Everyone can Draw, and so should you (almost) everyday | Anna Puchalski | Skillshare

Everyone can Draw, and so should you (almost) everyday

Anna Puchalski, Scary, weird and cute

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7 Lessons (53m)
    • 1. Everyone Can Draw Intro

      1:35
    • 2. Drawing Building Blocks

      1:59
    • 3. Everyone can Draw: Materials

      7:49
    • 4. Inspiration

      12:45
    • 5. Ready set draw

      8:25
    • 6. Class project

      9:31
    • 7. Bonus: Everyone can draw with a single color

      10:48
15 students are watching this class

About This Class

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Not just a how to draw class -- let me introduce you to my WHY to draw philosophy!

Materials (suggested)

Pencils: Mechanical or other draw-friendly pencil (I like standard lead, use what you prefer). The fancy mechanical pencil I use in the class is the Pilot Opt. 0.5

Pens: permanent ink preferred. The class pen is a Platinum Preppy with Platinum Carbon ink. Also useful are Microns, dip pens, Pitt Artist Pens, that ubiquitous Pentel Brush Pen or an actual brush and india ink. 

Ink: Platinum Carbon cardriges or bottle ink, Dr. PH Marten India Inks (I use Blackstar hicarb and matte) or whatever you can find. Make sure it is waterproof when dry! 

Color: Watercolor set, colored pencils, alcohol markers, crayons, whatever is handy. Or go crazy and keep it all black and white. 

Paper/Sketch Books: I use Moleskien drawing books, Plumb sketch books from Knock Knock, “bank” paper books and loose paper from L!fe (Japan), and Canson Mixed Media. Feel free to use anything from copy paper to cold press watercolor or the backs of wedding invites (they always use great paper). 

You can find links to these items and more on my Pintrest Board made specially for this class. 

Artists I mention in this class (in case you want to check them out):

Tove Jansson, creator of The Moomins

Joann Sfar, filmmaker, artist and author of The Rabbi’s Cat and the Grand Vampire series (and about 100 others). 

Charles Addams, creator of the Addams Family

Jaques Tardi, creator of Adel Blanc-Sec

Louise Trondheim, one of the creators of the Donjon series (and about 1000 others)

Jeff Smith, creator of Bone

Utagawa Kuniyoshi, iconic ukiyo-e artist of the late Edo period. 

Web Resources

Inktober

Sketch_Dailies

/r Sketch Daily

Urban Sketchers (find your local group!)

The Big Draw

Have fun drawing and don't forget to post your project! 

