All you need is Black! Creating an impact with Ink | Stefanie Schmiedel | Skillshare

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All you need is Black! Creating an impact with Ink

teacher avatar Stefanie Schmiedel, Illustrator and Animator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 17m)
    • 1. Intro

    • 2. Choosing the right materials

    • 3. All about dynamic line weight

    • 4. Inking exercises 01

    • 5. Inking exercises 02

    • 6. Inking exercises 03

    • 7. Classproject

    • 8. Bonus Project

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About This Class


Hello and Welcome!

This class is for anyone who wants to learn how to ink or who wants to improve their inking skills.

We will start by looking at different tools you can use to ink and I will help you choose the right tools for your skill level and your needs.

Then we will go over what dynamic line weight is and how and when you can vary your line weight. I'll show you different exercises and techniques with each of the inking tools that you can do to improve your inking skills.

I prepared some exercise sheet and printouts for you that you can download in the recourse section and hopefully by the end of the class you have some ink drawing by yourself to show family and friend or share online and that you can be proud of. 

Have fun!


Meet Your Teacher

Teacher Profile Image

Stefanie Schmiedel

Illustrator and Animator


My name is Stef.

I am an Illustrator and Animator currently living in Birmingham, UK.

I started drawing as soon as I was able to hold a crayon my chubby little hands. My Grandpa was an Artist and started teaching me at an very early age. Fresh out of school I started working as a background painter on the Movie "Laura's Star" and soon after became a traditional Animator. 

For fourteen years I worked in the Animation and Film industry, animating on several great titles like "Guardians of the Galaxy", "Maleficent", "Avengers, Age of Ultron" and many more.

But in the past few years I wanted to go back to my roots and work traditionally again. I enjoy working with Watercolour, Gouache and a bit of Mixed Media. I love to Illustrate and ... See full profile

