Sketching with Pen and Ink - FREE worksheets included! | Imran Mughal | Skillshare

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Sketching with Pen and Ink - FREE worksheets included!

teacher avatar Imran Mughal, Graphic Designer & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 38m)
    • 1. Introduction

      2:09
    • 2. Ballpoint Pens

      3:14
    • 3. Fineliners

      8:10
    • 4. Graphic & Brush Pens

      3:20
    • 5. Marker Pens

      2:19
    • 6. Dip Pens (Pen & Nib)

      4:50
    • 7. White Ink

      5:08
    • 8. Types of Paper

      11:41
    • 9. Creating Texture

      27:43
    • 10. Creating Shadow & Light

      12:30
    • 11. Creating a complete sketch!

      10:20
    • 12. Class project (+ FREE worksheets)

      6:55
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About This Class

Pen & Ink Sketching - made simple!

Want to learn how to use fine liners and old school pen & nibs to sketch? Then look no further because this is the class for you!

What is this class about?

Beginners level: This class is about learning how to create textures and variations using ink with fine liners and pen & nib holders. This class is also about having fun!

What will I learn?

The focus of this class will be on sketching a small, complete piece of artwork using all the different textures that will be demonstrated. Techniques such as cross-hatching, stippling and lines will be demonstrated using the various fine liner sizes. Two free worksheets will be available to download and practice on (this will be part of the class project).

You will learn how to create shading using ink and how to create contrast with light and shadows using the demonstrated techniques.

What will I need?

Pencil - sharpener and eraser – to sketch out your outline.

Ink - in the form of fine liners or nib & holder pens or evan a bic biro! These are fairly cheap to buy and a resource sheet will be available with links taking you to the exact tools that are used in this class for you to purchase if you wish.

Paper – the types of paper will be discussed in the class and recommendations can be viewed on the resource sheet. You can even use basic printer paper!

[Supplies Resource Sheet - see Class Project section below to view/download pdf]

Excited? then lets get started!

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Watch my previous class on digital art: Cross Hatching on the iPad Pro!

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Meet Your Teacher

Teacher Profile Image

Imran Mughal

Graphic Designer & Illustrator

Teacher

I'm Imran - graphic designer & illustrator based in the UK. I have over 10 years experience in the field of graphic design and illustration in both traditional and digital output and absolutely love all things to do with art!

In addition to my full-time graphic designer role, I am also the art wellbeing lead for my organisation where I deliver wellbeing classes and advocate mindful colouring to relax and de-stress - check out my published colouring books for adults: https://www.amazon.co.uk/-/e/B084RXHLFN

In addition to my design & illustration life, I am an active father of 3, oh and I'm naturally addicted to coffee! My illustration classes are all about getting back to basics mainly with traditional mediums and escaping away to relax with art!

