Traditional Inking: Part 2 of Environment and Character Design Illustration | Brianna Gilmartin | Skillshare

Traditional Inking: Part 2 of Environment and Character Design Illustration

Brianna Gilmartin, Illustrator, Cartoonist, Comic Creator

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14 Lessons (1h 30m) View My Notes
    • 1. Introduction

    • 2. Lets talk a little about paper

    • 3. Stretching watercolor paper

    • 4. What ink you can use

    • 5. Tools for inking part one

    • 6. Tools for inking part two

    • 7. Transferring your sketch onto your paper for inking

    • 8. Setting up to ink

    • 9. Inking the illustration

    • 10. Going over the completed inked illustration and some tool demo

    • 11. More tool demo and Cleanup

    • 12. Scanning your image

    • 13. Photomerging your scans and line work isolation in PS

    • 14. Closing


About This Class

Welcome to my second Skillshare Class! This class is a continuation of a series of classes where I go step by step through my process of creating illustrations. Feel free to follow along with the series or to only watch the classes that cover what you're interested in learning!

In this class I am teaching you all I know about inking traditionally. We go over choosing paper, tools, inks, inking the full illustration, scanning it in, and turning it into isolated line work we can color on Photoshop. 

Tools needed:

-Paper (watercolor, bristol, etc.)

-Drawing tools (brushes, nibs, pens)


-A sketch to turn into an inked piece

-Homasote or something similar to stretch paper onto

-Paper Towels

-Staple gun and staples




Just like my previous class, this class is more for intermediate artists who are looking to add skills to their repertoire. Although, that doesn't mean beginners couldn't learn from this class!