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1. Intro: Theo. Hello and welcome to the class. All you need is black, creating an impact with thing. I'm Stephanie Schmidl, and I will be teaching you this last today I'm an illustrator and animator and I love to work in ink. This last is for anyone who want to learn how to think. Wants to improve thinking skills. I have a lot of exercise is prepared for you that will help you to improve your thinking abilities. They're going over the specific place on how to use the tools to get the effects that you want. And we're going to have a look at different inking techniques. I prepared some exercise sheets and examples for you to think over, and I would highly recommend you that you download them and have them ready to follow along . And hopefully, by the end of the class you will have some injuries of your own that he can be proud of. That he can show your family and friends and maybe share them online. You can check them in the class Pro checked on social media. If you do so, please take me. I would love to see them 2. Choosing the right materials: to work with India of many different options. You can use motor China's or fine liners and brush the brush pin independent and, of course, blacking. Before we start. Let's have a look at each option and help you choose to write one for your skill level and your needs. Okay, so now that's order them by skill level and go through the pros and cons off each tool. First we have the multi liners. They're really easy to control and great for beginners. Depending on the nip thickness, you can achieve a very fine detail, and they have a study floor Off Inc for maintaining a solid line. On the downside, they can be quite expensive, especially if you use them a lot and for bigger pieces, and it's hard to cover large areas with them. Now let's have a look at the nip in these air still very easy to control, and he can achieve very fine lines, which makes them perfect for details. But you can also create very dynamic lines with them. They're very cheap and economical, and for last you a long time. Unfortunately, accidents can happen with these, and it takes some practice to get used to the semi steady in crew. Next, we have brushed prints. They're perfect for dynamic lines, but unfortunately they can be pretty difficult to control their the most expensive option. And if you're choosing a felt tip, it won't last you very long because I tend to fray out very easily, most of them on waterproof, especially if you're choosing one with synthetic Purcell's, which means he won't be able to apply any washes over the lines without dissolving them. It is also quite difficult to draw a very fine detail with them. Last but not least, let's have a look at brushes. He's up. I find the most versatile, since you can use them also for techniques like dry brushing and rushes. It is easy to cover large areas with them, but it takes a lot of control to achieve very friendly dough. They also need a little bit of maintenance to make sure that they have a long life. If you go for a brush, I would recommend you to buy a good bar soap, especially if you're planning on using water proving 3. All about dynamic line weight: before we start, let's have a look at line. Wait. If you render your illustrations continuously with the same line rate and why you the line can seem a little bit static. This can, of course, be a great style choice if you want your illustrations to be simplified and very clearly to read. This is often done and comics and television in the last two reader to instantly see what's going on without spending too much time on each panel. Combined with a simplified color scheme, this can be great, especially for younger audience. Now let's have a look at varied line weight, also called dynamic line. Weighed with this any line you may campaigns additional information, such as a way to form directional energy, applied force or even distance. Buried lines are very energetic and can make your drawings even more expressive. So why and when do you? Very lightweight. There are three classical rules that he can use us a starting point to wear your line. Wait. In my work, I follow only one off the world's regularly and tend to vary the line great, more Freddie. This is, of course, a style choice that he can make by yourself, but let's have a look. The three class schools first, the 1st 1 is the world of mass, where the lines get thicker, where you have more meat and thin out where the bonus you can see it. Here at the knuckles, the line gets thinner, as well as at the wrist and the elbow, while at the muscles dying, it's thicker. The 2nd 1 is the rule off light, where the line tells you where there's light Cetto. In our example, the light shines on through the arm from the pup, right, all lines where the light hits would be thinner and the lines and the shadow would be thicker. Even though we haven't drawn any shadows yet, we can already tell where the light is coming from. The third rule is to ward off space. We are objects to that close to us are rendered in the thicker line and objects that ever the way I rendered in sin nines. You can also use thicker lines around the outer edges of your objects and thinner lines on the inside. This helps to create space between objects. This is the rule that I personally for the most. It is also useful when you use more static lines. He can still Hughes thick and thin lines to create space between objects and to create an illusion off distance. 