Losing fear of Ink - How to Create an Ink Illustration

1. Hello: Hi, my name is via I'm an illustrator and cotton greater. I think I'm not the only one that when started out doing art that includes kinda scary and sometimes it still is. So I really wanted to create a class you're on skill share where I would guide you along the process of ink and show you that it's not so scary after all. In this class, I want to teach you how to embrace the messiness and the organic side of ink will be using colored inks. You could of course, use black ink if you prefer. And wicked using colored ink just because it suits my taste much better, but you can use whatever ink you prefer and create whatever you want to best suit your taste. Nice illustration. But that said, let's grab our Anxi, let's get started. 2. Know your inks: So here we have our two inks. These are both black ink and this one is waterproof and this is non waterproof. So let's quickly see what happens when we swatch these. Wrapping my sketchbook. I am going to quickly just watch these. So first specially we have our waterproof ink. This is just India ink. So I'm just going to put a small drop over here, not a lot because this will dry out. And this one is a Waterman's black ink and it's basically my favorite ink ever. And I'm just going to put here a couple of drops. You don't need a lot. So first we're going to swatch the waterproof ink. This is it at its most pure states. So it's, this one is actually a pretty neutral one. In terms of color. It's pretty warm. Wacc and India ink will differ from brand, brand company, that company. So I'm going to walk through it. And this is our swatch of our waterproof ink. So switching our non waterproof ink, this is what remains intense black ink. And this ink is actually very beautiful because it actually, it's a very blue color and it separates two yellow almost. So this is then also a fun way to find some quirks in your ink. And this is then things that you can use to your advantage. For example, I love using this ain't just on its own because it's just a stunning, stunning color. So quickly, we're going to grab some pen and nib and just grabbing our waterproof ink, just doing a few lines. And then we will come back to this ink when it's dry. And I'll show you what happens just to. We can confer and doing the same tour. Non waterproof ink or just doing a few lines here. So we're going to let that dry quickly. Okay, so a little bit as pets, this is not Dryad, but the little scratches art as the name indicates, this is what the proof. So I can pretty much layer water on top of it. Nothing will happen. There might be some discoloration happening, mostly because it's either not try enough and the non waterproof ink, the lines already dry. So I'm going to go with a non super wet brush so you can see and just go over it and you can tell it's starting to just go away. It's not too too bad. But it's definitely more than the other one. And if I left the water just serial definitely bloom. For example, even this little bit here. This might not be too much, but this of course, will affect your painting later. So this is just important for you to know that if you are going to use layering with these inks, it's very important to know which type of ink you're using. For example, if you're using a waterproof, it's more than okay to the your line art and then color it. For example, if you're using watercolor and doing a Inc. base, or if you're even using ink that you want to do. Layers and layers. This and for example, I know I have to be careful with how I will layer it. I'll show you how we work with this because I actually tend to work with non waterproof ink, so I will help you with that. So knowing which Inc. to use actually really depends on what you want to do. If you love layering a lot and you don't really want to care about what you are doing if you just don't want to plan ahead a lot, you can definitely use what to prove a Inc. And also has another look. I myself quite liked using non waterproof ink. It's the one I use. I have multiple ones. This is the only waterproof ink that I have and I only use it in very extreme cases. I usually go for non waterproof so that they will be focusing on the non waterproof ink, which is the one that I used the most, it can be the most trickiest youth as well. But hopefully you'll get the hang of it by the end of this class. 3. Aplications: So there are many different ways to apply your ink. For example, you can go for washers was, which is the one that we used earlier on. We are going to go again with our ink. This is the non waterproof ink and we're going to go with a slightly watered down version. And then this is also a great way to just, if you want to create different colors or washes, you can just alter the amount of water that you have on your mixture. For example, this has a medium amount of water and I'm going to add a lot more water to my next wash. And we're going to see it's going to be much, much lighter. So this is a great way to get several values or cues from the same ink. You can get different effects. And then you can also just create different effects within the ink. As you can tell, this ink is very versatile, even here you can already tell it's starting to mix two evaporates or yellow. So this exit, this ink is super interesting. And let's show you how it looks on its most pure darkest form. And this starkest form. It's not a super, super dark, even though it's called intense black. It's another super dark ink. But it's absolutely stunning and it's definitely one of my favorite ones to you ever. I quite love it and I have used it many times. So washers are one of the ways that you can apply it. I can also just create lines with it using a brush. So getting my same mixture, I'm going to put it, put just a little bit more ink in it. It's just so it's a little bit heavier, careful to never spill your angular. He's a tragedy. So I added a little bit more of ink, so it's bit more heavy and you can't create lines with it and just getting your brush. This is how I tend to do line art. And this is something that comes with practice. The way that you can do lines. You can just do thicker lines at this phase. You can also do washes, but are a bit more control washes at this stage, you, for example, it's more diluted. You can also use it to color block some shapes here and there with lines with the brush. It can give you a bit more details, but can also have some small, small line variation, which is pretty great for your illustrations. So I could do shifts like this, no problem. This of course then depends on what you're looking for. The other way you can use your ink is again, with the depend or a fountain pen if you prefer to use it, I'd really depend. I tend to use it both ways. A dip and allows you to have thinner lines that listen these case, because the tip that I have is quite thin. So I can get very small details in lines. And it's a great way. Just use this if you prefer a fountain pen, for example, such as this. This fountain pen doesn't have a black him at the moment it has a brown one, I believe. Yes, that's abroad. Think a good thing about Fontan band is that it gives you a sort of endless. Until the at least the reservoir finishes endless supply of ink so you don't have to go back, back and forth. So the ink is in this piston, but it does give you a bit of a thicker line, of course, depending on the nip that you have. But you can see that I can't really go as thin as I went there. I kind of can, but I won't get as sharp of line. So