Transcripts

1. Everyone Can Draw Intro: as Children. We draw everybody does. It develops conceptual thinking and fine motor skills. It improves memory and hand eye coordination, and it prepares us for reading and writing because it's all about symbols, right? But as we get older, most of us stop. If you ask. People tend to say that they weren't good at it. Maybe someone told them that, but most likely they told themselves. But why didn't being good matter before? Because it was fun. I wasn't good at math in school. I was never going to be an astrophysicist, but I stuck with it, and I improved by doing Art works the same way. You get better at drawing by drawing, and you don't have to view it as something that is going to become a profession. As a matter of fact, no one even has to see what you draw unless you want them to. In this class, I'll show you some simple building blocks for making. Figures for filling out the page by creating a scene for adding color and texture, will also discuss materials for drawing and finding the ones that are right for you. We'll also talk about where to find inspiration how to get around the vast black hole of not having any ideas at all, but mainly how to draw almost every day. 2. Drawing Building Blocks: all drawing, whether very simple or very complicated is made up of a series of building blocks, and they don't differ that much whether you're doing a cartoon or hyper realism. In this case, I created some very simple shapes that are easily modifiable to give us options for a range of characters. The same basic concept that I used on my standing figure can be easily changed to give me a shape for an elderly person with a bad back. And it came or changed a little bit more so that I could draw muscle bound strongman. And I can use this in concepts to give all three of them a Kit Kat when taking these building blocks and adapting them to create your own character as a tip. You may keep in mind that, however big you think the head should be making a little bit smaller because hair for hat will change the proportions greatly. I've provided this chart in the class materials that shows a basic figure from the front on the side, as well as the two modifications for an elderly person and a strong. These were the same building blocks that I used to get a variety of results, including this quartet of monsters My Pussycat Mermaid, fancifully colored with water colors, this candy colored monster. And finally, this tiny Geode. Very next up, let's talk about ideas. 3. Everyone can Draw: Materials: Well, let's talk about materials for drawing. Ah, we can start with sketchbooks. There are a lot of different options, and there is no need for you to feel like anything is particularly right or wrong when it comes to them. Um, you can also just draw on regular copy paper like you would by in an office supply store. I certainly do my fair share of that run any scrap of paper, Um, just to give you a few options of the sort of sketchbooks that I do use. And I'm a little bit of a sketch book fanatic, so I now have a lot of them. You know, that's actually kind of ironic, because when I was younger and more of a student, um, I really resented sketchbooks of the whole idea of keeping one. Uh, first of people would want to see them, and, you know, it's a sketchbook. It's not always consistently going to be your best work, right? Uh, so the first thing I want to say is, if you do decide to keep sketchbook, feel free to tell people they can't look at it if that's not something that it feels to you . Um So just to go through a few of the things, this is a nice, um, mixed media paper. It's easy to find in any art store. Uh, they're all over the place. It takes water color at even wash. Pretty well. You could do a lot of heavy black with it. Um, I don't really like spiral binding, So this is not a sketchbook that I carry with me, But this is a sketchbook that I will sometimes work in or use this kind of paper when I'm sitting at home and I can pull the pages out later. Um, the sketchbooks that I do carry in my bag, we have these two. The first time I received this one, it was actually a gift from some people I work with, um and, ah, it's put out by a company called Knock Knock. It has nice, heavy paper with the Steckel edge. It also has all of these unnecessary pages. I'm not so crazy about, um besides the paper quality, what I really like about this is because of the way the binding is. It lays flat, which is really nice for working on because you're not trying to hold your paper down as you go. Um, you could put a lot of black ink on it. Uh, it fits in a bag. You know, there's a role, things that you want Teoh have. When you're doing a sketchbook, sometimes I'll take them to meetings. This is something that I did Teoh show a client an example of something that we're working on. I also doodle a lot in it. So it's actually a piece I did for one of my own comics. Um, this other one. And this is very often the book that I will keep in my bag. It even fits in my really nice handbag because you know, you can't go someplace fancy with absolute to draw. Uh, this is by a Japanese company called Life, and I believe they refer to the paper inside as bank paper, and it's kind of made for fountain pens, but it has this really wonderful quality of being a very, very thin and lightweight, but very durable. You can draw in pencil in a race on it, and you can also