4. Inking exercises 01: first, let's have a look at some of the techniques that we will practice today. We have hatching. We put multiple lines right next to each other to create the illusion of grey. Depending on the distance between the strokes, the area will seem darker or lighter. You can also do curve touching to create the illusion of William. We can do long hatching like here or short hedging at here. Hatching is great not only to give the illusion of value but also to add extra true peace. This is an example by duck wildy. You can find out of the examples in the Pinterest board that I created for you. Here. We have an excellent example by Milton kind of often exercise for different brush dogs. He uses traditional rationing to create a huge variety of brush marks. This is a great way to add interest and texture to the illustrations. Next, we have an example of Alex Raymond. He is to master and hatching here. You can see how he really creates an illusion off Grey, scared just by using a different amount of hatching, playing with the distance between his drugs and varying the length he also uses curved hitching for the hair and clothes to give a sense of volume and direction to them. Okay, so let's start with some exercises. You can download these exercise print outs in the results section. We will begin with the multi China, which is a perfect tour for beginners because of gifts either most control. You usually want to hold him. Watch diners in a sturdy tripod grip to gain the most control. This is the tripod grip where your thumb, your index finger and your middle finger from a little tripod around the tip of your pen. First, we will start with long hedging. For that. You want to put your arm onto the surface of your desk and pivot from the elbow. You try to knock your wrist and keep your fingers stone, and he used to pivot off your elbow to get a straight line. Try practicing your stroke a few times without putting a pen on the paper, and then when you already start hatching with quick, long strokes, remember to pivot from you available. And don't worry if you don't get it perfectly from the beginning on, it does take quite a bit of practice. Maybe try burying the distance between the strokes to get the effect of lighter and darker areas. Remember the closer the stroke site together, the darker the area seems and the more further in part there, the lighter. You can go over an area multiple times, but trying not to ever could. The more you go over the same area again and again, the more difficult it is to achieve even effect. Now let's move on to short itching. While no, How can you pivot from the Hubble In child hatching, you use your fingers or your wrist. I'm using many Marist and create quick and short lines. He can use short hedging and rose. Take this to a texture to a piece. All create patterns using a variety of angles like this. You can get quite interesting effects with this. You can also play around with the things and distance between this drugs to get different amount of grace or to create a radiant, give it a go and try a couple things and see what kind of effective and get for curve touching. You want to use your fingers so he can get a natural curve you can incorporate your wrist and your abu if needed for bigger curves, but especially first model curves, you gain more control. If you lead with your fingers, try hedging in different directions, curving your stroke towards and away from you. Also try to increase and decrease the size of your curves. This is great for defining volume in your ink illustrations, especially for things like hair inflows. Cross hatching is used adult in comics, for example, it's perfect Cheetos and radiant Soon administration. Again, the further party strokes are the lighter and the toe. So there together in the darker with course touching it is a lot easier to achieve darker areas without working the area. Then it is with single hedging. It is also much easier to create. Even radiance is. The important part in cross hatching is that you put your two direction and strokes at more than a 30 degree angle apart. So, for example, if you had like this and you crosshatch almost at the same angle, you don't really get that great often effect. So you do want at least a 30 degree angle to get the cross hedge effect. Same goes for the triple hedge, so you start off with one direction and you go in with the 2nd 1 having at least 30 degrees between them. And when you add your third layer, you have to be careful to have at least 30 priests between the first and the 2nd 1 As you can see, hatching is a great way to our different values or gray gins to your ministrations without using washes. But try to avoid more than three different directions because you won't be able to have the more than 30 degrees apart, and you're most likely overwork your area for stepping. You want to hold your pen almost vertically and add little box to your paper the further away you put them that I could, the value becomes, the closer you put the does the darker your great kids. This is great if you want to add just a tiny bit of gray scale to something just a hint of gray. It's also great if you want to cover large areas with the dark gray, but some people do it, as you can see in the Pinterest board, where someone has done whole illustration with this technique. Unfortunately, you don't have natural dynamic line weight when you use a mortar china, so you have to imitate it by going over parts off the line several times and feather your stroke into the existing one. It's a good practice to try and go very thin and then broaden your stroke to add value to it. If you have a brush, a brush pen or independent, you get natural and very line right so you don't have to go over your stroke multiple times small marks, a similar to stop thing. You can apply them even the like this or at a sense of direction to them. This is great for four, for example. Well, things like Harry Necks, even for image. So all you need to do is put a pen on the paper, flick it and lift it off. That way the shape of your stroke feathers out and you get a shape off a comma. Extras. A great to add variety and interest to your piece, for example, you can apply. Rendered my strokes for that. You want to live to your pen as few times as possible off the surface and tried to continuously scribble with the flu in movement, going over the same area again and again to darken it, something that also quite nice is this kind of texture justice. If you're writing a line of power use, you can vary the size and distance off your use and go over the same area multiple times to very to darkness. Another great texture is if you use short strokes in one direction to create rose. This can be very good for tree barks, for example, or other gritty materials. These are, of course, just a few examples, and I hope you take some time to explore and build a visual library for yourself with different textures that he can use and new registrations. The last text here I want to show you is great. If you want to add voyage like leaves to something, you can just do something like this. This is similar to the W texture, but giving it more off a sense of direction and random ization to create the effect