How to Ink Various Textures and Effects with Traditional Tools | Robert Marzullo | Skillshare

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How to Ink Various Textures and Effects with Traditional Tools

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

7 Lessons (1h 4m)
    • 1. Traditional Inking Intro Video

      0:52
    • 2. L1 Drawing Our Rough Concept

      9:34
    • 3. L2 Adding Texture and Effects to Our Artwork

      15:03
    • 4. L3 Finishing Touches to Our First Example

      6:56
    • 5. L4 Creating Our Sword Example

      13:29
    • 6. L5 Detailing Our Sword Example

      6:44
    • 7. L6 Drawing and Inking Our Drapery Example

      11:11
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316

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6

Projects

About This Class

Hello Everyone!

In this class I will show you my methods for drawing and inking various textures with traditional tools.  You will learn about line weight, textures, cross hatching, and making corrections as you work.

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This class currently include 3 project files and the run time is at just over an hour.  The first project is drawing and inking a monstrous face.  Here we will go over the benefits of random textures and effects.  Sometimes you just have to let the pen go and see what happens!

For the next project you will draw and ink a fantasy art sword.  This will allow us to work on something with more structure and talk about clean lines.  This is also a good opportunity to render some chrome like effects.

For the third project we will draw and ink some drapery.  This is something we need to practice a lot and it will relate to clothing and a variety of other materials.  This one is a time lapse with narrated since many of the concepts will be redundant.

You get all the art files to study and work along with.  I will be adding more examples very soon so let me know if there is something you would like to see covered in future lessons.

Tools that we will be using in this class - 

  • Strathmore 200 Series Bristol Board Smooth
  • Micron Pens - 01, 05
  • Tombow Dual Brush Pen - N15
  • Zebra Pen WFSS4 150
  • Presto Jumbo Correction Pen ( White Out )
  • Pentel Brush Pen Fine Point
  • Staedtler 2mm Lead Holder - 2H lead

Thank you for your continued support and good luck with your studies!

Robert A. Marzullo

Ram Studios Comics

Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art

Teacher

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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Transcripts

