Artistic Ballpoint Pen Techniques: Create Realistic Drawings | Sean Voelger | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Artistic Ballpoint Pen Techniques: Create Realistic Drawings

teacher avatar Sean Voelger, Digital Artist

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

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

6 Lessons (1h 3m)
    • 1. Introduction

      1:00
    • 2. Materials

      4:56
    • 3. Mark Making

      6:48
    • 4. Edge Scribbling

      11:47
    • 5. Approaching a Drawing: Part 1

      17:04
    • 6. Approaching a Drawing: Part 2

      21:28
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

244

Students

2

Projects

About This Class

This course goes over the fundamentals of using a ballpoint pen; more specifically, how to integrate the medium into your artwork. We will be going over mark making, tips and tricks, and how to create a beautiful drawing using pen from start to finish.

Materials you'll need, all in one photo:

9b8c6743

In this course I'll be showing one of my personal techniques that completely changes everything when it comes to pen drawings! You can actually get value out of a pen instead of just black ink! I like to call it edge scribbling:

0965cd3b

Finally, I'll end on how to approach a drawing from start to finish:

abc9aeff

Meet Your Teacher

Teacher Profile Image

Sean Voelger

Digital Artist

Teacher

Hello! I'm an Artist creating, discovering and exploring. I want to share what I've learned along the way. I grew up in NY and have been creating art for a long time, there's nothing I would rather do! For the most part, in terms of medium, I'm all over the place; it's hard for me to settle on something. Usually, I stick to digital mediums, traditional paintings and drawings using anything from charcoal to oil pastel. But for the core part of me, I'd consider myself a digital artist.

I plan on creating more and more Skillshare courses as I continue and evolve my own personal skills to share to the world. I'm always trying to improve my courses as new ones come out, so be sure to check them out!

 

 

