Recharge Your Creativity: 5 Techniques to Grow Your Sketching Skills | Anna Sokolova | Skillshare

Recharge Your Creativity: 5 Techniques to Grow Your Sketching Skills

Anna Sokolova, Berlin-based Artist

Recharge Your Creativity: 5 Techniques to Grow Your Sketching Skills

Anna Sokolova, Berlin-based Artist

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16 Lessons (1h 52m)
    • 1. Intro

    • 2. Materials ° Paris café

    • 3. What to Sketch?

    • 4. Sketchbooks Types

    • 5. Now it's Your Turn!

    • 6. Sketchbook Layout Ideas

    • 7. How to Draw with Markers

    • 8. Warm°Up

    • 9. Drawing Through Method

    • 10. Style n°1 Tulip

    • 11. Style n°2 Moulin Rouge

    • 12. Style n°3 Jewelry

    • 13. Style n°4 Fabric and Fashion

    • 14. Style n°5 Red Panda

    • 15. Your Task

    • 16. Final Thoughts

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About This Class


Sketching is visual thinking. I’ve noticed that sometimes I like the sketch even better than a final piece.

In this class, we'll be working with alcohol-based markers. I'll show you the basic principles of creating a convincing sketch and we'll get inspired by the narrow streets of Paris* visiting the same places as Van Gogh, Degas, Matisse, and Picasso. We'll explore five carefully selected styles while mastering five techniques and growing our skills. PDF class link is here.

Key lessons include:

  • Sketching Materials
  • What to Sketch & Resources
  • Sketchbooks types with pros & cons
  • Drawing Through method
  • Sketchbook Layout Ideas & emotional impact
  • How to draw with alcohol-based markers
  • Warm-Up exercises 
  • 5 Demos including flowers, urban sketching, animals, fashion, and jewelry

This class is perfect for all kinds of creatives who want to experiment with sketching and find an additional source of creativity while learning new skills. Also if you have alcohol-based markers and have no idea how to use them this class is for you :D

Join me in this virtual sketching journey in The City of ART!**

Can't wait to see your artworks!

Find more of my classes here....and don't forget to say hi on Instagram.

*The class was filmed before the recent events. Let's enjoy virtual sketching. Stay home and stay safe! <3

Meet Your Teacher

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Anna Sokolova

Berlin-based Artist

Top Teacher

Anna Sokolova is a is an award-winning illustrator and artist based in Berlin, Germany.

Anna works with mixed media and is inspired by merging the traditional and innovative approaches in arts.

A member of the NYC Society of Illustrators, Anna often collaborates with other international and local professionals to achieve the highest quality of unique artworks.

She recently collaborated with Wired, Tombow, Victorinox, ImagineFX and Netflix.

Follow Anna's work on Instagram. Join the Owl Post Newsletter to be the first to know about exciting news and inspiring projects.

