Blue-Footed Birds: A 7-Day Ink & Brush Pen Illustration Challenge

1. Welcome and Introduction : Hi, everyone, and welcome to my new class Blue footed Birds, a seven D ink and Breast pen Illustration challenge. In this class we'll be creating seven beautiful illustrations of blue footed birds using fine liners and breast pens. We will start with the simplest sketches and gradually move towards more detailed and expressive illustrations as we progress through the challenge. As you can see, we'll explore a variety of poses and styles focusing on capturing the unique characteristics of the birds. Each project is designed to help you build your confidence step by step. We'll begin with the basics where I'll introduce you to essential ink techniques such as hatching, cross-hatching, line variations, and seating. I'll also show you simple guidelines to construct the bird form before adding details. Then we will move on to more advanced techniques to enhance texture, depth, and overall compositions. Hi, everyone. My name is Vishal. I'm an artist from India and a sculpture teacher. I create easy and approachable classes on oil pistol, watercolor and ink illustration. You can also find more of my work on my Instagram and YouTube. So all the lesions in this class are taught in real time, so you can follow along comfortably at your own teas. This class is completely beginner friendly, so anyone can join, even if you are new to ink illustration. As for the projects, I'll be uploading a project each day. So if you enjoy birds, ink drawing and building a consistent creative habit, join me in this class, and let's create this beautiful blue footed birds illustration together and have lots of fun along the way. O. 2. Class Project : For your class project, you will complete the seven day blue footed bird challenge by creating one bird illustration each day. We will start with the simplest sketches and gradually move towards more detailed ink and rs pen illustration. Focus on building clean safes, adding line texture, and experimenting with sading techniques like hatching and cross-hatching. You can follow my exact steps or add your own creative touches to the poses and the details. Once you have completed your illustration, upload your favorite pieces or your full seven day collection in the project gallery, I'd love to see your work and how you have interpreted each bird. You can also see your practice seats in the project gallery. And 3. Supplies : For this class, you will need very basic supplies. Pencil and research to do the simplest sketching. Then I'll be using the bras paints and the fine liner. I'll be using the Sakura micron fineliner, Tombos breastpin. I've got two variations of the Tombos breastpin. Apart from this, I'll also be using blue and red color Sakura micron fine liner. This is optonal and I'll also be using green colored and white to add details and highlights. This is optanal. Apart from this, you can also use colored paints. You can also use colored breast paints. I won't be using it, but if you want, you can include coloring in your project, masking tape to secure the paper. Tissue paper will come in handy to avoid smudging of the colors. And yeah, that's all the supplies that you will need for this class. You don't have to use all the supplies. You can create all the projects only using the Sakura micron fine liner, or you can only use the wallpoint paint, normal wallpoint paint into all the projects. 4. Basics : Welcome to the basics in here. We'll be discussing about hatching, cross-hatching, uneven line, scribbling and curb line. First, we have got hatching. Hatching is basically a seeding technique made using parallel lines. You can do the seeding or you can just keep it plain and simple like this. So these are simple hatching lines. The lines are parallel in this manner. There's a lot that we can do with the hatching lines. So I'll be showing you what we can do with a different kind of spicing sines, line weight, and icon for the hatching. First, we have got spicing. For this one, we have got lines very closer to each other. And the first one we had lines farther apart. Lines that are closer together will create a dark tone, whereas the line with wider gaps will create lighter tone. Next we have siges long line feels smoother and sort of strokes create texture. For smaller regions and to create texture, I'll be using the smaller one, and for the larger areas, I'll be creating these kind of large lines. Then we have the weight by weight, I mean, the thickness of the lines. The thick lines will appear bold and dark, whereas thin line feel light and delicate. Mostly, I'll be using the blue colored file and create the delicate and thin lines like this. And if you have normal wallpoint pen and you are using that, you can just do two or three layerings to make the lines a bit more bolder. We'll also be playing a lot with the weight. For the outlining section, generally, we'll be creating more darker or more thicker lines. And for smaller details, we have got thinner lines. Next, we have got the direction. We have got direction like what you call diagonal horizontal lines. Stanes the feel of the surface. So we'll be using all kinds of lines in different direction. In here, we have got density block, so layering more lines, gradually building sado and depth. As first example, we are not doing that. Or the second one gradually building the sado and depth, rows and rows of hatching lines in this manner. And to make it more darker, here's the third example with more layers of hatching lines in this mender. So for some of the section and sports of the project, we'll be using this kind of technique, the hatching to create a little bit of darker region as well as to do a little bit of shading. Here's another example of density block for some of the section, to create a bit of rougher example. To create a bit of rougher texture, we'll be using this kind of small hatching lines. Apart from the normal lines, you can also do this kind of bed broken hatching lines. You can make it uniform like this one. You can make the upper part longer and the remaining section bit smaller, or you can create the uneven ones like the one that we did earlier. So basically, it deals with the consistency, even spacing and rhythm to create a setting uneven stroke swing love, so you can play with it. And lastly, we have got curve hatching lines, just lines that follow the sep of an object. This kind of lines generally follow the seep of an object to so form and volume for the beak and for its face or for some of the section of the foot, we'll be using this kind of curve hatching lines to add the details. So these are some of the techniques and things that we'll be doing with the hatching lines. Next we have got cross-hatching. Cross-hatching is another layering technique that builds upon hatching. So we have got hatching in multiple layer that is cross-hatching. In here, I'll be creating a few grids to show you the cross-hatching. Basically, when you start with the hatching and then another layer of hatching in this manner. This is classic two direction grid. Next in here, we have got another grid. Is called angled overlaps. Like the earlier one density block, you can do the cross setching in this man too in different blocks. And you can experiment with the different angles of the line as you see fit. And here's an example of three layers of hatching to make it more darker, multilayer cross-hatching, more layer makes it more darker. Generally, I'll be using the cross-hatching for deep shadows and aromatic lighting or for some of the textured surface. Now to do a little bit of seeding with it, just add more and more layers in here. I made this lower section a bit more darker. Like Earlier, we can use this kind of broken hatching lines to do the cross-hatching. To create this kind of detailing and texture for some of the section, you can use it. I'll be using for one of the project this kind of broken cross-hatching. These are just simple irregular cross lines. It give it a little bit of natural and organic sadose effect. Next, we have got uneven lines, this uneven masks creating organic texture and natural variation. In here, we have got scattered strokes, this random texture line this for grass or the fur This is an azure burst of effect that concentrating towards the center or coming out from the center. Next we have got loose directonal strokes, so a little bit of curved lines like this in this manner. You can use it to sew the wind motion or rough surfaces. For a few more examples, I'll be showing you random processes. Dense natural texture like some stone or bar. Basically, I'll be using the uneven lines for texture, expressive mark or natural elements like water or stone. Simple kind of this random cross. You can also do the same thing radiating lines and cross it in this manner. Somewhat similar to the second example. To make it more denser, you can just decrease the spacing or you can increase the line weight. For the third one, we have got, once again, loose directonal strokes, and instead of simple and plain line in here, we have got crosses. These are some of the examples of uneven lines or uneven strokes that you can use. I'll mostly be using one or two of them. But if you want, you can include more of it in your projects. Lastly, we have got scribbling. Scribbling is basically a free, continuous line movement for expressive sddingF some of the sections of the feathers and the firm will be using scribbling. You can create this kind of tight circular scribble with soft cloud like textian Next, we have got loose tangled ops, just increasing the density a little bit in this manner. You can also create this kind of organic blob lib scribbles. Here we have got what we call scribbles. You can also do this kind of horizontal scribbles to create grown or soft sados. You can also use it to do a little bit of dense layering in this manner. This is somewhat similar to the hatching technique, just layers and layers of it. And you can use this to also do the seeding in this manner. Generally use scribbling for expressive seeding, foliage, soft texture, or quick tonal work. And yeah, that's all for this feed. I'll be seeing you in the next part of the basics. Mm. 5. Stippling Scallops and More: Welcome to the second part of the basics. First, in here, we have got a stippling. A stippling is yet another seeding technique created using dots instead of the lines. The same thing applies in here like the hatching, spacing matters. The closer the dots are, the darker it will appear. The farther apart they are, the lighter it will appear. Size and weight also matter. You can increase the size of the stippling dots and you can also play with the weight, making it a bit more bolder and thicker. The first example that we created, we have got lighter stippling, so the spacing in between the dots are quite far apart. And in here, we have got the dots that are quite closer to each other. To make it more darker, we'll be adding lots of dots in here. For some of the sections of the