Introduction to Sketching: Illustrate A Beautiful Garden | Brit + Co | Skillshare

Introduction to Sketching: Illustrate A Beautiful Garden

Brit + Co, Unlocking creativity in women.

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8 Lessons (56m)
    • 1. Welcome To Class

      0:48
    • 2. Supplies

      2:22
    • 3. Textures

      2:26
    • 4. Sketching

      8:30
    • 5. Adding Color

      13:02
    • 6. Outlining

      10:20
    • 7. Putting It All Together

      11:47
    • 8. Wrapping Up

      6:35

About This Class

Let’s be real here: Sketching is both an art and a science. In this class, Mary will help you get started with basic sketching techniques. First be sure to snag the DIY Kit that includes all the supplies you'll need here.

You’ll start by going over class materials and a few simple techniques. As you continue, she’ll break down the steps to sketch a few different types of natural florals and leaves. She’ll also talk through how to hold your pencil, how to create shadows and how to color in your sketch to create a 3D effect. By the end, you’ll be able to use these simple techniques to create a dramatic effect and a conversation-worthy custom art piece. Bonus! All of your friends will be totally jealous.

Transcripts

1. Welcome To Class: Hi, I'm Mary and I've been sketching for more than 10 years. I started as an interior designer sketching event spaces for my clients in the wedding industry. Now I run very merry inspired, which allows me to teach sketching classes to creative professionals. Today, I'm gonna teach you sketching basics. First, we're gonna talk about how to hold a pencil and how to apply pressure. Then we will practice three techniques that will help you to create textures will apply what we learn to sketch leaves and flowers. And by the end of this class, you'll be able to create a piece of beautifully illustrated artwork that you can hang in your home or give us a gift. Let's get started. 2. Supplies: So before we get started, I want to make sure you have everything you need. We're gonna go through all the materials for the class. First, we're gonna need a number two pencil. Doesn't matter what brand Then we're gonna need a clicking eraser. Then we're gonna use a Prisma color magic rub. I recommend this eraser because it picks up any large mistakes that you may make and then a kneaded eraser. This one is a putty like eraser. Great for picking up extra dark lines that we will make. And at the end of every drawing, I like to outline my drawings in black. I like using the late Penn brand. This you can pick up at a local art store and then you're gonna need a sketchbook on 8.5 by 11 is perfect. So as long as you have one of these, you'll be great and then having a sharpener for your pencil. And lastly, we're gonna use markers and I recommend the Copa chow markers these air great markers for blending, and they give this illusion of watercolor, which is gonna be great for your artwork. So these air highly recommended and you can purchase thes and in a local art store. And that's all you need. Way dive in. There is just a few things I want to go over, so one is making sure that you have a clear workspace. Also, I like to have all my materials set out that I'm gonna be using for this class. Another thing is making sure that I'm sitting in a comfortable chair and making sure that the height of the table is in a comfortable position, so that when im sketching it all feels very natural, uncomfortable, and I like to plant both my feet on the ground. So that's another thing to keep in mind when you are sketching with your pencil. I want to talk about how to hold the pencil. For me, it feels really natural to sketch as if I were writing. So whether you're left handed or right handed, you really want to just hold your pencil as if you are writing, and I keep my distance between the tip of the pencil to where I'm holding it about an inch and 1/2 away from the tip. So you want to make sure that your pencil pressure is really light because what's important about this is once you apply your color and once you apply your black strokes is that it will set it in place, and it will be harder to pick up the race marks and just make sure you're sketching it out with a very, very light pressure. 3. Textures: first, let's talk about texture it. I'm gonna go through three basic techniques on how you can create texture in your artwork. So texting is really important because it allows your flat images to pop off the page. It's also good way, Teoh create personalization and make your artwork stand out. So we're gonna go through the three basic techniques and the 1st 1 is called a crosshatch. We're gonna use our pencil and again use very light pressure. And it's a very feathered motion. So you're gonna go in one direction and it doesn't matter what length or, um, the more imperfecta better. And then we're gonna go in the opposite direction, less thought, just more flicking. So don't overthink this process too much. All right, so that's one line of the cross hatch, and the next is gonna be stippling. This one is just up and down motion just like that. And the closer the dots are in your drawing, the more it's going to show a a darker ingredient, which allows for a darker