Loose Ink Drawing - Cow | Courtney Mace | Skillshare

Loose Ink Drawing - Cow

Courtney Mace

Loose Ink Drawing - Cow

Courtney Mace

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8 Lessons (39m)
    • 1. Introduction

    • 2. What You Need

    • 3. Finding Inspiration

    • 4. Sketching and Outline

    • 5. Face and Ears Texture

    • 6. Nose and Body

    • 7. Finishing Touches

    • 8. Conclusion

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About This Class

In this class we have a look at the process I take to create a loose ink drawing. I take you step by step through the process from finding inspiration to adding highlights.

I cannot wait to see what you chose to draw.

Meet Your Teacher

Hello, I'm Courtney.

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1. Introduction: Welcome to my Skillshare class where we're going to be making a fine ink Tori of a cow. You can choose whatever animal you want. This is what I did. We are going to create these together and I'm really looking forward to it. Sorry, Callaway to see you. In the next lesson. 2. What You Need: Okay, so what do you need? We need a few things. We need some watercolor paper. This is a piece of 200 GSM, 24 by 32 centimeters or nine by 12 inches, cold press watercolor paper. I don't really have a preference in watercolor paper. Where do you go hot or cold pressed depends on how smooth you like it. This has a nice amount of texture, not too much, but just enough. That's one like this one. So what do we need to actually be making their mark? So I've got just a little container of water. I've just got an old Chinese container of re-used. I've got HE, black Indian ink by Winsor and Newton. Now you don't need to use Winsor and Newton. I, when I sell my artworks, I like to make sure I'm using best quality. So Winsor and Newton's kind of top-shelf stuff. There are other things that are also top shelf. I've got these ones here in different colors. So these are, these are acrylic inks. So they are a little bit different to like a watercolor ink. So this is Taylor or AMI. I've got a few of them. This is called Purple lake, these color, and this color here is this by spectrum, which is an Australian based company. And it's just boom, they come in or hey, but different colors. Sorry. I also have some Liquitex acrylic inks as well. They all work just as well. So it doesn't really matter which inks you use tools to actually put down the leg. A few different tools. My main tool is a stick. And I know how strange that sounds. These stick he I purchased from my local grocery store. So it's a package skew is it exerts a little bit point here, one end. So it's packet skewers to put me on a Jacobian, the Bobbi or whatever. So I don't use them for that because we're a couple of bucks spray, you could use a stick from the backyard. I find a stick really helps loosen up recently so far, not be so perfect, things like that. And I do use brushes as well, so I've got a couple of paint brushes here bring us small artwork. So I've got a couple of smaller ones. I usually do work a little bit bigger than this, but I'm just going to use these and see how they go. They're both fairly new. This one's too has personal cost me $4 or $2.50 bargain. But again, right. So that's that a couple of other things in a bit of paper towel just to soak up when you put a bit too much water on, which I always do. And possibly some type to type. If you want to tape your work down. Typing your work down to a surface always allows a bit of, keeps you a nice crisp edge, which is really nice sometimes. I don't often do it for today. I'm going to say that my bits of paper don't go flapping a battle over the shop. And for that I'm just getting used basic painter's tape because it comes up an awful lot easier and it sticks better than washi tape. I do sometimes use washi tape, but to my surface, he the painter's tape work a lot better. Okay. Well, I think we can get started. 3. Finding Inspiration: My case, I find motivation for your artwork. Suddenly I've always found a bit tricky. I just wanted to show you this website now I don't know how well you can actually say it on my phone. This is what I'm currently using for all of my photos. My reference fire dies that I haven't taken myself. So I'm very slowly, every time I go to a zoo or a farm was I mean, I'm taking Fridays to help build up my own farther references, but there are quite a few animals that I don't have. I'm yet to go to Africa. I know there's a certain quite a few animals rubber there. I haven't actually seen a volt shock from America and things like that. So depending on what you want to do, that is called Pexels. So it's PEX ALS.com. It's great. They are in no way do they sponsored or anything? I'm just showing you what I use to find my reference pictures. So it's free stock photos and videos shared by talented, correct, talented creators. So it's basically BARDA is that royalty free? So I just joined, become a member. You can donate and things like that, which I have a couple of times because I do appreciate artists putting your work out there and things like that. These are just the homepage but I am today just because I like them. I'm going to do a cow, so I'm just going to find a cow picture. I'm just running the word cow and store it away these hands and devil's come up with that. I quite like him. That's not too bad. Now I got to remember. I'm currently I've already typed my paper down and I want landscape. So I'm want to picture, pick a photo. That's kinda gotta be the character. The sky is probably going to do this