Digital Inking for Comics - Starting with the Head | Robert Marzullo | Skillshare

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Digital Inking for Comics - Starting with the Head

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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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

14 Lessons (1h 59m)
    • 1. Introduction Video

    • 2. L0 Canvas and Brush Settings

    • 3. L1 Setting Up Your Layers for Inking

    • 4. L2 Filling In Areas of The Work

    • 5. L3 Adding Line Weight

    • 6. L4 Shading with Line Variation

    • 7. L5 Inking the Mouth and Adding Stubble

    • 8. L6 Final Effects on the First Example

    • 9. L7 Inking the Female Face Part 1

    • 10. L8 Inking the Female Face Part 2

    • 11. L9 Inking the Final Example Part 1

    • 12. L10 Inking the Final Example Part 2

    • 13. L11 Inking the Final Example Part 3

    • 14. L12 Inking the Final Example Part 4

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About This Class

Digital Inking for Comics - Starting with the Head


In this class, you will learn about the various ways that I implement style into my inking process.  Inking is more than just copying the sketch.  The inks should add clarity and propel the artwork off the page.  

You will learn why I choose certain lines as well as how to use line weight, create smooth lines, add texture with various rendering effects, and when to use angled vs. smooth curves.

I am using Clip Studio Paint in this series of lessons but you can use whichever software you prefer.  This is mainly about the digital inking process.

You also get the sketch to work along with.  Feel free to share the work and I will give you any feedback that I can.

Thank you for considering my lessons and good luck with your comic art!


Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art


I enjoy creating and sharing Video Content of my drawing process. I teach comic book illustration techniques, figure drawing, and digital painting. I use programs such as Adobe Photoshop CC, Clip Studio Paint, Procreate, and Sketchbook Pro 8.

I am the author/illustrator of the book, "Learn to Draw Action Heroes."

I have been teaching online for over 5 years now and love the ability to connect and teach artists all over the world. It is very exciting and rewarding!