1. Traditional Inking Intro Video: Hello everyone. My name is Robert Mars Zuo and welcome to my class how to ink various textures and effects with traditional tools. In this class, I'll walk you through three project files or we're going to draw an ink. The work, we'll do some different brushes will talk about creating texture and depth and line variation. To make more interesting illustrations will also talk about when it's best to use clean structured lines and when to use more energetic lines. And why they can give a nice contrast to your work and break up the monotony. Then for the final project file, work through a time-lapse where we draw an ink, a piece of drapery. This is a great exercise to do since it will help you to think more about organic and flowing forms. I'll also be adding more practice activities to this class very soon. So I'd love to know what you think as well as what you'd like to see in the future. As always, keep drawn, keep them fun and I'll talk to you soon. 2. L1 Drawing Our Rough Concept: Hey, welcome back one Rob here from RAM pseudo comics. So now I want to talk to you a little bit about rendering and inking. So I'm going to draw some things as a 2H led by the way, let holder, and I'm going to draw something for us to ink. And so essentially what this, I'm just going to give us a little bit of texture really. So all I wanna do is a kind of a creepy monster I here. But the main thing I'm looking for is something that's highly textured and fun to ink. So and plus it's fun to just kind of free-form draw. And I'm not really worried too much about what it is and just began looking for a certain thing. And that's going to be texture. So crisscrossing shapes, a little bumps and weird little skin imperfections. Crisscrossing is really nice for those so that you don't have some goods to even to, to clean inside and not as much fun to NC. And it's funny, even though I'll try to draw something that looks more monstrous, I still had like human anatomy in my head that just kind of RANSAC starts to make its way into this. I feel like if you don't have a lot of creature concepts around you, like nature and sex and just weird looking stuff that is kind of alien to you. And, and by alien, I mean, you're just not used to looking at it daily. Then you're the things that you're used to looking at. We'll still kind of make their way into your visualization process. So I'm mood boards are so great and just lots of weird little things that you can mash together and make into a creature concept. Okay, so there's, there's something OK. And also says again as something to get us started. So it doesn't have to be this relay, but I want to explain some inking techniques. So the first thing is first is you're always going to keep in mind your light source. Okay, so for me, immediately I'm thinking all this is in shadow. Some of this is in shadow. Under the noses, shadow side here, the nose, under the cheek. If this is a cheek, you know, some of this area up here. Okay, so those are the areas or chat on I could get inherent do some of this. So all that's going to be in shadow. Ok? Select that. Actually it doesn't have to be anything that's too perfect. And I just, again, I want to show you that the inking process more than I want to show you. How to draw this creepy Vedas AS But. So what I'm gonna do first generally is black things in it or pick it apart with finer lines. Okay. I guess it doesn't really matter, which depends on how comfortable you are with one or the other, I guess. But so if I'm going to block it in with her shape, sculpted with finer lines, I should say. I'm going to use something like an O one micron. And I'm just going to get in here and turn those Sophie's, my ends up black in it. So you can get in here and just kind of pick this apart. Okay? And the main thing I think that's important with this is long yourself to texture arise as you go and use lots of little line breaks. Okay, so this comes in handy for so many things. There's different ways to think about this as you're doing it. So we want to get an integral wall. I want this very specific shape and line. And I think that what can happen there as it can look a little more boring. But if you kind of almost stutter around and jitter around a little bit, you can come up with some really neat effects. We have to allow yourself to do that because you're, It's almost like you're not seeing exactly what you're going to put down. You're just allowing yourself to randomize that, then know that its looking good and that you can bring it all together. So that's kinda the tricky part about it, but it really is a neat effect and it really can yield some amazing results. So let's do that. Let's just kind of bounce around. Again, just kind of stutter stepping around when Note this is some kind of eyeball. It was cuz it gives us something to look at and say, okay, we know this is something that's alive or somewhat alive and you gotta remember if you've got an eye on it, you can relate to it a little bit more of as no eyes and what is it? You know, you can't really relate, relate to it and understand it as much or identify with it as much as I should say. Still understand it. But BFS, so like just kinda again bouncing around, letting loving the randomized behavior kind of take control and, and being OK with that, that some of this is going to be cool lookin good information. So that's going to be maybe need to get reworked. That's alright. But the main thing is that I'm just making some choices here. Also. Hopefully notice I'm putting lines next to one another. I'm not just drawing one line, drawn some times 2x three and succession by each other. Again, that's randomize behavior. And it just looks cool or like when you put a few lines next to each other and it does something, it, it, it makes it look like it's more, has more volume, more texture. If it's more interesting than just a bunch of singular lines everywhere. So you really want to play around with that idea. I think one of the first people that I, I really noticed doing that and it looking random in a sense was like Rob life Elm. And I saw some of his sketches and he was like they were just that are sketches sketching with ink and making these decisions on the fly. And I thought that was so cool. Like in, you know, it makes for very interesting decisions and ideas. And it's almost more organic and a more fluid process that, that you again yields some pretty nice results. So just try it. You know, some people I think have to be more deliberate and the way that they're creating. And there are times that you're gonna want to. I feel like the times that are more deliberate, It's things that are, that are structured and man-made, mechanical. But even then it's, I feel like you can, you can do the same thing even if that, and you're gonna get a little bit better ideas going. And then you can always tighten up later. Now for something like this omega tighten up hardly at all because it's organic, it's monstrous. It's something that needs, it's imaginative subject can, I can allow myself to not tighten up on the work at all and still like the unresolved basically. So again, just kind of thrown and lots of cool little textures to work with being okay with bouncing around and putting in a variety of lines and shapes and texture. So that gives us something to start with. Now I can also block in my shapes, the shadows, right? So I figure that all of this is pretty much the shape of shadow, this whole area. Maybe even as this error rate above the eye as well. And probably just do some kind of glare on the eye itself. Looks kinda creepy like that. And then what's nice too is this almost looks like a little bit of a rock texture. Coupled or not coupled, but in contrast to the, the smoothness of the eye. So there's, you know, there's that as well. We'll talk about that as we do variations of this type of stuff that, you know, you're going to want that that variety in your work really compliments and makes other things look more interesting when there's something opposing in contrast to it. Okay, so just like that, we've got our initial line work in place. Let's go ahead and stop here. We'll head over to the next lesson and we'll start to shadow this and talk more about that. So with that, let's move forward. 