needed the pockets to stand out enough that I wouldn't just completely run over them when I did the rest of the coloring, so I decided then to use some, I used the toner grays for the pockets, and then I would use the warm grays for the jacket itself, and so it was just trying to visually separate for myself between one part and another, and I tried also, if you're trying to image this complex, work on one part at a time, so I decided I would go in and try to do several layers of color on one arm, one arm of the jacket at once, and not really worry about the whole thing at once, because I would lose all the places where all of these shapes joined, because when you're drawing something like this, keeping an eye on the shapes is really important, and keeping the integrity of them. A lot of the colors here are very similar to the colors that I used for the patches, because I wanted the outfit to be very subtle, I wanted it to be kind of vintage feeling, and it's nighttime, I wanted dramatic lighting from that lantern, so I knew the jacket was going to get a lot darker, I just needed to figure out what order to draw each portion of it, so that when I finally got around to putting all the lighting in, and I needed to darken the whole jacket, at least I had the integrity of the jacket already established, but it does look like a hot mess for quite a while, just to warn you of that. So those who love to critique my work, and there are some of you who do love that, you'll have plenty to critique in this, because it is quite the crazy mess, and that's just how life is, but I do want to warn you, this is just something that I've told several of you as my commenters in the last, probably two months, three months, I've noticed there have been, and maybe it's because I haven't mentioned it, there have been more negative comments about, well, gee, as you went out of the lines there, or, you know, glad to see you failed at such and such, so that I don't feel so bad about failing, while you may see that as a positive comment, there are people who email me after they've seen those comments, and they say, I'm really sorry that person insulted you, even though you may have meant it, not as an insult, people email me and say, I'm sorry they insulted you, but that's the reason I don't post anything anywhere on social media, because I know there's mean people out there, and I'm always busy trying to talk people off the ledge, just like, you have to let that stuff roll off your back, but it's really hard, especially if you're somebody who hasn't shared your work very much. I can get over that stuff, I mean, yes, it does get under my skin at times, when it's just little tiny things that people want to say something about, but I worry more about what it does for my other followers and students here on YouTube. So I would ask, if you've really got something you need to get off your chest that I missed a button in coloring something, or I went out of the lines, or whatever it was that you thought that I did incorrectly, even if I did it intentionally and you don't even know that I did things intentionally, then yes, feel free to email me those comments. If you got to get that off your chest, please don't leave them on YouTube. I like my comment section to be very positive places where people who read the comments will be uplifted and not feel scared about sharing their work, because when they see that someone like me gets the hate, they get really upset because then they know they will get more of it because they feel like they're not as good as me. So if I get this much, how much more, how much worse will theirs be? And it's not the case whatsoever. It just is what it is. It's the way people comment on things and don't know what, how it comes across. They don't know what damage they could be doing. So just a friendly reminder to everybody to just keep it, keep it happy in the comments. If you feel the need to just say something negative, please feel free to email that to me. I can take the hate if that's what you need to share. Just spare the other artists that are out here because they don't all need to feel intimidated by that kind of a thing. Okay, so back to this crazy ridiculous coloring. I'm adding more of the elements in here now. I've got the jacket partly where I wanted, but there's still not a lot of structure to it because you can see the colors are really similar to each other. They're all in that same kind of mid-tone with some dark shadows in them. And I decided to just move on and move over to working on the scarf, scarf and the hat because the jacket was driving me crazy. Yes, I have the same issues as you do. Just because I have colored a lot doesn't mean that everything I do comes out perfect. So yeah, it's part of the reason to show this hot mess to you. So this was one of the big gaps that the camera I just didn't even realize that it turned itself off, but it was basically just layer after layer after layer after layer after layer after layer after layer. I was trying to create some kind of a bokeh background that was really dark and really rich because I wanted it to really feel like they're outside in the dark of night because I wanted to make the light from the lantern be the main thing in this. And the whole time I was figuring out where is that light going to hit? If it's going to waft up into the sky like that, how far is the white going to last? How far is it going to be before it starts to turn bluish and grayish as it gets away from the lantern? And then where is it going to hit on all the objects in the picture? Because that light is going to affect everything. Absolutely everything. And I needed to work that out. I wanted it to look like that. Swirl is spinning, so I had that to worry about, and then I realized the background was just not dark enough. So to go in with more layers, more, more, more. You know me, I love the contrast. But as you'll see, the contrast is what makes it work. And if you stop too early, you're going to have a hot mess because you haven't gone far enough. And that's generally what I find that people, when they say, gee, I just had to throw that away because it was terrible. This is the struggle that we all go through because when do you stop? Well, with a lot of Copic Marker stuff, you can keep going. And the great thing about winter scenes, you can just add snow and that will hopefully help to make anything better as well. So now I moved it up, moved my tape, see the big tape marks there in the middle of the picture. But I moved it so that I could start working on the snow on the bottom. And I'm using like B97s and B99s for the snow. Really dark and rich colors because I wanted the light to hit the snowman's face, but just barely. I wanted more of it to be coming down on the rabbit and the front of the rabbit, the area right in front of the rabbit. So that required having the dark colors around it. So then I'm going back into the snowman, adding more colors to it, trying to darken that base that's under the snowman, the rest of his body, and even adding blue to it because the gray wasn't working for me, so I had it blue. I'm neutralizing more of the colors in the outfit to try to pull them together because they were just getting too different from each other. And then I thought, okay, what if I even darken the snow further? Okay, yeah, I can darken the snow. I'm going to darken his face and add more blue to it so that the white of that lantern is really the white. And that's one of the things that draws the attention is the contrast when you see a dark dark next to a light light. So when you have a black and a white right next to each other, that's where the sweet spot starts to happen. That's the immediate place that the eye is drawn to in the picture. So I'm using a Copic Multiliner now to add some details. Just in a few spots, not everywhere. I'm not redrawing the stamp. Don't redraw the stamp. You might as well stamp it in black if you're going to do that. But I'm adding details to things like the gloves and the patches. So I'm going to put a little bit of line work in the patches. A few lines in a couple places where there are buttons or seams in fabric that could just use a little tiny extra pop because I needed to go back into the whole thing now with a dark gray and really darken it, really push it back. Because the more I push this back, watch how bright the light gets in the lantern. Because it's the contrast between the light and the dark. Keep trying to get through to people. Just really be willing to go there and you'll be amazed at the results that you get. Because the light itself is what I find to be the most intriguing thing in most any piece of artwork. Whether it's a pencil drawing on a piece of sketchbook paper or a card or a finished painting, whatever it is, when there's a really consistent focus on the light and you're really getting the light captured and drawing the eye in with a focus on it then the rest of the picture doesn't really matter. The white of that snow in front of the rabbit and the white in the lantern are the focal points. There's a tiny highlight of white on the candy cane and a little bit on the nose of the rabbit and that's it. And then snow on top. Now this is for all of you who may try this kind of a thing and you're like oh my gosh it's a hot mess. Okay put snow all over it and no one will be able to tell anything else that was going on in it. Because it's all covered with wonderful snow but you can see the the details have been somewhat lost but I retained some of them. I drew some of them back in and you can go to the blog to see this card up close in more detail if you want because yeah I'm done. I think I'm done yammering at you. Go have a great Thanksgiving dinner tomorrow and I will see you again on Friday because I do have a little Black Friday video for you. All right bye guys.