Animal Drawing: Draw Five Colorful Ocean Animals with POSCA Markers!

1. Welcome to Class!: Hey, there. How are you? My name is Andy Von, and I'm so happy that you have decided to join me here for this class. I enjoy working with alcohol markers, pascamrkers and colored pencils. And sometimes I even like using artery and even more, such as acrylic paint and watercolors. And doing something called mixed media. Over the past ten years of my artist's career, I have learned and gathered knowledge on how to draw and paint. And over the past three years of teaching, I have learned what appeals to my students and how they learn best. In this class, I want to help build your artistic abilities. Here's what we're going to learn. In this class, this class is a group of previously hosted sculpture classes of ocean animals. We'll be drawing five animals, including a clownfish pair, a trelllyfish pair, a sea turtle, octopus, and a blue tanked fish. And we will draw all of these animals with posca merkers. I really like using posca merkers because they are very vibrant and colorful. The materials we would need for this class are covered in the next video. And you can also find a list it things below this video in the about section. We're going to have a lot of fun today using vibrant colors. I invite you to check me out on Facebook and Instagram at Andy's Artitude. You sure to also follow me on Skillshare so that you see new classes whenever I upload them. And if you have any questions or don't understand something in the class, I would be more than happy to answer your questions. So just post your questions in the Discussions tab. I also invite you to feel free to share your on Skillshare. Let us all see what you've done if you'd like to. I would love to be able to check it out and see what you've done and know that your work can be inspiring to all of us. I also wanted to announce that I'm now offering one on one sessions. In other words, private art classes. Via Zoom video call. These are live classes with me, and we can animals, landscapes, portraits, work on something that you want to improve on. These can be ongoing classes or just what off. I offer different lengths of classes from 45 minutes to an hour and a half. So feel free to check this out on my class profile. I would love to be able to meet with you and chat and create some awesome artwork together. It is now time to start this class. So sharpen your pencils and let the class begin. 2. Materials for Clownfish Drawing: In this segment, we will discuss the materials we need for this class. So I provided a full list of the material, and the links to these are located in the about section below this video. The first and most important material we need is a black illustration board, and I will be using a crescent board. I really like these for drawing Oscomkerson. Now, if you have another type of black material, that's fine. If you have something such as a jewelry box or something else that a star in particular plaque, that's great. But I will be using this black illustration board. And the reason I like using a black one is because I find that the Pasco markers with their vibrant colors show up best on this black board. We will also be using Posca markers in a variety of colors. Now, if you have another brand of acrylic markers, that is fine. I prefer Posca markers because I get the best result from them, but any other brand is fine. The colors we need for this class are black, orange, light, blue, red, violet, white, blue and yellow. And we will also need a white colored pencil or another type of light colored pencil in order to do the initial sketch. I use a white pencil so that this sketch shows up on the blackboard. If you're doing this drawing on a white piece of paper or other surface, use a regular pencil. 3. Initial Sketch: To start up my drawing, what I will do is divide my canvas into thirds. By doing this, I will be able to better place the clown fish in the locations that I want. Instead of them being in the center of the canvas, I want them to be a bit off center. Now, this step isn't necessary for your drawing, but it is an option for you to consider. We will now come in with our white colored pencil and we will place initial lines to indicate where our clownfish will be located. Adding these simple lines with and end, give us an idea of the length and size of our clownfish. On my drawing, one end represents the front of the fish, where the mouth is and the other end of the line represents the end of the tail. I'm curving these lines a bit because I will have my fish flowing and curving ever so much through the water. Now that I have these lines established and I know where my fish will be located, I'm going to go around part of these lines and draw in the shape of an American football. In other words, basically, an oval. Now that we have the body thrown in, we can come in and draw the tail. So I will start by drawing the first part of the tail. As you can see, two curved lines that flow out. And then at the end, I will connect these two with a curved line to form the tail. Next, I will establish the eye, which will be along the center line near the front of the fish. Next, I will draw the first of the white stripes on the fish. This one curves towards the back, in other words, away from the front. For the second stripe, it will curve towards the front of the fish, doing the opposite of what the first stripe did. And the backside of this stripe will be mostly flat with a little bit of a curve. And for the final stripe, it is just a small section on the part between the end of the tail and the body of the fish. Now that we have the stripes done, we can come in and start adding the little fins on the fish. I will be focusing right now on the upper fins. The first one on the top of the fish is between the first and second stripe, and then the second fin is between the second and third white stripes. Next, we will draw in the little fins at the lower part of the fish. These are a bit of a strange angle. So we will throw them in by adding a little loop for the fin that is closer to us and the secondary fin on the other side of the fish or to see a little curved line. To finish this cloud fish off, we will add in the lower fin right here at the back of the tail. It goes from about the bottom of the second stripe all the way back to where the third stripe starts. For the second fish, I'm not going to narrate how I sketch it out. It is the same as the first fish, with the only difference being that it is facing the left instead of facing the right. 4. Initial Layer of Marker: We're now going to come in with our first layer of marker, and we will be using an orange marker to add in the orange of the fish. So we'll go in and just color in all that's orange on the fish. Next, I will grab a white potica mercer and coloring the white parts of the fish, the white stripes. And when doing this with white, sometimes you have to add more than one layer, and that's what I will do. I will add in the first layer, at a try, then add a second layer, and then try and add a third layer. So and see how many layers you need. You may only need one. You may need more than three. Just to see how many layers of white it takes, take it the white that you desire. And if you're working on a light background, such as white, instead of a black background like I am, you don't really need to add any new white, or you may only have to add one layer. 5. Fin Details: Now come in with a black Bosco marker, and we will be working on the fins and I. We will start out by drawing do that for the eye. We don't want the eye to be too big or too small. For the fins, what we will do we will start by adding a line around the edge of the fin, and then we will drag this nine inwards to add some of the spine of the fin. So I'm just dragging my marker in towards the fish and letting the line feather out as I drag it along you did h So. So We will also at a thin black line along the two sides of the white stripes. This will help these white stripes stand out even more and also have a bit of a separation between them and the orange. We will finish this section off by adding in a little mouth for the fish, and the mouth is in the shape of a little frown. You did. 6. Highlights and Shading: We will now start adding highlights and shading to our fish, and now will be using a yellow posca marker. And to start, I will add a little ring around the eye, as well as a bit of yellow over the mouth. After this, we will start adding yellow at the top or upper part of the body, and we will do this all along the body of the fish. And the way that we will add this yellow in is by adding it a little stipples. In other words, little marks, instead of adding just solid yellow. As I do this, I will also add in yellow to the fins by adding in yellow lines to show where the spines of the fins are. So I will do this all along the upper side of the fish and adding in these yellow spines to the upper fins, as well as the back fin. H. I will now come in and do basically the same thing that I did to the top of the fish using the yellow, but instead, this time, I will use red. And this will start