1. Introduction: Hello. My name is Briana Gilmore in and I'm an illustrator. Welcome to my skills. Are class in this class we will be learning how to think. Traditionally, we'll be going through step by step with paper choice. Um, transferring a sketch onto your nice paper. What kind of ink? To use what kind of tools you can use. And then you will be watching me, actually, Inc. My illustrations. So you can kind of see how I approach a page and complete the inking of an illustration. This is my second skill share class is actually a part of a series of classes that I am making surrounding this one illustration. If you file along with all four classes, you will have a completed illustration done in my way of working. Well, you do not have to do that. You can just watch the classes that appeal to you. You can wash the parts of the classes that appeal to you. So the first class was idea generation and sketching. So we already have going into this class. If you were from the first last, we already have a sketch sketch that we can now transfer onto nice paper to bring to finish . If you did not take the first class, that's totally fine. You could have your own schedule. It's ready. But I would recommend having a at least a basic skeleton of a drawing that you want, Inc. I mean, you can go into just Straight Inc if you just want to play around a little bit. But at the end of this class, you will have an inked illustration. Eggs drawing doesn't necessarily have to be a full illustration if you don't want to, there doesn't have to be like background and environment with characters in it. You could just illustrate character even does illustrate a landscape. It's up to you. I'm just going to Eton, teaching you what I know about thinking. Well, I have learned through my experience of thinking through all of these years, So now that you know what this class is going to be covering, why don't you come along with me? We'll learn a little bit about thinking a little bit about paper a little bit about tools, and you can have a nice inked illustration at the end of this 2. Lets talk a little about paper: So let's talk a little bit about the type of paper you want to use for your ink in. There are a few different types of paper you can use. You can use different watercolor papers. There is hot press, and there's cold press. The difference between hot press and cold press is mostly the texture and also how it absorbs paint and ink. How Press paper is a very fine grain smooth surface with almost no tooth to it, whereas cold press is like slightly textured. It's somewhere between hot press and rough watercolor paper, so you can get some pretty good detail on cold press still, but it is more of a textured surface, so if you're doing like really fine pen like a micron pen, it still works on it. I have done that before, but it's a little more difficult and definitely not as easy to get a smooth line on hot pressed paper. If you were doing watercolor painting, the paint's dry more quickly, they more so sit on the surface of the paper rather than soaking into it, where with cold press paper, you could do more layers of pain on top of each other because it's soaking in more. But it depends on the look you're going for with cold press. You could get smoother washes because it doesn't. It's like soaking in was not really drying us fast, whereas on hot press it's kind of like drying really quickly on the surface. And it's going to show more texture of the pain and the washes air gonna dry more quickly. There are also lots of different papers out there. Last different watercolor papers. You want to try to use an artist grade watercolor artists. Greed, Watercolor paper is actually mold made, and the fibers are randomly distributed in the papermaking process, which actually makes the paper a lot stronger, whereas cheaper paper is machine made and all of the fibers were lined up to be in the same direction, which means it's a weaker paper artist. Quality papers also acid free, pH neutral archival and made with 100% cotton and fibers, which means that it's not going to yellow or disintegrate over time, which is what you want. If you're going to be a professional artist or if you want your artwork toe last how press paper isn't dead, not as good for multiple heavy layers of paint because it builds up on the surface. But it is great for pen ink. Ink washes if you're gonna do, like, really light water color washes. It's a really great paper for that. There's also many different thicknesses off watercolor paper. There is £90.140 pound, £260.300 pound. Anything that's on £260 under should be stretched. Otherwise it will buckle when you start to put wet paint on it. Um, and really those The weight is just thickness, so the higher the weight, the figure it is, that's why anything over 260 you don't necessarily have to stretch because it's a really thick paper. I use £140 paper, which is like a nice medium way. It's not too thick that it's like heavy and hard to move around, and it's not so thin that it's like bending and getting messed up. When I move around, it's like a perfect medium weight. I always use arches brand watercolor paper. I think it is the best. It takes paint the best. It is the nicest quality paper. So for my illustrations, I use the hot press paper I like hot pressed paper because it's very smooth is perfect. I can use brushes on it. I can use mids on it. I can use my Cron's on it. I can use your photographs on it. It's a really nice moon surface, so I buy my hot pressed watercolor paper in these big roles. I get them from Blick. They could be kind of expensive, but the last rule that I had lasted me a few years. It just depends on how big your doing your illustrations things is £140 marches, hot pressed watercolor paper, natural light and it is the role of paper, so I just take it out of this. I leave it in this box to keep it safe. It comes wrapped. Keep it nice, and I cut the sheets as I need them, cause I'm stretching them anyway, even if you get a pre cut flat she of watercolor paper. There are a lot of artists who think you still should stretch it because they think that there is, ah film on it from when they roll it through the press unless it's the cold pressed paper which they say that they just air dry. Even so, I kind of feel like there might be some natural oils looking on it from people handling it , or maybe just some dust from being in the store dust from being shipped, even though they protect these things really well, I always like to, just even if you're not gonna totally stretch it, because a flat sheet of paper just give it like a spray down of water and, like, wipe it off because you don't want anything to resist your ink as your trying to ink or resist your pain if you're gonna be painting, although if you're painting you definitely should have a stretch because it keeps it from working. 3. Stretching watercolor paper: so the first step is I have to stretch my watercolor paper. Now you can stretch your watercolor paper on many different services you can use. Would they also sell like stretching blocks? These things can kind of be extensive. I use homeless, so it's really forgiving. I use the same pieces over and over and over. I just think it's a really nice, cheap way to stretch water car paper. For whatever reason, I can only find home also in my area at Home Depot lows does not carry it. I don't have to buy it that often because you buy it and it's like eight foot by four foot piece. But one thing I will say, though, is if you're buying it, either get them to cut it. There depends on what I'm working on. I've had to get them to cut into bigger pieces for bigger projects, but I usually get them to cut it into two by two squares because I gives me a squares of homeless. So to stretch on, if you need a bigger just tell them what sizes toe cut it. If you're going to take your homeless at home and cut it yourself. You have to wear eye protection, mouth and nose protection and gloves because home also has fibre last fibers in it. And you don't want to breathe that in and you don't want to get on your hands. All right, so I have my sketch here. So what I usually dio is I take my role out. I want to be careful not to have anything really dirty around I don't want. So I have this leftover piece from when I cut a bigger sheets that will definitely fit my illustration. So I'm not gonna unravel this whole thing, but you can see it's a big role. It