Picture Family Love Creatively: An Abstract Expressive Family Portrait | Kimberlee Everson | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Picture Family Love Creatively: An Abstract Expressive Family Portrait

teacher avatar Kimberlee Everson, Mom, Artist, Hiker, Believer

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

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

6 Lessons (49m)
    • 1. 1 Abstract Family Course Intro 1

      0:39
    • 2. 2 Abstract Family Materials

      5:17
    • 3. 3 Abstract Family Composition

      4:57
    • 4. 4 Abstract Family Rough Sketch

      9:29
    • 5. 5 Abstract Family Drawing and Details

      28:05
    • 6. 6 Abstract Family Other Examples

      0:56
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

23

Students

1

Project

About This Class

This course will teach you how to make a line-type drawing/painting of your family or other group of people using simple abstract figures.

You will learn basic composition techniques, how to create simple figures that look like people, and how to enhance and finish the drawing so that it looks attractive. 

Meet Your Teacher

Teacher Profile Image

Kimberlee Everson

Mom, Artist, Hiker, Believer

Teacher

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. 1 Abstract Family Course Intro 1: In this course I'm gonna teach you how to do one of my favorite projects, which is an abstract family or friend grouping. And we're going to learn how to do this to customize it to your desires. This particular project makes it great gift, a great thing to hang on your wall. And it can be done a variety of ways. I'll give you a variety of options. How do you complete this project so that you are most happy with it and that you can, and so that you can use it best as a gift or in your own home. In this course, we're going to cover everything from the composition to abstracting the figure, to how to make details that make it really pop and look beautiful. 2. 2 Abstract Family Materials: So let's talk about what you need for this course. What kind of materials, what kind of options you have. You can do this on any kind of service. So I just wanted to show you this as one of my favorite things to do lately. This one here on the left, this is done on a weight gesso board. That's something I just picked up maybe at Hobby Lobby somewhere like that. It's thick and smooth and really nice to work on. Can also do that on an art panel would board. And that's one of my favorite services, is to, to paint directly on or are drawn either way on, on wood panels. And generally they're basswood or birch, something like that. So that's a possibility if you don't want a white background. This one over here, this is actually parchment paper. So it's made for equilibrium. And you can see that. You can see through it a little bit. So if you really, if you go to frame it, you probably want some another white piece or something like that behind it. I did this particular one goal just because that's what I was in the mood to do on here that you can do, you know, any colors, of course you want. We'll talk about that in a minute so that those are some options of the types of surfaces and you can choose any surface you want. In this particular course, I'm just going to, I'm just going to demonstrate on white paper, this is actually a White and color card stock type paper. I think it's 13 by 19 that I buy on Amazon. And it's really nice for markers. I'll put a link to it in the, in the files here somewhere so that you can see exactly where to get it and what it is. This is a larger piece of it. I'll probably just go ahead and do it on a smaller piece so that you can see it more easily on the canvas, but they come in in various sizes. So that's where we are in use for a surface. The other thing that you'll need is depending on your surface, you may want to have some kind of an art spray on paper. I generally don't worry about this, but if I'm doing something like on a wood art panel or guesswork panel, this is really helpful. Now to color on it. Of course, you can use anything you want. I like pasta pens myself. I feel like that they're easy to use. And they hold up well, they do particularly well on the type of paper I'm going to demonstrate on. And they come in all colors are widths and so forth. One thing that's helpful about them is that they're opaque. It doesn't really matter so much if you're on a white surface, it unless you are layering your colors. And I often do that. So for example, I may draw a black outline and I, and I end up going into it with a color. It'll, it'll cover over it. So it gives you a little bit of flexibility in terms of that kind of layering. And if you have an opaque pin, that's one reason I like it. They're also just very high-quality and you can buy sets of them various sizes. This particular one is my favorite for fine detail. So 0.7 millimeter pin type, often called a Colibri. See a LIB ARE pen. And this is really nice. It's got really fine point. I'll put it over the wire. You can see for fine details, there is also another 0.7 option pen that's more of a bullet tip and I don't like it as much just because if it catches on anything it tends it kinda spray in a weird way. Okay, so that, that's my favorite for fine details. For most uses, I use this size which is a bullet-shaped 0.9 to 1.3 millimeter called a 3M pen. And I and I use that most of the time. And you see if I've got a lot of colors of that here. And there are all kinds of different larger ones. This one is quite large, 7M, 4.5 to 5.5 millimeter pen. That one's quite large and there's all kinds of different other shapes. Those aren't