this is great if you want to get controlled lines. And with the same variation of the way, of course there are different types of nerves. There are flecks, names and stuff like that, but this one is a pretty way to have a control line. If you don't like to have a depend, depends can create thick lines and thinner ones. So it really depends on what you're looking for by bird that you use is also pretty important. This is a plain old sketchbook, but it's quite smooth. I would always recommend a smoother paper because especially when you're using a depend, depends clips on the bumps of the texture of the paper. It can actually flip the nib and create sort of a speckling. Like if you've just speckle thing and just hope it goes away. So a smoother paper is very, very important. A bit thicker than this actually because you can see it's starting to buckle a little bit on the washes, so, but it was thicker paper is always a good idea. Now let's quickly talk about a few more ways to use your nip because it's pretty much, it's pretty important and it's until they're used quite a lot. So grabbing again our ink. At this stage, it's better if it's your more concentrated type of ink just because it creates more stronger shapes. So at this stage, Sometimes I go directly from the reservoir or if I just have something that's deep enough, I don't really have these wells are kind of neat but maybe not deep enough that I would just go and dip my pen there. So what we are going to be discussing right now is something very basic, which is crosshatching and hatching. So crosshatch name is a way to achieve shading with your dip pen. He can also use this with your fountain pen, of course. So crosshatching is whether you Phillipa shape, then you cross attach this shape. So let's say I have here square and I want to shade it. I'm going to go one direction and then the other direction. And this will create. Now that's the thing about depends. You have to go back and forth. A bit of a messy look, especially I'm not great at cross hatching. I don't really use it because to me it creates a bit of a mess. Urine, busier, Laughlin, what I want, I much prefer to use just normal hatching. So hatching is just like this. So your lines don't really touch. And that's something that I really enjoyed because I like to leave space for the lines to breathe. And a good way about this is that at least the way I use it, I make sure that the lines accompany the shape that they are. So for example, fulfilling of the circle. I'm almost curving out the shape of the lines. And that creates a bit of more of an illusion. And I just really enjoy doing this trick. And I just really like how it gives more of a light and fluffy feeling. I, of course, I'm not great at crosshatching. So if i probably practice it more and might be able to get a better result. But I just really much enjoyed the look of hatching. And of course you're going to have to do just round lines, just normal straight lines will work as well. And sometimes I do like to just, for example, just do normal patterns. For example, this is great if you're doing like a wrinkle of clothing and you can just create the winds around it. And it just gives you a bit of more of illusion, of movement and shape and shadow. All those good tricks. There are many, many different ways. Just use ink, independent and attention. It's very mass. Of course I was already kinda messy when I started this, but these fingers are front is class. It depends on the way that you hold the nib. I hold it pretty close. I I almost knew what you call choking than M. I kind of just grab it really tight, but so this is something that you can practice. This is also a great exercise to practice your straight lines, the spacing between it. And this will all come to you with time. That is just to see what you prefer. Again, you can always use crosshatching if you want. I just don't really enjoy it, but you're relaxing time, of course there always have to go back and forth. Oops. We'll draw like, go like that as well. And this will create a different texture. So it's all about exploration. This class especially is about embracing the craziness that is a Inc. and just finding out what you can do with it and look look at that. I have now a little reservoir right here on the page. So this is a way to use your depend with your ink. I also want to quickly mention some cool textures that you can get while using ink. Works a lot like watercolor, at least the way that I use it. I use it a lot, a lot like watercolor. So grabbing our very watered down version here, we are going to just spread it. And I'm going to go and just dropped some water here and there. The paper is buckling. This is probably not the best paper to do this, but I just wanted you to see that it's already creating the blooming effect that it creating watercolors ink is incredible. It's an incredible medium to use and what a cool way you can also use it. It also stands from inked ink. Some inks don't flow a lot. So this one in this case kind of flows. It's not something crazy. But Kuwait also just fill in some areas we suggest what are your paper? A decent amount of water and just drop your ink and see where it goes. See here is really hot, that wet, so it's going to stay. But see I hear I dropped it and it's going places. The more water it has, the more it will flow. And it really depends from Inc. to ink. But it's a really cool experience to see where your logo and of course, you can always just have your ink dry and just fan it out afterwards and see where it goes. Because the same, the same with this one. Some inks separate to another colors. Beautiful way. When I swatch a color, I tend to water it a lot. Just to see if this happens. I can show you in a little bit my color collection of inks. And I have some that separate beautifully there and we're definitely going to be using it in our class today. 4. Colored ink : Even though most of ink is made with black ink, there is a world of colored ink that I actually want to show you. So I used the brand called fairest full press for my color inks. And these are all of the swatches of the collection or that I have. So this is there more pastel collection. This is their latest collection, which is a more autonomy one. This is the original collection which I loved. This is actually my collection. This is their summer collection. And this is a bit of a mixture. This is from their original collection and this is sparkly ink. As you can tell, there are a ton of colored ink brands out there. Some are actually waterproof, some are not. These are actually fountain pen inks. So this company is actually stationary company and it makes like a bit of a luxury item. So this is one fountain pens that I have. I actually worked with them kind of so that's why I have so many. But I really love. And one of the things I was mentioning that certain ink separate. I can show you this little like purpley color separates two, a blue right here, and that's absolutely stunning. This is a very mossy green and it separates two another sort of blue. And it just funning this Brown has sort of a purpley split. This purple as well, separate to blue. This is just super stunning and I just really love these colors. And these are just my favorite colours to use, are used these on drawings all the time. And I also have them online, fountain pens. So these are my fountain bands. If you ever want to just use these on your drawings as well, you can just get different lines. This I believe, pinkish ones, so you can use these for lining. No problems you won't have. Again, a controlled line. This is the one that I showed you, has brown in it. This one has, this one always has. My fairy would choose. The blue velvet grands is sort of a greenish toward cushy color and I absolutely loved this colour. And then this one has one of the sparkly ones because I use these ones to write on my Christmas cards and it's just so pretty so-called. Inks are a big, big part of my illustration process while using inks. And this is pretty much where we are going to be using today. We might use some of the black, but to be honest, I tend to use that whilst using these. So I kind of mix it in these colors. And it's just a blast and we'll hopefully create a very colorful think illustration today while embracing its true nature. So let's get started on our illustration. 