What I want to provide ... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Hi. My name's Shawn culture and this course we're gonna be discussing the fundamentals of the ball point pen. We're gonna be discussing things such as Mark making value. By the end, we were created. A drawing using this course is focused on the very basics of getting the most out of your pen. Thief course is gonna be more leaning towards beginners. However, if you're going to touch up your pen skills is a great place to be, as you might want something new. So if you'd like to continue, it will be a gang started right away Talking about materials, thanks all season. 2. Materials: All right. So welcome to materials. We're just going to time out. A little bit of what? The supplies. You need it. And it's really not much. All you're gonna really need is a basic ballpoint pen. It really doesn't matter how. Really Quote unquote nice it is. Um, this is a very cheap pen. It's gonna work just as good, I promise. Although you might want to look out for how thick your pen strokes are. So what I can recommend is the pilot g to Siri's. It's very well, no pen. It's very good. Very nice. Um, long last staying and really good grip. And I use it for pretty much everything. So you must pay attention, Teoh. Are these numbers on the side? Right here? You could see it says G 207 So these numbers are very important. This is gonna be how thick it is, So 07 means 70.7 millimeters. And the best way to show you how to think they are is to just show you on paper. Uh, this one is 10.38 Uh, this one's gonna be the thinnest, so I'll just put in me few marks. There and that's I think the 0.38 is going to be And I also have the 0.7 that is going to be in between. So just like that. And of course, I have a one millimeter, and that is going to be, Of course, the thickest so braces up a little bit, you could see it. And so, again, this is 0.307 at one point out, and you can really see the thinness and thickness of the lines that would be very important when we're doing drawings. Okay, so, yeah, I just use these three pens and that's really it, Um, bales of point of IVs and whatever, but I can definitely recommend these thicknesses now. Depends if you want to do some color. These are just the same exact Siri's. They just have color in it. Um, blue, green, red tails, a purple or whatever. It doesn't matter if you just want to use color that works to We're not being going. We're not gonna be using color. Um, so don't worry about those just gonna be doing black and white drawings. Also a another great thing toe have if you have it, is a white pen. Um, this could come in handy a lot. Man is very, very nice to have a way, Ben. Of course, you don't need a white pen. It's just next toe have one, especially for finishing touches. If you accidentally make a mark, you want white there, you can just fill it in just like that. I need to let that dry, but I just layer it the white and will go over it. So that is a very nice thing to have. So one quick tip is storing your pence. You never want Teoh store your pen with the tip facing up. You always want to have it facing this way down just like that and from the side. That's OK, but you're always gonna want to get a pen holder or something. Um, if you have it facing like this is going to increase the long David DVD of it. Um, so that is a good thing to know it's always gonna be is the ink flow with gravity. It's gonna push it down. So it's always ready to write. So yeah, really, The most important things are the thickness is off the pence, but if again. If you have a cheap pen that works just fine, just fine. It's gonna be a little bit different. Um, but it will get the job done. It could create some interesting effects. But now we're going to go into the next video. We're going talk about shading and marketing. I'll see you there. 3. Mark Making: So now we're gonna be talking about Mark making. And essentially, mark making is what gives us value. And what value is is just either your darks, your lights and your middle area all in between, and that's value. So to achieve that, we do it through Mark making. So there are a lot of popular sorts of mark making, essentially what a mark making his is which, whenever you make a mark, thanks that just like that, any mark that's your as a mark mark making and what we could do is we can control these marks to create value to give the illusion of value. So I'm going to go through some. It's a popular marks. So what I just did here, this is called hatching this right here and pretty much all that is is just diagonal lines . Now, when we have these closer together like this, it creates a darker sense and appear. It's a little bit. Seems a little bit lighter, so we can actually make a Grady int with this. And if we pull out more like this, you can see that kind of goes from dark to light. Um, and of course, that's the idea. So if we move to the next one, we're gonna look at cross hatching. And essentially all this is is just hatching, except it's crossed. So diagonal lines and we have opposite diagonal lines going through it that is cross hatching. And this is a very, very popular technique is used by many, many artists on. So this is kind of the same idea. If we have it close together, you can see that it appears darker and essentially we want to carry this into our drawings . Now, if we go very simply, we have heart mark, which is black. Then we have white. So we have two things going on here. We have black and white, and this is going to give you the most contrast, which is just the