The Road to Manga - Inking 101 | Olga Rogalski | Skillshare
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23 Lessons (1h 38m)
    • 1. About this course

    • 2. Things to remember

    • 3. What materials will you need?

    • 4. Basic Textures

    • 5. Complex Patterns

    • 6. Create your own Texture Catalogue!

    • 7. Worksheet Introduction

    • 8. Worksheet 1: The Fence

    • 9. Worksheet 2: The Swan

    • 10. Worksheet 3: The Grasspatch

    • 11. Worksheet 4: The Bridge

    • 12. Worksheet 5: Wild Geese

    • 13. Worksheet 6: The Field

    • 14. Worksheet 7: The Flower

    • 15. Worksheet 8: The Fruits

    • 16. Worksheet 9: The Grapes

    • 17. Worksheet 10: The Food

    • 18. Worksheet 11: The Grain

    • 19. Worksheet 12: The Ship

    • 20. Worksheet 13: The Girl 1+2

    • 21. Worksheet 14: The Girl 3

    • 22. Class Project

    • 23. Conclusion

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About This Class

Have you ever wished to draw your own manga but have difficulty when it comes to translating your awesome pencil drawing into ink? Or are you starting out and do no feel so sure about how to use ink? Then this course is for you. 

My name is Olga Rogalski from Studio Oruga and I have published manga professionally and have been in love with ink for many years. In this course I want to teach you my techniques. My technique depends a lot on developing your muscle memory and by making use of the things that are around you.

You will need:

  • Ink, nibs, a nib holder and a thin watercolor brush. As an alternative, you can use fineliners. 
  • High quality printing paper fit for business cards. It´s smooth surface handles ink rather well and is cheaper than artist paper. (Personally, I use Color Copy for that.)
  • A printer. 

You will learn: 

  • to use ink and how to create textures and patterns.
  • to create your own texture/pattern catalogue that you can consult in your inking.
  • to train your muscle memory and develop your very own inking style by working with the work sheets. 

The course will include: 

  • blueprints for textures and patterns
  • blueprints for the lessons so that you can work along
  • additional blueprints that you can experiment your inking on

Meet Your Teacher

Teacher Profile Image

Olga Rogalski

Professional Mangaka and Illustrator


It is never too late to start...

That is what I told myself when I first took up drawing seriously at 18 with the big idea of becoming a professional mangaka. Of seeing my books in the bookstores and touching the hearts and minds of readers.

A shy girl from a poor immigrant family in a sleepy provincial village in Bavaria, without any connections or funds. I knew that I would have to learn fast, be bold, be courageous. And I knew that I would make my dream a reality.

And I did.

Not right away but the following 4 years of constant study, self-imposed drawing bootcamps, searching, learning, project d... See full profile