3. L2 Adding Texture and Effects to Our Artwork: Okay, so now what I wanna do is show you this is a Tom bow Tambo brush pen and 15. And you can use any kind of brush pen. I just want to show you that there's different pens and different effects that you can deal with them. My main reason for a brush pen is quick fills, but you can still get some really nice textures with a brush pen. So I suggest you like play around like this. I'm going to fill the SEM, but what I'm telling you is you really want to barely hold that tip away from the surface and bounce it around. In Bristol board smooth like this as Strathmore 200 series. You can get some really nice textures with a brush pen and there's a lot of good brush pens, pen, towel makes one I'll be I'll be showing you that as well. And it's, you can get some really neat little affects with the tip of the brush. And then, and then some good brushes. Just brushes by themselves. But I like brush pens because I'm lazy and I like to be able to just put the cap on and go about my day instead of clean itself up. And they're probably offends most people that are in love with great brushes because they're, you know, they're just a better quality obviously. I'm just a little impatient myself. So I'm getting in the bulk of his shadow. I'm also playing a role at leaving little light gaps. Don't know that I'll keep those, but I just like playing around with that. Now another thing you could do as well as you can leave what's Chateau all this. And I'm going to leave a little pocket right there for now. And I just want to tell you, you know, sometimes you're gonna want to play around with this as well, where you, you have a shadow and you have an opening, and you render that opening. It's a popular way to shadow in comics. You'll see it all the time. So maybe your Watson's cuz you like comics, maybe you're watching it just because you like Penn and AIG. But crosshatching regardless is just plain fun. Now I did put an XOR, so that's really a bad calm. I put my part, but I guess it gives me an opportune time to breakout. And this one, I'm going to be displaying this a lot too. That's also what's great about this. It's a nice solid white out and you can draw over top of it, feels a little different than the paper, but it's not a big deal. But had not put that extra, wouldn't need to do this. But a lot of this on the fly. When I ink, I'm constantly kind of I'm not guessing but adjusting and I'll say adjusting as I move forward. So I'm gonna use a 01 micron and actually give it a little bit dry time. I'm going to ink black and some more of these shadows are going into the nose here. So I'll get the shape of the nostril because the sun knows. And I also tend to leave more of these shadows in angles. Ok, so you probably see that's pretty good angle right there. I can always sculpted bag so nothing has to be one way or the other. You know, you want to really play around with these different concepts in your work, but just remember that. If you start with organic curves and shapes and they look to organic, you can always sculpt them into shadows and vice versa. Ok, so you're never stuck around. I want you to really think about that as thinking that you're not stuck yet, white out. You got, you know, when in doubt, black it out. You've got all these different techniques. And sometimes you're gonna get your best results, happy accidents, Bob Ross towel, right? You're going to get really neat results by just messing up and trying to fix something. So if you don't feel like you're stuck and those opportunities, you kinda welcome those areas, your work, you don't freak out biome. Ok, so over here, I wanted there to be some more pockets of shadow, especially on the side of the nose here, some thinking about plane changes and thinking about recess areas. Again, I'm leaving little bits of area exposed and light. Just so it gives me another little neat effect to the texture. Might have some shadow down here, I would imagine there would be. So we kinda pull in these shadows. But then like I mentioned, we can be able to sculpt entities as well. And I could get in here and I could really go, go to town with all other shapes. I say, well these shapes are heavier, beggar and there's shadow to the bottom of each of these. I don't want to go too wild with that, but I think it needs some of that. And then also I wanted to think about this having a bit of round over. So as I, as I bring it over this way, maybe this one has more shadow than this one, and this one has a little less than this one. So I'm basically rounding over, even though these are all separate smaller forms. I want to have a consistency in the way that I add shadow going around each of these. So the heaviest one we're down here, somewhat heavy here, and then a little bit lighter here, and then it'd be really light up into here. Now doesn't mean you can't go back under the eye here. I'm gonna go back to heavier again because I'm not talking about this overall form anymore. This is went all the way around and now it's meeting the next recess of the eye and look at look at your own eyes all obviously, has probably don't look like this, right? But you can elaborate and get ideas from what's in front of you and see what is there and then make it a lot more eerie and crazy like this. But well, yeah, we can relate from our own face as strange as that may sound. So like that. Again, just kinda planar out this. You can kind of just throw in these different little shapes of shadow here and there. And develop it as you go and sell it makes it look more interesting. One on basically combining the really thin lines with these pockets a shadow. And it's kind of yielding a different results, making a new texture. And I can, I can dab, I can stippled. There's all sorts of things in ways you can look at this and do it. It's not, doesn't have to be so rigid. Experience. In fact, I think it probably shouldn't be. There uses just depends on your style. Some people are very concise in there's a, there's a strict design to their work. And you can see my process is a little more free-flowing, as least with something like this. Again, I think it varies based upon your subject C And then you're gonna get a little, I don't like that, but but it's fine. Nothing is a mistake. I can fix that. But I definitely didn't like that little blob there. Maybe I'm being a bit too critical about my blobs. Ok, so that's enough for that. And then now it should be dry enough in here. And then I'll come back with the L1. And a lot of times I start rotating