5. Setting up your pallete: So now it's time to start. Our illustration is are my inks and have a lot. What I have to do in order to know which one I want is I have my little sheets and these are basically my swatches of my ink. You could also do a color study, but she's ever lot of inks. I kind of just look at my little chart and I think what colors I want to use. So this is one of my newest inks. And even though I quite want to use them, I think we want to fit as much in this like look, I want to give this drawing. I quite wanted to be fluffy and celestial. So these are autumn colors income, fortunately, they will have to be for another video or another drawing. These are some of my more recent is once these are Christmas colours, they are sparkly. And I think I might use ten-minute Skype because what my plan is, pair of her will be sort of like the sky. So the insight will be dark. And I'm thinking like this purple mix with the blue. And I'll, I'll do some stars inside of it. And then the outside will be lighting fluffy but also a sars. And then I'll try and do some clouds. So that's almost like the vision that I have. So I definitely want to use tens in its guide. These are the pastel ones and definitely peachy would look adorable in the Cloud. So I think I wanna do like pink cloud. Cute. So definitely peachy, which is this guy here. It's very small, but I love this color so much. That may be three mirrors and moraine inside of the hair, maybe. So this is the pastel is well, strawberry mechanism here would look amazing as well in the cloud. So have this here and literal or Albania and blue cotton candy, which are these two guys here, might look very nice as well on the outside of a hair. So I'm going to try and make it, make the hair a sort of a, they grow they OR andre mixture. And finally I have here the more neutral colors. Lady Rose is a lovely skin tone. I love using as his skin tone. So here it is. And then we have Jelly Bean blue right here to also do the sky. So this is kinda how I choose my colors, is I look at my little swatches and I see what might work sometimes I'm right, sometimes I'm wrong, but since I do have lots of colors, I just try and choose them in this way. So I have 12345678910, kinda. What I'm going to use to put the colors is this, this is a ceramic palette. Don't mind the look order there either. I've broken, so I tried to fix it. As you see here, I did a very dodgy weren't but it's working. It is not as best as a normal ceramic pellets are quite like this one because it allows me to have all the colors that I have in a short small contained space and not taking so much space because the other ones that I had took up a lot of space. So we're going to take our drawing away from US. I also have here a glass of water. And we're going to go and just put all our inks in here just so I can take them out of the table because the Tuesday Club. A lot of space for this. I don't have anything special. You might have an eye drop, Burt, I have struck. And it works. So the one that I think we'll need less will be leggero. So we're going to start with that one. So I'm going to draw lady roads here. And I'm not going to water it right away. I'm going to grab a tiny bit of water to also clean my brush. And if I see I need more, I will then grab it. But I rarely tend to use the ink straight from the container. I most like you will water it a little bit. I'm going to put here the pinks for now, maybe blues here. So struggling macro room. I'm, I have to try and be sure to. I know which colors are which. I'm going to put quite a lot of strawberry marijuana because I'm envisioning a lot of it. I'm going to fill this up and these are water activated. So even after they're dry, I could be using them. So solar fine part of the preparation, just seeing which inks I want, just so I can kinda understand what I'm doing. So in this sense, I'm going to put thinker, racer pink eraser is super bright. And so really fun color. Look very nice in the clouds. I am saying all this and of course I might change my mind later or I can just not use one of the colors, will see. It really will be sort of a mystery. I'm not super consistent when it comes to my color choices. I think I wanna do something and then when I'm halfway through, I think either doesn't look right or that something else would look nice. So, and that's totally okay. Definitely peachy. This guy is so small and I loved it so much. I'm really sorry that I have so little. And you might actually just pour it. So here we have our warms, basically, they're all here. And now I'm going to put violets here. Think little Romania here at the top, might be enough. And then tenseness guy, more here at the bottom. So Denzin and sky, it's a super dark purple and it's very recent to me. Would prolong the blue cotton candy. And finally, Blue rarely gene. I still have these two colors here that if I think I want to use them, I have handy. This color is quite difficult to work with. The Jelly Bean Goyal is the belly bean boo because it lifts, lifts up a lot from the paper. So it's super easy to deal with that. So in that sense, it's always the last column that I use in everything. And I have to be very careful to not touch it or my brush anywhere near it when it's o though. Oh no. Yeah. This is going to be my hands for the rest of the class. This is our inks already and I'm very messy right now. So let's get started with our drawing. 6. First washes: Plans are still messy and they're going to be messy. So this bothers you. I'm very sorry, but I don't really mind it and I quite it's quite nostalgic for me. It reminds me when I was a kid. So I tend to keep these like this. I did this sketch off camera since I don't really know if I'm going to be doing a background or not. I'm going to be masking the edges around the image just to be sure. This might be a bit Bushi Washington for this, but it's the only one that I currently how at least at hand. So my BBQ much Mujib went to roll with it. So I'm actually going to bigger bordering the bottom. Was I quite like how that looks and what I'm actually going to tape it to this watercolor pads. I tend to go with ink quite freely. I don't really always have a plan and that's part of just letting it go and letting go of your fear of ink. Just it doesn't really matter that you have a plan because most of the times it's not going to happen. So might as well just go with the flow and just let it happen, let it be and whatever happens, happens. So that's why I don't really know if I'm going to use a lot of water. I think I'm going to be using these colors, but I might not. So it's just the mystery. That's very dangerous. You have our inks year thing I also like to have is to have a little piece of