Drawing Daffodils with Ink and (Alcohol) Markers | Benjamin A | Skillshare

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Drawing Daffodils with Ink and (Alcohol) Markers

teacher avatar Benjamin A, Art Classes by Benjamin

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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

9 Lessons (47m)
    • 1. introduction

    • 2. Which materials do you need?

    • 3. Sketching the Flower

    • 4. Sketching the Leaves

    • 5. Inking the Composition

    • 6. Adding Grey Tones with Markers

    • 7. Shading with Markers

    • 8. Adding more Depth

    • 9. The Project

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About This Class

Even though daffodils might not be blooming all over the place anymore, we still can have lots of fun with creating a beautiful illustration of them.

In this class I want to show you how to draw daffodils in a lovely composition, using ink and (alcohol) markers. Step-by-step you’ll discover how to draw these beautiful flowers, ink them and discover how to use (alcohol) markers to gradually add some shade and light.

Jump right into the class to create this gorgeous daffodil illustration with some warm grey tones. You’ll love the outcome of it!


Meet Your Teacher

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Benjamin A

Art Classes by Benjamin


My name is Benjamin Aeilkema (Art by Benjamin) and I’m an illustrator, artist and art teacher from The Netherlands.

I love creating artworks with traditional media and with digital media as well. My favorites are ink, fineliners, watercolor and watercolor pencils, but I am in no way limited to those.

My favorite themes are houses, landscapes and animals, but I like other themes like fantasy and sci-fi and many others as well.

My artworks are often fun, sometimes serious or with a deeper meaning. My love for God is often also expressed in and through art.

For many years I’ve enjoyed creating art, learning many skills and techniques along the way. I often have a personal way of applying these techniques to my artworks.