to do this and it just depends on where I want these lines ago, but I like tapering lines. So that means sculpting or hitting the line multiple times in the beginning and then pulling the lime across. Okay, so that's just the way I like to render. One of the ways I like to render anyways, I'm gonna show you a few because there's, there's different areas you're going to want to do and try and gives you a variety in your work again. And then I like to even like this. And there's my, there's my crosshatching and just one of the styles that I like to implement in my work. And then also I'm picturing that this area right here needs to be rendered as well. So I'm going to bring some lines this way. And I've heard a lot of artists say, you know, line Z to go with the forms and stuff like that. I don't bind to that a whole lot personally. I think that yes, there's times when it looks really good to go with the form and they can go with the form this way or this way. Okay. So I'm still going with the form in a sense because it's cross hatching or it's going to have to angle at some point. But then I've also seen styles at Meyer where they just go crazy and oh, also really establishing is that there's a sense of gradient because since a fade, so just try, try different methods. But I think in the beginning it's probably more helpful to just focus on going with the direction of the forms as much as possible so that you build some competence. And, you know you get enough of it under your belt where you can look at your own work and say, I did this. I like this. This is, this is my style. Especially when it's smaller areas like this kind of makes sense to go kind of width it a little bit brown and I guess I'm going on a bit of an angle and sometimes they'll just throw a line the other way. And so it's really the same concept. Little tapered lines, a little bit of taper, small bumps really, and maybe a little line across. I don't do that every time but you know, you can you want to mix it up. And then sometimes I'll break off the side of a shadow and blend that form that way. And also I can sculpt these lines. I can add little little dots like that. I don't know. I just like just like little things like this. It makes it look more interesting. And then again, I can go up this way. Also, I try not to be too repetitive. So you might see me do some where they're a little bit longer and then they fade off like this. Now keep in mind, that's basically saying that that area's recess, right. There's a little more shadow there. But I guess I don't even look at it like that and just looking at it like at this point, what do I think will look like we could texture what will make this look cooler and fun? And I don't know, so some of it is, okay. This needs to be here because I'm trying to raise this form or recess this area. And then some of it is just like now I just want to put in more cool little textures. So that's just me. I'm sure that's probably not the right way, but it's this my way. So I want to be honest with you. I'll also bring back the zebra pen just because I want to add a heavier shadow here under the top eyelid. And so brush like this as or pen I should say it's a felt tip pen, Not approach, but it feels like a brush. It's just easier to get in that shadow quicker. So I had to pick one pen pound for pound at the moment, it would be this one because I can get such a variety of lines with it. So yeah, that's I wouldn't use one pen because there's just too many cool pens out there and they all yield really unique and wonderful results. But it's, it's a great pen. So again, I can now use the micron or one a lot from my detail work. And if it's small, smaller, tighter area, I'm just going to go to the old five or something like that. So it just depends on the size relationship really. And what you're doing. You know, player all bringing lots of lines the other way as well. So maybe I'll bring some of these over this way. And let's see what else do I want to shade? Another way to as I like to sometimes. So you've noticed I've probably, or hopefully you've noticed I've done lines that are encapsulated in an area. It doesn't have to stay that way either. So I'm gonna bring some winds down this way now. And we'd go right past all this texture. Now this is probably an area where I could at least bump up this pen to the piglets, the old three. You don't have to say I'm gonna get it done with this, but my hands black eye doesn't see on going through all that texture and it doesn't matter if it's should still look pretty cool out. But it's gonna give me a nice little fade effect right through this entire era. Yeah. So that's another way to do it. You don't have to be so constructed and doesn't have to be confined area. I also like breaking up the effect on the other side. So I like combining these effects. So I've got these lines going this way, a little bit of cross hatching and then these little bumps over here. And I just think that looks kinda neat. So to me it almost says like there's a, there's a fade here, this line here, this shadow here is kinda like a peak. And then it started around over a little bit more. And that's where these other little bumps are occurring. So just little ideas like that. The brow here I can do some cross hatching this way. And on this one I'm gonna go with the form. Again, tapering those lines. I can cross hatching other way. Sometimes I will. I'll cross hatch with a thinner line there the way sometimes thicker. Again. Just try variety, tried different things and ultimately, what you, what you like, you know, it gets adopted into your style. Okay, so let's go ahead and stop right here. We'll head over to the next lesson and continue adding texture. 4. L3 Finishing Touches to Our First Example: Okay, and we're going to add a little bit more to this. So let's try broken up some of the areas I'm here. I feel like the eye looks to smooth. I want to bring out some imperfections on hair texture. And also across the brow here I feel like this areas to smooth, so I'm going to break into this larger volume, I guess. Another thing that I think is nice for stuff like this is just randomize little stippling as well. So you could just kind of do some of those here in there. So a lot of times you'll just see an artist's flick ink with a toothbrush or something like that. It just breaks it up but just gives it an interesting kind of effect. And again, so random, right? You don't know where that Anchor's gonna fly, but it makes it look so much cooler. What's really popular lately as a lot of artists will flicked ink white out over the black areas. It seems to be a really popular technique. I don't do that a whole lot, but it's, it looks cool. I probably should try more of it. And notice so I can go inside of any of these forms and just render away. And obviously this is a very forgiving type of illustration. It's something creepy, an eerie, and I could really just apply affects almost anywhere. And I don't know that it would look entirely wrong. But I do still try to, you know, have something that looks like I'm not just straight scribbling. But I guess it's all dependent upon what you see when you look at it. Maybe you think it looks like a bunch of scribbles. That's that's fine as well. Ok, so now what else? I also want to show you that when you get to a point like this, you might also want to, again come back with some white out, try some different