darkest and the lightest next to each other. That's contrast. And that is what's gonna look like. And you can actually you can get some really cool techniques going on here can be a very cool style. So looking at our next one, we're gonna be looking at stippling. Sidling is pretty popular pretty much what it is. It's just dots. Now, as you can see, um we have our darkest era here, where the most dots are glob together and our latest area is going to be up here creating Valium so that stippling siblings pretty popular. But now it's popular's cross hatching. So if we move onto the next one, another popular one would be scum bowling. And pretty much with stumbling is is just hey, semicircle or an arch or whatever just repeated just like that. And it's gonna be orientated in all different ways. This part this technique isn't too popular. I don't see it use that much. Um, I personally do not use it that much, but if you want to use it can it's the same idea as everything else. You can see the common theme that closer the marks are together. It's gonna be darker, and that is essentially what we're doing here with value. So one other thing weaken Dio with cross hatching is we can do well more than cross hatching. What we can do is do other lines. So if we take this a simple crosshatch just like that, we can actually go horizontal, vertical and what this is gonna dio doing different degree. This is going to make it look a little bit nicer. That's like that's gonna blend it in more, and it's just gonna feel more clean this way. And, of course, it's gonna come with practice. Go like this. It's gonna be more organic, and it's gonna feel natural, that sort of thing, as opposed to this, which is much more static. It's much more static, so feel free to try this. I encourage you to try this out. Try some any any mark. Really, it's just marks on a page. Also dashes or whatever. But that's essentially you can invent your own. That's essentially what this is. But the basic idea is that when the lines are closer together, you're gonna have a darker value and began. Is going very important when we're doing our realistic pen drawing for any drawing in Patton. So that's it for Mark making, Um, in the next week, we're gonna talk about a very specific type of mark making that I've never really seen. I've never really seen it been used that much. And, um, like I have discovered it myself and I'd like to share. So in the next video, I will. We'll see you there. All right, 4. Edge Scribbling: All right, so now I'd like to talk about a certain very specific mark that I use in pretty much all my drawings using pen and again is a technique that I really I never really seemed used, But you can use it on really any pen, including the very cheap ones. Any even felt tip pens? Um, for the most part. But civically ballpoint pens. This works really great. So I've just given in the name and I call it and scribbling as it requires scribbling. And you're doing it on an edge. So pretty much what we can achieve with this is a value scale. So what I mean by that is instead of just having black and white, um, we can actually get Grady INTs of value within the pen by just doing changing our angle. Depend, so I'll just do some demonstrations here. Um, So what we want to dio is we're gonna take cross hatching, and we're gonna do it on different angles. So it looks more organic, and we're going to combine this, uh, edge scribbling technique. So what we want to do, we take the pan and what you want to dio is you want, Take the pen and put it on about almost a 90 degree angle. I would say 80 degrees. That's probably what you wanted to be at. And you kind of I want to hold it in. Name kind of loose grip, almost. But your grip is definitely gonna change. And whatever works that's for you, we'll be fine. And so we want to do next. Once we're on that 80 degree angle, we want Teoh very lightly. Start scribbling in the diagonal fashion. They wanted the crown Satun and slowly but surely if I just lift the pen up while I'm doing this, I'm gonna get a little bit more ink out. So, as you see, the ink is coming out, but very light. So if I keep moving up, angling up with my pen, he's going to get darker and again with the mark making the closer. They are together, um, more darker. It's going to peer. So I want to slow down when I get over to the darker areas. So I see I'm just slowly lifting out my pen just like that, changing the degrees so But I always start out light so again that 80 degree angle so you don't really have much and then slowly, again, lift up. Just lift up very slowly changing your angle, and that's gonna let more ink out of the pen. And as we wanted darker, we want to lift up and slow down gang farther away. So because you could see we actually have a bit of a radiant going on. Of course, it's definitely not as much as a pencil could achieve. But with this, So if we look really closely, we can see that these marks here, um actually have a little bit of translucency. So it's a little gray or so it appears great. So the farther we look away from objects with a value, it's gonna blend in more. So we hold this far away you can Stephan Li see that it's much darker here, and it's much that, um, and lighter here. So a little diagram, uh, the circle. So if we have light coming in through here, typically, what I'm gonna dio with this is I'm gonna start on a pretty high angle for our shadows. Yeah, I'm just being very organic with this. I'm just going one direction and just one diagonal for now. And we're gonna be using the cross hatching technique