 Well, hello there. I'm Sandy Olnock, artist and paper crafter here on YouTube and today I'm going to do some color glazing to color some Christmas holly with my Copic markers. It may be early, but the Christmas stamps are on the way. Those of us who make videos have to show you these things. So you have time to buy them and use them. This is the Mondo holly and I love all the Mondo flowers and stuff that Julie Emerson makes for Ellen Hudson. So I thought it would be fun to show you how you can color these using some glazing techniques. If you've taken the Copic Jumpstart class, you know a little bit about what glazing is or if you've done any water color, you may think, hey, that's a watercolor thing. What are you talking about with Copics? But you can do the same thing. The principle of glazing is just going over one color to change the shade of it by using a different color on top of it. What I'm going to do is show you this by just doing one leaf first and then I'll do, I'll speed up to do the rest of them because you don't need to see all the leaves individually done at slow speed. But I've started with a first YG, a light YG color. And notice that I went to a BG for my dark shadow color. You don't have to stay with YG just because you're with YG. You don't have to stay with BGs. You can mix and match them with greens in particular. Copic doesn't have a full range. There's some colors that I'd like to see in between. But until they come out with new colors, which they don't seem to be of any mind to do, I will make my own colors by glazing. So I jumped over now to another BG, which is a BG13. It's a teal color and I'm going right over the green with it. So I can kind of pull in more of a blue green kind of leaf rather than just a straight up Christmas green. I noticed when I was looking on Google at what color is Holly, there are all different kinds of shades to it, depending on how the photograph was taken. But there were some that I thought were interesting. It was a little more of a bluish green than traditional green green. So I thought I'd give it a shot. So I took a thousand green markers of some different sorts. OK, not a thousand. But I took a lot of different green shades and started trying to layer them and mess around with them and see what would it take to create something like that. I also wanted to make my leaves look kind of shiny and have a glow to them. So I want to have some areas that were really dark and some areas that were lighter. So I'm even going in now with a mid tone blue green color and adding more to it. I'm going to go over some of that kind of more all of the traditional green on the dark side of the leaf and add some layering with that blue green color. I just pull out some of that that kind of dead color that I shouldn't say dead color. But the BG9s are a desaturated color. I wanted more saturation. So I went over it with a saturated color with the BG13. I went over all the green now and tried to see what would happen to the leaf. Is it going to look right to be a full on BG13 highlight? Maybe it will. Maybe it won't. Maybe I'll try mixing a couple other colors with it and see what happens. So I just kind of keep working at it, keep playing with it. And that's what I encourage you to do, to just try the colors you have. You may see, you know, I put the colors on the screen. You may see me or somebody else use particular shades and you'll be like, OK, I want to try that. But I would love for you to just play. Get out a selection of all your different blue greens and play with them. See what happens when you layer one over top of the other. See if you can get the leaf to change its tone by just glazing something lightly over the top. And now I decided I want to push it back toward a little more of a traditional green. So I went with a real quick glaze of the YG03 over the top. So now I'm going to zoom through all of the other leaves in the same kind of pattern. It's almost the same rotation of colors that I did in the first ones. And it's sometimes easier to see that leaf develop when it's at high speed rather than at slow speed. And on leaves like this, one of the reasons and with a stamp like this, one of the reasons that I like to kind of do things piecemeal is it's hard to see where one leaf ends in the other starts. And that kind of thing, you've got just a lot of detail in here. So it sometimes helps to just do one leaf at a time or at least do all your darks so that you can separate things from each other. And that sort of thing. I did stamp this, by the way, in distress oxide. Peeled paint, I believe it was. But when I stamped it, I didn't stamp it straight strength. I took a that little foam round, tooly thing. Yeah, that thing that I can't name the little round, tooly thing. And I pounced ink onto it so I would get a soft coverage rather than a really solid green outline for them. Now, I started coloring my berries and I realized I'm going to end up with a big blob of red and I won't be able to see where one berry starts the other ends. So this time I went in with my dark first so I could put my shadow lines just that little bottom C shape at the bottom of each one so I'd know where all the berries were. Otherwise, they would just be lost in the blob because that green ink is not going to be heavy enough for me to see through the original color that I put down. So then I could just start filling in and building my berries little by little and I'm going to do the same kind of a thing not necessarily changing the shade of the berries but I'll show you a little trick for making something really, really dark with these berries because I want you to watch them come alive when I do kind of a little step here toward the end. But I'm kind of blending them out and they didn't. I just didn't have enough contrast. Look what happens when I throw BG 9 9 in as a little tiny shadow color just in the darkest areas between some of the berries. Don't outline them. You don't want everyone to look like it has a black outline around it, but put some of that dark color right around the bottoms and the little interior parts for those berries meet. And all of a sudden they start to look dimensional, like way more than I went back in with my R89 and my R37 and just started building that dimension back up again to match the strength of what I had put in there with that blue-green color. So I always find it amazing that the complementary color of something really acts as a super dark when used properly. So I had a little stem here of my E37 because once I got all the rest of this and I realized, oh, there's a branch in here. I don't know if it's supposed to be a green branch or not, but I added a green shadow to it so that I could have a little shadow without having to dig out another marker. So there you go. And then, of course, the ubiquitous white gel pen. I'm going to have to order a bunch of these if I'm going to be doing Christmas cards, because these are awesome for snow. And I'm going to go through a lot of them. I'm sure once again this year, like I do every Christmas. So there you go. Add some white highlights onto the berries and a few layers of paper to set this off. And it is just gorgeous. God, I love Julie and her giant flower things that she gives us to color. I love having something this big to work my marker magic into. Thank you so much for joining me for this video. Make sure you like and subscribe and leave comments and all that good stuff. And I will see you again next time. There's lots more videos you can watch here. And I'll see you later. Go color something beautiful.