the only ones in sizes in between for you to work with? What I work with most actually depends a lot on the size of my paper. So if I'm decently quite small, then I'll use a lot of these type of pens. And these type of pins will be used for filling in shading larger details that if I'm doing something on a larger piece, then these will be my my my main drying pens and I might use something like this for shading filling in areas of polar. So it really depends on what I'm doing. Of course, there are all kinds of other paint pens out there. I've tried quite a lot of them and I feel like some of them, you know, they have various advantages, but a lot of them are much more transparent. So again, you have the issue if you can't layer that over some other colour. And I've just gotten used to these and I like these. You can do a similar type of thing with paintbrush or with, you know, Sharpies, although they're not real cleaning CRISPR watercolor or anything like that, you can do the same kind of design with that. Of course, I'm going to be demonstrating this particular piece of art in this instruction based on using these pens. 3. 3 Abstract Family Composition: Alright, well let's talk about how we create our family or group, grouping of friends and how we create that composition. I generally, and I'm going to demonstrate in here, like to use a composition that's fairly simple, with tall figures in the center and tapering off to the side. So it ends up being kind of triangular, may be a little more oval, I guess would be a, a better way to to say that. And I don't like to do that exactly. You want to make sure that whatever rule you make for yourself, you break it so you have some interests. So for example, I've got a shorter figure here are the taller one behind him. If we look at this particular example, here, is a little bigger grouping. You can see I've got a shorter one here, shorter one here, and so forth. That you do want to think in terms of the overall shape to what you are creating so that it's pleasing to the eye in some way or other. And I'm gonna go ahead and do a similar kind of composition here. Now, how do you do this? How do you draw these figures? Well, they're really quite straightforward. This is just a very easy, simple abstraction that I'm doing here. What I'm going to essentially do is draw headwear. I wanted him make a body from there. And my bodies are going to vary. You need to think in terms of what will make it look like a human figure. And for me, what makes it look like a human finger is, of course there's a head that's key. And then some other details that are human-like. Typically I like to emphasize shoulder. So you're going to see here that there's always some kind of a shoulder. You can always see where the shoulder is. Ok. And then from there, you may or may not see any arms or legs. I've got an arm showing there but no legs, which makes it just appear like address same thing they're here. I've got a bit of legs, one arm showing here. I've got legs, one arm, shoulder. And sometimes I like to do, you know, you can do these lakes very simply with knees up. Just think about a cursive m, something like that. With a big tail for the shoulder and a cursive m and so forth. And here I've got sum these up as well, just to provide some variety your composition. You're not going to show the whole body for everybody that we're look like soldiers in a row and it'd be very boring. So the next thing that you want to think in terms of is some overlapping. So was I start drawing these. You don't typically draw a whole figure at once or a few figures like this one where you're really seeing essentially the whole figure. But for the most part, I start off with heads and I do some shoulders and I start drawing bits of pieces, various places so that there's a little variety to it. This one you can see it just all one color. I've only done outlines, a solid done there. With this particular one I naught at some other color in, and we'll talk about that in a later video. How, how I do that? Let's talk about the composition here you can see that they've got heads, various spots. Okay? Some of the heads I've drawn a little bit of something that represents hair. Others I have not. And that can be a very traditional male versus female distinction. You know, if you do that, the other being, the other being whether you make it dress like for females. And again, that's just based on typical stereotypes. You don't have to do that. That if you're okay with that. In my family people it is. Does fairly old true that the women have longer hair but not in every case I have one son with longer hair. So you just have to think about how you want to do that. And the other thing you wanna think about when you're thinking, just starting off with the shapes and the compositions is you want to think about the relationship of them to each other, okay? You could just go put in all the heads first. I typically don't. I do a little bit piecemeal. You'll see as we get into that video that I have here has leaning in tourist each other. That's one of my favorite things to do, has to have the head slightly leaning in towards each other. And this case it's much more extreme so that they're they're even touching. So that's something that I like to keep in mind is having that kind of a relationship. If I, if I want a loving family. The other thing you want to think in terms of it is, is maybe you want somebody with Who's downloader to be chin up. Okay. Maybe you want somebody to look like they're looking at another direction and you can get a lot of that just from the angle of the head. Okay? So it's really just a matter of what you want to convey with it in your particular design. Now, of course, this is a, these are fairly big families here. I do have a fairly big family and so that's why most of my groupings are quite large. That you can do any number of people that you want. 4. 