for this. When I'm doing the cross hatching, I'm I always just go one angle first and I want to get a hold. Whatever I'm doing first. That way we get a little bit more. You know what we're doing? So now they have the stag tangle. Um, I'm gonna go and start cross hatching still and scribbling, so changing your angle, it's going to allow different amounts of ink flow to come out. So now that we have a crosshatch right here, we can start to dio are organic cross hatching my doing horizontal like this Always starting in the darkest area first, because that's where I'm laying down most. Most of the so really wants you cover the, uh, object. And of course, when I do get to the lighter areas of here I am, I'm changing my angle. So it's more like this going towards that 80 degree angle, so we get a lighter value. Okay? I just want to keep doing this. And once I have the whole cool things full of these lines, it's gonna b'more balanced. So then I start going in these darker areas, you can just start adding more value. And if you want to, this is, um I'm using 8.38 Um, millimeter. I just switch this to the one point. Oh, it is going to be is the same idea. See? Look at that. See, that's much thicker. Now, I'm not really worrying about the edges here. I'm gonna go out. Um, but if I was working on a very concise drawing, I would definitely pay attention to that. So somehow it gets me this up seek and all right, I think that is gonna do it for now. Um, that looks pretty convincing. Of course, we have our light coming in from here and our shadows down here. You know, if you look really closely, you can actually see those marks. Um, and what that does is really great, is what So very about the pen is is gonna add a lot more texture, and it's gonna have this expressive quality to it. And I think that just looks really nice. So again, just a quick review. Um, when you have your pen, um, when you have it more on a okay, here we go when you're doing it straight down, that's gonna have the most ANC flow. And when you put it like this, I mean the side. The more you go down, the less ink flow you're gonna have. And of course, you're gonna have more gray areas, which is very handy for making more expressive areas and getting your values skill in there . So and again, Um, if we just did lines like this very geometric sorts, kind of like that very orderly, it's gonna look a lot less organic. It's just not gonna look as nice as this as there is a much better sense of value here when you're scribbling, um, doing like this, that is a very nice, expressive organic gesture that really helps, too, as opposed to just going straight lines. And even if he took a ruler, unless he wanted that style that works to, it works really great. I've seen that before, but just to demonstrate with this cheap pen, it works the same. So if I go there, we go gotta get started. Um, if we start here goes straight down, we're gonna have all that inflow. But if we go like this, you can see right away that I just till upwards. We're gonna have that same exact I think that with their value and yeah, so just like that, I just tilted up and I slowed down as I got to Doctor. Yes. So, yeah, that just about does it, Um, in our next video, we're gonna have our finale where I'm gonna do a whole full scale nice drawing. And with the pen, with all the techniques we've learned except, well, some of the Mark McKay I'm gonna use the edge scribbling, cross hatching, and that should work out all nice. All right, I'll see you there. 5. Approaching a Drawing: Part 1: So now we're gonna do a drawing start to finish. I'm gonna show you all the processes that I use and how to get there and all that. We're gonna do it using pen, and yeah, um, I do have a few references here. We're gonna be drawing a portrait. Um, no, I'm not gonna go into detail about composition and that sort of thing. As this is not a course about that. It's more about the technique of the pen. So to do this, um, we're going Teoh need some extra materials? Um, including a pencil. Now, the pencil is not going to be in our finished drawing. This is just really gonna help us for you where things would go. Um, So I just have a mechanical pencil. Any pencil dio, um, trying to stick to the lighter ones as we're gonna have to erase the lines. And with that, I would recommend kneaded eraser or really any eraser will dio um, I would actually recommend both the kneaded eraser and a harder eraser. Um, so the first thing we want to dio in our drawing here is we want Teoh. Um, use pencil first. Now, um, these pencil marks are gonna be very light. And we just want to get the contours down, just going very lightly. I am going to sketch out our face here, and we want again do it lightly as we're going to have to erase this. Um, and I've done some techniques where you start out with just pen, and that's okay. That's just a little risky when you want to have a really nice, realistic drawing as well. You don't You won't have any construction lines. I've done it before. Sometimes it comes out nice, sometimes it doesn't, but yeah. So I'm just going to speed this up, get my contours with the pencil done, and yeah, Okay, so now that we have our contour pencil image done, we can move on to the next step. Um, as you saw in the time lapse, I get a lot of erasing. And that's why pencil is so important. Um, in this process, So the next step, if you have a needed of racer, that's gonna be really awesome. As we're gonna have Teoh start getting rid of some of these darker lines. I may have gone a little bit dark, but that's Okay, so