See full profile

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1. Intro: Sketching is a visual thinking. I've noticed that sometimes I love the sketch even better than the final piece. My name is Anna Sigalova and I'm a professional published illustrator based in Berlin, Germany. I've been busy in the industry for a long time and sometimes I feel I need to recharge. That's why today we are in Paris, the city of art. In this class, we'll get inspired by the narrow streets and same places as Van Gogh, Degas, Matisse, and Picasso, just to name a few. We will explore different types of sketchbooks and composition. I'll also include helpful PDF. We will cover a variety of subjects such as urban sketching, animals, flowers, and jewelry. I will be working mostly with alcohol-based markers and liners because you can blend it without water. But of course you can use any art supplies you have and love and have. You can also win one year of Skillshare premium membership this time. All you have to do is upload your project in the project gallery and follow me here on Skillshare. I also have some art supply prices for you. So if you're a perfectionist just like me, let's sketch together. 2. Materials ° Paris café: Before starting any sketching journey, I always think about two things; where to sketch and what to sketch. Depending on the location, I prepare what to put in my pencil case. Our supplies are different, but there are a few things that are always with me. For example, it's umbrella, hardcover notebook and positive thinking. Sometimes it's just a liner. Let me show you my studio setup. What do we have here? It's a very basic pencil case with canvas, so it's very light. It's a basic set of alcohol-based markers and white and the liner, this one is brown. In this secret zip pocket we have two binders. These binder clips are great against the wind, paper tape, and glue. Put everything away. You'll see how I used the glue in the next video. I also have this protected notebooks, so I'm not afraid of any weather. The paper here is not stitched, so can be really easy replaced. Honestly, I like sketching at home, but I really love to make quick sketches and color studies outside. Now, I also have this hardcover notebook, so I don't have to look for a table. Let's move to the studio setup. I'll be sketching with alcohol-based markers. I have this small hardcover notebook. I have the same large hardcover notebook it's a A-4 format, very comfortable and Bristol paper. It works great with anything, but keep in mind that markers bleed with a page, so you have to put additional sheet of paper or two underneath the working one, have pencils and things I will use for white. It's just the usual pencil, graphite, mechanical pencil. That's really awesome and liner. There are three options for white. A pump marker with acrylic paint, a gel pen, and a white chalk pencil. I really love the effect of this one. All these materials are listed in the PDF in class resources and about sections. Now let's move to the next video and talk about what to good. 3. What to Sketch? : Sometimes we don't know what the sketch and feel frustration. No worries, I've prepared an inspiration list in the video for you. Think of things you love. I adore all things botanical. So just a simple flower shop can steer my imagination. I advise you to think upfront what you want to sketch, so you will be more prepared. For example, you can make Greek urban sketches, stroll around the city and just collect impressions, designs, characters, colors, and emotions you can draw them afterwards or get inspired by photos, online videos. You don't really have to go outside for it. Now, let's see what treasures I have here. I have chocolate labels I've collected along the way. What else? Business card from some cafe, subway tickets, these two brochures from Musée d'Orsay and Centre Pompidou. So when I sketch this Metropolitan side, I didn't know how the metro tickets would look like, so I just left this square. Now I think that this will look too boring and I want the design to be more interesting. Something like this. I use my travel glue and stick it here. Super. And now it's time for the next video where we'll explore different types of sketchbooks. Join me. 4. Sketchbooks Types: Welcome back. These are all my sketch books. Now I notice that they're all gray. The first one is a large hardcover notebook with case binding. The inside pages are sewn together in sections. It's very comfortable and lays flat. The next one is soft cover, saddle-stitch binding. The pages are stitched together using metal staples. Well, it's good for short term use. The next one is a spiral notebook. The technique is extremely low cost, so you can get a really, really affordable sketchbook. Let's put them together. These are most conventional types, but of course you can find plenty of varieties. For example, this watercolor tone sketchbook. I love it so much. Or another one, this is the handmade custom treasure. I bought this one in Venice, Italy, and it still has this original craft paper. It feels really crafty and so artistic to use this one, and I think I will replace the paper afterwards, but I'm still not sure. Like in all other areas, everything depends on your personal preference. Let's move on. I'm very curious to see what you're working in, even if it's just a loose paper, I mean, I use it a lot. 5. Now it's Your Turn!: Now it's your turn. Show your sketchbook. Make a photo of your sketchbook, and upload it to the project gallery. Why did you choose it? Maybe there is some special story behind it, and then move to the next video to learn about different types of sketching composition. 