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1. introduction: Well, welcome to this class where we're going to illustrate some spring flowers. Now you can see some materials here and you can see the end result of this class. And we're just going to have fun drawing the stuff deals in a composition using some alcohol markers and some ink. To do this in this class, I'm going to take you step through step-by-step, how to draw these flowers or to pay attention to, then how to ink them, and then how to use alcohol markers and gradually add some shade and light to it and just create a beautiful illustration with some warm gray tones. Doing this was lots of fun, and I just want to share the joy of illustrating some spring flowers with you in this class. So I would say move to the next lesson where we're going to discuss the materials that you need. 2. Which materials do you need?: Okay, Welcome to this lesson where we're going to discuss some materials. And for that, I'm going to put these flowers aside. Well, this is a material are used. I pick these flowers since it is spring in the Netherlands and the plenty around a pixel, you don't have to use live flowers if you have them. Yes, do use them. If not, this class provides the photographs you need and you can just look at them and use them as reference. Okay, aside from these flowers, what else do you need now the first thing you need is a pencil eraser, and I'm using a brush to get rid of my mess, but you can blow that away to Tony's your fingers hands though you so much Sure. In part, that would be the first thing. The second thing you would need is something to ink with. I'm using a fountain pen, a very thin fountain pen with sepia ink. You can use any color you like, and you don't have to use a fountain pen. You could use a fine line at that works too. Even a regular pen would be fine. Color doesn't really matter as set, something is put ink if you're going to use a fine liner, I would say use a finland one, like a zero-point one or 0.2 if you can. So really thin one because I used really thin lines for for this one. If you have a thick fine liner, okay, and no fun ones, then of course, use that one. What else do you need? You need some alcohol markers. And I've got a range of alcohol markers, warm gray, warm tone grays, ranging from a warm 1, 3, 2, 5 to a warm seven, doesn't have to be Copic markers. If you have a different kind of alcohol market, that's fine. Or even felt markers or brush pens or brush pens would work to something like these brush pens. That would work too just if you have a range of grays and I'm using for grace black, I'm not using a black but for grades. If you have warm tones, then do if you have different kinds of grades. Fine too. Yeah. So brush markers, alcohol markers, felt markers might work too. And then the last thing you need is of course, some paper. And now I already made a mess. So that's what this process for. You need some paper. Now, I'm using regular sketchbook paper, while not the best for alcohol markers, but it gives a certain charm. So that's why I use it. You can also use mixed media paper that is fine to Bristol paper, but don't use thallium but the smooth one then, or use marker paper that is good. Alcohol marker paper is great too. You might get a bit of smooth transitions with that. But if you want this rough stuff, I would say pick some markup or sorry not market pig, pig some sketch paper. I have a bit of texture on it and it is reasonably thick, but it bleeds through as you can see. And so I pulled a regular piece of paper in between. It's not really thin paper would still it bleed through a little bit bright and that's it. That's what you need for this class. So I would say get a dose materials and let's move to the next lesson. 3. Sketching the Flower: Hello, welcome to the first lesson we're going to need for this one is pencil, eraser brush. And what I'm going to need is these flowers if you have flowers, yes, use them. If you don't have flowers, do not do not use them. Cushioning of flowers, but then use my photograph supplied. All right, okay. Okay, let's see, run to make a composition with a nice flower, isn't that I'm going to put this flower like this. And I'm going to draw this top bit, and I'm just going to walk you through and tell you what I'm paying attention to and let's go. Yes. So I'm going to start with the top bit and I don't want an exactly replica of this. I just want a believable drawing of this. So what I'm going to start with this bit, and I'm going to just look at the flowers and okay, I'm going to do these fringes on top. Then I'm concentrating on this bit. And these fringes are folded in some areas, they go up again, someday go down again. And that is this bit, all right? And that would be already that bits. Now then there's this middle part of the course. And I'm going to draw that in. And then if you look on top, I can see that this is a bit dark in here and then this just continues over there. And that is just, I see all these faults like that. So I might as well throw in along with it and then create all these faults. And there you go. Nice form to hire more day. Alright, that is nice. That is the first bit of the drawing. Now we have this part here and now we have some leaves. My fewest, slightly different from yours. Probably. What we do is I'm going to draw this part and I'm gonna ignore this part. Okay? I'm going to draw this part. I'm going to say, I want to end. I'm going to say I'm neat about this length. So I'm gonna guess that I'm going to go around here. That is where this bulging parties which I'm drawing in now and then you get this part. All right? And now from there on, I can do this leaf and the leaf around there. And I'm going to draw in this leaf. Now the leaf starts very interesting angle closure our points at me somehow and then disappears and then there's this fall, then it gets tricky and leaf, and this leaf goes right in front of it, cuts it off and makes this interesting angle here and disappears again. All right, that would be dose. Now then I need to definitely extend this bit a little bit and under the leaf NYC and pull it up a little bit to see what's going on behind there. There's the leaf and it goes and then close up like that. That's what I see. And now we're behind there. I see another leaf that just comes out of it and moves there. And I can see they're a little bit of a leaf. And that goes on there. All right, now this leaf looking at it, we will need