Draw a deer skeleton with ink pen | Joe McMenamin | Skillshare

Draw a deer skeleton with ink pen

Joe McMenamin, Artist - Illustrator - Teacher

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7 Lessons (30m)
    • 1. Introduction

      1:14
    • 2. Choosing the image and tools

      1:39
    • 3. Practice ink pen techniques

      5:02
    • 4. Sketching the skeleton with pencil

      6:12
    • 5. Drawing with ink pen

      0:35
    • 6. Toning with ink pen

      12:59
    • 7. Conclusion

      2:43

About This Class

Drawing with an ink pen is a great way to make bold, interesting illustrations. In this class I'm going to take you through the process of drawing a deer skeleton using ink pen. We will cover finding an image and the tools we need to do this class. Sketching the skeleton in pencil first to get the proportions right. Outlining the drawing with ink pen and then drawing the tone and details.

I hope you enjoy this style of drawing and learn some new techniques. Thanks, Joe McMenamin

The music used in this course is courtesy of https://www.youtube.com/user/Chillhop.com

https://chillhop.bandcamp.com/album/chillhop-essentials-spring-2016

 

Transcripts

1. Introduction : Hi, I'm Joe McMenamin. I've been a teacher in New Zealand high school for the last 13 years. And one of the things that have worked out is that drawing is really important for my students in this class. I'm gonna show you how to draw this d a skeleton, using people. We're gonna look at how to sketch the skeleton using pizza while looking at a really good reference image. We're gonna look at some different techniques for creating tone, just using an MP, and then we're gonna go step by step through, actually drawing the skeleton, including the details. Now, you can download the image off the skeleton from the sculpture resources on this class. Or you can go online and look for your own skeleton that you want. Now, I love to see your protects you on your drinks for this course. So if you can upload them as a project and if you do, I'll give you individual feedback on your work. Thanks for enrolling in this course. I hope you really enjoy destroying teammate 2. Choosing the image and tools: all right. And this course we're gonna learn how to draw a deer skeleton. We're gonna be using this image that I found on the Internet off Dear skeleton in When you're searching for an image, you just want to find one that's quite realistic, quite detailed. This looks like an old fashioned illustration. So this is gonna work really well. And in terms of the tools that we're gonna need, we're just gonna be using a pizza. Also got a four b pencil here that I'm gonna be using for sketching in a racer just for rubbing at some of the pencil lines. And they were going to be using an ink ping for the actual drawing Pat. Now, the kind of in pain that I like to use is called a roller ball Angping. Um, this brained is ah, Eunuch brand called Donna. But you can just find finding any kind of pain that you like to use, and you can try them at this is a 0.5 thickness. So this is gonna work really well for what we're gonna do today, but have a little bit of a play around with some different teens and see what what you can come up with. All right, So now that we've got the tools together, which we're gonna need just a nice piece of cat Ridge paper as well or a couple of pieces because we're gonna be doing some prick destroying it doesn't need to be watercolor paper or anything fancy. Just something that's a bit thicker than the normal computer paper. 3. Practice ink pen techniques: All right. Well, before we start on the, uh, peen drawing off the deer skeleton, we're gonna look at a few different peen techniques first. So because opinion gives you a solid black line or sort of line, you can't do the same thing you can do with pizza, which is due graduation of time. So with a pencil, you can start off Doc, and you can blend to light so we can get a soft blend from lights to die. Now we have to use some other techniques with the teen to be out, achieved the same sort of thing. So the 1st 1 of those is called cross hatching, and cross hatching is basically where you draw lines that are going in opposite directions . So cross itching is like that's where you draw individual lives. And then as the loans overlapped, that builds up Dr and Dr Lai's Atone on the inside. As you can see, it's doctor in the middle. The key thing with cross hatching is that you have is that you take your peen off each time you don't line issue during individual lines. All right, so the second technique that we used is called scribbling, and that is basically where you scribble like this. Now the advantage of scribbling is that you've got more kind of freedom to move in different directions. Um, you don't have toe, you know, step with straight lines like you do with processing. You can kind of move around. And as you can see here, what I'm doing is I'm just building up from building up tones around the each just to make kind of a sphere shape and you can do scribbles and, you know, scribbles like this. You can do scribbles like this. You can scribble. How is your life? Really? So it's just about continuously keeping the peeing on the paper and just moving around Now . The third technique that I like to use is called dotting and dotting is where you can feather off or taper