I love to ... See full profile

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Transcripts

1. Introduction: No one will come to my class and skill share sketching with Benedick. If you always wanted to get into penning sketching, then this is absolutely the class for you. My name's Imran. I'm a graphic designer illustrates for an artist I have over 10 years experience in the field of graphic design and illustration. I just like to share some of the techniques Pablo earns over the years. It's absolute basic level. So if you just kind of want to get into it and you've never done it before, then I would really suggest that you take this class. You will definitely learn something from it. I'm gonna be going through some basic supplies and materials that you need to begin with, because it can be really confusing right at the beginning, especially if you've never done this before. If you go into a shop, there's so many different pens, inks on tools available on materials that you just don't know where to begin with, and it can be quite expensive. So I'm just gonna break down some of the best basic materials that you may need to start off on this journey of panic. I'll also be covering some techniques that you can use for creating textures creating shadows and lives because pen and ink is always different from materials such as graphite, which you can easily raise out arable with pen and ink. You can easily do that. There are work arounds, which I will show you in this class of Do stay tuned on. I will also provide you with a worksheet that you can practice on. That will be a downloadable PdF that you just need to print out on on the PdF will be boxes where you can design and do textures create textures, and it's really, really experiment. Just the way I do in class on that will give you a really good overview on can firsthand experience in this world of Penha Nick eso. I hope you're excited as I am because I'm really excited. All you need to do is get your drink ready. You get yourself a cough coffee or a tea or hot chocolate or whatever you like make you drink. Sit back, relax. Let's get started with the class. Take care of yourself in peace 2. Ballpoint Pens: Welcome back on. This is the first part of the class where I'll be going through some basic in kindles on. I'm going to start off with the cheapest out the inking tools that I personal use on that is the humble ballpoint pen. Now, these pens can come in various ranges and different sizes on their readily available that cheap to buy. They can also be used to create quite a lots of variants in stroke, which I will demonstrate. So just coming. Looking at the rights and side over here, we've got some different types. Got some nice fancy ones that work really well on. We've got some more fancy ones over here as well. You can get these from any shops there so readily available you can buy them from supermarkets. This one here, I got this from a sports shop. Eso again? It just makes it a really versatile and useful tools that have that You you know, you don't mind whether you know if you lose it or you know it gets broken or anything. It doesn't really make much of a difference purely because of how cheap they are. Now, These ones here on these like really cheap. These? I got these from a supermarket. Andi eso These kind of like As basic as you can get on the way ballpoint pens work. You've got this little ball at the end of the nip on that releases the ink as you roll it. Therefore, that's why it's called a ballpoint pen. A roll a ball point pen. Now, Thea Vantage of this is that you can create variants. So if you see here, I'm using a very, very light stroke on drily sink small amounts of ink at the harder I press, the Maurin gets released. Now, this is a huge advantage when you're doing thinking because you can really create variation with just one tool with fine liners, which we will move on to next. You can't really do that because this constant ink on with the kind of on one continuous think that you have with a ballpoint pen, you can you can really work it like a pencil waken, go in really hard and create a lot of darker lives, or go when really like to create some variants and contrast on the Grady. Um, that you create is very, very deep, so I would really recommend you get hold of a couple of these. I'm sure they'll be lying around. It's a great also have to start this sinking journey on. Another advantage of these are that you can get them in various colors on grades. Andi, I would really go ahead and buy yourself a decent quality, both ballpoint pen, because one of the disadvantages of ballpoint pens are that they can eventually become a bit blotchy on by blotchy Amin. While you're making your lines, you can get like a blob of ink that comes out. The more you use them on that is typically quite common with the cheap depends. You can also get that issue with the more expensive ones like we've got here spot that just comes with the kind of, you know, part of the parcel on how ballpoint pens work. Eso I would really recommend that you get a couple of these. I'm sure you've got them lying around Andi. We can start on the next one 3. Fineliners: Okay. The second pinking tool that I'll be going through is the fine line. And this is the main tool that I use drinking these air, also known as technical pens on Do they work in different nip points. So to create variation, they come in small neighbor all the way to a nice large thickness. Now, these have huge advantages because they tend to be waterproof archival ink on. They also provide you with consistent ink so you won't get like with a ballpoint pen. If you're using the line, it won't become bloody. It will literally give you a consistent feel. So looking at the smaller size that I've got here is in North Point, nor five, and this tends to be one of the most smallest and most fine points that you can get. I'd have heard of a smaller want one than this, but I've never really used it before. I think it's in or point nor three urine or point, nor, too, and I'm sure you could get even finer than this. But I think for my needs and the needs for this class, this is probably the best one to get for your fine tip. I'll just see if it can bring it up on the camera. Here on you can see how thin that tip is. And if I just demonstrate this over here, we've just got a really, really, really nice fine line that you can see so easily a pliable on waterproof again. The brands that I'm using here, these are kind of the main three Bruns I use I use these sigma pig MMA Micron Pence The's a kind of these from Japan on these come in sets. So it would be a good idea to get a set of these. Aled, these materials that I'm gonna be showing you in this tool section will be available on my resource sheet. So if you just have a look at the resource sheet on the class about ALS tab, the about tab all the discussion tab that will be available there for you to have a look at , and I'll leave you with links to where you can get all these from on read upon reviews. But these this brand here, this pygmy macron, it's quite widely used brand by other artists as well. On it, it contains waterproof pigment ink which is really important, especially if you're going to design things that you're gonna intend to sell at a later stage. It's really so that they last on. Don't fade the quiet live every light fast eso That's the thinnest point that we get in this range. The North Point No. Five On next, we've got the North 0.1 now the North 0.1 in North 0.2. There's not much of a difference between these. And when you see this on paper, so we've got the NorthPoint nor one here, you'll see that the actual difference isn't that big. You got no point, not one that point. Not so There is a difference, but it's a very, very minute. So I tend to go for one number up whenever I do my work. So I wouldn't tend to use both of these in a piece. I would say maybe used a 0.1 on that I would go to no 0.3 or no 0.5, which will create more of a variance. So it was just show you the Nor 0.3 over here you can see with the North 0.3 compared to the North 0.1. You can see much bigger difference on if you work like in cross hatching or working just normal texture work that you do, you do with your line worth. You will be able to see that difference appear quite rapidly. So again, this is a really, really good brand of pen. I also use Stabler for my pigment ink. Work on this is a nor 0.5. I use this quite a lot. This is quite a nice thick nip. These like solid nips that you can easily apply your line work to. On the another thing is that the way you hold your pen will make a difference to what your line work is like. Just move these inside. I can demonstrate this. So if you're holding your pen, your fine liner like this with with these three fingers and if you're pointing it down, you will get a complete different line compared, Sir, if you're holding, get on the side. You can see that the line is a lot thing. Andi, that is great to create variants. If you if you If you're after creating some texture, then you can vary the line work again. But with with the fine liners and technol core pens, it's continuous. Think that you're going to get so with a ballpoint pen like a demonstrated earlier, you can create very interest with the one pen. It's a lot more difficult to do that with these. So you're gonna go in on you, gonna literally create that thickness of line, the variants of line with the size of the pence. So we've got no point out five there. So if we're going in with no point north three, you can see that we're going in thin. And then if we go in with a say, no point not want, it's making the variants much more sinner. And finally, if you go in with a 0.5, you can see that gradual change and reduction in size, whereas with a ballpoint pen, you can achieve that with just using one tool. So that's the advantage that the ballpoint pen has over these CS of these things work really well. There are a lot more expensive, then the ballpoint pens, so price range can vary depending on while brand you're using and you know what? How big the Pakis? I mean, you can buy these in singles as well. And again, I leave links in the description part of the class in the about tab where you can have a look at these s O. This is the North Point, not eight. A concedes a really nice, thick, continuous line that you have and create a lot of nice textures with it on. It works really, really well. Another advantage of these pens are that you can get these in various colors. I tend to only use maybe three or four different colors. This range that I have here is from Derwent on disses their graphic range and they these come in packs of threes and I think this is quite an ideal pack. Did you get your point? You get a 0.1, nor 0.3 in the North 0.5. You're missing one number at each interval and I think that works fairly well with your variants in line on this color that I've got here is a sepia and I really like this color. I think it's a beautiful color to work with on create some really unique pieces again. Using the fine line is just to create normal hatching on cross hatching can really bring out some texture and death to your work. So that was the norm. 0.1. This one is the North 10.3. Just show you how the what the difference is on again. You will find that depending on which brand you're using, they could be some type of variance between the numbers. Like with the Derwent. I can see that there difference between the North 0.1 and the North 0.3 is quite heavy compared to the micron pens. But that all depends on the manufacturer on how the tips of made off these fine line is in technical pens. What very good material used again. These are waterproof archival inks. Andi, I would suggest that you have a good look at some of these to keep in your tool set for this class. But generally you only really need a small tape, a medium tip and maybe expected. And I think the three of these would work perfectly and they come in a nice little package . I want to show you the path that they come in line markers that come in a nice little pack and these are quite readily available, but you can't get these in supermarkets. You can't get them in Manchester in the UK in the supermarkets. Anyway, you might be able to get them from where you live. These you will most likely get in the art stores. So in the UK, we get these from wh Smith, and you can also get them online. I'll leave the link again in the resource sheet for you to have a look out on these. Come in a couple of colors that