effects. So if you notice I've left my weight up and going. And notice I've left these little breaks in here. I could play a role of more of that kind of criss cross some of these in there. If I can get some more wrinkles above the eye, I could texture away with this. Alright. Wait out can be a lot of fun and you can even render with a little bit. So when I say render, I just mean these little, little lines back and forth. And a lot of times what I'll find myself doing is I'll add these effects with white out. But if they're not as, you know, as clean as I would like them, I just go back and rework it by inking in the other direction. So I do that a lot with white. I'll, I don't just probably get it exactly the way I like it with white out or usually go back in and sculpt into it. I'll let it dry and then kind of Chisel out the, the white out at least with that pen because it's a very I'm very thick white out. But I think you have to have that because you need the you need it to be opaque beside you. And he said, I don't really like the other one as much because it's not as opaque and it causes problems. I want there to be a nice bold effect to the whiteout. Who's still feel like some of the shadow, it could be a bit heavier. I kinda like this look right years. So if I can bring out a little more of that. So that's another thing I do is once I, once I do find suck my life It kind of exploited. Going across the other direction. Sort of like be the texture that you would see in rocks. You know, it goes a few different ways. Doesn't just saw go in a unified direction. It goes back and forth about. Now a lot of times people will ask me what, you know, how do you get better at textures? How do you get better at patterns, textures, and things like that? You know, what do you look for? I'll take pictures of rocks and whatever the subject is. And I'll up the contrast dramatically to where it becomes just black and white. You can do it in Photoshop. And I'll just pay attention to those patterns that you see when you do that. It's really me and then try to emulate it with ink. And that's really a great way to practice. And get your eye to start recognizing some of these effects that you can pull off. So give that a try. I highly, highly recommend that. So there we go. So hopefully that gives you a better idea for all the things you can create. What this I mean, anything, just keep going on and on. Like I would want to bring out because I'm staring at this area and wanted to bring out more shadow onto the Brower here. So notice I can just go back and forth. I don't have to have one big bulk of shadow. I can break this up a bit. I think you'll like that. Bring out some of these little areas here. Yeah. And you can just go on and on and on. Right. Who knows where you would stop here. But it's just, it's fun to do and it's a great exercise for practicing texture rendering and things like that. So we're gonna do some more examples. But I wanted to show you kind of a fun way to warm up and just some time to practice and go to town with and I find myself doing this a lot. I have lots of little doodles like this on the back of my pages. And it's how I argued better and more confidence sometimes find new techniques for things that I later introduced into my work. So, so with that, let's move on to our next example. 5. L4 Creating Our Sword Example: Okay, so for this next one, let's try a weapon, whatever coming out towards screen a little bit. So I'll start with this kind of perspective view of something larger than tapering bag. And then we'll put a hilt fluid. It's called a hilt handle, hilt handle back here. My perspective is a little off, but we'll fix it as we go. So with this, and this is something a bit more engineered, right? So it's going to have cleaner lines. It's going to be a little more concise. Doesn't mean it has to be perfect or anything like that, but just a different approach. Actually, we don't know a point on it. Let's put it all in. One, will try like a really weird kind of blade. Some funky angles on it. Solve Teresa's bag. It'll be more fun. So we'll do this, plotted like this, and then we'll have the the thickness where you can see it like this. And you can even put like a center line down the middle of that. And I'll bring this back here and back up. But some spikes off the bag. So it's just something that looks kind of strange, whose are usually usually more fun to draw anyways. Okay. So something like that. I don't know, you'd see much of the puzzle down here. Bustle Bevel was yet that word wrong. Ok, so something like this. And then for the handle will shape this so it's not so plain Jane. A rectangle there. And then we might see a little bit of thickness off to the side. You don't want to look like a floating piece of paper basically. And then the handle. And just to extend these lines down, round over right there. And then another little piece. Move, just a tiny little bit of the edge. So something like that, just so we get something in care. But what happened was something like this is we're gonna go for a lot more clean lines. Obviously. We still have the same rules, light and shadow. Specular highlights, you know, so you might do like a glare and like that. And then you might have some swirling lines. Like a lot of times you might shave this like you would pass something that's Chrome. It's rural shiny blade. I particularly like to do the ones world blades all kind of nicked up and hasn't perfection. So we'll do a little bit of that, but we'll say it's, it's pretty shiny as well, just so it gives us the opportunity to do a cleaner kind of look and talk a little bit about the differences that you might go for there. But again, same thing. You're going to have shadows. You're gonna have a drop shadow from the blade against the health. And this almost looks like a reflection of the blade inside this handled piece. That might be kinda neat, but I, I'll probably leave that out because it almost looks a bit confusing. You gotta be careful of tangent charities, they don't want the wine. So look like we just mistakenly drew a part of a handle on there. And then for this part, this is actually a good spot for using white out, but I'll probably draw this in. But what it is, you get this, this overlap you want looks like reptiles scan or whatever, but it's just the the handle grew up, right? Well, there's a couple of ways to do that. You can fill it all in and sometimes that'll come out okay. But sometimes it looks a bit messy or even like fill that in and if you're good at your white out, you can just draw these vacuum with the white out. So, you know, you start realizing void out your best friend when you're, when you're anything, you can really save some time when you figure out the right the right application port. I think I'm gonna get rid of that. Let's try to do that bevel, but the more I look at it, it looks weird. I think I'm going to get that out of there. So let me just erase that back and then we'll get to inking here. Yes, I'm like that'll be fine. Okay, so we got our sword. Again. We're going to add little imperfections here and there. Not too many because we want to go for the cleaner look. And I'm going to solve to raise this bag just a little bit. Turn it to do it too much because we gotta want you to see what we're working on air. And so now, same thing I want to jump in here. I'm going to start with the 01 micron and get my