put a fair amount of color down on it. And even if it buckles a little bit well, you're working. When it dries, it straightens out pretty well. I do usually have a piece of plain white paper that I like to stick in the back because the pages are something you can really see what's going on under underneath them. Um, but this is a great option. So I get a lot of my materials from online stationary sources. And if, like me, you have a tendency to buy things that you have never tried before. You may want to make sure that you have another artist or on artistic, a niece or nephew or neighbor friend that you can pass on things that maybe you weren't that thrilled with just to eliminate waste. Next, we're going to talk about things to actually draw with. All right, let's talk pens and pencils to start with. I like to draw with a mechanical pencil. Most of the time. This is the brand that I usually buy. Have a few of these. They hold up very well. They're durable, which is important for a mechanical pencil because they do have moving parts so they break . This also has an added novelty. You can shake it to extend the lead I'm not really sure that that's a huge benefit, but I like it to the point where sometimes when I'm drawing with a different type of mechanical pencil, I will shake it and people will look at me like I'm crazy. I also like to buy very fancy pencil sometimes, although honestly, don't use them that often. I have, ah, huge box of thes nice palomino black wings. And I even sprang for the special sharpener that I almost never use because usually when I am using these, I just stick them in the regular sharpener. I like plastic erasers for some reason, I tend to cut them in half. So is have these little stubs of them around my studio. Four pens. I started out working with ink and a dip N um, I don't use them that frequently anymore here, a bunch of really beautiful, shiny Nibs that I have never touched. And my pen holder, Um, this is a bottle of platinum carbon ink, which is a very nice permanent Anquetil Good flow, easier to find and very nice to work with. Although a little bit sicker is the doctor Ph Martin blackstar. Uh, the main reason that I don't use depends that frequently anymore is because of convenience . If you're sitting on the couch with the cat on your lap and you want to draw, it's really not that convenient to try and balance a bottle of ink and also potentially very messy. I also discovered thes very inexpensive fountain pens. Um, I have a regular cartridge in it now, but you can get an adapter so that you can fill it with any inkling you like. Uh, the carbon bank works well in these. Well, it will gum up a regular fountain pen, this one. It's a shape that even if it does, who cares? And usually get them for under $5 each. I haven't actually managed to destroy one of these yet either. Which is pretty impressive because I draw a lot, uh, again for convenience. More often than not, I just by the carbon ink cartridges and pop them in there. Another popular, uh, drawing pen is the Pento brush pen, and I use the carbon cartridges in these. Also, they don't really fit all that well, but I just really like the bank, and I think it's not very good for the brush. These I do go through pretty quickly. Um, I don't use them that much anymore, but they're nice for getting a very line of fulfilling in large black areas, especially if you don't want to carry an entire bottle of ink with you. The other thing that I like to have in my kit at all times is a white gel pen. This one is a fine tip, which I only recently discovered that they make them. Ah, you can use it like you would white out or white ink to fix mistakes. But it's also really nice for adding a little bit of white detail on top of water color or on top of a you know, a black field or gray wash. So it's a fun thing to have. All right, let's move on. 4. Inspiration: I think that this is a pretty common barrier for lots of people. There is nothing worth some days in a blank sheet of paper. Look at that thing. It's very intimidating. So here are some ways that I get around it. You really shouldn't feel like you have to be totally original every time, especially if you're just doing an exercise. So here's a good example. There's a reason why lots of fairy tales get redone over and over again. There's just a wealth of ideas and images within them and no end of interpretation. Oh, hey, look, little Red Riding Hood. So that's gonna come in handy in a few minutes. But here's some other things you can dio the advent of the Internet. There are daily resource is that can kick you in the rear end and get you to draw. So this is sketch Daly's. This is a Twitter account. They posted few topics a week. You can tag them if you want to post your drawings online. I'm way too shy for that, and they will post the stuff they like fast. While that's really scary. But hey, you know, maybe you want to do that, Um, this is a reddit account called sketch Daily. Also, everybody seems to use that a lot, and it's actually especially considering it's read it a very nonjudgmental community. I participated there a few times, but mainly it's nice to just go and check in and be able to have an idea for your day in October. Happens once a year in October and the ideas that you do a finished drawing in ink. You can start with pencil, and you can add color afterwards if you like, But you do one for every day you hopefully