of leaves, play around with the different sizes off the use and bunch them together in half tubular shapes. Now let's have a look at the lines I will give you a couple of tips on how to get straight times for a long straight line like this. It is better to do from the album or your shoulder. It is good to practice a top of times before committing to it. On paper, you don't want to incorporate your fingers or your wrist for a straight line because they will add a natural, crafty movement that is difficult to counter. If you have a statement hand, he can just go and pull your pen towards you as quickly as you find comfortable. If you go to slow, you might get friction from your hand on your paper, which were caused tutoring in your lines. If you don't have a naturally stable hand, don't worry. There other vice, you can achieve a clean and straight line. If you have a bit of a shaky hand, you can trying to use a serious of short strokes almost like you do in hedging, but your feather very lightly with your pen over the paper, barely touching it. The movement. You should come from your wrist, and you should try to keep your fingers lock. Which technique is best for you depends very much on how stable or shaky your hand naturally is. Same goes for curved lines, but depending on the size off the curve, you might want to incorporate your wrist into the movement. And depending on the shape off the curved line, you might have to break it up into multiple parts to take us much advantage off. The natural flew off your movement as possible again. You can route by combining a series of short strokes feathering along the line. If your hand is not stable enough for smaller circles and curves, demotion comes to from your fingers and maybe a little bit from the wrist. But you don't need to rely on your shoulder and your Abou to achieve a study stroke like this. 5. Inking exercises 02: so far this we're going to use in the pen. It doesn't really matter which kind of Dapena using and only matters that it can hold a good amount off Inc. And that they can spread apart when you put pressure on them. Because this is how you get the buried line. Wait, Of course, you also want something I'm using waterproofing because sometimes I'd like to add water. Colors are incautious into my illustrations, but for Euphrates, any ink you like, so let's start with the exercises. Hatching is pretty similar to what we did with the multi liner. The only difference is said you usually want to go sideways with end up like this. Same goes for the short hitching. You always want to pull your nip sideways or towards the inflow, trying to never pushed in it against include because that could cost in it to get stuck in the paper fibres. So try to award during that because not only were not much in come out this way, but you were also scratching it against the five off the paper. You always want to put sideways or pull it towards you. Also remember to frequently load in country Independent. If you go side raised, your strokes will be a little bit finer and if you pulled towards you, there will be a little bit sicker. Curve touching within the pen is similar to doing it with a multiple an you go sideways anti dude from your vest or your fingers with the difference that he can vary the pressure and the line thickness. With UNIP in when you do cross hatching within, depend there a few things that you need to look out for. You have to make sure that you don't go over the area that you just hatched with your palm because to ink usually takes a lot longer to dry, and you do have to be careful not to smudge it. Also, if you go too close together while the in crystal that you will get little pulls off ink coming together like this. To avoid getting these with the puddles, you will have to wait for the existing me is too dry first and then go over it again. Same off course goes for the triple hedge. You have to be careful not to touch the area you just hatched with your palm. And, of course, don't put the lines too close together. Why they're still let for stippling, the only difference between multi liner and the nip en esta angle you're holding nip in. You want to holding the pen slightly at an anger towards the paper. Never go up. It's prone to have accidents, so you always want to have your nip in almost parallel to the paper When you is deploying. Buried line rate is very easy. With the limp in you put pressure on the pen to get the six line, and you released the pressure to get the thin line. The only thing is that you have to keep in mind that you have to refill your in Breckel Ali when using a pen. So then we have small marks for small marks. It is exactly the same as with the multi Lina you saw for putting pressure on first, and then you likely flick it off the page. The only thing that you need to keep in mind the study always called towards you're never away. Next, we have think within again to create a thick line, you simply put pressure on to the nip and then slowly release it to feather it out. The night that I'm using here releases the angle is a bit too quickly, so I'm just going to swap to another one. This one really sustain a little bit more steadily for thin to thick. He started slightly and then try to Even he add pressure, he said. Quite exercises to get used to your new pen, and I would recommend you to for the whole page like this. Learning to bury aligns with populate on immensely for texture became again Try render marks. The nice thing about this is that you cannot add a little bit of line variation within depend, but you can't do with a multi liner, but you have to be careful when you're going against the flow off thing again for the levy foil edge texture. It is very similar to doing it with the motor China, but now you can a different line rights to it, adding more interest. Now let's have a look at the lines with think. It is very important that he always worked towards you and away from the ink that you have already put from the paper because otherwise he would end up smudging your work again. Remember the use your elbow and the shoulder to lead your stroke and keep your fingers and wrist locked with independent. It's a little bit more difficult to achieve a straight nine with the hatching technique, but it is still possible for this. Try to feather over the paper as lightly as possible to avoid putting any pressure on