6. Sketchbook Layout Ideas: Here we go. Let's explore various sketchbook layout. I've prepared a few thumbnail, so you'll have a better idea. The first type is called open composition or bleed. You can see right away that the picture doesn't have borders and it touches edges. That's right. It's open. Closed composition is on the opposite. The artwork has a border. We have a focus on the object within these boundaries. It can be surrounded by text. For example, like this. The picture obviously doesn't touch the border. The third example is a symmetry. I think you already guessed what that means. You've seen it a lot of times. In a symmetrical composition will have two mirror images of each other. It creates a sense of harmony and aesthetic balance. That's asymmetry. The next one is a bit different and it is based on focus. Let's say we have some ship over here. The focal point of a sketch is the area to which the viewer eye natural literal. If they have the main hero somewhere here, we should point to it somehow. Let's say we have C and we have clouds, and they will all be pointing at our ship. This is how focus works. It's very popular in tutorial illustration. Next one is based on overlap effect. It works great if you use some frames, stick other materials to the page, like we did in the Part 3 of the class remember, so our objects will be slightly over one another. Like this. This will get the viewer's eye to move around and will create additional interest. Especially if you use different materials. It's very important that our objects don't touch each other's edges to keep this interest. The next one is based on dynamic. I'm sure you've seen this in many artworks, especially in editorial illustration. The famous [inaudible] for example. I can have a text somewhere here like this. Of course we have mixed composition where you can combine anything you want. Let's say we have a flower somewhere here, our main character, a header here, and a text, probably some poem. We can draw the lines that we'll be pointing to it. This way will create something unique and beautiful in our sketchbook. I've listed all this examples in PDF. You can find them class resources. I think we're ready to move to the next video. I will show you the basics of working with alcohol-based markers. Let's finish this and move on to the next video. 7. How to Draw with Markers: Welcome back. I'll tell you a bit about how to use alcohol markers of any brand. If you're using any other art supplies, that's also great. So you can just skip this two parts or bear with me. But if you draw with markers, I suggest to draw on smooth Bristol paper. Such markers, bleed through the page. So you should put additional sheet of paper or two underneath your working one to protect the table and cloth. Any marker usually has two tips. The first one is a chisel tip. It can make huge variety of lines like this, but don't keep the tip too long at the end of the line. It makes a bloke with dominate. Now let's turn it 45 degrees and once again, you can see the line is so thin and it can be even thinner. It's just a matter of practice. The second one is very fine, elastic brush tip. You can create variety of borders and lines thanks to its dynamics. You can try different options. Well, there's one common mistake. One of the most common mistakes is to try to fill a form like this, starting somewhere in the middle, here and then continue here. Without any logic. It looks messy. Instead, try to fill the same form with long, uninterrupted lines like these. You will have a smooth color, very beautiful effect. And fill the space also with one line like this. Now let's see how to blend colors. I have three violets here. But how did I pick them? The thing is, I pick this colors using the color wheel from the brand's website. Every marker manufacturer has a sort of a template where you can see the whole pellet with blending suggestions. These colors stand next to each other, which makes them perfect blending partners, whatever that means. It's always better to pick colors that are close to each other instead of just buying random ones, pure making a small connection. Think of things you'd love to draw and most, and get those colors. Now, let's start blending. We are working from light to dark. So I chose the lightest color and then add the next one. Like so, and blend it with the first one again. This way we'll get a beautiful color transition. Now let's take the darker tone and put it right here. As you already guessed, we will blend that again. Don't forget that we have to work quickly until the ink are still wet. This way, we create a beautiful gradient even without water. Here's a quick example of how the three colors can create a convincing illustration. I draw this simple outlines with ink permanent liner. These two shapes and let's imagine we have a light source somewhere here, a shiny sun. Now, by using the same three colors as we just did, we will create an illusion of depth using principles we've just learned. I'll apply light color at first, then the second one, the third one, and we'll blend everything together. And the same with the square. You can apply a few layers to achieve a darker color, even using one marker. Like this, shadow will help us to create three-dimensional effect. That's it. I think we can move to the next video. I'll show you a quick warm-up exercises and that will help us in future sketching. 8. Warm°Up: Before we begin, let's practice some simplified brush strokes. Is very helpful to start with warm up with any art supplies you are using. I start with chisel tip, then turn it 45 degrees like so and then again, I want to have really thin line. That's right. This fun exercise is called snail, and it helps you to master the marker if you're using it. This is really awesome, let's try this again. This is also snail, it helps for joining other shapes and now I'll be practicing with a brush deep. I try different mark making, things that I will be using in demo parts of the cloth. For example, in fashion illustration, stimulant technique, different waves like so, and these are helpful to draw hairstyles. This can work for feathers and fur. Let's practice a bit, these are really helpful, and don't forget to mirror this shapes. I think you can do it better. I suggest you fill a few sheets of paper with these exercises, you can find it in helpful PDF in class resource's section. Small strokes like this are used to show soft and fluffy fur and feathers or maybe a grass. Actually you can make any marks that suite your style, this looks like a huge fluffy bowl, for example. Now I'm going to show you one more example, I really love to work on this one. I have this lady drawn with permanent ink marker, and I made some marks with pencil to help me with directions. Now, the inks are dry and I can already add some shadows, just a few strokes, nothing very detailed and now, when the shadows are ready, I'm going to show you how it's just a few strokes you can create the illusion of volume and shape. Let's begin. Don't forget, I made some pencil marks, so I know where I'm going. I change the direction of the lines to show the imaginary volume underneath this coat or dress or whatever that is. Now, our character looks a bit like middle juice, if you've seen the movie it has this awesome costume. That's it, and I really can't wait for the next video. I will tell you about very important method for creating convincing artworks. I'm sure you will love it and it will find it helpful. Now, let's move forward. 