pointing more to me. So I'm going to redo this leaf. Now that I lifted it up, I can see it's slightly rather, it goes on the hair. Then it disappears there. But it goes behind dare and then it points to me and this I need to do like that. All right, and now we have this leaf going there. And there you go. Okay, that's the first bit of my drawing. Then I need to make sure that this is connecting nicely. Okay? And I'm gonna leave it for now or like this. All right. That would be my first flower. Okay. And there you go. Now, that is the first one. All right. That's it. K. And this would basically keep on going, right? That is my first flower. The second one will put the first one on water again. I'm going to do the second one. Let's see. I'm going to want to have debt right under here. So I'm gonna put it aside. I'm looking at this angle. I'm gonna do this middle bit first. We might just put one of the leaves across the other one that would work. Let's start with the hard part here. Going with these back fringes there. And then we have these fringes going in front of it. That would be right. Then I see that middle hard part stem. And now all these fringes go down there. Then I see this part here. I'm not drawing this part in a little bit like that. And then it comes out. There's a leaf there pointing towards me. Bit of an angle like that. Then there's a second leaf coming right at me and disappearing on the main calling like debts to the back. But not all the way to the back because there's this middle part which I'm seeing here. All right. Then there's a leaf I see on the hair Going to about the middle bits trait and a bit like that. And lines now this leaf we kinda cut off a little bit. This leaf cause longer on, this leaves us more like that. All right, and there's a leaf on the back coming out, and there's a leaf coming out and Nash, the last leaf which comes on the hair and goes to about the back there. So I need to later on erase this bit and I can do that right away. You go. This is good. This is nice. Discuss like that discourse down. Bit more on the run angle. This is a bit of a mess because we don't see anymore and this is good. This comes to us. Might hold it so that I can see the angle a little bit better. Let's see. This is all torch fringes on the hair. These fringes up there. And this leaf points towards me and then goes like that and our debt is better. Sometimes you just need to correct what you're drawing. Erase a little there. And there you go. Now I've got that part that is much better. Now I can do the second one that I see, I see from the heart. There's my heart. The stem, like that. Now they're not connecting in any way. Then there's the two flowers. All right, that's it. And then route concludes this lesson. And the next one we're going to add some leaves to it. Alright, so now I've done the two flowers on the next step would be at the leaf. 4. Sketching the Leaves: All right, a cut these leaves now with daffodil leaves often, if this would be, why would I do? I can do it easily, but for there is like this, the leafs go around it like that. And that is what we're gonna do with both the daffodils, true that M, right? So we're going to look at these leaves. There are pretty long leaves. So I'm going to say, Okay, if this is the bottom ten, I'm going to chop that off. Cattle leaf, going around there, get a leaf going around there. Now this leaf is pretty much done already and this leaf over make interesting, we're gonna go all the way up there. Let's make him Finn. Alright? And this leaf would end up right there. That's it for these leaves. Then we're going to add a leaf behind it. And that would just be like the center of this leaf would be interesting to add a little cap there. Just add a few lines behind it that we are this leaf we want to have like that. And let's move that leave out this leaf goes now inward. Don't do that. We're going to move it outward to go. That looks better. Right? Do the same with this leaf two. Comes out here, goes behind there, that's better. Okay? All right, that would be the leaves. So leave behind there. Let's do the same with this one too. But we're gonna do bring these leaves, these are closer. We're going to leave these leaves, bring them out more. So we're gonna do one that goes right there and I have my leaf looking at it. And that will be interesting to make it go like that. Might be a bit too far. And then it goes behind the flower, create a bit of a 3D effect with that. And the next leaf, I'm going to let that stem go here. The next leaf, close there. And basically see what disappear right there. So this would be a leaf 2 and then let's go over the leaf behind it. And this leaf is folded, comes from here. And it's folded right there. And then cause like Dad, dad isn't. Interestingly, if we have a fold in it, this line shouldn't be there. Let's get rid of it before I get confused. And that's it. Alright? So we have C, makes sure everything is three obvious reward is. And now there's some nice leaves. We have this leaf and let's just do another leaf there. Okay, That's good. Do we want a leaf now? We'll leave it like this. All right, enough leaves. We'll leave it like this. Those are the leaves. All right, The next step would be we're going to get a pen and draw this in. So that's it for this part. I'll see you in the next lesson. 5. Inking the Composition: Welcome back. Next lesson. I'm going to ink this in our cut. A few choices, few pens. One we're going to do is to make it interesting, I'm going to use a very fine fountain pen with sepia ink. What I'm gonna do is I'm going to do the outline first, and then we've done the outline, then we're going to get the CAPEX and add some interesting shading to it. But for now, let's start with doing this. And I'm going to just start at the top and I'm going to ink it now you can use a different pen than me. That's fine. So I'm going to create a very thin, interesting line. And as you can see, I'm sketching. I'm not making continuous long lines, but I'm just sketching in and there is a gap down. We had that. All right. And then is there I need to talk a little bit. And what I'm gonna do is I'm going to add some interesting markings and lines right away. Okay, That's the tough part. 10, this one moves right in there, and this one moves right in there and goes just in front of them. 6. Adding Grey Tones with Markers: So we've done this drawing and now we're gonna do something different with it. What you could do with this drawing is