project, I'll me using the stippling. With the stippling, we can create subtle seeding, texture, organic surface, and soft gradient. The main disadvantage of the stippling is that it takes a lot of time. So that's why I want me using a lot of it. And since it's a seeding technique, let's do a little bit of sading creating this kind of simple spherical see, and we'll be giving it a little bit of three dimensional by concentrating a lot of stippling dots on the one side while following the curve sip of the sphere and adding the stippling dots in that manner. First, just filling the entire section with this kind of simple stippling dots. And then for the insides, particularly on the bottom left side, we'll be adding lots and lots of stippling dots to make it more darker to give it a little bit of three dimensional seep and using the stippling dots to do a little bit of sading concentrant more dots in here. So you have got the rough idea what you can do. With the sparse dot, you can make the light tone and eerie texture. With the dense dots, you can create dark values and heavy shados and using this kind of clustered dots, you can create form and depth. Without any outlining, I just use the simple dots to create this spherical scene. And as I was mentioned, you can play with the sizes as well as the line thickness. So in here, instead of creating small dot, I'm just using this kind of simple, small circular sieve to do the stippling. Or some of the sections, I'll be using this kind of simple stippling dots, not dots, but this kind of simple circular sieves. You can also use the stippling technique to create a bit of different kind of texture or detailing, like in here. Yeah, I'm using this tots to create a little bit of different kind of textion What I mean, I'm not able to clearly explain it, but let me know what I mean. Using the dots to create a little bit of outlining in this manner. Random strands of lines in here like this. We don't use lines for the stippling, presence and dot control. Use stippling for subtle seeding, texture, organic surface, and soft gradient. You can start with lots of stippling dots for the region, and then to make some of the section bit more darker and bit more apparent, you can just add more dots for those regions. In here, I'm just creating few lines that are coming into existence because we are adding more dots. Next we have got flowing lines. Flowing lines are smooth, continuous curves that source movement and form. This is somewhat similar to the curve hatching lines. Let me show you some example of the flowing line. The first one is parallel flowing lines. You can use it to create gentle surface seating. Next, we have got arced line. You can use this to create rounded forms like domes or the head for our bird. We have got directional sweeps, wind motion or fabric folds. Mostly, I'll be using it for some of the sections of the wing. For this one, the fourth one, we have got lads, curves, depth and Cantu. You can use it to create the depth and contour. For some of the section of the wings or the feeders, I'll be using this kind of lines. Lastly, we have got swirling lines. You can use it to create or so dynamic motions and energy. I'll only be using two or three of the kind of flowing lines, but if you want, you can include more of it in your projects. Moving on to scallops. We'll be using lots of scallops of different kind. Scallops are repetating curved or pointed arcs that create decorative and taxial pattern. Many will be using it to create feather like appearance and the texture for the firm here, I'll be showing you example of six or seven different kind of scallops. First example is very simple, soft rounded scallops, variation of this kind of scallops. It's somewhat of tall and narrow scallops. I'll be using it to create a little bit of either in scales or layered pattern. Next, we have got this loose wave like scallops. With the scallops, repetition creates rhythm and overlapping adds here we have got arc scallops. I'll be using it to create a bit of stylized dextion and patterns, especially near the head. For all the project, I'll be using it this kind of sharp arc scallops. You can just connect it in this manner. We have got scallops. Now I'll be showing you some of the ways in which we'll be using this basics that we have learned. First, we have got a single feather in here, simple hatching line in this manner to create the feather. Here's another variation of the feeder instead of adding it for the entire section, using the hatching lines in this manner to create this kind of feather. Next, using the large hatching lines to create the feather, a little bit of sding using the hatching lines. Few more variations of the hatching techniques that you can use to create the feeder. In here, I'm using this kind of tall narrow scallops and doing a little bit of seeding at the bottom with the hatching lines to make it more darker and dividing into two sections. For the small feeders, you can use it. Here's another example of tall narrow scallops and starting with the hatching lines at the top, then smaller hatching lines, dividing into two sections and for the middle section, we have got this kind of angled hatching lines. To make some of the section darker, we'll mostly be using the hatching lines. For uniform regions, I'll be using simple hatching lines, and to make it a bit more darker, we'll be doing a little bit of seeding and just layers and layers of hatching lines in this manner. A few more example of the scallops that we'll be using for the smaller sections of the feather and the wings. Another example of tall narrow scallops that are quite closer to each other. Apart from this field to experiment on your own mix and match different techniques and create different kind of texture and pattern. That's all for this feed I'll be seeing in the next one. 6. Birds Guidelines : Welcome to the birds. In here, I'll be showing you different ways in which we can create the bird. So first, let's start with the simple ways you can create the different perspectives for its head. So in here, I'll be showing you a total of five or six examples of the head of the bird. Just create this kind of very simple circular see for its head, and as for the B, simple triangular see like this. A bit long and elongated triangular C like this. The third bird is looking at an angle. This bird is looking downwards, and here's another one. This is also looking towards the sky. So these are the simple pencil sketches for the five birds in five different perspective. Now, let's make it a little bit more detailed. Here a very simple variation of the birds B. Just read this kind of simple triangular C. You can consider it to be combination of two triangular C, a little bit of bulge like this. And simple circular see for the eye, going in with the fine end to make the outlines a little bit more defined and detail. So basically, we'll be starting with the simple saps, and then when we'll be doing the outlining with the fine liner, we'll be making adjustment as well as adding more detailings in this manner, doing the same kind of outlining for the beak, adding the eyeball in this manner, doing the outlining for this beak. I'll be making the beak a little bit curved at the end like this. The same thing for the lower side a little bit curved. Doing outlining for this beak and simple circular C for the eye, doing the same kind of outlining for the beak. The same thing for the lower side, a little bit curved. Now, for the front facing bird in here, starting with this kind of curved line now for its eyes, a little bit of this kind of electrical see follow along with me and create this kind of simple outlining. As for the beak, we'll be creating a bit of triangular see extending it, extending it in this manner for the beak. This is the front view of the. Since we want to make it look three dimensional, that's why I ended mon line at the top. Adding the eyeballs, simple circular eyeball like this. For this one, and as for the outlining, a little bit of rougher texture like this to create the appearance of the fur and the feather for the burn, a little bit of curved zip for the eye extending it for the weak. Simple circular seeps for the eyes and eyeball. Here's another one. It's looking downwards, creating this kind of bit rougher texture for its feather and the fur. And the same kind of outlining for its beak and the eyes in this manner, a little bit of curved or bulge for the eyeballs. Extending it. And as you can see, I am not following the pencil outlining that I did earlier. You don't have to stick with the outlining. Feel free to make changes and adjustments. With this, we are done with the fifth one. Now for the sixth and the final one, I decided to make a little bit of more changes to it. I'll be making it looking towards the downward direction. Making it looking towards the downward direction, another triangular seep like this in this manner for the week. Now, continuing on with the fine liner for its phase, extending the line in this manner to create the weak eyeballs, simple circular set for the eyeballs, a little bit of rougher texture for its head. So this is how we'll be creating very simple variations for the head. Ensure that the ink has dried up and lightly erase the pencil marks. You don't have to stick with the pencil outlining that you have created. Feel free to make changes and adjustments when you'll be doing the outlining. Apart from this example, if you want to experiment, you can create other variations for the head. Now let me show you a simple way in which we'll be creating all the birds. So simple basic guidelines that I'll be following for most of the project, starting with simple circular sea for its head and the beak, a triangular seep in this manner, a bit of cylindrical see for its neck, another elliptical seep in this manner for its stomach and the rest of its body. As for the wings, we have got three sets of the wing. We have got tail feather, the main wings and the wings on the other side, simple elliptical and triangular set for the wings and the feathers. And as for the leg, a little bit larger leg, create this kind of cylindrical C. And this is a simple guidelines that I'll be using to create the bor. Now going with the fine line to do the outlining as usual, if required, I'll be making changes in adjustment to the pencil sketches, a little bit of rougher texture for the outlining. Adding the circular saves for the eyes. For the feathers in here. For this section, I'll be creating lots of individual small fether. Now, for its chest and the stomach, a small section of the feather on the other side will be visible like this for the upper part of its leg, making it a little bit fluffier. Other section or the other side of the wings will be visible in this manner. The tail feather standing upright tail feather like this. Lastly, another set of cylindrical s for the middle section of the feet and creating this kind of triangular save a bit curved triangular saves for the webbed feet of our burn. Following the simple