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1. About this course: Hi. My name is all Gago gasket from studio or yoga. I have published Munger professionally, and I have been absolutely in love with being for many, many years. Have you ever wished to draw your own Munger? But have difficulty when it comes to translating your awesome pencil drawings into ink? Or are you just talking out and do not feel so sure about quality IHS Inc. Then this course is for you. In this course I want to teach you my techniques. My technique depends a lot on developing your muscle memory and by making use of the things that are around you. Soon you will be able to do things like this and like this and like this, and like that and everything. Shall we begin? 2. Things to remember: remember when you're thinking, especially with snips like Jeep in, Do not dunk the neighbor in completely. If you have done the nip to dip into the ink, it is almost guaranteed that you will have explored GIs on your drawing. Look at the nip. Do you see this whole? This whole should be free off Inc So if you have dunked your nip to deep, take a tissue, sacrifice this ink and clean your name. Remember before using the name for the first time. Burn off the oil during manufacturing process. Nips are treated with oil in order to avoid them rusting, so you have to burn away this oil. You just have to hold the tip off the nip for a few seconds over the flame off a match or a lighter. Remember even a complex drawing. It's made up off basic shapes. If you're able to ink the basic shapes, nothing will stop you from being able to ink complex drawings because it is also made up of basic shapes. Beat leaves, flower stones, fancies buildings who landscapes, basic shapes. Rule. Remember, when you're drawing backgrounds, you do not have to draw them perfectly, especially with plans you don't have to draw every leaf or branch. If it looks like a plant in the shape like a plant, it is a planned. Their men different ways to draw plans. But the more you draw, the better you will figure out which way works for you. With time, you will develop your own style of backgrounds that the space on your unique imagination and your muscle memory and that is the magic word. Muscle memory. Don't worry about finding your style. It will find you by training your drawing muscles if it hasn't already. Some draw mostly outlined, some sketchy, some detailed, which works for you. Remember, plants do not have perfect symmetry. Men made things usually do remember to create depth of field, draw close objects in detail in use thicker lines while drawing far away objects as a general shape. Remember, wait lines have more in pregnant, even lines Remember draw outlines for thicker lines and details with thinner lines. If you're using the same pen for everything, we can go over the same spots, device and ed way to certain areas. Good luck on your journey and have fun 3. What materials will you need?: So what matures will you need? Number one? The paper. There are so many different types of paper out there. Personally, I would recommend you to go for high quality smooth printing paper. Why, you ask? Not only is it more affordable than artists paper, but it is also available in different strength and size is plus, you can print your drawing in blue on it. This is a business secret. By the way, If you draw with a blue pencil or if you print your drawing in blue on your paper than ink it, then scan it. It won't show. Not only can you preserve your original droving that way, but also shoot on accident happened. You can just print a new version again and then ink it. What kind of accidents you ask? Well, let me tell you, it does happen from time to time. That one woods tip over the input over the drawing or the page, which sucks. So if you print your page or you're drawing in blue that way, even if this happens, you still can fix this problem. Otherwise, if you drawn the original, you would have to redraw the whole thing again. if something like that happens personally, I like to youth e color copy paper, which is, Ah, high quality printing paper. My preferred. The purse strings is at 200 grand pass square meter and the size off a four or a three. If you are not able to get their hands on color copy or it might be expensive because off import costs, then a suggest finding a local alternative. I suggest going toe a local art store and asking for recommendations. Or, if you're chick enoughto ask, ask for samples. I know it is that our local art starts from time to time. Offer samples from different paper companies. An alternative can be abreast of paper or delegate er paper. But be warned these acquired expensive, especially if you consider the cost off, creating a whore monger. Number two. The ink. Let me tell you this. There are a lot off ink products, depending on what you need to have the choice between different types Off Inc that are thick or thin that have a glossy or matte finish that are what approved that are mark approve or that are raise a proof or those that are not For instance, thinking is better for application with a brush because it does not bleed out this easy. While are Thin, Inc is better fitted to Amara Pin. Since Mara Pin does not carry thinking too well, the ink does not come out. My personal favorites are these. Delete a number two. This is a fast drawing, high pigmented Mark a proof and raise a Proof Inc but it's not waterproof. Personally, I use it for inking black hair or black leather could attack it. Sick Cartoonists. Black ink This is a fast drying, waterproof and mark a Proof Inc that can be applied both with a nip or a Brush Pilot Inc for securities. This is a fast drying waterproof and Mark a Proof Inc. If you want to buy any of this, thinks you can do that via on online shop. If you don't want to buy through Amazon, you can check with your local art supplier. But you don't have to go with Japanese things. You can ask for recommendation at your local art shop as long as you do not plan to combine it with water or with markers. Any ink that the job as long as it does not bleed out on the papers that you use. Three. The Nips. They're a lot off different products made for drawing and for calligraphy that one can use . Personally. I prefer using Japanese supplies, as I found them to be, but and quality, and I found that they produce better results than my locally sourced products. But if you are unable to get her hands on Japanese supplies, local our chops will do. I suggest going there and asking the star for recommendations. What nape you use depends on the result you want to achieve. For example, if you want to draw extremely fine lines than arm are, a pen is the best choice. If you want to draw long uniform lines, nips like the saggy or the school pen are best. Then again, if you want to use a nip that has genomic lines that you can influence by pressure. Dheepan is the non plus ultra nip for then upholder. If you used the Japanese nips, I suggest getting a Japanese nip holder. Companies like de litter and touch Cecava have a nip holders that can carry all kinds of Japanese nips. If you go for traditional nips that you bought at a local art store. Then I suggest getting the nip holder at the same place. Number five The brush. I cannot trust the importance off a brush in inking whether you want to ink or some black hair, or if you want to ink black leather or if you want to fill in black areas, the brush is the perfect instrument for that. Could you do that with an IP, for example, our jeep in sure, but it would take much, much longer. I typically used what are color brushes for that brushes with a size below size zero. Our best number six find Lina. They are, ah, lot off different products on the market. Since they get used up pretty quickly, I suggest sourcing them locally. Some industry level find Landers are dilator New pickle liner. Sekeras, Pigna Microns, Coptic multi liner, Devon Planner and Farber Castell Pitt artist pen. In my experience, the most durable liner is the Dell It, er no pickle line three. But the strengths off their 30.3 millimeter thing is, ah, lot off times extremely fine. Fine liners tends to have issues with their tip. It's either tends to break off or disappear into the holding. After trying out many fine liners over many years, I can really say I had the best experience with E Tell it, er no pickle Line 33 is important because ever prior lines that were less good, I also found that thesis kurup magma microns head quite decent quality for ah moderately small price award off caution. However, while fine liners are generally waterproof and marker proof, they have difficulty with e razor, meaning that the lines become more light. The more you erase over them, which ever materials he used. Just make sure that they are compatible with each other, especially in the regard with ink and paper. Sometimes it's worse to sacrifice one sheet off paper just to make sure that the ink will not bleed out. I cannot stress this enough. You have to make sure that the ink in the paper are compatible. Do not risk first drawing in pencil and then trying on ink and paper that you didn't try out together before, you might have unmasked the surprise, and you might ruin your drawing. It's not like this is a waste of paper I would suggest toe caught your paper in stripes and use it for testing with different things. Just write down on the bank. What kind off paper this is. And should you in the future get a different ink or pen or paint, you can try out whether they work together. And now we're done over the materials. See you in the next lecture. 