girl, sorry my lovely young lady here. This one's not too bad. That's not bad. I colander, I look at these pictures and I say that being more of a portrait length size, or I have actually drawn this cow before. And I think for the sake of today I'm gonna do this one. It's already in landscape. Now basically, you can download it and things like that. I just like to go in and That's the zoom in as much as I want. And that's their own My firing ready together. And then also you can see I've exited out of that one. Now. If I go back him, It's got the honesty of the photographer Jan coats, seem Kao Yi. And then it comes up with some similar photos and stuff so I can Dark Knight, I can follow them and things like that. So it's all about artists putting yourself out there. If you use it, you can donate. If not, just turned my phone around and I basically position him or her how I wanted on my thing. Sometimes I just take a screenshot. If I need to zoom in more than it'll let me, I really want to zoom in much more. That would do me. So there's my inspiration. You might take a couple of different pictures, but these do right. Here is my inspiration. If you want to use the same reference photo, feel free to jump on to Pexels, create an account and all that good stuff. And you'll be able to find this lovely young lady there. So I'm just going to pop that up there. All right. Now to the next. 4. Sketching and Outline: Okay, So we've found out picture that we want when they are going to just sketch it now, I just going to pour a little bit of black into ink into a container. And this container, I've got a little lead force overwrite. Use all this. I'll be, I'll be able to put the lid on and save it. I find with ink, I don't use anywhere near as much as what you originally think. So these, these big was a 250 mils will make millions, Millions of artworks. I'm just going to clean that off. Okay, so I've got my pure ink there, I've got my water there. Some people like to mix their inks into, in a palette. So you've got a nice different tones gray, you are more than welcome to do that if you want. However, I'm just going to go with the flow. I'm going to sketch with my steak. I'm not going to use a pencil. Sometimes I will use a pencil if I really want to not adhere and make sure my proportions right, especially when I'm really getting really good quality paper. Normally a darn, I sketch with my steak and basically I dunk or in, I'm just going to sketch now if like for example, that way too big, I'm just going to make a small and all those extra lines is just what helps to make interest. So this should noise is kind of the main feature. And then we've got these Chin beaten. He currently Greece hair, her head up. He is. So basically I'm just going to sketch out all those bits. And that rule sketchiness is what really makes this our top of our standing out from the wrist. It's loose. It's fun. An oil, I think. We'll mix care stand out from other, every other animal. They're gorgeous, ease now are probably done that a little bit too big for the pace paper, but I'm just going to cut easy, ease a little bit. Sherry is. Now one really important thing with this drawing is one thing you need to remember is layers. Layers are your friend. Okay? So this is, this is really just layer number 1. I was a bit of a boo-boo, but that doesn't matter because he doesn't have, she does have these beautiful corona. Black splotches, all learners. And I'm not going to put them all in with this blue black black because I don't want them too dark. All right. Now we've got a rough sketch happening. He will make the top of her head a bit bigger. We're going to go in and define our lines a bit more. Now these are eyes a little bit too far. I'm going to bring it over this way a little bit. And I can do that with this next layer. This is XIII. You don't need to write for that first layer to dry. Now you can say I'm holding musty quite far back. If I wanted to, I could get a really nice long skewered along steep. And that helps free up my lines and make them more flowing. So there is little rough bits there, good. We want that. So we're thickening up airlines. We want to deep into a lot more. These are a little bit less sketchy lines, but, you know, every day and then let you, let you stick to a bit of wondering. That's fine. It all adds character. So we're just thinking them up. Now, another thing I like to do in days is sometimes you put a big blob of ink down and you blow on it and it makes this really cool pattern. I'm not going to worry about that too much to set a little little body owner go over them if you want to thicken something up. I try very hard. The irony place I really use a solid black mass is in the eyes. And remembering to poor little spaces in aws where it's just plain white paper just to help show a bit of reflection. And that's the only place I'll do a solid black area. That's just because I don't want it to be super dark black. Now, the other thing is we need to try and capture with this cow, is we need to try and capture. These is a quite ferry. And even on her face she has this kind of way reefer on her forehead as well. I'm going to take this forehead of a little more. What you can do is add a little bit of water. So remember, friends, layers are your friends. And now just realize the Southeast days our eyes don't match. Now it's actually, it doesn't look anything like the picture. So I feel add like especially he ran here, I can add water. This is why I like having big brushes. Because big brushes you can put larger amounts of water. And what it does