to build our shadow on the lower part of the fish. We will use the same stipuling technique as well as drawing the lines on the fins, and we will go from the front of the fish all the way to the back. Good. 7. More Highlights and Shading: In this video, we're going to be adding some shading and more highlights to our clownfish, and we will begin with a purple Posca marker, and we will follow in the same area that we previously added the red in. In other words, at the lower part of the fish, we will continue the stipuling effect that we've been doing so far and what this while it is doing is it's building up the shadow. A I also riding some of this let in the upper fins and a little rod right around where the fins and the body meet. Another thing I will do is add in a bit of the violet right along the lower part of the ring around the eye, just to continue the shadow effect around the lower part of some of the areas of the fish. Now we will come in with a white posca marker, and we will apply this just to the very edge of the fish, adding in this highlight to make it look like there's light coming from above. We don't want to overdo it and make it look like there's white or stripes on the fish. We already have those in their designated places. We just want to add enough white that it looks like there's a bit of a light shining from above. Next, what I'm going to do is come in with an orange marker and add just a bit of orange to that mid section of the fish all the way from front to the back. And I'm doing this to intensify the orange in this area to make it really bright and vibrant. You may not need to do this, but in my case, I want the orange to really stand out. Next, I'm going to come in with a bit of light blue. And at this point, the white stripes look a bit flat, and I want them to look more ready like they're curving around the fish. So I'm going to come in and add this blue to the mid section of the white stripes going in with the rotates, the row stipplings. And this will be the first layer of color that I add to these stripes to make it look a bit more thready. Now I'm going to come in with a darker blue marker, and the regular blue, and I want to use this one to go in at the lower part of the stripes and add a t of this near the bottom of the fish on the white stripes and have it gradually filend in with the white and lighter blue as it goes up the stripes. This will help the stripes look more three dimensional and rounded. Finally, we can finish the white stripes off by adding another layer of white near the top of the stripes to make that white really intense and really white so we get this nice rounded look to our white stripes. And 8. Final Layers: To finish off this fish, we're going to come in with a light blue Pasco merker and we're going to add the ro dots or the row specs to the ends of the fins. We want the fish to stand out, and I think that adding this blue helps the fins and fish stand out even more. We're now going to come in with a black marker to with the final details, and we're going to go right along the very edge of the bottom of the body of the fish and then rotts along this edge so that we can darken up this edge even more and make it have a bit more shadow. You see that we go from the bright orange in the middle of the fish, and then downwards towards the bottom, we flow into the red purple, and finally the black, which is the shadow, the darkest part. 9. Second Clownfish: For the second clownfish, I'm not going to narrate the entire process. It is the same as how I did the first clownfish, but I encourage you to watch this glass until I finish the second clownfish because at the end, I won't be adding in the little fins, so stick around until the end. Oh. 10. More Layers: [No Speech] 11. Final Fins: Alright. Now that both fish have been cutted in, we're going to add in the fins on the side of the fish. And I wanted to leave this step into the end because I want to be able to add these and have them as if they were floating over the fish. And this way, they also look like they're on top and flowing over the fish, extending out and pushing the fish forward. So we're going to start out by throwing tangle with a black posca mercer, and it will kind of be in the shape of a pizza pie. We triangular in shape, but one end is a bit curved, so we will draw this in for both fish and remember that the pointy end where it connects to the fish is towards the front of the fish, and the rounded end is towards the back of the fish. As you can note, the black at the back of the fin is a bit thicker and more prominent. I'm now coming in with a bit of yellow on the upper part of the fin and also adding in a little spity scales on the side of the fin. No. Next, I will bring in a violet marker, and I'll add in a little bit of purple in here just to tone this orange down. I'm not covering up the orange all the way. Just adding in a bit of stippling and nds in order to cover up a bit of the orange. Finally, what I would do is bring in a white psicle marker and add it right at the top in the same area that I added in the yellow a minute ago. And this why nice highlight the top of the fin and make it stand out more. 12. Materials for Jellyfish Drawing: In this segment, we will discuss the materials we need for this class. So I provided a full list of the material, and the links to these are located in the about section below this video. The first and most important material we need is a black illustration board, and I will be using a crescent board. I really like these for drawing Osco markers on. Now, if you have another type of black material, that's fine. If you have something such as a jewelry box or something else that a star in particular plaque, that's great. But I will be using this black illustration board. And the reason I like using a black one is because I find that the Pasco markers with their vibrant colors show up best on this black board. The other materials we will need are Pasco markers. I will be using the extra fine point markers. And the colors that we will be using in this class are listed in this video, or also you can find the list down below. The pas colors we will need are yellow. Light blue violet, red, black, pink, light green, orange and white. And the last thing we will need is a white colored pencil for doing the initial drawing, the initial sketch of the jellyfish. 13. Initial Sketch: No Alright, so we're going to start by drawing the initial sketch of the jellyfish. And to do this, we'll be using a white colored pencil. And the reason is that this pencil shows up well on our black illustration board. So we'll begin by sketching the left hand jellyfish. And what I'll do is I'll draw a oval for the opening of the body of the fish. It's somewhat wrong ovo. Next, I draw the dome of the body of the chellyfsh. I'll draw simple arc up from one side to the other. Now, what we'll do is we'll draw just a few of the strands of the tail of the fish. So we'll go in and just add in these nice curve and long flowing tentacles. So now we can start drawing the second fish in the same manner that we drew the first one. We'll make this oval opening a little bit less wide. Well then draw the tome of the body again from one side of the oval to the other. And we'll finish off by adding in the tentacles. And we want them to go and crossing the tentacles of the first jellyfish so that they go in opposite directions. One thing to notice that we don't want them all in in a cluster, we want them to separate little bit and be free flowing. 14. First Layer of Marker: We will start adding our first layer of Posca marker using a yellow marker, extra fine point. So I will start my first layer by going around the outer edge of the dome of the chillyfsh Next, I will start adding in some curved lines, thinking about how they will curve around the dome of the creature. On the left side, they will curve towards the left, and on the right half of the dome, they will curve towards the right. And we don't want to colors all the way in solid, but instead have a bunch of lines that reach down and get a bit sparser or less thick as we go down towards the edge of the dome. All right, so there you can see what we want. And now I will repeat this process on the second right hand side jellyfish going around the outer edge of the dome. And then I will start adding the lines from the bottom to the top. Oh. In the same manner as the first jellyfish, these lines arch towards the left on the left hand or upper side of the jellyfish. And on the lower or right hand side, they arch towards the right. Next, what we will do is we will color in the ring of the dome, or in other words, around the opening of the body of the chillyfshO just coloring in that ring to make it nice and yellow. And I will do this for the second jelly fish as well. 15. Layers of Color: Now we will use a yellow marker to go back and add a second layer to the dome of the jellyfish. What this does is it brightens up the yellow even more and makes it more bright and vibrant. I'm going to keep this second layer of yellow to the upper part of the domes and add just a bit to the lower part in particular to the opening