is too long. So I'm gonna cut it here, save the other piece for another day, and I still like to leave. I don't cut it exactly to size. I like to leave enough of an edge that I have placed a wipe my brushes. I'm using it. You'll see when I go into the thinking process, I need to have a spot toe like, kind of get the excess and cough blah of a nice, sharp exact of late here. This is an old foot Exacto knife. It was a really nice brand. But as long as you have a nice sharp exactly if that's all you really need, I don't worry about the edge being very straight because you'll see when I go to stretch it , that park its stayed old and I cut away anyway, which is another reason why I give myself enough of a border and don't cut the paper to size. So this is my leftover piece. As you can see, this is a deck old edge here. So this is a two foot by two foot piece of home also sides with the same. I'm gonna use the other side. I'm lazy. I don't feel like taking all that stuff off the other side right now. So before I go and stretch my watercolor paper because my watercolor paper is going to be dripping wet when I'm taking out of the bathroom, I stretch my monaco fever in the shower because you have most, like movement on bigger pieces. I'm going to preface. So the one thing about home also is when you put a piece of paper on it, a white piece of paper on it to dry. If you use it a lot before. I don't know if it comes from like the water being in it from being used before or if it's just from the homeless. Oh, but sometimes it gives like a little bit of like a yellow color. So I and also it's not really that it's absorbent. But I like to cover it with paper towels because that absorbs the water better while it's drying. So I have some paper towels here that I've used before to stretch stuff because I always feel really guilty about how many paper tells I'm using to stretch watercolor paper. So since it's just water on it, I usually use thumb. I try to keep in those flats possibles and hopefully use new ones. But when I'm done using them, I do save the paper towels to either use to wipe up messes or wipe my brushes off or used to get me texture. What I'm making water floor textures. I've tried using other things before, like towels, which are too thick, and they give you a weird warp on your paper. I tried using cloth napkins. Same thing. The edges give you a weird texture, so really, paper towels are the best option. Just gotta do your best to make up for all of the paper tiles that you're using and wasting By reusing them, I'm actually going to use new ones because these are all too like I've used them a couple times, and I don't want this texture Toby to influence my stretched paper. But I do see I will save these on reuse them same thing with new ones that I'm going to use . So here's my new role of favorite tiles. I'm just going Teoh cover the whole area with a layer doesn't need to be more than a lawyer . So I have this lined. Want to get my staple gun ready and handy? I just have a light duty staple gun. Easy shot Has the whole tithe check my stables. I'm full, but I want to get out my box of staples in case I need more. Because when I come in here with my piece of paper, it's going to be soaking wet, and it is You can't just, like, take your time doing it. You kind of got a stable down pretty quickly. It's gonna start to dry, and you don't staple it down flat, well, toe wet, they'll start to work. All right, So I'm in the bathroom here using the shower because it gives me the most arrangement. You have, like, a really nice big sink. You could do this all night. Fixing comes depends on how big your piece of paper is. So I'm not from Chevron, and you don't want to be too cold. And you don't want to be hot because the hot is going to break up the fibers too much. Just like more. The shower takes a minute to get warm, so I try to do it pretty quickly about one. Get hot. Doing it right is very good now. So you want get your paper? I want to be nice and flexible. I kind of see how long. Like ableto moving around more. I don't wanna let it too much because it'll start to break apart and you'll see, like, some gray splotches right now. I'm gonna take this in, so I'm laying this down immediately. Flat. Gonna take my pre used paper towels. Just kind of tamp it a little bit. Get some of the water out now, you staple on the edge. You don't want them to be too far apart because it'll warp if there's too much distance. So I kind of inch apart close to the edge, but not too close that it's gonna pull it. You want to make sure it's nice and flat. You don't want any big ridges on it or big warping areas on it. Everything is gonna stretch flat if there's, like little tiny spots. All right, Absolutely fine. Not the best stretch of my life was a little bit more rippling here. Then I would like. But you know what? We don't dwell on their mistakes. You move on from that. Yes, so you can see a little bit, but that will flatten out as it starts to dry. So I'm gonna leave this to dry one. I usually let it air dry. If I wanna be able to use the quicker I will blow Dr Book. We're gonna talk about some other things, will dries 4. What ink you can use: So while we wait for the paper to dry, let's talk about banks and the tools you can use to make. So there's many different brands of banks out there I used to ink with CBS Inc. This is F W ink. Um, FW's a pretty good brand. I've never used their black that I can remember. Um, but I have used their colored inks. Aziz. Well, they're pretty good ink there. Nice Thick, Inc. Another brand of ink that I've used is this liquid, Tex. I think I find this to be very thin. Um, it depends on what you're looking for. If you want different variations in thickness, these could be good. When I'm making line work, though I wanted to be pretty consistently flat and matte and opaque. I don't want to be see through it all unless if I do want to be that way, I'll make it that way with a little bit of water. But these colored eggs were good. Like if you want to use these in conjunction with watercolor painting or if you want to make a painting with these things, they're pretty good. They're kind of like an acrylic e water calorie kind of ink that you can use. There's many different kinds. Thanks out there, you just gotta find I think that you like the best. I also have this super black speedball ANC, which I don't like. It's too thin for me. You can see through the line work pretty easily with this, Um, but you want to get a waterproof ink as well. The type of ink that I use. My favorite type of ink is this Doctor Ph Martin's blackstar. Matt, I think I get it online. It's waterproof India and has a really nice finished, too. It's not really shiny. Has a night drives to a nice color? I really recommend this ink. I like the mat personally. Depends on what you like. 5. Tools for inking part one: As faras tools go, there are many every kinds of tools you could use. So here's some pens that I have here have a couple of repeated craft pens that I got on sale there. Was this our star cold you track that used to be in Philly, and one of their buildings got torn down. And when they did, there was a huge sale, and these were like half off Which photographs are very expensive pens. I use them for a while. I honestly maybe I don't use them, right, But I don't think they're worth it. They're kind of pain. The ass, they get clogged up pretty easily. You gotta constantly clean them. And like when you take out the tips, you got to be really careful. There's, like, this really sin wire that runs throughout. You gotta be careful, you know, accidentally pull it out because you cannot get it back in without it bending. Then you got about a new $50. Yeah, So I think you do. This is pretty used and abused. I did use it for a while. Honestly, I only know if it's all right because it's dried. I don't really use I used them definitely for a few years. So I did get a good and I could easily clean them and they would be better. Also, the cartridges might be empty, but the refillable, but he had some tea. You fill up this Carter's with think, but you gotta keep this tip clear. It's just a pain in the butt I got from initially because they were on sale. I heard really great sayings about Mom, and I was using these Micro pen is like going further because they're refillable, that I felt really guilty about the waste I was producing. But I still really love these