shadow. So remember that when it is closer together, it shows a darker, radiant, and the farther apart means there's more light hitting it, and you'll notice that when you turn the angle of a pencil, you'll get a different point. So if you hold it upright, you're gonna get more of us. Fine point. And if you turn it, you're gonna get more of a wider point. It just gives you a different type of dot for the next one. We have short lines. This is similar to the crosshatch, except it's only in one direction. And we're making very short lines, as opposed to the longer lines we did with crosshatch. So short lines starts at one point, and then you're bringing it up just quick again. This could be, um, it doesn't have to be perfect. You want to use light pressure, and those are your three, some three basic techniques that you can use in your 4. Sketching: So the first thing we're going to learn how to sketch are leaves. This is more of a basic type of hand movement that we can practice on. You know how I think of it when I'm drawing a leaf is when I was younger, I used to draw, you know, eyes. And so this is a good way to practice leaves. They kind of have the same oval shape. So let's draw that. So you're gonna draw in your leaf again? Just remember. Ah, very light pressure you want to put down, And at one point at the point you started on you wanna finish it out just like that? So give me a whole page worth of leaves and to give him or shape, he will go over, give it a curve, just finish it out. Just like that light pressure, OK? And then leaves has a center vein. Um, and that's just one flick of the wrist like that. Okay, so go through and draw that center vein, and it doesn't have to finish all the way to the opposite end. You just want to make sure you start on one end outside of the belief shape and then just pull it through just like that. And when you're looking at a leaf, the stem, Um, the way you draw these veins or if you can think of it like a V. So it's gonna look like a V shape just like that. Okay, so our first flower we're going to sketch, we're gonna start from the center of the flower. The stippling technique that I showed you earlier. We're gonna draw circle, so try to use a stippling technique in a circle pattern, and then we're gonna just start drawing in the pedals. Now for the pedals we're gonna use again a very light feathered motion. Use your palm. Make sure your palm is flat on your sketchbook and you're gonna do one solid motion. Okay, Just like that, just like a leaf. But this time our pedals air really thin. So we're going to turn our notebooks to get a better range. And you know, in this if I'm starting to feel like the lead is too heavy or that my lines are too heavy, I'm gonna use my kneaded eraser here and what you can do with this, it's really you can kind of mold it however you'd like, But you use it in, you press it down and you just pick it off the page just like that. And it's kind of neat. If you kind of use a twisting motion, it picks up that extra graphite. So to continue sketching, I wanna make sure there's more leaves in between. There's really no right or wrong way to do this. So as long as you fill up your flower, then you're you're in good shape. So we're gonna move on to a flower. Number two Flower number two starts from the middle. We're gonna draw very slight circles, okay? And it doesn't matter how many. You just want to start out with a couple of circles very small and then start out with the curve just like that, and then we're going to do another curve. And these flowers, they start in the middle in the center, and they're really tight. And the more the more you pull out, the wider these pedals are going to be. So keep that in mind. When you're starting from the center, they're going to be really tight. So we're gonna draw these long oh rules with some, you know, a couple of shapes in there. And then as we pull out, we're gonna make this space whiter. So I'm bringing them and making them wider. Now, I'm just building upon the next layer and staying really consistent with shape. And where these overlap, I'm gonna make sure I find a middle point and cross over that. That middle overlap. And once I feel like the flower is big enough for two, the size I like, I'm going to stop. And then from here, I might add a leaf and then maybe one on the opposite side, okay? And remember our veins on a draw in. And I might just draw another one for stylistic effect underneath that and that one doesn't have a vein because you won't. The flower on top is overlapping it. And now we're gonna move on to our third fire. This one is more of kind of If you remember drawing clouds, it's the same kind of motion, less thinking just more. It's almost like a doodle. And again, the light pressure is very important in this. Just make sure that this flower you stay in a circle shape, you might wanna just continue to build off until you feel like it's big enough, okay? And that's a very simple way to draw this flower. And the last flower we're gonna draw is called a succulent. I always start from the middle again. I'm drawing almost. It's not quite a triangle. You would have round out the top and then finish out the bottom just like that. And then you're gonna find another point opposite