to the nip for the curved lines. He might want to incorporate your west into the movement, but try to keep your fingers to look when you're in currents out in the middle of the stroke. Don't worry. Can always go back and go over the stroke again. When you're doing smaller curves and circuits like this, keep in mind that they don't want to push your nip away from you, but always want to try pulling it towards you, even if that means that you have to keep adjusting your grip, your position or your paper 6. Inking exercises 03: Now let's have a look at thinking with the brush or brush Marca. You can use either a medium size round brush. I would recommend you a synthetic one if you're using waterproofing, or you can use a brush Marca like this pen pal brush. Been for the purpose off this demonstration. Every use both brush pin and a normal brush for these exercises. When hatching with the brush, it takes some practice to get the fried speed. You want to go fast enough to feather lightly over the paper and create its in line, but not faster than the include who avoided dry brushing effect. You can get very fine details with a brush, but you have a lot less control and it needs a lot of practice. I'm just going to switch to a normal brush here for the sake of the demonstration, but they're very soon now to work with. Hi, I just realized that the switch two boxes. So now let's do the short hedging. You very likely want to feather over the page, barely touching the paper. Of course, you can also vary your angles with a brush to, but with the pressure she always wanted pulled towards your hand, never away. It is the same within it. Pen. This means that you might have to frequently adjust your grip or your hand placement. With course touching. You have to be careful again not to touch the webbing with your palm. You want to hold your brush quite upright. If you're holding your brush more horizontally, you will get a thick stroke. But if you hold your brush more vertically, you can get a very, very since stroke like this. - Now let's do a sickness in for that. You start off by putting pressure on your brush, and then Jen lifted off so you press down and then pull the brush off the paper while within to think you increase to pressure off your stroke. Same goes for the varied line, weighed. Try increasing and decreasing the pressure, and maybe even tried during this by holding your brush at different angles. - It's more marks. These are the ones that we have seen in the example off Milton Kane of earlier, like here and here, so if you have your brush more vertically, you will get very short marks. And if you have your brush more horizontally. You will get long marks like this. So as he can see, these ones are like these over here, and thes ones are like these over here. You can also add a little bit off afflicted them to make them a little bit more dynamic. These marks are great for leaves and a lot of other things. It's very simple with a brush, but it's something that he can really do with any of the other tools rolled. It is fun you can create really nice texture is just very rolling your brush over the paper . And, depending on how wet or dry your brushes, you can get some really interesting and pretty textures if you ever need to do. If you ever need to make a really straight line with your brush, you can do that with a ruler or a pen, but he can't do it as you would normally do it. You have to have your rude or your pen in the air and put the barrel of your brush on food , then started along the pen on the ruler. As you can see, this way, you can make very straight lines, and they can even have dynamic line. Wait. As you can see, you can use the root of with your brush. You just have to do from the barrel for dry brushing. I'm just removing some of my ink and then scrape the brush flat over the paper again. This is great for reading. Picture. It's a bit more gritty. Last but not least, we have better. For that. I would recommend you to cover the area, said you want to protect with some scrap paper and then regular brush on a pen all your finger to spray the ink onto the paper. Depending on how close or far away you are from the paper, you can get some very nice better. It also depends on how bad your brushes, the better you brushes because the drops and the dry your brushes to smarter. No, let's go ahead into the straight line. Make sure your arms in a comfortable position and practice to line a few times before committing to it on paper. Then, with a swift motion, pull your brush light across. Keep in mind that the anger off your brush determines to dine thickness. Justus Well is to pressure. Same goes for the curve kinds. It takes a lot of practice to achieve even line. Wait with your brush and we try to create different continues. Line reads, having some thicker and something that lines like this with the brush. It is very difficult to hedge a straight line because the Brazil's have a lot of gift to them, which makes it tricky to control them. This is why it is better to use long continues strokes with your brush. When you're doing smaller strokes and details like this, it is a lot easier to control your line. Wait and various between thin and thick. Okay, that's it. These were the exercises. I would recommend you to download them and do them yourself. You can print this many of them as you want all you can. Just do them on an empty sheet of paper. Do them as much as you feel need to until you're comfortable with a tour of your choice. And then when you think you already, we will meet again in the next part off the class 7. Classproject: I don't Welcome to the class project. You know what? Because portrait, I have prepared some printers for you. There are three different levels. The basic level, the intermediate one on the more advanced one. Um, take any off you like, or you can do them all. Um, I will do whatever. Three. Today, the little bitch. Onda. Um I hope you have your printouts writing so you can drawdown with me, and you can do this together. And hopefully, by the end of the gas project, you have some an incorrect of yourself that you can upload a chair on and show your friends and family and be proud of. Okay, so let's get started. I'm going to use a, um my brush friend today. Um, you can do it. Model. I know you can do with brush or nipple, whichever one you like, Whichever one you prefer. I