just race it. Um we're gonna be doing an outline of pen over this on. I'll include image tach filed in the course. You want to use that? You can. As you see, I did some more conceptual elements here with this bow thing headdress. Um, that changed the face a little bit. So what I'm doing now is I'm just racing blinds, but very, very lately, so you can barely see it. And I didn't go into too much detail again with the actual drawing composition of that. Uh, because again, this course is more about Penn techniques and such gang more value in it as opposed to composition. So I'm going to be going into Maurin death details of how to approach this drawing. So again, Step two, it's just erasing the lines and you'll notice that I actually have some lines here. This is actually, um, the shadow lines. You can see some shadows, like in the nose area, are under the left. I just included those lines as it's going to be very nice to see when I'm doing my value. That's really nice. Um, and I didn't put too much detail. I didn't do any shading with the pencil. That's all gonna be with the pen. So the idea is that, um hopefully we won't be able to see any of the pencil. However, as I said before, um, sometimes having the pencil and the pen at the same time can have some interesting affects . It's gonna be a little bit shiny if you do that. And we're not particularly going for that right now. Um, so yeah, shop here and I'm just going very lightly with the needed A razor. Very lately, I did draw a little bit harder, so I am pushing a little bit harder than I normally would, but I just want to get it. So these lines are just barely visible. Barely. Uh, it doesn't have to be perfect, of course, because when we do go over with pen is going to be we can go back and then fully erase it. It's just not gonna be if you skipped the step, it's gonna be a lot harder to get that pencil out. I should also mention what kind of paper music. Um, this paper is pretty pretty durable. Ah, nice paper. It's it's not printer paper, but Of course, you can use any paper you like, as long as you could make a mark on it. So now we have our contours. You can go ahead and grab our pen. You don't have to do an outline if you don't want Teoh. Okay, so this is going to me your choice. I'm going to do a small outline, E. I mean, pencil realistic. You want to be. So what I would recommend is yes. Doing outline. I do an outline all all time, Um, on all my drawings. But when you're going through the outline, remember, you can change the angle of your pen to allow less ink flow out. So in my lighter areas So it's say, around here in the nose area right here. I'm gonna go a lot. My angle is gonna be like 80 degrees. However, when it's darker, I'm going to change it. So it's up price. That's gonna give me more ink flow. So you're gonna this and what we want to do is just want to start outlining just like this and again. When we approach darker areas, we're gonna want to be more thick. And I'm using a very then millimeter. Uh, pen. So keep that in mind. And again, you don't have to do an outline. Um, it's just gonna be a little bit harder. Teoh, do the value. So listen, nose area, I'm going to go pretty dark. Um, is is pretty dark in there and especially around here, I'm gonna go pretty dark. There's a shadow there. Some of this and frames. You can see it so again here. And I'm just following these light patterns here, the value shifts so you can really see that gang a lot of thick and thin lines Already. It's pretty dark right in this area. Pretty think right there. On a much better here, using I'm just changing the angle. That's all I'm doing. And I'm going pretty slow because I want to be pretty concise here. The eyebrows eyebrows pretty dark. So I'm going to change my angle. So it's more upright, so it doesn't really matter where you start. Um, usually I just start in the middle. I just started the nose area and seen the I. There's a lot of lots of shadow on the left high, so we want to make that darker. So I just wanted to briefly stop and, uh, talk about the hair as an outline. The hair is gonna be a little different and depending on what you're drawing, um, techniques used for outlining is going to be a little bit different. For example, I'm gonna talk about hair, so you're dealing with black hair. So, um, that's gonna be be very black with lots of ink in there, and you can already see that I'm having different thicknesses and thicknesses of the lines in certain areas. So with hair, I'm just gonna go ahead and actually switched to a 1.0, millimeter. And I'm just gonna go along the outer edge of the hair wine right here and yeah, So with hair, there is individual strands, and what we can do with it, then is we can actually follow those, um, strands, um, in the direction they're going. So let me quickly image this up like you And of course, this, um, headdress thing. Um, that's obviously not in the picture. So I am doing a little bit guesswork trying to figure out where the light is coming from. I'm going to continue to use the 1.0, millimeter dill. We have a highlight right here. Um, so when you pay attention to that, So I want you leave, um, space there or put down Inc there as much and one of them in a dio We're selling the outlining phase. So we and when we get to the shading phase, the valley face, we're going to have a lot more of this going on. So this is just a different type of mark making. Really? That's all it is. I'm just falling. I'm just creating these lines and I'm just following where the strands air going All I'm doing, just placing