4 Abstract Family Rough Sketch: As you begin this, you want to decide whether you want the city, portrait or landscape are the two that I showed you are both square. So it kind of depends on the size of your family. With a smaller family, I might be more inclined to do a portrait with a huge family. Of course I might do a landscape. And we're gonna go ahead and do this portrait here. And I'm going to do not quite so larger the family because I think that for more people maybe that will be more applicable. And I'm going to start off with my rough drawing. In this particular case. I do my rough drawing with the thin bull pen pay. It could just as easily be done with the next size up. I'm gonna do it in black. So what I'm going to demonstrate here is creating the base drying in a thin pen. So you understand the process to get basically were things where I want things. If I make a mistake is just gotta, it's going to become part of a figure. Now you could do this ahead of time in pencil. I'd like the spontaneity and the flow at doing it directly. Ok. And again, there's just room for all kinds of errors because you just make it part of a feature. Now, what I'm gonna do is draw thinly with this. And then I'm going to come back with a thicker black pen to add some variety to my lines. As you can see here, the lines are actually mostly quite thick. I'm not going to worry about these little areas of color yet I do those last. But what I'm gonna do is the basic shapes of where the figures are. I'm going to do that, just haul in thin pen and then I'm going to come back and think of your lines is shapes when you, when you come back to that second step and really make them vary in thickness. So let's start off with this. I'm going to go ahead and you can make a course that traditional family and non-traditional family and group offends, friends, co-workers, whatever you, whatever you want to imagine it as is fine. Sometimes I don't even imagine a specific people. I just think of it as a loving group and it doesn't matter to me who they represent. So I'm going to start off I'm just going to start off with a head. And mafias pans. You need to shake them often, frequently to get the, get the ink flowing. And it doesn't matter how sketchy are perfect at all looks because I'm going to refine these lines later. And so I've just got ahead here. I haven't even necessarily decided who that hit is. One thing you want to think about this size, depending on how you want your bodies to be. One of the things there's not really any mistakes with this of course, but one of the things that I find I'm disappointed in my results with is if I make the head too big and the bodies end up looking like they're fat. I mean said that I'm, I'm overweight myself, but it feels more elegant and beautiful when the bodies to me are long and thin. And I guess that's our cultural stereotypes. I don't want them to look like they're wide and short. So I like to make sure that I don't make the head too big to start with because it sets the whole thing off kinda ROM. So let me just start off with this. I've got one head here. And I always just like to thank once I have a head. I like to think in terms of how is the shepherds the shoulder going to me, that's just an easy common shape. And I make my shoulder, like a hunched up shoulder here, curve around and come in. That's something that I do very often, is make that particular shape. Ok. And this particular time when I'm going to do is think about where I want the next figure to be in relation to it. The next figure could be this way leaning against the back of his shoulder. Could be a face this way. Leaning up against his face, could be quite a bit shorter. There's a lot of options here. And I like to just go with what feels good in the moment that you might have a particular thing in mind. I'm going to go ahead and make this, make a shape now ahead that leans this particular way. And the hands of course, don't have to all be exactly the same size and shape. And we will refine again how that looks with a thicker pen and a little bit. So now that I've done that particular one, I'm going to go ahead and draw in how the shoulders go for this particular person. And you see a kind of visualizing, I do the same thing with the shoulder. You'll see that kind of shaping, curving in my particular family drawings quite a bit because to me that's a simple thing to do. Okay, so I've got that, that started here, and that defines a little bit about where, where the composition is going. Next thing I'm gonna do is I can add an another figure or can add a little more shape to this. I'm gonna go ahead and do a line like that, which to me represents arm. Represents an arm. I don't necessarily need to draw hands on it because that would be a lot of detail work that isn't what I want here. I want this to be a little bit more flowing and simple. And then what do I do next? Well, I can have figures here, it can do figures here. I can fill this figure. Of course there's not a right or wrong way. What I'm gonna do is I think I'm gonna have another figure here as if it were a child or something That's in front of the taller figure leaning against this one. So you can say father, mother, or if you want or whatever, whoever these represent to you. But I'm going to do that particular shape here and I find my hunch the shoulder up this way. It has to the feeling that the