of the chelifsh. I will repeat this process on the right hand jellyfish as well. Next, I will go on the inside of the dome, what we would be seeing the opposite side of the jellyfish' body. And I will add a thin layer of nines throwing down towards the lower part of the body. We don't want to add too much, just enough so that there's a bit of color there. Next, we will go in with a red posca marker, and we will start heading in a bit to the inside or central part of the dome. So what I want you to do is keep adding lines, try to have them flow as if they were coming from the top of the dome and going down towards the bottom. We're going to keep the outer part of the dome yellow and not add any red there, as you can see, I've done, and it keeps that appearance of blowing that we want the jellyfish to have. We will now repeat this process for the right and chilly fish, going in, adding in our sparse red lines. I will add in a bit more to that central part of the jellyfish dome, have some nice bright red in there. And now so I'll go on the inside of the jellyfish opening and add a bit there on both of them. No, no, no, Don't no, no. No no, no. No, no, no. Don't no, no. No no, no. No, no, no, no, no. No no no. No, no, no. No, no, no. 16. More Colors: In this section, we will start with a pink posca mercer. And what we will do is add more color to the central part of the dome, similar to how we did with the red, we will do this for both jellyfish, and we will also add these colors into the inside of the jellyfish body. Now that the pink is dry, we're going to go in with a light blue posca mercer and mix in some of this color amongst the pink. We don't want to completely cover the pink. We just want to add enough so that there's a bit of this color blended in and combined with the pink. And we will do this to the dome a bit on the inside, also in the inner body, and also on the other jelly fish as well. And now we will use a light classical mercer and add in a layer of this over the blue, pink, red and yellow. We will add this light green in the same manner that we added the blue and pink, adding a little bit amongst those colors. 17. More Layers and More Yellow: At this point, we will come in with an orange posca mercer, and we will add this color in following what we did with the previous several colors, we will add this orange in in the same manner. Now that the orange has had time to dry, we will come in with a black posca mercer, and we're only going to go in on the inner part of the dome. In other words, on the inner part of the body opening, the oval of the body cavity, and we will add in a bit of black just to tone down some of these colors and give it a bit of depth, a bit of shadow. And we will do this for both of the jellyfish. Now, using a yellow posca marker, we will come in and brighten up the yellow along this leading edge where I'm marking now, adding some lines along the outer part of the dome, like I said, along the leading edge of the oval red in here. And I will also add in a few little lines that just go up ever so much on this lower leading edge of the oval. And now what you will see me do is just picking up this piece, adding in yellow here, adding it in there, and just gradually building back some of my yellow and adding it in various places. So that's what I encourage you and I want you to do is just keep working with your piece, studying it, thinking about what you can add, where there needs to be some more yellow. Maybe you don't need to add anymore, maybe it's okay as it is, but just play around with it until you get the appropriate amount of color. 18. Making It Glow: All right, now we are going to make the telly fish glow and we're going to do this by using a white posca mercer. We're going to do this by adding in white rinds and a bit of white along the outer part of the dome going around that perch and we will drag this yellow down a little bit into the lower part of the dome as I'm doing now. Oh. I'm also going to whiten this line of the oval, going over it and making it low, making it really have a white and bright appearance. In a way, what we're doing is we're pushing the back part of the chilifish further back in the scene and bringing the front edge of the jellyfish body towards us by making it brighter and more white. Now we're going to come in with a purple posca merker and we're going to add in this ever so much in the central part of the dome. We don't want to overdo it and arrase our bright, lovely colors. So that's about all we'll do there with the purple. And next we'll come in and add purple in the body opening of the jellyfish. We're going to deepen the shadow and make it more of a cavity by adding the purple. 19. First Layer of Tentacles: Alright, so now we're going to use a yellow pascamrker and we're going to do the extra fun part of this drawing, which is adding in the tentacles. And we want the tentacles to be very free, very loose. Some can be a bit shorter, as you've seen, I've done the outer ones. In other words, the ones on the edge of the tentacle area are a bit looser, shorter, and then the ones towards the center are longer. And I'm going to layer this yellow on, get it thicker and more solid yellow towards the center of the tentacle column. We can also have a few tentacles going out in another direction. We don't want them all to be contained to one central column or section. We want them to be free and flowing in the water. So we will do this for both of our jellyfish. And one thing to note is that we want the tentacles to reach all the way up to the upper part of the cavity or the opening of the jellyfish's dome, as you can see right now. And in a moment, I will go back and add in more yellow to the left hand side jellyfish, extending those tentacles to the very top of the opening. 20. Layers of the Tentacles: In this segment, we're going to use several colors that we've already used to add more layers to the tentacles to make them colorful and in a way similar to the body of the jellyfish. So we'll start out with our orange pascamrker and we're going to go over the same area of tentacles that we added in in the previous video with the yellow. Now, we don't want to cover up the yellow all the way. We just want to add enough orange to blend it in and get that colour down and mixed in with the yellow. So. So 21. Glowing Tentacles: We will use a yellow posca marking out to finish the tentacles and we will work on the central part of the tentacle column. And what we will do is add a nice thick amount of yellow in here. We're not going to try to cover up the other colors of the tentacles all the way. We just want to have a nice amount of yellow in the central part of the tentacles in order to make them look like they are glowing. We can also add in a few extra tentacles with the yellow that are flowing out and free. You can see I'm really thickening it up, right, in that central location. We're now going to come in with a white posca marker and make these tentacles really glow. We'll do this by adding a thin streak of white to the center of that coutumn similar to how we did the yellow just a minute ago, but adding just a thin streak right in that central area. You 22. Materials for Sea Turtle Drawing: This class, we will be drawing using Pasco merkers and the drawing surface we'll be using is a black illustration board. Now there are different types of these boards available for sale online and at stores. I will be using a Crescent illustration board. If you have an of dark surface. That is fine. I've had students work on jewelry boxes and on their iPads and follow along the class using my coloring techniques, but adapting it to their needs. I, for my part, like using these black surfaces because they allow these acrylic markers that are so vibrant and colorful to really pop. I love the colors show up so well on this dark surface. So like I mentioned, we'll be using casco markers. These are acrylic markers. There are other brands of acrylic markers. So whatever you have at your disposal is fine. I enjoy using posca markers, and I find the markers to be high quality. And in my experience, they don't tend to get topped up. But the colors we will be needing are the following yellow, white, orange, blue, dark green, light green, light blue, and sea green. We will be needing a white to do the initial sketch on the blackboard. If you're using another type of material to draw on, such as white paper or something, then in that case, you will use a regular pencil or pen. We will also need a dark blue colored pencil or some of the shading. Or if you don't have that, you can also use a black or gray colored pencil. I'm using prisma colored pencils. With that, we are done gathering our materials. So let's start with the class. 