them down and maybe some strands come out like that and again. Same idea. We're just when they're closer together, it's gonna be darker. Although we're just kind of focusing war bigger, uh, areas for the outline. So I'm gonna go ahead and speed this up. Let's see. Okay, so that's going to do it for right now. Um, this again, this just to get a started. Um, but this whole out thing is with this whole process is for you. See, I did a little bit of texture here where we're going to look at the value contrast There we are just about ready to onto the next phase which is going to be be shading can. This is where everything comes together is where it's going. Teoh is the big chunk. If you've gotten this far, I say that year, If you have the pencil lines down, then you've done the hardest part. Congratulations. But I guess it's different for everyone. But, um, value is what we're here for. And this is what is going to make are drawing really just come together? So just gonna let that dry, Uh, and what we're gonna do now is you take the needed a racer first, and I'm just going to get rid of any other pencil marks. Kayla is it's not dry yet, so I have to wait for that. That should be dry now. They took a minute or two dry, very important to dry it and then a race. Otherwise it's gonna smudge like that. But we're not gonna worry about that for right now. So what I wanted Dio when I'm already saying is really all we're doing his gang with all much pencil marks remaining, I'm just going over at all with my kneaded eraser arms trying to get rid of those pencil works And then I'm gonna take my heart erasing next, and I'm just gonna go through Let Don't worry about the pen. It's not gonna race if you haven't erase herbal pad, which, if you want to use that, you can, uh, really tried that. But out there now, you can see that we're starting to get a love oven illustration going on here. All right? So, yeah, I think what I'll do is maybe refine this a little bit more on Bond. Then in the next video, we're gonna gonna walk us through how to do the shading, the edge scribbling. Um, but the cross hatching and then final finishing touches and that'll be it. All right, I'll see you there. 6. Approaching a Drawing: Part 2: we're now gonna be moving on to the final phase where we're going to be adding value and finishing touches. To do this, we're gonna take a thin pen or any pen you have. And we're going Teoh, really? Just start. You can start really anywhere. We're going to first lay down a layer of value and what we're gonna dio. I'm just going to start a chin area. You wanna lay down this, um, very thin layer. So I'm gonna be starting in our darkest areas. So right here, it's very dark. So what I'm gonna do is I'm just gonna start there, and I'm just gonna be I'm going to do it very lightly and this is all I'm doing. It's the edge scribbling we talked about in the other video. Before you start this, I would recommend gangs of practice doing this technique. So again, just starting in the darkest areas, I am going one direction on a pretty about that angle or so and again, allowing less thankful to get out and is very important that you do it lightly because, um, you can't erase it. However, if you do have a white pen, you can get some back, so that's good, but yeah, just starting in the darkest areas, just going this one direction. And I want to get the whole thing covered in this mark making. Now. When I approached lighter areas, I'm going Teoh changed my angle more dramatically. And I can also do it a little bit later too by press later. That's gonna help, too. With EJ scribbling, Try to let your when when you want the values to blend in I would say Just do what we talked about We just wanna change your angle Going from dark delight Having served dark too late If you just change your angles Turning from the dark and you bring out towards the lights here in it change your angle and also press a little bit later And I'm not doing doing it so dramatic because this is gonna be I'm not doing full value saying this is gonna be a build up. This is something that's gonna be built up and we're just going applying layers of this. It's very carefully. I'm just going around the eye right here, doing my edge, scribbling just like and you can see that we're already starting to get a lip of a Grady in here, so make a little bit darker over here again. I just want to be able to separate my values. So when I go over it again, I can clearly see what needs darkening in what needs late lightning. You're building up this kind of ground when you're doing the value, you just take it slow, you can do it. So I skipped ahead a little bit and I went through and finished all this. Um and as it would be a little bit repetitive again, I just in the dark hair is it's it's all going this direction with the pen. I'm just putting down that first layer, and now we approach the hair again. You're gonna run into these special situations where this technique is just not gonna cut it. If you look in the hair, you can see that there's actually mark making within the hair. If you think about it's just strands of lots of hair and when we do is we can just replicate that. So what we can dio is if we just follow the mark making that the image provides us with we I'm just gonna do like lines, just like we do the outline on news. Just I'm just following that grain of the hair and this congee with all other types of situations. For example, would I mean with would you might want to follow the grain of the wood, So But if we look here, it's very value is so