now you have destroying and you could add shade to it. And we could do that by some hatching. Just adding everywhere hatching lines. I'm not gonna do that with this one when you try something different for this and we're going to use some I'm going to use some alcohol markers. I have CAPEX. You can use any brush you like. And we're just going to work with this now that we have our outline, just create something different. All right, It's clean. It's cleaned up. It's okay. So let's see, I've got a couple of colors here. And Copic has nice numbers on it. This will be a W1, W2, W3, W5, W27, anabolic, which I'm not going to use. All right. And that's basically these are warm grays. So a warm gray from very light, that would be the warm gray 21 to a warm gray very dark. And let's see what we get this now first we got to decide light. Where does the light confront? I'm going to say the light comes from this side now you could cruise, choose the other side, totally up to you. I'm going to use the light from this side. What we're gonna do first though, I'm just going to draw this picture. And I'm going to use this thing now. I have sketching paper. So this will be interesting. If you have marker paper, it will be different. And I'm going to assume that this should work. But I might have some problems of blending with this. So I'm not going to do much blending, probably what I'm gonna do first. I'm just gonna do the whole thing with this light color. By the time I'm getting my next marker, probably everything is dry already. This is just probably, let's see. Probably doesn't go fruits and it's thicker paper. Now it's a bad seat please. Little bit flu. So to prevent me from getting this onto my other paper, I'm just going to add an extra paper under it. Now with marker paper, you will not have this issue as much. So I'm using the lightest gray to add my base color. And as you can see, I'm even doing it rather roughly. So I have no problem when I snow problem if I skipped a few bits. All right, now, let's see, this is, this is one. And we've got to pay attention. This is the stalk. This was a leaf. This definitely is a leaf. And this is a leaf. All right. Well, that's it. All right, okay, move to the next color. Okay, Now I'm gonna decide, I'm gonna do that free or my shadows and my mid-tones, I'm gonna do my mid-tones first, so the light comes from here. That would mean that basically this part here and all of this would be a midtone for this leaf. Now definitely midtone would go around there, but that leaf will definitely catch some light. Now this will be in full light. This would be pretty much full light. Now, this would be a full life, but under here, this wouldn't be in full light and I'm going to add a slight little bit of shadow layer. Now this thing here wouldn't be in full light and this will be palm part of full light. Now here, there will be no light anymore. L0 to stock. Let's see. There would be no light there but there would be Well, I move down, that would be light there. There would be no light here. Same here. Recipe. Dark there, like there. Alright, starting to look like now this would be mostly in light. This one is false, so that means that this would be pretty much dark and that will be catching some light and under here would be like debts. Now this would be not catching any lights, but on the hair to have ought to be. All right. And this leaf, we're not gonna worry about the one that's going to be dark. This part is dark, dead part isn't. These parts are, and this part would be PyTorch under here. Now, there will be dark. This will be dark. We call a code to a next darker color, the minute. And this will be pretty much dark, but this would not be right. We need this one. Let's see. This one would be pretty dark. There will be dark on the hair, but there will be dark. The rest would be pretty light. They would be dark on the hair and this would be dark to put these top ones would be catching light. Pink dark there in our discipline would be dark and there would be some dark there. And this one we can do a little bit dark. And the inside here, of course, obviously is going to be dark, but be careful don't touch those edges here. Right now. That looks pretty nice already, doesn't it? This needs to be dark and dark and then a little bit. All right, There will be the next color. Okay, this would be our base set up with the markers. Let's add just a little bit there. Let's go there. Nicer. All right. Okay. Okay, that's it for this one. So I've done now my base color, which is a very light, warm gray, and I've done my mid-tones, which is step up of a warm free, actually two steps up from that. Yep, So that would be my meter. Now the next thing I'm gonna do is do an even darker one. I do that in the next lesson, add some real shadows and let's see where it goes from there. Okay, see you in the next lesson. 7. Shading with Markers: We're going to do the real shadows. Let's see shadow. So I'm using now that w five. So we'll even darker, warm gray. Now under here, There's definitely and in there there's shadow. So I'm gonna just add shadows, the same count for HD. This is a fault, so I'm going to make sure, you know that this is a fault and I'm going to do the same here too. And I'm only adding some lines now. I'm not adding strong shadows, only adding lines now on the hair. We want to have that too. And on the hair we want to have that to going to it. The edge. Alright, let's see now under here this is, this is, this would be a bit shadow, but there will be a bit shadow too. So let's do it like this. And on the hair. This will be shadow too. Okay, let's leave that like this. Then this bit here that is, this is the back. I'm going to add to our color there. Now what you probably notice right away. I'm not using the cockpits as intended or more or less coloring with them because normally you would take a light color blended Olin. Now we could I could demonstrate that. So you would get back to your light color. If I have done this bit here, then I would blend this in. But the thing is, since I'm using sketching paper, this whole blending in part isn't going to do much. It just adds another tone which is interesting. But it's not going to really blend my colors in. Because this is sketching paper and I'll show you the back. That all goes right through it comes onto this paper. It's not much blending going on, but still it looks quite interesting. So let's continue with this one now. Under here, that would be some shadow going