permanent change. Now, this is something we're going to try to get a little bit cleaner edging go on here. But again, I really want to stress and each part of this, these lessons that you don't have to wait for one, we all have different concepts of what clean even means. Your style of clean could be totally different from mine and I'm sure it is that we all have varying levels of what we consider to be a clean style and all that anyways, but the main thing is that just realize it like I've mentioned before, you can clean things up quite a bit. And that's more important than worrying about it so much where you're starting and stopping. So clean lines if you can. But the main thing is that you keep going regardless because, you know, you're always you're always trying to do the best work you can for your where you're at right now. You're going to get better as you go. It's the same way when you look back at your old are, we can all do this. It's kind of a neat little experience. We can look back at our old R0 and we go, wow, I've come a long ways. And that's, that's pretty cool, right? It's cool to look at that and see that progression. But You gotta remember you wouldn't be able to even engage that if you didn't complete the peace then where you are at that stage of your work. Even though you might look back and I go, wow, I, I'd be so embarrassed if I drew that today or something. You know, you just gotta be thankful that you had the courage to complete it then. So have the courage to complete whatever you're doing today as well. Sfia solvers, there's the blade itself. It's less than perfect. I could get all frustrations. I could have been better, but I'm going to get it done. Done is better than perfect. Alright, so your user probably, we hear you say that over and over again, but it's so important. It's, it's, it's almost sings as artists, we really beat ourselves up and we gotta give yourself a break every now and then, given ourselves a pass. Okay, so known aside here, show a little bit of the, the width of that material. Because again, if we don't, it's going to look like it's this little sheet of paper so we can have that size, relationship and dimension of this stuff is a big deal because it helps to illustrate if something's a solid, if it's, if it's more tangible. So yeah, we gotta be careful to not make things appear too thin. And this little circle right here, going around or oval, I should say. Little, little oval or side of a circle or oval right there. Okay. So there's our handle. And then like I said, we're gonna do things like the same rendering that we did before. And you know, just some lines rolling in succession will give us that little bit of a cast shadow from that blade. Now what I tend to think about a lot more on something like this is line weight as well. So something else I want to show you that line weight. I guess it depends on the style you're after me particularly, I think line weight is important on almost anything. But for something like this, I would definitely wanna make good use of my line weight. So for me, line weight is on the shadow side of the form. It's also on the curve, outermost curve of something. So for instance, this blade right here, there's a big curve right there. I really want to bring that out a line weight. And also this is closer to the viewer, like we talked about this. Or, you know, you can see this is a little bit more of a perspective shot. So that also means you're going to beef up the line weight. So when things are closer to the viewer or you give it a nice hefty line to reinforce that fact that it's really close to the viewer. Interior lines. You don't have to do it so much. You still can have definitely seen styles where they might make all the lines up here heavier and these thinner by comparison. But really it's this line weight that I would really focus on to beef up. And you seem to do that even with this little thin brush, obviously it makes more sense to grab heavier brush or a brush pen and whatever's quicker Fourier. But I do like to control that I have with the microns. Let's, that's why you'll see me. Gravitate towards this a lot because I have a lot of control. With that. I can make all sorts aligns with this one pen. Okay, so just like that, we've got some line weight in place. We've got, you know, even like the handle, we can put a heavier line on the shadow side. The side away from the viewer, the side away from the viewer over here. All that kind of adds up and gives us a little bit more dimensional vibe to this, this little piece here. Okay, so now let's take and do some of this crummy kinda look. And it won't let me even get a shadow ray on the bottom of this soup that think that'll help. Because, you know, if we put a shadow here, it pushes the Hilltop missense. Same thing we've put a shadow over here. Doesn't have to be much. So we already talked about line weight, but this is actually more of a shape of shadow. But I think that helps. And we get some mobile imperfections in there. I'll show you we can take the white owl as well and we can bring these out even further. So just a couple of these, I don't want to go too crazy with these because opposing from what I really want to do, I wanted to show you more of the chrome effect that we can get a good honest handle or this blade, I should say. And then for the lines here, we'll just do a pattern. So we're going to wrap these lines around. It shrinks to this, map these lines around. So kind of pretend that you're going spherically around this handle or are cylindrically, I guess. And then these little cross sections on an angle of 45 maybe. And just kinda get that pattern started just like that. So it's almost like snake scan or something is what it reminds you of that same little diamond pattern that you get. And from there we can just fill those in. And all you gotta do here is remember, okay, if you leave the gap to the side of it. So I filled in and Solera left a little gap. I have to be consistent with each one. Consistently leave a little gap there. But again, this is really something that you can pull off with white out really, really easily. And facts when I'm working digitally, This is definitely something I would do. I'd fill this area in and just draw these lines back then. But it's good to practice a number of ways of doing this, but that's, that's kind of the way that I would have started doing or the way that I did start doing it when I first started to do this effect. All right, so let's do this. I'm gonna stop here. We'll head over to the next lesson and continue to add in our effects to the sword. So with that, let's move on. 6. L5 Detailing Our Sword Example: Okay, so now with Chrome, it's really always kinda the same thing. Or something shiny or whatever. I start with the swirling effect right through the middle. And it doesn't have to be through the middle. But when I say metal, I mean horizontally, diagonally, I guess at this point. But it's a bit of a swirl like this in a few little line breaks. And I've already established, if you see here, I've already put a little more shadow to the side. We talked about that with the line weight. So realistically actually I need to say consistent over here. My, my little swirls and need to be on this side. Or I think they do anyways. So let's get a couple of these little swirls go on like that. Okay. And then my shadow side, it's going to be like this. I'm going