go all the way to the end of the month. I think I've only made it to the end of the month once, but it's a lot of fun. And if there's a lot of places you could participate online, if you want to show your work and talk to other people who are doing it, if you really want to do something with a group of people, you can also join a group like urban sketchers. And these are people who of all walks of life and disciplines and ability. And there's several of these groups and lots of major cities and they get together at different locations, and they draw what they see around them. I'm a member of the New York group. I have yet to attend a single meeting because I have no excuse for that because it's a great group. But I love seeing their stuff online and what they're doing, so get out there. And drug. I've talked a lot about making drawing less scary. And one of the things I want to point out is that even very successful professional artists will often use simplified characters to convey emotion and story, which is basically what we're doing. And I have a few examples of that. The 1st 1 is somebody who you may or may not be familiar with. A Finnish artist, Tove Johnson. Um, and her characters were very, very simple. She wrote a lot of illustrated book. She was also a fine artist, but this is what she's fast moon for Arthuis, simple line drawings with a lot of character to them. Um, the next one I'd like to show you is somebody who if you're from the US, you're probably at least fleeting leave now here with because he was such a pop culture, uh, icon, and there's been television shows and films based on his drawings. Now what I want to point out here is that he was an incredible draftsman and did very, very detailed art. But his figures often had very simplified expressions, and he conveyed a lot through their postures and through the angles of they're, um, their body. And I think that that's something important, too. Keep in mind when you are drawing on your own. Now again with our incredible draftsman, Jack Turkey. Very popular, is a very popular French cartoonist, Um, and again he does these very detailed drawings. But if you see especially the faces are simplified. He goes out of his way to convey a lot with the postures and expressions continuing with that. This is another French Martinez to is very well known and successful and again simplified lines and a lot of emotion in the posture and in the expressions on the characters faces. This is Luis, trying time, another American who you might be familiar with again, an incredible drops person where he's best known for creating very simple characters with a lot of emotion conveyed through their facial expressions and their postures. Jeff Smith. As you could see, a lot of this is in fact, cartooning, because cartooning is totally based on, um, showing emotion and movement in a simple small space. But it also applies to fine art as well as you can see in traditional Japanese prints. Frequently, despite how detailed they are, that faces will be simple. There's a lot of character and expression in the posture, and one thing that I'm going to talk about when we start drawing is doing a figure and conveying everything with the shape of it, but then really going into detail in patterns and clothing as a way to add something special and unusual to your work. And last but not least, there's another French cartoonist. Um, he's probably one of the best known contemporary cartoonists in France, the moment on the surface of our again very detailed work with simple lines, and he has this very sort of loose thinking quality that I really like. And so when we start to ink, because it's something that takes a little bit of the scariness out of working with a pan, that you don't have to have a perfect line and you can still create something really beautiful and express it. Thank you. So I'm gonna practice what I preach here, and I'm going to dio a piece based on my random selection from Grimm's fairy tales. I put down my building blocks for a little red riding hood here, her arm poised so that she can carry basket at some point, really creative with her hair, I think just to make it a little bit more interesting now, this is typically a Bavarian tail, I believe or, well, whatever. So I feel like drawing adrenaline. That's what she's getting. Now we have a little basket for carrying treats to Grandma. I'm gonna ink in some of my details and see how I feel about my little red. I usually keep my pencil lines fairly loose so that if I want to go off road a bit once I bring in the pan, I can. The fun thing about drawing clothing is it always gives you the opportunity to really practice folds and details and put some textures in all that good stuff. Once here, finished with the really intimidating thing of making a bunch of lines look like a person. Now, I'm gonna put some color on this later. So I'm not gonna go too overboard with lines because I don't want to feel like I have to color inside the lines race on my pencil. Add a few more extra details with the pen. All right, Once that set, we'll be able to put in color. So I have my handy travel set of what colors here and a brush some plain water. But before I get too involved with the color, I just wanna doodle around 10 a little bit more because I think there's some areas where I just rather have the details in Nice, heavy black. All right, there we go. We're ready to start. So