come in a gray color, which I also use a pure black and a sepia. So these work really, really well. So I would advise you to have a good look at these on. Just get yourself a couple. Maybe three or four. That can really get you started off in the ink work that we're gonna start. So hopefully we'll move onto the next one 4. Graphic & Brush Pens: Okay, So the third type of pen that I'm gonna go through is quite similar to the fine line Is that we discuss before it's in the same brand. The pig MMA sigma pigment pens, eso They are the graphic liners on the brush pens. Now, these graphic line is a very similar to the fine liners. A little quite like a felt tip pen on. The advantage of this is that you can have quite a lot of coverage with these. You can see that when you apply them. There are a lot more a pliable on There were a lot more flexible than the fine line is, and you can vary your lines quite easily so you can see you can get a tapered look. You can get quite a faint look to use the edge. It works really, really nice and a good to fill in some areas that you need, you know, quite a lot of income also, like, you know, create like a scratchy screw Billy effect that we're really, really nice on again with this you got continuous. Think again like you had with the previous fine line. Is Onda these kind? These Communist set us well with the other fine line is that we have. They work quite well. I tend to use them. Ah, lot. Add in a lot of darks in my work s so I don't really tend to use them. At the beginning, they were kind of really to build up some darks. So that's one pen that I would recommend that you have, even though you don't necessarily need it. It's a good one to have in your arsenal because it really will give you that extra depth toe. Add into your work on the 2nd 1 that I want to go through the's brush pens. Now you can get brush in pens in various brands and ranges. You can also get these in various brands and ranges the graphic pens, but these ones that I've got from Pig MMA. These things quit this game in the set. So this game in a big set, I think it was about 88 or 12 leave again. There'll be a Lincoln the resource sheets on that one if it is something that you'd like to get. But these were great because these quite different from all the other tips these air pretty much like a brush, which is why they call him a brush tip. You can create some amazing variants lines on it, depending on how you can hold it like a brush. So if you want to hold it like this, I could traditional brush. You can go in on really, really create that beautiful kind of wavy effects using that same waterproof archival inks . It just creates some of depth, and it gives you more options on DSO. I would really recommend that you get one of these if you can. It's not. It's it's optional. It's It's a nice one toe. Have to give you some very insp. Obviously, if you can't get hold of one of these, uh, then then there's nothing to worry about. You can maybe get some of these later on once you've practiced with the normal fine liners . But if you're gonna get to set and you get these in a set, then I think it would be quite a good idea to get them, because I I used these a lot. This comes right at the end of my artwork when I've done all the main Underline work, a normal line work. I usually adding a lot texture with these rights at the end to give it a bit more interest in death. So this was the third fine liner slash her brush pen that we were gonna go through Andi. Let's move on to the next one. 5. Marker Pens: Okay, so the next in control is the normal permanent markers that you can get. So I used these Sharpie Marcus, these air readily available, that are available literally everywhere they come in different sizes, different colors. Andi, I would recommend that you do have a couple of these get yourself. Maybe a fine point like I've got over here. Onda, maybe a chisel point like this. They're just very, very handy when it comes to doing ink work. Especially if you're trying toe cover off some areas really, really quickly or even just at in maybe some really thick wine work or some thick textures to create the contrast in your work. I think they work really well. The only issue with these are that the color itself, the actual black ink itself, can vary from marketer Marca on. They probably won't be exactly the same in terms off richness in color as they are with the fine liners and the pygmy macron. Pence on that sometimes can look a little bit distorted in your artwork, for if you want to add a little bit of texture or even some more interest, I would really use these. I mean, I used the's T cover up some areas off dark, adding highlights Andi, maybe add in marks with another micron pen to create a little bit of texture, a little bit of lights, lights and contrast. So I think they work really well, and they're easily a pliable. The only thing with these are that because of the pig, the permanent marker and the alcohol that the using them, they are very strong. So what they tend to do is they do tend to bleed right through the page, as you can see, and you won't get that much of a bleed using the other mind from tens. So I would recommend that you probably get a couple of these on used. These may be as a last resort if you've struggling to fill in some areas or even just use them. If you're doing some abstract work, I think they really worth it, and they're not very expensive leads. You can easily get these in packs or buy them in singles from most shops, so that was pretty much the last one off the tip Pens on. Now let's move on, Teoh, one of the special linking tools 6. Dip Pens (Pen & Nib): Okay, so this is one of my favorite in consoles on. It's the old school classic pen and nib holder, so these are basically Nibs on holders. You call these names that come in various sizes and shapes on basically dipping pens. These are the some of the holders that I have. I can't attend to use these to that. I got this in a set. I'll leave the link in the resource pack where I got this from, but these come in various shapes and sizes and various price points. That can be very expensive, but you can also get started PACs again. The link in the description in the resource pack will give you one of the start of Pakistan have highly recommend. If this is the type of tool that you want to get insisted, this is purely your own preference. Whether you want to buy this tool or not. Personally, I absolutely love it. So you just put the nib inside the holder on. Obviously, you need some ink, so I'll just quickly demonstrate this as we've got some ink over here on. It's just a case of dipping the nip into the ink. All the way till the whole is covered on the name tapping away the Xs on. You're ready to go now. What I love about this type of tool is that you can vary your lines with the one inks. If you can see, I'm pressing down quite hard have already started creating a really, really huge variants. Now, the only disadvantage is that you've got to constant constantly keep dipping into your ink . Obviously, because you don't have a reservoir. Think like you have with the fine line is But it works really, really well. This piece of paper that I'm demonstrating on is, you can see this is just normal Prince of paper on. You can see that the ink is bleeding on blushing quite a lot. If you use a more more high quality paper like I've got below here, you can really get some beautiful results. So again, I'm gonna go through the types of papers that you should use for for this class in the next video. So if I just show you this here, you can see that we've got beautiful variants, gorgeous line, and it's just such a pleasure to use. I mean, I absolutely love this. Now, another disadvantage off this type of pent or this method off thinking is that it can take quite a while to achieve the result that you're after Andi. It takes a lot longer to dry. So if you can see that the lines I've made these lines now they'll take a lot longer to dry than the fine line as well. So that's another thing you've got to be careful about. And they are more, you know, the problem to be smudged. Eso When you're working with this tool, you've got to work very patiently on very carefully. But the result, in my opinion, is absolutely beautiful. I don't think you can get a result like that. What you can get with this that you can get with the fine line is in the ballpoint pens. Absolute pleasure to work with. You do need to get a decent paper for them. Teoh, You know, for you to get the best results on again, I would just say that you can get such a variance in your line. Work on it just has that authentic traditional feel and look. I mean, I would personally if I had the if I had the time to do my artwork just in this depend, I would just use this defend. I wouldn't bother with anything else. But you know how is life? I've started so busy doing so many things and you want to get your artwork. Don't. But maybe I might demonstrate for peace of were done using a depend in another class S o. Do you look out for that? But yes, I would recommend this. If you have the patience for it on, it's a great way to have fun. Have a lot of fun with this pen. You do have to buy the ink consistently because you will run out of ink. But however, the ink itself isn't very expensive. You could buy big bottles Off Inc and I use the black Indian ink. So there's a couple of runs that I use. They used the Windsor and Newton that I've got here, which is nearly finished on. Then I also use some. Some other are store brands just to fill up on gas. As long as you're INC is waterproof, that's the most important thing. And one of the reasons that I keep saying that you think should be waterproof is that if you decide to later on, paint your artwork in, say, watercolor or in other colored ink, then you'll be able to apply it without that without your ink marks smudging or withering away. So that's the reason that I keep coming back to rhythm that it needs to be waterproof. So eso that's the final thinking tool, and we've only got one more tool to go through, which will look at right now. 7. White Ink: Okay, So the final tool that I'm going to demonstrate is the white gel pen eso Because we're working in ink, it's quite difficult to maintain white highlights when you're doing drinking work. I mean, one choice we have is to just believe some area of the paper white. But what you tend to happen is that if you make a mistake or while you're inking, if you get smudged droplets of the go on the white areas, so what would you be able to do? Well, you can correct it with the these Whiting Pence. Now these calm in various brands and shapes and sizes. You can get these in different nip points as well. I tend to use this one here mainly, which is the jelly roll, one that's from Japan. I think this is the same brand as the pig Mont Pigna Micron pendants Secura. That's the same brand on you can see. This is quite a quite a nice, decent tip on their it works like a ballpoint pen. Actually, as you lay down the ink, it releases the ink gradually as he's really, really going. You do need to get a decent one of these and this is one brand that I recommend. So I will leave the link in the resource street for it because some cheaper Brown's or some cheaper pens might not really be able to give you that full, opaque white look. So I'll demonstrate this with them some black just using my Sharpie. But yeah, I mean, there are a couple of other brands that I use as well on again. I'll leave the link in the resource sheet. That worked really, really well. One of the brand is called cachaca. Think that's a pronounce it posh girl Posca on They really, really good. I tend to use them quite a lot as well, when I'm when I need to really bring out some highlights. So there are just laid down some black ink purely to demonstrate this pen Sergey conceived . Just gonna hold it as usual, like a normal ballpoint pen on it will slowly release the white on. You can see here it looks quite vivid a lot of contrast, but the black really, really bring out the highlights. So if you're gonna go in and do some cross hatching, you can even do that. You can even use these on colored paper. So if you have, say, a dark colored paper, maybe even a black piece of paper, you could do your artwork with This pen entirely works really nice, but you can see the more you lay down after a while. When it dries, it starts getting a little bit paler. It starts fading away. Let's also all you've got to do to for that is just literally add