23. Initial Drawing - Part A: Alright, so I'm going to start with a white colored pencil. And what I'm going to do is mark on the black illustration board where I want the front and the back of the turtle to be, specifically the turtle's shell, which I'll be drawing initially. So right now I'm going in, adding in the little marks for the shell. And now in between them, I will draw a large arc like this. And then for the underside of the show, I'll draw another arc. Basically, what we're getting is the shape of a football, and you notice that on the front bottom right, it's a bit more rounded, the top arc is a bit flatter, whereas the bottom arc is more rounded. Next, what I'll do is draw a little curved triangle at the back here, and this will be the back of the shell. Next, I'll come in and draw another line and prepare the line to the bottom edge. In reality, this line that I'm doing now represents the bottom of the shell, whereas the lower line at the very bottom is the bottom of the body of the turtle. Next, I'll come in and draw an oval at the top, middle of the sheld. And then what I'll do is I'll square it off a little bit, making it more like a hexagon shape. Alright, now we're going to go from the corners of this shape up at the top and draw lines out to the edge of the shell, drawing these curved lines as if they were radiating out along the shell to form the divides and the plates of the shell. Think about how they curve around the curvature of the shell. And then we'll divide this up into a second row. At the bottom, we'll have these narrow little segments of the shell. And we'll do the same at the top to have another row up here. Next, we'll work on the neck and we'll draw these two curved lines coming out of the front of the body. This will be the neck. Then we'll continue on drawing the head into a bit of an oval shaped head, but not too oval, not too long. I. I'm trying to get the head and neck to flow together properly. Now that that is I'll make a mark for where I want the eye to be here the bottom, front of the head, and then I'll draw the eye and the eye is the shape of a tear drop a bit rounded at the bottom and pointed at the top. And then we'll draw the mouth and the beak at the front. After this, we'll draw in the little segments of shell on the head, and we'll just draw random shapes. Some can be long, others can be short. And we want to work these in around the eye, and they tend to curve around the eye itself. And we want these segments of shell to flow And then we'll stop them near the back of the head. 24. Initial Sketch - Part B: All right, continuing on. We're now going to work on the front leg, and we're going to start out by building what you might call a shoulder and it is by drawing this little hump and then drawing out the leg or flipper itself. We sort of round up the fin at the end. Next, we'll draw the other fin. That's on the other side of the body. And this one we only see a little bit of the lower part of it. So we'll draw that in. Ext we'll draw the back leg, similar to how we did the front fin. I believe will throw the tail. Next, we'll go in and add in little scales or pieces of shell on the fin. What I like to do is draw little hexes little shapes on the fin and then divide it up that way. We do have a row of pieces of scale on the back fin and also on the front fin. For the front fin, what I'll do is I'll go along the back and front edge of it and add in these little shapes for adding the little lines and then connecting them with a curved line one to the other, and then in the remaining space, I'll go in and fill it in with the little axes. And for the fin on the far side of the turtle, I was just adding a little row of scales on the inside, or in other words, on the left side of the fin. 25. Coloring the Turtle's Body: Alright, so we're going to step in with a sea green posca marker, and we're going to color in the body, all of the body that is flesh, so the neck, parts of the head, parts of the shoulder and tail. And it may be necessary for you to give two coats in order to cover thoroughly and block out the black paper. Once you've completed this step, let it thoroughly dry before moving on to the next step in the next video. 26. Head Details: We're now going to come in with a dark green porker, and we're going to color in the little shapes on the head of the sea turtle. So we'll just color those in nice and thoroughly. And again, you may need to add in more than one layer so that it covers the black of the paper all the way. All right. So now we'll grab that dark blue marker and we'll add the little mouth by adding an a line, and then we'll focus again on the shapes of the head. And what I'd like you to do is just add an a line at the bottom half of all the shapes on the head, just as you can see me doing now. This will give the effect of having a bit of a shadow down there, like the pieces on the head, have a bit of an edge and are casting a shadow. Imagine the light from the surface coming down, pouring through the water, and hitting the tops of the little pieces, but the lower part has a little bit of a shadow still. All right, so now, in contrast to what we did with the blue, we will now come in with orange pasca and color a bit of the upper part of the green spots. And as you can see, I'm doing I'm working orange down into the green about halfway down each shape. Once this is dried, I'll come in with a yellow and we'll add just a bit of yellow at the very top on top of the orange just at the edge. And this really gives the illusion that there's light pouring down over the head over the sea turtle. Also, with the yellow, what I'll do is add in a little bit at the top of the eye to make it look like it's a bit round and curved. So just add a bit with yellow. Once that has dried, I will go in with some white and add a little touch of white over that yellow just at the very top and I don't want to overdo it. So I'll stop there. 27. Body and Neck Details: All right. So now we're going to come in with an orange posca marker, and we're going to add in these wrinkle marks on the neck and body. So these lines don't go all the way up the neck. They only go up about a fourth of the way or so and we don't want them to be on the same length. I'd like you to try to have them be different lengths. And they can also overlap one another every so often. We'll also do this at the top of the neck. And these two, as with the bottom lines only go about a fourth of the way down. And then we'll move over to what is the shoulder, then we'll drag some lines that curve up and around just a bit, as you can see me doing here. We'll also do this to the back leg and also draw these little curved lines around the tail. Alright, now that the orange has dried, we're going to come in with a dark blue posca burger, and we're going to do the same thing that we did with the orange. We don't want to cover the orange all the way. We just intermingle the blue lines and with the orange. When it comes to the top of the neck, I'll try to add less blue because this is a brighter area and the sun is hitting this part of the turtle, so it'll be less dark and more in the light. All right, now we're coming in with a yellow pasca and we're going to only add a little bit of yellow to the top of the neck laying off this idea of the light hitting the upper parts of the turtle, and therefore it's brighter. We'll also do this a bit, but not too much on the shoulder and tail. Finally, we'll come in with a light green plasta marker. And what we'll do is we're lighten up some of these areas on the head and body, which are going to be a bit brighter. So these areas of the body and head are not receiving as much light so as to receive the yellow pasca so they're in between a highlight and the shadow area. So therefore, we'll use this light green. And keep in mind that you don't need to cover over the whole sea green that we added at the very beginning of the coloring phase. We're just adding a little bit of this light green in some areas as you've observed be doing. 28. First Layer on Fins: Alright, for this next step, I'll come in with an orange pus comercers so we can work on the fins of the turtle. And right now with our orange, we're just going to go in and outline all of the little shapes on all of the fins. And now that this is done, we use a blue, and we're going to go in and color in all of the little shapes inside of the orange. So you may need to add more than one layer, depending on how well your marker covers the paper and how much the paper absorbs the marker. But that's what we'll do we just fill in all of these little shapes and then let them try. 29. Second Layer on Fins: All right. Now we'll grab a light blue Bosco marker, and we're going to shade the scales on the pins a bit. So what we'll do is we'll just go in on the upperside of each scale and add a little bit of blue on the inside of the scale, and we'll also add lit bit of line work on top just a bit on the rest of the scale. And we'll do this for the big main fin and also the back fin. But we will not do it for the little fin that's on the other side of the turtle. 30. Shell - First Layer: All right. Now that we're done with the body, we'll step in with dark green, and we're going to start coloring in the shell of the turtle. So what we do is we'll add in these lines going up and down so as you can see that I'm doing, we don't want to fill in the segments all the way. Instead, we want to add in these lines that loosely fill up the segments. 