See full profile

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1. Introduction Video: well, everyone. Robert, Marcelo and welcome to my class. Digital inking for comics. Do you struggle to get your line work toe look the way that you want. Do you often wonder why certain lines go where they do in a particular style? That's what this class is designed for. Want help Explain why into digital inking in this class, you'll learn about the various ways that I implement style into my thinking process. Thinking is more than just copy in the sketch. The ink should add clarity and propel the artwork off the page. You learn why I choose certain lines as well as how to use line, wait, create smooth lines, add texture of various rendering effects and when to use angled versus move curves. I'm confident by the end of these lessons of a lot better understanding of how to implement your own line work. Come up with lots of line variation and be sure to complete the work alongside this project . I'd love to see you come up with, and I'm here if you got any questions. As always, keep drawn, keep having fun and I will talk to you soon 2. L0 Canvas and Brush Settings: Okay, So before we get started, I want to at least explain some of, ah, the things that might look out for when setting up her canvas. So I'm gonna be using clips, studio paint. Remember that A lot of these things kind of translate from one software to the next ones that I typically Inc and our procreate and the iPad pro and clip studio pain both on the desktop and the iPad Pro. So anyways, one of things you have to look out for us. What is your actual setting here? Canvas. So if you go to file new and you create a 16 by nine canvas or 11 by 17 or whatever side you like toe work 1/2 by 11 the resolution has a lot to do with what that can't canvas translates to, and ultimately, higher lines will look So, for instance, I've got two different campuses here. One is that 72 dp I I'm gonna make a mark through the screen like this, okay? And I'm gonna go to this one, which is set at 600 dp I same, uh, just heightened with, and we'll make a similar mark somewhat similar. I guess eso No, if I from the distance they kind of look the same for the most part. But if I zoom into this one, look how clear that line is up nice and close. And look how pixelated this one becomes. The main thing is you're gonna have to play around with the resolution and test your system to see what it can handle, because again, that's going to directly affect your line clarity in your final output of your artwork. So this same 16 by nine actions bottom when it just changes appear. See that? So it's this bottom one has this extreme clarity to the line work. You have to zoom in really, really far to get any picks. Elation. Now your system might not handle 16 by nine, but you want to play with that dp I setting so you might drop it down to 43 I generally won't go below three at even like 11 by 17. It's just a clarity that I like to see, and I'm used to working in that way. So your brushes, they're gonna work directly with the DP I and the size of the canvas. Now the other thing is this. Let's jump into he settings for the wakame tablet. Okay? And this is just a particular tab, but I'm using Ah, you see, I've got my tip fill right to the middle. Okay? And that's that's basically said to all of them. So the other thing to think about and to play around with setting wise is if you adjust this to notice the difference that we're gonna go with the higher resolution canvas here, let's just get rid of this one. And so now we take this, and after making that adjustment, we make some marks on the screen. Okay, so I'm just quickly using the way to my hand here. I'm pressing down just playing around with this and see what the brush does. OK? Very important to do a very important to just practice making marks. You know, see how you can push into ah, online. See what you get. See how you can pull out of a line or flick away from the starting point how much control you might have, how much variation you can get in that line. Practice all these things, but it's directly related to, uh, where to go over there. It's directly related to this. So now if I pushed us all the way back to here one step below the middle mark, right, eso now I do this. It's not reacting. Let me see why that is. It's actually right to my studio. Jump over here. There you go. So now it's hard for me to get in line at the very lightest I'm pressing. It's giving me this big, bold line, so that's going to be pretty tough. You can even see that the Taper at the very end is harder to achieve, so the sensitivity of this has been altered greatly. So I'm gonna put all the way to firm. Look at that. Even with some pressure, I'm getting a very thin line now. I don't recommend that you jump any change this all the time. I change it basically, from inking to painting to drawing. I feel that each one has a little bit different setting that I like to use. But there might be instances where you want to set it to a very sensitive version of itself from this case. What you would be kind of heavy handed and using so having to bear down and get those thicker lines. But it gives me more control to this side because I can start off with these very thin lines, and I don't have to worry about pressure to achieve these. So my accuracy goes up for pulling that line. Hope that makes sense. So the more I have to bear down, the more I'm likely to get inconsistent line because I have no plan more pressure and control that pressure as I pulled a stroke. So just keep that in mind that, you know, you might want a more firm setting for thinner lines. Be personally like it one notch above center. So this is going to directly relate toe how heavy handed jar truth. Now, I'm feeling like since I just switched it, that feels too soft. So I'm gonna go back one more. Yeah, that feels a bit better. So all these things are variables they're gonna want to look out for. But you want to make just a Siris of different lines. You want to try tapered lines, you want to try making nice even lines consistently straight lines feeding them across, going from thick toe light in light with more into more pressure to thicker and pulling them together. You want to know what you're capable of with all these effects? Eso when in doubt just sit around and doodle. That's what I do to get all these different lines and then I jump in my illustration I'm kind of warmed up, you know, practice drawing circles and varying intensity and see how bad badger circles are. General goes to my circles first and then start to draw into him. But for me, if I want perfect circles, I start with the square and I do this little trick where I find my centers kind of, and I'm gonna draw my circles. But, you know, the thing is that it seems so almost silly to do this when you're working Ditchley because you can just jump over here, grab your line tool, grab yourself in a lips, hold shift and you got a circle. So I still practise them. Even without even knowing that I could just simply jump over to this tool, but again, and sometimes it does feel kind of silly known that they're just so easy to get. But this is a great way to warm up and you know these little tiny flexes? Well, you want to really try to emulate what ah traditional artists would do. Traditional artists will take like crow, quill or brush or anything like that, and they just kind of flick it and see the kind of lines that can make. But it's a combination of these various straight lines, cross hatching and stippling. All these things we'll give you, Ah, nice range toe. What you can achieve on these great character concepts that you're going to be creating sofas helps you out again. Remember that you've got the settings within your device. Whatever tablet you're using, you've got the pressure, sensitivity, even have pressure sensitivity per brush. I typically don't mess with these a whole lot. But, you see, there are some adjustments there that were made. Um, but, you know, it's again the majority of its right here. You know your pressure curve. So maybe copy. This is Well, if you want to practice with that, remember, if you're going to manipulate your brushes, make yourself a copy of the brush. First. I'm gonna share this brush with you, but you can duplicate it. Name it something else, like testing, make your adjustments and then compare them side by side. So I hope that gives you an idea. We can now jump into the artwork and get thinking. So with that, let's move forward. 3. L1 Setting Up Your Layers for Inking: Okay, So first I want to show you how to kind of set this up. So if you're working with this particular software, it's pretty easy because you have a layer property box. You could just click this and you can blue line your sketch to get it ready for inks. But if not another work around is just add a layer over top of everything that you want to be Blue line. Uh, you know, find a blue that you like. It actually doesn't have to be blew Me, red, purple, whatever you like. Whatever is easy on the eyes and lighter than the inclines. You're gonna try to establish flood, fill that entire layer and that set that to screen mode. See, it gives us a nice soft blue, and then Adelaide overtop. So again, it's a lot easier in this software to just simply click this icon for each layer. You can tiger that on and off. But this is a work around. So if you're using something like no procreate on the iPad, or maybe you're using sketchbook pro whatever Photoshopped, they'll have, you know, blending modes or combined molds that you can do this with so just make sure that your next layer over top is now set to a normal mode. And make sure this is back to black. And I like to use the G pen and I'll make sure there's a copy of this so that you can work along if again, you use this particular software. Keep in mind if I do give you a brush file, it's only gonna work with this software. These brush piles do not transfer to whatever other app yourself or you might be using eso . Now we're gonna zoom up in here and start to think the work. So I just want to give you a brief little set up just to get you started. Let's head over to the next lesson and start to think this work. 4. L2 Filling In Areas of The Work: Okay, So when inking a character like this, you see, I left the sketch pretty loose, and I'll make sure you got access to the artwork so you can work along. But really, the first thing that I'll do is kind of spot in the black. So with a character like this, you know, you could really go about it a couple ways. I've seen some artists get pretty good, had taken their selection tool and doing this. And even if they missed some of their edges, they get pretty fast at refining them. That's not really high work, but I just wanted to see that it does make sense because it's really, really fast. So certain areas you definitely want to use the selection and fill method, um, you know, paint bucket tool on in their certain areas of the work where it will pretty much read pretty good right from the start. But what happens if I leave my sketch pretty loose and somewhat gestural? In a sense, so what I like to do is actually refine it as I go, so it takes me a little bit more time with this stage. I'll hold our to rotate space bar to move I. I usually align the work based on whatever way I draw the best, and that's just like kind of the mechanics of my hand are always more confident pulling downward. So I'll just kind of fill this said. Now, keep in mind, you can use the paint bucket tool. We also want to be aware that you're not creating any artifacts and the thing that does that for you eyes knowing where your your blending mode of this brushes are not blending modems are but the anti allies ing entirely releasing something like that anti A lasting, I believe. But if you notice there's different settings here, this is gonna be a more rigid hard edge feel. So what's gonna happen if you utilize this? You're going to get a perfect solid Phil from this point because it doesn't have any blending to that. But notice we get real close here, how this one has a little bit of picks, elation to the edge, and this one doesn't. But I also have a little bit of artefacts going on with the interior fill their It's probably hard to see, but it's there, so all you really have to do is, you know, figure out if that's gonna matter to You are not for me. It doesn't matter because I usually blend Blur, I should say my final inks just a little bit. Even saving them to a J peg kind of blurs them just a little bit. So I end up getting rid of this little bit of artifact that you see there and I actually like the smoother edge work to the inks. So that's just personal preference there. You just pick what's right for you. But just keep in mind. There's lots of ways that it this as you go. So all right. So I'm gonna get in here another way I might fill this in is using the the ability to use the pen pressure to create picked if in line. So, for instance, actually, I'm too close to this. You really want to try to stay back a ways? Keep in mind your end result for your artwork. So you don't want to zoom in and at all this, you know, tight detail when it's gonna be very small for the end result. So So I might use the ability to create a thick that then lying and do my fills rather quickly. So that's what I'm doing here. I'm kind of doing this quick line on the outside and then pressing harder on the feeling on the inside so I can usually move pretty confidently that way. And again. I still have this ability to, you know, add little little bits of information here, and there's I don't want to make this a little bit more pointed and Adam Extra line there for style. Whatever same thing with here, I'm actually looking at the sketch, but I'm trying to think where I can add little bits of style as I go through here. So not just adding a shadow. I might add shadow and a little bit of, ah, you know, another line additional line or something just to make it look more interesting and more stylized. So that's