another line to make it a bit more opaque. Now this isn't the only way where you can add a high white. You can also add highlights with wash on. That's what I tend to dio. If I really, really need the highlight to be quite thick and Brax gua, she's just like a paints on. This is the brunt that I use Windsor and Newton designers squash. You can get this. It's fairly. It's not very expensive, but this is just the pure white on. What I'll do is I'll quickly demonstrate this. You can use this straight out of the tube on you can see that when I all I need to do is really just dip into the to the end of that to really bring out the goulash, and it works really, really well. It works really nice. Could really apply it direct onto your artwork on this will not fade out like some of the gel pens that you have Some of the roller pens, some of the gel pens and roller pens actually have this painting them the squash paint, and they work really, really well. So it's I would say that this is a really good one to get really to add in some you know, some highlights, maybe some variants. You can apply it with a brush. You can apply with one of these nips. It's entirely up to you, but I would really recommend that you get maybe a couple of options for your white ink. Maybe get yourself a gel rollup in and maybe get yourself like a small tube of wash that will really broaden your options when it comes to doing your artwork. So that's pretty much it for the tools on this class that I'm gonna go through. There are other tools that are available, but these are the main tools that I personally use. I mean, you can also use fountain pens, which is similar to ink pens that have the fountain pen car producing them personally. I don't like using them because it I find it a bit of a hassle on sometimes the pens that can be more big, blotchy with the control. But that's entirely up to you and have a look at them. If that's something that you would be interested in, there are many other different brain jizz appends that you can use. But I would suggest to get started off because this is purely a class for beginners to really get into. In King, I would suggest to stick to the fine line is get yourself a couple of packs or a couple of fine line of Arians on may be. Get yourself some ballpoint pens just to get started and then see how it goes. So hopefully we shall move onto the next video on. Hopefully, I'll see you on the next one. Take care on peace 8. Types of Paper: Welcome back. Let's talk about paper. So we've gone through the various pens and tools that we can use for our inking class on. Now is the time to talk about the actual surface that we're gonna be drawing on now. There's a lot of different grades of paper types of paper that are out there. There's a Converse paper, normal cartridge paper. There's even rag paper. I mean, it can get quite confusing, but because we're starting off at beginner level here, I'm going to just go through three or four main basic types of paper that you can use that can be readily available. So I'm going to start off with the first type, which is the cheapest on this paper you can get from also markets most shops. It's the standard princip, a paper that you have, so this comes in packs as you as you are aware, if you've got winter on, you get a certain number of sheets. It's very versatile, works really nice, works good with pen work. However, I would know use fine line is on this because purely because of health, then it says Andi. It's not necessarily acid free, so basically this I would use just to do rough sketches on using viral Vairo. Work is fine on bits really readily available. So that's the first time we've got Prince of Paper that you can use just the practice on with Vairo on. If you're gonna move on to fine line of work, then your next options would be to get something a bit more higher quality and thicker on acid free. So we've got two options. You can either purchase sketchbooks so you can get sketchbooks in various sizes and forms. I personally by my sketchbooks in this smaller a five size on a four I usually tend not to buy bigger than that. I don't know whether you can get bigger than that, but these are really, really good on day. One kind of advantage of a sketchbook is that you can keep all your art work together, and you don't have to, you know, have toe kind. If I put your pieces of artwork and sheets of plastic, you know, preserved them or, you know, they might get lost or something, or, you know, you might end up crumbling them up. This keeps it all intact on. I would say, This is probably one of the best ways going forward on bees come in different binding. So you get the stuff with this. This is a perfect bound sketchbook. Um, on with this, the pages are all bound in the center with glue and stitched on the inside. This is really good. It's really sturdy and thick. A lot of the Cougars come with hardback cover, so you know, you're not gonna You're gonna damage this very easily. Really good on versatile. So that's the first time the second site is the ring blinded sketchbook. So with this, you've got your same type of paper. You have similar paper in these type of sketchbooks on its ring bound, so that when you open it up, it opens up flat on The advantage to this is that you can actually draw on each page while it's completely flat, whereas with the perfect bound book, if you open it up, say, on this page here, you're gonna notice that will keep everything backward, that it could be a bill difficult to draw, especially across whole page, because of the spine in the middle. It has this curvature. So that's an advantage. If it If you're the type of person like to draw across an entire page, then I would recommend you probably either get one of these ring buying bonds. The only issue is, if you're trying to draw across the page, you've got this huge rink bind. Think in the middle of this spine so you could use that and continue your drawings. Or alternatively, you could go for a saddle stitched book like this one I use. But mostly I use my stuffs. I don't stitched and rebounded one for the work that I do. I'm going across the page. I will use my saddle stitch, which is basically just a 84 size sheets of paper just folded in half and stitched in the middle with some staples or with some alternate stitching on. I think these work really well, and these are actually the cheapest out of all three out of the perfect bound on the ring bound sketchbook. So I would recommend you probably get a couple of these All these materials that I've got here that I'm going through today they're gonna be available as links in the resource sheet . Do please check that out where I'll give you a description off thes items and linked to a way you can buy them from or read older reviews on I would really recommend these. I mean the weight that these come in as normal sketchbooks is a commune of pretty decent way. It's cartridge paper on. It's a lot thicker than the principle that we have. So cartridge paper, it can hold the ink really well. But it all depends on the manufacturer. So this brand that I've got here is it's just a normal duplicate Smith a five sketchbook on the other one that I've got down here. This is a C white brand on again. See what? This is a really good brand on again. The drinks are in the description below these acid free pages it made in the UK On you get 20 shoots and it 140 GSM, which is quite a decent way, so I wouldn't get anything less than 140. Sometimes you can get 130. Book 1 40 above is usually pretty good. So these are the sketchbook options that we have on. I would really recommend that you get yourself a couple of them cheap sketchbooks. So secondly, if you're not into sketchbook, so you don't want Teoh drawn in a book, then you can purchase a pad off our paper Now are paper comes in various shapes, sizes and forms on. I guess the only two things that you need to really be aware of is that the paper should really be acid free. Andi, that the paper should really not bleed on your not really going to know how good a paper is until you try it yourself. So from my personal experience, I've been drawing for way over 10 years, and these are the brands that have stopped to in that time. My number one goal to brand is the Strathmore Bristle Board. Smooth surface paper on. That's another thing. When you're working with ink, smooth surface is ideal. In my opinion, you can work with a rough surface bought with the rough surface. If you're trying to do detailed work, it can get really, really bumpy eso. I would recommend that you work on smooth surface if you're working in detail on this is a great paper. This I can show you some artwork Abd um, on this paper just using Chlor Inc. So this is just one of the pages that going in my a graphic novel, eso this entire page was done using the Strathmore paper on. You can easily take out the paper the edges of quite nice, and you can rip them out quite nicely without increasing them. Work really well, it's not what I would say. It's a medium price range on this Bristol board CSO just on this drawing, using the Strathmore completely done in ink on the other papers that I use thes by Dell around me again, I used I get big a £3. This one's a heavyweight paper works really nice. It's acid free on it has a slight yellow yellow color to it, which works really well with ink on the next one. On the list is this one. This is again by Della Roney. This is not paper. This is more like an art board on. It's a mixed media outboards. You can not only just using content, you can even use paint on this, and I've used this a lot in my artwork. I think it's quite versatile. It's a it's a little bit more expensive because you only get 10 our boards in it. And but they are quite thick, so they do tend to, you know, really withstand a lot off liquid. If you're using, you know, Heavy Inc work on it, or even if you're using mortar call. It's a great bit of think. This shouldn't say outboard. It calms with the edge glued So it really easy. Teoh. Remove on, remember pieces and they are very thick. I'll show you over here if you can see the thickness down here. It's a very thick outboard, very rigid, very versatile. But the actual surface itself is really smooth, and it's white. Eso this works really well, If it's something that you want to try, I would recommend that one. So the next paper that I use is again. This is Adela Brownlee paper. This is a fine grain, so there's a little bit of a grain on this paper thin. The other way to explain grain is, uh, they explain it as cold pressed and hot pressed. So cold pressed paper. I'll see if we've got one here. Eso this one over here is hot press. This is the Langton. This is another ranged on by Dell around. It's a bit more expensive. This brand the mountain range. But this is really good after in a lot of artwork using this one. But this one that was speaking about here, the fine grain Have Dunmore pencil work on this because we have a slight texture on it down . If you can see that texture on the camera What? That you can see this is like texture. Now this structure is okay. This isn't very heavy. Can it's acid free? Onda tend to buy the bigger papers. So what tends? Why do is is in a three size and I just cut it down into smaller sizes, maybe a five or a small square. You know where you can practice on. So that's a good paper to consider the next one. Like I said before, this is the extra smooth hot press. Now this is brilliant For detailed work, it can be quite expensive. But again, I would move onto these more expensive papers, probably at a later stage. Once you've practiced for now, what I'd suggest is maybe just get yourself a sketchbook, or maybe get yourself some of this paper that Strathmore paper on a smaller size. And that's another thing. If you work your artwork from a small going to beg, then you'll find that you start developing your skills on it makes the whole job a lot easier. It is nothing like working on a huge piece of paper and pointing out a really massive her piece of artwork only to like, halfway through, make a mistake or, you know, be disappointed with it. And then it's just really a lost loss of resource is and say so, yes. So this is the smooth paper that we have here, the hot pressed and and finally we've got the call Press one. So this is the it is sometimes called the not paper or cold pressed. It basically just means it's a rough surface, so you can see over here that this has a very, very nice texture to in our own. If that's coming up on the camera, out