of that and then finish out. But making sure that this point is not to sharp. We want to round it out, okay? And then we're gonna draw one more. So the centers are really tight, and then you're gonna take maybe this point and curve over just like that, and then we're gonna find another point, an overlap, just like that. Okay. And now we're gonna continue to build, and it doesn't. You know, you just want to make sure you end those, and then you start finding the overlap and finding those you know, wherever these kind of intersect, you want to draw a line just like that, and then the wider out you go more space. You want to put in and then fill in until it looks rounded out. Just continue to build off. And now expanding out that pedal. So the last petal, we just want to finish it out. So it looks fairly round. Just make sure as you're building it out, that it is staying almost in a circular formation. And then at any point, if you feel like you're lines air, you want to redo your line? Always. You know, the Clicky racer is a really good one. Um, it's good for getting those fine points. So if any point you see that you want to redo something or redo a pedal, just go in and a race. So let's try a second leaf. This leaf is more of a longer leave. So you're going to draw a really long line, use a very feathered movement with your hand, and I'm a little farther away just so that I can draw longer line and then you're gonna draw smaller leaves on this one, and it's quick movements. So we're gonna go through Just make sure you start at the the line and then draw your you are leaves from there, okay. And then just make sure you put your center veins on all your leaves 5. Adding Color: thing is the part where it's really fun. I love the color in part, and I love these markers, so we're gonna always start with either two colors or three colors in our drawing. Today, with our leaves, we're going to start coloring. I picked two shades, one that's a little lighter and then one that's darker, so we're always going to start with the light shade. That's something to keep in mind when you're coloring in general or you're using. Marker in general is to start with a light base, and then you're gonna apply color on top of that. That just adds a dimension to your colors, and it also gives it interest. The other reason for doing light and then building up to darker colors is so that you know in especially and sketching and artwork. You can layer on dark colors, but you can go from light to dark, but you can't go from dark to light. So that's just one thing to keep in mind when you're doing this. So the neat thing about these kopek child markers is that they have to ends. One end is for it's called the Super Brush end. It's for fine points and detail work. And then we have a broad end, which is four large surfaces or backgrounds. So this is great for large surfaces. And then we're going to start with the light shade first, and we're gonna use the brush end of this and I'm going to start from the bottom. And just like sketching, we're gonna use very solid, confident strokes just like that and its feathered. I always want to pretend that there is a light source coming from the right side. Whether it's coming from left to right in reality doesn't really matter. For this instance, we're gonna practice as if there's a light source coming from the right side. So that means leaving that space white. Okay, we're going to do that with every leaf, start from the bottom and leave some white space doesn't necessarily have to be perfect here. Just make sure you color through and you always want to go in one direction when you're sketching and coloring. And I would say not toe leave your marker on the paper too long because it will bleed through. Now we're gonna take the second shade, which should be the darker or the brighter shade, and we're going to do the same thing. But now this time, we're allowing some of the first color to show through. Okay, Just like that. All right, so our second leaf, same thing. We're going to start with a light shade. First, we're gonna use our brush end. We're gonna draw the center line nice and easy, and then we're gonna pretend that the light source is coming from the upper top or right side. However, you want to look at it. Okay, Now, my second shade. Time to go over that. Just making sure that I still show the first color. So I don't want a color. It completely. I want to shaded in there. You have it, your second leaf. So now we're going to start coloring the yellow flower. I've chosen three different shades light, middle tone, and then the darkest tone. So you have three varying shades of yellow, and I'm always gonna start again with my lighter shade first. And then I'm going to start with the super brush side. I just color in and I'm outlining all my pedals all over again. Make sure to get the ones in the back. All right, Now we're gonna shade using the second color, The second tone this time start from the middle, and we're gonna use that stippling effect, and we're just gonna dot it and then we're gonna go over, and this time we're gonna put a center vein in each of the petals, outline it again, just like that. And then our last color, which is the darkest shade again, using the brush end this