individualism leaning in. So maybe they're leaning against, I'm going to just call that father and mother and, you know, it can be whoever you want in your particular thing. So, so I'm starting in there. Now. I can also think in terms of hair. Do I wanna, do I wanna do a particular eldest do the typical. I'll do a female hair and not necessary. But I'm doing something traditional In this particular example, okay? And then I look at this particular, say child here and I think, well, they've probably got an arm right here leaning forward. So just take your time and kind of think about one shape at a time and, and what you feel like really goes next after you create one particular shape. Now this particular figure here that I only started, this could be a shoulder hub, it could be a almost a backup if I wanted to, I could just draw him. I'll just do it for the sake of variety. Draw him down this way. Now it looks a little bit different as if he's looking off that way. May or may not be what I want. And I think Oh, if that's kinda of a shoulder than he's got an arm coming, maybe like that. Okay. So you just have to kinda play with that a little bit. And of course, he's doing it on paper. There's, there's no risk. You know, you can start this over as many times as you want. Okay? So, so far I think it's fun where it's going. What I'm gonna do is I think what I'd like is to have another baby, child down here looking upward. Okay. But I'm going to do what I like to do sometimes, which for a variety of shapes is just, and a little neat trick, which has done again, just think of in terms of like a cursive m. There we go. He's got knees now. It's all it took. And then I'm going to just make sure fill in his body underneath. He's got an arm maybe coming down that way. And is very interesting. Not really, but once I fill out the other details, that will be fine. And I like to have everything connected and overlapping with each other. So I've got that one going and you see, I made a little smudge there with my hand. That's always a risk that it will become part of the art. I will just make that part of the artists we go. And then I think what I'm gonna do is I'm gonna make one more figure here. Okay? And I always think about how the head relates to the bodies of the people that come before them. I'm going to make this a little bit female alike as well. Sometimes I like to add next n. Sometimes they don't, is poor people don't always have an x k and then I can kind of keep going. And this particular person got tall. Okay. This particular person here, it's going to have some legs, have to be equal in size. And then if you see what was becoming legs turned into this child K. And you see what, you know, away this guy's floating in the air and you think, Oh no, that's a mistake. Well, is it a mistake or what do you do? You draw? Draw some kind of a feature, right? Maybe it's a hill. So there's not really any, anything wrong about any of this is just you make it how you how you want it to be. Now if you had just left it like that, it would just kind of be a fairly rough sketch when you have all that much interest to it. So the next steps that we'll show in the next videos allow it to look a lot more finished and refined and beautiful. 5. 5 Abstract Family Drawing and Details: Now that I have my family outline, I'm going to start making this like a nicer looking work apart. So the first thing I'm gonna do is I'm going to make the lines more beautiful as essentially a line-drawing art. That's what it is. And I'm gonna make the lines have some variety of width to them so that they're much more interesting and pleasant to look at. And to do that, what I want is a little bit larger pan. So in this case I'm going to use this pen which is the 0.7. bullet tip. No, that's not the one I want. So what I'm going to use in this case is this pen, which is the 0.9 to 1.3 millimeter in black. Christian life to others black. I liked doing the first love layers black and then a work from there. And you have to watch munging a little bit, you know, see how dry this is. So I usually start up your left and Rick downwards. And what I want here primarily is interesting lines. That's what I'm going for. So variety of thickness to my lines, Brady of curved lines. So I could just trace that over BUC that still quite a constant thickness line. To me that is not as pretty as interesting as having a line very somewhat in thickness. So I'm gonna play with that a little bit. The other thing I'd like to do is I like to think about where my lines meet. Do you see you have quiet a cute narrow angle where these two meet. I often like to soften those this by filling in a little bit partially on how to do that. You want to do anything really, but and there again, I like to, I like to soften those angles. And I like to just make sure things look smooth. The edges of my lines look pretty. So. Think of your lines when you do wind typos, abstract art as being shapes. You can fill in smaller areas of black if you want, but you don't have do worse. And what I'm gonna do is come down here, kind of play with this line a little bit. Give it some interests to the shape of it. Sometimes you get a little fuzziness to the edge and you can go over it again with this pan. Or sometimes I just have to get up and I get out the narrow painting over it with that. This is generally quite a quick project, so that's one reason I find them funded you. Okay. So I'm gonna go ahead here. And I like, and I like to soften those little pointy angles a little bit. This is part of my style. I think it looks a little nicer and need to get that edge not fuzzy. And you'll have more trouble