seems to convene, get off conceived in the back. It's got really, really nice texture to that, said this I would avoid for ink work because it's gonna get quite bumpy. But if it's the type of effect that you're after. So, for example, if you live in an abstract piece, then this paper's quite good for that. But this works really well with water Collis. So that again and this one's a little bit more expensive. But all these papers that have gone going through today in this class in this video is it all will be available as links on the resource sheets. So I would recommend that to get started off in this class, Maybe just get yourself some sketchbooks like this. These are really cheap. To get these in packs of three on the paper, qualities will find for ink work, fine line of work market work I would avoid using the shark depends on these because they will bleed all the way through. And I just stick to find liners on ballpoint pen. So I hope you found that informative on it. Gave you some options to start off your journey with ink on. Hopefully I'll see you from the next video. Take care of yourself on base 9. Creating Texture: Okay. Welcome back. Now what we're gonna be doing is going through some texture creating because with pen Aziz , you know it's ah, it's difficult to shade in like you can with a standard pencil. Andi. Instead, what we have to do is we have to create texture to create that variants on that difference in value on contrast to kind of really bring out some of the Grady INTs and textures that would like. So what I'm gonna do is I'm gonna be using three pens, three the micron pens in the sizes off point, nor, boy nor five, my fine finest size. The mid point would be no 0.0.3 on the sickest point. That guy's no point a I'll be using these three pens to demonstrate this on this sheet that have got so, uh, just to mention that this sheets will be available as a worksheet as a downloadable. Pdf where I've got the same boxes for you to practice this on. So I want you watch this video or alongside watching this video. You can practice these techniques so well, let's get started. While do is, I'll start off with the North 0.3 on then we'll build in the texture by going in a little bit thick and thin. So, generally speaking, when using fine liners or ink, A said before, what you need to do is you need to build texture toe, create that depth on Grady int eso. We'll start off with hatching now. Hatching is just drawing lines in one way, in one direction on. We'll start off with the basic hatching over here, so we'll just go straight in with going straight now. You can create hatching in many different ways. You don't need to create it like this, but this is generally the way hatching is done. They can see him starting off right at the bottom and going slope on the top. And the reason for that is because I want to create that variance and deaths. For example, this could be this could be some hills, some mountains in the background, off a off landscape drawing that you living. So I'm just creating this variants of the peaks using just normal hatching lines. Now I'm going and really, really thin on another thing to consider is spacing off your hatching lines so you can see that I'm going really, really thin. And I'm varying the height of each line to create a NIF ect of like in a peaks of a mountain on again. What you can do is you can go in with a thicker point once you've created your kind of base hatching on Deacon, really go over it to create some variants. And this will really, really work nicely. Um, when you've kind of created you composition on another thing with pen to mention is that it would be a good idea. Teoh, compose your composition using a pencil before you start with ink eso like you have a bit of a guide to work with on. That is probably the best way to go when using pen and ink. Because obviously, once you started in pen, if you're creating a composition for some artwork, you won't really have another chance to correct it. And correct and get can be very difficult, especially fits to do with the entire composition of your piece. So we're just going in with a no point, not five now to kind of create the background lines off hatching eso. This could maybe be like the sky which have done in a thinner, um, line so you can see that these variances is the hatching on the next one I'm gonna move to is cross hatching. So this is a technique that's great to use to create a lot of Arians with just hatching lines. You can create the variance, but you're kind of really going in one direction on with crossing cross hatching. What we're doing is we're good doing as we did before. We're just going up in one direction. Then we're going to go in the opposite direction to create that crisscross pattern. And that's all that is. All we're doing here is we're just creating crisscross patterns. Teoh basically create that texture that we're after. So again, I've created a varying wine and then all I'm gonna do is turn the paper the other way around, and we're gonna go across so that he effectively have these cross hatching marks on. This creates a nice bit of texture for you to really, really work with on adding depth. Now you don't need to stop right there for half a cross hatching. You don't have to go straight off on a cross and think that's it you can. Then once you've gone there to go and then once you've got horizontal, you can go diagonal, go in one direction, diet diagnosed and go in another direction in Dag Noble. We'll do that later on in these boxes below where we can experiment on again. I've left that little bit blank over there. So, for example, if they might be light source coming in from that side, But really, these boxes, they're just to practice these techniques on. So I'm just gonna go in maybe with a lighter, a version of the market and maybe just finished the cross hatching off here. Andi, you can see that it's already created a Grady int from lighter, too dark, Um, which works really well. And then if you go in with darker, thicker pen on, you just kind of maybe going diagonally from the end, you've got you created a really nice, uh, radiant, if you like, from left to right already. So you can see you have that variance. And that Grady in from light and dark. So the next texture type texture that we're gonna be creating is using scribbling the scribblings. Great Teoh create texture and variants and interest. So it's literally scribbling in any direction that you prefer. I'm using quite smallish scribble lines. All I'm doing this a circular motion going forward and backward to kind of build in this texture. So start enough, Big Onda. Like I mentioned before, spacing is really important. So what I'm gonna do is I'm going to try getting the light in again from the rights inside . So I'm gonna try spacing this a little bit more so once of space this a little bit more. It creates that variance of light to dark and you can see that we've got slightly, like going into dark. And then if we go in like we did before with a dark a pen and we just do a second layer of scribbling you can see that the texture is building up quite nicely on this is how we tend to build up texture using Thank you kind of go in in layers instead of just going in by one . Now you can develop your style however you like. You might like Teoh work with maybe just hatching or really spaced. How hatching. I would just give all of these techniques ago until you've decided, you know what technique you prefer. You can't say that there's one technique that will work for something perfectly, because it's really up to you. I mean, as an artist, I like what I like, and you might like something that you like. So it really, really knows Very. Um, but there's no right and wrong way of doing this. It's entirely up to you what you prefer now. They might be once a certain type of texture that might work better so you'll be able to experiment on what we'll do in their next video is we'll look at how to apply this texture to like a real piece of artwork, so as that's a scribble texture that we've created. And we've gone in dark and tried keeping the lights on the top right inside the next one. I've just called it circles now. These are just basically round shapes that can be small, but they could be large. It could be random that can be in line. That could be however you like. It's basically what you're doing is you're filling in this square with circular motions. Now I'm going in small, quite small, with circles, and what I'm doing is I'm just building up the layers, the horizontal layers, and I'm trying to avoid overlapping because I don't want to overlap, as I did with the scribbles, purely to keep this texture different on what you can do is in your artwork. Once you start practicing and you know, experimenting with this on the worksheet, you can mix and match these textures, so if you might, you might start with scribble. Then you might go all the way to circles, and you might end up doing some hatching lines that will vary your texture and really create that interest and depth in your work. And I can see what I'm doing now is I'm adding in biggest circles to create that element off space and right on the top, I'm just adding space. In between these circles, you can see that there's is a gradual change on this is how you would build the texture as you get more detail into Yura into your artworks. I'm just going in with the darker pen going in over the circles that I've created, and it doesn't matter if you go over them where you go across them. It really doesn't it all it is is you just adding those darker values to pretty much create the effect and illusion. If you like off a gradual change in in color, so got circular texture over here, and you can even go in really dark. So if you call her in some of these dots, you can see that the darkness will really, really pop out. And that's what it's really about. It's about creating that contrast because you're using one color contrast is really important. That's what's gonna divide or pure image and your drawing effectively. So the more contrast you have between the elements of your composition in your artwork of drawing, the more effective it will be Onda more interested, or create a new kind of guide your eye towards where you want the viewer to look. So that's a circles. Now, over here, I've got swells by swells. All I basically mean is just wavy lines. So these, like small what wavy lines in a pattern to fill in these gaps on. You don't have to keep these a swear realize you can go in and finish them off with, like small circles dotted here and there. It's entirely up to you. I like to use certain textures like this swirly lines, depending on what type of drawing them, giving Andi at the end of the these kind of technical classes that I'm doing these a technical videos while the result of a complete drawing, and I'll demonstrate how to use all of these techniques in em in one piece of artwork. So with Israeli lines you can vary your curls and swells. However, you like me need you just building a pattern. You can have it completely symmetrical if you like, or you can have a random Smet. Trickle would be more declarative, as if you creating something like a mandala. Or if you creating an ornamental design, then you could probably go in or symmetrical and have all the swirls exactly be copied on each side. But if you're just using it to fill in some area of your say, for example, landscape and you're doing maybe some water or an ocean scene or see escape than maybe you could use these waves. Bring in the form and Kercher's off the contours of your see so you can use and apply these type of techniques in whichever situation you really like. So all I'm doing is just going in with the dark on this worlds are created towards the variance in color so you can see that with these swells, it's ah really bringing out some of that sexta so you can have a lot of fun with this. It's ah, I really enjoy this city consumes quite therapeutic. I find this quite They're abusing anyway, but for some people, you might get a little bit lost in this or it might frustrate you. And if it does, then I would just move on to something that's quick and easy to do. Maybe the hatching If it's not something that you, you know, you're enjoying Well, just generally for a practice, I would really recommend that you try out these techniques. These are all the techniques that you, you know that exists. I mean, there's many other techniques that you can do these or just kind of the main techniques