always start with the face. I am simply because it's for me, the most important feature off the character. And, um, I want to make sure that, um, hot in case I miss it up. I could just, you know, I don't lose too much time. Um, So this is why I started pays. You can send with any other future, of course as well. And, um, I'm not really following any off the rules. In particular, I might follow the rule of distance a little bit for the fired what line? Grade. But that's about it. Andi. Good to keep rotating the paper a little bit, so I can, um, take advantage off the natural curves off. My fingers are reversed, so I don't have to counter counter the movement, the natural movement off my fingers on my wrist. The nice thing about these print told us that there very light colors old after getting over. It's not already visible anymore, but it does give you enough of a guideline to doing and especially if you want to, you know, scan them in something you can great to be. Good morning. - The brush market is very easy to food. It's bigger areas, spas adding small details like a very thin line with the cheeks shape. Don't worry if yours doesn't exactly look like every time you end an illustration is gonna look a little bit different, and also your own style is going to to show through, Of course, so don't worry about it. Um, just have fun with it and use the time to to practice. And if you are not happy with the with the results, you can obviously no printed out again. Try again. But as many times as you as you wonder as if you need to So you see, I'm keeping the outer edges of face quit, I think compares into the, you know, in the lines place. Um, create a bit of visual distance. All right, It's You want to keep rotating initiative paper to to get the best position for your hand to get a very nice natural curve . Make sure that you don't immediately touch like icon. Really do this line now because this in just a big bet got away with that a little bit, so but I can move on. Do some other parts of the character first. This just they're beautiful rental magic. Okay, I think that's areas triangles I can over it. You can always like, you know, test it a little bit. And C address. Try and then you can go ahead. Place your phone. Colbert. Awful. - It's very, very nice to get very do Z and then the gun would with a brush, just apply a little pressure. All right? You just had to do. But officially because I wanted to If there is, and that's a continuous line, one stroke jump was I can't do this is to wonders in the way. But still, I wanted to make it Look at it. It is from stroke. And for something like this, like the shadow here, you can just really used to side of the brush. Ready. I had a really nice thick stroke, something that this would take you with a model. I know quite a bit of time to just fill in because it's really hard to copper, larger areas with more diner. Because I don't want Teoh rest my hand on this side. Just gonna turn around paper. - Okay , I think that's scientifically. You still live in moist conceit in delight. Have to be careful when I do the hunt and it's this. There are two lines on keeping quite thick as well Have a band around the head, then completely with black. And you know, some we just need to do is brush room not very defending like a really straight on because of those. You know, it's It's what? It's an organic material. It's not perfectly straight with these little hairs. You really just want to some of them very light deal with the pain, You know what a paper do you want to keep the It starts to grow. Love a ticker. Okay, so that's it. This is a little rich. I hope you had fun, and I hope yanked with together along with me. And, um, Issa said you can Donald the's in the research station. You can choose any of the others as well do them as much of the night. Think them, Pablo. It done medicals project or in social media if you do. So, um please take me. I would like to see them. Um, you can train my social media accounts on my profile. And, um, if you have what I have a bonus for you, huh? That you can also do It's a bit more challenging, but maybe if you want, he would like the challenge. You can take a lot. Onda. Um have fun. Enjoy. Start thinking. And, um yeah, if it thank you for watching the colors. Thank you for being with me, and I will Hopefully we'll check with you. Tune and kneecaps Projectile. I just saw that. I forgot. No, it's overshadow you. Um, just any notice, Okay? And that Nothing. Um Well, have fun with it, I hope. Do you enjoy that? Enjoy this class. I hope you learned something, Andi. I hope it helped you. Or it will help you in the future as well, to get better and improve. And, um, have a lot of fun with thinking. So thank you and money. 8. Bonus Project: if you made it so far. Congratulations As a little bonus project. I made a sketch of Little Red Riding Hood for you, Bacon Explorer and practice different techniques that we learned in the past. He can Donald a sketch in the resource section, or you can create your own sketch off your favorite fairy tale character. I started by tracing my sketch onto a sheet of water kind of paper, but he can use a heavy cartage paper. Justus Well, To trace her sketch, you can use a night table or simply put your sketch against a window. I decided to pay for my paper onto aboard because I wanted to do some washes, and this way I would get a clean edge around the illustration. The masking tape will also have to flatten the paper a little again after its buckled, but it won't prevent it from buckling. For that, I would have needed to stretch the paper first. I start with the freckles. I want to use brushing. Think to spread our some ink drops onto your face. I do this first so I won't lose much in case of an accident to limit the area off the splendor to the nose and cheeks. I cover up the rest of the illustration with some post ids and sheets of scrap paper. Then I load my brush with mixture Off Inc and Water, so it's almost dripping wet. The dry had a brush this morning. This better. And since I want quite large drops, I have to have a lot of ink in my brush. Once I'm happy with the results, I carefully removed the papers and use a paper towel to remove the excess ink. After that, I put my board at this land to apply a wash for the background. This time, I also used a paper towel to live just a bit of being here