with fuzzy edges is as your pen gets older, brand new pen or be sharper, you can, for these pens get replacement tips so that you can actually that little felt sticking out. You can pull it out, put a new one in so that if they get a little bit worn. And it kinda depends with surfaces I've been drawing on how the warm they get and you can see that's a little jiggly. And I can come back. And at some point with a defined really fine tip pen, if I need to fix that. And I just kinda keep working and making it so that at this stage, when I, once I finish this step is just still, it should look nice. You know, I should have a nice almost you could leave it a finished that way if you want quality, not even almost. You could leave it that way if you want to. So I just kinda keep going. And again, no rules to these particular compositions. Just do what you want with them. Someday. I'm wanna make one with my entire family, which is very large. I have my second marriage, and I had a children from my first marriage, three biological and five internationally adopted children. And my husband was a widower with seven children and cleaning a set of triplets. So you can do that math if you're good at math. And so far we have seven of our children married, so we also have seven spouses, and we also have seven grandsons. Granddaughters. So it would take quite a lot of time and I would need a very big piece of paper to draw my entire family. That it would be a lot of fun. And, you know, I'm struggling with this pen because it's a little older, I'm getting a little bit of fuzziness. Sometimes you also need to push down on the tip to get the ink falling again on these pens. But there are no rules. And that fuzziness gives because my, my pencil a little bit older and I'll come to fine tune it with a fine point pen in a minute. And you can kind of soften things, play with how you you do things at the edges. Down here, maybe soften, I could fill it all in black if I wanted to. And it's really hard to do these wrong site is just you may find it expresses your feelings about the children better. And Minnesota's children, I guess everybody a little bit better or worse than another version that you can keep experimenting with it. And what I'd probably do is if I wanted a real fine finished one, as I probably do quite a few of them just on paper. So I kinda got the hang of it and they knew what shapes I like and so forth. And then I might do it something like a piece of wood or a big canvas or something like that or a big art boy. However, I like always the spontaneity. And a lot of times I find that if I try to copy exactly to do something else, to do another version and another surface. Copying exactly the final product. It will have something lost to it. Who've lost a spontaneity in the flow to it. So what I recommend is you do practice ones first. Not with intent that you're gonna exactly copy, but with the intent you're going to use the skills you learned from it and the, and the shape, shapes you really liked and so forth. In your final version. And still let it be something that has some spontaneity to it. This pennies as TIP replaced. However, I don't think it hurts me to see dealing with harder situations like that. If you have that problem, then again, you just need to fine tune it with another pen. And you can, of course, at this point you can add to change and more figures at any point you want. And you see even just this, varying the lines. It's not us and making the lines thicker, that makes it look better is the fact that I'm varying the width of the Alliance and I'm filling in some spaces. Making it a little more interesting and intentional filling. I like to when I have raw edge like that, sometimes kind of make it larger like that and analytical that. Sometimes I don't, kinda depends on what you wanna do. Do, what you wanna do. And again, if you remember, I mentioned earlier and I smudge right there, I don't know how well you can see that in the video. And so I have I don't have to, but I'm going to make that part of the picture. Okay? And I'll do some fine tuning of the edges of that particular because my pen wasn't doing a little bit old, worn out. Hey, so I've got the basic shapes I want. If I did that when I do differently, maybe I feel like this guy because of the angle, needs to see that his Lake's coming back down as not just sneezed, hanging in the air. And what I'm gonna do next is Corsica do fine tuning of all those lines with my fine tip now if I want to, but I think what I'm gonna do first is I'm gonna go ahead and add some color to it. You can see that in this one here I added grey. You can add just one color, you can add multiple colors. I, I'm very much a person who likes to do monochromatic. So I would typically choose one color or maybe two shades of one color. What I would do. But some people might want to do pink and blue. It's just really matter what you wanna do, but I think it gives a unity to the Hopis if the same colors are carried through. So for example, if you decide to use pink and blue, okay, don't just make the girls pink and the blue is blue. And their detail work. Theory that app have some regions of each of the two colors and all the shapes. And I'm going to demonstrate that now, but with two shades of blue, I think I'll do two shades of blue. So I have here here two shades of blue. You can see those are I don't know, you can see that those are different from each other. Okay. If you're not sure if you like them, test them out on other paper first, it doesn't matter whether you start with the lighter, the dark. But you could just leave this as it is, or you could add some crosshatching