that I personally use. And I recommend that you, you know, you do this to create variation in your work and just have fun. Really eso We're moving onto lines complete so these next three lines protect the texture is using lines. You can say that the hatching. But I've just divided this insect complete lines of full lines, broken of blinds and completely random mind. So let's go and do this. So complete lines and what I mean by that is you. You fill in the entire space with a full line, whereas with the hatching above what we didn't do complete lines, we did certain areas of lines that built up the contours of your image. Whereas over here what we're doing is we're doing complete lines. So I'm going and really, really thin Andi. Then I'm going to start slowly spacing out these lines. So again, the spacing is really, really important over here. So you can see I'm building in some space and you don't have toe have everything perfectly straight. I mean, again, it depends how steady your hand is. I don't really have a very steady hand, which is why I don't do big lines. But even if you feel like you can use a ruler But I like this authentic Look what you get. A Stieb wobble in your lining gives it that riel authentic all that. You've done this by hand and, you know, not used a ruler. But if that's the effect that you're after, then by all means go for it s Oh, What I'm doing now is just adding thicker line and you can see that just adding that thinker line has automatically created that difference on I'm going in thin and wavy on. It is crazy that difference in texture and light and shadow. And I think it was really, really well, so we've got complete lines over there. Andi, over here. We're gonna be doing broken lines, broken lines of similar to what? The hatching ones that we did over there. But broken lines in terms off the actual line itself is broken. So we know continuing that line, we just adding the broken lines. You can even use dots to continue that line, and this creates that effect off movement. So again, if you are you doing a Seascape or you're doing some like water seen, you could use this effect of broken lines to really mimic those waves or that movement in water that you have so again just going in with the darks and dots and straight lines. And it works really, really nice again. You do. The more random things are, sometimes they work out really, really well. If you try keeping things exactly the same, they can look a bit robotic and mechanical. But again, if the fritz that if that's what you're after, then uh, you know you can do that. When I started off in a, I used to be very, very mechanical. And why did I didn't like things to be out off saying core non symmetrical. I liked everything to be exactly the same. But as I developed as an artist, I realized that randomness sometimes is. It's such a great such a great word, random. There's just being random being random in your are then sometimes create things that could never plan for Andi. What they call it happy, happy mistakes. Happy ever is a man. Sometimes you create things and they don't go to plan. Then when you come back to them, you think Wow, that actually looks pretty good. So what? We've done the broken lines over here on the random lines that I've got down here Now, this is quite a lot of fun. It literally is just going in random directions. So with the North 0.3 am going care something complete lines in this corner, Then what we might do is we might do broken lines here in this corner, and it really is building the pattern to filling the gaps and create that variance. So we've got some more broken lines there, and you can have a lot of fun with. This is effectively like patchwork. This different patches off material to make up a piece, so just varying with the three sizes that you have if you don't have three sizes of fine liners and that's no problem, I told you, can still create the variants with just one size fine liner. And if you're not using fire line, it's so this you can do this with a ballpoint pen. That's no problem at all On. Sometimes you might find that turning the piece of paper works really well on. I do that quite often. Well for this class of avoiding it, because I don't want to get you disoriented by just looking at me constantly turning the piece of paper while I'm going through this. So to demonstrate this, I'm trying to keep the paper as that still has account. So again, how are we doing here is we're using The broken lines were leaving the broken lines, the straight lines on the complete lines and you can see that now have gone with in with a darker it's created that variants which looks pretty nice, is going back and see the texture that we've created. And this works really nice when you, when you're designing, maybe would effect it would apply really well toward both of these what both of these would no pun intended. So this would work really well. Next one that we're gonna look out is stippling. Now, this is probably the most time consuming type of texture that you can do on its effectively . You're just doing dos now. You can do these again. You could do these symmetrical if you like, or in lines, or you can go completely random on. That's why I put random over here. But stick playing this, like I said, is very time consuming. Andi, If you've got the patience for it, then by all means you do your entire artwork in stippling. Personally, I don't use this too often I use this just to vary the texture in my composition. So, for example, um, I have the background of my scene. Um, I have some mountains in the background or some peaks or some kind of construction in the background that requires just very light, a texture on it. And that's when I will do stippling. I wouldn't really do stippling in my main work purely because of the time it takes to limit on. On top of that, I like to very things Now, if I was going to do in a complete piece of artwork and stippling, then I would probably have to make my coffee very strong before I start. But it really is. Ah, it really is a nice effect. I mean, I knew an artist who used to literally do everything in stippling on the end. Results used to be beautiful. Eso I tried it a couple times myself hand. It didn't really work for me at I was again. I like Teoh more of a mixed media artist on. I liked it really mix in some of the textures to bring out some variants and composition. So, uh, again doing stippling, you could do it really fast. I mean, Abdul, me fairly fast over here. I mean, if you really want to maintain the dots to be exactly das, then you've got to go and really slow. But if you want to go in fast like this and we're really, really fast, you might lose the dots and they might become the old marks instead. But it's entirely up to you how you would like to design your artwork. So I'm going to suggest Is that you do test this out, Maybe not spend too much time on it. But if this is something that you really like to do, then absolutely go for it in your artwork. So all I'm doing here is I'm just changing the variants off the sickness of the pen to create that kind of illusion that we're going from dark to light from top to bottom so you can see that it creates a really last effect. Now, the great thing about this is that the texture that this creates is amazing. So if you carry on like in one point and keep going, you'll start noticing that a pattern is emerging within the staple. So What I mean by that is like if you see over here, I'm going in over this again, like in more layers on the thicker I'm going, You can see some kind of marks being formed. They're not just dots anymore. There's so many staggered does Onda. I've actually come across a pen that does automatic stippling. I've never bought it, but I have seen it being used and that looks pretty interesting. It's like a mechanical pen. Nothing is battery operated in. Just press press a button and then you keep it in position and it just fires out these stippled. Think of my review of that. Maybe in a later class, because I really do like the effect of stippling again. It's, uh it's all depends on how patient you are, Onda, how much off how much time you really want to invest in your artwork. So, yes, you can see that just varying the dots on this spacing between the dots creates a really, really nice texture. Now you can go and really, really dark as well from the top over there. So if we go in very dark, you can see that it starts to emerge deacon. See this pattern? This really nice texture that's emerging. And you probably can't do this with the media, like pencils or charcoal. Or, you know, you can definitely not do this with watercolor. Well, you probably can Both do usually would take you ages doing this with water, collect boat. It just looks beautiful. And I love this ink effect. It looks very old school monochromatic. It just looks absolutely gorgeous. In my opinion. Andi again when I when I started doing stippling, Then I get a little bit excited about it. And then I think that you know what I want to do. An entire piece and stippling. Well, then what tend to do is I'll maybe spend about half an hour on it and then give up or something like that, or it'll just no work out how I want it to. But I would really try this out. And maybe it might just do an entire class on stippling. I think I think I'm gonna do that. I'm just enjoying them this little square completely and stippling. And I just want to keep building on it. But that's the thing. You might start doing something really light and going dark, and then you just want to continue on. That's what it's really all about. It's about that experimenting your style on working on things that you really like to bring things s. So I think I'm gonna leave that there, but you get what I mean. So we're going on to the random step also, this is we actually don't really need to do around them stippling a random in In this case , I'm saying it's just random stippled. What? We can also do random textures as well. So we'll start off with Staples and then maybe do a little bit off hatching or create some random lines and just have a have a go. What? Creating these random patterns. And again, Dolph, if you've got different ways, if you bought like a pack, three of the fine line is, then do try them or to create that variance and go over some of the textures that you're doing. So we've got cross hatching here. You can see I'm going over some of the stippled dots in a lighter weight of pen. Onda really experiment with Andi. I think you will. You will enjoy the development of your skill, and you really have some form, like I said before. So all I'm doing here, residing in some scribbled lines to really create a bit of random texture and then maybe make the scripted lines a little bit bigger on this worth. This will work nicely if you're trying to cover up some area of your artwork and then maybe finish it off with some very everything and find staples. And then you can build on it as long as you like, as much as you like to, you know, to bring out that true depth of what you're trying to achieve. And sometimes you might do some texture, work in pen, and then at the end, you might not really like it. You might think you know what I didn't really like that should not have done that, but that's fine. On one bit of advice about for you is that you should really start small on when I when I say small, I'm talking small in terms of size of your artwork. If you staff to big, then it can just become demoralizing, especially if you started to be in a really beautiful piece and it's going really well. And you might have decided Teoh probably change of texture or shade or, you know, weight of line. And it's not worked out. And then that kind of really waste your entire time eso I would start really small, maybe start on, you know, on a five size or even half half oven a five on a six piece of paper and just draw out, sketch out with pencil some, you know, a composition, just a simple composition. And that's another thing. If you don't start, if you don't do things simple from the start and go in with a really complex shape, then that might cut you off because you might not know where to start. Okay, so what I've done is I've just completed the different types of textures that we have gone through on. You've got another row of boxes over here at the bottom to practice on again. This will all be available in the worksheet that I have for you. So I'll just show you the worksheet. This is what the worksheet will look like. Final One might be a little