4. Basic Textures: This is the simplest texture that is, it's drawing vertical lines from top to bottom. Here, I'm using a touchy cover up in with Moreau, Penn and Teller Tha Inc too. By the way, if you get a piece of paper stuck in UNIP, which happens a lot, you can take a small piece of tissue and clean your nip. Otherwise, there's just too much of a risk off ruining your piece. This is a similar texture to the 1st 1 It's about drawing horizontal parallel lines. With these two textures, you can already do quite a lot of shedding. This is a similar texture to the 1st 2 Also in this case, you draw diagonal lines from the right side to the left side. This is a similar textures, assert one. In this case, you draw diagonal lines from the left side to the right side. These diagonal lines, when used for shedding, are more dynamic compared to horizontal or vertical lines. This is fun. This is the combination off the 1st 2 textures. First, you draw vertical lines from top to bottom, and then you draw horizontal lines, creating this hatching texture. This is a combination off the texture three and four with diagonal lines that go from right side to the left side and crisscross from left side to the right side. With ease to textures, you can already do a lot of hatching and create a lot of shadows. It is also more dynamic than the texture where you cross horizontal and vertical lines. This picture can be used for darker shadows. In this case, you combine the 1st 4 textures in tow. One first you start was drawing vertical lines from top to bottom and then horizontal lines that crisscross thes lines. And then you add diagonal lines from right to left and from left to right. By doing that, gradually, you create a much darker shedding. All these textures can be used to create different Grady INTs that can be used to depict a shadow. Here's an example off what you can do with that. This is the basic daughter dot technique. Basically, you create a shape or fill in a shape by using small dots. It is a much lighter texture compared to basic hatching. This is a more elaborate daughter dot technique. Basically, you create a Grady int by using different amounts off dots on the side where you want to create a shadow. Use more dots while on the lighter side to use less thoughts. This is a similar texture to the dot technique, but in this case you create small ink smudges by applying a bit more pressure to you. Nip. This can be used, for example, to depict gravel on the ground. This texture is the combination off small horizontal lines and dots by using breaks in the lines in bigger distances, it makes the texture more light than hatching. This texture can be used for a tatami mat, for example, or for clothing fabric. It is a similar texture toe the prior one. In this case, you use lines in combination with thoughts, but you apply more pressure to the lines, creating AH stronger texture. This can be used for a sweater or everywhere. Rule or thicker fabric is involved. This texture. It's a combination off squiggly lines, which you can use to create foliage in the background. 5. Complex Patterns: have you ever felt when looking at a drawing that it was a bit empty like as if something was missing? This can happen when you rely solely on the outlines. Always remember that ink. It's a powerful weapon in that you can use it for more than just lines. We can use it to create patterns and textures, said the mood. Attract attention, toe a certain spot and create a dynamic effect. Or make your character stand out from the background and make the reader see the world. You characters living just like you see it in your head. I want you to learn how to use ink on more than just outlines. I want you to learn how to create interesting textures and patterns and make the world that you characters inhibit. More interesting unbelievable thing is most of the things that are around you can be simplified and depicted in Munger, from the patterns on your clothing to the textures off the materials, everything can be used. There is more than just the contrast between light and dark. It can also create a contrast by using different textures and patterns. Let's look at some examples this background has a lot of black fill on the steps in the buildings as fellas textures on the ground, the plants in the bricks. By combining them, it grates a more interesting picture than just using simple lines. In this picture, black fill ISS used to depict the windows as well as the plans by living the parts off the fence white and filling in the plants in the background, it creates a contract that makes the fence stand out. Additionally, textures were used on the trees in the end, on the ground here, the dream. The background is left wide, with only the outer parts outlined, while the foreground has a lot of black. Fill in the ground has a texture, by the way, in this case, I created the texture by using an airbrush. The texture on the tree provides a good contrast to the lanterns in the foreground. This background has a lot off different textures for different kinds. Off plans that works in combination was black fill to make parts off the plant. Stand out. The important thing for your thinking skill is learning how to use different textures and patterns and finding out which patterns work best for you and your style. Every style is different, and some textures and patterns might work better for you and others might not. The only way to find out is to experiment. The more you draw, the more you trained you muscle memory, the easier do become for you to think. More importantly, the easier it will become for you to ink in your unique style, because in the end the hand will remember the inking start that this most natural for you. This is why device this training exercise by using versions that will help you. I want you to print them out on thick paper are smooth paper stick enough for printing business cards is perfect and can be found at most printing stores and online use of worksheets and fill them in with different textures. You can use lines you can use hatch ings. You can use dots you can even use numbers and letters is a texture. First, you will use the blue sketch as help for drawing. Then I want you to fill in the blank space with your free hand texture. Based on the first texture, you can use my inked example. US the reference, but you do not have to. I don't want you to take on my thinking style. I want you to find yours. It is important for you hand to remember the textures that you are most comfortable with. After some time, you will be able to draw them from memory. Burke with worksheets as many times as you want until you feel satisfied and confident for the result. Good luck and have fun. 6. Create your own Texture Catalogue!: After doing the worksheets, I want to give you a challenge, a challenge that will benefit you for the years to come. I want you to develop your own texture catalogue that you can use any time you need. Look at this image. I recently rediscovered it. This is the first chart Off Inc textures that I created for my own use just after starting to work with in 18 years ago, and I have used it for years. I want you to do something similar in the course, including a print out with empty fields that I want you to fill out with textures and patterns that you can find around. You. Look at the different patterns off fabrics that you can find a new clothes it or in other people, try to draw them in ink. Look a different materials and surface textures that are around you. What patterns do you walls and floor? Have your furniture things off your daily use. Try to draw these patterns. Take your sketchbook outside. What patterns start the ground on the your feet half. How does the texture off trees look? Draw that if you don't have you sketchbook with you make a photo, learn to see textures and patterns everywhere and fill your pattern catalogue. That way, when you think you monger and are not sure what pattern to give to the closing or what texture to use on the surface, you can consult your catalog. Feel free to share your textures with the others in the project area so that everybody can benefit and be inspired. 7. Worksheet Introduction: Now, after working with the texture worksheets, and after building up your texture catalog, I want you to take it up a notch. I have included several sketches with backgrounds and characters that you can use to practice your thinking skills. You can use the ink version as a reference. You can also use your own drawings off characters and backgrounds and apply you newly learned texture skills. By the way, the reason I am using blue lines is that blue lines do not appear on the scan When you scan your drawing in. Black and white professionals often use blue lines because you don't have to raise them. I'm looking forward to seeing the results in the project section. 8. Worksheet 1: The Fence: in this lesson, I'm going to walk you through how to think this image with the flowers in front off offense . It may look complicated, but it actually is not when you understand the underlying principle behind it. So let's begin in this lesson. I'm going to show you how to ink flowers that are in front off offense. One of the toughest questions of when started to ink for me at least, is where to actually start, which is why I prefer toe start with something that takes up a lot of space on the image. Like in this case, it is these net pattern off the fence, so that way, after a lot of the space would already be filled up. If you use the materials provided in this course, you can try to yourself. Of course, you do not have to follow the exactly in the same order that I do thinks in. But I prefer to get the simple net return done and then dedicate my time toe the more detail grass and flowers in front, off the fence off. The one of the things I wanted to say is that things in the background, our best to be kept more simple. The more the things are in the foreground near a they are to you or to the viewer, or it's a mangga. So to the reader, the more detailed they are. Depending on how many layers you want to use, you can use a basic pattern, or you can really go into the almost hyper realistic. I usually use about two layers for my grounds. Why? Because it does not take too much time. But at the same time, it provides some sense off complexity without really being that complex. So, like in this case now the background, nothing is almost done. And now I can proceed with E rest, So I use curved lines for the breasts and small structure for the details. But at the same time, you don't have to draw every flower out in this case. For example, if it wasa background for a panel, the trick is to give a basic shape. It's, ah, light, flowery shape, which is quite loose. But the secret behind white works is repetition. The brain is trained to recognize patterns, so in this case, by using recurring patterns, we make it the brain see the flowers without having to draw out every petal, every grass thing. It's just it works, especially you have to remember that things like backgrounds, they are work that works in the background. So basically, when somebody's reading a Munger, they will not spend a lot off time analyzing the bag around unless their background fetishists like me. But usually they will spend. Our general reader will spend less than a fraction off a second on actually seeing the background. But they will know if the background is bad and they will notice it. So the big grown is there to make your characters