The Trick to Coloring Night Scenes

[@ChristinaB-wy8ej]

Love this! Can’t wait to try these tips on my next night scene. Darker muted colors, skip the pretties, soften the edges in the shadows.

[@AmyShulke]

@@ChristinaB-wy8ej You got it!

[@jirikir]

Thank you for charing.😊 I have laugh about the glowing Marschmellow in Tschernobyl 😂

[@AmyShulke]

Spasibo! Happy to have you watching.

[@solveigfrank]

well linework/lineart is an artisticchoice and personal preference ive seen realtisticly colored stuff with lineart and it looked epic! not everyone is after a 100% realistic approach but girl ur shading is topnotch absolutely loving it ! and theres always a simply way to convert a "line" into shading especially with pencils or charcoal

[@AmyShulke]

@@solveigfrank I don’t have an issue with stylistic choices and outlines are great if you’re using them on purpose. Instead, the majority of outliners use them automatically as if it’s something you’re just supposed to do, no thought involved, and few stop to consider not using them. If that’s the case, it’s not a stylistic choice then, is it? But here’s the heart of my point in the video: The purpose of an outline is to define an edge and you must un-define the edges to simulate night vision. Excellent line artists can and do lose edges in a night scene. But if you don’t have anyone to point it out or teach you to do it? THAT’S why I make these videos.

[@MissChelle]

Stunning artwork as usual, I don’t think I’ve ever coloured anything in the dark. It’s just too hard so I avoid it. I might just challenge myself after watching this. Thank you 🇦🇺❤️

[@AmyShulke]

You can do it! It's the perfect project for people who press too hard or shade too much because suddenly that skill weakness works to your benefit.

[@kathyrippyfleming7277]

Love your videos! I’m an oil and watercolor painter and I get so much out of watching you❤️

[@AmyShulke]

That is awesome! Considering that most of what I do with markers I learned in from oil and watercolor classes, you're taking things back to their original source.

[@heartvalleyartphotography5402]

Wow, lovely artwork & helpful insights! You are an extremely talented and knowledgeable Artist. Thank you for sharing, I definitely need to improve my color & shading....I'm so happy to find your channel. All the Best! 💖

[@AmyShulke]

Thank you so much for watching and the feedback. It was so hard to shade with black pencil on this one and even then, I didn't get nearly enough. It's all a learning process, right?

[@heartvalleyartphotography5402]

@@AmyShulke 💖

[@guydoriansr]

Love how you chose the create a toasty looking background to go with the theme.

[@AmyShulke]

I stole it from Rembrandt. If you're gonna steal, aim high.

[@guydoriansr]

@@AmyShulke Yes, I knew that. Hahaha. He used it to illumate many of his portraits

[@guydoriansr]

@@AmyShulke still, a perfect "toasty" choice!

[@OliviaWinn-zm9ed]

This really helps with lighting, like sometimes, I make things too muddy in an unpleasant way that looks unrealistic. I make it too bright, thanks for the advice for night projects! 😊

[@AmyShulke]

Glad it helped! I didn't mention it in the video but if I to go too bright with the markers, it can be toned down later with a glaze of violet marker or a dirty pencil color.

[@christeepascale4483]

This was an eye-opener! I've been avoiding or adapting images with expansive colored backgrounds for, well, ever. The idea of spending an eternity blending the perfect background -- especially a dark background -- does not appeal. Too much ink, too much time, too little enjoyment. Ink blending? What a great solution. I'm embarrassed to admit that as a card maker I am well stocked in the necessaries to ink blend. I just never thought to use that medium with my Copic coloring. I hope eventually I will begin to see my supplies for the opportunities they provide, not the technique I wanted to learn when I acquired them. Baby steps.

[@AmyShulke]

@@christeepascale4483 Quick tip for you, Christee- avoid the Oxides. The method you see only works when the color is transparent and can build in value to create the feeling of depth and distance. Oxides look VERY flat and close.

[@christeepascale4483]

@@AmyShulke Thanks for the tip!

[@danvance9113]

I like S'Mores. lol When I'm able to hold a steady pencil and marker again I think this will be fun to try. Thanks. ( I forgot your left handed! LOL)

[@AmyShulke]

DAN!!!!! Missed you!

[@COZYCOLORINGTIME]

I’m really surprised ❤

[@AmyShulke]

Glad you liked it! Thanks for watching.

[@lucasdraw01]

wooow 😮

[@AmyShulke]

Thanks, and thanks for watching too.

[@JPTBus]

Welp. Now I’ve gone and Instacarted the makings for s’mores 😂😂😂

[@guydoriansr]

Why Charles Shulz and that background. Not rooted in reality on purpose. He was a fan of Jazz and abstraction. Particularly in the famous scene a use of joy influenced by the famous Van Gogh Starry Night. Sure, not the same exactly, but heavy influence. What is art without abstraction anyway. Just a retelling of what the eye already tells us. Shulz was not about that. 😊

[@AmyShulke]

Not the background, the foreground coloration. I teach mostly paper crafters who do versions of this scene with high saturation coloring on dark backgrounds. I could have chosen any Hanna Barbera cartoon but couldn’t think of an iconic night scene.

[@guydoriansr]

@AmyShulke indeed. Yes. That's the animators. But the foreground had movement interactions. And the backgrounds are separate paintings. And yeah, it was probably simply easier and perhaps in that regard cheaper to not worry about getting that foreground working with the background.