to add a few little render lines and I'm going to break those away. And I'm going to create just a little bit of a gradient like that. So again, swirl marks. Always compare him to that little Coca Cola swish you see on the Coke cans. And it kind of looks like a little swirl there. Put a couple of those and there you can play are all different ways to do it. And then repeat that. And you can do that a couple times on this display if you want. Just kinda play around with that concept. You can even put on a little like ovals. Always looks like a glare. She didn't like that, especially right there. But and you can really just put these lines up and down the blade, leaving a small light gap on the edge. And what's nice about that too is when you colorize it, if you do colorize it, you can add a little brighter version of whatever. So say this is a grey. You can add a little bit more of a closer to a white backgrounds, a darker color. There's going to be a little bit more of a brighter gray to a white there. And the rest of this is a blue blade. There might be a little highlight of a lighter blue right there on that very edge and it really brings it out. I actually don't like that little blob, but hey, mistakes are part of the process. Let's get that out of their sleep that. And likewise, if you were to just add a little highlights in there, you could kind of mess around with that as well, but it's just basically that effect of you're essentially creating a gradient. And the gradient could be off to the side more so you could have, I probably should a highlighted here and then faded downward and on the other diagonal basically. But I still think this works. So in fact, I would probably even put, even though it goes against what I was saying. Sometimes they just do things because I think it'll look cool. A lot of times they're just two things because I think it'll look cool as I put a little fade down there as well. I could also picture how I could highlight the handle error. And I could play around with different thicknesses of these these lines as well. They don't want to have to be fixed rolling lines. It can be tiny little thin lines like that. And to me that kind of looks like a bit of a glare there as well. And then also I could shade the side of the blade a little bit. So bring out this bustle. And I could have some lines go on like that. Again, just anything that kind of in my, you know, my mind's eye in my imagination looks cool. That's all I'm after. If I can make it look cool and that's that's all I'm after. Something like that, I think that makes it look a little more dimensional. And then we get this clear over here. And typically for the glaciers like this, I will just take and generally shadow one side of the glare. Okay. So I'm basically like shadowing the bottom of each one of these streaks are clear lines. Okay. And you can really just get away with that, but I'll usually go back and connect them a little bit. I'm sitting around a room. Sorry, my hand is going to have to cover for a little bit. So as I mentioned, I can only pull lines a certain way. So just like that, I can kind of establish a glare without connecting those lines. And then other times I will connect the lines a little bit like this. But I like leaving a little bit a line break there. I don't like connecting them all the way. And likewise, save it again, it says was the darker background I could get away with just white out. Who knows what this is all black then I could just take the whiteout, punish those lines up from there. So another way to look at that, and that's really it. I mean, it's this again, this is something that is a little bit more of a kind of structured look cleaner approach to something they might do. And I would use this same series of effects for a futuristic, even a car, you know, the same swirl marks and like the windshield of a car. I can't repeat that and utilize that throughout. A lot of different things. But the main thing is that once you get a lot of these different surfaces going, you can differentiate things in your scene and make it read a lot better. So when you've got something, you see all the scratchy broken up lines here. It's a little bit different style and look then what you would do for the sword. But it's because you have these, you know, these, these variables basically, you cannot separate your work a little bit more easily, I guess so. Yes, let's head over to another example and continue on. So with that, let's move forward. 7. L6 Drawing and Inking Our Drapery Example: Okay, so for this next example, I wanted to an illustration where we draw an ink, some drapery. This is sped up about three times, but a lot of the information is going to be the same and I don't want to bore you with anything too redundant. And this is actually a pretty simple process. The main thing to get right here is the initial line work that explains the forums. So if you notice we've got these directional lines that sweep and flow into the middle. And then from that point we just introduced some shadows that help explain the forums. So they're basically you like shapes. I like to think of like overlapping kind of smiley faces. But as I'm doing this, I'm really just thinking about the pockets of shadow and then how they create the shapes of Highlight. So the main two predominant areas of the light source, right? Light and shadow. And once you pick apart that pattern, it's really pretty easy to emulate this or create those users have to keep that initial concepts in mind. So that's why I went with a very simple Draper effect here so that we could focus on the rendering. And then again, if we, if we first think about the immediate light and shadow and get that going, then from there we can try to round this out with our rendering. So I really recommend doing these types of exercises all the time. And so now I'm gonna software races down a membrane. It's a PRISMA color kneaded eraser. And I'm going to repeat the process like before, where I start with a thinner one micron and I just kind of go through and pick my lines and essentially it was all there in front of us anyways. So it's not like I'm having to make any of us up on the fly. Again, if you notice, these are very simple shapes and forms. But what's funny about doing drapery is its complexity in a way where it's easy to get wrong. It's easy to put the shapes in the wrong spot. And then all sudden It doesn't look or feel like drapery doesn't look or feel soft. So it does take some practice, but again, it is a very simple set of shapes. And these patterns are just something that once you kind of start to see them and figure out how you can start being more inventive and stylizing him and all that fun stuff. So again, just getting that major bulk of shadow and place so that I can fill that in. And I am very stylish ticket that she could see. This is a very almost cartoony way of drawing drapery at this point. But then as I start to render it, it should look more believable synonymy using a pen, towel, brush, pen. And I really recommend this brush pennants the fine point. And it's basically just a very easy to use. I say, I think it takes a little bit of practice at first, but after you do get the hang of it and realize what it's capable of. And it's really easy and it reacts very well to the Bristol board. Smooth. Again, this is that Strathmore 200 series. And so if you're not as comfortable doing this