guidelines, I'll be creating multiple birds for our main projects. I'll be making some changes if required, but mostly I'll be using the simple saves to create all the birds. Now, let me show you a little bit more defined versions of the leg that we'll be creating. For the upper part of the leg, we'll be making it a little bit floffier, a little bit of curve seep like this. As for the middle portion, we have got cylindrical same for the weaved feet, just create this kind of simple structure and divide it into different sections to create the perians of the weaved feet. Generally, I'll be dividing into three or four different sections. So this is a very simple way in which we'll be creating the lakes of our pn. Now going with the file to do the outlining. Create this kind of fur like texture. I'll be using small hatching lines, lots of small hatching lines. Now doing the outlining for the webbed feet, creating the appearance of the clause at the end, connecting all the webbed feet in this manner, doing the same thing for the second one. Generally, I'll be following this kind of guidelines to create all the feed for our bird. Feel free to make changes in adjustment if required. Otherwise, you can stick with the simple guidelines to create the bird's body and bird's leg. Let me show you how be creating the main feathers of its body. A bit of curved seep like this, and then I'll creating rows and rows of small feathers in this manner. The feathers will be a little bit more detailed and defined. But here's an rough example how you can proceed in this manner to create it. Nap stomach and the rest of its coding. Adding a little bit of detailing in this manner, using the hatching lines to do the reading. This is just a simple example. Apart from this, I'll also be using different techniques to create different variations of the feather. To show you what I mean, let's create a few feathers and then we'll be using different techniques to add the texture for it. Here's a very simple variation using simple hatching lines in this manner on both the sides. For the second one, a little bit of variation and leaving a little bit of gap in between the hatching lines in this manner. For the third one, only doing the seeding for the upper part, making that region a little bit more darker. The fourth one, the same kind of thing. But instead of single one, we are adding more rows of hatching lines in this manner. For the small feeders, just simple hatching lines in this manner. Here's another one. The lines are facing towards the middle and for this one, the same kind of hatching lines that we did for the first one. So this is some of the different ways in which we'll be creating the texture and detailing for the feeder. Apart from this, I'll also be using some other techniques. But mostly you can create all the project using the simple techniques for the feeders. Now let me show you a little bit of detailed example for the head of our Bird, starting directly with the fine liner. I decided to use the pencil squech to make the process a little bit easier. Circular C for its head, triangular C for its beak. I decided to extend it a little bit and make it a little bit larger, so Another oval see inserting the smaller one. And yeah, this is going to be our simple pencil sketch. Now going back once again with the fine to do the outlining. I'll also be making the weak a little bit larger since it's looking quite smaller. Extending the side of the weak a little bit in this manner. Set of two oval seeps for the eye and eye ball. Let's do the outlining for its head a little bit of rougher texture in this manner with broken lines to do the outlining for its head. For some of the sections of its head, as you can see, I have used the broken lines. This is option. If you don't want to use this kind of broken lines, you can use the plain simple and normal lines. I see that the ink has dried up and lightly erase the pencil marks. Redefining the sep of the beak a little bit. Adding texture in this man, using this kind of scaling technique, simple, small triangular seam, open triangular seam in this manner. The region just beside its eyes, I'll be making that region more darker by adding more lines or more scaling in this manner. And apart from this, the region where I want to soothe the shadows, I'll be adding a little bit more detailings with lots of this kind of simple triangular seam. For the beak, mostly I'll be using stippling technique, simple stippling technique, and mostly making the region just beside its eyeballs a little bit darker as well as the end of the beak in this manner. So this is how I'll be adding the texture and detailing for the head of our bid and for the beak. Now, let me show you some of the paints that I'll be using for our project. So we have got Sakura micron fine liner, then I have got Tombos bras pen. With it, I can create a little bit more darker variation for the lines. Here's another one, another Tombos breast been. This is a little bit thinner, but it's a bit more darker. Apart from this, I have got this ikura takis bras been. With this, I'll can this kind of bit lighter variations of the gray. I'll also be using a little bit of blues and the red. Simple Sakura micron fine liner. Here's the blue one. Apart from this, if you want, you can also use the other kind of fine liner or other colored fine liner. In here, I have got this colored ballpoint pen. If you want, you can use them, but I won't be using it. Orange colored ballpoint pen. And that's all for this video. If you want to experiment more, feel free to do that, and I'll be seeing you in the next video. 7. Azure Watcher: Hi, and welcome to the Azure Watcher Project. This is one of the easiest and the smallest one. Let's start with the pencil sketching, starting with somewhat of OLC for the head of our own bird. Create this kind of oval se or egg like s for the head, extending it somewhat of cylindrical see for its neck. The whole weed us in real time, so you can always follow along with me. This will be the neck of our bird Just its increase the weeds a little bit like this, creating this kind of s for the remaining portion, its body.This kind of simple s for the wings And the wings on the other side? Simple set like this for the wings. This bird has eased one of its leg. The left leg is raised like this, the upper part of its leg, and now the right leg like this. This is just a rough pencils sketch. If required, we'll be making adjustment and changes when we'll be doing outlining with the fine liner or the breast paint. This simple see like this for its leg. Now for the second one, enricle see for the upper part of its leg. In here, we have got a large polygonal see like this for the padded foot. Now let's create the beak, a little bit of gob seep like this for the eyes and extending it in this manner, a bit of large triangular see for its beak. This is our duff pencil sketching for our bird. Feel free to make some changes in adjustment. Now we'll be doing the outlining. So once again, in here, I'm using the breast pain. You can use the fine liner, whatever you prefer. But with the breastbin I get a little bit more darker and with more broader lines. So that's why I choose to use the breastpin to do the initial outlining like this. We have got circular C for the eyes now extending it in this manner for the beak. This kind of curvy C for this part of the beak. We have got two or three sections for the beak. This will be the middle portion. Now for the lower half of the beak, a little bit of curved soap like this, curve triangular seep in this manner, and a little bit of the other side of the beak is visible. So only a small line like this. Doing the outlining for the head and the neck, a little bit of rougher texture to sow the fur and the feather of the bird. Simple rough lines like this, a little bit curved in here on the side, and now doing the outlining for the remaining section of its neck, the same kind of line. Now moving on to doing the outlining for the bids wings and the tail feeder and the legs. In here, I forgot to sketch the guideline for the tail feeder, but we'll be creating it later on. So now just going over the pencil and sketched outline with this fine linen, feel free to make changes and adjustments in here. I have decreased the width of the wing like this. Now for the lane, I'll do a little bit of rougher texture for the upper part of the lane. And here we'll be using a bit of curve line to set the three dimensional curved tip of leg. For this part, a little bit of curve line like this. Now for the patted food, we have got three or four divisions of the class like this. If you're not that confident, you can start with the simple pencil sketing and then use the fine liner to do the outlining. Now connecting all the sections of the web feet, small and tiny claws like this. Now in here for its tail, this kind of rougher texture. Using this kind of hatching lines to do the outlining in this manner for the second leg in here, mostly using this kind of hatching lines to do the outlining, connecting its neck to the remaining section, and finally doing the outlining for its wing on the side, we have to create its tail feather as well as the second foot going over the outline like this. Now creating the patted foot in the same manner that we did for the left one. Dividing into four different section and then we'll be connecting them. I've created very small class like this and connecting it now. A small portion is not visible in here, but I've included the different image. This is how this project will turn out. And, we are basically done with most of the outlining. Now let's add detailing going in with the black for the eyes. This portion, the lower portion of its weak. This portion, the lower portion of its weak, a little bit of hatching lines, making the region beside its sides a bit darker with more hatching lines in this manner. Let's erase the pencil marks first and then we'll be doing the detailing. Ist that the ink has dried up and lightly erase the pencil marks. This bird will be one of the easiest bird in this class. I'll be keeping it quite simple. We won't be adding more details for its wings and feathers and the region just beside its eyes, the chest. So mainly we'll only be using the hatching lines to do all the things. So this will be quite simpler, and this is the smallest project of this class. M erasing all the pencil sketches in here. In here at the bottom, I'll be creating its tail either four or five tail f there. This is how our sketch turned out. It's quite simple and easy. I decided for this one to only use the brass paint to do the detailing. If you want to use the fine andr, you can do that, too, but I'll only be sticking with the bras paints. Starting with the wings, simple hatching lines like this to make it darker. I'll be adding rows and rows of hatching line in this manner. I'll be keeping the pacing quite similar. So this kind of spacing like this and using the rows and rows of hatching lines, we'll be creating different layers to the wings. This