micron pens. I like 005 size that the only size I really. But I sometimes by the brush one first get Jane. But as you can see, it's just a nice, really thin line. So sometimes I'll use these for, like, really small areas. But I also use Tachikawa Nibs for smaller areas. You, by the tips, the natives and then you by the holer, and you put it into the holder. So these air the touchy Carla Tank masters. They have this little piece here that kind of holds more ink into it, and I like it cause it keeps it. Sometimes when I use the ones without this piece, a bead will build up and roll. And he rolled down and you don't want that happen. Like if you're doing a really Sinn Fein detailed piece, you don't want a big old blob to run down and ruin it. So I like these tank masters. These were actually when I was in college, recommended to me, um, by Tim Bower and illustrator who was my teacher. And he liked them because his wife is a jeweler and he actually looked at used one of these little nine find glasses. That jeweller's used to look at the tip and you can see that the tip is rounded so you can tell like the very tip of it is rounded there. So it moves a little easier on the paper, and it's not really like scratching or cutting the paper as you draw. See how the there is like not very shark. It's a more rounded tip, so he recommended them to make that I was using some don't even know what I was, and I used these little ceramic trays for my ink. They come with a little set, comfortable little things. You It doesn't dry out. We can use where you have ice use, uh, bottle caps. Something about caps When I was in school, I also always keep water handy to rents it. And I use this brush master cleaner for the Russians. Not with no. So let me just put a little bit of thinking here shaking up. As you can see, I get really seen like so These are really nice because they kind of work like the pen. I do use these probably more than the pen. Every once in a while, I just feel like I need to use the micron pen, but it does dry later. I don't know if you can kind of tell that the dip ink is definitely darker. Ben this Micron Inc. Although I have used that micron a lot. So like a department, Even so, it usually doesn't dries dark. That's why I like this. Think it does dry, nice and dark, but I could get a good line variation I get do for, like, really tiny faces, and I don't have that much and going, I probably would need another dip, probably certain that if you could see there's a split thank do my best to keep these nice and clean. I don't want the intern dry and dunk it up, but I hope you can tell there's a little hole here. And then there is a split in the lives. See that fine line when you press harder on this name? That split opens, and that's what allows the ink to flow through and make it sicker line. When you're pressing lightly, it's just kind of flowing down the tip, and then when you press more, it opens up. And that's what allowed the allows the ink to flow through. Make a sicker line and the other tools that I use our brushes. I use that mostly because I really like the quality of line that they make. They make like a pretty good texture and different variation, one of the types of so for thicker areas. I'll actually use these Sumi ink brushes if you can see it's like a longer brush. But it's nice because it holds a lot of ink in it, so you can still make really send line with it because it comes down to a nice point, but then you can really sick lines. And I really like this texture that happens here on the edge of lines. So once again you get a really nice, widely variation, really nice texture with these Sunni brushes. This one is not like a traditional Japanese Elin. It's like a Blick brand I want it doesn't have. It doesn't even have anything on the brush When you're using brushes, you want to make sure not to let me hate to get too close to where the brushes come out right here. Because the April dry in there and that is what will cause brushes to form a split. I do have some brush of the funds, haven't you? Because you should do as I say, not as I do my best, being good at taking care of my brushes. But sometimes when I'm like, really working and I don't not really paying attention toe how careful on meeting its own making. Then there's like really big fat ones. You can get this one's of look one, and that is one thing I want to make clear. You don't have to get the same Russia's made of Russia's is not what matters. What matters is how you use them. So I don't think that you need to get expensive brushes like I have. You can use just whatever. So this is a big a big boy. I really use this too much of listen, doing a huge illustration than 90 to black out a really big area, and I use this brush cleaner. It's my favorite. I use it to clean the brushes, and then I usually leave when I'm when I'm gonna put the Russians away to dry, are usually leave like a spin layer on them and then kind of put it back into shape so that it dries in its shape. It's like a brush conditioner. So my main brush that I use and this is a very expensive brush probably like 50 bucks. I don't remember. I got a gift card from someone who knows that I wanted me use. But before that, I only had this or a couple of years before that. I used just cheap whatever brushes try to use natural fibres, and I usually get round once this. Suppose the brush I cried. I use the most before I got. I still uses Russian times before I got my fancy brush. This is what I mean when I say you do not need the $50 brush brush is not what makes the illustration. The illustration is how what makes illustration and what makes the way you draw is you practicing using these tools. You may not be good at using them right away, but practice makes perfect. Um, well, not perfect, but that's how you build up a skill you just practice. So let me try with this. This is a size one, which I usually like a size one or two. Because if I'm gonna go any salt, I'm just gonna use my nib. It's the same thing. It goes really well from thin, too sick. And this is the cheaper brush. I think I got a C more. Honestly, I try to go for, like, this able like the natural brushes. I go for the round because it comes down to a nice point and so holds a good amount of ink . This is a size one. Okay, 6. Tools for inking part two: You can also get the real a teeny tiny brushes like this. This is a spotter. I don't really use this too much because it doesn't like a lot of thanks. I get annoying to use. I like to be able to draw lit for at least a few minutes without having to refill, but it does get a pretty good line. There might be occasions when I feel I need to use this. I just prefer the round personally because it holds more in gin and you don't have to keep giving and giving and giving so well, fancy brush. This is a Windsor named Siri. Seven. It is widely regarded as the best brush. It had its Kalinsky Sable. It's really nice. This one is a size two. Okay, the natural hairs are the best. They hold the ink the best. So as you can see, I left a little bit off the cleaner. I always leave a little bit of clean air, especially on this one, but a man of myself, because I didn't get inking here at some point right here, and it does sometimes get a little tiny split, but it's pretty good at saying down when I have enough ink on it, and I just reshape it after every. So I just rinsed off that conditioner. Yeah, so you see, this one's a little fatter, but it does hold a good amount of ink. And the point, it's pretty good. So I think this is just a really small, scrappy, so hot press watercolor paper. What I use? No. Once again, you can see it gets good line weight variation on a really nice line, and it holds ink for long enough that I'm happy you can get a pretty good amount done with one dip. I try not to use it for sometimes I have to use it for big areas because I need to get control next to an area like, say, I want to call her in this. I don't want display these verceles out too much because this is a really nice brush. But sometimes I got to get really tight. I have the best control with this brush. I would probably fill that in with a bigger rush. And as I said, you don't need these expensive brushes. You get pretty much the same effect with the cheaper brushes as long as you get the right shake, I don't even show you how I did my Russian to take. So don't keep it on a taking here because I don't want it to dry out and