paper to test up the colors. So this is just a misprint that I have and the back is perfectly fine. So we're going to go with that. And this is going to be here. My little papers are all around me. My swatches are here and we can get started. I try and do a wash. What I want and where I kind of can because I think for now I'm going to be placing the skin tone. So for me, I don't really, I don't have a specific brush. I like to use soft brushes for the beginning and then I like to go with more structure. Russia's. So I tend to go for it, go for a mop rush to begin this whole process. And then I just go for brushes and brushes. But I love, love about Mach brush to just lay out everything. What am I brush? We are going to go for the skin tone now, just so it's the lightest color that we are going to be using, most likely. So we're just going to be placing our lightest colors first because like I mentioned, tens Lipsky and Jelly Bean blue, lift up like ANC, nobody's business. They're going to be our last colors. We're going to be doing everything around it and then finally placing those colors. So we're going to start with our skin tone. I mean, sit up a little bit and just testing it here just to see how it is. That is perfectly fine for me to go straight and I don't try to control this bed a lot. And this is quite different from what I do in watercolors in the terms that I would just go hole around the piece, leaving a tiny hailing from unknown. So and water colors, I would most likely just go all around the piece, but since these colors are not waterproof and they do lift kinda easily, I tend to try and not place them on top of each other to too much. So we're going to go, it's going to be placed, for example, I won't be placing any blue in here even though I could, but it might disrupt the piece a little bit. So one thing I'm going to be placing already is going to be a blush. So I know I quite like doing a little bit of strawberry by croon as a blush because it just looks so nice and soft. So I'm going to be placing it a little bit here and there. Very freely vary. It just goes wherever it wants within the pool of water. So it's our little control that we have that we know the ANC Mongo from the pool of water. So that's our little control. Everything else is just free ball. So I'm going to be placing some stars here inside, but I think for now they're going to be doing, I think I'm going to be trying to make already the colors of the clouds. Let me try and quickly erase a little bit this line. Because I added the clouds afterwards. And I want the clouds to be over her hair. So starting with a very little light wash of this. So we're going to start a thing with peachy et. So pretty, it's pretty. So I think I'm going to start with a little Wash U in the background. And I might, they might do it quite like fuzzy. And then go over with some more details. So at the moment, this is kinda like a background wash where the colors are just a little bit fuzzy. To do sort of a mood. If you say, if you want to, you can try and soft and some edges hard and some edges. But I do want her head to be not with this color, so I'm not going to go overhead. So her hair is going to be ending this bits. So I am going to define the already. So these lines are going to be heard just laying down this color. And I just want this to be super fluffy and nice and cozy. So you can always had sort of a mood idea what two colors going to be doing some little Romania here? I might as well just melted Romania stopping recruitment. So I'm just just taken it down. I want this to be a full-frame. So good thing. We did our tape. No, we didn't know though. So it's always nice to just nude a tape. So this is going to be hurt a little cloud bed. Now with inks. I quite love just heat gunning it to dry because also creates some very nice effects. So this is my heat gun. I think I have showed it in every class that I have here because I just love this thing. If I would have to say an item that really sped up my process would be the heat gun because it just allows me to dry everything rather quickly. But one thing you could see, the highlight in the nose is still here because we left this little pool of water, not go there so it didn't go. So you can always control your water, your ink, where your water is. It will never go where it's not water unless it's super crazy. Think, can also see that these inks don't flow a lot. Some inks, you put them in a little bit of water, they go five-mile Thirlmere. This ink pretty much stayed in the region that where I placed it. Actually quite an easy aimed to control and predict and get to know your inks very well and you'll definitely get better with time. 7. Shading: I'm going to start building him up a little bit already because even though we have not touched a few bits of the painting, it's totally fine to jump around. I do, I do this a lot. I jump around on the painting, especially with ink, because in water colors I tend to be around the same stage everywhere, but with inks, I like to go with places in places just because I can't be certain that I won't have to touch it again, and I won't have to use that color again. And it's just nice to be able to see the values that we're going to use. That's also nice way. Might do a little bit mixing here and bringing in the pink eraser, paying research, super bright. So that's going to be one of our last colors. But doesn't mean that we can't mix it a little bit with our current colours and bring it already to the play. This is just soft shapes of cloud, nothing planned. As you can see, I have no sketch here, and I didn't even plan this before, so not super smart. But we'll see how this comes out again. You can soften some edges. Doesn't have to be perfect still. We are in the beginning stage, don't worry, you can also drop a little bit of the colors in the clouds itself. Creates some little color variation within the clouds. And I look, again, I'm going to do one here. One here. So this is all up to you composition to want to do. Though, I recommend that you do your own piece. You're on drying and just have fun with it. So this is kind of it for now. I think I'm going to do a little bit of shading on her face. So for language, grab a teeny tiny brush. And I'm actually going to grab little Romania right here. Because I like to shade faces with a quite a light-colored, especially in this case, because I want this piece to be light and fluffy. For example, I think if I go with this direction, this may be too dark, so I'm not going to use it in full, full color. We'll see, but I am going to quickly just shade this a little bit near her eyes. And her tiny tiny knows. It's going to be in shade as well. From mouth to mouth. And her forehead a little bit because it's a big forehead. I'm just going to water it down here. So it's not a super harsh edge. So she doesn't have to be super precise as well. I mentioned, I don't try to over control, Inc. and it's just fun to let it be to let it do its thing. And maybe if you do want to control it a little bit, always do it in a stage at the paper is super dry. That if you're trying to control ink when the paper is wet, it's not going to go well at all. At least you're not going to be able to control it the way that you want. So even after it's been dry, this is already dry, senses a little thin layer. So the ink stone dry a lot on the pan, but on the paper that dry quite quickly, especially if they're thin, since they are made for writing. So they kinda have to dry relatively fast on paper, so did on