is the second layer. So you've got the rough idea. How we'll be creating the texture for the feeder. Third row like this. You can easily see that in this way, using this kind of simple hatching lines, we can create the appearance of multiple layers of the feeders for this wing, adding it for the upper side, and this is going to be the final layer. Now, creating division in here. Just create bolder and darker lines in this manner to so different feathers present here in the wing. Just go over the lines twice or thrice to make it more dark to create appeariance of separate feather in here. It's one of the way we can simply create the appearance of the feather on the wings. Now, on the other side, it won't be that much detail since only the front portion of the wings are visible. But here, too, I'll mostly using the same kind of hatching line and same kind of spacing. Just rows and rows of hatching line. In here, I'm not going to sew the individual feather, but just simple rows and rows of hatching line in this manner to feel the entire section. Padding it at the bottom. So with these, we are done with the coloring for our two wings on both the sides. And as I was mentioning the tail feather. In creating four or five large tail feather. One more on this side. It's a simple pencil sketching like this. Going back once again with the mirrors paint to do the outlining. In here, I'll be using both simple hatching lines and then I'll be using straight lines to divide the feed into two sections, and on both the sides, I'll be adding angled hatching lines the way that I showed you in the demonstration video. So simple outlining like this in here. Erase the pencil and sketch, Insure that the ink has dried up and then lightly erase the pencil marks. Now let's do the coloring in here, extending it. Extending the line in here to create a separation in between all the large feathers. Starting with the hatching lines using the hatching line in this manner to do the sading Same manner of hatching line. Same manner of sading using hatching line. For the larger fether add more for the smaller one for the smaller ones, add less. If adding into two sections and on both the side and on both side using this kind of angled hatching lines. And with these, we end with the tail feeder. In here you can use the scallops, but mostly I'll be using the hatching lines, simple and plain hatching lines in this manner, adding the lines in this manner just beside its face. O we'll be mostly concentrating near its head, and as we progress, we'll be decreasing the number of the lines. Simple, small parallel hatching lines in this manner. Add lots and lots of hatching lines near its eyes and just below its be a little bit on the sides of the neck. And as I mentioned, you can always use the scallops. You can use the triangular see of the scallops or you can use the curved ones. I'll be including a little bit of scallops later on triangular set ones. But for now continuing on with this kind of hatching lines. Now, we'll be creating the texture of its fur for the chest. For some of the section, we'll be creating this kind of broken hatching lines. And as we progress, we'll be decreasing or increasing its length for the region near its stomach and the chest will have bit smaller line near its wing. We'll be increasing the size of the hatching lines like this. Now in here at the bottom, just a bit stale fether. We have got lots of lines in here. Broken hatching lines in this manner. For this leg, since it lies behind its body, so more hatching lines in here. Now, for the remaining section, more hatching lines in this manner. Just beside the wings create bit larger and as we move away from it, decrease the sizes a little bit. Using a little bit of scallops, triangular scallops in here, very tiny and very small ones. And you can add more hatching lines if you are not satisfied with it. I'm somewhat satisfied with it. If required, I'll be adding a few more. But for the upper part, I'm satisfied in here. Adding few more lines just to create a little bit more rougher textia for the remaining portion of its body. And with these, we are done with black now going with the blue. We are going to cover the entire section, the beak and the padded foot with the blue. This is option if you don't want to use it, you can simply use the breastpin. You can just simply use the breastpin and add a little bit of texture and detailing for the beak in the manner that I showed you, you can add more lines just beside its eye and at the end of its beak. And for the other side, the small side of the beak that is visible, you can you can make that region bit darker with more hatching lines. You can do the same thing for the leg. You can use curved hatching lines for the padded foot and for the upper part, you can use stippling along with small hatching lines. And if you are using the blue, just continue on with adding the color for the remaining section of its weak. A little bit of sading in here to make it a bit more darker. So just layers and layers of hatching line in this manner to make it quite darker. Now moving on to the padded foot, using this kind of curved line to give it a little bit of three dimensional. If you want you can also use the vertical lines for the leg. In here, I'm using large hatching line in this manner. For the remaining section, the padded foot, I'll be using the curved lines. Combining these two regions in here. Now, for the padded regions, so simple and plain curved lines in this manner for the entire section. This beside the joints, make it quite darker with more lines. A little bit of curved hatching lines in this manner, and for the last section of this leg, adding it for the remaining section. And with these, we are done with the first one, doing the same thing in here, curved hatching lines in this manner. Here I forgot to add a little bit of detailing using the breast pin. So if you want to make this a bit darker, you can use a little bit of curved hatching lines with the black continuing on with the remaining section, a different close that we have created, completely filling it with the blue. Padded region. Once again, we'll be using the same kind of lines, curd hatching lines and completely filling it and completely filling the three sections that we have created. We are done with the first one, moving on to the second one. Simple and plain curved lines in this manner, and for the third and the final section, more lines in this manner. And with these, we are done with the beak and the padded foot. If you want to add a little bit of detailing for the wings, you can also use a little bit of blue for some of the sections of the wings. You can also include a little bit of blue for its taste and the tail feather, a little bit just beside its head, a little bit for the knee. If you want, you can proceed with that. And yeah, with these, we are done with our easiest project. And with this, we're done with our easiest project, Azure Watcher. I hope you enjoyed painting this. This was quite fun to create, and it was very easy. And I'll be seeing you in the next project, Happy painting. 8. Blue Eyed Bird : Welcome to the blue eyed bird project. Let's start with a simple panza sketching. In here, I'll be doing the sketching twice. So first, we'll start with a simple sees and then we'll be defining it and adding more details. And finally, we'll be going with the fiander or the breast pain to do the outlining and add the final detailing. Start with this kind of curve triangular seep in here. This will be the head of our bird. So a curved sheep like this, this will be the length of its body. Now for its neck, a little bit of curved cylindrical sea. So it has got a long neck like this. For the remaining portion, just below its neck, a little bit of this kind of curved see. A cylindrical seep with a bulge like this. As for the remaining portion, it's a stomach. A little bit of curved oval seep like this. This will be its main body. Extending it a little bit. Extending it a little bit. And here, we'll be including its tail fether As for its foot, just create this kind of small oval sees. Another set of cylindrical seep like this triangular seep like this for the bottom of its foot. This is a simple sketch for the bird's body using simple shapes, extending its head a little bit and creating beak like this for the wings in here. For the wings in here, extending it a little bit. This is just a simple rough sketch. We'll be making changes and adjustments, so I decided to extend it a little bit. Wings on the other side, and this is going to be the tail feather. Wings on the other side. Only a small port into the wings is visible like this. For its face, I'll be gritting this kind of seed. So this is a very simple pencil sketching for our bird. You can just add more detailing and change a little bit of saves and dimension of this phase, or you can just follow along with me and erase it first, and then three to eight. In here, I'm going to erase it. The CP and the proportion will be changing a little bit now for its head, for its head, the face, it has got a little bit of this kind of curve C for the face. Follow along with me and create this kind of simple outlining. Extending it a little bit. This will be its large beak, making it a little bit more longer. Circular C for the eyes. Extending it for the upper part of the beak. Its mouth is open or it has open weak, the under portion of its beak like this. Now for the remaining portion of its beak, another straight line, and now connecting it with a little bit of curved line like this. This is going to be a simple face, simple weak and simple head for our bird. If you want to make a little bit of changes and adjustment, you can do that. You can make the beak a bit more larger or bit smaller. Now continuing on with going over the outline for its neck. We'll be creating a little bit of rougher texture for the side of its neck. But for now, just going over the pencil sketch, and if required, I'll be making a little bit of changes in adjustment. The lower parts of its neck is a little bit carvianF the veins and it's the stomach. From next projects onward, I won't be reading the sketches. I will be I'll just be adding more details on top of the rough pencil sketch, and then we'll be using the fine liner or the spin to do the outlining in here since this was first put it, so I decided to remove the sketches and redo it to make this process a bit more easier. Just going over the same pencil sketch that we did earlier, but we'll be making a bit of changes to the seats in the sign and a little bit more detailing like this. So we have got a bit more detail as well as the placement of some of the larger wings ing this portion and we are going to make it a little bit more longer, and we have changed the angle a little bit. Slight change in the angle. We'll be creating this kind of feather in here. Now for the tail feather, erasing it completely, and we'll be making it a little bit straighter and have four or five large feather. Simple curved set like this, extending