just something I tend to do as I'm working. But that's where it's also kind of neat toe. Let this information that you're working from be a bit more gestural, a bit more energetic, so rough sketch and then practice inking over top of that rough sketch and seeing what you can really find in the design introduce, you know, being open to introducing new things into the work. So let's continue to just get the spotting of the blacks. And now there isn't much in this particular area. But I want to start with thinking faces because I know that for a lot of people, that's, Ah, one of the trickiest things to kind of ah, to think right. And I think that a big part of it is using correct line. Wait. So even though these air little bits of shadow uh, there's times when you're really just gonna create the effect of shadow line Wait, it's kind of the same thing, but But I think it's good to kind of look at it is a different thing because you've got larger shapes of shadows, and then when you have something that doesn't have as many shadows to it, you're gonna really use line, wait to, ah to make it read effectively. So again adding these little bits of shadow but then adding little bits of design. I mean, some of this is already here, obviously, but see, I'm just kind of playing around with the with that I think that the reason command z to go back and kind of quickly at it. Try something else. If I get in effect, I don't like oh, Command Z a few times Chance. Change this line just a little bit. I kind of wanted to connect to the shadow. You see, it's such a small change. I don't know that anybody would care but me, But it's just something I wanna see with in my work. So let's see. That's another small shadow here, not too much, but through his ones. We'll get that in. So again, we just kind of outlined that we can flood fill that you can actually tap it twice, and it will. It will get rid of that little artifact a little bit more. So hopefully you see this. But if I go command Z back twice, then hit command. Why twice to carry it forward? You'll see. It got rid of that little bit of line work of that artifact. Eso that's that's pretty quick trick. To get rid of that double click here to straighten out your canvas zoom back holding space bar to move. So again I might consider this a shadow and when doing this line, wait only to pay attention to We're gonna talk about limelight next, so but I want you to pay attention to the fact that when I do introduce the line weight that it's not even all the way around. It just depends on your style. But I'm making sure, you know, go thick fan Thick fund. Really keep that line moving. Basically, the world's we get little bits of shadow even here at the hair. You see, it's just a couple little line strokes, but for me that that means, you know, jump in here and shaded even further. So ah, lot of the sketch work is kind of ah, shorthand, bit of information that I know that want to get back in here? I'm gonna add more to it that I'm not gonna keep. It s so basic. Now, if you're working with an anchor, you might give them tighter pencils. Or if you're an anchor and you've got loose pencils, you might converse with your pencil or more. You just kind of have to figure that out. Or they might just say, Hey, I want to see your style. Just just go to town with it. Some people, you know, excel in that situation, and other people need tighter pencils and, you know, to take some of the guesswork out of it. So it just really depends on where you're at. But I suggest messing around with variations of that concept, obviously, so that when you're in that scenario, you, ah, you know how you're gonna react. So I've actually been experimenting more and more with drawing less and less detail in the pencil stage and then inking overtop. It's actually a pretty fun experience, all right, So you can also quickly change things here in their chance of shape of the hair, right? They're not a big deal. You can also do some kind of skipping around with line work like this. And then it gives a little bit different field. And if you were to try toe trace this shape, it will start to look kind of boring, I guess. But at least based upon how I perceive what looks going, what doesn't but get in here, fill some of us in playing around with line. Wait. So let's do that. Let's kind of wrap up right here so that we can address line weight in the next lesson. Eso with that, Let's move on 5. L3 Adding Line Weight: Okay, so with line wait, I think the main thing is that you just kind of air on the side of ah, you know, pretty heavy lines anymore. I mean, it depends again, it's gonna all very based upon style. But one thing that I like to do with my line weight is to really play around with the thick that then aspect of it. So I might have it thin down as it gets towards the chin. Rotate this so I can pull more confident line. And then a nice, heavy line for the bottom of the chin that's gonna make the chan pop out, uh, in contrast to the rest, which I think is a good thing, especially for a strong character or trying to give him this. I'm trying to give him this masculine jaw. So I want to reinforce that with the way that I used the line. Wait, um, and I always feel like with my work personally, I tend to need to go back and picking up the line way at the end of the work. So if that's the case, I have to keep kind of beating it into my brain that hey add Maura's, you're going at Moore's. We're going save yourself some time and trouble there. So the other thing is to really go back and forth from Picked it, then I think it just does wonders for the art. It makes it a lot more fun and interesting, uh, as well as using the gaps that I talked about little line breaks. Lion breaks make the work a lot more interconnected to the viewer, I think, because they're using their imagination to kind of connect the dots. It's just always a more interesting appeal than if you were to sit here and go with the hair and go like this and use a boring straight line that's all connected. Don't get me wrong. This will make your coloring process a lot easier, but it just looks flattened and interesting. It just doesn't breed is dimensional, as if you just went like this. Incorporated a little bit of line weights and line breaks. Some variation. It just becomes a lot more interesting to the I. So some heavier areas that pretty much resemble shadows, some thinner areas, some overlaps. All these little things is just kind of make it a little bit more fun. Been a boring line and they didn't get inside here and you could do some nice thin lines. Now I recommend using your bracket keys and skill in this down, so I'm heading in the left bracket key to go down, right bracket, cuticle up. I'll just tap that a few times, and then I'll get in some nice little thin lines for, Ah, basically for texture in contrast, so it doesn't have to be much, but I think that it's better than nothing. And you can also use the brush like this really well, for shading will get into that a little bit later. As we finish more of this character, Double click here, zoom back in. So just like that, we've got the hair ain't now we can work on these eyes a little bit. So what? This again line weight is going to be paramount, So we'll start right here in LA have basically the shadow on the inside of I and then use a little bit of line separation in a little bit of line. Wait to kind of round out this I with a kind of minimalistic approach. So instead of trying to draw the entire shape of the eye and really get in here in detail It. We've just used a few lines to again convey shadow on the edges, so that gives us that rounded kind of feeling to the I. Ah, lighter line up top or broken line, I should say. And then for the iris portion, you know, we can use thicker lines on the outside. We can use a bit of, ah, drop shadow on the top of the iris. We can even around that over to convey that that, you know, rounded feel of the eye you get. And you know, all this information is in photographs. It's just were translating it differently for comics and then a little highlight there. I like to do to whatever your style is. And then again, you could scale your brush way down. You can play around with some rendering. They could do lines going, uh, up and down, vertical, or you can bring these across horizontal. There's lots of ways you could kind of play around with this, but mainly that you're trying to incorporate a little bit of shading, Uh, just to really soften up that shadow use the right bracket key to scale the brush back up. You can notice to its interactive we moving over to the left here so you could skillet there as well and then back to our line weight, adding pressure and then letting off the brush just to create this variation in the lines that I that I'm generating quick pulls for, ah, more of a taper stroke. And let's see more of this. It was supposed to be kind of a side of the nose there, but looks a bit off, but I'll just go with it. You see, I'm just kind of adding to this as I go. It's not exactly what was there. It's just my representation of what I think it should look like with with the ink does it link. So again, broken line up top shadows to the side, and a lot of this is like just a repetitive behavior of, you know, You find out what works and then you just kind of adopted into your style, and then it stays there for a while. It becomes like the way you do eyes and the way you do it knows, and but then you find something better through practice and, you know, perseverance and all that fun stuff, and then you incorporate that into your style, and that kind of takes over. You have this? Ah, ha! Moment and you just go. Wait a second. I've been doing this all wrong. I'm gonna try this now and that, you know, you adopted into your style so really experiment that, I mean, always kind of stress at anybody that I'm explaining. Stuff like this to experimentation is how you find your style. So, you know, even if it's something that you feel that you've kind of got under control, it's still important to stretch the boundaries of your imagination and see what else you can do so that you can, you know, excel to that next level. What we're gonna do here is kind of wrap up and then go over to the next lesson where we're gonna explain mawr off the little bits of renderings. Want to talk to you a little bit about those lines and how you can, you know, generate those in a few different ways. So with that, let's head over to our next lesson. 6. L4 Shading with Line Variation: Okay, so with lots of little rendering lines, you know that the main thing here, I think, is to really play around with whether or not you're good at Well, let me let me say it is a different way. Well, they're not. You're good at creating a tapered line and or your software works really well for that, since we're pretty much talking about, you know, digital inking. Ah, lot of this translates to traditional as well, because I use the same methods that I used to ink kind of with the micron. Um, I use those more than I used croak well, and I use a lot of brushwork, and a lot of this works the same way. So you know when you're getting this nice, thick line and then you slowly pull off and get a nice ben line, that variation that you get in your ability to control that is what gives you this nice mixture of what you're looking at with the character design. Now you'll see some of them. I just kind of shoot the line out like, you know, in one pass like that, and then I might come over and connect the end or something like that and other ones you'll see me tape with lines. So, like down here on the neck is a good example. So our father, the line just should say they're all tapered. Uh, you know, cause Tapered is gonna be a line. It starts thick, goes then that's a tapered line. You know, a straight line is something like that, or even line. It's got no world form to it. It's just online, but I almost always give every one of my lines a little bit of taper. But feathering it is the part where you do multiple passes to the same line and you get it to look like a fictive thin line, and you'll see him purposely and a little bit of curve to it as well, because if it's straight, then it kind of flattens out that area a little bit. And then the other thing you might do is you'll see a lot of people like to do across at you, and another way to think about this is you're just you're creating a great Asian, a shadow so that their shadows are I'm sorry, gradation from the shadows so that your shadows aren't so blunt, but the other thing is because one of the biggest problems with cross hatching in young artists and not getting it right is they leave too much spacing in between these lines. So you have to practice adding this bit of taper and closing those gaps so you might have some that air, but are like this. You can end up with this perfect 45 this little honey comb pattern or ah, crisscross pattern. But also you want to try some where they basically meat and seal that that patterns changed . Now it's tighter, and then you might fade it off and loosen him up as you kind of fade off the shadow. So there's so many different ways that you can really implement this effect. And sometimes you just want a more keep in mind a music command Z to go back command. Why? To go forward with this particular software and and some of them you just want more simplistic approach. You might go in a totally different angle and purposely leave more spacing. He might do some where you bring the line down and you create this little dots at the end was for texture, just for design. So it's kind of a tough one, because what happens is a lot of people are like, How do you shade like that? What do you do? What choices do you make and when do you make him? It s so much of it is just, you know, on the fly and what you want to see at that moment in what you think your style is. And some of it is just repetitive behavior. So you have to kind of look past all that. And so when you see somebody else's work and they got this really unique style