9. Drawing Through Method: I've prepared something for you, [inaudible] These two subjects show dramatically how the real form is different from the flat outline. The metal ball occupies the real space in the palm of the hand, and the thin shape is just binged between the fingers. We have here a simple basic forms. Try to imagine the lines and space inside, like it's transparent. This method is called drawing through. To be able to draw a convincing illusion of form, you should understand its structure and depth, like this. Almost any object can be reduced to this shapes. For example, look at this berries and the sphere. They're exactly the same. The shadows, highlights, everything. Now, take a look at this shining ring. The light and shadows on this place fall on the same pattern as on cube. It works for all the shiny surfaces too. For example, you can see similar lights and darks on this perfume bottle, and here they are exactly the same. By the way, you can use opaque white pen or pencil to add highlights on top of the markers, like I did here. I think you've got the idea, and now you can draw this magical objects. It's really fun and we'll do it in the jewelry demo, and now we're ready to start with our first style. Join me in the next video to draw a beautiful tulip. 10. Style n°1 Tulip: Welcome to the demo of the first style. We'll be drawing a vintage look into one of my favorite flowers. I have prepared a very detailed pencil sketch where I carefully marked all the shadow areas. This type of tulip is really easy to draw because it has a very defined pattern. In this style, we'll be using a layering technique. What does it mean? It means that I will begin with the lightest color and then build up the illustration step-by-step. I take this lightest gray and define the shapes of all the petals. You can do the same if you're using pencils, watercolors, even if you're working digitally, the principle is always the same. As you can see, I follow the shape of the petal and intentionally leave a lot of white space. Now I continue working on other petals. I have a few. You don't have to carefully work on every detail, but it's always great when you have a focus somewhere in the middle. I will [inaudible] our shadows on the stem. Now I want to intensify the shadows with darker gray. I defined the pattern and then I plan to blend everything with a light gray again, like we've learned in the warm-up section, and how to blend colors with alcohol markers. The same works for watercolors, pencils or other medials that you can blend. Then I will repeat older steps with more darker colors. Remember, I always work from light to dark. Fullerene technique, that's very important because you can have a lot of layers. It makes sense to begin with the lightest one. I continue to define the shapes of the petals. I blend everything with white color and next step is to take the darker gray and add depth. Of course, you can use any number of steps. It's your personal preference. This layering technique allows to create very very atmospheric illustrations. It's almost like Old Masters technique. I work on every detail and you can have many layers, as many as your paper can handle. Now, I will work on every petal and we already can see the pattern. Tiny details are very important. We have our radius ready, and now it's time to add some color. We already have the three-dimensional base, which means we can add just a little color and it will look beautiful. I pay attention to the shape of the petal and I'll put color only on strategic places like this. On the tip of the petal and on the bottom. We already have the shadows. Then I will blend everything with gray. That's a great effect we can make without adding any water, like this. This is the very light gray, it won't affect the color in general much. Some more. You can see that I have other pink colors over here and I'll repeat the same steps with them. Now it's time for the most intense color I have. I really love this dark one. I always keep in mind the three-dimensional construction of the flower. All my strokes, are following these curves. That's what makes our flower more aesthetic. Few strokes here, [inaudible] I follow the spaces very carefully, the forms. I always keep in mind the lights and the shadow areas. This type of tulip is so beautiful and I'm really happy to draw it with you. These dark strokes they give such a beautiful character to it. I think I could do this for a long time. I carefully work on every detail and then I will continue this way with the rest of the flower. Afterwards I will blend everything with gray again, but it's not necessary. I just love the shiny view it gets when we have a blended layer on top. I will work on rest of the petals now. I've blended everything with light gray to achieve this polished look. I use the lightest gray as a blender, you can do it many many times. Now, I plan to draw a stem stalked with a very light yellow to define a leaf and a stem. If you brush strokes here, then I will add darker green. It won't be very detailed cause we have the main focus on the flower itself. At the green part, I draw just a few strokes, not the full. I don't color the full shape. Sometimes it looks better when not every detail is so well presented. I will continue with drawing into stem. I also have to add bright highlights like these with bright yellow. Blend it a little bit and now will be one of my favorite parts, that is brighter than highlights with chalk pencil. I love the way it works with the texture. I showed you this pencil in the materials part of the class, so I define the highlights. I'm working mostly with the focal point, so not on every petal. The next step will be to use acrylic marker and make the highlights even brighter. At this stage, I can correct mistakes, make a better value. Now, it will be some time for a marker. Now the marker. This [inaudible] , if I had a cat, it would come here for sure. I wish I had it. Now, let's brighten up our tulip. I've worked very carefully only on wide areas with a few dots over here and I will work on the rest of the image. That's it. Our beautiful flower is ready and it's time to move to the next video and explore [inaudible] 11. Style n°2 Moulin Rouge: Welcome back. In this part, we'll explore orbitals caching. Even if it's a little one. Sure you've recognized a legendary Moulin Rouge. I have my colors over here and a photo of the Moulin Rouge at night. I've really loved the sign, so I wanted to use it. I