stand out to set up the scene to give a feeling, too, presented the situation to convey where the stories taking place. Which is why, while it is important to have a good, big round, the readers are not always aware off the background or rather subtle. So we are in the business off tricking the reader. So in this here again was the grass and the flowers. You can see the repetition off the rest, and also by using overlapping with the grass. Forgive it more off a three dimensional space. We're putting some of the grass in front of the flowers and letting them overlap and then repeating the patterns. It just makes it work. And while we do not have to spend a lot off thymus assayed, drawing every flower and by then combining the rather simple forms off the flowers with e black fill in that makes the white stems off the flower stand out. Give it a more sense off. Shadowing like the flowers will get more light from the sunlight. For example, why this stems will be in the shadow so you can fill in the spaces between the stems and also spaces between the flower. So that way, you make them stand out more, and it's basically a repetition, repetition, repetition. You do not even have to line the stems just by filling in the leg. It's already tricked. The brain is actually ah, technique that I use a lot with just living something's empty and filling in the black. It works, trust me, and we are about done to sum it up. We have three layers in this image. The front here, shown in red the middle, which is front and green, and the back, which is shown in blue. You have to remember that negative space or white is also a color, and that it I would say, whether you use your own materials or they want provided in the scores, Try toe. Use this mix of techniques with basic shape for example, defense with the simple shapes off flowery or grassy textures and see how it works for you in the end, the courses about developing your own techniques and developing your own Muslim memory. The more you drink, the more your muscles will be trained, and the more you're unique, techniques will emerge. So just go crazy with exercise and see what will happen. And I would love to see what you did, either with the course or just with a technique with the principal. 9. Worksheet 2: The Swan: in this lesson, I will show you how to ink a sworn on a lake. So let's begin. In this case, I'm starting by thinking the sworn. Since I plan to ink the grass, mostly by using the brush, I am first thinking this warm so that I have it out of my way. Sometimes when you are thinking a big area with ink, of course, depending on the ink type, it can happen that if you try to go over it again, the paper gets damaged. So in this case, if you plan toe in big areas, it's better to first in the small areas in the back so that you do not damage the paper off the lines afterwards, especially if the ink has not yet dried. After that, I think the rest in the front I could off course just have started with the brush. But I found that it is easier to use the brush if you first draw the outlines by using a nip That way. I don't know if it's psychological in this case, but it just gives a kind off our border for you. Brush so that you adjust can use black fill you might try to use it without drawing. Thea outlines first, but I would suggest just tried to swell. For me, it's easier that way. Also, I can add more details if I want, or I can make corrections at this stage, which would be difficult if I waas using a brush in that case, and it's, ah, lot off overlapping grasses, you see, So it doesn't matter if some lines are just a mess, since it will be filled in by the brush, it is not a problem. Personally, I use ah, thin watercolor brush, and then often times I would use ink that waas left over from before. Thing is, the more you use the ink, the worst the in quality becomes. It has to do with oxygen. It make the ink more dries, the ink up a bit. Also, the becomes clumpy, so the more you use ink, the more give Elin Carter's This problem. If you encounter this problem, do not throw the ink away, but I would keep it for stuff like this. For Black Phil, it's still good for applying with a brush, but if you notice that the inking itself with the nip becomes more and more difficult. I will just get a new bottle off thing that you can use with the nip and keep the ink that it's too clumpy to be used with a nip for black filling with the brush. That way, there's just less waste and also that where you can save money specialist, since brush pens can be quite expensive. So if you just get yourself ah thing watercolor brush, you can use it instead off Ah, brush Ben, it's just makes more sense. So you continue to fill in the ink and that way, by applying out Wall Off Inc in front of this one is just creates this three dimensional effect and that's it. Let's recap in this case will have two layers. First, the grass shown in red in the front, and this one was the lake shown in green in the back. As with the lesson before, whether you work with the materials provided with the scores or whether you use the information and applied to your own drawings, I live it up to you. This course is about training your own drawing muscles, enhancing your own muscle memory, so whatever way works for you is the right way 10. Worksheet 3: The Grasspatch: in this lesson, I will show you how TOE Inc a patch of grass. This is actually one off my absolute favorite techniques. It might take a bit longer than a normal technique, but at the same time it has just much more impact. When you draw plants sore, I hope you have as much fun with it as I do. So let's begin. In this case, I start was thinking the grass in the front. Since there's so much care, so many intersected grass stems that it's really a decision that you have to make where to start. Since there are so many intersecting parts, it's better to start with the things that are in the front or in the middle, off the grass chaos, and depending on that, you continue to make them overlap. This creates this illusion off three dimensionality, and later, when we apply a black fill, it will just make the grass pop more. In some cases, it is also possible, for example, to instead off just leaving something white to apply drawing gum. It's used in water color. It helps to keep some space is white, so it does not absorb ink. It is for example, sensible to do something like that when you want to draw a pattern in white so you can draw a pattern, withdrawing gum and then apply Inc. But in this case, you'd can just I would like that by leaving things outdoor outlining things It is also possible. Instead of just using black fill to use dot patterns as a filler, it creates a more off soft effect. For example, you can use it with a Shorja manga. It is not as hard, I mean heart visually as just black fill. But it does take more time, and also it will pretty much, uh, ruin your neighbor. I want that galaxy by using dot patterns, and after that, the deep end. It's this nip that I used the tip off the neighbor the tips. They crisscrossed themselves because they were just so worn out by the dot, dot, dot dot pattern. In a letter bonus video, I will add a video off me using a dot pattern. So after doing the grass in the front, as you can see, it's pretty much chaos. But nature is kills. I start drawing the bigger leaves off the plant in the back again. Try to follow this round lines these flowing lines that one can also use with hair when drawing plants. And, of course, always if you want to create on effect off three dimensionality, you make things off a lap intersect. Go around each other. It doesn't always have to be 100% precise. It's OK to mess up to make mistakes. Just get used to. This cares that this nature you don't have to get every line right the most off the time. Most people won't even notice if I'm honest. So go ahead, make the things intersect. And also don't be afraid to go back to some grass stems and draw in those. If you feel that somewhere some lines are missing, you can just draw them in. But always remember, it's also okay to Hef breaks in the lines. It's actually really important, especially when drawing buildings. One of the biggest errors people do is drawing lines with outbreaks When drawing buildings that way, it gives it this sterile looking effect. But if you make breaks in the lines, it gives it a more realistic feel because if you go outside, you do not have absolutely precise view off the things, the lines, especially the father way there from you, the more blurry they get. So if you add breaks in the lines, it's a representation off this blurry effect. It makes the drawing look more natural, and that where you can also make the character stand out more because the character will have more stronger lines. And with the background having breaks in the lines, the character will just pop more after ending missing parts. It is time for black fill compared to the last video. In this video, I'm using a G pen for black fill. A jeep in is a more dynamic feel that reacts to the pressure so you can also use it for precise black fill very half really small spaces, and you do not want to mess it up with the brush. So by applying a bit off pressure to your jeep in, it gives out more off ink. So that way you can be quite precise when filling in the black and by filling in the black as you can see it, make the plants stand out more often times I mean, in this case, it doesn't matter, since the drawing already suggests that there will be black fill, but often times when I want to mark something to be filled in. Afterwards, I put on X on the spot, and then I will know that I have to apply Black Phil later on. It's a way to communicate with yourself. Since the lines are already applied, it doesn't matter whether you start with a black fill in the bag or if you start in the front, so it's really left up to you. Sometimes you have to make these types off spontaneous decisions when thinking. Of course, sometimes it's good to have a plan, but sometimes just relax and let's your emotions decide what to do. I really hope that you will develop this much fondness for inking as I do, if you know how to think. You don't even have to apply screen taunts if it fits your style. For example, in my 1st 2 project, actually that I created for the publisher, I didn't use any screen tones. I just did everything by ink and also completely. Traditionally, it's ah, lot off repetition. But by filling in the black and by leaving some of the things white just gifts this effect off grass growing in all kinds of directions, something