Now we're gonna use to shadow. We're gonna start from the center, start pulling some of the middle colors out. Then I'm gonna outline it, do the same thing all the way across. We're just basically layering in these colors just to give it some really nice dimensions. Right there. You have your yellow flower. Next, we're going to do the red flower. I have three colors chosen for the flower itself and then two colors for the leaf. And I use my brush end, and we're gonna color through each petal. And then from here, we're just gonna shade in as much as we can, leaving some white. Use mawr of the side of the brush so you can get more of it. on your paper and I'm leaving some white spots here. And this is just to show that there some light hitting this flower. Then we're gonna take the second shade, and then we're going Teoh, wherever these overlap, I want a color in a little bit. This is to show a little bit of shadowing Wherever you see these intersections, I won't get a color on my last shade of red. You know, be very bold here and start from the center. Draw some lines out, and then I'm gonna go through an outline, all the pedals just like that. Okay? So once we have that outlined, we're gonna go through and show some of the earlier shades that we did. So we have the middle tone and the light tone. We don't want to cover it all. Just make sure you go through and leave some white. There really isn't a wrong way of doing this. You just don't want to color the whole entire thing, Red. Just make sure you leave some of those under shades in there, and then the center of this flower is actually yellow, so I'm gonna pull two yellow shades. We're gonna start with the light yellow first just got in and then I'm gonna go through with the second shade of yellow and highlight. And then my green I'm going to start with the lightest green and outline, leaving some white space with top This leaf that underneath it is almost like a shadow leaf . So I'm gonna color that the whole thing color at all, right? Make sure not to color the whole leaf in the under leaf. I'm gonna color that all all the way through. And then now my second shade of green I've been a color over that, starting from the base and then pulling my color up coloring that second that shadow leaf all the way. And that's how you color your red flower. Now we're gonna go through the purple flower this one again. We have three shades, actually. Start with a pink shade this time a middle tone purple and then a dark, darker purple This one is your pink We're gonna go through almost making sees all the way across some big, some small And then the faster you go, you can drawing more clouds. And here is a good thing to note to is just like your pencil pressure. You want to keep a light pressure? The lighter the pressure, the smaller your tip and the more pressure you put, the thicker line you're gonna get. Can I feel like that's pretty good? I'll go through my second shade of purple. Now this just adds these. All these colors add really nice layers so it doesn't look so flat. And then our last shade. It's the darkest shade, which just makes it pop a little bit more. If they're spaces where you feel like there's too much white go in. This is where you can kind of fill in some spots here. I had a couple more here. Okay, Our last flower is now the succulent actually a plant. Uh, we're gonna start with the lightest shade first, and we're going to start from the center coloring in those rounded triangles that we started with so going through outlining all the pedals here, now we can go in and color larger. Here he is. Just leave white spots from the top. No, it's nice to have some music on a swell. If you have something that you can play in the background, it's pretty soothing. And then I'm gonna go through with my second shade can, using the brush end. And now I'm trying to find areas where they overlap, and I'm coloring from that point anywhere where there's pedals overlapping right color there. There is no right or wrong in these situations, the color through until you feel like that's enough coverage. If you feel like there's too much white, just go in a little bit more in the last and a color in and darkened in some areas. Now during the same thing, trying to find where these points overlap. And that's where I'm going to put in more color. Now, all of a sudden it's starting to look a little bit more three dimensional. Okay, I've gotten to a point where feel pretty comfortable with where this is, and you'll have to decide to how comfortable you feel with adding color. There you have it. You have a succulent no 6. Outlining: So let's dive in to the final piece of what's gonna make your sketches stand out. This part is one of my favorite parts. Now is, um, the Outlining. I use my late penn toe outline and this really what it does is it really allows your drawing out to pop off the page. We talked about the textures. This is where we're gonna implement all the textures that we learn, the crosshatch, the stippling and the sign strokes. Okay, so let's start from the bottom. Been an outline and just hold your pen as though you were writing. Just like your pencil Doesn't have to be precise. Doesn't have to follow in the lines. Or, you know, as long as you follow