 Hi there. It's Sandy and today I'm going to do a monochromatic dramatic scene. That kind of rhymes, doesn't it? I use some stamps from MFT and a set of markers that goes from very, very pale to very, very dark. The grains are going to be the easiest to do this in because they have the widest range, although you probably could get away with it with a group of blues. But keep yourself in a narrow range of color so that you're only dealing with light and dark. That's going to make it a lot easier. You can create drama, of course, with all kinds of other colors. It's just easier to think through the process when you're using just one color. So I'm using just the warm gray markers. And one of the first things to do, of course, is to set the scene. Sketch it out wherever your mountains and trees and everything else are in a light color. If you sketch it out in pencil, you're going to end up with pencil lines trapped underneath of the Copic. So I always sketch in a very light Copic marker. And then one of the earliest things you want to do is set your darks. Figure out something that's going to definitely be dark and use your darkest markers. You want to set that range so that you know where you're headed in terms of your darkest colors. And the pterodactyl was the thing I chose to color first using the darkest colors under the wings because that's where the light is hidden from. The light is coming from above and to the right for the Brontosaurus. I'm going to leave just a tiny bit of light on a couple spots on the Brontosaurus across the front of the face and then the top of the back, maybe down a little bit of the right side of the back. And then go in again with the dark color. And when you're trying to create drama, don't be afraid of darks. Even though I'm drawing in all these legs right now, coloring them in, doing that mostly just so you can see that it's a Brontosaurus, that's all going to disappear in a very short moment here. So I'm going to use a middle color to blend those and then a light to soften the edges so that it blends into that lighter color a little bit better. Next, I'm going to jump into drama right away. The light is coming from the upper right so I'm going to create a dramatic hillside that this Brontosaurus is standing on. And it's going to lead out to a river or maybe that's a little plateau. I don't know what that is but whatever it is, he's standing on something and there's going to be some greenery. Well, grayery, I guess it's grayery when I'm coloring it in Grace. And I'm going to make just a little bit of detail, excuse me, detail down at the bottom so that each one of these hillsides has just a little tiny bit of detail at the top so you can tell that it's some kind of undergrowth in the scene. Within the darks, this is not the darkest dark until I get to creating the negative shapes. The negative shapes are created by my darkest dark so that I have a dark highlight within the dark area. Moving over to the other side, the sun is going to be hitting that left side so I don't want it as dark as the right side. The scene in the background, whatever is going to be the shrubberies and things in the background is going to be less dark than the foreground so that I still have that drama, I still have the darker on the right side but not as dark as the foreground. And then the left side, I'm going to allow more sunshine to hit the tops of those different parts of the greenery. Try to soften out some of these areas that are moving up toward the mountain in the background and try to decide whether I wanted to put the trees in yet or not. I wanted to have some very distinct prehistoric looking palm tree kind of things but I decided that I needed to put the mountain in first because the mountain is going to go behind it and then I'm going to use a darker marker for those trees. The mountain is a part that's least easy to explain because really I'm just creating different kinds of mountain shapes with light markers and it's a succession of light markers and going back and forth between the zero, the double zero, the one, the two and trying to create some distinctive shapes but letting it all blend together. This has to be really soft in order for the things in the foreground to pop forward so I want to keep the color really light but I need to have enough color that I can get some detail in it and that takes a whole bunch of layers to get that to happen and in this whole scene it ended up being less and less white paper showing. I wanted to have almost a waterfall coming down the center and that meant that I had to start darkening everything else so that it would look like water. Not that anybody is going to immediately think oh that's water and and that that's a waterfall but I wanted to create that kind of contrast in the colors by putting darker colors around it and giving it a little more detail so that that water would start to pop forward. You can kind of see me thinking through this almost and changing my mind and going with a little darker here a little lighter there in order to create some shapes within this mass and in order to try to create some sort of tall feeling to it I wanted it to feel like these huge huge peaks most of my strokes I'm just keeping vertical but I'm trying to blend them as as much as I can so that I don't end up with stripes you don't want to necessarily end up looking like a striped mountain but having a few details enough in it that you get that that soaring feeling and then at the very very bottom a little bit lighter color coming up from the place where these trees are going to be in front of so you almost feel a mist at the base. So next are the trees this was one of my favorite parts to add because I love when you can add a little detail like these just scrubby trees I'm not putting any great effort into them but they're in a darkish mid-tone they're not a full-on dark color and sorry about that being off-camera I kept sliding down further but not you're not really missing anything other than the tree trunks which you will see in the finished card so these slimline cards are a little tougher to see all the thing on the camera and all of this meant that I needed to put some color into the sky because there was really very very little white left on the paper because I had all this drama so I just scrubbed in a sky and it almost helped that my marker was drying out so that I got this sort of pock marky sort of cloudy sky worked really nicely so there is the finished card which is really fun to do it's a fun experiment to try with your gray markers. If you are into making scenes of course there are tons of scene classes over on my teaching website there's also a collection of all of my Copic videos that are on the blog right now you can go check them all out and see them by thumbnails instead of trying to watch through them by going through playlists here on YouTube it's a little easier way to view them all so you can go check that out and I will see you guys later on take care bye bye