obviously, this is Red Riding Hood. So there's going to be a lot of red and whatever other color we put down, we have to make sure that that really stands out, doesn't interfere with it too much. I like that. This was the subject that had I accidentally came across because I feel like this is something that everyone has seen. For the most part, a lot of different interpretations of I've seen people reinterpreted into pretty much every culture imaginable. And there's some really interesting things you can do with little red. In this case, this would be more of, ah, planning stage drawing that I would do if I was going. Teoh, maybe make a short series of images about it. You see, I keep going back to the pen here. Usually I spend a little bit more time thinking about what I want my black lines to look like before I get involved with the color. But the fact of the matter is, is, I think the pressure of having that camera hanging over top of me. Well, I know that sounds like an excuse, but it's a lot easier to do this sort of thing when you aren't thinking about how it's gonna look on film. So I'm gonna keep this simple. I like to give her a little bit of, ah, ground to make her not seem like she's floating in air. I'm gonna loosely paintings and trees give her a little bit of background shook, lonely all there by herself. Now I could have done black lines for this ahead of time, but sometimes just like doodling with a pencil or pen It's just really nice to get hold of some color. It starts flashing it down on the page and let it take you somewhere. Of course, you always have to let it dry. Otherwise, when you go in with the pen, there's a good chance you're going to end up with a big black blob. So now I'm going into the areas that I free handed with the brush, and I am defining them a little bit. And this is mainly just to sort of integrated with the character and also because I just like drawing with pen. Sometimes after you get color into appease, it'll occur to you that other details aren't prominent enough. So now she's getting darker hair, all done with black ink so that it stands out better against her red hood and her big red bow. And I so enjoyed drawing the subject. But if you notice that cover for my class also features little red here and you can add highlights and details and there we go. We're done 5. Ready set draw: Let's get ready to draw as I would ever in my earlier lesson. Here are my building blocks that I'm laying down in pencil and then filling out around them to give my character the look that I want some clothing being added hair. Other details. Now I switch over to pen to make the lines that I want to be permanent, permanent. And as you can see, I'm not really following the pencil lines. Exactly. I like to leave myself some room for creativity. If you want to do a more detailed pencil drawing and then ANC over it, exactly that is up to you. So I decide at some background to this. This isn't really a planned out composition. Eso I'm just sort of sticking it in behind the character, which is the main focus even when I'm gonna add water color. I like to do a fair amount of detail ing for texture with pen, but not too much, because I don't want to feel like I have to color inside the lines. Once I get my paints. Now we have to wait for the ink to dry for a minute before we can race here. We go. You want to get rid of all of your pencil lines. Otherwise, when you put water color on top, it will come through a lot stronger. And here's where you really get to be creative. Whatever colors you want. Sky's the limit. I like to work with a very wet page so that I can flood other colors in. Sometimes that gets me in trouble when I tried move a little bit too quickly, adding a little bit of shading into the background. All right, so give this a chance to dry before I continued, and now I'm just having some contrast in colors and going back in with the pan. I like a lot of black and quirk on my pieces. Some illustrators really like to coordinate their line colors with the colors of the body, but, you know, or to avoid using black to get things at a softer look. But I'm quite partial to it. It looks like my circus was still a little bit too damp for my black ink. That's quite all right. This is what we call a happy act that I'm going to turn this into shading. You can really change a piece a lot by adding layers of color or texture. Sometimes I change my mind part way through, and I'll just layer on until the piece looks the way that I wanted to. But what colors are great for sketching. They're very versatile. They drive really quickly, and they're fun to use. If you prefer something with a little bit more control, feel pretty. Use colored pencil or alcohol markers. Sometimes what I want to be able to really layer and give things more painterly. Look, I'll switch to wash, but they're also wash is also kind of expensive. And what are color? Even a good set is relatively cheap. So for just doodling around and that's it, we're done. And here's the finished piece that I scanned in All right, so sometimes I just want Teoh have fun with patterns and texture, and in this case I drew one of my neighbors. If I happen to be up early enough on a Sunday morning, I get to see my neighbor on her way to church. And she has, um, very colorful fashion choices with very bold patterns that are easy to reflect in a doodle to let her ink dry a little bit before