there. And I might just as well add shadow line right here. So a more or less. And that's to add a header, sketching a bit with these Copic markers. Now here, there would be some shadow right there. And on this site there will be some shadow and there to just do it like that. And I'm not meeting it because I want to make sure that you clearly see that this is still the stock or right? That would be the shadow for hair? Pretty much. Yes. Okay. Let's go for this one now. Third carefully, obviously on the hair would be quite some shadow. And I'm gonna add some lines, basically do it like this. And this part is going to be in shadow again, that middle part, the middle of the heart. And I'm gonna do it like this. Same here. I'm going to add these edges carefully. And I'm going to add some shadow on these leaves too. Like there would be some shadow here to, this would be in shadow. We see there would be some shadow line there. There would be a shadow line there, a slight laying there, and there would be a line there. All right. Now definitely there will be shadow around here. I'm gonna do the same as base cases there. But bring that down a little bit like I did there right now. And this one would be in shadow like this. And we're not gonna do that one in shadow. And there would be some shadow right behind here. Good. And there would be some shadow in the back. And we're going to have shadow line here. Definitely shadow there. But we're going to stop right there. All right, now that looks pretty good, doesn't it? Now we need some shadow definitely here. I'm just pushing it up, pretending light comes from here. So don't do everything. And then we need some shadow right here. And we definitely need a bit more there. And now here would be some shadow to our right. Now this looks nice, doesn't it? Can extend this one. But a little bit more. There you go. Here. There will be some shadow. There would be a little bit of shadow line here, here to there. And at the end of these petals, a little bit That's bring up here a little bit shadow there to push that up a little bit. Now, that looks great, doesn't it? Now, let's see if we could leave it like this. We could go with the really dark and create just very fine shadow lines. And we're gonna do that in the next lesson. 8. Adding more Depth: Welcome back. Last bit. We're going to use this one here, but w seven, a really dark one. Now I have a darker one that would be a real black. Not going to use debt, not wrong side. Okay? I'm going to use the fine tip, of course. And what I wanna do with this one is bring in some really shatter lines where they would be the obvious parts. Now obviously would be around this part in there and a little bit in here. And I'm going to leave it like that. See, here we need a line to darken this a little bit. All right, that will be the first bit. Let's see under here. Just right there. We do that around here to add that here and add a little bit here. Let's create this false here too. And there's a fault there. And then we need to do right, see you and brings it out a little bit more. The shadow would we do with this one where I forgot this one in the previous round of fiercely does need to be darkens because it is a fault. And let's leave that to dry next bit. Let's see shadow. There was a little bit of a shadow line would be in there. There would be one there, create a fault behavior. Let's go here too. And let's add this. They're bringing this up a little bit, and that's it for that one. Score for this one. Let's add the line there. Alright, that looks good. While we do want to do here a little bit under these, bring some exons up there and a few on the hair, make them pop out. And at the heart of the bottom of the art, right, to bit there, how I do it a bit here. Let's see under here too. That's good. I'm drawing this right there. And here too. Then we need a little line right there and bring this down. And then do one there to create that line. Right there, man, that looks good. Let's see, we've done this. We need to do this part here. And we do, we want to do yes, we do want to do this line here. So that stands out from the other one and the rest. Who might add a little shadow here and add some shadow, right? Pretty much to this one here. And let's create a folder there a bit more. And this one to you who need a little bit dark there but not that dark, dark that W free. Where are you? This is five. This is a free good. There you go. A bit more there. And of course this is a fault, so we need to darken that one. Do that with the five RM side. And I need this side. And now it's a nice fault. We need to create this to a fault to think that's pretty much it, except for here. That would be pretty dark teal here to there to there too. All right, good. Let's take a look at this. It looks good. Not happy with that. Let's take the W5 here to data bit. Nice and well, that's it. All right, I think we're going to stop right here. We're going to leave it like that. And we're going to call this done. And that's it. That's the illustration with Copic markers and with a fountain pen with ink or right. I'll see you in the next lesson. I will be the project and anatta, you have to do there. Alright, see you in the next lesson. 9. The Project: I've done my illustration, now it's your turn. So what you're gonna do is either get, if you have them, some daffodils and start drawing them or use the photographs I supply and create a composition with them. Can then start outlining that with a pen. First you draw your composition with your pencil. Start outlining it with a pen. And next thing is, get your Capex are used to graze if you have different alcohol markers, that's fine too. Or different markers you could use to and then just create some shadow. Think where your light comes from, then use that information to pick a side and then figure out, okay, if, if the light comes from a certain site, that means the opposite side is more dark and then bring that in and gradually build up with these colors, bringing some tones and light tones, mid tones, and start with the light tone so it stands out from the paper and use some midtones, went to the dark tones and then added some shadows, right? And that's it, That's your project. Just draw, draw the flower as accurate as you can and then start coloring it in. All right? And as you can see, you get a great result and it's lots of fun. Enjoy it. And I'm looking forward to what you will create with all the information from this lesson.