get wasted. Just kind of dip on the edge. My brush soaks up and then I kind of just like roll it to kind of smooth it out, bring it to a point. And then no matter what, before I go and ink my first line, I have ah, side area or scrap piece like this where I do a little bit of this to make sure that is a nice point. And it's not lobby. I continually rents my brush between Egypt because I want to keep that brush. Comedian. I don't want any dried ink in it. This is not a water soluble ink. If you soak the ink and water long enough, it will break up. But it's not dissolving. It's just kind of breaking into little tiny pieces. I definitely don't want that to happen in my nice with this brush. I always put this protector back on. No, and I put it in the case because this was an extensive brush and I ain't messing around. I got this little gift card. I can't just be for our money on new Serie Sevens all the time. I would like to get a serious seven number one size, but I don't know. Sometimes I think this one gets the job done and I got smaller things for I don't really, But I mostly used this fresh. I used bigger brushes for big blacked in areas, and I use the nib or the pen for little tiny areas where I'm just too scared to use this. But the more you use the tools, the better you become at using them. There's also other tools that people like teams people like to use brush pens. This is just a pen. Tell brush pen. Oh, night. I got the tactic. I was stuff on jet pens dot com Micron pens. I get it. Blick sometimes will go to like a local our store where there was one in Delaware. Like to sometimes I got this at the are sorry. Go to Delaware, but you can get these any nice art supply store like Blake. There's one in Delaware that I go to That's like an independent, our store. But you probably you're not gonna find these a Seymour or Michael's or anything like that. You could order to use online as well. And this I got from Jeff is low. Depends. Sorry. That's long. You kind of gotta, like, squeeze the ink out. Also, I don't really like to use. I like to use these for sketchbook stuff. So see that bubble like a medal because I squeezed it out to re wet the tip like That's too scary for me to to use full illustration, but it still gets a nice line, and I still use it when im sketching in my sketchbook or I'm just doing something really quick. That's not like a finished piece for a client or that I want to pull it in my portfolio. It's just like a sketch or a little comic. I'm gonna put it all on Instagram, but like with anything, the more you use it, the better you get it using it so I don't use these that much, but it is nice for like, big. I just want this to be black areas, but they do run out. This was not reef over refillable one and you don't raise this issue. Just leave it. Actually, let's on also these refillable brush pens. I also got this from Jet Pen. This is a pen. Tell brush Pen I one time trying to put sure ink in it. That's bad idea. It got clogged. It was unusable. And these are not cheap. Um, so now keep a Washington looks and saying that you don't like, squeeze it out so I don't really like to do for final stuff, but it makes a nice This is like water with a little tiny, teeny, tiny, tiny, bit indignant. I use this for sketching for like going out and doing stuff with my sketchbook. It's easy. It's like nice and transportable. Don't like bring a big thing of water or anything like that, saving you don't. Then there's also like micron brush pens, which this is more of like a felt tip. It doesn't have bristles. This one's for I. Really. I have, like, two of these, and I've used and it's not his dark. If you can tell like this is that brush crime with bristles that has ink in it, and this is that's just not his dark. But once again, I use these for sketching for playing around my sketchbook, not for any professional work, but they're fun to use everyone's and then for word, last thing, sometimes for big areas. And I don't want to use like it's a really, really big area, and I just got a fill in. There's nothing for me to go around. I use one of the EU's like angular, shaded brushes. I got the city like a seam or something. It's nice because it has a little tip there. So if you do need to get into detail, like to go around something not necessarily to draw something, but it covers a nice wide area, and sometimes it's good just fulfilling in. So that's pretty much it for tools that I use. I also obviously use a pencil erasers for the under drawing, and when I'm done inking, I use a really nice soft. This is like torn up because I'm one of those people who peels labels off. But this is, ah, favor Castelli dust free, clean and soft eraser. It's like nice and like, flexible, and it doesn't pull the ink off some of the harder erasures will, like, dragged the ANC off. Definitely make sure your ankle 100% dry, because if it's not, you'll smear it. So I usually let mine sit for a little while before, like, I let it sit for a few hours before I or even overnight before I erase it. Because I'm just so paranoid about accidentally smearing something that's like seems dry, but it's not totally dry. So now that we've gone over the materials, the paper stretching the paper, the different kinds of tools you can use to ink I'm going to use a blow dryer on that paper because it's probably not totally dry. So I'm gonna hit it with a blow dryer on high heat just to like, really seal the deal. 7. Transferring your sketch onto your paper for inking: All right, so now that my paper is dry, I just take my Exacto and a ruler. You can take the stables off individually. What if I already that I use a pair of needle nose pliers to pull them out? But honestly, it's easier just to do all right. So it has been ticking off. As you can see, there's a little bit of ah, welcome here on the edge that I like that this was not smoothest stretching experience, But we're not gonna 12 mistakes towards your ourselves. So I have my piece of paper prepped and I have my print out of my sketch ready. I actually think the end of the last video printed it out while I was finishing it. And this is the first print printed out, a little weird. So I changed my printer settings. And this is a little darker because I use a light table, and the darker the lines are, the better. That makes it easier received. So now I'm putting this piece sketch Patel sketch all in the back here and then using painter's tape, I will. This is artist tape. What's painter state? Basically. So I want to take where the image isn't, because if you take for the images, that is to thinking will be able to see when you put it on the light. Or you can also use one of those small light boxes that you can get. That's what used to use. And then I got this drafting table with glass and put light underneath of it so that I could you bigger pieces without having to do it section by section. You can also use a projector to transfer your peace your sketches onto your final paper. Um, or you can use transfer paper, which is just graphite on the back of a she of like tracing paper. And you put your image of the top of it and you draw over top of it pretty hard so that the graphite transfers. Um, that's a little messy for me. I don't really like it, but it's definitely another option if you don't have a light table. So now I'm going to weaken, see through table. I have this, like, underneath of here, so just gonna plug it in and I also put my table until black position turn off any overhead lights and As you can see, this is pretty good. I have to move around a little bit because the lake is pretty centralized. I want to eventually get more lights and kind of put them. I've been here, but for now, this works for me just moving around, but pretty much everything. So I'm just using my mechanical pencil. Here, you can use regular pencil courses, 0.5 size mechanical pencil. The first thing I'm gonna do. Let's take my ruler. And when I printed this, I printed this with corner crap marks. Because the illustration doesn't Philip till some of the quarters. I want to make sure you know where my edges are so that I don't accidentally quit many of my marks that I used to wipe off like rush in areas. So I'm just gonna go and I'm gonna keep it loose because I still want to do a lot of the final mark making with think. I wanna make sure something like that one thing that I'm gonna add that I didn't schedule first, I gotta fix this