31. Shell - More Layers: Alright, we're going to grab our orange marker, and we're going to mark out all the divides of the plates on the shell of the turtle by drawing these lines through all of them. So just go in and outline all of these lines on the shelf. Okay, using the blue marker, we're going to work in lines that flow up from the bottom of each plate, or in other words, from the bottom of each fragment of the sheld. And we're going to work these lines about halfway up, and we want these lines to blend in or in other words, flow into the green. So what I'm doing is I'm adding a nice amount of thick lines at the bottom of the fragment of the shell, and then I work up a little bit and loosen the nine work as I go up higher on each fragment. So each line that you do, adding the blue does have to be or shouldn't be the same length. You don't want them to look like just a row of blue. You want it to kind of blend in and interlock with the brain, so to say. And to achieve this, I make some of the lines log, some short, try to be random. Alright, now that the blue has dried, we're going to come in with a yellow marker, and we'll do the same that we did with the blue. But this time, we'll work from the top working our way about halfway down with the yellow in the same exact style and the method that we used for the blue just a minute ago. And we want this yellow and blue to kind of interlock and connect in this middle area of the fragment. This way, it's like we have a light highlight area that's growing in the sun and the lower part is a bit darker with the blue with the dark blue. Okay 32. Final Details: Alright, now that we got the turtle coloring, we're going to come in and work on some final details. So we'll grab the yellow pascamrker. And what I'm going to do is add just a bit of yellow to the top of each little scale on the big main fin and also the back fin so that we have the same high light effect at the top and dark at the bottom, similar to what we've done on the head and the main shell. So be sure not to overdo it. We don't want to cover the light blue that's already there. We add enough so that we have a bit of yellow there. And like always, if your yellow doesn't show up enough, you might need to add more than one layer. 33. Shading with Pencil: Okay, so we're going to come in with a prisma color indigo blue colored pencil number 901, and this is a really dark blue colored pencil. And what we're going to do is just a bit of shading here and there, especially on the little end that's on the other side of the body, also around the lower part of the neck and on the mouth, but also to a bit of shading on the lower part of the body, what's colored in green, blue. Just there at the edge and also right at the edge of the shell. So it has a bit of a shadow indicating a bit of an overhang. One thing I will point out is that, be sure that the acrylic marker has had plenty of time to thoroughly dry. And when using the pencil, just go over lightly, adding in soft layers, holding up the layer slowly. This way, you don't scrape up the marker. I don't know, no. I don't know. No, no. It no no no I don't know I don't know don't know I don't know. Don't know no I don't know. Don't do so. Don't so. No. 34. Shading the Shell: So we're going to continue with our shading using our dark blue colored pencil, the indigo blue colored pencil. And what we will do now is work on shading the shell of the turtle. And we want, again, like the whole turtle, the light to appear as if it were coming and growing from the surface of the water. So from up above, so we want the top of the shell and also the top of each segment to look brighter. And we also darken the little lines, dividing each of the segments of the shell. So we'll go over them gently with our pencil. And what you see I'm doing is I'm just building up layers a little bit at a time. I'm also trying to get the blue to blend with the yellow. So I'm just hitting the edge or the lower part of the yellow streaks with a bit of the blue pencil, and that softens that transition from dark blue to yellow. And the other thing I'll do is I'll keep the inner segments a bit brighter and the outer segments towards the far left and far right of the shell, I will darken a bit more so that it looks like the center part or the part closer to us, the viewer is a bit more illuminated. So I want you to work slowly building up soft layers of pencil a little bit at a time, so that way you don't overdo it. 35. Materials for Octopus Drawing: This class, we will be drawing using Pasco markers, and the drawing surface we'll be using is a black illustration board. Now there are different types of these boards available for sale online and at stores. I will be using a Crescent illustration board. If you have an of dark surface. That is fine. I've had students work on jewelry boxes and on their iPads and follow along the class using my coloring techniques, but adapting it to their needs. I, for my part, like using these black surfaces because they allow these acrylic markers that are so vibrant and colorful to really pop. I love how the colors show up so well on this dark surface. Like I mentioned, we'll be using foscum markers. These are acrylic markers. There are other brands of acrylic markers. So whatever you have at your disposal is fine. I enjoy using posca markers, and I find the markers to be high quality. And in my experience, they don't tend to get topped up. But the colors we will be needing are the following. Yellow, straw yellow, pink, orange, light pink, violet, dark brown, white, and dark blue, as well as needing a black colored pencil. We will also be needing a white colored pencil to do the initial sketch on the blackboard. If you're using another type of material to draw on, such as white paper or then in that case, you will use a regular pencil or pen. We will also need a dark blue colored pencil or some of the shading. Or if you don't have that, you can also use a black or gray colored pencil. I'm using prisma colored pencils. With that, we are done gathering our materials. So let's start with the class. 36. Initial Sketch: Okay, so we're going to start with our white colored pencil, and we're going to start by drawing a oval that's going wrong ways from left to right. And we want to place this oval, a little bit of center, so towards the upper and left side of the page. Next, we'll come up here on the right and upper side of the oval and extend this line that curves down around a little bit. And this will be the initial part of the arms. Then we'll have a second line for the other side of this segment, and then I will connect the two together. Next, I will draw the I, and I'll start up by drawing a little circle up here near the top where these two segments of the head and arm come together, and I'll just draw a circle here to start out with another little circle inside. From there, I will draw these little a circles on the inside separated by a small area, and this will represent the eyelids of the octopus. Next, I will connect the eye to the body with these little curved lines. Finally, I'll draw the second eye that's on the other side of the octopus with a little curve line because we only see part of this eye in the distance. For the sketching of the tentacles, I'm not going to narrate every detail I draw. Instead, I want you to just watch it on and draw with me and copy this sketch I do. There is also a scan of the completed initial sketch of the octopus. You can see in the about section of this class, or you can download in the resources tab below this video. One thing I will point out is that some of the tentacles are behind other ones, so be sure to draw with this in mind. 37. First Layers of Posca - Yellows: Alright, so we're going to come in with our regular yellow posca marker. And this initial layer will be just to get some color down. Many times what happened, as you can see on mine, is that with the initial layer, the paper soaks up a lot of the paint. So we have to get this layer in and allow it to dry so that we can then go in with a second and sometimes third layer to really get the color to pop. So we're not going to just color in randomly with our curve. Instead, we're going to have these lines that are wrapping around the head. If you've ever looked at a model globe like at school or somewhere and you know how the lines of the latitude and longitude curve around the globe. This is what we want to do with these marks of our marker. So on the left half of the octopus head, they will curve towards the left, and on the right side, they curve towards the right. Near the center, they almost goes straight up and don't curve. Like I said, depending on the type of paper you use, you may have to add more than one layer. So let the first layer dry for about 10 minutes or more, and then come in and add a second layer on top. And with the second layer, the marker will really start to show and be very vibrant. After we've gotten this in, we're going to go in with our straw yellow. This yellow has a bit more white in it, so it will look a little bit lighter and even less red than the previous yellow we used. Also, for the most part, this marker will cover better because we've already allowed the