about it, I think that's important for you to kind of, you know, kind of ignore that not necessarily tried Teoh understand everything about it because there's so many variables they might just, you know, react in that situation. It might not be, as Wall thought out, and in other instances it might be very well thought out. So I think that the best thing for you to do is to practice your own style and implement maybe little bits and pieces of what you see that you really like. But try not to adopt every bit of it. I think that it comes across as kind of reaching too much. So you gotta lie yourself to develop your your own style. But the main thing is just looking at it like gradation of tones, tapered lines and variation. I'm really big on the variation part. So that's why you're going to see and probably hear me tag along this brush up and down in trying different lines like here. I'm not even gonna try to taper these. I just want, like, a slight tonal change. You know, slight creation, nothing to ah, dramatic. Just pretty, pretty clean and even. Same thing over here. I'm just kind of throwing those in there. No worries, not worried about it being too perfect. Now here I might start with something a little heavier and then lighting them up as they go up. That's one way you could look at that area. I could also try to go a lot thicker on one side of the line, so putting pressure down and then letting off the brush now it's a very different, in fact, very kind of heavy. I feel like that's a bit too heavy for the center of the forehead. The other thing is that she kind of have to always pan back and yeah, that's way too heavy for the center of the forehead. I want to show it through some, you know, change and kind of shape from the this air of the brow basically picture in the, you know, this area being a little bit different, Um, and I'm kind of thrown it in at the bottom is probably little too low. Let's just started right here. But I'm use thinner alliance to do this. That reads a little better, actually. Don't even know that I like him. And that's gonna happen as well. Sometimes just not gonna want to keep what was initially looking good in a sketch for the inks. Um, that's hard to do in your working on somebody else's work. So I'm gonna force myself to leave. He's in there, you know? Not really like him now. The other thing is this. You can actually I'm working off one layer here. It's very beneficial to use an extra layer for testing things. It's not too hard to get in there. Clean this stuff up Anyways. You got to remember that you can use This is a translucent brush on a racer of the same Jeep in. So you get in there and do whatever you have to when you're on that layer, obviously, so you can raise things back. But it's very easy to just add this information on a new layer. So if you're coming up to a part of the working like, I'm kind of unsure about this, I don't know if this will look as good as I'm hoping. Just use that layer because a lot of times when you can alleviate that little bit of stress , Uh, hopefully it's not too stressful. But if you're feeling a little bit of stress, uh, give yourself that little bit of, ah, forgiveness, you know, layers air. Great for that. It's the same thing, kind of varying up the line. Wait one line a little thicker on the nose here. I kind of want to style eyes this part a little bit, so make it heavier here with little lined of aside. So I'm trying to make the lines read more confidently than the previous step of the sketch , but also ah, add a little bit more style to it. So here I'm gonna use a little bit of pressure, kind of fathering that line, just working up the the bridge of the nose a little bit. It's a pretty common comic style shading that you see on the front of the nose. It just shows that difference from the ball, this part of the nose to the bridge and then maybe, like a little Well, it was exact pattern there. I always think that's fun to Dio. I'll establish the shadow in just a perimeter shaped like this roti are for rotate and then I'll just throw in some very light lines right across here. Now, this is a perfect example of where I would actually incorporate a layer. So let's say that this later is now acceptable, which I think it is. I'm gonna hit command e emergent to my main inks, going name these in inks like that at a new layer over time. And I'm just gonna test this area now. The beauty of this is it gives me a lot of freedom toe like worry just about creating straight lines generally don't have too much of a problem with X. I practice my straight lines a lot, even though I just made a cap that I didn't like right there. Just keep going. But I can go past the area. Hopefully what you're seeing here, and then I can come back with the translucent brush. And I can race this back and get a nice even alignment to this effect that I want to see, like, even say, Well, I want to see a little bit of a glare off the nose there, and I could erase that back real quick and then once I'm confident I like this effect and again probably check it from a distance. Yeah, I think it's fine. Command E in which you know we want probably shoot for better than Yeah, I think it's fine, But let's go and wrap up right here. I'm gonna finish thinking this in the next one. Talk a little bit about texture with the chin whiskers there and, you know, detail in the teeth and stuff like that will talk a little bit more about this character, and then we'll move on to the next. So let's head over to our next lesson and continue to make this work 7. L5 Inking the Mouth and Adding Stubble: Okay, so now let's zoom in here and get the inks for the mouth in place. So same thing kind of grabbed the bulk of the shadow, whether or not you want to draw it in or select it and then kind of cut into the area where the shape of the teeth are. And I try to just imagine a little bit more clarity into what I'm looking at, so doesn't mean that always happens exactly that way. But try to just clean up. What's there? So again, it's kind of clarity and style that I'm thinking mainly about. So a teeth, you know, try to picture that they got a little bit of round over, so easy to just kind of think straight across, and then little points here and there, so kind of ah, combination of of round over and points and then a little bit of inconsistency. So I always feel like if I doom to even they just look fake no matter what. So I had, like, a little bits of inconsistency air in there. You see it that was already kind of alluded to with sketch, obviously. So it's not like I'm having to make any significant choices, but just little bits here and there. Some think that then variation. I like that line, but a lot of times I'll hit Command Z and I'll just re pull line and just kind of test it out. See if I could make it a little bit better. Remember, Teoh, just kinda quick tip for making clean lines is either a consistent consecutive kind of pull . So a steady pull. Yeah, very quick poll. So generally the quicker you pull the line, it's gonna be a little bit more random in the starting and ending point. But it's going to be cleaner as faras Ah, you're not gonna get so much rigidness or shaking us from the stop and go that you might do so. Like if you're a feather in the line, it takes a little bit more practice to get that control. But a quick poll well, generally give you a more smooth version of that line, trying to see if I really want this connected. So sometimes I play around with the way that I break off these lines like this. We just kind of style choices like that. Okay, and let's finish off this. So here I'm gonna bear down a lot of pressure because I want a nice, heavy line, and then I'm just gonna kind of taper that to get it thinner. Another technique that's helpful. I don't do this as much as I probably should, but I think it's done a lot in cartooning. It's like draw through and then a race bag gives you kind of this neat, chiseled point. I said, It's mine is probably not gonna look as good as it should, because I don't do it as much. But it's a nice variation. So all these things you do kind of culminate together and form. You know, your ranking style. And it's better than just giving this up. The singular idea to the way the U Inc It's very easy to just say, Well, you know, do this one thing that's working, and I'll do it everywhere. Then all of a sudden, it kind of makes the work look a little more boring. So some of the people that I admire that do just these amazing inks just have lots and lots of variation within their overall style, like there's different texture and lie in wait all throughout. Same thing I might add Some little little lines in there. Just little things toe Spruce it up a bit. So it's not so playing. Okay, so now for the texture on the chin, Um well, Gohan, add one more layer and I'll just kind of do these thick to thin little dabs. And all I'm doing is kind of pointing them most like a spherical way. I'm picturing that they're all going around like this, but they're all pointing up into ah, almost like a vanishing point kind of effect. It was just, you know, dabbing on the screen and pulling upward. Nothing, Teoh Amazing there, but getting it done. And what I like about introducing a little bit of stippling is that again it creates another level of variation to the design, so you'll see only pan back. This, uh, looks a little bit more interesting now in comparison, all these lines that we've added now the other thing is this. We can also hold all drag over. You can also just duplicate your layer by going layer duplicate layer and hit head. It transform flip horizontal. You can rotate that with these busy handles you gotta grab outside of here. Because if you grab the very edge you're going, Teoh, distort it a little bit hit, enter to conform that you still kind of moving around, get it just right. And if it looks too repetitive and two flips, you can add it. But I'm gonna just hit command E. So now all the stippling is on one layer and Aiken randomize it a bit. So every time I flipped something, I make sure to jump back in there and maybe a race parts, ADM. Or on one side, whatever. Maybe I want some that come outside of the the very ads with line work. You know, whatever I'm looking for, I actually don't know. Don't particularly like that something go back there. But that's kind of the power of layers that you can just do things like that so quick. It's very effective. All right. And there we have it. So there is some stippling tor character, and you see, now that we paying back, um, you know, it looks more interesting. There's just more radiation and levels of the effect going on there. And once we're happy with it, we can merge that down. We can also take the the line. Work off now and we can look at that without that blue line behind it. And one of things I like to do is pan back pretty far like this and then see how faint the lines get. So I feel like this still needs some heavier line work. So what, I'm gonna dio Let's move on to the next layer. And honestly, I do like, kind of a final pass to this because I always think it looks better with that little bit of line work. But obviously we can't keep that to the end result for our inks. So I want to make sure it looks good this stage. So with that, let's move on to our next lesson. 8. L6 Final Effects on the First Example: all right. So generally I'll get to this point. You said, I'll title off the sketch and I'll look at that from a distance, and it always seems to read a little bit lighter than what I thought. So that's why I'm always trying to, like, reinforce myself with, you know, add thicker lines at heavier line weight because it just makes the artwork pop obviously shapes the shadows could do a lot of wall, but we've already established in the shading. So I just want to continue on with what I've got. So what I can do here a Seiken, Just add some more rendering lines along with giving it a bit more weight. I can also copy it first, just to make sure that I get kind of look, I want s I don't, you know, may be adversely affected and then get stuck with where I'm at eso Aiken, beef up the line work I can have little bits of ah, you know, shapes a shadow here and there just kind of make it read better. I can also add more of my little rendering lines. You would have been more texture like that. This is actually something that I even felt the need to do with traditional work. At times, I'd always kind of a race back. The pencil lines and them need to add more. So it could be something is just more specific to me. Maybe you you create you don't feel that your needs that final kind of overlay bottling, I said, For me, it's something that's been consistent with the way that I create, So I figured I should share it. So, like, obviously just going around this with one big thick line would do it as well in some styles . Work that where or look that way. But I still like to keep a retained this thick to thin effect that I got going on. So I want to make sure that I just kind of slowly add this here and there and see if I can get it to read a bit better. And then I'm gonna show you another technique that I use quite a bit with. This is well, it's actually quicker thing that I'm doing here, or it's quicker than what I'm doing here. But, um, I want to show you all of what I do and Basically, this works wonders because you can just beef up the Fichtner thicker areas of the line work . You don't necessarily have to go over everything. You can just pick and choose little areas of the work. Where was already pretty heavy line wait and you could make it a little bit thicker. So it's really neat how line wait works and how the line gaps kind of, ah, work with that process. So I want to be careful not to just kind of blob ink all over the place and lose the structure that I've built. So it's really easy to do that. Um, let's say, yeah, let's say that's enough for now. So what I wanna do is pan back a little bit. You know, obviously this is being colored. This is plenty of ink. Anyways, the color is really going