smudge. When people are using them in fountain pens. Kinda the shading of the face for now, I'm going to just adjust her nose a little bit, just a tiny bit because its went a little bit annoyed. And it's also very nice. You can do, for example, since this doing now it's to drop water in the ink while it's wet because it does do that little blooming, in fact that it does in water colors. So it's a really nice effect, totally recommended to try doing it a little bit for her hair. I'm still thinking maybe do a little digression day, maybe blue or maybe purple on the top. Well, maybe purple in the top and blue on the bottom or maybe a mixture. So I'm going to quickly dry the clouds. I also went and pick up this yellow. This is a freshly squeezed sunshine, super pretty color like all of them. I'm going to be using these for the stars that I went inside the hair. Now one thing is, I'm not entirely sure how I want to do the hair. Somewhat. You quickly test here on my side. So grabbing will cotton candy. I'm just kind of a shape here. Very messy. And then Urania, I just wanted to see how I like better if I like the purple on top editor or the blue better on top. And look either something I'm going to do, just blue hair with a little bit of little Romania in there. And I'm just going to go to town with it and make it a little bit more wet. So it's easier to then if I wanted to place some little dots of the romania could actually added here in this little crease. So the Harris, So shadows. And I'm just doing here. Little line for this is not as blocky oval shape. So you see I already changed my mind. Oh, I almost went the wrong way. So they have this little bit well, it's already there. Luckily, it's not a true dark color. So what I did here is I went to the hair light is going to be dark. If he was the other way round. If I went with a dark ink on the area, that's going to be light. We had a problem because it doesn't really budge. That's, I think that's the thing people are quite scared of. Ink is once it's down, it's down. Like with other color, you can very easily maneuver it, lifted and remove it. If you do a mistake with AN config more difficult ran, it's down, it's really there. So that's something that I think tends to scare people. A little bit of ink. It challenges me and it needs me. It makes me want to, It makes me have to embrace the more crazy side of ink because if I try to control it and freak out whenever something happens, it's just I'm going to wear and won't be able to use it properly because I'll be always freaking out like, oh, if something happens, what do I do? So no need for the next four friends doing your little bank saying nice that I like to do. Don't ask me why. I just like to do these. I think they framed the face quite nicely and a little bit more here. I think I like it. So like while the other one is, so I'm going to surround the ear and the eye and much prefer that. And this is kind of our bluish tint. So yeah, I much prefer this then going all crazy. I think I might do a little bit of Romania here. Shadowing this little bit and a little bit here and there. Nothing crazy at little bit like a shadow. That's kind of it for little romanian this piece. But it's fine. It's not like it's an acrylic color. I can still uses in other pieces, so it won't, it won't go to waste. 8. Rinse and repeat: I think I'm gonna do some more clouds. Clouds so it can see that I'm doing the clouds pretty on and off between stages. And that's totally fine. So this stage is pretty much rinse and repeat. We are creating details with our brushes, going back, seeing what we want, and just defining edges until we are ready to, if we want to, of course, use line art. I don't always use it. And I don't use it in all of the places, for example, I don't I feel like I want to use it in the cloud or anything else. I think I'm going to live this one quite simple. I might do some lines, maybe in the hair. That's something I quite enjoy doing. I'm feeling this is quite pink for men. Do they're going to give a little bit of little Romania chance. Let me see. Maybe. And I went to try and create a little bit of a darker color here and just place it here. Maybe it was a mistake. We'll see it's not so pink and have a little bit of a contrast here, there. Because Biggest find pink is lovely. But maybe pink. Pink needs a rest sometimes. And when to use small and here, the weird angle. And again, forget all of this will be hair. So to not do any lines there. Here. Purple, I think it's I think it's giving a bit of a depth to it and I quite like it. So I might even do one here. Because clouds do have this color variation. May are sometimes more fluffy green. Moreover, fluffy gray, sometimes they're blue, Sometimes there is coloring this bit here. They don't want it to be too pale. And I might drop a little bit of struggling macaroni in there. And you can see it's just trying to find what works. And I'm going to do a big one here just to break up this shape. I'm not going with a particular route. I'm just going with what feels right. Works. Again, sometimes it really doesn't. Most often than not doesn't really work. So that's okay. We learn from it. At least I do. Or I tried to. This bit seems perfect for a purple one. To break up this shape. It's going, it's going somewhere. So yeah, and I did try this. Now, it's fully dry. So what they're saying we're going to do is we are going to go with our stars now because I think we are actually reaching that point where I really must do it. So I think for this one I'm not even going to pour it because it's just going to be a very small amount. Testing it quickly so to see if my brush is clean. And we're just going to just start. I am going to be painting around these later on. So it's much better to have them already painted because there is no way I would be able to leave the spaces out and then paint with Jelly Bean blue. So we're just doing this. And if I go over these with the jellybean bu it's fine. He would not even be visible. That's how deep the color is. To try and do them quite thick because they're right. It's going to be quite a pain. And it is quite a pain, but I just love how it looks. And I'm still not fully convinced I'm reusing the jellybean blue. I think I might prefer to do sort of a mixture of both. The next guy and doubly Jelly Bean blue, because the blue color is just too strong. And this illustration, it's looking so light and fluffy. I don't think I want to weigh it down that much. Then quite enjoying the fluffiness of it. And again, totally fine to change your mind and to not do what you thought. So this is good enough for me. So not even worth putting down the color inside of the Well, because I knew I was not going to use that much. 9. Darkest color: During that time, I'm going to quickly try and mix something in between the blue and the purple. So I'm going to take away are drying because I really don't want to mix it. So as you can see, this is a Denzin sky to predict color, and this is the boom. I think it might be too blue for this piece, the look of it. So I think I'm going to try and do a little bit of a mixture here on the side, since I have this room here. And to try and do a little bit of a mixture water down martensite sky quite a lot and just a dollar per two of the blue in it might be to glue. I don't I don't want it to be extra blue. Water it down. Quite want us to be big light. So these colors work great, mix together as well, which is something I love about them. So I'm thinking this blue will be fine. But I will water