that ingress does who, naturally, you just repeat, Repeat, repeat. Personally, I find it quiet like a meditation filling in the black. So I hope you do, too. After that, you add some details where you feel that black is missing, and then we are done to recap in this lesson. We have three layers the Gracie Grass in the front, which is depicted in the red, the leaf, a grass in the middle that is depicted in green, and a mix off both in the back, which is depicted in blue. 11. Worksheet 4: The Bridge: in this lesson, I will show you how to draw on breach that is surrounded by plans with away leading to buildings in the back. So let's begin whether you start with the bridge or whether you start with the plans behind the bridge. I live this to you personally. I find it useful to define the outlines off the plants behind the front off the bridge, which is why I'm heading the outlines off the Leafs. Since I want to have black fill between the different plans in the front and in the bag, I use black feel directly. This also make the planks off the bridge stand out more because this creates a contrast between the plant, the bridge in the black fill, which is basically the plans in the background that are in the shadow. Basically, the sun is shining on the plants above in the plans a cast, a shadow on the things below it. Since the bridge is my main focus, I'm using three black fill to fill out the things that are not important in this case, whether you use ah watercolor brush or whether you use a nip in orderto fill in the black, it is left to you. A lot depends on the style that you use. For example, if you have a detailed style, then it is easier to work a lot with black Phil and to use broad lines. Which is why, in this case, I'm working with a G pen. A Jew Penis are, rather than they make nip that depending on how much pressure you applied to it, it can create fine or really really broad lines. I also use it for the dot effect if they don't have to be too fine. For example, if I want to create a leafy texture without drawing too many leaves, then I use a G pen. By applying those squiggly lines. I can the pig the Leafs pretty quickly, and after that it just repeat, repeat, repeat. You basically fill out the wide space with e squiggly lines and the denser they are, the darker the texture appears. You basically can go from white to black. With this texture, the father way something is the less detail you need when drawing it, and by mixing different elements together and different forms together, you can create the impression that there are a lot off intersections off plans that there is a lot going on without spending too much time actually drawing it with thinking there is a lot off suggestion without details. Remember, you do not have to be 100% precise when inking. Then you can use Ah Mara pen when you want to add more details, especially if you want the details to stand out more. For example, by using the Mara pen, I can create final lines that stand out when you place it next to the stronger deep in lines. But also in this case, I'm not using too many details. This is not photo realistic. This is quite a simple texture. And then I just repeated on the other side. In this case, I decided to ink the plants before the bridge so that I then can concentrate on the bridge . So I feel in the gaps between the planks off the bridge. It also gives me a feeling off how light or dark it makes sense to the pick the bridge with the sinks in the front. I can at simple grass and stones and dirt or whatever, so that I can at a bit off black fill and then shading to that. There is some variation between the plants in the front and the plants in the back. By using different types off squiggly lines, you can create the impression off different types of plants. And after the plants are done, I'm started with thinking the bridge. First I'm thinking the outlines off the planks and then the lines that are facing us for the reader, especially with the lines that are facing the reader. I apply breaks in the lines so that it looks more natural. If you want to emphasize ah shadow, you can create stronger lines or at a small black Phil, the father. Something away is the last details. You have to add some details you just can leave out, and after doing the left out off the bridge, I repeat the same process on the right side. Remember to leave the brakes on the lines off the plank that are facing the reader. You can actually make a small experiment. Try toe in these bridge with lines that are without brakes and was lying that have breaks with e buildings in the way behind the bridge. You do not need too many details. You can suggest the details off the buildings. This bridge is actually based on a bridge that I knew in the place where grew up in the area. It had this old wooden bridge that would go in an arc over a small stream and behind it would be a way leading up to a building with kind of offense on both sides made out off boot, so I wanted to recreate it. In this case, I always found this place quite drunk, real when you are doing the lions in the front, also at breaks different places. That way it tricks the brain into completing the lines by itself. But at the same time, it does not look steroidal then at some shadows by using hatching, and we are done to recap in this lesson. We have three layers. The bridge in the front depicted in red, the plants in the middle depicted in green and the buildings in the way in the back, depicted in blue 12. Worksheet 5: Wild Geese: in this lesson will be inking geese on water. So let's begin when you're in key an image like this. It doesn't really matter whether you start with the G's or with the water. But since the geese are the main topic off this image, I'm starting with them and dry that the beginning. I'm making us screw up. Sometimes it happens that nip gets caught in the paper and then causes these smudge. But like in this case, the head was going to be black anyway, So it's okay. By using small lines, you can suggest the feathery texture off the wings off the G's, and by placing them parallel to each other, it provides sort off a shine texture. The closer you place the lines together, the darker they appear, and by using breaks in the lines, you give the drawing a more natural look. Then, by placing an X on a field, you can suggest to yourself that you want this field to be filled with a black fill. What I like to do is go are drawing again and to at additional shadows by using small black Phil. It was really common Hindi to use the X to signify a black fill because not always do you have the right kind off pen in your hands so you can just mark the place you want to be filled. The four later notice. In this case, I'm using a no pickle line. Three. There's quite a difference between line to in line three lines. Race, one of my favorites in regard to fine liners but also sacharow microns are pretty good. After the geese are done, I use a hatching texture in order to draw the water. Since the geese are drawn with strong lines and black filled using ah hatching technique to depict the water, make the G stand out more. In order to show the ripple effect of the water, the Hitchings are placed in an irregular manner so that you can see the flow off the water in the waves. And we're done to recap in this lesson. We're working with two layers, with the geese depicted in red and the water depicted in green 13. Worksheet 6: The Field: in this lesson, we're going to ink a field with trees in the building in the background. So let's begin in this lesson. I started to define the line off the trees in the background, but then I realized that in this case it's probably better to do the plants in the foreground. It looks a bit like grain, but it's actually this type of grass that is pretty high. The reason why I'm first doing the aggress in the front is because since the stems are quite fine, if I do the trees in the background, it might kind of swallow the grass in the front, which is why I'm getting that over first. I'm using Amara Pin in this case, which is this fine type off nip and heading small breaks in the lines. Then I'm starting to think the building in the background. I'm still using the Mara pen, and I'm doing the outlines off the roof and the windows. The windows are later going to be filled in black. Sometimes I used a dot in order to signify that it will be filled in or on X. It depends how big the area is, but in this case, I just leave it blank for now. Then I take a deep in and do the trees because the trees are drawn rather dark with squiggly line pattern. It makes the soft fine lines off the background stand out more. And because the Jeep in is more sensitive to pressure, you can fill in black quite easily by combining dots and squiggly lines and then just applying a bit of pressure and then filling in the black. So with the deep end, if you apply a bit more off pressure, it will give a lot Off Inc some first doing the leaves off the trees because this is the part that you can see best from a distance. And because it is pretty dark, it makes the grass in the front, which is quite detailed. Stand out more. This is a trick. When you are doing a background, you can place things in the front that are more detailed and then thinks in the back that are more general in the shape, and this will give this illusion off three dimensionality, and you don't have to be too detailed with stuff in the back. I know it. A bit off dot pattern to the background to suggest bushes and more off a transition between the trees and the middle field, where I then start applying small hatching and dots in order to show that there is some type of grass and that this growing on the field and after the field is done, it a bit off structure, toothy roof off the house and then fill in the windows with a black fill again using a jeep in. And then I'm done to recap in this lesson, we're working with three layers. The egress that this detailed in isn't the front depicted in red, the middle field with the field and the building depicted in green and the sky in the back depicted in blue. 14. Worksheet 7: The Flower: in this lesson, I'm going to show you how to think this flower, So let's begin. First, I start applying this round texture to show the in a part of the flower. This part can be quite detailed because the flower is the main point off the picture, so feel free to add as many details as you want by combining round lines and breaks in lines can give it on. Interesting feature. After that is, just repeat. Repeat, Repeat. If you have