like it's like, way too weirdly long. So this bird was initially creating a tangent here which Tanja is just for something like almost touches a line or actually, exactly touches a line. And that's a weird saying that you want to avoid, because eyes will go right to that tangent that you don't want to have you can try to avoid . The tendency is not just can't adjust created bad visual and is not a good thing having your illustration. So I actually moved this bird over when I returned with this, but it's not point. It's not touching the line or about the touch line, and usually your I will go right to it. I didn't see that at first, because sometimes you can t like a step away from your drawing before you can come back and then you'll see all the tangents. Or if you show to a trusted friend, I'll show your Tandon this also here, right here, where this building in the background kind of like turns into this cage line would be considered like a weird line. So when I go in and do this, actually, just move it because it kind of weirdly lines up with this like you don't want things like that, your illustration eyes go right to those things. So you want to avoid things like that? Were lines from one thing go into another tangents where they're almost touching that kind of thing. So I'm gonna go ahead and draw this fruit, and I'm gonna put it on time lapse so that you can see and then I'll show you when I'm done , so you can see how loosely I transferred it. You also don't want a press really hard. You want to be able to erase it. You keep it nice and sketchy just enough that you know what you're doing when you're in gig . Another thing I'm adding, but I didn't add in sketch is I decided I want to put some ivy on some of these trees just for our little added nature and visual interest. So pretty much just gonna, like, do a big shaver where the i V to be and you like calm just like a really sketchy idea so that I get I think a nice so I don't wanna let drop perfectly with I will take the life out of it 8. Setting up to ink: Okay, so I have everything ready to go Here have my printed out sketch, my transferred peace and my paper towel to wipe my brush. Here's my reference photos, but I wanna have right next to me while I'm working. Mostly foliage in toward us pictures. Here's my main tools. Ready to go by Windsor Newton's theory. Seven. Brush And here is my set up. I have this little tray that has wheels on it, and I keep my thanks and my brushes there. So here is my doctor, Ph Martin's blackstar Matt have it in a little Well, there have my water ready, and I have my brush cleaner that I like to leave open while I'm working so I can clean my brush when I start to notice that it's getting a little Gokey. So I keep it right next to my ink. So my desk is an incline. I have a nice lamp above the really nice desk lamp with good lighting 9. Inking the illustration: Okay, so I'm doing this on time lapse because it takes me many hours. Do these illustrations fully. I'm starting with the elements that are in the front, most foreground and working my way back while I'm inking. And I also like to start on things that aren't the main focus of the illustration, so I don't really go in and the main figures right away because I kind of need to warm up a little bit. And the best way to do that is to work on some elements in the illustration that maybe are as important. Not that they're not important, but they're not the main focus of the illustration. So, like background elements, texture. And once I get warmed up, I feel a little more confident to go in and do the main characters. People are always going to look at people in illustrations. First, I apologize for my head that keeps popping into view and the angles when I'm filming it keep trying different angles. But I don't know how some artists film themselves working, and it's like their eye view. That was a mystery to me, because I get my face really close to my illustration. While I'm working just continuing to work on some of the foreground elements, and I'm moving my paper around a lot because when you're drawing long straight lines, especially or any kind of long, smooth line, it's easiest to pull towards you. So feel free and don't be afraid to move here. Illustration around as needed to make it easier on yourself and your muscles and everything to draw smooth line. You don't have to keep your illustration straight up and down. Like I said, this is especially helpful with the really long, smooth lines you have to do. Pulling towards he was just much easier. When your muscles on your body easier to keep a straight line. It's easier to keep control. So in the foreground, I'm trying to make sure that the lines are really nice and thick because anything closer to you, the viewer should be darker, both totally. And the lines should be thicker. And as you go back, the lines should get thinner. Sometimes I will even go back to lines in the foreground. If I didn't make them think enough initially and that's okay, you can start out with a little bit of a thinner line and go back and pick in the month. Once you get more of an idea what the rest of your line way on your illustration is like, you can always go back and thicken it up. Like my mother always says, with cooking ingredients, you can always add war. You can't take it away. Same thing applies when you're thinking in your mind's eye. I'm doing lots of areas of spot black in the foreground, which is what it's called when you're doing larger black sections like kind of what I'm doing with easily use. Unlike thusly, use on love, which that's crouching down there just anything, help it have contrast to bring it forward a little more. And I also really like the texture that I get when I'm filling in large areas of black, making sure doing a little the foreground elements before I go in and start to she about the trees. It helps to do the foreground elements first, because then, when you are doing something behind another element, you don't have to stop your line because you're not sure where your line's gonna end up on the element in front of it. you just go right up to the line because it already exists as you condemn using my nip here because these things in the background are further away and I want to make the lines thinner back there, and it's just easier with small moon. But it's also easier to get small little details. I'm just going back further into the background, one element at a time. It's really easy also to do sinner lines with this name, because they can press really lightly get a nice thin line that's still ice and Chris. But I'm putting in kind of a really thin texture on these trees. I don't really want them to look like smooth, twisted taffy. So just adding some light or texture, you can see how, with the ground further goes back, the less detail. I'm at a landing, a lot of little Tufts of grass, but in the foreground there's a little more of that 10. Going over the completed inked illustration and some tool demo: Okay, so I have finished thinking this piece. I still have to erase the pencil marks from the drawing. I transferred, but I usually like to let my illustrations dry after I'm done inking. I try to let them dry overnight if I can, Um, but if not least a couple of hours, just in case there's any spot that's not totally dried on accidentally sneer it with my eraser, but I want to zoom in and show you kind of a little more detail, but you can't really see it with the time lapse. So in the back of the illustration, I used it because it's a thinner line, and as you can see, the details aren't as tight in the back. I just want to show you this. I be like double use. Don't even really look that detailed because that's how things are in real life, like the further things are away. The last detail that you see and the closer things aren't you, the darker they are, so the lines get much thicker towards the front before ground of the illustration, so you can see that there's different line variations, definitely thicker in the front, darker in the front, but also in the coloring phase. I'll do a lot of different values. Little helped bring this forward even more. And the I V closer is bigger than the ivy in the background, which is smaller unless detailed, been kind of the medium plane. It's kind of between two and also with be ground. As you can see, the further back gets really putting in that much detail. Put in the foreground. I have a