it a bit more. Just loved the purple. Yeah, I think a much preferred this tonality of a rich dark purple rather than a stark blue. So that's where we're going to go with. Okay, now to just quickly dry the yellow, this stage is quite terrifying. I can barely breathe and I'm doing this. I'm now going to be talking and I'm just going to speed this one over. The tape is just going all over the place at this moment, but I'm not going to be talking. Just wish me luck. Right? Right. Thank you. Okay. I'm actually going to leave this one to dry naturally because actually the break by rescuing me. So I'll see you in a second. Welcome back. As you can see, I had a break and where I clean white males my hands at least a lot, but this is still probably say for a few days, but it's okay. So at this stage, we're getting there. I think we're getting there. I do like how this park turned out. And you probably can't tell. I in the middle of it left a few whitespaces just because I felt it needed it. You just see me iranian stream or from the path that I said I would take. But in that just the way. And I think at this stage we are ready to start refining more in more detail. So Rhonda do, it's probably just taking the 10-minute checking how it is. And I'm just going to start doing the eyes and those sort of details. So just doing a giant eyelash basically. I tend to do the eyes quite simple. These days. It's all a matter of personal taste and style. Make them a bit more detail. But in this case, I thought it would look cubed k in terms of lips. I think I kind of want to do a mixture of Tanzania with thinker racer and just do a purpley, tell ME maybe a bit more ten tonight. Just because I don't feel like introducing pink here in the middle. I quite like this whole quad area being blue. Let's try first to media and everything is super tried his point. Be careful to not have anything wet or any wet spots because those can really ruin the whole thing. I sometimes would even separate the bottom lip from the top lip and make them a whole shape. And I quite like how it looks for the eyebrows. They're supposedly the same color as the hair. So I'm taking the blue cotton candy mixing a little bit with the purple that we made for the whips. Just so we make a little bit of a dark ruin. And this, these eyebrows are going to be just tiny circles. I quite like making these. I went for a very simple, very easy. To me drawing so I could just focus my energy on the ink that is pretty much the face done. We then need some more details and I had little design here. I'm not sure if we're going to do it. Maybe just because the forehead is quite empty, this character has a big, big forehead. So I'm going to just as well enhance some of the shadows. At this stage, I'm just breathing, retouching anything that I feel needs retouching is going here or there. In seeing what I feel needs to darken values. This point is just assessing where we are and what we want. So I'm also going to darken the nose a little tiny bit, going back to this shadow here and make it a bit more prominent. At this stage, we can also do a few shadows here or there. So I'm going to mix a nice purple. Always testing the paint on my side, always goes again. There's those bother I don't like it. I can't really change it. I'm just doing a few lines here. I know. Would need a bit more than mentioned. I might still do some line art in the hair and things like that, but I have the feeling it will be a very light line north. So we're going to try and do a bit of dimension with the shades. Not a lot, just a little bit in the front bits. And these bits tend to frame to the face. I quite like them to have a bit that I mentioned. And I also have this part of the hair here. I'm going to make a bit of a separation as well. And that's in front of the years. And this is just layering, layering and layering more. So it really that bends. This paper is quite nice. It's so mom texture. I quite like to use non textured paper for these types of work because it just allows me to focus on the layering. A textured paper will give a bit more noise when using it. So ever since I kinda more understood these inks, I started using only very flat, very non textured paper, so to speak. For example, these were my first drawings with this inks. They're quite nice, but at first I was also not really sure what I was doing. But you can tell they have a whole different look because I learned that please inks really do shine in a non textured paper because it just allows it to layer beautifully. And it's also a matter of your own tastes. For example, I love using the intellect is, but you might prefer that texture. Look, I myself. Just really love letting the ink shine on its own. I'm going to put this bit here in the shadow. Just a bit. So it's all the bits that you want to enhance or not. Speed needs to be darken a little bit more. So I can separate it from this, this top end, for example, you can see the little Romania bled out appear. And that is totally fine. And I honestly am super-happy that it, it, it creates a sort of a continuation from the head to the hair, and I love it. So just don't be afraid to embrace the loom stakes and sometimes even brought with them to be completely frank. I think her face is pretty much done. I might just do tiny lines in the nose and ears and maybe define her face a bit bar in the bottom. But they'll be in the final, final stage. So for now, we're going to go back to the clouds. 10. Detailing the background: The cloud need definitely some work there too fuzzy. They're just not defined at o. And I want to change that and just go over everything and see which ones need to define lines, which ones need to be darkened, which ones need to be lightened. And we're just going to power through this drawing. I'm just using this little corner here to create my middle mixtures. And again, these inks mix beautifully. And it's always fun to see what kind of mixtures can create. So I want to define this one. And when I say that fine, I just want to make the edges a bit more clear. And sometimes I can even do this. Create negative of a cloud. And then we have a very light cloud in the middle of that. And I'm going to go over this one here and see this line is super blurry. So we're going to sharpen that. Even the one that we just did, it's quite blurry here at the end. Kinda live. No, no, I started here, should have started here. It's always nice to start from left to right, but I also have this whole area wet. So now work here that I'll try everything and then what can decide. Because if I had started working here, my hand would just smudge everything and we don't want that. It's a big, sad moment when you smudge your work by mistake. Peach color and make it tiny one here. I won the ones next to her to be quite light. Careful to not touch the purple hair because this color lifts whole lot, so I am not going to touch it at all. At least try not to do that. But here I touched it a little bit. Hopefully I won't touch it anymore. So doing another puerperal role here for this one that's just a sad shape. So again, this stage, just refining and refining and refining. Until you feel either you want to live this alone, you definitely don't need to do liner. I am feeling very tempted not to do a lot. I will only do a little bit, mostly to show you how you can integrate lineup, but I definitely don't want to touch the hair. I think the hair looks all lovely the way it looks. I definitely want to do a little bit on a nose, hears him, maybe a few details but nothing crazy. I