and there for a little bit of texture in the background. Once I'm happy with the results and the ink dry completely, I can move on to working on the face. I use a button red technique to add a little bit of blush to the cheeks. For that, I pre read the area off the cheeks with clean water and then drop a little bit off ink into the bed area while the area still would. I can move the ink around and lift off any excess ing. Once the area has dried, I can start outlining the eyes with a multi liner. I tried to heard from the left to the right because I'm right handed just to avoid smooching any wedding. I use small strokes to carefully for them the area and keep the edges very clean. I always start with the eyes because to me they're the most important part of the face. I want to make sure that I'm happy with them before investing too much time in the illustration and also gives me a clear idea of how the illustration is going to look in the end. Even so, I'm using multi liner here. I try to keep the line wait dynamic adding a bit of thickness to some parts of the line and tethering them out on the ends for the eyebrows. I'm using here in medium sized round brush, not only because it allows me to fill in such a large area much quicker than of Multi Lina , but also because it is very easy to create a few strokes off hair, adding a Harry texture to the eyebrows. The brush is also perfect to outline the face, since I want the outline to be much thicker than the rest of the lines inside the face. After that, I moved back to the eyes. Using different hatching techniques. I had chatters to the eyes and eyelids, defining their shape and adding contrast to the peace. - I use cross hatching to darken up the area above the eyes, going over the same area multiple times. This allows me to gradually build up the value until I'm happy with the results for the shed off the nose, I use short hatches following the shape of the nose. I also use a little bit off stippling too soft on the edge above the shadow. Then I go back, adding more shadow above the nose area and between the eyes, using cross hatching in trouble, hedge to gradually build up the darker parts. And what of the shape of the nose with the brush I feel in the upper lip and then go back to working on other areas of elevate for the ink to dry? I add a few contours within the pen, but because in takes a lot longer to dry ice on switch back to the motor liner. I want to talking up some of the areas off the face a little more, so I keep adding layers of ink, cross hatching along the existing angers to avoid overworking the areas. I also use a scrap piece of paper to make sure that I don't smudge any off the fighting. - Then I go ahead and at a few dark of records, hyun there to add a bit of variety. I also added near off hedging over the blushed cheeks, not necessarily to darken them, but more to include them visually into the rest of the peace, to combine the two techniques off dry and wet together. Now that I'm happy, more or less with the face, I go ahead and erase the sketch from underneath. I then started working on the hair first by outlining them, keeping the outer lines thick air and more pronounced to create a visual distance between the face and the hair and then going in adding details off single strands of hair and shading. Using very fine lines by the hairs drying, I can start working on some other parts of the head. I defined the ears by using different touching techniques with the brush, I create the contour off the hood and the hair and start fitting in some off the dark areas inside the hood with the brush. It is very easy to get thick your dynamic lines and to couple larger areas. Oh, using curve touching, I start building up the here. Curve. Touching is perfect for this because it allows me not only to add volume to the hair, but during this also, by giving direction to the strands of hair. I can also create some highlights on the hair like this breast, baring out some areas, grating a shiny effect on her hair to take a little break from the Here I start adding the outlines off the hood and the boat. Afterwards, I'm going back to hedging the rest of her here, using my motor liner and curve touching. I want to establish the here before moving onto the hood. This way, I get a better idea off how dark I need to go in the hoody to create a nice contrast. Once the lower part off the hairston, I start filling in the hood. I do this by using the dry porting technique to create a very dark way. This gives were not only a nice contrast with a here, but also gives me an interesting texture inside the hood. I then go back to finishing off the rest of the hair. Now that I'm done with the here, I go back to working on the hood and the code with an almost dry brush. I found the code to give it a very dark and almost furry look. I also add a shadow between the bow and the code to set them visually apart. Afterwards, I dark in the neck and some areas off the hair to move them visually more into the background. This helps to empathize to focal point onto the face. I use my brush with this not only because it is quicker defending these large areas, but also because the brush allows me to further my strokes into the direction off the hair , blending well into the layer off the hedging underneath afterwards and putting my board into his land to create a light in quash covering the rest off the hood. I'd prevent the area because it is a little bit more difficult to achieve in even wash with the waterproofing simply because it tends to drive. But most Ricky, but privet in the area allows me to manipulate the ink for longer on the surface. This is especially important since I won't be able to reactivate being once it dried after the first layer is dry eye glaze over it again with a light wash creating a little bit of a Grady INTs. I erased the last bits of the sketch and then go into add a bit of shading to the hood in the boat. I use hedging and cross hatching to bring the piece together, but I keep it a little bit more rough. I don't need to add too much detail here because I want a viewer to concentrate on the face . In the end, I just take off the masking tape and our little riding hood is done. I hope you enjoy this little Borders illustration and that some of you will join me and illustrate the favorite fatal character. Thank you for watching and goodbye