it and adding it in here. If you want to make it a bit smaller, you can do that. Now moving on to the tail feather at here. Using a set of parallel straight line like this, a bit larger and a bit smaller one like this and a bit of curve C from the placement of the feather that we'll be adding later on. Moving on to its leg. This is going to be the first leg. A small portion of the upper part of the leg will be visible in here on this side. I also extended the side of its stomach or chase a little bit. Now, I'll be making a little bit of change to the foot. It's quite smaller. So erasing it. In here, too, I decided to make it a bit larger since it was looking quite small compared to the other wing. For the foot, making the upper parts a bit more larger. The other side, small portion is visible like this. Cylindrical see for the upper part of its leg. Now for the class in here, the padded food, a little bit of curvy lines like this. So we have got weaved fit in here, bit of more details with the class like this. Simple and small class like this. Now doing the same thing for the second leg. Creating the same kind of outlining in it for the first one, a little bit of this kind of polygonal scene, now dividing into different section and a small clause. For this two, a little bit of changes, I decided to make it a bit more thicker and bit more larger. So this is going to be our simple pencil sketching for the first one. If you want to make some changes and adjustment, feel free to do that. Now in here, I'll be starting with doing the outlining. Basically, I'll be starting with the breast paint to the outlining. Then we'll be using the fine liner to do the detailing, starting with doing the outlining for its weak. You don't have to stick with the pencil sketches that you have created. Feel creek to make changes in adjustment. As you will see in here, I'll be making a little bit of changes to the pencil sketches that I did. Doing the outlining for the eyes, simple oval shape like this. Open week If you want to proceed with the fine, and you can do that, but in here, I have breast paints, mostly I'll be using it. With this breast paints, I'll be able to get a little bit more thicker and wet more darker lines as compared to the fine liner. And apart from that, for all the detailings, I'll be using the fine liners, Sakura micron fine liner. A little bit of more detailing for the inside of the beak for its head. As I was mentioning, we'll be creating this kind of bit rougher texture for the head to sow the resemblance of the feathers. Just create this kind of simple lines. Instead of this, if you want, you can also create plain and normal curved lines for its head and the rest of its neck, doing the same thing, outlining in this man for the other side. So basically in here, I'm using a little bit of plain and normal lines. Now for the eyeballs like this, simple circular seep like this, a little bit of detailing in form of curved lines, following the curved sweep of its eye. Now, moving on to doing the outlining for the remaining portion, it's wings, tail, weather, and the foot. For some of the section, I'll be using a little bit of broken lines. For others, I'll be using normal and plain lines. With the broken lines, I find that I can provide a little bit more characteristics to the painting, and it looks a little bit more organic. So for some of the section, I'd prefer to use this kind of broken lines. This is optional. If you don't want to use it, you can just create simple and plain lines. Now for the wings that lies beneath it, curved seep like this and simple set of parallel lines like this or the wing on the other side. I'll be making it a little bit thinner, comparatively thinner, like this. And as you can see, I'm making a bit of changes to the pencil sketches that I created, so you don't have to stick with the outlines that you did with the pencil sketching. Now for the tail either. Once again, bit of curved lines like this, extending the side a little bit. So this is going to be the tail feeder. A few more feathers on the other side like this. And with these fee are done with the wings for now, we have got one more wing on the other side, only a small portion is visible. For now, continuing on with doing the outlining for its leg. Small broken lines like this for the foot. The other foot. A bit of this kind of lines to sow the rough texture of the wings, outlining the second wing, simple plain outlining like this. And finally, moving onto the foot. Going over the outlines and making a little bit of changes and adjustment as required. I'm going to extend the side a little bit, thus making it a bit larger as the leg was looking comparatively smaller, so I decided to extend the side a little bit, small clause like this. Now for the second leg, simple outlining in this manner. For the eyes and the leg in here, I'll be using the blue colored fine liner to do the coloring. Apart from that, I'll only be using the black to do the outlining and adding the details. Instead of it, if you want to use other colors, you can use that, or you can just keep it simple and plain, monochrome painting with only the black. Now we'll be going to add the detailings for the inside, a little bit of cop see for the folded wings feed this inside the wing extending it a little bit to make it bit larger. We'll be creating two or three rows of either in here. Simple set of curved lines like this. Or you can consider it to be a little bit of larger scallops. For the upper part, but smaller curved line like this and mostly for the upper part, I'll be using a bit of broken lines. Per part of the wings, more curved lines like this. For the tail feather in here, we have got large feathers like this. For some of the feathers, we'll be dividing into different sections, and for others, we'll be keeping it plain and simple one or two lines. O. And with this, we are done with a simple outlining for most of the parts. If you want to make changes and add more detailing, you can do that. But I'm satisfied with the simple pencil sketching. Now, let's slightly erase the pencil marks. Let's lightly erase the pencil marks, and then we'll be adding more detailing. Ensure that the ink has dried up properly, and then lightly erase it. We don't want the ink to be smuged. Removing the erasers dust. Now going into the Sakura micron fine liner for the insides of the big, the upper part, just simple plain hatching lines like this to make this fight darker. So mostly we'll be using the hatching lines and a little bit of stippling technique. In here, we are going to add a bit more detailing and making the beak a little bit more darker, a bit more detailed. For some of the sections like this, we'll be using stippling technique to make it darker. For the other section, we'll be using hatching lines or curved hatching lines to make those section darker. In here, we are going to add a bit of more detailing and making the week a little bit more darker, a bit more detailed. We'll be doing the same thing for the area beside its eyes. Making it bit darker and for the remaining portion, we'll be keeping it quite lighter. Now moving towards its eyes, using lots of stippling dots, we are going to surround the eyes with lots of stippling dots. Apart from the stippling dots, we'll also be using these dots to do a little bit of shading. The region just below and beside the eyes, we'll be making it quite darker. And as we move away from it, I'll be adding more dot. The placement or the spacing between the dots will be a bit larger, comparatively larger. Extending the dots in this manner and increasing the spacing to make it quite lighter, comparatively lighter. Adding the dot just beside the lines that we created. Now for the lower half of its big, more dots. Instead of using the stapling dots, you can also use small broken hatching lines, very small and tiny hatching lines. For now, let's continue with adding more dots like this. In here, for its eyes, I'll only be using the blue. Apart from that, if you want to use the blue for its beak, you can do that, too. Stippling dots in here to make this quite darker. Now, on the other side, doing the same thing that we did for the upper part of the beak, making it comparatively darker. Now in here, this curved portion mode stippling dots like this. And with this, we are done with the beak and the head for now. Now let's do the detailing for its head, continuing on with doing that detailing for its head and the neck. In here for the upper part, a small lines like this. And for the remaining section, mostly for the upper part, I'll be using this kind of scallops, but triangular saves like this, triangular seeps like this. I'll be wearing the sizes a little bit and also wearing the specing in between the lines like this. For the regions near its weak, we'll be adding the scallops bit more closer, and as we progress, I'll be increasing the spacing in between it and I'll also be wearing the sides a little bit. More scallops like this, mostly on the sides. For the middle region, we'll be making it smaller as well as increasing squeezing in between the scallops. Mostly, I'll only be using the scallops for the head and the neck. I won't be using it for the remaining portion. Just follow along with me and add scallops till you are satisfied with it. You can also make some of the scallops a bit more darker like this. Another row of lines in this manner. I'm not going to do it for all the scallops, but for most of them like this, good for smaller scallops, just use smaller lines in this manner. Adding a few more scallops in here. Continuing on with making the scallops a bit more darker with more lines like this. Instead of this kind of triangular see the scallops, if you want, you can also use the curved see ones moving in here, the smaller feeds in here, a little bit of hatching lines just beside the outline section. Simple and small hatching lines in this manner. Add few more hatching lines. Set of curved parlor hatching lines like this, extending it towards its neck. I'm also wearing the spacing a little bit. Instead of this kind of hatching, if you want, you can also use the same kind of scallops, or you can use the curved scallops. And with these, we are done with this section for now. Now for the wings in here, the tail feeder, mostly I'll be using hatching lines like this on both the side, divide the larger wings into two sections and then on both sides to create a bit of either a perio just simple and plain hatching lines like this. For some of the sections, particularly the lower end, I'll be using a little bit of sading along with the hatching to make this bit darker. But for most of the section, this dividing the vent into two parts and then using the hatching lines on both the sides. For the smaller ones, I'll also be leaving a little bit of gap in between the hatching lines. So we'll have rows and rows of hatching lines with a little bit of gap. Now for the lower part in here, using lots of hatching lines to make this a bit more darker. I have divided this project into two sections. This is the first section, and I'll only be covering up to here. In the next section of this project, we'll be adding more detailing. I'll be seeing you in there. 