blended, so blur and learn and all that. And when you have that blurry, uh, value, it's really good. This technique comes the organic cross hatching we talked about, uh, and what we're gonna do next is gone this way. Now we want to put a layer going this way with our cross hatching. And then after that, we want to go this way, this way, and then we just want to change our angles, Um, all the way through. Once we have established that we can then start, it's gonna start coming together. As you can see it. It's already starting to get there were starting to really get something. So yeah, and the eyebrows that's 12 It's just like the hair. And I'm just going to try and just follow that with lines, because the mark making within the image is lions. So I mean, if you had circles thank maybe doily pattern or something that has marked making within it . So you could just follow that mark making black and white. If you remember from Mark making, I DeLillo do we have our blacks and whites? If you look here in the pupils, I've already made that completely black. Some things are just gonna be completely black. We look, hear people's they are completely black, and I'm gonna actually, I'm gonna go ahead, be a little bit of the dress right here, and I'm just gonna color that in completely black as it as it is and using this technique. It is a different type of mark making, too. But the mark making is already in our image. I'm just gonna follow that through and make that part black. Um, the hair There's gonna be a lot of dark spots special here except here for the hair. Again. I'm just going Teoh, start here. This is where the least amount of in clothes going to be is. There's a big highlight here. Also, some highlights here, but down here, um, these outlines were probably not necessary, but Well, maybe a little bit. There's a little bit of value here. Shifts. Um, the most part is going very, very dark. Also the nose. I had a pretty thick line right there, representing knows, maybe some lip. Sometimes that line is just naturally there. That's what It's very, very nice. This is also when you're doing this grain type deal in your drawings, for is a good example the eyelashes, that sort of things that you have to watch out for, that you have to watch out for that. But again, you have this really nice blended value. You can just youth isc, organic, cross asset at cross hatching a technique, and that works very, very nicely. So I'm gonna go ahead. Yeah. And for our next layer, we're gonna start going the opposite way. And really, I'm just doing the same exact thing. This is just going to give us a much better balance of the lines. So everything looks so much more together unified. So I'm just gonna go through starting in the dark areas. I'm just starting the same spot again very lately, just doing the same exact thing, increasing that contrast. And remember not to you increasing too much in your lighter areas. You want to still be careful, but you still want to get your in there. You have a completely way area, maybe a lip or this right here. You want to be careful there or if you have a white pen, Very nice. You just go over that. So now we have gone through. I've gone through and done my sort of four layers of cross hatching again. I've gone. I went through the whole thing. I went this way using there's dangles and then went this way, which is where we left off. I went through the whole thing, but then I went horizontal and vertical, just giving this layer of our first layer of value. So, as you can see, we're actually almost there. Also went through the hair again. Care just They can take a much thicker millimeter, especially where it's more in black. And I just followed that grain of the hair. So what I mean by that is swell. It's which way the hair is going. You're just following in the hair care line. You will play, connect the dots, but kind of like connect the line sort of This has to be a little bit darker, but now we're gonna meet going into stage two. Oh, value What? That consists of his just going back through going on at If we went on a 45 degree angle, I might go on a, uh, in between angle of the horizontal on, just trying to get this kind of whole circle of angles. I mean, we just stick with more diagonal lines and I just want to go through the darker areas again and make it so it looks just how we wanted Teoh. I'm still going really light with us. Now. I still see some of the outline right here, and what we want to do is we want to and all my drawings. At least I want to make that wine disappear. And way we do that is we have to match the value to that line. So this is completely black. So what we want to dio is we want to make this cross hatching area almost completely black , just up to the edge. So it Grady ints out. Si, si. It's pretty dark right there. And I'm just gonna go ahead and add some value to there and just pull out that black so that it connects to the face and all blurs together. No, depending out sick. You do your ally, you're probably going to see that outlined in the end result. But you noise pull that out. Or do you know, outline? Though I don't think I would recommend that you can if you want to. Can, if you want to. Um, no, I've never tried it, so I'm just going back. And it's almost like finishing touches. But not really. If you've gotten this far, um, you are in the clear. Because we have to do is just an asshole details of value. Because you have these four layers of the cross hatching which makes it look very organic, as you can see. Can see those all that mark making in there. And