we can erase. Now I'm going to do an interpretation of her outfit. But one of the great things about drawing clothing is that you don't have to come up with something completely new. You can take the shapes and details from something You saw someone where then you can go crazy with it. So I'm giving myself some guidelines with the pen, and now we're gonna go in for some color again. I want to keep everything loose. This is supposed to be fun. I spend way too much of my time trying to do serious, precise drawing that when I'm gonna do, ah sketchbook piece or I sort of extreme doodle I like to make. It is enjoyable for myself as possible. And there we go. So I'm going to give her indication of makeup. It's hard when it's something that's a small, but she is very fancy. I can't imagine that she would go out without a full face on, and there's a finished piece. It was a lot of fun to draw the pattern, and this is an earlier one that I did as a test run. OK, it's your turn go draw. Some days I feel like drawing but not coloring. Other days, nothing would be better than just taking an already finished piece and dumping some pretty colors down on top of it. And that's all I actually have to think about in this case. This is the cover for the class, and I drew a couple different times and that I was exhausted and I couldn't stand to look at it anymore. So I went off to do something else and I came back and all of a sudden I was perfectly happy to sit there and paint the fancy lumberjack pattern while in my hipster artist shirt there and to get super creative with e trucker hat skull up there in the corner. And as you can see, I've also started adding some other details with my paints that weren't there in the Leinart. So it's really important that you do what you feel like doing on the day you feel like doing it rather than forcing yourself to sit there and you finished piece every time you pull out your sketchbook. It's a matter of fact that's pretty likely Teoh keep you from drawing. All right, good night, 6. Class project: it's class Project time And here's mine. Remember to pick your theme for mine. I did. Fantasy adventurer. So here is my bearded fellow kitted out with a sword protective gear and, um, a bunch of kitty cats. I'm sorry, I just couldn't resist. And we have a treasure aboard going on in the background already. And now I've moved on to my pen. I'm going to do some preliminary thinking before I fill out the rest of the scene. Now you might notice that I'm working saralee small here if you look at the drawing in comparison to my hands and that's partially because of the size of my notebook, remember, both of these notebooks, um, are the ones that I carry because they fit easily in a handbag or they're easy to work with in a cramped space of Sometimes I draw in my car or on the train in the park at lunch whenever I have an opportunity. Basically, if you prefer to work larger, just make sure that you have paper or a sketchbook that accommodates what you're most comfortable with. So I've put a fair amount of detail into the clothing and the scene and part of that is just because it's interesting to for me to draw details, and I feel like it add visual interest for me. Well, I'm working on it. If I have more to look at, if you're more of a negative space person Hey, you know, don't feel the need to fill everything in with tiny black lines. And sometimes that's more fun when you get to the coloring phase anyway, because that you don't feel compelled to stay within the lines and you can add a little bit more detail with your color. You, me a chance to dry. Now we're moving on to the kitty cats who are climbing on this massive treasure hoard. I assume that they're protecting it. Maybe this guy was expecting a dragon. I'm not so sure. Boy, I should drew a lot of Kitty Cat's there. Sometimes I get a little carried away. All right, so my preliminary banking is done. I'm going, Teoh, erase all of my pencil and see where I'm at. And, uh, what we have left now that we didn't a bit of it and had Obviously this is very unfinished . I have a lot to fill in and this is my method of drawing. So if you prefer again to do something great detailed with a pencil and then get all in completely before your race, then that's fine. I like giving myself a little bit of room to move, so I'm going to complete my treasure hoard. You notice I'm not drawing every single Jewell and coin. I'm just giving an indication of what's going on in those big piles matting a few more details to his coughter, some shading. Usually when I'm drawing, I have my headphones on with some sort of constant stream of music. So if it helps feel free to give yourself a soundtrack, if you want Teoh theme it along with your drawing, it never hurts. I like to get into the mood now, As you might notice, I'm free handing a bit with the pen. If you're not comfortable with that, no need to do it. But I like having that option. Sometimes I do some interesting stop when I know that I can't take it back. And here's my brush pen for filling in my large black areas, being in a shadow effect for some columns there and arches and also to give the piece a little bit of depth. I'm not gonna bother with anything that has perspective or really any kind of detailed background. I'm just trying to make it feel a little bit more complete for me and a little bit more treasure. Apparently, this treasure hoard is primarily