initial layer of yellow to dry and form a crust. So what we'll do with this straw yellow is go on the upper part of the head and lay in having these lines wrap around the head of the octopus about a quarter of the way down, and we're laying this in to give the illusion of there being a light on the octopus wrapping around its head, like the light is coming down from the surface of the water, and the first part of the octopus it hits is the upper head. I will also color around the eye, and next we'll allow all this marker time to thoroughly dry. 38. Purple, Orange & More: Alright, so we're going to start working on some of the shadow layer on the lower side of the octopus head. And I'm using the violet marker to add in the shadowed area, and I'll be starting from the bottom center of the head of the octopus and working my way out and up about a fourth of the way up the head of the octopus. And as I go up higher, I want to have less and less marks. Near the bottom, we want to have more denser marks, but not cover the yellow over all the weight. You'll be able to see how I ended with a bit denser area at the very bottom. And as I go up the side of the head of the octopus, it gets thinner and thinner until it bilends into the yellow. M next, I'll use an orange marker, and I'll go in this middle area. I'll cover about a fourth of the head of the octopus with these mark showing the same up and down way, bending a bit depending on if they're on the left side, I'll bend towards the left, and if they're on the right, they'll bend towards the right. H Next, I will come in with a pink marker and cut in the middle area, right in the middle of the head, and right in the middle of the orange. This will be a thinner area than what the orange is. We don't want to cover up the orange all the way. H Next, while the pink is drying, I'll grab a dark blue posca merker and do something similar as what I did with the violet, dragging up a little ways, but I don't want this blue to extend all the way up as far as the purple goes, just a little ways, about half the way that the purple extends up, and we'll concentrate this blue near the bottom. And you can see how we're building up our shadow. Now that the pink has dried, we'll come in with a light pink. And if you don't have a pink, you can use a white posca marker. And what we'll do is we'll color in right in the center of the pink. 39. Shadows & Highlights: Alright, now we're going to come in with a dark brown pasca marker, and we're going to add in the deep shadow. I opted to use a dark brown instead of a black because this brown paska is very, very dark. And if we use the black, we would end up killing all the color that we've already worked so hard to add. So I'll add this brown, starting from the very bottom and center of the octopus head going up about halfway up, where we already added blue. Remember not to cover the blue all the way. We're just having these loose lines. Next, I will grab a white posca mercer and add a nice thick amount of posca up here at the top along the eye and along the top of the head. So we really get a nice sense of light coming down and bouncing off of the head of the octopus on the parts that are closer to the surface of the water. And after I've added the initial line of white, I would drag this line down, adding in these little shorter lines, dragging it down into the yellow, so it blends together a bit. 40. Head Details: Now we're going to start on some of the details for the head, and to start off, we're going to grab a white posca, and we're going to add in all these little dots that are about the size of a pea to the head of the octopus. Now that the white dots have had time to thoroughly dry, I'm going to come in with my indigo blue colored pencil, and I'm going to add a little shadow to the lower half of the little dots we just added. So I'll just draw a thin line around the lower half of the dots. And this way, we continue this idea of there being light coming from the surface. And therefore, there is a bit of a shadow on some of the surfaces such as the head and also the little bubs of the skin of the octopus. They to have a shadow. Once we're done with that, we're going to continue with our indigo blue and we'll shade in the lower quarter of these white dots near the bottom so that they go a bit darker and they're still there, and they still show up, but they're just a bit subdued and far away into the shadow. We want to be careful not to scrape up the paint, so we'll work slowly building up our shadow a little bit at a time. And we want the shadow to go about as high as where the pink starts. So you can see I'm slowly building up my shadow. Working from the bottom up, adding more and more a little bit at a time. F. So At this point, I'm going to grab my orange paskamrker and add a little spec to the little white dots you previously added. 41. Eye: Alright, now we're going to work on the eye, and we're going to add in this layer of orange, and we're going to add this to the eyelid and the area around the eye, and then we'll allow time to dry. But later on, you'll see me add a second layer of orange to this area once this first layer has had plenty of time to dry. While we still have our orange out, we're going to add in these little specks first to the other eye, and then to the one nearest to us, the main eye. A Next, I will better identify the eyelid using a yellow pasca marker, and I'm going to color in the eyelid with these little yellow dots. Now that that is done, and the orange has had plenty of time to dry, we're going to add the spine around the outer part of the eyelid area using a purple posca marker. Next, I'm going to add a little highlight to the eyelid on the part closest to the eye itself, and we'll just go in and add a few little dots of white paska. 42. Main Arms: Now that we have finished coloring in the head and adding all the details to it, we're going to start working on the arms of the octopus. And we're going to first work on these main two arms that are in the foreground, and we want these two to stand out the most. Therefore, these two will be a bit brighter and their color scheme will be very similar to the head. So to start, I'll grab my yellow and add two layers to this area, allowing each layer to dry thoroughly before adding the next. Now that the first two layers of yellow have dried, I'm going to go in with my straw yellow, a yellow that's a bit whiter. In other words, the parts of the tentacles that would be receiving more light. Alright, we'll allow the yellow to dry. And now we'll go in with orange, and we're going to add it to this lower part of the tentacles, working in our lines and blending them into the yellows that are already there. Now, I don't leave a hard edge between where the orange and the straw yellow meet. Instead, I gradually diminish the amount of orange that I'm adding. Now I'll come in with my white pascabrker and add it to the upper edges of the tentacles. Alright, now we're going to add in some pink on top of the orange. Again, we don't want to cover the orange all the way. We're just going to work with the pink in a little bit, blending it in with the orange. Alright, so now you see the space that I left at the bottom of the tentacles without any pink. In this area, we're going to add this shadow, and we'll start with our violet pasca marker, adding it along the edges of the tentacles and going into the tentacles about a fourth of the way up. And in the next minute or so of this video, you'll see me adding next dark blue and then dark brown. And with each color, I go less and less up into the tentacle, adding in a thinner and thinner edge. 43. Background Arms: Alright. Now we're going to come in with orange and we're going to add two layers of this color to the rest of the tentacles. And just as a reminder, we want all of the line strokes to flow along the tentacle, starting at the base and going towards the end of it. And this surprise to all the colors will be added. We're not going to color in solid colors. And Next, we'll grab our pink marker and focus on coloring the upper half of the tentacles. Similar to what we did on the head, we're building up the lighter area on these tentacles on the sides that face the upper part of the scene. The a Now that the pink has dried, we're going to come in with first yellow and then straw yellow, adding it to the same area that we just added the pink, but adding it just to the edge of the tentacle, so we don't want to cover up the pink all the way. And concerning the straw yellow, we'll be adding in a moment where we basically just want to add a thin line to the edge of the tentacles. As you can see, we've done, we've been able to highlight and bring forward the two main tentacles process to us, the viewer and make them stand out more. But the rest of the tentacles we've been working on for the past 6 minutes have been colored in a different way so as to show that they are further away in the scene, and that way they don't stand out as much. And so we have this distinguishing between the tentacles that are closer to us and ones that are further away. 44. Highlights & Shadows: Right at this point, we're going to grab a white pascamrker and go to the very tops of the tentacles and also the tips and add just a little bit of white so as to have a nice, strong highlight where the light is bouncing off of them. Don't don't know. Don't. Don't don't. I don't know. Don't know, no. Don't know, no, no, no. Don't know. Don't know him. Don't know not no, no. Don't know him. Don't him. I don't know him. Don't know him. Don't know him. Don't know. Alright, the next thing we'll do is grab our indigo blue colored tensil and we're going to work on shading these tentacles, especially the parts that are closer to the body of the octopus. We're going to do something similar to what we did on the head of the octopus, going over the tr pasca lightly and gradually building up our shadow. We will leave the tips of the tentacles nice and bright without any shading. And I want you to try your best to have this shading be gradual and the shadow gradually blend into the highlight. I fight. I fight I's. I'd fi I'd I'd fight. I'd I'd fight. Is I'd I'd fight. I I I do it. No. No. None. None. Illness. 