to make this come together. Um, but just a big open right there. But the other trick that I want to show you is that you can take this and you can copy it one more time. You see, it got a little bit darker just like that, but then you can at ah blur on it. housing blur and I'll keep in mind. I've got it set six here. But this is gonna very based upon the size of your canvas. So I'm working at 16 by nine at 600 DP. I know. Keep in mind, that's excessive. You can get away at 300 dp I I just My system can handle it like the added resolution, but three hundreds, usually plenty. So now what happens is I've added this small blur to it. I watch if I toggle that on and off. It just kind of enriches the darkness of it released. That's way I see it now. If I zoom up, it kind of gives us softer feel toe The line work doesn't look so digital now, and it kind of fills in some of those gaps of missed Incas wall. So I think that's a pretty important step. I like to use it. Sometimes I'll even play around with this world, implement the blur and I'll play with the opacity just a little bit. Maybe I feel like overtakes the line, work a little too much, especially if I have smaller, like rendering. Then I've got to be a little bit more careful, but I actually think that this looks better right about there. So at that point, I will just hit command e merge it together, and I've got my stubble right here that I'm pretty happy with notice that I didn't blur that. I don't think it really needed it. But, you know, just to be safe was checking the other way. Delete this. Emerge this first, make a copy filter here, House M Blur. Okay. You know, make sure that you're not losing the clarity that you want, and I think that looks good. Yeah, I actually like the chin hairs without the blur. And that's what I thought. So sometimes, Like I said, the finer details can be left alone. That gives us our blur right there, doesn't it? Yeah. And I just think it softens up that that digital kind of look that you get, And then by the time you color this, it'll it'll really stand out. So there's the first face and the first style of rendering. We're gonna move on to the female and talk a little bit about the differences. You might apply when inking the female face. And so with that, let's move on to our next lesson. 9. L7 Inking the Female Face Part 1: All right, So now we're gonna start thinking this female face and we gotta be above the blue layer. Here can double click here. It's called Girls Face Huster PS Write her face. Yes, a girl's face And then we'll just think over top of this. Now this I'm just going to jump in. I won't explain it the same way. Did the 1st 1 since we already kind of covered. You know what these might be? For instance, you know, the flood fill to the eyes and things like that, but I'm just going to kind of show you the process and, uh, hopefully move a little bit quicker. So you now understand You know the ideas anyways, So it's one. Fill these in. Clean up the line. Work as much as possible, are for rotate. You'll see. I'll end up trying to incorporate more curves. Try to keep the eye expression wider on the females. For the most part, that's air making a very angry kind of sinister look, you know, then I might squint their eyes pretty dramatically. Little details like, uh, changing up the line. Wait. Kind of sculpting the lions is the way I look at it. It's like that and quick tip for doing the eyes that I sometimes find to be helpful is I will do so much of the eye and then over to the other side. Now this isn't eyes, Ah, set of eyes that I'm trying to make very symmetrical. So it's not as big of a deal, but even the way that your style izing the thinks. I think it's helpful for me anyways, If I bounced back and forth, I'm more likely to have some kind of consistency from side to side again. It makes even more of a difference. If you are trying to get cemetery on the face, then it's Ah, thank you. More impactful to go from side to side on element element of the work eso that you don't render one entire side, especially if you might stop. You know, in the middle of your illustration, go do something else. Come back a little more likely to have some variation there, I think, but and that's just something I find within my own work. And, you know, we're all pretty different the way that we see our own work and how we created so Yes, so a little bit to lie in wait here, trying to figure out Do I want smaller details and things like the eyebrows. So it's really easy to work on something like this and say, Let me black in the bulk of it And then just to a couple little strands of hair, Uh, I don't think that I like that, but those are things that I kind of think about as I do this. But the other thing to remember is, since we're working so close to the artwork, it's kind of one of the drawbacks helping toe working digitally. It's like one of the strengths and one of the weaknesses at the same time, because you can zoom in really tight and add all this extra detail on refinement. But that can actually kind of backfire on you. And it's probably good to really work from a distance off. You know what the end result of the artwork. But then I find that I zoom up and I don't like the clarity is much so again, it's kind of that double edged sword of digital where you have all this ability to really refine and zoom in and see exactly what's going on. But then you have to ignore parts of that, which is really tough. So again, always think about the end result of the artwork. You know, where is this going to end up in? How large is it gonna be now, for the sake of explaining this information, I'm just gonna give you a tighter view so that you can really grasp everything I'm doing and you see it in plain sight. But again, remember that I try to fight the urge to not assuming to type. Now, the other thing is, I want to try to correct some of this is I go. So me double click here straight in the canvas. And if I was to draw center line right down the face, go for the nose, tilted over that knows, could probably over a little bit more. I'm just gonna kind of paint this picture visually, where I think the center of the face should be. It's close, but the mouth, mainly because of the rays lip looks crooked or looks too far over basically. So if I take a straight line, let's make it a lot thinner. Using the bracket keys to do that hold shift. So if I put a straight line down the center of the face, Yeah, I still feel like it's probably a mixture off the features being misaligned just a little bit. I want the nose to be over a little bit more because I want to show the arch of the nose. Um, but I still feel like the mouth is a little bit skewed. Probably like I said, because of the raise lip. It's just kind of giving that effect. So one of the tricky things that line work is, since we don't have the color in place yet, it's easy to Miss Reed. Um, because you know, the color provides a lot of information the values that the great Asians, all those things, that factor in round out the information. So you have to get good at perceiving all of that in just a line are kind of way. And, uh, yeah, I think it could be deceiving at times. I think that's another reason why using line breaks to your advantage is, ah, probably a pretty good idea. It's I mean, it's definitely ah, good idea, because it's predominant in comics and in a variety of art forms. But, you know, not drawing everything in full kind of traced format. I think it's really important to pick up on that because it helps for things that are kind of maybe a little bit off a little bit, stylized, a little bit distorted because again, if you were toe illustrated in full format, it really showcases when something's skewed. But, uh, but using line breaks using line wait, just style choices in general, you can, ah, generally make something just look more fun and appealing and not be so entirely correct. I just I don't really strive for absolute correctness in my illustration work. So if somebody was to hold up a picture does character, they're going to see a lot of flaws. But if I could hopefully convey a neat style in an imaginative way, then I hope you will forgive me for any inconsistencies. I'm just kind of black the Syrian again. I could really just connect the dots and then go for a flood. Fell like this. Probably take advantage of that. It's like quicker most of time. And so here's something want. Explain about trying to nail these these lines. I want this nice, smooth line for the lip. And although I'm pretty decent at getting him to connect and kind of refined him, maybe you struggle with that. Okay? I struggle with that for a long time. For instance, I can't pull side to side as well as I'd like to. Okay, It's always crooked. It's always a bit inconsistent. And that, I'm sure, is something that a lot of artists face. One of the things that you can remember when you're going to see it when we really incorporate it with the side of the face here is you can either use a nice, consistent pole and you say I got a little bit of bumpiness right there. Try it again. You can also ghost over the line a few times. Then your accuracy generally will go up, and I put a weird angle right there, so I'm just kind of being overly critical. But I just want to kind of explain to you that sometimes you can get these lines by moving a little faster. I think that's a little bit more confident, because I sped it up so sometimes just speeding things up and slowing them down can make a big difference in your artwork with, ah, line making anyways, So I'll go with that one right there. So sometimes I have to generate a few times. I feel like it's a little crooked, but I'm gonna go on call that, ah, acceptable line. So same thing I might practice with different speed and trying to shoot each one of these lines in one quick poll. So you're always going to get a little bit smoother. Take on the line and it's going to read more confident way. So practice that practice different. Why? Making patterns based cars speed and implementation? I think for the most part, most of my rendering is where I do any kind of ah feathered lines. But they wanted something like, you know, the face here. I want to really going to scale up the brush with a couple clicks and then try to consistently pull this line. And then maybe where I let off is where it's gonna taper down and get thinner. So that's kind of my thought process there. It's purposely making it. Have your line and I'm gonna fade off right there and then I'm gonna rotate the screen and try to pick back up here, make it a little heavier in the back to thinner. See, it's not the the easiest thing for me to do, but with a couple tries, hopefully I'll get what I'm looking for. Now, I might even just kind of sculpt this line a little bit. You see my blue lines off to one side, so make sure gonna bring this line over, I fathering it. Then I'm gonna switch to translucent, and I want to push this little area back Nice and easy. Double click here, Pam Bag And make sure I like that. Now, the one thing I don't particularly like is, since I decided to do the heavier line weight on this side, it actually makes the jaw look like it protrudes out more. Or at least maybe it already waas. And it's making it more evident. So I'm gonna just see what it looks like by shifting that bag. Yeah, I almost think I like that more, actually. Don't think I like. See, that was more of a curve over here and more of ah, almost like a masculine jaw with the bridge there. So I'm gonna try to reshape this line one more time and I'm going to try to soften up this curve, create more of a curve. I should. Is there? Yeah, something like that. I think it looks better. So again, it's kind of amazing how small changes can really make a big difference. In fact, I think I could even go further, but I'll go and leave it for now. We'll see how it kind of comes together. So let's go to wrap up the lesson right here, move on to the next and continue to Add Inc store character. 