9. More Details : Continuing on where we left top. In here, we are adding detailing for the wings for the feathers, dividing into two sections and adding hatching lines on both the sides, curved hatching lines for the upper part in here, using weight of broken curved hatching lines to make this region bit more darker. Set of hatching lines like this in this manner, extending the scallop in here. Me hatching lines like this, another row of hatching lines in here to make the upper part bit more darker, comparatively darker. For the entire upper part in here, lots of hatching lines. Now for the remaining section in here, I'll be filling it with this kind of bit broken hatching lines in this manner. I've increased the piecing in between the lines like this. We are making it a bit lighter. More sets of hatching line in this manner, small hatching lines. Extending the hatching lines of the wings like this to meet with the broken hatching lines. Now we are going to do the same thing for the wings in here, dividing the wings into two section with this kind of line and using the hatching lines on both the sides, angled hatching lines like this. Instead of this, if you want to leave a little bit of spacing in between the hatching lines, you can do that, too. I like I saw you in that demonstration video. For the smaller feathers in here, the same thing, dividing into two section and hatching lines on both the sides. In here, since we use the breast paint to do the outlining, the different section, the different parts of the wings and the feathers are quite distinct from each other. Since the thickness of the lines that we created with the breastpas are more darker as compared to the lines that we are creating with the fine liner, continuing on with adding the more detailings for the feather. For this side of the feathers in here, instead of using the angled hatching lines, I'm just using simple and plain hatching lines and doing a little bit of seeding, making the lower regions a bit more darker with more hatching lines and reduced spacing. And as for the upper part, simple and plain hatching lines. Just add more lines for the bottom section to make it a bit darker like this, doing the same thing for the wings in here. Since this wing lies on the other side, we won't be adding that much of detailing rows and rows of hatching lines, a little bit of white spaces in between them. And with this, we are done with the swing. Add a little bit of more details wherever you think it's required. I decided to make this region a bit more darker, more hatching lines in here to make it a bit more distinct and different. Using hatching lines to do the seeding in this manner. More lines in here to make this more darker. Now for this side of the wing, same thing, like we did for the other wing, simple hatching lines, rows and rows of hatching lines. And this beside the larger wing, making it a little bit more darker, making the outlines a bit more darker with more lines. And with these, we are done with the wings. Now for the remaining section, it's leg and the stomach and the chest. So basically, we are going to use curved hatching curved and broken hatching lines for most of the section. We are not going to cover the entire section with the hatching line, but for the region just beside its wing and near the outlined regions, as well as for the foot, we'll be making them quite darker. For most of them, we'll be adding the lines, but we'll be increasing the spacing in between them as well as reducing the side. As you can see for this leg, I added more lines to make it more darker since it lies on the other side. A bit of more detailing for the neck in here. If you're satisfied with yours, you don't have to add more detailing. Now in here just beside its leg. Bit of curved broken lines like this. The wings on the other side, rows and rows of hatching line. Rows and rows of hatching line like this to make it bit darker. The region just below its wing, using a bit of a stippling technique to make it bit more darker. Simple stippling dots like this. Instead of using the stippling dots, you can use the hatching lines too. Tining on with creating more stippling dots in this manner. In here, too, I decided to use a bit of a stippling dots for this region, the neck and upper part of the head. This is optional. If you are satisfied with your object, you don't have to add more details in this form of stippling dots. Moving back in here, continuing on with adding more dots, reducing the spacing in between them. For this region, the chest, upper part of the chaste, more stippling dots. We'll be keeping it comparatively lighter, but if we want to make it darker, you just have to add more dot and reduce the spacing in between the dots. Now adding the.in here just above the leg as well as in between the hatching lines. For the remaining section, I'll be adding more of this kind of stippling dots. Earlier, my plan was to use the hatching lines to add the detail in here, but then I decided to use the stippling dots to give it a little bit of different kind of texture. Lots and lots of stippling.in this manner. With the stippling dots, it creates very beautiful and defined texture, and it looks more elegant, but the main disadvantage is that it takes a lot of time. So I'll only be using the smaller section for most of the project. The the foot in here will be using both hatching lines and stippling dots. For the padded regions of the foot in here, making this region a bit more darker with stippling dots in here. The triangular parts in here, add more stippling dots. And as we move away from it, we are not going to add the stippling dots, or you can just increase the piecing between the dots. Adding in this beside the outline sections. More stippling dots in this manner. A bit of more detailing in this manner. We'll be covering it with the blue fine liner later on. With these, we are done with a simple detailing for the foot with stippling dots and a little bit of hatching lines. Now, in here, I'm going with the blue fine liner, and I'm going to cover it entirely with it. P rows and rows of hatching lines in this manner to fill the entire section with this blue. This is optional. If you don't want to use the blue, you can leave it as it is. You can just use the black and do a little bit more detailing with the stippling dots and bit of hatching lines. Adding it for the webbed feet in here. Now for the second one, the same thing, rows and rows of hatching lines. We are making it a little bit of uniform, so we are maintaining the spacing in between the lines for the smaller regions like this. I'll also be doing the coloring for the waived with. First, we'll be completely feeling it and then we'll be using the curve line to add a little bit more detailings in that manner. Add more blue lines wherever you think it's required, making this region bit more darker. Now for the remaining section, following the seep of the waved feet and adding the lines in this manner. As you can see, I have increased this piecing in between the lines, and these are comparatively lighter. The same thing for the second one, curved hatching lines in this manner. The final portion like this. A little bit of blues for the eyes. If you don't want to use it, you can just leave it as it is. And also add the blues for the beaks. Yeah, with these, we add in with our first project. This is one of my favorite and one of the easiest projects of this class. I'll be seeing you in the next project, Happy painting. 10. Blue Foot Wanderer : Welcome to this project, Blue footed wondro. Let's start with a simple pencil sketching for our words head. Starting with somewhat of circular C for the head, extending it in this manner, a little bit of curb cylindrical C for the neck. In here, we have got another s curve triangular se for its bony, somewhat of this kind of elliptical seam or you can say I like C for the body. In here, we'll be creating its wings and chest. This is going to be. This is going to me the tail feel there and the upper parts of it foot. Adding it in here too. Simple shape like this. It has raised one of its leg in this manner. Making a little bit of changes, adding a little bit of detailing, creating a rough guideline for the wings. The folded wings in here, extending it a little bit in here, the wings from the other side, that will be visible in this manner. So this is very simple sketch for our bird. Now a little bit more guidelines for its face and the beak. Couch seep in this manner. So we've got somewhat of slanted angle line, as well as a little bit of curve shape on top of it for its face and a long triangular shape for its beak. And this is our simple pencil sketching for our Blue foot adventurer. Let's do a little bit of detailing in here. I'm starting with embrasp. In here, I'm starting with a breast pain to do the outlining. Starting with doing the outlining for it freeze, curved and straight lines in this manner. The beak in here, I decided to extend the side of the weak a little bit. In here I decided to make a little bit of changes to the weak making it a little bit thinner, dividing into two sections, the aparent lower part of the beak. Simple oval shape like this for the eyes, dividing the weak into more sections. Let's do the outlining for the remaining section. In here to create a little bit of rougher texture, I'll be creating this band b creating this kind of lines to do the outlining for its head and the neck. This is o if you don't want to use this kind of lines, you can always use plain and simple lines to do the outlining, doing the same thing on the other side. The same kind of line to do the outlining on the side of the neck. Now, let's do the outlining for its swing. For the folded wings in here, we'll be dividing into different sections and we'll be creating three or four different rows of the feather present on the wing. As for the extended portions of the wing, we'll be dividing into more sections, doing the outlining in this manner. Going back with a pencil once again to draw a little bit of more guidelines for the outlining. We have got three rows of feather in here. Using these kind of lines, a bit larger scallops in here to create the appearance of the feather in the wing. As I am progressing, I'm decreasing the sinus, now doing the same thing on the other side, decreasing the side in this manner. This is going to be our second set of the feather. Instead of this kind of scallops, if you want, you can use other variations of the scallops, you can use the curved one, you can use the pointed one. So feel free to experiment. And the final one. Now, moving on to the final one. This is the third and the final row of the feathers on the wing, making it comparatively larger. Once again, as we are progressing, I'm decreasing the size a little bit comparatively less as compared to the first and the second rows, the