want to leave this illustration quite light and fluffy feeling because I'm just loving the whole look it's giving and I definitely want to preserve that. So I'm just going back and forth. I'm at some points not even washing my brush between colors. Because especially in this case, since I'm using so many similar colors, it's totally fine if they have a little bit of mixture in between them. I definitely don't mind if they are a bit similar to each other. Once again, you can draw colors. Here are their honestly thinking This is looking to defined, Looking at it. So I'm going to smudge out some of the edges, is looking to define actually I quite like the software. The look that this is the silicon, more like hills like this. And that's not really what I want. And it might not look like it's smudging and beginning, but it will soften a little bit as it dries. So I'm going to so often this bit. This bit. Okay. I'm fine with it, but I don't think I'll touch it anymore because it's already a bit to BZ and might go DO with each again. And basically go against what I said earlier. And make some more shapes here on top. Just because I feel like this part of the fibrous getting EBIT to empty. And I feel like you need something here. But once again, I'm going to really wet it and let it flow if it wants. So going to wet the edges here and possibly just take the water ALL across this paper and wherever it wants to go. So it basically just eliminated pretty much all the white of this illustration. Could think I'm okay with it. So I'm going to keep working on the cloud's not too much I'm starting to fear I might overwork it, so I don't want to do a lot more. Only defining the few bits hero there. It's nice to know when to stop. And I definitely sometimes don't know that. It's definitely a skill that you require to know when to stop working your piece because sometimes it's just too much and you're piece needs to breathe and to be able to just be itself in a way. Oci, for example, I was going to do something but no, I like, I like this shape, but I just want to color it a bit more, but I don't want it to be defined. So I'm just going to call her that no edge whatsoever. Here. I think it needs an edge. So I'm gonna do is darken that. I'm color this area here. See I love what's happening here. And I wish that were to happen someplace else. So I think I'm going to draw up some bit here and hopefully something alert motor similar happens. You can't really replicate this on purpose. Some people can. I'm not great at replicating these types of effects. So I just kinda wish and cross my fingers that it happens because it's just too beautiful. Okay, here I definitely want a darker area. So I'm going to go with this bit here and not going to touch it more. And I am going to do a little shadow here. I keep saying I won't do stuff and then I immediately do it. But I just felt like it needs something after this area's dry. I might go with a fairly tiny line here and just do some separation. I might do that in terms of separating some shapes because some definitely need some separation from each other. For example, this, I love what's happening. Here. So I'm not going to touch that cloud, but I definitely want to define some bits here in this area. But I'm not touching that cloud at all because I love what happened there. Taking peach and mixing it with a little bit of starving macaron. These are very similar colors, but I like to mix them anyway, which is doing some. And we will shapes here that I love this little mixture here as well. And we're going to leave that one untouched, but I am going to create a darker cloud here. And that's the most I'll do at this stage in this area. I think that's it. And I think I might have messed up this one here, so I'm actually going to try and remove it a little bit more. So taking one of my papers, that's more subtle. Beside this moment, I think I went to dry everything. I need to see how everything looks when it's dry and see how everything is looking. I definitely want to make some very tiny, tiny details taking a brush still, because this to me is still very soft details. I can get much software details with a brush rather than a depend. So I'm going to mix again these colors. The eraser is now much darker. Mixed it so much. I might actually just go directly for lists color like the, so maybe it may mimics. And I just want to do tiny, tiny, tiny, tiny, just very small shadows almost between some of the clouds. Because some definitely need that separation. Just for example, like this. They don't even need to meet at the end. I just want them to have a clear separation from each other. Just because I think some me that to shine even create very tiny ones in this stage. So I'm just creating some small here. They're using the more pinkish zones. And this is subtle. I'm not trying to go for a super dramatic effect. I just want to create a bit more of separation that I feel is needed in this case, nothing super crazy. That's why I'm actually using the brush because it tends to be a much softer results when using a brush rather than doing it with a depend. Because on a brush, you can still have a bit of water and it can still get some effects. Then it's a much stark results. So I definitely will leave the dependent for very sharp details that I want. And these are not the case. I definitely want soft, fluffy looking lines. Some cases I might extend the line, but I might also do some pink on it because definitely works better that way. In this case, we're talking about a color line art. Almost am. I pretty much 99% of time use a colored line art rather than straight black shoes because it creates a much more cohesive and fluffy light looking piece. Don't get me wrong. Black line art looks awesome when Hughes and I just, I just much preferred fluffiness. I might even actually inject a little bit of struggling records in here. Just so it's a bit more dimensional. And we're getting there, we're starting to get there. And how I have to do this. At least tried not to rest my hand on the paper. For this one, this shadow here. Again, I do not want to touch this bit. I love that, but it's, I think it's my favorite one. So I'm going to go in the back here and just create a shape all inside this other shape that we're almost filling out now. But I definitely want to darken some of these here. So all of this is just a case of fiddling with it, seeing what works, what doesn't. And pretty much at this point is just a matter of personal preference. So I think now we're going to dry this maybe for the final time. And we're going to go with a depend for so very quickly. Tails. 