10. L8 Inking the Female Face Part 2: Okay, let's continue to think of his character. It's a little bit of, uh, here in this one side. Your urine is real quick. Just cause it easy to do. And that's just a little bit of character, okay? And then, you know, I'm gonna just show you based upon working digitally. It's pretty easy to dio these little cheats. And I would feel silly if I didn't explain it. Now I'll be honest. A lot of times I try not to do this all all over the place, just to home my own ability so that, you know, electricity ever goes out. I can still income paper, right, But for deadlines and crunch time, it's just makes sense. So for instance, we could take this one. I we can make a good portion of it, most all of it, and we can hold Ault, drag that over. Keep in mind, I did make a layer first, hopefully noticed that, and I will slightly adjust it. You see that my, uh otherwise it's a little bit different. I can hit command shift to your mother, Iris, I should say, I think kind of nudge that around. Get it in the place, even distort it slightly if I need to. By grabbing one of the corner points at dinner, I can set this translucent and I can race that back. And you see, it's just really quick. It's pretty effective. So again I wouldn't employ it too much. But if you need it, it's there and hit command E. Keep in mind those air separate now, while we're here, we can actually utilize the benefit of having that separate layer. We can do some other things that maybe we're apprehensive about. I mean, I wouldn't say Frankel's are a big deal, but again, it's kind of nice and knowing that you're on that separate layer. But you just have to be conscious of it so that you don't. You may work too far into something to not realize it's not merged. Just generally, not a big deal either way. Now you see, it got a bit of a tangent here, so I've got the neck here and I've got the hair here. Not a big deal, I think. But you could just kind of pick one of the other. You could say, Well, this is just gonna be the hair in the way of the neck and then just kind of go past that tangent a little bit. I don't know what it is. I'm always creating tangents, so But you gotta be careful, cause then it does kind of read as the neck being mawr, you know, curved in in this side. So let's go with the neck and we'll just put the hair behind it. I think that will read better. Now, keep in mind, we're on a separate layer here. So say, I don't like the narrowness that I get right there and I want a thick line, you know, that gets thinner and then thickens back out. I can do that by shooting past that area, getting the bend that I want and hopefully the variation that it wants actually want thick defense. I might even have to pull two lines and meet him together Or just be okay with this, you know, kind of line based upon the way I'm able to make that. But then I could jump back over here, and I can race really quickly because again, it's a floating line. So it's easy to edit that line and then merging together. We're going to go with that. It kind of like that. A little shadow here. I noticed, too. I'm not putting nearly as much rendering into what I'm doing here. In fact, it might get rid of that little right there. I'm not putting nearly as much rendering to this female character. You're gonna really notice the difference, but it's time I do the next example. So rendering or lines and wrinkles or whatever you wanna call him, you know, is generally going to make the character more elderly. So I saved a couple little lines for the expression. And maybe if I was kind of like squinting up the face, I could do something like this, But I would be very specific and very light with these lines because the more I start to Adam, you know, im gonna make the character look aged. And that looks kind of silly. But hopefully get the point that, you know, whatever you're trying to convey Beauty General Esa's mawr as it pertains to the rendering of the lines. So let's start to get in some of his hair shape. So I need to look at this and see if there's anything I need to correct. See, I started sketching and bring this hairline up so I could kind of give myself a couple of landmarks if I need him, but shouldn't be too big of a deal. But again, I'm gonna use this mine separation a little bit, just like I think you like that hairline, maybe. And solid lines around the edge. Now, I didn't want to fix the head shape a little bit. Seems a bit off like the bump in the middle. This height should be over a little more. We'll try to fix that as I go. So again, just trying to correct these things. As I pressed forward, I also might want to incorporate a little bit of he's kind of bumps. So it looks more natural. If I go with just a straight line across, it's gonna cleaner. But it's not gonna look like real hair or not that I'm really going for real hair. But I still want to try to make it read like hair. So just to a couple little bumps here, nothing too dramatic, I think a little bit more effective than one smooth line for something like this. Basically, it kind of be consistent with the ponytail cause you see those air very evident these these pumps. And I think I want to bring this hair out. Mawr the shape like this. So again, always trying to nudge these lines around and see if I can figure something home. And I kind of went with kind of to clean of a shape, their adjust that just a little bit. We'll try something like that so purposely just making it a bit random in the way that it kind of sweeps across the form of the head. Now, with these areas, I'm just going to use some stylized kind of representation to hair. I do this kind of sweeping his exact patterns, kind of like stretched out V's, W's. I just continue on with the flow and direction of the hair. Our hair is getting pulled up into a point tales. These lines seem to go up over here, back over to here, so I kind of think of this like perspective, drawing again on my vanishing point. It's basically that ponytail in the back and then for the glare of the hair Do you see here ? I just kind of follow this long and make what I perceive as a light source. It's like that. You see, it's kind of consistent with the eyes, so I just want to try toe give that effect that there's a little bit of light bouncing off the hair in them. Back to these big hair shapes these air where we need these quick, sweeping lines. We're gonna try to pull these rather quickly. And this is where my hand hovers over the command Z button as I tried toe Get this, Ah, line that I want again. Let's check where we're at. So let's go and do this. I'm gonna add a new layer because again I can shoot right passes if I need to. And I think what happens there Generally you're gonna get a more confident line by not worrying about that Stop and go of stopping here on the stop here. You know, you just kind of shoot past it. So for me, that kind of alleviates a little bit of the worry, even though it's pretty easy even without the additional layer. To erase this information back just becomes even easier, especially if you have a lot of noodling and detail in there, then you really do want to use the layer. This is pretty simplistic of a design. So it's not that big of a deal. I know giving over to here sweeping, pull, trying to be consistent with this line, not stopping as I make it. And then right at the very end, I'm trying to flip the lineup so that has that hair like quality to him. See, it's not the easiest thing to do, but a couple couple tries. You can generally get it, and if you can't get it where it's at, you generally have to just rotate canvas. Maybe zoom ends about whatever you can do to make it feel a bit more natural. You can make that line work, and I'm going to merges together now. Command E well, actually, merge it all together. So there was that a new layer. Just continue on with this process. So, you know, this is always upsetting. I got the perfect line that I wanted, but I didn't get the curve of the the intensity of the curve that I wanted, So I have to do it again. Yeah, that's always so. It's a combination of the right pressure. While that was bad combination of the right pressure at speed. Sometimes you actually get a lion, actually, like that one. You actually had a line that isn't the line that matched up with the artwork, but it reads really well, and it looks well, so you just kind of run with it. Yes, I do. Maybe that's me giving in a little bit frustration. Okay, So you can also vary up the intensity of these lines, the thicknesses. So right here another example where I want to go right through that. So I'll just add a layer. Not a big deal. Just frees me up to think more about the line that I'm trying to create the weight of the line. And then I could easily go back in a race right through there and use the other layer as a my kind of edge work. I don't like that one better work. And then now we can just go back through here and kind of texture of the hair a little bit . Stuart, these lines up top here, see what later, Ryan area. Plenty of later is going on here so we can just go through here and again. I can kind of be a little bit more free about the way I create thes and just go right into the hair shapes. Not a big deal. So put some nice, uh, curves in there. Some like that. You can vary up the thicknesses of these so you can create. I like to create a nice, thicker line on the outside and then some thinner lines on the inside. To me, that kind of shows that this is texture. If they're all the same thickness, they kind of fight for dominance in the design. And then now I can raise his bag, check anywhere that they overlapped. You know what else we got The light source right here again, tryto kind of quickly flow through that area. Let's check it with the Sketchley her off. And I think that actually reads pretty well, cause again This isn't something that I want is much rendering on so emerges together and probably just duplicate it. And do our filter blur Gaussian blur. Okay, take it with him without the added layer. Not much of a difference, but like I said, you generally see it when you're up close. It just kind of gives them or blended version to the lines. So, yeah, I like that. Now again, I can go back and edit this, and I can, you know, add a little bit of, ah, lie in wait here and there. But for the most part, I air on the side of less is more with the female characters. So I would pretty much be good at this point. Color would really bring that to life. So let's go and conclude right here. We're gonna move on to our next example and start thinking this, so let's press forward. 11. L9 Inking the Final Example Part 1: Now let's go in ink this final character and talk a little bit about that. So the major difference here is just that we are going to allow ourselves to add more texture. Still, the same rules apply of line weight, not a whole lot of shapes of shadows. But we'll get into that in future lessons here. So I want to just kind of get you up and rolling with the basic concepts. Now, one thing that is particular to this particular program is that you go over to, um, find the icon for this over here, and you have stabilization. So keep that in mind that you can adjust this based upon how smooth you need the line to be . So let me just try toe, emulate what it does here. If I can get a showcase. Yeah, I think that right here, when it's set to the max setting right there, you can feel it kind of pull the curve to the end a bit more so it kind of shoots past the line. We're here, it stops more abruptly. So be aware that that you want to play around the setting. Max is gonna kind of accentuate that curve. So, honestly, this would be best for things like hair. I don't know that it would help me get some of these lines of the year, but we try it. I try to kind of work with some of these assisting features off. So that again if I switched to traditional, which often dio I don't feel like I'm lacking in some area. But I do want you to know it's there. So maybe try it, you know, in the middle or whatever. And I don't feel that it's a significant difference where, uh, it's gonna, you know, not allow me to work efficiently if I don't have it. So but it's nice to know the features there, so I figured I would address it. So basically the big difference, like a kind of alluded to already that I'm gonna go for with a character like this is I'm just going to allow there to be a lot of little rendering text oring. So I'm gonna be okay with adding, you know, these little ah crosshatched lines. I guess these aren't crosshatch until I go the opposite direction. But you know, shading lines, rendering lines, things like that. So that's kind of a show that draw muscle there. But, uh, that's what's kind of fun about illustrating somebody with age that you can really get in there and add more detail. And it doesn't hurt the design. It doesn't seem like a conflicting kind of effect. The other thing is, you know, if you just have a style that's conducive with rendering, so some styles air just very relying on rendering they they work well with rendering. So you have to decide that for yourself, what you're really going for. I actually like incorporating a lot of rendering on some of my artwork. I don't do it on everything, because it just if you apply it everywhere all the time, it loses its flavor. So you got to kind of pick and choose your battles with it. See him putting lines in all different directions. I'm not committed to just one type of line making the main thing that I'm committed to his line variation. But I want there to be, ah, mixture of the lines that I create in the way that I create them. You see, they're just those tiny little marks or to make it make that line feel like it runs over just a little bit more because we got to remember all these tiny little designs and rendering lines and shading. It's all just great Asian. It's all just a a way to make it feel like there's more volume and that the information in front of us has more perceived space on the page. More dimension. Since we're just working with black and white, we've got to be very creative in the way that we try to convey depth and space on the page . And I wanna have your line under this, uh, big nose here. And it's kind of almost animated looking knows that he's got so you can really bring that out by adding, like a heavier line right there, you see, it pushes that shape right off. Thea, you know, right off the face more. And that's what I want. Now. One thing that I kind of noticed with my work and I want to try to fight the urge to do too much is having these pointed lines everywhere so you'll see intern areas. I'll just take little bullet marks and basically to me what this is is fading off that line because I think those pointed lines everywhere distracting you don't see it in somebody's face. And it just Yeah, I guess there's a lot of things here that you don't see in a real face. But I try to make some of it read like I know what a face looks like. Not necessarily. This is the way face would actually look. You see, I've got some bouncing this the line right there. I'm gonna try to flow through that a bit quicker. Still kind of got it there. I didn't get at that time and also applied pressure as I got down to this bottom area because I wanted that heavier line. Wait. So again, then thick. No, I think here I actually want this to be even thicker. Summer press sound pretty heavily. Keep in mind, too. If you have to press too heavily to get that line. You're probably better off just bumping up the brush size and then not ah, not kind of forcing yourself to make that heavy stroke because generally I'm working off a sin teak in this particular example. And if I pressed too hard and I'm kind of forcing myself to tryto get it to do what I want . I'm gonna be a little bit more widely with my line making. I'm gonna get more inconsistent lines so you can kind of fix that by just bumping up the brush size and now focusing more on a plane light pressure on the other end of that line, something like that. So it's kind of it's kind of meat. How a lot of this congee