too much ink on your nip, you can use a tissue and then remove the ink or pieces of paper that got stuck in the nip. After the inner part is done on notice that I could use the black fill in, orderto outlined the flower. It would save me the time off, having to outline most off the flower musica fine watercolor brush with Leftover Inc. Since black Fill uses up quite a big area in this picture, I can just add it in directly so I don't need to use a jeep and which would have taken much longer. As you can see by adding an ex Im communicating with myself and tell myself, Yeah, black feel goes in there. When you are using backfill, feel free to take breaks because otherwise, if you're not careful, you can smudge parts off the picture when the ink is not dry, right or like In my case, I'm placing my hand outside of the picture, so I don't know. It's much the ink. If you feel that some places are not necessary, you can just fill them in a swell, and after applying the black fill, I start to add details. Toe the leaves by using the dot pattern. It's basically a pattern where I show the lines that I want to draw by applying dots. It's a more final pattern than, for example, using straight lines. Same with the flower. Then at the texture was dots. Instead of fusing lines, which gives it a softer look, you can combine Boss, for example. The outlines off the stem are inked with straight lines and then depicted was hatching. But the light flower. It's done with dots where I want to depict that it is light. So the lower part, where the shadow is istan with lines in the part where the sun is shining istan with dots it creates an interesting contrast, especially since it is surrounded by black fill. You then just repeat the same procedure with the other pedals off the flour. Using dots can be quite interesting, but also a bit time consuming. Also, in some cases, if you're too rough with it, you can ruin the nip, so don't overdo it unless you have a lot off nips at your disposal. And if you feel that some places are too weak or some lines are too weak with just dots, you can add a bit off line. And by creating this or affecting parts with lines and dots, gives it on interesting look. You can even at more texture, toe the petals by applying more dots. Ah, lot of pedals have this way feel Look, so it is interesting to depict it with dots. I'm using Ammar, a pen that is this round Japanese nip that this were refined, that you can do you really find lines with, And since I'm using a mix off dots and lines, I'm repeating that again with the leaf in the background that is quite close to the flower . So I'm doing the pattern off the leaf with broken lines, especially is a side that this closer to the sun and less in the shadow. The same process is also repeated with the other leaves. After the lines are applied, you can draw additional shadows by using hatching in contrast to the texture off the flower . It makes the flower stand out more. If you feel that some parts do not have enough off on outline, you can go over the drawing again and strengthen the outline, like in the case off the leaf. And we're done to recap in this lesson. We're using three layers the flower, which is in the front, depicted in the red. The leaves, which are in the middle, depicted in green and the black, feel that it's in the bag depicted in blue. 15. Worksheet 8: The Fruits: in this lesson, I will show you how to draw fruits in front of Black Phil. So let's begin. I'm not sure what kind of plan this is, but I recently saw it in the neighborhood and then took my sketchbook with me and made a drawing. I think it has quite an interesting contrast off the forms between the leaves and the fruit . So in this case, I'm drawing the fruit first by using round lines, and after that, I draw The Leafs was long lines. The background behind the plant will be filled with black fill when drawing plans. It is always good to have the over crossing and intersections between different parts of the plant, which give the drawing more off us three dimensional look, especially with the part off the fruit being more in the front, I'm using ah Mara pen. This is the drone mapping pen that can create really fine lines. It is good for, for example, drawing hair or fine stuff, and after doing felines, I'm marking the places that will be filled in with black fill, especially in this case, and there are so many areas it is good to mark the places that will be filled in. Otherwise you can accidentally feel in something that is not supposed to be filled in again . I'm using a fine watercolor brush and using left over ink that I'm keeping exactly for this kind off purpose. By the way, this ink that I'm using is Delatour number two. It is quite a dark ink that gives the drawing a bit off a black sheen this high Corbyn ated in when the ink is old or has gotten too much oxygen, it can become to clump before the nip. You will notice it if the nip doesn't give off as much ink as it shoot, and then I put the bottle away for the black filling. This is particularly the case where there's not too much ink left in the bottle like less than one cert than the intends to become a bit clumpy. But this is then perfect for black filled because it's not too runny and it will stay rich , shoot after it's dried. The good thing about this, I don't have to throw away ink so I can use it. The upto it's gone completely, and the process is repeated until every area that is supposed to be filled in is filled in . And, of course, I have tape the paper to the cutting, met by small pieces off masking tape, which I can remove later on without leaving a trace. And we're done to recap in this lesson where using three layers first, the fruit in the front depicted in the red, the leaves in the middle, depicted in green in the black fill depicted in blue. 16. Worksheet 9: The Grapes: in this lesson, we're inking grapes behind the wooden fence. So let's begin. I'm starting with the leaves again with a Morrow pen, which is a really fine nip that allows you to grow quite fine lines that you can use for backgrounds, for example, or for characters. The lines that you draw with Amara pen stay relatively. Even this is a difference to a nip like a jeep in where the more pressure you apply, the thicker the lines become. So first I'm doing the outlines off the Leafs. It's actually quite surprising how much ink a neighbor like Amar open can hold, since it's so small it is perfectly acceptable to very the lines a little bit. If you want to give the drawing a more realistic Phil, and after the leaves, I do the outlines off thieve oot. It's OK to draw on even lines, which gives our rough impression off untreated route. And don't forget to leave small breaks in the line. If you feel that your nip has paper stucked in the tip or too much ink or the ink has become clumpy, you can use a tissue in order to clear it. This time I'm using. Ah, fine liner for the grapes itself. It zero points refined liner by no pickle, the Brent isno pickle. But the top off liner is no pickle line. Three. They had other liner lines before that. Personally, I did not like near Pickle Line to, but I absolutely love the new pickle line. Three. It's one of the few lines types where the tip is quite sturdy. For example, even if you're working with are extremely find 0.0 Sri Lina. The tip stays strong. Thing is often times when you line it happened that the tip goes into the liner, so you really cannot work with it is good anymore and forgive thes sudden camera change. I think my main camera shut itself down. So fortunately, I did have additional camera pointed at the drawing, so I did not lose the progress. Sometimes the technology does not work like we wanted to work there sexually. No particular reason why I'm using a fine liner instead, off nip. It's just that I wanted to add it to the mix. If I have to compare the closest cones off using fine liner against nips, it's if you're using a nip. You have a choice Off Inc. And some ink is, for example, what a proof and marker proof and has a different content. For example, high carbon ink and often times. It is also the razor proof with fine liners. They are sometimes not eraser proof. So if you have to erase the lines, you might have to go over the lines again a second time after raising them, because the erasure also takes pigments away from the front liner outlines. And you do not have that problem with lines that are linked with the ink that is highly carbonated. For example, Della Torre, four, is such a thing that is highly carbonated. If it becomes all Delta four turns into a clump Off Inc that cannot be solved, whether with alcohol or whether was water, it's just stays in the bottle forever. So after I have done the grapes, as I've seen, I edit small shadows. So I made small black fill between the grapes. I am starting to apply wooden texture, toothy boards off the fence. Remember the structure part with the wood, so it's basically is the same. You just apply the texture. Two defense when you are applying textures, it is a lot about repetition by using same kind off lines, repeating them, adding breaks in the lines it tricks the brain into seeing what's not really there. So it tricks the brain into seeing a better off route. And hopes s you can see this ISS ah, reason why, for example, when we are working with ink, sometimes it presents you with small surprises, like in this case, ink drops. So what that would do? They would start the drawing again from the beginning on. No, it depends on the case, but in such a case, you can use the lemons and make eliminate. So what will we do? Make up land out of it, but not just yet. First, I'm adding texture. But if something like this happens to you, do not worry. If it's some explosions summer in the part of the background, you can just at another detail and just make use of it. Other parts you can cover by using white ink. So now I'm using a brush ben, also by nope, equal line. It's similar to using watercolor brush with ink so you can also use it for black film, but in this case I'm using it for a tree in the background. And since the tree in the background has a quite dark shedding by using the ink splotches, it makes the leaf stand out more. So now I'm repeating the pattern from the back and using the explosions to create a leaf it texture in the front. So a lot off thinking is about repetition, and sometimes you use on arrow that occurred to do something else. And since we have more wouldn't texture, we are applying it to the board in the background. And a bit of hatching for the shadow does not