bit different. This is one that I've got that in working progress. So it's really a case of just maybe using one sci fi online. It's a cover, all the boxes and textures and then going in with maybe a medium size of a thin to medium and maybe a thick. But I'll go through this in one of the final video. So I hope you learn something from this. And I was a bit of a long one battle. I just explained some of the textures rather than doing them in quick time. Lapse. Also, I'll do it in real time that you really, really understand the you know, the reasons and how I'm doing this building of techniques even kind of maximize your learning experience on. Hopefully, I'll see you on the next one where we will be applying some of these textures to some actual forms. So stay tuned. Take care of yourself and peace 10. Creating Shadow & Light: Okay, welcome back. What we're gonna be looking at now is some light and shadow work using some spares from circles to kind of get a bit of an idea off. How light and shadow is created using ink. So as before, Like who created the textures in the previous video? I'm just gonna be using the North 0.3 point eight on Northpoint North five as arrange for my for my line works. We're going to start off with the middle, the North point, north three. You can see over here. I've got three circles that I'm gonna be working on. So initially, what we need to establish is where the light source is coming from. So, generally speaking, just in this example, I'm gonna give the light source the direction coming in from the top right inside. So if the light source is coming here, this area of the circle or should I say spare will be a lot, and then we're gonna have the main dark coming on right underneath it around the sphere and then right at the bottom of gonna have dark. We have some reflected shadow on there as well. So, again, all the militarism just gonna slowly start to build up the darks because again, that's another important factor that we've got to work it dark first and then go to life. Whereas if you working in graphite pencil, you can start working light and then get darker. Okay, so let's make a start on this. So I'm just gonna go in with some normal hatching lines right at the edge off the sphere. To really start off this design on, you've got to kind of understand how the three d aspect off a shape works. It all depends on what you're drawing. I mean, in the end of the day, this is a beginner's class. I'm not gonna go into the real technicalities of house, draw something in absolute three D or make it, you know, hyper realistic or anything like that. That will be another class that I'll be doing hopefully in the coming months. But this is just really to get you into the habit. Onda practice off using ink to create textures and lights and darks to can really bring out form Onda. Add in values as you can. So, as you can see, what I've done is I've just added in some basic cross hatching lines just right starting on the edge of the bottom where we're gonna have most of the dark. And then what I'm gonna do is I'm gonna go in and I'm going to start in again from the edge over here, and I'm gonna go in a little bit higher. So I'm going to bring it to around about this area where I've left a bit of a gap and this will over cross the previous ones that we've done. And you can see that we're bringing in some lighter wines purely because we've got blank paper underneath in this area on when we cross over the previous cross hatching, that area becomes darker so you can see already we're starting to build some form. Andi, It's just a case of really building on this. You can go in and outline your shape. There's no issue with that. The only thing about outlining U shape is that's avoid outlining where you've got the maximum amount of life's on. I'll come to that. I'll show you that when we consider doing some stippling near the other light. So I'm using the no point no three. And what I'm going to do is to continue the outline. I'm gonna go in Aston as account. So then I'm gonna continue from here all the way to the kind of top heights of where the light is coming. Then I'm not gonna fully close off the circle because that will add to the effects off the maximum white. I'm just gonna literally just add in some stippling marks Closer, sir. Cough. And you can see already we can kind of bring that three. Deena's has already entered the, you know, effectively the flat surface. So with the no point nor five, I'm just going to slowly build in some more details. I'm gonna go across the other way to really add in a bit more texture at the bottom and then just in the same direction, finish it off from the edge on. So this is cross hatching a spirit in three D on a two d platform, If you like s O. This is a great technique to use when you're for example, designing something. Are you coming up with some imaginary work or if you're working from real life, it will really work nicely if you practice this way of shading, I'm looking at how the dark and the light affect each other. Now there's also gonna be a shadow, so you can even add in a shadow to give it a bit more realism. So if we have a little shadow line coming out here, so you're gonna have the shadow on the opposite end where the light is coming in from on if you just likely puts in a shadow and just cross hatching the shadow again on this will add more to the realism off your drawing so you can see just got small little shadow only to go to dark. It's all proportionate in terms of what your actual during is and how you doing the shading . I mean, I'm working a little bit more now on this kind of on the midpoint off this fear. If you can see this little band going across the side and that's really gonna be the darkest part for the best way to kind of look at this is if you're looking at reference, I mean, I'm not really looking at any reference. I'm just doing this kind of from memory. Andi practice. If you'll get reference, you'll really be able to see how light and dark work in the real world. And you get real nice ideas on some kind of insight into how you supposed to really, you know, adding these darks and lights to get that desired effect. So if you just like out a couple of lines at the top, it gives a bit of an indication off reflection and then just finish off are so so here we have it. So this is the cross hatching. So we've got cross hatching over here on what minute it is. I'm going to do exactly the same thing, but I'm gonna use the scribbling method. So for the scribbling method, I'm gonna go back to the not but Knot Three and again, I'm just going to start off where the most dark is gonna be. We're gonna go in with scribble lines, and I'm gonna keep them quite tight because what we want to do is as we're going higher on the shape, we want to make this space a little bit more wider on your scribble lines. I mean, these are just random lines. I'm just using these circular motions to create this texture in effect on it's just filling in the dark area, Andi. So slowly, Slowly. What we're going to do now is building a little bit more tight, tighter gaps. Teoh, bring in the kind of the peak of darkness on the S fear on We'll see how this one turns out . So it should really turn out of the way the procession version turned out. But with scribbling you've got I would say you probably got more control with scribbling boat with scribbling. You just got to be a bit worried that the marks that you make can affect the overall shade and shadow. So you can see it looks a lot darker already because of the kind of nature of the texture on scribbling. So I've got a little thinner, the North Point No. Five to really bring the same and then just really lightly scribbling in the everyone talking. I'm gonna leave that area white again, just like I did with the cross hatching to really emphasize that the light hitting the top and then all we need to do is just draw around on. You don't really need to be that I mean these are just practice exercises. Suggests you try these out. Just draw maybe a couple of circles. If you've got, like, you know, a coin of something just around them, Or just get a compass and draw around company using a compass on, draw a couple and then just practice these techniques. So I want to do now. Isn't gonna go in maybe with the North 0.8 t Really? Bring out some of that duck and again with scribbling. The technique of scribbling is you're gonna go in with more and more layers. The more layers you add in, the more your effect and texture starts toe get composed and you start slowly building off some form on. Do you realize that the more work you actually put in sometimes it works out really, really nice, But it can become to look, too. Sometimes you go into much then that can the overpower you shading and you've actually lost everything. And you just made the whole thing to black. And so you do have to delivers a balance. You got to maintain that balance s so you can see over here and just scribbling in right at the bottom on bringing, inasmuch dark as I come right towards this edge. And that would do so. What we need to do now is just maybe just out that that shadow that cast shadow a mother ball. Mike, we did with the 1st 1 on this will really bring out that effects. And again, I'm just going to use a little light scribbling. Teoh, bring this out. You don't have to do one type of texture. When you're living your ink work, you can mix and very talk. That's entirely up to you. A Z can see I'm leaving a slight little gap on the edge over here on this little area where before it touches the sphere just to give that indication that this is a shadow And because again, when you're working with ink, it's very difficult to erase. Andi, if you're going to dark, then you know you're gonna have to bring out your wife gel Penton or your gua sh paint. Really, really bring those little dots out. So here we go. So I think that's fine for this example and this was the scribbling so scribble And again, what light source is coming in from here now, the final one that I'm going to demonstrate over here is the you know, the why would so I wouldn't say it's my favorite, but my favorite affect the stippling. So with this, you just got to patiently build in u dark. So you do you dots your staples on. So league the form will start getting built up again. This is going to take a lot longer than the 1st 2 did. The scribbling is probably the quickest way of shading and creating a shadow and light using pen and ink. In my opinion, it is anyway. I mean, cross hatching is pretty fast as well, depending on how quickly you create your hatch marks and your across that drink for this effect, this will look really good, however, is probably take a bit of ah, a while. So I think will time lapse until I'm doing so . I think we'll leave that as it is on. That's the third and final one. Dumb. Still, we've got steeple. Okay, so I hope you learned something from this quick little demonstration off using the different textures that we learned in the previous video in creating some shadow on lights on circular objects and again this can be applied to any objects on. What we'll do is when I do the full sketch there in the coming video, you will be able to see how I apply a with these difference after techniques in an actual scene. So hopefully see you on the next one. Take care of yourself on peace. 