dramatically affected by speed and the way that you create the lines the size of the brush itself, in correspondence to you know what part you're illustrating rotating the screen and making the mechanics of it a lot easier for yourself, not fighting the, you know, fighting something that you just don't seem to be good at yet. If you can't pull line from left to right just like me, then that's okay. Just keep rotating back and forth on I'll be honest. I do practice pulling lines left to right. So every known that I'll find myself kind of going for and trying to do it and then realizing, OK, I'm just not getting it. Why fight Thea The problem here and just rotate the screen when I can. But it's funny, like something about my pride as an artist makes me still almost subconsciously try it here and there. And I think through that process eventually get it. But it's just one of those things that really kind of struggle with. I could make a very confident line vertically on the page, based upon the way that I hold my pen and draw. But he had horizontal. It's just over the place now, even the near like this. I'm not gonna get in here and tighten up on it, but I feel like the lines just a little bit more wobbly than I like. So I'm actually gonna bump up the stabilization and see that maybe if I was used to that be in on it still feels about the same. Yeah, I might like it better off. Let's try that. So just a little bit of cross hatching there. So you see now, at this point, I'm not approaching things like I did in the previous examples as Faras. Let's just address this. Let's just address that I'm just kind of going for it. I do feel like I need the brush, but smaller. I'm getting kind of heavy handed with some of these lines. Um, but this is kind of the way that I naturally work. So what I wanted to do is show you first, uh, some examples of how you can approach us, and then now I'm just basically working a bit more naturally. So here, I'm gonna go for thick to thin lines and small gaps. You seem kind of texturizing this effect and stylized again. But as I kind of mentioned before, this is one of those areas where I think that you can really get away with a pretty stylized representation versus trying to trace this entire shape. Um, I guess the closest thing related to is trying to think more texturally or design oriented about this versus, you know, realistic, like if I tried to realistically draw a mustache would be quite different. But if I think of it more of a design, you know, comic style, and then I'm an illustrated differently. And it's it's a lot of its kind of surrounds a simplification. You just really want to simplify things as you make it look fun and stylized because that ultimately allows you to work faster and actually tell a story which is so important. And, uh, it becomes your style. People look at and go while I see the way that you do highs. I really like that. I see the way that you do your rendering. That's that's really cool. And and they connect with that. It's it's pretty neat in and of itself. So again, I want this outer line to be heavier purposely make that lot thicker. Probably check that from a distance. Make sure it's having enough, and I think it's reading pretty well. I think even some of my interior lines could be thinner by comparison. So you'll see a lot of styles where they put a very heavy line on the outside and then a lot thinner lines on the interior of their characters. And it actually works really well and it makes the artwork pop. And so that's something that you can practice. Doing as well is just go for a lot more significantly heavy perimeter shape parameter line . It's going to rotate this r and then pull the screen, pull across the screen and keep in mind you want a nice straight line there for me pulling this way. It's kind of too long of distance. All, actually, zoom back and make that distance shorter. So it's I can pull this line more confidently, just little things like that when you're working digitally kind of speed job and we're almost there. So let's go and wrap up right here. We'll head over to the next lesson. Continue to finish off this character. Eso with that, let's move on. 12. L10 Inking the Final Example Part 2: Okay, So where were we? The collar, I think, is where we left off. So let's jump back in here, because it really doesn't matter where we actually leave all fun. But maybe for you, it doesn't matter, Right? Okay, so now these can kind of be, I think, a little bit more boring lines. So this is another way you can convey a little bit of contrast in your design. You can have lines that are more waited, more varied, and, ah, I think that then and then you can purposely do certain areas where they are very abrupt or , you know, pick on one side and they finished thick on the other. So what? I would call basically a boring line, but but not necessarily boring if you use it the right way. And again, it provides contrast through your illustration. So again, kind of hitting home, that idea that you just don't want things to be overly consistent. You don't want them to be all the same. It just flattens out the work and makes it a little less interesting. We're supposed to be rankles. I think this could be a little bit thinner. Well, neck wrinkles something we'll look forward to eso you know, just, ah, keeping in mind that a lot of this convey be very rough. I think that I'm making this a little cleaner than I normally would, being that I'm explaining it. I wanted to appear focus too. But a lot of this convey be very messy. You know, you'll see a lot of styles where Messi works really well, but it's the same kind of variables in the way that you create just with a little bit more of a forgiving Ah, messy process. I guess so lower yourself to kind of play with that concept as well, because you, you know you may thrive and that it may come up with a really unique style by being messy and allowing yourself to be more creative through that process. Well, sometimes we, well, ourselves a little too accountable for this idea of perfection, and then it kind of stifles our creativity. So be careful on, just be aware. But you know, a good way to do that is just practice sketching with just Inc, you know, don't worry about having all these refined lines in front of another way to do it is to put down a very rough sketch of, ah, head shape and then just go right to inking overtopping, implementing details right in the thinking stage. So all sorts of meat, fun ways you can create and basically learn about yourself and create your style. You might realize why I've been laboring over this type of work. Ah, bit too much all sudden, when I let cautioned Goto the wind, I get a more energetic and creative field with work, which is often the case. Just think of jester drawing. It's the same concept where at first you start just a drawing and everything looks kind of messy and hard to read. And you start to wonder like, Is it gonna make sense? And I need to more and more of it and all sudden, you come up with these very neat displays of of information, of energy and fluidity, of the human body, and with just a few lines, it's really neat how it works. You just have to ally yourself toe do a long enough to where you find that about your ability to create with just a few lines. So again, simplicity could be amazing. So So, yeah, At this part, I want to kind of explain how you know, hopefully you see him trying in corporate these tiny little hairlines basically tiny little details so that when you pan back, there's that variation. I feel like it could have did Mawr of the interior face work with some time airlines. So this is going to give us that effect that not everything Is that the same kind of level of detail, level of detail and depth perception on the page? So you want some of these thicker lines and in some tiny little textures here and there to help give a bit of great Asian or fade some of this work. So you see these. They're just kind of little little spikes off that shadow are really line weights. I am really shadow. And then, for the shape of the eye, brows weaken, just kind of trace. Around this, we'll do the flood fill. A lot of times I will color end the eyebrows, even if the hair is lighter, just kind of something I do with my own style, not necessarily the right or wrong of it, but just the way I do things on its faster, so often make decisions based upon speed. When I started thinking about comics because I've worked on books where I've had deadlines and you're always trying to get a little bit faster. So if it looks good and you can do it in a reasonable amount of time, then that's the right choice in the hair. Even if I don't fill this in, I'll just kind of do that same thing we did with the mustache, the kind of skipping around and some thick something lines. And really, if I wanted these eyebrows to be a bit more fine, I'm gonna scale the brush down. That's gonna give me more clarity to the lines. I'm trying to create some kind of a of a larger brush, and that's actually gonna give me a bit of a messier kind of depiction of these shapes. I don't like that part. They're gonna fill that in and kind of make sense that he'd have a couple of loose strands of hair here and there. Try that out. You can also take the negative brush, just kind of going here and texturizing at a little bit. Now if you're going to do the gauzy and blur Gaussian blur. Whatever it's called, you're going to make thes thicker because when you go to blur it, it'll actually kind of make these disappear. So that's another thing. Being aware of how thick the lines arm with what effects it has as you proceed. Eso here could probably get back to making this brush a little bit thicker. But I want to add some variation of line. Wait right here and always feel like, you know, just one line across is boring by itself and then adding, like another little line, I don't know. It just makes it look a bit more interesting to me. So that's why you see me do things like that? No, but a shadowing are here. Line breaks right here. So you see, I had lots of little variations. That's little differences in the work. Okay, let's get this hair shape over here, so I'm gonna bump up the size of the brush, biting the bracket keys a couple times and then tried to get in here and render this a little bit. Now, one thing I will say about hair is that if it's darker hair general will fill it in and do what I did with the eyebrows. Come back with the negative lines. No, it doesn't really always matter because there's so much you can do with color. So this character could have really dark hair and you could still Brender it this way. Um, so it's really up to you. But generally, if you're trying to make the surface of the material re darker, you're gonna fill it and more and, you know, kind of render in the opposite way. We just kind of crisscrossing these lines, bearing up some of the thickness as I create them and hopefully exceed just by the slight angles of the crisscross that creates more desirable pattern. If you were to make all these lines going the same way, same exact same direction, it just wouldn't read. A swell would be is interesting. Just keep that in mind. Those little V's that I was talking about, her wife shapes. However you look at it, they basically make it look a little more interesting. Not a lot, but enough toe to do something. Okay, so this is a pretty tough line, so I'm just gonna throw in a layer and want to take my brush a little bit bigger. Dario almost. It's got a little bit of a bump back here, so make sure gonna draw through it. And I'm using that that pivot of my hand against the screen to try to get that in just one pass. Hopefully another way to do that is there's curve lines in this tool so you can pull from here among that transparent. Let me go back. May I add a layer just to show you real quick? So if I had that layer I grabbed that curve brush on black You click hold, go to the side and that's gonna like it a pull. So I didn't get that curving of Bumpy had ever So this is another way to do it. I don't use it that much, but it is a pretty powerful tool. So it's click hold like go and then you're gonna pull back and forth and click one more time, and that'll give you a curved line. Eso It is a way to kind of help you get something like that and then you can re illustrate over top of it and give it a bit more energetic feels so it's not just a plain line, it's a little texture there. Get these eyes going. We're gonna pull a little bit of a cheap. Just do this one and copy it. So if you're not good at, ah circles or half circles, really, you can use the selection tool, or you can draw a circle on a race, some of it back. I'm just gonna painstakingly try to get this shape. I'm a glutton for punishment. I think I'm actually gonna enable Samo Stabilization feels like I think it would help right here. A lot of times, I would just father of these types of shapes so kind of re, uh, redraw over top until I get the right design and sometimes even a race back. It just seems very time consuming to do it that way. So I like practicing the quick poll, and it's like, right there, I'm gonna try that one more time and again, I'm gonna kind of readjust my canvas so that hopefully get the mechanics my hand a bit better, basically, just pivoting off my back on my wrist there on the screen and trying to align it where the rotation of my hand works a bit better, so that helps it all by explaining it. Hopefully it does. There's our little glare lines, and I'm gonna keep the iris of the character very light. I'm gonna hold all and drag over with the move tool that's gonna give me a copy automatically, command T. And I'm gonna scale that down, place it over top of the sketch there and check it from a distance. And I think that reads pretty well. So we're gonna go and wrap up right here, because this lesson is just about done. So we're gonna head over to the next lesson. Now finish off the mouth. We're gonna add somebody smaller, rendering lines, and I'm gonna talk to you about you know, how it's need, that you can take a character like this and keep adding and really make it more dimensional . Eso again. It's kind of that comparison of where on a face like this, a youthful face or girls face, you want to keep it very light and airy. We're gonna be able to do a lot more rendering to this one s. So with that, let's move on to our next lesson. 