little bit more of an indication the texture of the grass. And I also want to show you, since you don't really see this in time lapse kind of my flow where I dip so here, toe my right because I'm right handed, have a little trey thing that I got online for, like 10 bucks and I spray painted gold. It's not best it's been beat up, but it works. I keep my water handy, dip my brush and I kind of I don't want to, like, mess up my bristles so I don't do this kind of motion economist along with it in the direction of reversals. I do like dip were kind of role. Brussels again trying to keep the shape. And then before I draw anything, I always test on the side to make sure getting a nice line. And since I don't have to think anything on here, I'm just gonna pretend so Then I would go in and I would Inc and it takes a pretty good while for it to get dry, and it kind of depends on what I'm doing. Sometimes I like a little of a drier line for the texture. See how I'm getting an interesting texture is it dries out. 11. More tool demo and Cleanup : Don't let the bristles touch the bottom of my water cup, and I never let my brush sit in here. That's really bad for your Brussels. You'll mess up your brushes, especially if you have an expensive brush like I'm using. But even with the cheaper brushes, you want to keep them in good condition. And then I would do the same thing. Wipe off the excess water because I don't want my ink to get watery and then read. IP. But I don't need to do that because I'm walking on draw anything right now. So when I'm done using the brush, even if I'm just switching to using my neighbor pen, I always use my brush conditioner cleaner. Same thing. I'm not really like scrubbing very hard in the crazy direction, kind of just going along with the bristles so can kind of see how it's pretty clean, and I want to keep its shape. So once I have it fully clean, I get kind of like try to get like, a cleaner part. The sound. I just roll my brush in it lightly shape it into point more so bonnet and I've got a nice point shape going that I want. And then I always keep my case for this brush because it's really nice brush. If I didn't have this like some of the cheaper brushes. Just don't even come with this little she that were, too that it comes in ways store my brushes with Brussels. Now, with my name, I would dip. I don't want to get too much of a bubble, but this is a pretty good amount. Same thing. Test on the side. This is like a firm pressure When I have to do really light lines, I could do a really light like I'm really barely holding this and I'm getting a pretty good line. As long as I have enough ink, you look really chant mine. And this is kind of what I did for this texture going on in the trees. I just held it really lightly and kept it light and loose those lines to be really dark. They're just kind of the texture. I want this. I just shake it in. And also don't leave this in here mostly because this is would and I wanted to work. I do my best to get as much of a dry ink off of Here's I can These could be hard to clean. Sometimes I will take a nip out and let it sit in, like a solution. Really breakdown driving because you could do that with these when I'm done with everything . Like I said, I try to set up a bunch of the access bank back in the year. But I've already done that. There's so little bit liquid left, but put it in this little soaking thing I have here. Close this up a little dry out. I don't know no more from one. This is Don't sitting from day. I take her for a night a couple hours. How much time you have? Depends on if you're on a deadline or not. I take my really soft eraser. You don't want to use a really firm eraser because you could pick if it, like, scraped in cough or even damage your paper and lift your paper up. So this is a really, really soft your racer. But I'll just go over the race pencil. All right, so I'm gonna let this sit overnight, and tomorrow I'm going to erase all of a pencil on it. scanned it in. Then I will show you guys how I isolate my line work in a photo shop so that I can color behind the line work and I can change the color of the lot of the line work, and that's a pretty easy step to take doesn't take very long and that's it. 12. Scanning your image: So I'm just standing here piece by piece of my attention with my Yepsen perfection. The 300 photo flatbed scanner. Um, it's a smaller scanner, but it is a flatbed scanner, which means that the edges, not as much of a lift, is a standard scanner would you want? Because if you have too much of a lip on the edge, distort your image and it's also been your image as you're working with it. So even though this let's have a little bit of a lip, it's not as bad as your standards scan, and I just go in and I scanned it piece by piece. I'm scanning at 400 d. P I, which starts current inch. I'm scanning in J Bay. The lowest resolution you should scan in a is 300 BP. I usually, if you're doing something for you're gonna hand it in at 300 BP I That is what they print at. But I usually tend to do somewhere between like 3 5400 depends on the image. Any thing to high is going to be too slow to work with what I want to make sure I could get a detail in there. And then I have the possibility to blow it up in the future, too. Sometimes I have to use my sketchbook to flatten it out. If I'm going over the edge of Hinge, where the lid off the scanner is No. My skin does open 23 60. But you always want to have something behind your image. That light doesn't shine through it. Gonna have something blocking the light behind it. That's it. 13. Photomerging your scans and line work isolation in PS: Okay, so I have my Photoshopped Creative cloud opened here. You can also use older versions of photo shop and it still has the same function. You go to file, automate, coat, emerge, browse. And here are my four different pieces off my illustration that I scanned. So you click and you hold shift. It will select all of the files and a consecutive quarter. So if I held shift and selected all the down here, it selects all those files. If you didn't want to select, if they weren't right next to each other, which they should be, if they're named the same thing, you can hold out in the apple button and that will let you click whatever ones, even if they're not right next to each other. And then I always do. And yet removal because it removes. And he kind of been yet around the edge that might come from. Even though I have a leopard stander, it still has a little bit of a lip. So any kind of vignette or shadowing that might happen at the edges Because of that, it removes and geometric distortion correction. I also always select, which can help with like sometimes with that lip, it can distort a straight line to look curved. Kind helps with that. Okay, No, you just let it do its thing. My computer's love us fast is it used to be so sometimes it's continue meant that social because I scanned it at 400 d. P. I usually lover, do you guys I'll take white as long, but I looked just scan line at a higher DP. I just think he's a need to blowing up for any reason is always easier to downsized to a lower D p. I that it is two upsides from a lower d. P. I Okay, so, as you can see, it has done a really good job of lining everything up perfectly. Sometimes you have to really make sure you get every single piece of it, and it has to have some overlapping. Oh, as you can see like it pieces it together. So you have to make sure that you don't scan perfectly like this corner and this corner without any overlapping into each other, because it needs those overlaps to put itself together. So now that it's done, I flatten. This merged players or flattened. Either one have to rotate. It obviously looks trudges. Okay, so the next thing I do is I always do filter, sharpen on sharp mask. I leave these settings how they are because it works for May. You can make it more intense. We'll show you what I do. I kind of just, like have gotten into the slow doing it this way. And it works for me because you can see how, like this kind of spreads things out a little bit. All right, But tonight, Okay. So I don't do this just once, I'm gonna show you Why. So once you zoom in, you can kind of see like it's still little blurry. It's not a sharp as I want. So I do one more time, third time and the fourth time So you can do this all in the one by adjusting the amount. I like to do it one of the time because it