the basic shape, you're good. Okay, go through an outline. All of your leaves drawn your veins you're gonna go through and use the stippling. This is a technique to use again to just add a little bit of texture. And underneath this, I might just add another shadow beef and then put in some of those short lines. The tighter the lines, the darker your shadow. The farther out means that there's more light hitting it so just keep that in mind, too. This is more stylistic, meaning it's make it your own. This is just something that I add to add a little bit more interest to my sketches. Then I go through an ad. I don't add too many staples here, just enough to give it a little bit of interest. So one thing to keep in mind when you're using the textures is it's up to you. It's your preference where you wanna include the stippling or the hash marks. You know, I try to mix mine around, so on my leaf, let's say, for instance, if I want to draw shadow on the top, I might add some sidelines there and then a couple of staples. But it is preference. So some of these textures, um, you want to use very sparingly when you are using them. You don't want an entire leave to have too many different textures going on. Then you lose the effect of it being a leaf, so just use them very sparingly. I think as long as you put some here and there and not cover the entire leaf, you should be good. So her next leaf pattern we're going to outline. We're gonna make sure we draw that center line and using those confident strokes to draw your leaves. The more practice you have, the more comfortable you're gonna feel with using your shadowing and your textures. So don't beat yourself up if you don't get it the first time. Just make sure you put the veins in the center there. And then I might just add a little bit more darkening areas right at the bottom of the leaf . Just to show that there's some shadowing here. Might had some staples, but not, um, go overboard on anything else. So for our yellow flower, we're going to outline the center by doing the stippling starting from the middle in that circle pattern, and we're gonna outline all our pedals. Try to make sure when you're sketching this that you're not. Your pedals aren't overlapping. That makes sense. I'm gonna pretend that my light source is on the right side here. So what I'm gonna do is I'm gonna draw a middle line all the way up and drawing in some dark that there's some dark shadows inside of the flower. We're gonna make note of And then we're gonna draw out some more spikes on the back or pedals, and they're gonna use some hash marks there. This is more stylistic than it is a realistic flower, and then just add a couple more and then sub Stickles around here. Next, we're gonna be outlining this red flower. Um, we'll start from the center, and this is not a rial representation of any particular flower. This is just my own interpretation again. When you're starting in the middle, it's a tighter pedal. And then, as you bring yourself as you come out of the center, it's gonna expand a little bit. We want to make sure that they look the pedals all have their own personalities and their own, um, curves. You don't want it to look too perfect. And if you notice I'm not making I'm not to exact on, um, outlining to where the greenness that your color can go outside of that line. It's not crucial that they need to be right on top of it. Now, we're gonna go over the textures that we learned. We're gonna implement this now. So in the background leaf, we're gonna use those short lines Or you can use the cross hatch so either or put some staple from the leaf. And then this part, um, we're gonna go through and add a little bit more shadow here, So I'm randomly choosing where I'm I'm adding the hash marks. I don't want it on every pedal. I just want it maybe use it very sparingly. I'm gonna add a few more shadows on the inside of this flower. So using my black, I'm gonna make a couple more marks in there. We have our purple flower. Now this one's fun because we are. You know, you just go through and create little sees as when we were doing our coloring kind of fun because you just go around in circles and you're just almost feeling like it's a doodle not thinking too much about it. And some could be small. Some could be big, not a big deal. If you mess up here, just keep going. That's why I love the sketching aspect of things because they're really like I said, there really aren't any mistakes that you can dio. You just keep going. Let's move on to our last plant. Um, this is a little bit different, but just take your time. You will be fine. To start from the center, start with your rounded triangle and then we're gonna overlap an outline, all of our pedals. Here. Just make sure again. I want to remind you all too. Uh, not make them so pointy. They're almost a curve. Comes to a point, and then you finish out the curve. So your your sketch should look something similar to this. And now we're gonna add in our our textures. So I'm gonna pick and choose again. I'm gonna start from the center. I'm gonna pick one of the smaller pedals and I'm gonna put in some hash marks, and then I'm just gonna go through and randomly select every other, and it's okay to go in different directions on this. It