45. Suckers: Alright, so we're going to add a few suckers to some of the tentacles. We're not going to add them to every tentacle, because that would be distracting. And we want to focus of our viewer who was looking at or drawing to focus on the head of the octopus. So with that in mind, I added the edges of some of the suckers in some key locations. Add the edge of them and also a side view. As you can see, I do on the uppermost arm on the right. So we're getting these different views of the suckers from the side, from above, and we're adding white. And the reason we're adding white is to establish a nice cutter so that in a minute, we can go in with orange and cut over the white, and the orange will look nice and bright. But before we do this, we need to allow the white plenty of time to dry. Now that the white has dried, we'll go in with orange and color over all the white tentacles. Next, I will grab a light pink marker and go and outline the edges of the tentacles. We're now going to add a little shadow to the suckers using our indigo blue colored pencil. We'll do this by adding a little line right at the edge of where the sucker goes behind the arm of the octopus, and it doesn't have to be a hard line. You can make it soft and blend it into the orange. 46. Final Edits: Alright, so now for some final edits, we're going to grab a black colored pencil and deepen the shadow under the head of the octopus, making it even darker and blending that into the blue. We really want to have a deep shadow down here to convey the idea of roundness of this head. All right, so there's our drawing of our octopus. I really hope you enjoyed this class, and I look forward to seeing your drawing and your version of the octopus. With that said, I will leave you with a clip of the drawing. 47. Materials for Blue Tang Fish Drawing: This class, we will be drawing using Pasco merkers and the drawing surface we'll be using is a black illustration board. Now there are different types of these boards available for sale online and at stores. I will be using a Crescent illustration board. If you have an of dark surface. That is fine. I've had students work on jewelry boxes and on their iPads and follow along the class using my coloring techniques, but adapting it to their needs. I, for my part, like using these black surfaces because they allow these acrylic markers that are so vibrant and colorful to really pop. I love the colors show up so well on this dark surface. Like I mentioned, we'll be using casco markers. These are acrylic markers. There are other brands of acrylic markers. So whatever you have at your disposal is fine. I enjoy using Posca markers, and I find the markers to be high quality. And in my experience, they don't tend to get topped up. But the colors we will be needing are the following sky blue, dark blue, black, white, light blue, yellow, and light green. We will be needing a white to do the initial sketch on the blackboard. If you're using another type of material to draw on, such as white paper or something, then in that case, you will use a regular pencil or pen. We will also need a dark blue colored pencil or some of the shading. Or if you don't have that, you can also use a black or gray colored pencil. I'm using prisma colored pencils. With that, we are done gathering our materials. So let's start with the class. 48. Initial Sketch - Part A: Alright, we're going to start this class with our white pencil. And what we'll do is we'll start on our black board, and we'll draw a nice straight line as straight as possible if you would like to use a roller, that is an option. I will mark where it starts and stops. And this line will represent the total length of the body of the fish from the end of the tail to the front of the head. And then what I will do is I will add a little mark back here to indicate the length of the tail. So from where the line ends on the left, that mark sided to the right is the length of the tail. And then we will go in on the very back and we will add in this curve, and this line will represent the height of the tail. And then we will draw back away towards the right to form this triangle. Next, we will add in these other segments low the triangle tail. These are attached to the tail itself and will be colored in blue, while the main body of the tail is yellow. Next, we'll draw the body of the fish, and we'll start from here the ways up on the tail, flowing up and along this line that is the middle of the body. We'll go up a ways as if we're going up a hill and then we'll bring this line down, flowing down to the front of the fish where the mouth will be. And we draw the mouth as if it's a little eye cut into the fish. Next we'll work on the main vein of the body, and what we'll do is we'll start right behind the tail and draw this little shape. And as it goes towards the front of the fish, it gets thinner and thinner until it vanishes and joins into the fish's body. Next, we'll draw the bottom of the body, going from the bottom of the mouth back and around towards the back. And we want to meet the tail just below where the top of the body joins the tail. You can actually see me referencing it off of the top of the body. Next, we'll draw the lower fin, similar to how we did the upper fin, and this one will come forward and join the body a little bit further back on the body than the upper fin did. What we do have is another secondary little fin right near the middle of the body of the fish. Just a little pump down there. Nothing too major, but we'll add that in as well. I'm going to make a slight quantification on mine. I'm going to come in here on the front just above the mouth and make this section of the head a bit flatter, not quite so round. These hippo things have a distinct look to their head, so I want to get that accurate, and I want you to get that accurate, as well. So that's as far as we're getting in this first video, we'll continue and finish. I'll be in this show sketch in the next video. See you there. 49. Initial Sketch - Part B: We'll start this video by drawing the I and I is just above the middle of the body right near the front. Next, we will draw the side fin, and basically, it's a triangle, a bit around it on the sides, but not too complicated. Just think of a long extended triangle. Now that the fin is done, we'll draw the shape of the black spot on the back of the fish, and we go from the upper part of the middle of the eye up a ways towards the top of the body. And then we have another line that comes right side to the left part of the eye, and it goes up a ways, and then it flows down and then goes down below the middle point of the fish's body and then flows gently back towards the back of the fish. Next, we'll draw the little oval that's right inside that black area. So we'll just draw this nice gentle oval One of the last things we'll do is to add in this little long piece right at the end of the tail. It doesn't come to a complete point. Instead, it has this little segment that you can see me drawing now. To finish up or draw the tail, and it's right in front and below, the fish isthin. So that's just a little curved line. 50. First Layers of Color: Okay, so now we'll start the coloring phase of this project. So we'll come in with a sky blue marker. And you might notice that I'm using a thicker marker, not an extra fine point marker, and that is because I do not have a extra fine point sky blue marker. So that's the explanation for that. At any rate, we'll be giving this section of the fish, two coats, the spot, and the body, and also a bit on the tail. One tip I'll give you is to be sure to allow plenty of time for the paint to dry between coats. The reason is is because if you go back and add in second coat too soon and the paint is too sticky, it will dumb up in your marker, and the second coat won't cover very well. What you end up doing is just pushing the paint around. So that's why it's important to let the first coat dry thoroughly. And I like to give it about 10 minutes or so to try, or you could use a hair dryer to try out faster. All right. And