can explore all the tiny details and plan my composition. The color study is ready and I have all the information I need to start. I don't need it anymore, we'll take it away. This will stay somewhere behind the sketchbook. I again start with the light pink or red, pinkish red. I will start with the simple lines with not very important part. Not to feel scared and frustrated. That's definitely not the way we wanted to feel. I'm make quick lines and continue to draw the overall building, it's a Greek sketch, so I don't use any ruler. Though I did use a ruler when I made a Bessel's sketch. More lines. Next will be, few strokes here and then the roof. I think I can over this draw some shadows. Don't forget that I already have the color study and I know what I'm doing, so I know where I'm going. I'm not inventing this right now though its very spontaneous, and the result will be different from the original water for sure. I'll leave some place for windows and cover all the space of the Moulin Rouge with background color. We have something that looks like Moulin Rouge already and I'll add this details. It will be near the sign. Few shadows will be here I think. This case will look more interesting if we use several hues and layers. This subtle pink will work great. I'm still not sure if I want to blend everything with it, but I will add it to the light areas. If I will make the second layer, it will be even darker. This part will look good. I look at my sketch and I think in my head how it will look like. Maybe shadows on the window, but I avoid touching the borders, so this will have a bit sketchy feel. As you can see, I leave a lot of white space. I will blend the building on the front, and here will be the sign. I need to mark some directions and will darken the shadows. I think I will have few layers of shadows over here. It's the darkest part, and it makes the Moulin Rouge recognizable, so time for details and shadows. It's a sketch so we won't spend too much time on it, that's why it's a nice effect to add this shadow here and leave a lot of white. I'll continue building up this sketch from light to dark. Like this. Now it is time for the darkest color, I've chosen this super deep violet. It will look great on our pinkish-reds. Now I draw the third or the fourth layer with this one, so all the colors mix together and we have this rich shadows. I would avoid using dark black or dark gray or just black for the shadows. The blues and violets look more beautiful, I put this tiny details on windows. Note that I use only one part, one side, which is shadows for details here and here, and please note that I still keep the edges lighter. I don't just draw over every shape with this dark color. I will work over a full illustration, but I always choose only one side, only one small side of the shape. Paying special attention to the most dark areas under the roof. This is our focal point, the center of our sketch, and then I will blend it with red, so these shadows won't be so distracting and everything will look more natural. That's why blending is so important in this technique. I continue with blending many many layers on the same color. When you mix it with another one, it can give really beautiful effect to give the feeling of the brick or very specific texture. Now, I add an immense here, and do you remember the sign that you saw on the photo? Since we have the ultimate power over our sketch, I want to put it somewhere here. I decided to use blue and then add violet and maybe some effects, but we will see it closer to the end of the sketch. This is very free interpretation of the font. I tried to sketch pretty fast, but of course you can make very detailed illustration. These are the letters. Just one layer I think will be enough, and the shadows, but that's not all. We will be back to the sign bit later. No, I just wanted to have the feeling of the overall composition. I think it is time for another letter inside that we have over here. As you remember, I think you saw thousands of pictures of this building. Well not thousands, but a lot. This sign should be a bit sketchy too because otherwise it would take a lot of time, so I work only on parts of the letters. We don't want to spend too much time on it. Very basic strokes. Now, I want to add very large shadows on the whole illustration. This color is very light. It's almost like transparent a bit. It can create a very beautiful subtle effect over any other solid color. I can develop the whole composition with it. This light blue compliments the red in a very beautiful way. I can use it to sketch some shapes here and even add additional hues. I decided not to draw Moulin Rouge at night because it maybe too difficult or too much paint or I would need black paper for that. I wanted to have something more light. Few strokes here. I can add blue on the white areas to the white space that we left at the beginning and my plan is to continue developing the composition using some quiet colors.[ MUSIC] I add blue shadows to the composition as a second layer everywhere, so we have this atmospheric illustration. But I already think about some magical effects I want to add. I've been thinking about flying petals or just graphic elements. Something like, falling leaves, something like this. But not too much, not too little with a subtle color. This will help to lead the viewer's eye. Now this two colors work perfectly together and this will make our composition more interesting and our sketch more cheerful. I will brighten some areas. I can work on this forever but it's a sketch, so we won't spend much time on that. Magical lettering effects. I have no idea what I'm doing, but somehow I like how it looks. Some dots, lines and dots this mark making we've been practicing in the warm up section of this class. This small details, will add a festive mood and now we can add even more details with darker colors, some small elements. We already have everything almost ready. These are just things you want to add according to your preferences. I put it here, well, I would add more shadows here and maybe something bright. I think yellow will really add to the festive mood of this sketch. It works great with layering, so I can put strokes here, here and of course on the lettering part, this will create this shining atmosphere, glowing, I would say. But not too much, just don't sign on some edges. Of course, on the magical effect, and now you've guessed it's my favorite part, it's acrylic all over the place. I will add white details everywhere. Of course, we could avoid that