is it will drag that ink away from where I was. Now, do you have to be really careful when doing this? You don't want to get rid of that really nice, beautiful line work. And basically how dark the seas, that's way too dark for my liking. So that's when you can grab a bit of paper towel and dab a little bit. Because I don't want her not being too dark. Where I do want it to be nice and dark is in her nostrils. So I want to see if there's a bit of wet ink there that I can pull on us. It's not overly wet. So we will, like I said, layers are your friends. They will come back to that and we'll add more layers on top. So I'm just going to do these are nice areas. I want to be a little bit darker then some of the others. And you can say how pools that ink. And it makes some guy right? Great little effects. Now I'm constantly adding water because you don't wanna make it too dark too soon. So you want to along just doing a really basic it's a really black because ease her ys are really quite dark. So I'm gonna kinda catch that. I don't want it to be too dark though. So again, take some of that off. I'm not going to touch her forehead until everything draws because our really want her face to be a lot lighter than everywhere else and you can say are probably rushing into much too quickly. I'm just going to dab away some of these. And constantly adding hot water. Because the water is what makes the ink move about and become really organic. I think that'll do us for now. And I'm sorry, I'm not gonna touch it now. I've kind of got the areas I want to be quite dark of kinda just done a first layer. I'm going to come back in. Once this is all dry and we're going to add some more texture and some more coloring. Okay, see you in the next lesson. 5. Face and Ears Texture: I came. So we're up to this point where we've got our outline. We've started shading a little bit and we're going to add some more shading. I'm going to start from the lines in. So basically what I do, This is what works for me. So I just added a little line of ink on top of the line I've already got here. And all I'm gonna do is a limit lady on water where I want that to go. So I'm laying them a lot of water, like there's a pool of water here. And I add a bit more because when and I don't want to go any further than where I want it. Because when I touch it, you'll see what happens. So IQ goes, immerse yourself out into that. Now, I'm going to move this around a little bit just because I'd like that nice shade all the way to the edge. Because there's a few things that happen here that are completely out of your power. A exactly how the ink reacts with the water. It's different. It's different on different papers. It's different depending on how much water you've got, how much ink you got, things like that. The other thing is out of your control is even good. Watercolor paper, hoovering, cool a little bit. So my pen, this water color paper I'm using is actually really good quality. They still wrinkled a little bit. So here I've got a little bit less ink, but there's a big pool of water just here. So that bothers me. I can move it a bit and try to get it to go into there. But I like that Like that whole unpredictability. Now I feel this area hearing, I'm going to end up going over it with another lags. I do want that a little bit darker, but I'm going to go up to the top of her head now because I don't want to do two areas next to each other because what happens will obey is all this good stuff. He will bleed into the near area of just applied water. So wherever you got water, the ink will travel. So again, I'm actually start from her nurse is time. So I'm just gonna put a little bit of ink along the top of their noise. Maybe is measure more than that. Right? Say again. You can apply the water first, which I'll show you in a minute how that looks. So here's a girl. Like I said, again, I'm putting loads of water because I just love oh, I accidentally touched it. That's fine. I'm just going to keep adding water diarrhea because that's way too dark. I'm going to get there. So that was a bit too much ink. So annual playing with it, you're doing what you feel books good. So at this point we're not really adding too much of that furry texture. Now, as you say, this is all still very wet and I want to add a little bit of marks in that just with the ink. Now you could say what happens as soon as my ink touches it, it feathers out. Now this is wet program site or pool of water, but he is still very, very wet. So I'm just putting some marks to suggest the fiber. And you say the less wet the water, the pages, the less that ink runs, believes now is while we're waiting for those to dry. So as we saw, we could add the next layer. I'm going to add some fur to my ears now, these are not going to wet. This is literally, I'd like this to find because cows have this, these Ferrari e to them is two insight. So I'm there on the bottom a little bit, not to mention the bottom. I want that to be very thorough. Comes out where the ear is. Okay, so again, I'm going to let this layer dry before I go we can do is her do her nose and her body. And we're going to add some more. 6. Nose and Body: Okay, so we're going to attack. And no is now I want the noise to be a little bit lighter than up here. These interrupt quite dark. So I want these to be a little bit lighter and then these two will be darker. And this maybe darker still, push it back and maybe push the face forward. Let's save, that'll work. So again, same deal on a singular poor. I'm going to put the ink at the bottom and around kinda the top, right. And