off the tone to go from doctor like So, let's start with an example here so I might start with cross, some cross sitting at the beginning. So as you can see, I've got some darker tones on this each, um, where there's more lines over leper least white space and then, at the each year work, studying to go. Really? Like what I'm gonna does. Just stop putting in some dots. You don't want to turn it into pointillism, which is just, you know, where you just draw the whole thing with dots because it just gets ridiculous and it takes too long. But as you can see, it just helps to, um, fade that the tone from dark to light and how much space you leave between the dots kind of helps to, um, to create turn in there as well. And the last thing is called outlining and outlining is basically we're with a pin. You can draw a really cool outline on something so say I want to draw from during circle again, or a sphere can just draw the shop line on the each and then I can work in from that each there. So it's something you can do a pizza as well. But, um, it's actually it's nice appeal because you can get a really nice crispy Jonas. Now when we drove the skeleton, we're gonna be using all of these different techniques. And it's just about flowing coming between the techniques to create the beast of feet for what you're trying to achieve. So you can see here that I've done a combination of processing, dotting, scribbling and outlining. We're getting in my shop each here, around the each of it. And that's effectively what we're gonna be doing when we draw. Ask Elson. All right, so let's get started on the remain drawer. 4. Sketching the skeleton with pencil: Okay. Now, to start during the skeleton, we need to start off with a basic kind of basic shape in a basic kind of laying down of proportions. Now it's beast. Use pencil for this because you can't rub out the pin. So what I like to do is if if you kind of starting out were if you if you want it to be a little bit easier, then do it the same size is your image because and I'll show you some reasons for that in a minute. If you want to make it a bit harder, you can enlarge it on def again if it's if you want to, even easier than you can trace the Tracy image with carbon paper or on a window. So what we're gonna do is we're just going to start off by just getting the basic, um, the basic clean down. So I've got my drawing here, and what I can do is just I can look at kind of the weird things are so I can say, OK, the heat think heats about here the, um antlers gonna come up to about here and then the angle of this is down the back burner is gonna come off about here so you can see I'm just really, really basically kind of during in those those proportions decides those bones here in a minute. It doesn't really matter what size you do. The drawing. Um, you just needed to be in proportion with itself. So the length of the leaks compete to the nick in All of those different speaks. You hear that? Come here. So you can see that there's not much of a gap here between the rib cage in that first on a knuckle. - So what we know now is I'm just I'm looking back and forth between the picture and what I'm drawing. I'm just tryingto make sure that I it really look a different parts of the of the drink to try and get the proportions right. - So don't be afraid, Teoh kind of rub, but yeah. I mean, if you want it to be perfect and exactly in proportion thing, you really need to trace, it will measure. I mean, that could have measured all these different parts and transferred it across the debt. But I'm not too worried, I think as long as it looks like a skeleton when we drive. And I think as long as everything looks like it's in proportion does look at the moment pretty good. Then I'm gonna help you with that coat. Now, as we when we do start during that, the peen we're going Teoh, just be rubbing out some of those guidelines and under Joran's areas, because we want table, not shop kind of peen drawing. So now that I've sketched it up and pretty happy with it, what I'm gonna do is just kind of Starlight rubbing over the whole thing. I like Kate E way to go looking good. So, um, now we're ready to start in with the teen. 5. Drawing with ink pen: Now that we have the pencil drawing based down, we're going to start working in with the peeing Now, we're just gonna 6. Toning with ink pen: All right. So just remembering back Teoh practice techniques here, we're gonna use, um, cross itching, some scribbling. We've kind of done the outlining without drawing. We're gonna be working from the outlines in and then we'll use, um, dots as well, just to kind of get some of those really fine light areas. So when we look at the picture, we're gonna look it. Obviously, we've got some really nice dark areas around here inside here, and we want to create a nice sense of contrast. So we want to have some nice dark tones in here where it goes behind and then on the light areas of the ribs. Here, top here, the skull. We want just a little bit of time here to make it feel sort of three dimensional. But the risks of it we want, we want to kind of make it quite dark. And we want to get the seats of these thes bones being rounded as well. So there's just at start doing it. And what kind of work it out as we go along. But yeah, hopefully, um, can explain some of the Semitic makes as we go through. So we just started