or we could leave white space from the very beginning, but somehow it's easier for me to add these elements afterwards. I will work on the top part. It will look beautiful on the darker background. I work with edges, but again, not with full edge, just with parts. Highlights. Now the windows, some more texture. Maybe a few white dots on the surface, after this small elements. Few dots over here and here, but not too much we don't want to overwork it. Well, it's really the most difficult part to know when to stop. But please keep in mind that it's a sketch. If we were to create some very detailed illustration for a commission or for a personal project like exhibition or something, the approach would be a bit different. This is more impression style work, but still I love the realistic look of it. That's my choice. Now I can add white elements, here. There is a big, there is a huge poster on Moulin Rouge with advertisement and we have only a hint of it. Now, working on layering. I think this wire effect is great. We're almost done. We have a beautiful sketch and we're almost ready to move to the next style where we will draw beautiful shiny jewelry. But something is still missing. I need this tiny element to be in place. Super. Now we are ready to move forward. 12. Style n°3 Jewelry: Welcome back. In this part, we'll explore how to draw shiny surfaces. Do you remember this perfume bottle from the beginning of the class? These highlights are the most important for this style. We'll be using this technique to draw a beautiful diamond ring. I have here a sketch where I carefully recorded every shape, meaning highlights and shadows. I think we can begin. I'll begin with the lightest gray and define the shape of the metal. For this illustration, I'm working with gold grays, but of course, you can use any suitable colors. There are so many beautiful jewelry designs you can choose from. This gold gray colors, they work for white gold, for silver, for metal. I need to define the full shape. The side planes of the ring on this part, very basic strokes. I don't pay too much attention to the edges. Just the overall filling of this object. Of course, I can already define the places where shadows will be. You can find a good photo reference. It will be very helpful to draw jewelry. Now, when I have the first shape, I'll do the same with the diamond. I make brushstrokes very sharply, so the edges are really sharp, and I leave a lot of whitespace. The next step will be to add contrast at the same places using two darker grays. I will make the shadows more contrast. Don't forget to leave the sharp edges. Here comes even darker color and it's still not the end. I always leave the white of the page. Of course, I plan to use acrylic marker afterwards, but still, I need a lot of whitespace left. The principle of this technique is to define hard edges of light and shadow areas on the diamond. When drawing the diamond, keep in mind the direction of the planes. Like this small triangles and rectangles. Don't color the full stone. Just the parts of it. I would say particles. I will continue to put layer after layer leaving the white of the page and the same places as I did for the first layer and I will go on. To have a three-dimensional look of our ring I'm going to put a shadow over here. You can see that there is a good border between the shadow and the planes on the ring. That's very important to keep it. It supports the lighter planes and creates the beautiful volume. Now we have this 3D effect. We'll have to blend it a few times. To save some time I'll make it a bit faster but you can make really juggled processions. I blend all the shadows. To have this beautiful effect we should use few different grays. To draw the surface on which our ring is standing or laying focus from tested ring like in the shapes we saw at the beginning of the class. I continue to blend elements here and there. I also have every shells over here. Now it's time for magic technique. With my white chalk pencil, I'm going to define highlights. I will try to keep the shapes really sharp, especially on the diamond. They all have the direction of the sun, like a sun rise. They have the center point and all other elements are pointing to it. I define this heart. I also try to leave a lot of white space. In our case, I draw this white space on the next layer so our ring will look more realistic. I work on every edge and they'll meet here and here. We are using one color so far, just different tones. Well, the full variety of tones, of course, but still, one set of grays is enough to create white gold. I want to add a sparkle. This blue sparkle will work great on every jewelry type. Even the brighter blue, I think. This works for all the shiny surfaces. The diamonds are usually created with white-less sparks. It's a good thing to add some tiny bright essence like this, and maybe even a more violet tint. Now, what we'll do next, looks like it's time for whitest white. This is the brightest color, if I may say so, I'll be using. With this acrylic marker, I'll define the most visible highlights. On the surfaces, I correct mistakes and I try to work on every shape separately. You can still see the sharp borders. Don't be afraid of sharp strokes here. It works great for this technique, actually for any metal and jewelry you'll be drawing. Our shining treasure is almost ready. Now with a fresh look, I can clearly see that it'd be great to add even darker gray and it's almost black, but it's still gray. I will do it right now. I'll make small marks, I try to keep the shapes very geometrical on the stone to show this diamond coat. This will add depth and additional illusion of many sparkling pieces. Take a look at the diamond. You can see that the shape is not fully defined. There are white spots, which is very important. It's a heart, but still not so obvious, and it doesn't have this outline, like black outline of a heart in cartoon style or so. I make a darker shadows on every step. As you can see already, the number of layers and sharp edges create a beautiful effect together. I continue to work on the small details and deepen the shadows. This will make the effect of three-dimensional space even better. The shadow, and I will blend it afterwards. Now it's this tricky moment when you should stop, but it's so hard to do. I want to blend it again and maybe even add another layer and then improve it and then come back and improve it again. But it's a sketch which makes things a bit easier. I correct some elements. I think we're almost ready to move to the next style. Next lesson, we'll learn about how to draw a fabric and we'll also be drawing a beautiful fashion illustration. As soon as I finish this one, if it will ever happen, some dots, we will move forward finally. 