hurt. The hatching is done at some distance from the leaves off course, because the leaves and the grapes are not directly touching the fence. So I leave some space for the shadow, and if you want to differentiate between believe that are in the front and in the bag, you can also use hatching toe. Make the leaves that are in the bag darker. Also, hatching can be applied to the grapes to give it a more three dimensional look again. In this case, I'm using a more open and repeat the shadow texture on all the grapes that I need to repeat it on. Just you have to decide at some point, preferably the beginning, where the light comes from. Through this case, it comes from the left, and we are done to recap in this lesson. We're working with three layers with the grapes in the front, depicted in the red with the fence in the middle, depicted in green in the sky, together with e tree in the back depicted in blue. 17. Worksheet 10: The Food: in this lesson, we're going to ing some food, so let's begin. The technique is actually rather similar to the way we were thinking the patch of grass. So to sum it up, we have to outline the pieces off food and then toe apply black feel between the pieces off food foot. It's not that often depicted among ER, but in case you need to draw it, this is one way you can do you simplify the forms and arrange it on the platter. Since there are a lot off different parts, there's a lot off overlapping, a lot off crisscrossing. So it's basically like grass but on the table. And they're different parts, like noodles and vegetables and meat and whatever. This drawing was based on a cellar that I had quite a complicated. Sell it with a lot off noodles and all kinds off. Sell it leafs and vegetables, and I think nuts and all kinds of stuff. But you do not have to draw every little part. So especially since it's apart off the background, the character is your focus. So this is just part off the decoration. You don't have to go overboard, so you continue with all the little details and all the over lapping and overlapping and overlapping. And since the drawing already suggests that there will be black fill, I do not have to go out off my way and mark the part that will be applied with black fill while I'm thinking the nodules and the vegetables. So this is a way toe safe time while thinking like marking the parts that are going to be filled in black so you do not confuse them with other stuff. And there's a lot off noodles. Thing is drawing noodles on a platter and growing hair is quite similar because they're different strength ago in different directions that intersect with each other. It's kind of fun if you think about it that way, and now I'm getting hungry. It's really left to you. How many details you want to apply to all the food stuff, but do not make it to detailed because it will take away from your character unless you're doing among about food. And after drawing all the foot stuff in applying the details approx, eat with e outline off the plate. For that, I'm using a jeep in which has a thicker line. I used American for the food, which is the sinner finer. Nip in the deep end for the outline off the plate, since it provides with ah thicker line that makes the food on the platter and Thea outlined off the plate, Stand out look different. I can also use the chip in for hatching and applying black fill on the platter. The good thing about the Jeep in is that I can makes hatching and black fill and add different small details by leaving some parts white. So if I feel that some space is too big to be filled in with black, I can leave apart just empty. And since when you when you scan comes in in that waas printed out in blue, then ink it and scan it. The blue part will not show if you scan it in black and white, that why you don't have to erase the parts that are depicted in blue, and it is a lot of repetition filling in the parts between the pieces off vegetables, pieces off food. I'm really looking forward to see what you will be doing with this technique, but that you will be using the materials provided in this course or whether you will be using your own materials. I really would like to see what you do with them. And don't forget regarding the Jeep in if you dunk it into ink. Always, always leave the whole Free Off Inc because otherwise you will get ink droplets. The whole on the neighbor always has to be free, because otherwise Inc will just drop on your page really quickly. It is not. A problem, though. Was, um, are open, but with the jeep, and it's quite risky. So I always teach yourself to not dunk too deep into the ink. And if you did, then to use a small piece of tissue and remove the ink, sacrifice the ink and save the picture by applying more and more of the black fill. It makes the wide off the pieces off vegetable sent out more so if you then use hatching different structures or off course screen tones, you can then apply even more off texture and differentiated even more. I will tell you something that my editor at the publisher wants told always have this approach Toe Inc. In a way that you do not need the screen tones. It doesn't mean that you shouldn't do screen tones, but do not use the screen tones as a fixer for screw ups. You did with the ink because the people who know what to look for will see it. Try to ink in a way that you're inking looks good even without screen tones. Then if you apply screen tones, they will enhance the quality off your drawings and not just cover up the mistakes. This is something that I always tried to follow, that it's not always possible, but I will give it to you on your way. And after applying for the black fill, I go again over the drawing and apply the less details and we're done to recap and this lesson we're working with two layers. The food on the plate in the front, depicted in red in the background, depicted in green 18. Worksheet 11: The Grain: in this lesson, I will show you how to draw grains in front, off bushes. Let's begin. This lecture will include again a lot off black fill. So first a start with thinking the grain. It's one of those grainy, GREss type of things, so it involves a lot off round lines. I'm working with the Mara pen, which is one of those really fine Japanese nips. Since there's a lot going on, there's a lot off overlapping. It is important to the side which parts go before which plant and go from there. There cela the for petition, but you already familiar with the technique from previous lessons. Even when drawing the grain, it is important to decide which goes before which and which grand stay in the back. And if you feel that at some point there are some grains missing, you can just add them. Since there are a lot off lines right now, it feels a bit empty, with a lot off chaos going on in the different plans. So if you add then the Black Phil in order to show the plants behind the grains, it can give the grains more of a pop. This is a time of thing that you can decide either in the beginning or while you're doing it. Follow your heart for your feelings. So after the sinking off the grains is done, you can start thinking the tree. In this case, I'm using again. Ah, watercolor brush with left over ink. That way I can draw rather big leaves. Since the grain is rather close up and detailed, it's okay to draw big leaves when doing the tree. I chose to do this shape regarding the tree in the back, but you can try to come up with your own shape. It's a safe before in prior lessons. If you use ink a lot with time, it becomes clumpy, so you can put that thing away and use it for purposes like this. For Black Phil, it is still good for using with a brush. But it might be too clumpy for using with a nip, especially if it's Mara Pen marker. Pens are more small. It's those round nips, and they have difficulty caring thing that is too thick. So if the ink is to say, Q. What happens when there's little ink left in the bottle? You might have troubles working with more a pin, especially if it's a case when you're working with a Jeep in. If a Jeep in has trouble with the ink, put it on the back burner to be used for Like Phil again. This is a lot of repetition, so in this case, it's basically filling in the parts between this stems off the plants. It is a lot of repetition. Personally, I found it quite relaxing. It's almost like a meditation for me. I leave parts like that usually for a time when I don't have to think a lot. The brush that I use is by DaVinci, one of the finest wants that I could get my hands on. I uses brush exclusively for inking. And do you see that by adding a lot off black fill? It makes the grain pop, and we're done to recap in this lesson. We have three layers. The grain that is in the front, depicted in red, the trees that is in the middle, depicted in green in the sky that is in the bag depicted in blue 19. Worksheet 12: The Ship: in this lesson, I will show you how to ink a ship on the lake. So let's begin first to start with the ship specialist, since the aggress in the front will be drawn using black fill. So first I'm getting the ship out off the way by using Ammar a pin. Then I realized that the ship is probably carrying something. For example, coal, some just ending details. So after drawing the ship, I did the buildings in the bag and then by using a jeep in I'm doing the trees in the back by using the 0.0 dot technique to draw the trees and to fill in some of the parts. This dot technique is quite useful for plants in the background, especially since you can create transitions from dark to light fairly easily. The reason why I am keeping the things around the ship rather light is because it's the main topic off this illustration. So by using the dot technique and leaving out some parts off the image white, it creates this atmospheric effect like there's type off missed behind the ship. So when you are doing backgrounds or even if you go outside, sometimes especially in the morning when there is a lot off moisture in the air. There can be the stop off bluish case that creates this feeling off distance when your ink there's a lot of repetition. So since I started using this technique for the trees in the background, I have to do it on the right side as well off the left side. And by using this dark thinking off the trees behind the buildings, it makes the building in the background also pop. I got the inspiration for this scene by a location near my home. There's this old old place where in the past are fair Iwas going from one side of the leg to the other in nowadays it discontinued. But there are a lot of ships that