in places or some other things. But I'm demonstrating this way. So what I like to do is I like to create some regions of color to enhance this. You don't need to think in terms of your shading and you need to make sure it's right where the shadows are. K, that's not really necessary. This is a flat piece. It's not meant to look three-dimensional. So you can do what you want with it. I might do a little more often around the edges. In fact, mostly around the edges. And that does feel right. And, you know, as far as shading and KLM, more ink flowing from that pen. And but it's not a rule or anything like that. So, so I just have a section drawn. Maybe I'll do a section up here. And you can see that because of the pins, I'm using, that little stroke when a little bit onto the block area and look just as vibrant blue as it does on the white. And that's very typical with, with these Tosca pence. One reason that I like them is that they do that so well. So again, I'm not going to just do some figures with this blue and some figures with the other blue. I'm going to have everybody gets some above. And that can be done in a uniform way or it can be done either where some figures have more than one and less of the other and the others vice versa. It doesn't matter. So long as you have balance through the piece. Again, I can just, there is an area that's black. I can just go on go on top of it. It's not doing real well because non-black isn't fully dry. Okay, so you just want to make some shapes may come kind of interesting maybe. And filling in and I'm going to get fine tune all of this with a black narrow pen when I'm done. So for that reason I'm not too worried about, you know, if the edges aren't perfect or anything like that because I am going to come back into it with with that pen. And so you do need to shake from time to time. Push on the tip a little to get some more ink flowing and go ahead and do that. You see, I'm just it's, it's quite random. You know, what I'm, what I'm doing. I like to just add some interests to it with the color. It doesn't need to all be inside the shapes. You can do it on the outside of the shapes. I have pieces were, had done some of that and I found that interesting. And this is just a particular way of adding some life to the, to something that's quite a simple line drawing. And again, you don't have to do it. You could leave it as black and white. When you're done. Either way. What I'm gonna do, as you'll see in a minute, is all of these regions that I've colored in blue here. I'm going to align them with a very thin black pen. You could do that without filling in the blue. In other words, you could just make some thin lines as well. Without that are black. The kinda go where these shapes are now, you know, without, without having the actual shape colored in. If you want it to be just more of a black and white piece. Okay. And again, I've got a pen that's a little bit more and then using the lat. And it may come in and ask more later. But for right now I'm gonna go ahead and switch over to the lighter blue. And while these don't look too different from the caps and deal with quite a bit different once you started getting them on paper. Ok, so again, wherever we want to do it in this light blue is one of my favorite colors. And he can touch the other blue, whatever or not. But I don't just get outlining. I think that that's one mistake is to just outline the whole thing all inside of a shape with one color. It's not very interesting. You want to have much more randomness and variety to where these, these colors shapes are placed. So you wanna make sure that it's a little bit more random than that. And that's generally nice to have balanced in terms of where the two shades are across so that they're spread over the shape. It's also nice often to have one of the two colors dominate and the other just kinda BSS secondary bit. That often is pleasing, pleasing look. Okay? And sometimes they'll do things where I have one of the colors is dominant and in one figure and another color dominant in another figure. So that's really just a matter of if you want to really pull out and distinguish between them. Now I'm going to go back and I feel like a little tree equally balanced. What I'm gonna do is I'm going to add some more of this particular blew into it. And again, what I'm not doing is just kind of outlining each shape just inside the black lines. I just don't find that particularly visually pleasing myself. And that's what you like, that's fine. But I think this is a little more artistic looking. If you have more, more variability in what you do, then it's like too predictable. So I'm just kinda enhancing him. I feel like I wanted a little more of this blue line here. Okay. And again, all the edges look kinda messy right now, but that's because I'm not done. I could do it within this hill here. I think I'll do that. And I really like things to tie together. So let's say, you said, well this is a hill. Let's do this part green. Well, if you're going to put some green here, do this screen. Then add a little bit of green, healthy here just a little bit. And make sure you put a little bit of blue into the hill. Ok. So you really want to, again tie your colours through the entire piece. Don't just have one figure, one color, and then another thing that I really think probably wouldn't look real great would be to fill an entire figures. With this just being so flat and so much of a line thing, you make it change it from being a line thing into a shape thing primarily if you were to do that. So that's just something that I don't think I would personally not find quite as pretty. And