for the endless with their When we look at a picture, we're looking at the lights coming from this direction here, really? So above end from the right. And so we want to look at it. The parts of the of the skeleton that are facing the lift and down We're going to start getting in some tone to those very remember our criminal who must be put away. Now when you join my peen, you have to be careful. You don't overdo it you don't want You don't want to fill it in to be solid black because you can't take it back once you don't. So you want to just take your time, just adding in a little bit. So, Tony, as you go along, I think it's looking good where you can try and use, um, contour lines as well. So control insidious lines like bad medicine showing the randomness of it. Okay, Now, when we look at the skull, what did you? What I like to do is to stop from the light tones and then work backwards. So we look at the skull and we see that there are some very faint tonal changes in the top part of the skull, which is just to show that there are those kind of two secret science. And it's to sort of dots here. So just a few adults only really help that in the inside the eyes court. Okay, He just looking good. So now just gonna work that way down here. Did a few lighter tones that some Sorry, Yes. Draw them with a few dots, because this part of this partisan shadow, it's gonna be one of a doctor. - Now , this whole section off the skeleton is in shit up so well down here, inside here and then down here is in shadow. So we want to try and create that really dark kind of feeling like it's going inside for this area. But anything that sort of facing this way. So these little spikes on the top here, they're going to be pretty matter white, maybe with a little bit of tone like that. Okay, now the next major area that we want to work on, there's thats bone here, which is made. It's a collarbone, or do you have a color boat? But it's quite a big bone, and it also has a nice coat. A nice graduation in here. So we just want to stop building up a little bit of logic started. Yeah, I think we'll mainly use dots of this one because you wanted to be quite settled. So you want this feeling like, kind of like that's bone is rounded in its, um it's branded like that. So it's actually going into another time. Urine. It was just a matter of looking really closely at the picture, just trying, trying to understand what's going on here. Um, I mean, during that as well. Now one of the other things is that we wanna think about the general principle off contrast . So, like, things come Ford dark things go back, so you want the light things to be in the front. So, for example, with this area, we want to leave a nice lights. I'm kind of bone. There was a doctor behind it, which will just see that operate because there's a whole lot of over lechon bones. Go way don't really know what happened, but just admit it too much. Yeah, I said, It's just work our way down the league is a little that's a stick out of here. Excuse across the street technique. Thistle. Quite great. What about that shadow that falls from the sun right now with the bone? Um, you got to try and get the seats off this this knuckle, this sort of in here that are coming down in connecting that with the one below it. So that there is something quite like awful on West. It's a little bit of a left from the bottom. And then there's a shitter. So this is really consistent for Okay , let's do some of the rib cage now. So with the rubes, what we have is we the left back here and in a dark shadow on the indepent. So the rivers like a You know, it's a little bit of deep love of fitness. And then as it comes down to it, there's a rib joint here that documents. And underneath the rib cage, it's Doctor again. All right. I'm just gonna work my way, um, down the last three leaks and they will be finished the turn part 7. Conclusion: all right, there we are. Finished adding the time. Now What I need to do now is just just have a look. Have a really close look at the picture and kind of refer back to my drawing and just see if there's any areas that need to be whipped up. So, for example, I can see that through this rib area here. You're actually some other kind of little shapes that come down here. Um, which I guess up out of the part of the deck bone. So I just had those in. You can't take away that. You can sort of ed and details to try and improve your drawing. I'll often ed in like a few more dots to create. Teoh helped create some of the half times that air in the door and look for some of the darker here is that I may have missed. Now when I look him when I look critically at the during, I can see that compared to my my picture that Nick is a little bit straighter on my drink rather than curved. Um, and possibly and it could be a bit longer in the heat sort of run a little bit more of an angle, and then maybe the ribs look a little bit longer as well. But the thing is that because we're copying it, it's not gonna be perfect Coffee. Um, but hopefully agree that this drawing on its own looks really nice. Looks really like a like a D a skeleton. Thank you for taking this class. And I hope you've learned a lot. If you are interested in looking at my other classes. I have some classes about during a pencil typography and using pigment dyas. Well, so go to my profile. Cheek met. Thanks again.