just adds a little bit more. Um, pattern inside. I'm gonna add in some staple. I really, really love the black because it, like I said, it really makes your images pop out and completes the drawing. And there you have your succulent. Now that we've gone through all the outlining for all our flowers and we've practiced textures, I want you to continue to practice. All these flowers will be used in the final project 7. Putting It All Together: Now that you've learned everything that you need to know, we're gonna create a larger art piece. I've taped my paper on the landscape. I used the's air, just basic washing tape that that you can just find anywhere. Now you have a comfortable physician on the paper, and I like to lay out my, um my flowers by placing circles around my paper, and this will help us to guide where we're going with it. So, first of all, I want to start with the largest circle. This is gonna be the statement flower, if you will, on your art piece. So if you want your statement to be in the middle, you can draw it in the middle for me. I like it a little bit off center, So let's start on the the right corner. I'm going to draw a fairly big circle and then make sure to fill up large spots with the flowers because all the empty space is going to be filled in with leaves. I'm gonna choose between all my flowers. Which one I'm going to use. So for I'm gonna start with the largest circle and I'm going to start with the yellow flower. Let's start with the stippling in the middle. Like we practice. They were going to draw out our pedals again. Use a very light pressure, confident strokes. We might just put another one of those on this side. So we'll stick with the center, then our next flower. I like the purple flowers. So I'm gonna go in and make those little sees. Small, big. Okay. And I might put one right here. And now Let's draw our succulent start with the center triangle. Not too sharp. There were overlapping thes three semi triangles drawing in our shape. So continue to build off your succulent it. A circular form just even ago. The shape and the making Sure your pedals get wider as you come out of the center. It's okay to go outside of that circle reference point that you created to and along curves around really tight randomly, my shadow leaf down in there. You know, the more shape you can add to your leaf the better. And I might just have a loose leave here and then the other leaf that we practiced this one is just a curve. Just find a way to incorporate it. I like leaves with movement, so more curve versus a really, really straight line. So, really, the point of this is it's just a fill. Your paper, the white spots, you know, the white space you can really just go in and fill it with leaves or different flowers if you feel like there's enough space. So the point of it is just a fill your paper up and leave as little white space as possible . So now I look at my drawing and I I'm pretty happy with the layout and the placement and the sizes of everything. I'm going to make sure I go through with my erasers in Erase the Circle lives that we've created in any reference points that we don't want in our our final art piece. So I'm gonna use the clicky eraser just for areas where I need more erasing done. Okay, so now that we have are our layout in our sketch, we're gonna move on to coloring. I like toe work in segments, so I like to finish one flower on and then color the next flower. So it doesn't really matter what flower you start with as long as you start with one and finish one. Remember, we have three different shades for our purple flower. We start with the pig and I'm using the brush end. I'm going through and making We see movements all the way around until they're filled until the box is filled. Then you would think so. Don't leave too much white space. Just make sure you cover it well enough. Then move on to your second shade, okay? And then our last shade darkest purple. Now, you want to fill in as much as you can, But like I said, once you get enough practicing, you'll be really fast at this too. Okay? And then we'll move on to our yellow flower, start from the center, and then our light source is coming from the right side. So that means we're gonna leave the right side. Uh, empty. So we're not gonna come up color The right side been outlined. Let's move on to our second shade. Can start from the center now, leaving some of the lightest shave peeking through. I'm gonna outline again. Always start from the middle and and work your way out. Okay, Let's move on to our red flower. I would start with yellow centres and then we're going to start with the lightest pink. And then we're gonna color from the centre, an outline go through an outline, all the pedals. Okay. We're gonna go in with our second shade. No, start from the center and you can outline again. Don't be too worried about where your coloring it's Lomas. You leave some space for the other colors to show through your okay. And now we're gonna use our last shade are red, which is our darker shade and go in and outlying from the centers. I draw little lines out from the center. I'm gonna probably finish this out with the leaves. So we have our two shades. We've got the lighter green, so let's start outlining that