decrease in the size is very small. Now, for the extended portion of the wings, following the curved shape of it and adding lines in this manner, concentric lines in this manner to add the detailing for the inside of this extended feeder. Now for the tail feeder, start with a straight line. This will be the largest feather in here now. We'll be dividing into more and more sections, mostly using this kind of curved lines to create the rough outlining for our feathers. In here, I'll be creating mostly four or five feeders in this manner, and a few more on the side, smaller ones like this. Extending the lines in this man to sow a clear distinction between the different feeders we have created in here. The other side of the wing, only a small portion is visible in this manner. Now, let's do the outlining for its chest and the lower portion of its body to give it a little bit of texted look in here. We are using these kind of lines. This is going to be the upper part of its foot. Here, too, once again, use the same kind of lines to give it a little bit of texted look. Now for its stomach and the chest. The simple and thin lines. If you want to include the raffle texture, feel free to do that. Now for the foot. Dividing the leg into different sections. As for the foot and the beak, I won't be creating or adding any kind of detailings in the form of hatching lines or the stippling technique. Since I'll be using the blue colored Bros pin to do the coloring, but if you want to include and add but if you want to include detailing and hatching or stippling feel free to do that. The second leg in here, as I was mentioning, this was raised to lay cylindrical sip in this manner for the middle portion. Now for the remaining portion, going back with a pencil to do sketching. Now going back once again with a breast ping and going over the pencil sketch that we made, you don't have to stick with the pencil sketch that you have created, feel free to make changes in adjustment. Now connecting all the portions with this kind of curved lines. Adding the insights for the eye, a little bit of highlight in the form of white. So this is our simple outlining for the blue footed vendra. Ensure that the ink has dried up and lightly erase the pencil marks. Lightly raising the pencil marks. Mostly I'll be using the breast paint to do the detailing. I'll also be using a little bit of fine liner. You can do the same thing that I'll be doing with the fine liner. You don't have to stick with the breastpin. Or if you want, you can also use the normal wallpoint paint or jail pen to do this. I'll also be using a little bit of gray colored breastpains to do the coloring. Removing the erasers dist. And this is how our sketch turned out. Let's start with the gray. Let's start with the gray. A little bit of green in here just beside its size and the front part of its beak, keep it on the edges. For the small feed that's in here, the rough texture that we'll be creating, just using gray in this manner, creating small strokes in this manner. The region just beside its face will be making it quite darker, so more strokes in this manner, simple and plain strokes with the grey. And as we move away from it, we'll be decreasing the intensity of the gray in this manner. Now for the wings, Now for the wings, just filling some of the sections with the gray in this manner, completely filling it for the upper part. And as for the rows of the wings, leaving a little bit of white piece, otherwise filling it in this manner. A little bit of more lines in here. The regions where I'm adding this kind of lines with the green will be making those region quite darker with hatching lines of the stippling technique or cross-hatching. Also, to make it more darker, you can do two or three layers in this manner. So for this section, I decided to make it darker. Now for the tail either, a little bit of gray extended with the same kind of thing. We also used a little bit for its foot and the leg. This symbol is gray like this. I mean if you want to include more gray for some of the section, feel free to do that. In here, I'm going with the blue colored bus pen, and I'm just going to completely fill the entire section with it. I'll be making some of the regions a bit more darker by doing two or three layers of the blue, particularly in here just beside its eyes and at the end of its beak. Just simple layering in this manner to make it quite darker. A little bit on the other side, too, a little bit more layering on this side. And with these, we are done with the beak. Now for the foot. Completely fill it with the blue. Put the sections in here, the webbed food, add more layers to make it quite darker. With these, we are done with the first web, moving on to the second lane, doing the same thing, completely peeling the insides with the blue. And for the patoot region, adding more layers in this manner to make it more darker. And with these, we are done with a blue colored breast pine Now, in here, instead of using the breastpin and decided to use the sketch pin, it will create the same kind of effect. Feel free to use any other supplies that you want. You can use the normal ball pen pen, you can use the file line and you can use the breastbin. So whatever you want to use, feel free to do that, starting with this kind of small hatching lines and surrounding its freeze in this manner. More stat of hatching line in this manner just below its beak rows and rows of hatching line in this manner. Another row of hatching line just beside the beak. Small hatching line in this manner to make the regions quite darker. Apart from the hatching line, we'll be using lots of scallops, triangular seeds of the scallops. But for now, continuing on with this kind of small hatching line in this manner to make some of the regions quite darker. Creating small triangular see in this manner, small scallops in this manner to feel the remaining section. As usual, we'll be making the upper portion and the sides bit more darker with lots of hatching lines or this kind of scallops. Continuing on. So on the left side, we'll be adding a lot more. And for the right side, we have lots of hatching lines. So for the right side, I won't be creating that many of the scallops in this manner. But in here, we have got lots of scallops, particularly creating the scallops on the areas where we use the gray to cover it. Now for the upper part of it, more hatching lines, just more hatching line on top of the gray that we used earlier. I decided to use the sketch pen since the sketch pen is quite cheap and you can create the same kind of effect using the sketch pin as compared to the breast pan. That's why I decided to use it. Using the black to redo the outlining for the beak to make it quite darker and to create a clear distinction between the separate section of its face, the beak, and the eyes. Now, continuing on with the remaining section, we have got its chest and the wings. In here, just dividing into different sections using this kind of small scribbling technique or you can say, hatching lines to create this kind of feather like appearance. So this kind of scallop pattern, Instead of this, if you want to create other kind of pattern or designs for the feather, you can do that. But in here, I decided to include this. Adding more blacks in here to create a gate separation to create a little bit more appearance for the feather, creating smaller lines in here to be divided into two sections. Now for the upper part, more hatching lines in this manner. Now also going over the outlines to make it quite bolder and more darker. So for most of the outlines in here that we did with breast pin earlier, we'll be going over with this sketch pen and making it quite darker. This is optional. If you don't want to do this, you can just leave it as it is and use the black to do hatching lines, or you can just simply use it to do a little bit of shading. Continuing on. As you can see, I'm making one side of the outlining a little bit more darker by adding two or three layers of the black in this manner. And with these, we are done with the second row, moving into the third and the final one. Just simply going over the outlines in this manner. As usual, I'm making one side a little bit more darker by going over it twice. And with these, we are done with the third and the final row. Continuing on with the chest and the stomach, a little bit more detailing in the form of hatching line, curved hatching lines, just above its leg, making this region quite darker with more curved hatching line in this manner. Beside its wing, more hatching lines. So we'll be creating lots of hatching lines of various saves, mostly starting from smaller to larger to make this region quite darker. Now for the chest, rows and rows of hatching line in this manner, covering the grease that we used earlier. And yeah, this will do the work now for the leg on the other side, more hatching lines to make it more darker for this leg. Just using rows and rows of hatching lines. So feel it entirely. If you want to do a little bit of setting, you can do that, too. Now for this portion, just completely filling it with this manner of hatching lines. The lower part of the wings in this manner, making it quite darker. And with these, we are done with the chest and the stomach. Now for the tail either, doing the same thing, outlining the one sides and making it more darker. Here for some of the sections, we'll be dividing into two sections and using the angle hatching lines to create the appearance for the feather. And for some of the section, particularly the lower section, I'll be completely feeling it with the black in this manner. This feeling it with the black in this manner. I'm also firing the sizes a little bit in this manner. For the extended portion of the wings, just go over the outlines. Here to make some of the sexton more darker on this side, doing the same thing. And with this, we are doing the outlining for most of the sections, a little bit of more outlining for the upper part. If you want to do the outlining for the entire section, you can do that, too. Doing the outlining for the food, it is not visible in here, but I am just simply going over the outlines of the food that we created. I did not do the outlining for the upper section with this sketch pin. Since with the variations of the line thickness, we have created somewhat of dynamic lines and it looks a little bit more pleasing. This compared to if I have gone and do the outlining for the entire section. That's why I did not do the outlining for the upper part. Going in with the fine to add the final detailing. With a fine liner, I can create comparatively smaller lines using it to add small and finer details in this manner on both sides of the wings, creating this kind of small hatching lines to create a pariance of the feeder. For the smaller ones, I'm only adding the lines on one side. This is quite large one, so adding it on both sides. Simple hatching line in this manner, adding it for the last one in here. Now for this portion, more hatching line in this manner. Moving on to this one, simple hatching line in this manner, and also doing a little bit of sading using these hatching lines. For the upper and the lower part of the feathers that we have in here, simple hatching lines in this manner, also a little bit of sading making the upper or the lower part quite darker by adding more lines in here. We'll be doing the same thing for all the three rows. For the larger ones, I'm adding it for both the section, the upper and the lower sections. But the smaller ones, I'll only be adding it for the lower part or the upper part. The first one, simple small hatching line in this manner. More hatching line in this manner. We are going to add it for all the feather that we have created in here. Also for some of the sections in here for the chest and the upper part, if you want to create this kind of detailing, feel free to do that. I have not added any detailing for its foot and the beak, if you want to add detailings and make it bit more darker using stippling or hatching technique, you can do that with the fine liner. I won't be adding any detailings with the fine liner. And yeah, with these, we are done with our Blue Foot Wanderer. I hope you enjoyed painting this one, and I'll be seeing you in the next project. 