13. L11 Inking the Final Example Part 3: Okay, so let's continue to ink the mouth here, and then we'll do a little bit more rendering. So let's see what these are probably just kind of get the round over that I tend to think about what teeth does have a little bit of, ah, straight flat edge and then a tiny bit of it of round over and again, more of a stylized kind of idea of what teeth would look like. It's like damn trying to throw that line and get it to end up where I want hard to rotate and a little bit heavier line or thin the thick. It's always kind of bouncing around that in the thick method, probably over use it, but I think it works. So whatever works go for it, um, shouldn't be so concerned with this one. Tooth is kind of happens. Maybe now and I know where I'm like thinking something, and I want justice specific thing in my head. So I keep in that command z another double edged sword to the process. The fact that you can go back as many times as you want, sometimes you just gotta let it let it be done don is better than perfect because if you keep going for that perfection all the time, you'll you can sometimes get caught up in that, uh, not deliver the work on the time frame that you need to. That's what I found anyways. And I guess I've been fortunate because I've met enough artists I in my career where some of them are insanely, um, successful just because, or one of their manes successfactors of the fact that there really fast some have decent enough quality, but their speed is phenomenal. And, you know, some people have all that. Some people have the speed, the quality, the whole, the whole bag. But some people can simply make it in certain industries based upon speed, you know, with a certain love of quality. I don't want to make it sound like you can get into a professional art industry without doing quality work stuff to have a certain level of quality. But some of it is very speed related, and no storyboards comes to mind. But really a lot of deadlines air looming with every our profession. My hotel right there haven't open edge, and that's probably because I'm working off a floating layer, which I am. Someone hit command. E. Keep doing that until you get down to the primary layer here. I just had a lot of them going right there. And now this float feel should hopefully work and still haven't opened at somewhere. It's just kind of go around right there and probably even right there. There you go. Okay. So now a few little rendering lines back here, we rotate this hand skilled on the brush with the bracket keys. Just that little bit of shading there kind of helps. Push Thomas information back. Double click here in strata. Back help. Okay, so there's the inner part of the mouth, and I could obviously get in here and do even more. But I'm gonna go with that for now. Get these little texture lines on the lips. Somebody's very thin lines here again for comparison or contrast. And so now I'm gonna start adding some of this other rendering. So what I want to do here is just show you that, you know, again, you can already notice. This has a lot more than the female face. But we can take this pretty far. It's a lot of times when you have an interesting character like this some of its age or somebody that's more stylized or whatever, he can really start to have fun with the rendering. I tend to do this quite a bit because I just like rendering. I like adding these bits of shadow and detail, and, uh, you just have to kind of add it and see what works. So again use layers to advantage. If you're gonna experimental, you're doing something that you're just not sure off. You know what the end result might be? I don't think that you're never really sure anyways. But if you're a little bit more new to whatever concept you're trying to implement again, layers air going to really help you out, and it's gonna lie to explore these different opportunities and ultimately find the best choices within your style and you'll see like certain areas like this I've tapered. The lines have made him thicker, closer to the underside of the neck here, and then I might decide to cross actual nous and actually kind of the area I'm thinking of going when I had a little bit of this cross hatching right here. And I also want to make thes noticeably thicker because I want that variation in the pattern it creates. And also, if I'm gonna come up here and add these little lines here, I need these to read differently so they don't look like continuations of those lines so I could make the other ones thicker. I can also make thes ones, um, a little bit more spaced or a bit more curved, which I think goes well with the chin anyways, So all those little decisions kind of factor in and help it to read differently than those other lines. I think I think that's my thought process because I just don't want to look like tangent. Really? And it kind of already does. I could also do just one lying across each way like that. You see, that kind of divides it up a little bit more as well. I think so. It's getting in here. I got a few missing pieces up here. Okay, So with the ear area here, I'm just going to shade inside of here. So again, a little bit more of a tapered line there here, I'm just going to do these little bumps. I'm gonna press harder and just kind of flick away from the line. Give me that. You know, different style of ah, texture there, these ones, I'll start closer together, and then I'll have him kind of fade off from one another. So another way to control the shading kind of in a, you know, direction away from the darker part of the shadow. Now, with this area, I want to use more of these little hairlines. Okay? It's a real light lines, angel. Hair is I think a lot of people will call him. And then once they come over here, I'm gonna make these was just a little bit darker, just a little bit of taper. And then I'm just gonna have feed off and maybe even go around the shape of the nose a little bit. So x, I don't like the starting point. We go back. Here s I'm looking for things that actually just become too distracting as well. And that's what I think happened right there. Try this a couple ways. Yeah, I think that's a bit more effective. Most distracting. It's a little bit of cross action there lines here and there just little bits of texture. Wrinkles? What have you I can even it's a little light shading there, they say. I just kind of keep sculpting what's here and adding to it, it's not hurting the design. At least I don't think for the style that I admire. I think that it looks great. So all right, so I shouldn't say that about my work. I don't think it looks great. I think it looks nice, Uh, and I want to sound like I'm being too boastful. I think my work looks great, but the thing is, I mean, I guess we should all think our work looks great, right? But the thing is, is that I want this effect where it's getting more enriched, not getting distracting. So again, I can utilise layers to kind of check that and make sure that each time I add this range of shadows and texture that just keeps getting a little bit better a little bit closer to what I want on then. Obviously, if you start getting too close to the work and you're sitting there looking at it for hours on end, that's what it's good to bounce it off somebody else with fresh eyes. Get their immediate reaction on opinion. Always, always a good thing. So that's going to take this now. And let's get rid of the line work of the initial sketch and you see again, I still feel like it lightens up a little bit. I don't think it's too bad. I think that's another thing that the additional rendering kind of does for it. It kind of holds its weight Now. I do feel like it could use some more, though, and what I'm probably going to do here is like we did before. I'm gonna go and merges together. So there is that I'm gonna duplicate it and you see, it kind of washes out the detail of the brows a little bit, but that's fine. It's gonna do that even more once I do the girls and blur here, okay? And check it from a distance. So the first thing that I kind of see here that, uh, that I want to fix is it just feels like even with all these subtle differences in the line work, it feels like it kind of breeds a little bit flat a little bit on. Interesting. So what I'm gonna do here is add another layer and again I could go wrong and sculpt the outer edge. I could beef up some of these lines. I think that part of what needs to happen here is some of the areas that are recess like, say, the eyes here need to have a little bit heavier line weight or shadows so that it just reads as you know, something more rounded, more dimensional. I feel like the top I lead could have a thicker sheep. Yeah, and likewise, I could also take some of this and, uh, you re some things back to race in this line back down here. I could then out the line to the bottom so that I get a you know, You see, there's a bit of a light cap right there, and I kind of like that. So I'll try that right here as well. And let's go and wrap up right here. We'll head over to the next lesson and continue to finish off this character 14. L12 Inking the Final Example Part 4: We could also add some more areas of shading that you know are here yet. But we've got enough based information really see into it. So this neck muscle here could be a lot more distinct or rounded, I guess by just adding a few a few lines here, we could do something like this. Try to run that over a bit more. So these light lines can do a lot for it. And you could really kind of go crazy with it so you could round out the entire side of the head by I probably pan back bet. Do it this way. So I get really far back again, may be tested with wear, and you could get in here and do a lot of, like, little shadows like this. Really kind of intensive. Five. The effect. So I probably go through all of this, obviously, you know, But I'm not gonna actually keep this. I just want to show you so you'd actually probably do these all in one pass, so you would probably start with, like, a base kind of sketch line. Justo, help you figure out where this would all go. You could easily jump in there and do that create more dimension to the face. But the one thing I want to do is that a little bit more texture to the hair. I feel like the hair reads poorly as it is. So I'm gonna do is just sketch through here, texture it out a bit more. That and the mustache. And this is his preference because, really, if this was going to color, you wouldn't need to do this. The color is going more than you know adequately fill in the gaps there, but they were working in black and white. It's pretty easy to do that, and it just helps it to read a little bit more effectively. So maybe intensify the eyes by adding a little bit of line weight to the iris. You see, I'm not putting a drop shadow on the top of the eyes like I did, you know, kind of implied with these other characters. I guess I did it more with the male character, but generally that's always there. But for this character, I don't know if it because it still helps make the I read a bit better, especially from a distance. But generally What that is anyways is the drop shadow from the browse. And since I'm the expression is eyebrows were raised up. I'm gonna go and leave that out. So that's that's about it. Like I said, you could keep texturizing with this. You could keep adding line weight and really make this stand out as much as you need. Teoh, I think wouldn't good experiment is to add a layer one more. So I'm gonna merge the rusty's together again. So there's that finished art. I'm gonna add one more, and sometimes I'll just play around this and again. You could do this from a distance, but just to kind of see what the added line work would do for you. So just go around this real quick. Doesn't have to be, ah, to refined. But it's a good way to experiment again. Just if you keep it quick and, uh, use that layer to back you up, then you could just see what it's gonna look like. And I think this is important because land weight can really make the artwork pop. It can make it, uh, jump right off the page at times and, you know, using the wrong kind of lines, you know, little lines all over the place, too thin or whatever really takes away from what would otherwise be a pretty amazing illustration at times. So just try this out again. Just kind of go a bit heavier than you might normally go. Since you are working digitally, there's, ah, you know, nothing ventured, nothing gained. It's not gonna hurt you because you can just do away with this if you don't like it. But sometimes you just be pleasantly surprised that what this condo's We put a heavier line here on the nose that would go a little bit more. You see, I'm even quite a bit hesitant in the way that I apply this. But I don't know enough times where I know that it's worth doing. I definitely do this a lot after I get up a page together, because there's certain elements of the page that you really want to pop out. You're trying to control the the focal points, and clam weight is a great way to do that. So let's go ahead and see what that looks like now. So if we pan back to about here, you know that be size reduction or something like that. And if you toggle us on and off, you could see that even that little bit kind of does quite a bit for it s Oh, I definitely recommend it. So hopefully these lessons have helped you understand how you might render some different things, how you might approach inking your faces with digital means. And I'm gonna continue with more lessons. So let me know what you think of the content. I appreciate watching these and more on the way. We'll soon. So keep drawn, Keep em fun and bye for now.