right here, I'm just shooting the very tip of it to get right to the edge of the lines. You know, that's just when you're going to use maybe one of your microns that can all five or something like that to quickly fill in the edges and then come back with their brush pen. But after you get more comfortable with it, you can definitely utilize just the brush pen. And notice too, I had to squeeze that and get a little bit more ink flowing to the tip there. And so another thing is to, the reason why I'm comfortable doing this, even if I go over those lines, again, you just have to keep remembering that you can fix any of these mistakes. And if you go over and agile a little bit, you can blend that edge. You can wait it out. You just have to really allow yourself to not feel like you're gonna mess up. Probably easier said than done. But what happens is once you start realizing there's so many ways to kind of fix your work. Again, this is an 05 micron. Then, then you let go a little bit more and you start to be more creative. And I think that's very, very important. A good example to of like how things just kind of naturally shape as you do this or you tend to shape the work as you go, is notice that I started with very thin lines and I'm bathing those lines up or I need them to be more and more dominant, more, more solid. But also even all those little points that I've added to the sides of those, you like shapes are smiley faces for the, the bulk of the form and volume of the drapery. I'm not going to leave all those points there. Now I probably could have drawn those in with more of a curve. And that's just so you know, that's the Zebra brush pen or I should say zebra felt-tip pen. Makes sure I'll, I'll make sure that I link all the I'll give you a description of the items in the description box so that you can resources if you need to. But when you, when you take this a step further and you sculpt this, you change some things. And that's again, a part of the process. And I think that that's one of those things were it's kinda a really nice feeling. It's really nice thing to do where you start to shift the work and adjust saying, so hearing salmon to tickles pointed lines there. And they just, they don't feel very natural. They don't feel like something that would be soft and flowing. So even though they're very rigid in the way that I've constructed them initially. They don't need to stay that way. And that's what I'm trying to get to your very much going to keep adjusting things as you go. And sometimes as simple as blending the shadows and just the right way will take something that's rigid and make it soft and vice versa. And that's really a lot of what this is, where you're constantly going to be going for different effects and things that are specular, things that are diffuse, things that are rigid, things that are soft. Mechanical versus nature. Design, creative in nature are evident in nature, I should say. So. Again, it just these things where all of this is just a variety of effects that you're trying to generate. And get comfortable with, and then you put it all together and you make interesting scenes. So now what the rendering, again, just some of those thick to thin lines. Notice that none of these lines are one stroke. And luckily, I'm moving the pen really fast here, but it's just a time-lapse obviously. But I'm, I'm creating each one of those lines with a series of marks in blending that line. Now, you don't have to do that as much with like even a brush pen. They just tend to be a little bit messier for the way that I draw. So I don't like to use them as much for an area like this. I really like the control that idea from an actual felt tip pen. Again, something like a micron or the zebra felt-tip is what I'm going to go for, something like this because I really liked that ability to control the line. But as you can see, I have to work a bit harder at that. I have to generate each one of these lines. And I have to be consistent in the way that I move this around the curve. So that the shadow, the gradient that I'm trying to generate here doesn't appear to inconsistent. It does not appear to, you know, all over the place, right? I gotta, I gotta make sure to control that. Now, again, another thing to think about here is if you're not as good at doing this, generating these lines and succession like this, you will get good at them by the way, with lots of practice. But if you're not already, you can generate these lines and then you could take white out and come back across the other way and you can clean them up. There's lots of ways to really utilize these effects. But again, through time and practice, you will get to where you can put those lines, pretty much where you need them to be. Now, at about this stage of the work, I started thinking about wanting to really shape it in other ways. So at this point, I've brought out the major volumes and, of the folds. But I want this whole thing to feel like it's rounded. It has volume to the sides basically. So right now I focused all my efforts on rendering and cross hatching the middle and the larger bulk of the folds in the middle, right? But I think the one, I really want the sides to have some shadowing as well. And also, you know, I started to think I don't need to be so clean about this. I can be a bit messier with that. It's a thin enough line where I think that you can get away with that. I think that it adds to it, it doesn't hurt it. So you're gonna see here I'm going to start putting these lines kinda all over the place, some cross hatching with it. I'm going in different angles diagonally. I'm just really trying to be consistent in the way that once I start something, I continue in that direction for a bit. And that's about it. Other than that, I'm not really trying to be too awfully clean. I mean, there's I'm trying to be a little bit concise with my winemaking, but notice that I'm just generating those lines at a direction. I'm almost thinking of it in terms of like I'm using a gray PRISMA color marker at this point, but I'm just introducing that bit of tonal value with these lines. And as long as they're in succession, notice here, there in succession, but I'm actually overlapping them because I can't really draw those lines all the way down. And I could have pulled out a ruler and all that. But I wanted to feel a, wanted it to feel a little bit more organic. And again, it's okay that they overlap into n a little bit as long as they're some continuity and consistency with the way you're drawing them. But even that, i've seen styles where people just go in every direction imaginable, still looks good. You're just introducing another tonal value and another gradient to the work. And you really don't have to be so critical and so specific with it. Other than really keeping the lightened shadow on mine, that's all I don't I'm thinking in terms of where's the light. I'm not thinking in terms of every one of these lines has to be perfectly placed because that would just take me out of the moment of creativity and maybe, you know, kind of drain the life right out of the process. So now I'll just doing a little bit more edge work, but that's really a, so hopefully this has been informative Fourier and you've learned a thing or two about how you can do some rendering. I'd love to know what you think and I'd love to see your examples. So good luck with the r and I'll talk to you soon.