they are like that. Again. We can say on just touching that because I don't want it too dark. So many touching where the ink is low. So while I'm at it, I've kind of made it a bit lighter. I want to have these Corner rule speckle, dark patches. So I'm going to use this little chunk here, black. And unless you're just going to paint them in some areas again here, I'm just going to wet everything. And I'm gonna get my stick back. Just a little bit of in Coda and we're just going to touch it to say some Chronos spin up quite a B, some not so much. Again, that's what I absolutely love about. Ink. Easy. Just died. I, what you get, I get. And if you want to push it a bit more, go again, go ahead and get your paintbrush that they don't want this to be just like a line, so just corner roughing up the edges a little bit. And as it dries, it'll look different. Yet again. The sum of these ink and just Colonel David everywhere or OLS. And it's up to you when you say your finished or not. Sorry. All right. I'm going to again get some ink. Now. I'm putting a bit more ink on this time because I want it to be darker and I kind of want the shadow to come from the Chines. So I put the ink all the gene. So you say I've got this rather large black blob. I'm going to do instead because I do want to quite dark down here. I'm just going to move some of that up and around. So this adds pretty good. It's got some nice effects there. And this is kinda where I'm sometimes do little effects like blowing it. Now cause if you are in a class, you don't wanna do that because of corona. For the bag stays cool, little spicules bits. And you do that on the E is that it helps it helps with that furry texture. Well, my cowed done theirs based on what I'm seeing, there's a couple of things I'm going to add. So once this layer has dried a nine to add a very light gray to the background. And I'm actually going to come back in with what squash and add some highlights, save and then access. And to do that. 7. Finishing Touches: Okay, So today I've let this dry overnight. I'm going to add the background and just a few little what touches. So let's start with the background. For the background, I'm going to use a much larger brush just because I find it easier to lay down color, allow larger space. Now you can see there's very not very much color in my Warner at all. So this is just my wastewater from my previous colorings. So on you just literally touch it with my paint brush and add some more in there. Tested. Yeah, that's more than enough. Because I don't want it to take away from the base, but I just wanted to not be quite so stark. So we literally my dad now never mind if the color pools a little bit at Karnak gives that real clarity type effect in the background. I'm okay with that. So I've added quite a bit there, but it's just nice and slow, nice and pale wash, background wash, which just makes it look a little bit more complete. So next things next, I've got here my Liquitex acrylic gouache brush. So I've just got a really super fine detail brush which you can't really see very well. And I'm just going to put, so these adding your white highlights adds depth. So I've already left the what to the eyes. So I'm going to leave that makes them actually look like eyes and not just black pools where the eyes should be. So you don't want to put it right on the edge. You just want to put a little wherever you want there to be a curve where they would normally be a curve. So what this does, it just gives it some more dimension. Now, I just kinda added that to use. I'm going to add a little bit in here just really quite randomly. Because I want to add, I want to give the facts that noise is actually, while it's quite smooth and shiny, it is actually quiet rock. But it's still quiet. It's still got that wet appearance. Now if you're using some cheap acrylic paint for this, which is blind, I feel like have to use expensive stuff. You might need to go wherever. I sometimes feel like I need to go over this a little bit too. Because I really want that Y to be super opaque. Do not want to say any gray through it. And these sludgy bits, There's no rhyme or reason on just kinda going around me were put the darker spots. I don't want to overdo it and I don't want the white to be a feature on what my ink to be. Now, I'd just like to add also some hairs in the E0. That'll why don't we say gotta be at a water, everything. That's fine. We're pretty well done. That's the final touches. Okay, so the last thing I need to do is sign my cow. Now looking at this is not a 100 percent dry magazine as pools of water. And I just want to sign under her ear. I don't know why. I just I want to I'm going to use a stick. I'm going to use pure and I'm just going to signer. Always. No matter how amateur you think you are, always sign your work. And I like signing the work somewhere in the work, not in the corner and stuff because for example, when you go to matter, so if I want to frame it, I'll put it in map board like this. You can see it actually cuts a little bit off the edges. And if I wanted to cut your signature off, sorry. That's my reasoning for signing in a random place. All right. Well, thanks for joining me. I'll see you in the conclusion. 8. Conclusion: So we're really hope you enjoyed making these beautiful cow with me today are Callaway to see your projects plays. Even if you didn't do these cow, you did clearly different animal. We did a landscape or portrait. What Java, whatever you chose to do, please share it with me. I'd love to see them. I love seeing all your projects. I got.