are going left and right, and there's a town on the other side off the lake. There always a lot off ducks and geese and all source, even parents, and they also fly over this part off the lake. It's actually important to get your inspiration from wherever you can. If you have anything nature related outside of your house, go outside with your sketchbook and do sums catches. Take your photo camera or take your smartphone and do photos. The more reference material you have, the better use whatever is around you. And since I'm using a lot off like Phil, I'm making a silly weight off the GREss on this site off the lake, and then I can use a brush in order to fill in the black again. I'm using a watercolor brush with left over ink. I then at a bit off details on the lake. As you can see, it's a bit off hatching a bit off 0.0 dot technique, and we're done in this lesson. We're using three layers the grass on our side off the lake, which is depicted in the red. The leg with the ship in the middle, which is depicted in green in the other side of the leg, with the trees and the sky, which is depicted in blue 20. Worksheet 13: The Girl 1+2: in this lesson, I will show you how to Inca character. Let's begin. I usually start with thinking off the hair in this case, the color off the Harris light, which is why I'm using fine lines with a more open and by using flowing lines similar to noodle source spaghetti. You can create fine hairs. Trends. The hair that this closer tow us is depicted lighter, while the hair that is in the shadow is depicted darker with more strengths, as when we were doing backgrounds. Doing here has a lot to do with things that overlap that crisscross, so the old lines off the face are done with the 555 nip that ihsaa special nip for drawing . It's a bit difficult to get your hands on it if you're outside of Japan, but it's similar tothe e Sergey pen. It's a flexible pen that allows for thicker lines a bit like the deep end, but also it allows you to do a long lines, which is good for hair, or which is good for things like the face. After I have inked the outlines off the face, I'm starting to Duthie eyes. In this case, I'm doing it with the Mara Pence's that I can add as many details and keep it s finest possible. It's especially useful if you want to keep the details light. The trick off inking a face has to do with the variation off the lines. So, for example, the lines that depict the outside off the face can be done thicker than, for example, lines that are used for hair or, for example, those that are used for details in the eyes and for things that are outside, like the clothing like the altar line, the lines can be done quite thick for the black feel. Off the head I'm using, Ah, watercolor brush was left over ink for the other character. I decided to do the hair black, and one of the reasons I absolutely love using a watercolor brush is you can do great black hair with it. As you can see, I'm drawing lines that are rather short, and then I apply brakes in different places which create this glossy black hair effect, and it's also rather fast doing it like that, compared to if I was doing it with a nip, repetition is key by doing it again and again and leaving the breaks in different places. It creates an effect that tricks the mind into believing that the hair is glossy. We are in the business off, tricking the mind. This is also why I keep old sick in for this purpose because it think it does not bleed out , which is why it stays in place where I wanted to stay in place. In this case, it the Della terror number two. So by applying the lines again and again and ending different taps off lines, thicker one and then a one creates this feeling off hair. I also like to use different types off shedding by using the's ovals combined with lines which create this big bake highlights. If I want to do black hair, I usually start with that so that I have it out of my way off course. You don't have to do that way, but if you have never tried to ink black hair with a brush, I strongly suggest to try it. It might make your life so much easier. If you feel that somewhere details are missing, you can add it letter on by thinking in this way you can go pretty light on the screen tones, something that my editor from my time by talking about, told me waas to try to think in a way that the inked image looks good even without screen tones, because often times people use screen tones to cover up mistakes. But an editor from a publisher they seat the absolutely notice if you're drawing looks good even without green tones than adding screen tones will improve the quality of your drawing instead off just trying to cover up mistakes. So after I inked the inside off the hair with the brush, I'm doing the eyes with ah, more open. Always remember that the lines off the eyes have to be thicker us, for example, details off the nose or the outside off the face because then stands out. And since the brush is so handy, um also adding the shadows with the brush as well as color in the shirt, and we are done 21. Worksheet 14: The Girl 3: in this lesson. We're taking the lessons from the other two and going a bit crazy on the hair and the details. So let's begin again. I'm starting with thinking the hair, and this character has, quite, ah, lot off hair. And so you probably have realized by now I absolutely am in love with hair, and what you have just seen is how I prepare my nips for working. Sometimes there is a bit off a residue off oil on the nip from the manufacturing process, and if you notice that the lines are bit wonky, it may be that there's still too much oil, so you can treat a nip by holding it above a flame for a few seconds. Just the tip, which is why I did with this Mara pen and again us was drawing off noodles and drawing off backgrounds. Drawing off grass hair has a lot off intersecting parts, criss crossing parts, so this is basically what it is. It's a lot off hairs, trends going in all sorts of directions flowing in the wind. You have always to decide what part is closer, toothy reader. What part is farther away from the reader what part it's intersecting with what other part , and there will be a lot off black fill later on. So it doesn't matter that at one point there will be darker lines or sickle lines. But first I'm doing the islands off the hair, and afterwards I will apply black fill that. In this case it's not for black hair but actually to make the light hair stand out. It's like a combination off drawing light here and black hair, and it is a lot of repetition, the hair that is behind the strengths that are in the front. It's more detailed, while this trends that are closer trust ISS less detailed. Doing more details implies more hair and darker hair. And, yes, the character has a lot of hair. After doing the hair, I apply details. Toothy clothing. Still, by using theme are a pen. You can get a bit off our line variation from a more open, but you have to apply more pressure, and especially since we did a lot off hair by using this Mara pin, it's now more flexible. Then it waas when I just started using it now, implying the details off the face with the eyebrows, the mouth and, of course, the eyes. As I mentioned before, the upper line has a thicker line enough, then done with the face. And with the closing, I'm starting to fill in the parts off the hair that are in the shadow. It's a bit off a tricky process. You have to be quiet, sure, off your thinking. But if you can use this technique, it can make your drawing pop to the upper parts off. The trends are left free, while the part that get shadow are filled in a little bit tricky with E brush. But with some experience, you will be able to do it. And by combining light strengths and fill in, it just makes the light trends stand out more. It's the same technique that were used on the grass patch. Sometimes it's a bit of our spontaneous decision on where to add the black, but it's about a repetition and keeping a general style. Imagine you would have to do this by using a nip. It would take quite a while, so they have to keep doing this on all the hair. You probably have seen it before. If you worked with ink. Sometimes some kinds of ink can be quite watery, but this is not the case with Della Torre. Number two. It is quite dark, by the way. The black feel can help you emphasize certain forms off this trends off the hair, like with the one strength that this rolled in like a scroll by filling in the part that is in the shadow, it gives it more form. And honestly, don't pressure yourself to get everything right. Oftentimes with thinking it's a bit of amazing up and then trying to find a way how to solve for the problem. Basically, I developed most off my techniques by experimenting thin messing up than trying to solve the problem and then coming up with new techniques. You know why thinking black hair or inking shadows with ah, watercolor brush? It's such a lifesaver when you don't have much time. And when you have a deadline, you have to find ways to create a new impactful, drawing in the shortest possible amount off time. So you start coming up with shirt cuts for me. Such a shortcut. Waas using watercolor brush instead off a nip to do black hair Also, one thing that I remember from my working with publishers is they are less interested in absolute drop that quality, but more in speed. So if you can deliver acceptable quality fast, you are more likely to be accepted than if you deliver. Drop that quality but cannot keep any deadline because you needed too much time to create the thing, Then you are less likely to be employed by the publisher. After filling in all the black we are done. 22. Class Project: Let's start with the class project By now, you know how to use textures and patterns and have completed the worksheets. Now I want you to either create your own drawing using a blue pencil or use one off the blueprint that are in the class project file and were not covered by the worksheets. Use all the textures and patterns that you have learned and ink it after that, skin it or make a photo off your result and submitted to the project the gallery. I'm really looking forward to seeing the results. 23. Conclusion: I hope that you have enjoyed this course and I hope that, you know, half as much fun with in case I do. Please share your work in the project gallery and let me know how you like this course. And what other topics will be interesting for you so I can cover them in my future courses . Thank you for being a part of this journey. Good luck and see you again in the future.