13. Style n°4 Fabric and Fashion: Welcome back. It's so awesome to see you've made it this far. In this part, I'll show you how to sketch fabric. Let's explore the basic folds and you'll understand the general direction. The first one is called Pipe fold because It looks like a pipe, and it's really simple, easy, basic, and now I will show you how it looks like on fabric. Each should have a cylindrical feeling. Actually the different types of folds do not repeat themselves exactly; only the principles are repeated. This one, you can usually see on dresses, skirts, curtains, or sometimes on logos. We'll add a few shadows. So you shade, you can create very beautiful fabric. Now, the second one is called a Spiral. How surprising. It looks like a spiral and it also has a sense of continuity. I'll also use three shades of gray to gradually add depth here and you can and recognize a sleeve. Now the third one, the third one is a Diaper fold and it looks like this. It's like a smile in animal carton. This fold is triangle in shape and has this curvy horizontal lines. Let me show you. In a moment, I will show you the example of illustration where all this folds I used in one place, finishing up with the shadows. Not yet, one more of this. Here is my illustration. As you can see, the different types of folds do not repeat themselves exactly, only the principles are repeated. This are the most basic folds and you can use them for very tough projects. Let me show you one more tip of sketching a clause. This lady is wearing a rope made of Derek clause. Here you can see that with just a few shades, few light shades of gray, you can show the texture of the fabric; let's begin. I make some basic strokes, I use the lightest color and define few shadows. I used this lightest color, and then we'll add the stippled effect, which means I will add a lot of dots. Now, here we go, we indicate that their close texture was flecks of white and dark tones. I will draw some dots using dark colors too. A huge tip, don't use too many points on white areas. That will make illustration too heavy. I'm making marks with dark inks in the dark areas, and then I blend or add white dots. For now, I'm working only in dark-gray. The most important thing is not to color all the area. We should define only the small parts of it and show the texture. This style is very popular for editorial illustration. Now, I'll use gel pen, but I'm not sure. Maybe I should use acrylic marker instead, it should be opaque. Now, I use acrylic marker to put some dots in the dark areas where we'll have shadows. I didn't touch white areas. I work only on the gray or darker gray lines. This is it. Now, let's try the next one. In this style, will work with permanent marker. I have a pencil sketch, and now I'm going to create a drawing of a vintage inspired lady in a beautiful dress, and I'll start with a face. I always start with drawing eyes; that's just an habit. I use alignment with permanent ink. The next thing is, I'm going to draw over the liner with a marker. But at first I want to draw the full outline, so I don't have to worry about it later. This drawing is in graphic style, so it will be predated tailed. I continue working on it. Now, I want to work on this thin lines with marker, like I told you before. Basically I just draw over there ink liner. I somehow love the look of it; the combination of this two types of inks. Alcohol-based markers are actually inks mixed with alcohol, so this is a ink drawing. If you're doing ink drawing, this can work too. This style also works great for magazines, for editorial illustration or just for presentation of your surface button designs with your own fabrics. I will continue working with this outline using a marker. Our plan is ready and I can define the groups of shadows but really slightly. I will use different shades of gray and start with the face and then we'll continue with the fabric but start with the face. Fewer strokes here. The main shapes are revealed, so I will add darker gray, and I know where to put it. Now when I have the shapes, and the outline. Now we're heading patterns. Surface pattern design on the model, so basically we are drawing the same thing that we did with Terry fabric, but it's just a pattern. I use gray, and then to make this pattern even more interesting, I will add the lighter here, and then I will add another one. I transform these tiny shapes, so it will still look three-dimensional. Even for this very graphic illustration is important. I'm thinking about colorful part, but it's not enough yet. I need a darker shadows first. I need to add this darker gray, so we'll have a better contrast. I leave a few highlights, but not that bright. I will also make thicker lines like this. We're almost ready for the colorful part; here it comes. Chisel tip comes on the play, and so with a chisel tip, I add the color essence. In a second, you'll see how was just a few strokes, you can achieve the effect of transparency. For now I add the pattern. It looks great already, and now I will make a few more essence here. This will be the third time I work with outlines, so be prepared like in The Lion King cartoon or movie, the new one. These few strokes, very careful, but bold and confident, will create the illusion of transparent fabric. Just a few strokes, not too much, will make this effect. This style works great for fashion shows, editorial illustrations, or pattern design. I can't wait to move to the next video where we'll work on the new style, adorable but still dangerous red Panda. So join me. 14. Style n°5 Red Panda: Welcome back. This time we are going to be drawing a red panda aka Firefox. I've created a sketch where I marked all the important features of this fluffy guy like white areas. These are the colors I'll be using, it works for all the art supplies and the white pencil. White chalk pencil or water color white pencil, it's very important for this technique. I start with the lightest color. It doesn't matter if you working with pencils, watercolor is digital. Start with the lightest color when you draw any animal. Pay attention to the direction of the fur. I always keep in mind this cute face expression of the red panda, so it helps me to guide my lines. Now, I'll be adding a warm darker color at a time. This one is next. I continue to keep to direction of the fur, and