coins. I guess kittens really like to hoard coins. Uh oh. Maybe my adventure is in some trouble after all. Right now it's time to start laying down color. Now I'm using a travel water brush in this case partially out of laziness. Um, it was there and already filled with water and partially because my own kitty cat knocked over my water jar and broke it the other day. And I had yet going and replaced it. Maybe that's her looking to the arches there. I wouldn't be surprised. So I'm doing some black wash in this case, Amusing watercolor for it. You can also make awash with your black ink, which will make it permanent. And then it won't move or change it all. As you lay color down on top of it. I'm giving my treasure hoard a bit of a gold tone. Stun all over bass tone. I feel like laying down a field of color that sets the mood for the peace helps me in coloring the other elements, even if I have some kind of idea of how I want everything toe look, it might change once I fill in the the larger flat areas, which is also why I did the gray wash first. This isn't a really detailed paint job to start with, so it's staying very, very loose is you can see I'm not even remotely in the lines here. In a lot of cases, this brush does not do detail work, and I kind of like how freeing that is. At times, the fountain pen is so very precise that it's really nice to get a little sloppy with the color and then work it all together. Now, if you're somebody who has spent a lot of time doing adult coloring books and you like doing detailed, precise coloring, by all means, go for it. I really like beards. So doing some color layering to give him a nice ginger look, you might notice that I very rarely put down a really heavy pigment all at once. um, that's just because this is more flow painting. And I'm never really sure if I'm gonna want to change it later, piling another color on top of it. So I always dio a thin wash first unless I get a little over excited and things get dark too quickly. But that's my intent. Anyway, out here we go. Now we're on the cats. That's the best part. Some more happy kid cats. But I bet you there would be a real problem if he tried to make off with any of the treasure. Well, thank you, everybody for participating in the class. I can't wait to see your class projects. Make sure that you post them. And if you have any questions, put those two tonight. 7. Bonus: Everyone can draw with a single color: All right, here we go. We have a bonus lesson. Everybody was so great and signed up for the class. We can add some more now, as I mentioned before their days, that I just don't feel like coloring. So let us get rid of travel kit here. And if you're using something else colored pencils or markers, you could make them go away, too. And I want to talk to you about working with Black Line. So Edward Gorey was a huge influence on me as a child. He was a local New Yorker. Um, I still think that this is basically his version of Central Park. And certainly when I read this book as a child that so I thought it was one of his rare color books. But most of his work looked more like this. So as you can see here, everything is in black and white. There's very heavy black lines of a lot of texture put in with the pen. Ah, he has these kind of flat compositions that also make them look a little bit more been to G . I love this texture in that he does here, and this is a very good example of how far you can take a black and white drawing if you know absolutely, there isn't going to be color in it now. That's not to say that this is the only way to do black and white drawing. But it's a beautiful example. And I spent years when I first started working, trying Teoh replicate the sort of Tex Cherie. Now this is another artist, too. I really like. This is Tai O Matsumoto. He is a very popular Japanese cartoonist, and he also works heavily with black line work. This is his current serious that's coming out in the States. So, as you can see, it's a very loose black line, lots of negative space, the sort of thing where if you wanted to go back and put color into this, you could do it. But it's absolutely not necessary. Uses very small touches of grey ink wash here and there, but it's really only an accent, and sometimes he doesn't use it at all. And as you can see, well, he does some text oring on some heavy blacks. For the most part, it's just fine line work on a white page, so these are two artists who work almost entirely in black ink, and it's just inspiration to get a start on the next part. Now you've seen me do this a few times. I am starting with my simple shapes with my pencil and just like before, everything is very soft and loose because I'm probably gonna change a lot of things once I get to the pen. But I like to have ah more or less worked out guideline with my pencil because we're talking about Edward Gorey. In the beginning, I'm doing a sort of Gothic E homage for my daily doodle. So now, hovering behind my 19 twenties heroin is a somewhat sinister vampire guy with tiny wings. You'll see him a little bit clearer, and we get tanking. I'm gonna give myself some kind of loose background and pretend that the flatness of my composition is part of the Omarska Edward Gorey and not because I was really descent rotating myself here and therefore didn't really plan out was gonna happen behind her. We call this happy accidents. All right. Now I have that preppy pen and