11. Dip pen time: This is my depend I don't use any given particular I think this one's I don't even know what it's called. But what I'm going to do is I'm going to take it and lipid in the mixture that we had for the light, this dark hair. And I'm going to use that as our mixture. I like to make the line art as dark as the darkest color in the illustration. I don't know why. I am not sure if the liner to be darker or not, but I like how it looks. It doesn't give you a super stark line art and I quite like it. So I'm always testing the line here on my tip, my tiny piece of paper because I want to make sure I don't have too much ink on my paper, my deadpan, I'm going to do a little bit of the math here. This is his layered. This should show us not probably very much, but a little bit and tiny. And those marks this bit is always scary for me because it can definitely ruin a piece. So I'm also just stark Nisbett little bit of a line here, line there. And just defining. Always super careful because like I said, this document can grow in a piece. This bit is definitely the scariest for me always has been. That's why I kinda have avoided liners for many, many years. And I always do it. Just a little bit suggest because it's still so scary. Maybe a few lines here are there. So maybe line here. Very light, very just a tiny light. I don't wanna do thick bold lines. Because again, I want to preserve the lightness and the fluffiness that we have. So just going here or they're very light, very, very light. And again, that's for me. I like fluffy enlight illustrations, so they definitely don't wanna go overboard. Because again, once this is on, it's on. I'm going to do a line here to separate room. I barely breathe when it comes to stuff like that. And here. And then otherwise, I'm not going much more than that. And we will see I always say that and then I never do what I say. I definitely want to preserve this mix here. I am going to look tiny. Initially, they're just two separate. What the point of me of using these line arts is to separate any objects that I feel need separation. Which is an example here. I'm not sure if I want to separate the hair from the core routes. Why it like how it looks fits Karen. Missing that I'm not sure if I want to do it in my hand is barely pressing on paper. This is all done just a matter of control. Same way I can do line art with a brush. It's just control dampers trying to deal with Islam. I don't love it. It's already there. So I guess I gotta, gotta commit very tiny. I think I'm even going to do the other side of the I guess when the super thin thin line yeah, that's enough. That's enough. I do not want more than that. So what I did, I just turn the nib either side. But just don't mess up anything. And this to breath and that's it. I don't know if you're as nervous as I am. I am poor, plenty of nervous when it goes. These bits here, that is the line art hearing the character now will see i'm going to add just something to the forehead because I had this like design here in the middle. I wasn't enjoying the whole look, but I definitely wanna cut something. And quite like I think I'm going to add like a diamond. I tend. That's quite cute in character like this. So just a small diamond. Now the flora already looks much more filled. And it's not a complicated design that are super simple. And I think at this stage I'm going to remove the tape just so we can access what they have and see if we need to add anything. I removed the tape. And this is what we're working with right now. I think definitely need some more details in the clouds. So I think I'm going to go with the depend again and see how much ink I still have. I have way too much. But I can definitely reuse these, so it's totally fine. So I think I'm going to, for this ones, I'm going to mix very special shade just because again, I don't want it to be too much. So now taken depend again and just swirling around here. And this time we're going to go this direction. So I just want to do some sort of a bit too much, not as much, as much. I just want to have some separation, but it's all I wanna do. I don't want to overwhelm the clouds because I definitely like how they work. Yeah, for sure. Like these type of separations. Be careful because the paper can start like tearing apart, because this is a sharp tool. And sometimes you get little fibres of paper in the middle like diet and that can create some wines and you don't want to. So o is start picking on your nib once in a while. Just so you're sure that once again, I did this, I didn't listen to myself. That's my problem. Say We're going to stay in this side, so we're going to stay on the site. And I'm still bidding node if I should add some almost like stars or certain details in the clothes. Cuz they're really kinda busy. But at the same time, not what I should do. Just I don't know what to do. It's not a fear of it might go bad. I mean, in ink, I definitely, there's definitely that fear even though this is a class to help you move the fear. If you're not super Sharif something, one trick I tend to do is take a photo of it and either take onto your computer if you have like a drawing tablet or your iPad, if have one and just draw on top of it. And that's sometimes really helps me when I want to do like a big decision, whatever medium it is. And I have to do like a super, or at least I'm thinking of doing like a super big change ever really helps me to see if it works. Because that way I can see how it looks without actually doing it on the piece. As incredibly helpful. Yeah, I think that that's healthy, works better in a few places. See, I love how this turned out. And this was, I think because of we have so many colors mixed in there. So I definitely love mixing colors and see what we can come up with. So that just don't stick with the colors that you have. Always go. I mean, if you want to, if you feel like you are infrared, just try and make some colors. Example, I have so many colors, I don't really need to mix them, but I like how it gives some extra dimension to the colors. Even it's very rare for me to put colors straight from the bottle. In this case, C, Look at me doing what I said it was going to do, are now on the right side. It definitely wants something more. It's definitely missing. I'm gonna go for it. Let's start doing some months. You some sparkles come shiny. Black dots. And I just feel like they needed something. Some sort of texture. For example, we can also do with knees, lines missing. I wanted to have fluffy Lightfoot clouds and then me doing lines. Like I think yeah, I think we're going OK. I'm just like do a couple more here and think I won't call it done. To see how I never want to touch this bid. I just love it so much. And I'm going to raises the particles from the clouds. Come take it here. And I'd definitely like mixing the pink eraser with the strawberry macaroni and the PC because it creates so many different tonalities of pink that I just, I love it. It's something that I really like experimenting and seeing. How many tones of pink you can get. A lot. Like, oh no. Now I messed up. I see I placed my hand there. Okay. We're going to have to go for a bigger sir right in the end. And neither going to have to be stars in them. That's why you go left to right. And I gonna kinda now have to make that one bigger. That's it. With this line here. That's a paint that you need no more. This is our illustration. 12. Final thoughs: I hope that when this grass you are a bit more comfortable with ink and learn that it's okay to let the materials do their own thing and we're going to peace. Letting go of full control can sometimes create amazing results and it's totally okay to just let things flow. Of course, there are parts that require more controlled and others, like the case of inking liner. But being at ease with that part comes with time. I was super terrified that doing Leinhardt at first when I was learning how to do it. So ticker dime practice and you'll get the hang of it. Please don't forget to share your projects with me. I will always look to see what you created. And if you have any questions, any doubts, please don't hesitate to reach out to me. I'm always here for you guys and I'm always happy to reply if there's any materials or any classes that you like to do, please show Filipino I'm always had for the hearing guy suggestions. Hopefully you had fun and you enjoy this class as much as I did. And I'll assume on X1.