you look up from far with further away that is really going, Teoh, blend together and make a nice drawing. Okay, So also, uh, focal points. You could develop focal points. Um, by adding a lot of detail in a concentrated area. So normally, what I do is I'm gonna put I haven't done it yet, but I'm gonna put a lot of detail in the eyes. Really? Just gonna focus on that. That's what focal point ends your focus. So and then I'm gonna do the lips. I recommend that you do three focal points. Um, three is usually a great number in composition and sort of that sort of thing. What we could do when? When you're I comes into view of an image like this, um, you're in a meal to triangulate, uh, between these eyes in lips, we're just gonna move around there. And that is exactly where we want the viewer toe. Look, we could also do in this area if I wanted Teoh, but I'm gonna stick the three focal points. And if you want to, you could put a lot of detail in the whole thing. But focal points are important for leading your eye around. So this is what's so great about drawing. You can lead where where you want your viewers to. Look, I have a really thick line here, so I'm just gonna pull out bad black line, pull out the value, just have ingredient towards the lights. So, as you can see, that line is already starting to disappear. If you look comparatively to this one, that outline is much more vivid than this one. The thinner, your millimeter. When you're doing this value, it's going to look mawr detailed. Used, um, a 10 millimeter. It's not a one point. Oh, I've been mistakenly saying one point. Oh, it is a 10 millimeter. Um, Anyway, it's going to be a lot more course as this is going to be more finer. It's gonna blend together much more nicer. Oh, right. So we are just about done. So now we're going into final details. And this is where I would highly recommend a white pen. If you don't have a weight pen, That's okay. What you could dio is for next time. If you're doing a drawing, you can preserve these white spots. So I have some highlights here. I'm gonna fill in with white pen. You just want to preserve this in the beginning. Probably should have said that in the beginning. However, for next time. That would be great. Yeah, but why pounds? You know, they're not that expensive Penis. Buy it online or whatever, and they're really great. Um, any pen white band will do? White tank. Okay, so what? I'm gonna dio I'm going. Teoh, look for the white spots. Here are highlights. So we have a highlight right here. And I'm just gonna go with white pen. I'm just going Teoh Bill that end now? Sometimes these white pens going over the blacking, it's gonna turn in a little gray. That's okay. You're just gonna have to do some layers. So it's a little deal. Also have a little sparkle in the pupil who may be a little much, but it's OK. You're just a just a poke when you are doing your highlights. You definitely see, I preserved all this here. That's why you want to start out lightly when you do this, even if you do ever wait, so gets the summer eyes. Um, process. We started off with a sketch and that required a lot of erasing and mess ups. And once you get this sketch, I think that is the most important part. Once you have all. Once you're happy of all those contours and stuff, you could move on to the next step, which is erasing lightly with those pencil lines. And after that you can go onto outlining. Remember, you don't have to ally. And if you don't want to, I did do an outline here, and it looks pretty good. You could do a light outline that's gonna help you a lot. And next is going to be your organic value edge scribbling, cross hatching again. It's just to a whole layer of this diagonal line like that. Then you want to go this way where you started this lawyer, This side doesn't matter really Doesn't matter which way you start, but many wanted to your vertical or horizontal to a whole layer. That and once you're done with bad going very lightly building up that layer Starting in the darkest areas, you can then go on and at additional value going on at different angles anywhere. And once you've done that and darker areas where they need to be darker and also following the grain of If you have that specialty, some places you won't, but some cases soft in cases you will you will have that. So you want to pay attention. If you do see grain very important, like the lips, the eyelashes or hair also dark spots. We have just complete black. That's another type of mark making complete Black is going Teoh, be there smart. That's gonna help of contrast. And if you want to balance it out up here, like in the pupils will be great. So after that, you want to do finishing touches? Of course. I highly recommend a white pen. That is just very handy. Very handy. Especially if you make a mistake. Sort a race. It, uh and then really, that's it. Um, look back from it. We back, walk away from it, come back, look at it and make adjustments as necessary. And then we gotta finish drying just like that. All right. I hope you enjoyed the course. If there's something I want, you take away from this, this will be the probably that changing the angle of your pen gives out Maura, unless inflow the organic cross hatching makes really nice blended areas. Grain, that sort of thing. Yeah, Yeah. All right. Thank you. So I hope you enjoyed that. Maybe learn something new. My name Sean Vulture. If you want to follow me on skill share, that would be fantastic. You'll get notified whenever I put a new class. So thanks for watching. And I'll see in the next one by