one of things I want to talk about now are the right materials because when I was a very young artist and I was trying to get started in the industry, I listened to a lot of people about what the right things were draw with. And as it turns out, what works best for me is an extra fine point fountain pen and not or a pictograph or depend particularly or a micron. However, if you like drawing with a repeat a graph or micron or dip 10 those are all great. I also went through a long stage of feeling I had to ink with brush. Brushes are nice. They're also really messy, and you have to have lots of them on hand for when they suddenly decide that they're no longer going to be brushes in there, instead going to be just fluffy little clusters of hair. Now you might notice that my hand is going. It's a really awkward angles as I'm doing this. Um, this is not normally how I draw, but I didn't want to move things around underneath the camera because that might make people feel seasick, Which is why you may notice if you go on my instagram, which is linked that some of my drawings that I didn't do under the camera are a little more detailed or they look a little bit better. And that's because I wasn't under quite as many restrictions people to the left side. There's that very wide Sumi brush that I've used throughout. And the reason for that is is that the texture of the paper that I'm working with tends to hold onto little bits of eraser, which then get caught in the nip of my pen, which that means I have to stop in clean my pen. You don't have to have a Sumi brush. You can also blow across your paper, which I didn't want to do in camera. I once noticed an art supply store that they sell these things like bird wings made out of feathers that you can use to brush your razor bits off with, which is very pretty. But, um, a large, soft paintbrush like the one that I have there will more than suffice. Now I've started filling in some areas with black, and you let us that things like my woman's hair is flat black, but Nocera twos trousers are made up of tiny lines. I am a big fan of doing cross hatching and things like that when I'm working just with black pen of. I like the way it looks. That's true. But also it's just fun to do, and that's what counts. Feel free to try it. If you want to practice your cross hatching or your texture is, just grab a side of the paper and go to town. So here I am just adding some more texture to various parts of my drawing. Um, as you can see, even just little scribble lines give the picture a little bit more depth. There's some texture and her dress. I'm drawing tiny little circles that are special clicks and kind of bead. And I'm shading in areas and generally just trying to give a little bit more feeling of depth to the peace now, drawing in some clouds. It looks like some racer got caught in my net, after all, because I'm not getting a nice line. But oh, well, who cares? We're having fun. I like to draw creepy clouds. Now. Sometimes I'll go back in and I'll fill those in with black using my brush fun. Um, but I want to show you guys a few other ways to deal with them. So I'm not gonna do that today. Yup. Yup. My nip, My neighbors skipping a little bit Here, there's the brush fun. I'm just going to make her hair a little bit blacker. Make my bats a little blacker. They stand out more, more cross hatching type stuff, texture. Now I have to move page a little bit for this. Sorry, that makes guys dizzy, but otherwise they're not the right angle to do my little lines. Now. I could go through the whole piece and I could color in all of my clouds this way. And then I would probably go back around my figures and pick out details with that white gel pen I mentioned in an earlier class. But I think I'm not going to do that now. I just wanted to show you guys one treatment for the clouds. I think her dress would be more dramatic if I filled in who skirt with black and, well, I like her jacket. It's still kind of bothering me. So let me see what I could do to kind of make it pop. Give her black upper gloves. Yeah, Sometimes it's harder to work in black and white than it is color. You can get away with so much by adding color if you want a detailed a pop, or if you want to make things look interesting with black and white, you just have to keep adding lines. We're black areas or textures. So these are a few of my day ling drawing exercises. Just show you that. Yes, I actually do this stuff. Um, this one is another Reddit community that I actually don't go onto very frequently. Um, but people post photos and they ask artists to give them an interpretation. I just did it cause it's a cat. I thought it was sweet. I do this entirely with my black pen. This next one. I had to practice drawing a flower for something, and it was boring. Just have a flower on the page. I get asked to draw flowers a lot, actually. And so I added a hovering moth pixie ferry person. I did all the detail ing with the black. I wanted the wings to really pop out a little bit more and have some texture, so I worked on them if I taking this more seriously, I'm sure. What about in the background? And this was another drawing community thing based on a picture of a person who was wearing a very creative jacket with a loud patterns. So I, in large pattern but then left him as part of the negative space. So even with minimal color or just a single color pen, you can get very creative.