maybe even make some areas darker. With alcohol markers, you can achieve deeper shadows even with one color, by applying a few layers. You can do this with watercolors too or with any medium actually. But here you can do it without water. I work over these areas, and I will move forward and repeat these steps. Our fluffy character begins to appear, his nose. I prefer to draw eyes at the very beginning, so I have a better connection with the subject. I define darker areas now. I will work with many layers, of course. But at first, I want to mark those tiny eyes. It looks a bit creepy now, but it will look beautiful at the end, you'll see. The eyes outline, it will have pretty thick border. I'll be working on all the darker parts now, since I have this dark marker in my hand. I will work even with darker color afterwards. Then I will add another layer of fur, and another layer of fur. I will do almost the same thing over and over again. Of course, I don't forget to blend everything with light gray. I continue working on fur. This is another layer and I will blend it with a lighter one again. I did every time, and know afterwards, I'm planning to go back to drawing eyes. This takes pretty much time to adjust the colors. Now the eyes. The eyes are very important for emotional impact, that's why I prefer to combine two colors. The first one is very dark and I work on outlines again. Then I will try, I think this one another hue. This one works great. I draw the part of the eye with this hue, and then I want to add something brighter and lighter like this. We will add highlights with acrylic marker afterwards, so no worries about this. Of course, we'll blend everything again and deepen the shadows. We can even play with a brighter color. This will give us orange tint. Now, it's time for the next hue, and this one is freely colorful. I will continue working on the fur and will blend everything with gray afterwards. I think he's already looking at us. Now, I have a better feeling of where to add more contrast, which means I can add the small details like the dots over here. One of my favorite parts to this flap in this in small details. I have a better understanding of this sketch in general, and now I'm not afraid to use very dark colors over light ones. Of course, I blend everything from time to time. Those tiny dots again and more details. Yeah. Let's have a fresh look and see where to go further. The surrounding area can look great near the animal. Our little red panda friend lives on the tree. My idea is to have a few leaves surrounding the main character. As you've noticed, I have the first layer filled with gray. Now, we'll have a deeper color Because it's second layer already. I avoid the white shape, which will be the leaf. I've prepared the colors upfront. Now, I will just draw all the greenery around Firefox, and we will see how it looks like. I need some darker tint for the fur. Let's try this one. Is it too dark? Well, maybe, but I still love how it looks like. Let's add few elements here. I experiment with different colors. so this will be few spots here and there. Now this one, this is really red. Our bond is not so red. I think I need to make this color more dull. We can do it with any color just by blending it with any type of gray. It's like with watercolors. You can put something on top and it will cover the previous one. We can try some interesting thing. Our panda is pretty dark already. We can add a brighter color on top and it will color everything underneath. In our case, red will work great. This will make the artwork even more detailed and three-dimensional and beautiful. Now, I will blend it again. I can't count how many times I have blended this guy already, but this is the technique of drawing far. Of course, it can be lighter, but I just love the way it looks like this. Now, what will be the next step? I think I need to darken the dark areas before we move forward to the magical part, which is of course drawing fur with white. I work on the darkest areas to support all these details with dots, additional elements. This is our friend. By this time it's our old friend, and I will work starting here. This can take a long time but it's a very pleasant occupation to draw a fur. This works great for drawing any animal: panda, polar bear, cat, dog, a bird, anything and anyone. I carefully work over all the areas and I correct the mistakes. I make the direction of the fur more precise. Every animal has these specific features and why it really helps to highlight them. I will continue to draw this for a while. I almost finished with the pencil. By the way, the watercolor pencil can work great too. Now the final step, the whitest white of the page is acrylic dots. This highlights on eyes will make him look more cute. I even can add some whiskers. A few dots on nose. I love to finish artwork with a free hair strokes here and there. I will show you. I finish with eyes. Now, I will make the free stroke here and here like this. Super. Thanks so much for drawing with me. Don't forget to watch two next videos of the class. Maybe you'll hear some interesting thoughts. I really can't stop working on this fluffy guy. I think it's enough. Let's move to the next video. 15. Your Task: I hope you enjoyed our sketching journey. Here is your task. Make a sketch and upload it to the project gallery. It can be any object or scene, but something that really inspires you. It can be your real recent vacation, some imaginary creature, your pet, your cat, food, favorite fabric, anything. Or it can be a custom - made sketchbook. Make a photo and tell a story of why it is so unique. I'm super curious to see what you will share here, and if you want on Instagram. 16. Final Thoughts: I wanted to thank you for joining me and to say that inspiration knows no borders, no geography, no restrictions. It's your inner state and it's your personal job. If you enjoyed this class, you can watch my other classes on Skillshare. For example, on inks, on expressive portraits, where I talk a lot about finding your personal style on watercolors, everyone loves watercolors, and more and more and more. I'm so curious to see what's your share. This way, you'll enter giveaway to win one year of Skillshare premium membership, and some art supply prizes from me. Don't forget the press this Follow button above. Many things you have to do. I'm also on Instagram, so join me, drop me a line. I still have some time left here in Paris to grab a delicious cappuccino with dessert in some atmospheric cafe, so I got to go. See you next time.