and start from the base can draw our lines up. We're gonna leave a white space on the right side because that's where our light is coming from. Now, our second shade, we're gonna go over that picture to draw the vein. I'm just gonna feather some color in. And now our succulent we're gonna start with the light of shade once again start in the middle. An outline all your pedals we go through and maybe every other we're gonna color in and leaving that whitespace. I feel like that's probably good enough. I don't want to go overboard on coloring it too much. I want to leave enough white space for my other color. So I'll go back in with the second shade. Just color through will go through in between the layers and add just a little bit of kind of a shadow in between. Okay, so to me, that looks pretty good. I have a lot of some white space. Um, I have my shadows that have created with my dark, darkest marker. And then I've got different tones with the lightest in the middle shades that I can see to me. That looks pretty good. Let's work now on this last leaf, draw the line first. Draw your outlines. Make sure you follow through from here in my just brush up leaves, um, white space go through now outline with second shade for me. A justice more interesting when I add multiple colors. So there you have it 8. Wrapping Up: you have your leaf. Now we're gonna talk about the outlining. This is where it's going to really showcase everything that we've done and pull it all together. So grab your leap in, and then we'll just go through and start thinking Now, maybe some staples. Okay, I'll go through my yellow flower. Do a staple center troll my pedals. Keep reminding yourself, starting from the center point bringing it out. Okay, there's some points where I just emphasize a little bit more of these deep shadows and here , so I'll just drawing a little bit more darker lines. I won't go all the way up with him and some of these backpedals. I'll go back in and I use that, uh, the short lines that we learned and I'll put them in the back. And then I'll move on to my red flower, destroying the seeds or the little circles in this inside. Then I'll follow out the pattern here, the pedals. So as you're drawing out, I just want to reemphasize to not keep this so symmetrical. So the farther out you go, the wider your pedals are gonna be. So just make sure you expand on these shapes as you come out of the center. Okay. And then the overlap when you're drawing the next pedal, um, it's going to start in the middle of a pedal so that it's you don't want to fall right into the row before that. And then the last of the leaf on this flower drawing the vein, man or succulent to go in there and the centers they kind of build in. And then you can build on top of that, so again outlined. And then I might just put some staples in there, okay? And then you're gonna do that for the remaining blue flowers on your art piece. Gonna do that? Replicate that for the entire thing. So once your entire art piece is finished and once you've outlined everything, the very, very last thing I like to do is outline it with a light blue. So I'm gonna take the broader side of my co pick markers. That's the wider side, and I'm gonna outline everything. It just creates a subtle background behind all your flowers and plants and almost kind of grounds it a little bit. So it's not just floating in the air. Just make sure that the, um, the marker tip is flat on your paper. You don't want it to be a different angle. It just creates more of a flat surface for you, right? And you'll do that for the remaining remaining flowers on your art piece. Eso. If you have any white space leftover or space that you need to fill in, it's up to you. Really. Whatever you decide is your favorite flower that you like to sketch. Fill in those spaces if its leaves that you like to draw our. If you feel like that's something that you want to fill in your spaces with, go ahead and do that. That's really what's gonna finish off this drawing. You're gonna make sure to repeat some of these patterns and make it your own. - I thought it might be helpful to share a few tips and tricks that I've learned along the way , such as pulling leaves or flowers that you like and studying your subject, making sure that you look at it and you study how the pedals lay and how the light hits that those are really important things that you can do and practice that while you're at home Some places where I find inspiration and might help you. It's just walking outside, finding flowers that you like or leaves that you like, and also in patterns like home decor like fabric, for instance. There's lots of things that we could drop inspiration from, and I usually just make sure I look around wherever I'm at, And that's usually is where I find the most inspiration. Remember, there's really no such a thing as making a mistake, So just have fun with it. Practice and it really is all about figuring out your own style and what you like. Just one note to leave you with is that you want to take good care of your markers you want . Make sure your caps stays on completely, and then you store them in a cool place. He's a really precious marker, so just make sure to take care of him and that's it. Half on sketching