gives me more control. Like if I if it goes a little too far, So that was four times. That's five. So I usually do. For now, I'm just gonna use controls A, which is undue. Go back and forth and see, I feel like it's a little better at five this time. Sometimes it just depends on the line work. And let's scan, you know, like in five, which would be a 250 percentages. Okay, I need you will more. So that's too sharp. See how it starts to get a little funky looking there. I don't want that, Chuck. So I did five times. Normally I do for, um, just cause that usually works for me. But five teams seems to be a good one for this one. You can certainly best with it on your own in the settings with the amount I usually like to look at a face because the faces are the most important. Like, see how crazy it gets on. You do it more because I don't really want to sharpen the texture as much as I want to sharpen me line work so you can muscle and kind of get an effect that you like, but I'm not gonna do this. Um, that was five times just the regular settings, how they are when you initially used, um And now I go to image adjustments black and, like, even those, like and what you want to make sure it's true. Blackham way. Now I'm going to sigma on going to do image adjustments levels, so this bumps up the darks. The size of the slider is the dark, so you can see it's pumping up the darks of peace. So usually the top of the hump is like the darkest that you'll get the darks and those is the has contrast that you will get the frontal darks, and then I also this is the light. So as you can see, the more I go, the more I blowed out. I just want to get rid of this paper texture, so I usually go like here. I just want to not be able to see the paper texture as much. My wake and some things are almost up. For some reason, it seems pretty good. I don't want my lines to get to light if I feel like see how the songs a little bit lighter . This one's the Midtown. I just do not increase. Check out everything. Make sure looks how I want. That's a little texture, either. Good, Pretty good with those seen others. A little bit of texture in places. I'm not trying to get rid of all texture, necessarily, like moved with texture. I just want my lines to be clean and then, like, spot. He'll some little things I don't like. You're supposed to be there. They might have been something that was on the scanner green here. Message. I love it. What I hoped I want to get rid of that little bit paper texture that was here on the dark. Lines are still dark, so Okay. Seems to be a little crook. He was pretty good. Some of these edges. I intentionally when I was struggling. Uh, that way. Okay, *** bring it. This is why I believe it is important. Do you own us because of personal piece? When you do believe when you do something for clients should definitely have to believe. Okay, someone across. All right. Now I do command a which is select all which you can also do select all. And then I do command c, which is copy. You can also do that. And a copy. And then I do a couple. So I did command a So everything selected you can see this selection are on the edge kind of blinking. Nine. Doing command copy. I'm clicking this, which is the ad? Let your mask. Now I hold option and I click. Let your mask that I do command paste, which is command be than I do command in verse, which is command I okay, And you do that paste is here. Might would use the hockey, so I don't know even where in verse It on here, where Bin Brooks here Image adjustments invert. We do command I when I don't click and I don't hold any buttons. I just click regularly on the image. As you can see, a connell it's a little bit. Looks a little wash away. Make sure it's black and I do And it still Okay, So as you can see, this turned black. But what we do now is we do right click on the mask and do apply layer mask. And now this is the line work also breed out. So the way we make it so that you can cover the line where without coloring, anything else is you select this which is lock transparent pixels. You can see lock here background. You can the line working summer So now you could take any color. Make sure you are on that layer and just the wind work. It's colored so I can change the line. Work colors. I do all natural colors. I can dio a Grady int I need to restart a computer. It's being really slow, lots of fun things to do. So my work is separated from background. So when I go in the color, I actually keep this on top. And I knew all the colorings underneath of it. I'm not changed. Some of my work color it was great has come nice, actually. But back to black and that's it. - So I want crap this corner just like slightly. Someone put my anger opened this corner, which means it's gonna crap here because this corner is good. I don't just see what taking off. Just like 0.3. Go home. It look like it did Absolutely nothing. So I want us to be nine by 12. Care outside. What's good? All right, so there we have it. Black and white inked illustration ready for texture and color and all that fun stuff. Plus, most importantly, have to say that as a Photoshopped pile have been calling this like a shaman, all right? And that's it. So what I was doing there is so canvas size will crop the illustration, So it's not gonna change the size and the illustration it's gonna change the size of the canvas. So, for instance, if I change list of six the hot crops and it control Z and then image size changes the whole illustration. So you want to always have these construct Thea asset Ratio locked because you don't want toe like distort your image. But I could do six, which would change into six by eight. I could do 20 interchange in 2026 that changes the size of the whole image and keeps it in proportion, whereas the canvas size will actually crop the canvas, no matter what's on it. So that's it. Would you command save command s, I mean, just save. That's it. Until I'm ready to put some texture and cover on here and next classes 14. Closing: Okay, so now we have our illustration fully inked and scanned in to photo shop, and all of the line work is isolated and ready to go for the next steps. You can definitely just leave it here. If you like to leave it as line work, you don't have to go through with coloring it, painting it, adding any texture, any of that. Um, but the next class will be about making textures traditionally to skin in and use and Photoshopped andan. The last class will be the actual Photoshopped coloring lesson, so you can continue along with me in the next couple classes where you can end here. Please feel free to post your ink illustrations for me to see. I love to see them. If there's anything in this class that I didn't cover in enough depth for you or that you would like more clarification on, please feel free to post in the class community any questions you may have or anything that you want to learn more about in regards to thinking I could always do, um, or end up thinking class. This one was more of ah, general overview of everything. It's a lot to encompass in one class. So if there's anything you need MAWR explanation on or you want more detail on, please feel free to post about it. Ask about it, make a discussion about it, and I will definitely try to make another class where I cover more in depth questions with thinking. I know this is can be a lot to take in, Um, so if there's anything specific seriously, please feel free to ask. I want to make sure that I'm giving you as much as you meet. I hope your illustrations turned out beautifully. I'm sure that they did. Please continue to practice, because what really matters is how much you practice, because drawing and illustration and creating characters and all of that is a skill like any other. You have to practice. You have to keep making thousands and thousands of drawings. A lot of them were going to be bad, but if you keep making them, you will get better. You'll start to be able to see where you made mistakes, and that's the only way to improve is just to create thousands and thousands of drawings. Even if every single one is in what you want it to be? Eventually you'll get to a place where you start to make things that are more like you want them to be. I hope to see you in more of my classes. Thank you for watching and for your interest. Now I release you unto the world to go. Thank your little heart out. Make beautiful work. I want to see it fly my babies fly