then we'll come in with our yellow posca marker, and we'll color in the tail, the middle tail section, and also the upper part of the fin, which you will see me do in a moment. Next, we'll come in with dark blue, and we'll color in this spot section of the fish, and we'll end up giving the entire fish two coats of markers so that it covers well and everything is thoroughly colored in. 51. Fin & Body Details - Part A: Now that we have the initial layers colored in, and they have had time to thoroughly try, we're going to go in and start adding some of the fine details. So I will start out with a dark blue posca mercer. And what I will do is on the upper fin and the lower fin, I will draw these little lines in order to show the spines in the fins. So we'll just draw little lines with our thin dark blue mercer and these thin blue lines will extend until where the body starts and the fin ends. Next, I will grab my black merger and start stippling, or in other words, adding these little dots to this pay dark blue section of the fish. And so we don't want to cover the dark blue all the way, but we do want to have these dark dots in densely. Next, we will come back with our dark blue marker, and we will add some more stifflings on the right side of this spot on the fish, and we'll have it curve around the upper and lower side of this oval shape. We will also add in some dark blue spots on the front of the fish. We don't want to have this blue be as dense or thick as in other spots. You did. We will also add in these spines on this lower middle fin. Next, we'll go in a little ways above the lower fin. So you can see how there's a bit of a light blue gap between the fins and this area that I'm adding in blue now. So we want this to be a bit lighter and then have this dark shadow right here and we'll form this shadow by adding in these little lines that are angled a bit up towards the right. You take 52. Fin and Body Details - Part B: We will now go in with a light blue Posca marker, and we will use this stipuling technique again, and we will focus right now on the back of this oval spot on the side of the fish, and we also add in to a few other key areas, such as the front of the head above the eye right along that edge and in front of the little fin in the front and also right near the beginning of the spot behind the fin in other words, in front of the light blue spot. Oh We will continue the stippling along the bottom under the main black blue spot. And what I want is to have a nice tense amount of this light blue marker right under the edge of that area. And then as we go down the side of the fish, we still have some stippling, but the amount of stippling we do decreases as we go further down, in other words, down towards the bottom of the fish. We'll also use the light blue to add in some light areas between the spines of dark blue on the fin, and we'll eventually do this for both the lower fins and the upper fin. I will grab the sky blue now and add a bit of light touch on the fin, just to get a bit a bit of a formation. I don't want to cover at all. I just want to add a bit of a highlight area beside the yellow, and that's all I'll do. 53. Fin & Body Details Part C: Alright, we're coming in with our black Posca marker, and we're going to start by using it to color in the eye. We will also cut in the gild by drawing a line. I will also add in a bit of an outline on the right side of the fin and do a little bit of stippling. We will now grab the white posca merger, and we will use it to add in a bit of highlights on the fish. We'll start by coming right here on the left side of this spot and stippling will bring it around the edges a little bit. We'll also add in this tipling underneath this spot on the lower light blue area, and similar to how we did with using the light blue marker, we'll also do the same effect of having the white highlight stippling increase as we go down along the fish. We will also add a bit of white along the front upper edge of the head, right above the eye, and also a little bit right above the eye itself. We'll add in a little highlight above the mouth. And then just right of the fin and along the upper side of the Keld. I'll also add a bit right inside the fin nearest to the yellow so that it has a bit of a highlight lighter blue area there with the white breaking up the dark blue. I'm also going to add in a bit of high light right where the fin meets the body. I just would have a bit of a light area there, and will do that for the upper fin and the lower fin. We'll now grab our sky blue merker and we'll go right up here where this dark blue spot crests and we'll add another bit of stippling right up here, just a bit. Not too much. We don't want to overdo it. Just to indicate a bit of highlight in this area. 54. Tail & More Body Details: Alright I'll come in with our dark blue. And we're going to add bit of line work on the tail section, specifically on the blue areas of the tail. We're just adding a bit of lines there to break up the blue, and these lines go up and down with the grain of the tail. Next, I will grab a black marker and do something similar as I did with the blue a moment ago, but I don't want to cover it up too much. I still want to be able to see some of the blue. Next, I will grab the dark blue, and I'm going to add an edge to the upper and lower fins and we'll do this by just adding the line right along the edge. And then tracking that line into the blue just ever so much. After this is done, I'll grab the light blue so I can add a little highlight to the eye, and we'll let that dry. Next, we'll come in with our white posca marker, then we'll add the spine in this front fin and the tail in the back. So we're just adding these nice wrong lines. Next, we'll grab our light green Posca marker and we'll add this green in in between the white lines. If you look at the reference picture, there's a few little green areas. And this is too, I believe, to the effect of the semi transparent fins and the blue of the fish that reflects and combines with the yellow bit to make the yellow look a bit light green. And for the back tail, we're just adding a bit of lines at the very back and then also in the middle section with our light green. Next, we'll grab a yellow marker, and we'll add these little tips to the back of the tail, and this is where the spine stick out a bit at the end of the tail. We'll do the same thing on the front little fin. 55. Shading & Final Edits: Alright. Now that the drawing is basically done was to do a few more edits in a little bit. But right now we're going into a bit of shading with our indico blue pencil. And if you don't have a blue, you can always use a gray or black father pencil. I'll do a little bit of shading on the front fin. Next I'll shade in under the body, the mouth, all the way along just above the lower fins. And we want this shading to be soft, very subtle and to flow into the upper part of the body, as you can see mine does, so that the body has a rounded look to it and it looks more three D. So what I'm doing is just working slowly with different layers, adding in the layer by layer, building up my layers a little bit at a time, so as not to overdo it. En it Using the tip of my pencil, I've added a bit of a harder nine right where the body and the fin and join. I'll also do a bit of shading on the upper and lower fin. You already saw me do the shading on the lower fin. I'll now do it on the upper fin, just to subdue it a bit and have the face of the fish stand out a bit more. Next, you'll see me shading here and there with my pencil to make the white highlights that I added beforehand, not be quite so intense. One of the last things I will do is go in with my light blue Pasco Murker and add tips to the fins by adding little specs right at the end of the upper and lower blue fins. I'll also add a very little bit of blue to the end of the tail aside in the dark section just to give it a bit of contrast between the black background and the black of the tail so we can see it. Finally, I'll grab my black posca marker and do a bit of shading by stippling at the front lower part of the fish just below the mouth. To conclude, I'll take my indigo blue pencil and add some wispy lines that go from the back of the fish towards the front on the back of the tail. And I'll also do something similar to the front yellow fin. 56. Thanks for Watching!: Thank you so much for watching. I really hope you enjoyed this class and were able to learn something from it. Please feel free to post a picture of your drawing below this class so that all of us here on Skillshare can see what you did. If you have any questions, don't hesitate to start a discussion in the Discussions tab below this video, and I will be happy to answer your questions. If you would like to support me, please check out my website. At www.andartitod.com, and feel free to visit me on Instagram and Facebook, where you can see daily updates of my artwork at Andy's Artitude. Stick around here on Skillshare and follow me because in the coming weeks, I will be uploading more classes. That's it for now. I hope you have a wonderful day. See you in the next class.