11. Creating a complete sketch!: Okay, Welcome back. So now we're at the stage where I'm gonna be doing my full little sketch to demonstrate some of the textures that we've learned on some light and shadow work that we did in the previous video. So with this sketch that I'm gonna be doing, I've got a couple of pieces of paper here. So this little piece of paper here on the right is just a small strip of paper. And I'm using the Adela Rowny sketching paper that I reviewed in the paper video. So do check that out. It's the It's the one where it's it's one with the pink cover on day 140 GSM acid free paper. This works really well for this type of work on this small little piece of paper that I've got down here. This is just scratch paper. So I'm gonna be using this to just test out my tools. Maybe just test out a couple of line is before actually go in, and we're just to make sure that's the right weight off line that I'm after. So it's always a good idea to have some scratch paper and always have the same type of paper as your scratch paper that you're gonna be doing your work on so that you know what the actual effect off your tools is gonna be like. So I'm just gonna be using a few tools here for this sketch. First of all, I'm gonna be using a pencil to do just under sketch on. Then I'm just gonna go in, depending on what? Wait I want to use. So I've got no point. No one here. I've got the standard ones that have been using to demonstrate textures with the North Point. Not 83 no point no. Five. In addition, have also got this nor 50.5 years. We've got a bit of a range off weights of line to really play around with. So I'm going to keep this more and again. Once you've practiced the texture work on the shadow on white, I would recommend you do a small little piece like this maybe even smaller than this if it if it's not something that you want to really, you know, dive into straight away on again. Keeping it small will really keep your line work concise and make the task easier. And Then the more you practice, the more you build up. You can, like, really expand the size of your artwork. So without further ado, I'm going to get started with this work. Okay, so I've done the under sketch using a pencil, and I've drawn the actual drawing within a circle. It kind of gives it a nice effect so that we can actually fill in a lot of the work. So now we're gonna be moving on to the line, work using the in Kleiner's. Okay, so now the line workers being done, the main outlining using the north 0.3. What going to do now is I'm going to start adding in some cross hatching on. I think I'm gonna go down to 0.1. Just give a little bit of variants in the line. Wait. Okay, so now I've just added in some basic cross hatching. My light source is coming in from the top right and side from here, So I'm leaving the top end of these rocks completely lights on, and then I'm going to slowly build in some texture. So if you can see down here, where these little small stones we've got like a bank, a kind of platform on. I'm going to be using the scribbling texture to really bring the darkness out of this so that we have some contrast. Okay, so we've used two techniques. They reviews cross fracturing we've used scribbling on. What I'm going to do now is I'm just gonna vary Some of the detail work on the roof and on the chimney area on the door on I'm just gonna literally be using normal hatching lines. So let's carry on with this. And as you can see, what I've done here is I've done complete hatching lines here because we've got the darker side on the left side of the house. And when we got the lights coming in, have not completed the lines all the way to the edge of the some of the lines, spaced out wider and then at work Done is filled in the gaps with half hatching lines. So that kind of gives an indication that there's a little lights aside. So again, just continuing with this process a little bit on the windows with some scribbling gonna be mixing it up with some scribbling and hatching and cross hatching work. Okay, So what I'm living now is I've filled in a windows with some really, really tight scribbling down some line work on the chimney on a bit more dark on the on the stones. I'm just going to add in some wavy kind of broken line textures like we did in the textures where we've got broken lines. Um, I'm gonna keep, like, a on unsteady hand to get this effect. So this is representing water in a current in a little lake in this scene. Pond bleak. Whatever you want to go away. But the broken line Effective work. Really? And I say so if you just carry on very angry lines, this kind of gives a nice effect of water. I'm just gonna go in with the North 0.3 to add in a little bit off dark on the water to give that riel effect of light coming in from the right inside. Okay, so now I'm gonna go in with the North 0.1 and do some brickwork layer income, the on the actual house on. One point to notice here is that when I'm doing these lines for the brickwork, I'm not taking the line all the way to the end on that is to represent the light's hitting the right inside of the house. If you take the line all the way to the end, it because a little bit too mechanical on complete. So that's not the effect that I'm after here on. It's always good to leave some lights on your drawing, really to kind of work in it. Even if you don't need the lights at the end, you can always go over it. But if you don't leave it from the start, then it's difficult to add in later on. Okay, so that's the brickwork. Don't All I'm going to do now is adding some actual lines of hatching and maybe a bit of stippling and cross hatching. Just add in some shadow, work on for that. I'm gonna be using the North Point, not five soonest point love God. So only to be doing now is just adding in some life stippling toe, filling the background within the circle on We should nearly be completely I'm doing here is I'm just adding in some more testicles with a thick a pen, and I'll go in a little bit more. Think on the select Onside represented a light coming in from the right. Okay, so there we have it. We've completed our quick, little her sketch using ink and using all the different techniques we've got the broken hatching, broken lines, cross acting full, complete hatching, stippling all incorporated into this small drawing that we've got down here. Now, this is the ideal size. I would recommend you to start off on just a small little square on, then slowly work and build up your drawing. You can draw from imagination like I have, or you can use a reference on draw and really, really practice this. And hopefully we'll move onto the next video where I'll just be discussing some final thoughts on and the class project. So take care of yourself and peace. 12. Class project (+ FREE worksheets): Welcome back on. We are now ready for our class project. So we've gone through all the basics off pen and ink, simplified into textures, lights and shadows. And then we ended with the sketch lauded, incorporating all of these techniques that we went through. So now it's the time for you guys to have a go at this yourself. So what I've done is I've made this quite simple and easy for you to take step by step. So in the link in the description part of this class where you've got the about tab, you'll be able to find a link to these worksheets that I've prepared for you. So these are just Pdf's that downloadable. So if you just download them, print them off on your printer. Andi, you're ready to go. So firstly, there's gonna be two worksheets and providing here on What I've got here is that the 1st 1 is kind of based on the texture Web that I did. So if you need a refresh on Chek texture work, you would work really nicely. If you watch that video while you're doing this just to get a bit of a practice, some kind of divided this into three sections of God 12 and three. The 1st 1 It's very light and thin on the writing, and it don't want it to distract away from the actual texture. It basically says thin weight on the number one. Number two is medium weight, and number three here is think way. So what I want you to try doing is get three pence a varying weight. So maybe you might have a 0.1 you could use no 0.1 for the thing you could use, possibly a north 0.5 or a nor 0.8 for a thick on Haven't in between Penn such as a 0.2 we're in or 0.3. And if you have a really fine line er, such as a no point No. Five, you could even do that on the number one airline. And what this will give you is this will give you some firsthand experience in working with the textures, using the different line weights. Now, if you don't have fine liners with you at the moment or if you're you know in the process of purchasing them on, do check out the resource she. That's also in the about section of the class where where I've given a few descriptions of all these lines that I've used on where you can buy them from and read upon further reviews . But if that's something that you don't want to do, and you just don't really want to spend too much money at this stage or don't want to spend money, it all you don't have to. All you've got to do is just find whatever you have lying around, so you might even just have a normal Vairo, achy barrel lying around. That's no problem. You can still use this to practice on this worksheet over here. So instead of having three D pupil, you tried in minutes using a really light weight for the 1st 1 in on on the 2nd 1 you could go in a little bit firmer, and then for the 3rd 1 really by row, you could go in really, really dark and practice the different techniques. So I've just titled them on top of each box, and if you could just fill in the boxes as I did with the class, that would, I reckon, give you some really, really decent experience and practice in getting into this world of pen and ink on. Once you completed that, I've just got a bit of instruction on the top here. If you could just take a picture of their once you're gone or scanning if you have a scanner and do upload it to the Project gallery so that we can all have a look, Onda really share the experience with each other and learn from each other once you've got this first part on. So I guess this is the first part of the class. The second part of the class is really to start doing your sketching the shadow and light class that have done You don't really need to practice the shadow on light on circles like I did. That was just for demonstration purposes. I would say you could just go straight into a sketch and start practicing, And that's why I have prepared this second worksheets here that this is just a practice worksheets where I've divided the sheets into different small boxes and this is probably the ideal size that I would recommend you start working on. So what I do with this is I've got to four boxes of the same size. You can get a decent bit of practice, and just at the bottom of got some square boxes, they're a bit larger just for you to vary it. You mean you don't have to do really detailed work in this? And remember, you can print these out as many times as you like, so you can start off, maybe print out one sheet on, just do some rough sketching with pencil, do some composition work and then go in with maybe a buyer. Oh, or if you've got some fine line and start doing some fine mind outlining, it would be good at it to do the stages that I did in my sketch lighted over here. So if you just kind of have a look at that video again, go through the sketch steps. So first doing this under sketch with pencil than going in to do the outlining with the midpoint fine liner, then adding in some textures and lights and shadows as you build the image. That way, it will give you a systematic approach to kind of really, really get stuck into this world of panic. on. Once you've completed this, you don't need to complete every single box. It just complete. One of the boxes are a couple of whatever you like. Do take a picture of it or scan it, upload it to the project gallery so that we can all feedback and have a look on. Really, really enjoy the experience on again. As I said, you can print these sheets out as many times as you like for your own, for yourself to practice on on. Do give it a go because I think the best way to practice anything is toe. Learn something, learn a skill or technique, and then just keep practicing. So this is the class project, and ultimately, once you've completed this, you can watch the class again or pick open at your own textures. I will be releasing a secondary class, which will go into a little bit more detail, so it will be a more intermediate level course in pen and ink sketching where we will be actually looking at riel references. So do keep an eye out for that 11 But I would suggest if this is something new that you get in into as a beginner, which is this this class is intended for. Then I would definitely give this classic girl watched the videos on. Start doing these worksheets on. Then you will be at a level where you can take the next part of the class which will hopefully be released in the coming months. Eso Do you follow me on skill share to keep updated? Andi, I hope you enjoyed this experience. I know I certainly did on and I have been sketching for for a very long time. There's going to be mawr upcoming videos on pen and ink on sketching challenges. Eso do look out for them and hopefully you've learned and picked up some new techniques and skills while you've been watching this class. So thank you so much for your time. Thanks for spending time with being this class. I hope it works out really well. And I look forward to your lovely worksheets and your beautiful designs. Take every of yourself on peace