again, I've got all the colors and in everybody and all on all the sections. But maybe some might end up with more than one and less than another. Okay, once I'm at this point, then this is the, this is what really sharpens. It is two. I like to go outline each shape back. Now you could do this whole thing with your base color not being black, being grayer, being gold. See I have one on parchment paper that I did were all the shapes are just gold and I didn't do any of the shading, so there's not one right way to do it. Kay? So what I'm gonna do is I'm going to sharpen up each of the shapes just by outlining them neatly. And I do it on the side. It's already black because that makes it look a little tidier. And I'm gonna do it on the inside. And just like that. And sometimes they'll kind of soften those corners too. But as I do this, I feel like this gives it the finished quality that I personally. And it's not always perfect. You know, sometimes like a tiny spot, you probably can't see that it's not blue, it's white. I don't care. I feel like that adds some homemade artistic quality to it as opposed to being too perfect. But I like to do it just kinda make sure that Now the edges of everything cleaned up. And you see this one, this blockage itself looks a little bit wobbly. So on cleaning that up a little bit. Going into this shape. Now you do have to be careful of Goma hand resting on here of smudges. That does. You're going to be adding therapies. Okay. You can put something underneath your hand that's clean, that you can rest your hand on another piece of paper. Sometimes we'll use another pen. My handout just, just so I just keep going on. For me. This is a little bit of a fun activity to do. Well, I watch TV sometimes is to just do a couple group like this. And I do really small, made it big. And might be trying to make specific figures or it might just be trying to make random figures. And they just keep going. And the more I clean up the edges, the more professional I guess I'm looking. And I just keep doing it till I'm happy. And of course, at any point you can go back and add more color, more figures or anything you want. I apologize if there's an occasional sniffles, nonstop allergies. And you can see a kind of love data. Maybe roughed up. The lined in hit right at the edge of the blue. I got a white gap in there. You decide whether you like it or not. You can add in more blue there, you can leave it. I'm gonna leave it because I actually think sometimes it's interesting, new, whatever you're trying to do, you have variety to it. It's no fun to have everything look exactly the same. Want it to look like it was done on with a computer software because it wasn't no computer software has its different benefits. Picked up some paint on my pen. Sometimes you will find if you're using the ultrafine once, that they may stop writing. If they do, it probably means that you've got something dried on the tip of this pen and it's really hard to see it. So often what I find helps. Is to get a rag or whatever and just rub all the size of the pen on it. Really hard to wipe off. It might be like some of the blue and got in there and then derived on it can because it's got dried dried blue ink on it. He won't, right? So that's something that I found is a little problematic with these skinny ones. But it allows me to do what I want. And again, for me, like the finished quality of outlining really shapes and maybe you don't. It might be because I'm more of a mathematician Type. I like precision. I'm actually a statistician. That's my day job. As kinda soften edges on things. And while it takes a little while, it's fairly seating in satisfying all these little spots. You can decide whether you want to fill in what kind of angles you want their son a piece of paper. And I find that this kind of thing really pretty unwieldy. I'll show you examples in the next video of others that I've done and other surfaces and so forth can see I have a big gap there right here with the way. And I can decide, do I want to fill that in blue? Do I want to fill that in black? And I'm just going to fill it in black, a little variety and that line there. This is pretty well done. I just need to go through and do an refining this plane. All I'm really doing is I'm cleaning up any little spots. Maybe I don't like the look of angles that are a little too sharp for me and I want to fill him with plaque. Places where maybe the pen didn't inked and go on quite strong enough and were places where the lines aren't as crisp as I want. And I can kinda stay with that because I want depending on how picky and being. So that's my my finished little peace. Sign it if you want to initial and you are done. And then I'm going to show you in the next video some other examples that we've done. 6. 6 Abstract Family Other Examples: So these are just some examples of others I've done, not necessarily families. This is a particular couple. Can I did it very much the same way. I can see that this is on a wood 16, mid-twenties. It's hard to get the whole thing and they've got my camera setup right now. Okay. And I think, I think these kind of things that were very pretty solid says another one. I did. This is just a good thing and got probably at Walmart. And it was a lot looser with this particular One of my style. And again, that's more of just a couple. This one is a similar idea, but with a religious piece. And again, this is Would, you can get these with these edges on it. Mechanics, kinda fun. And this one again to just only done one color with, but you can experiment with the variety of different types of scenes with these kinda simple figures.