11. Potrait of a Bird : Welcome to this project. We have got a portrait of the bird. This is going to be a little bit different from all the projects that we have created. In here, we'll be creating a very detailed piece for our bird, starting with this kind of curve cylindrical C for the head. If you want, you can make it bit more larger or more smaller as you see fit. Now, in here for its face, create this kind of curve. Somewhat of semi oval s, dividing into three curved section for the upper part. For the middle portion, we have got its beak and on both the sides, we have its eyes extending the lines in this manner for the eyes. Basically in here, we'll be creating lots of curve for the outlining. Just follow along with me so that you can easily create it. Curved seep in here. On both the sides and here, we'll be creating a beak. This is going to be a simple C in here we'll be creating a beak Since we are viewing it from the top, the beaker P is a bit more broader. This kind of curved triangular c. Simple outlining in this manner for the eyes will be dividing the beaks into different sections. The sides of the beaks will be visible. That's why it's looking a little bit comparatively broader. The two lines on here will be the sides of the beak that are visible. Second eye in here, simple oval C. This will be the lower portion of the weak, more lines in here to sow the sides of the weak. So the weak the weak is somewhat of three dimensional in shape, so the three sides will be visible in this manner. Since we are viewing it from the front and the top view, so this kind of divisions, it's not looking that much apparent, but when we'll be doing the outlining and adding the detail, it will become more clear. In here, I'm using the brass paint to do the outlining. You can also use the fine liner. The main advantage with the breastman that I have is that I get a bit more darker and a bit more thicker line. Going over all the pencil sketches that we did, feel free to make changes in adjustment. I have included the reference image so that you can get the rough idea how we'll be creating it. Not the reference image, the final image. So this is how the project turned out. Now for the beak. Mostly in here, we'll be using the small hatching lines to create the shadows and add the texture. Not for the sides. As for the eyes, creating a little bit of elliptical set like this. Instead of it, if you want to continue with the circular seat, you can do that, too. But in here, we are creating a bit detailed portrait of the bird's face. So trying to make it a little bit more real Oval saves for the inside the eyes oval save in here for the eyeballs, a little bit of detailing. In here, we'll be grading lots of line to make it look a little bit textured. This kind of simple this kind of simple lines in here following the curve sweep of the eye. Now, broken hatching lines in this manner. Court broken hatching lines. Now, the sides of the beak. Simple plain small hatching lines in this manner. Now for the lower portion of the beak, extending it in this manner, doing the same thing on the other side, a little bit more detailing for the lower portion of its weak. This is how we are attempting to sew a little bit of three dimensional view of its beak, add another circular sap in this manner to sow the highlights of the eye, doing the same thing for the second one, now completely filling it with the black. A little bit of texture for the bee. For the upper part in here, we'll be making it look a bit textured. So simple lines like this. Enough on the remaining section of its side, the same kind of lines that we have used so far, this kind of sharp edges. On both the sides, we'll be doing the same thing. In here, I'll also using a little bit of gray, and we'll be creating a little bit of texture detailing in here. So for now just continuing on with the outlining in this manner. In here, the space is a little bit tilted towards the right. But if you want to make it a little bit standard, you can just increase the width in here. As you can see on the left side, we have more width and in the right in here, a little bit less width in between the outlining and its space. If you want, you can increase it. Lightly raising the pencil marks, ensure that the ink has dried up properly and then lightly raise all the pencil marks. After doing this for the insides, we'll be using the blue. For the outsides, we'll be using the raise and lots of detailing in between. And this is how our sketch turned out, removing the E research test. Now, let's do the detailing. Continuing on with the breast paint for now. Now going in with the grey colored paint that I have grey colored breast pain. For some of the section where I'll be sewing the sados or the section that will be darker. I'll be adding the green in here in this manner. You can just follow along with me. A one below the eyes, the sides of the B, the lower portion of the weak and a little bit at the edge of the beak in this manner. A little bit of more gray on the sides of the beak. Now for the remaining section, just create small and larger streaks in this manner. We are spreading from the center near the faces, create bit smaller ones, and as we move away, increase the sizes. Lots of lines in here, just beside it space. As we move away, we'll be increasing the size and decreasing the spacing. One or two more rows in here. Make it a little bit more denser near its face, and as we move away, just increase the spacing and increase the number in this manner. For the upper part of the head, I did not add it that much, but if you want, you can include more lines in there with a gray. Now, going in with the breast pane and creating this kind of scallops, the scallops are not connected, but for all the grease that we created, I'll be creating this kind of triangular or this kind of other variation of the scallops for the entire section. Apart from the gray areas, I'll also be including and creating lots of this kind of scallops for the white regions. In here, adding a little bit of detailing for this part just above its beak in this manner, small hatching lines like this. Now, continuing on with the gray regions, creating this kind of triangular seed scallops. For now, we'll just be going over all the gray regions and creating this kind of triangular seeds, the triangle scallops. Then in between the scallops I'll also be creating smaller, multiple smaller ones on the white regions. This besides its fees in here creating a bit smaller streaks in this manner. So smaller scallops, smaller triangular seep in this manner. Now for the remaining section, just create multiple ones like this. As you can see, I have created a bit smaller ones for the white region. And for the remaining section, just continue on with this manner. The sides in the upper part and this beloved beak will be making it a little bit denser. So more smaller and larger ones in this manner, in the white regions, as well as the gray regions. After doing this, we'll be adding a little bit more texture and detailing using the fine liner and we'll be creating lots of hatching lines for some of the scallops that we have in here, especially the larger ones. Getting more scallops in here to make it bit more denser. Entertaining on with the lower section in this manner. As for its beak and the remaining portion of its face, we'll be using the blue. Mostly we'll be doing the hatching lines and cross-hatching and we are going to completely cover the entire section with the blue. Is the regions beside its size. Creating more scallops in smaller scallops like this. If you want to make it more denser, you can add more, but I think I am satisfied with it. In here for the sides, I'm making it a bit more denser. Small scallops in this manner to make it quite darker. Na fur the head, once again, a little bit of more scallops in this manner, but smaller ones. And here, with these, we are done with the scallops. I'm satisfied with the number of the scallops. If you want to give more, you can do that. And if required, I'll be adding more, but for now going with the fine liner. And in here, we'll be making some of the scallops, a little bit texture. Feather like appearance in this manner using simple hatching lines. To avoid smudging of the color in here, I'm using the tissue paper underneath my palm, and for some of the larger one, the larger scallops in here, just greeting this kind of texture, using the hatching lines. This is optional if you're satisfied with the grease and the black one, you don't have to do this. Or if you want to include this, just follow along with me. I'm not going to add it for all the scallops that we have in here. Minly I'll be adding it for the larger one and a little bit for the smaller ones in this manner. I'll also be creating few smaller ones using the fine lender for the regions where we don't have that many scallops. Now on the side, simple hatching lines in this manner. This process is going to take a little bit of time since we'll be adding this kind of texture for a lot of the scallops. Continuing on with creating this kind of texture for the scallops in this manner, particularly added for the larger ones. For the smaller ones, it will look a bit darker. For the smaller one, it will look more darker, so I'm only focusing on the larger one in here. If you want to include this kind of texture food, all the scallops, you can do that, too, but I won't be doing it, continuing on with more scallops and here, simple texture in this manner. I'll only be creating this kind of detailing for this scallop. For this project, I won't be using it for the other projects. So this kind of detailing takes a lot of time, and for most of the project, the sizes of the scallops will be quite smaller. In here, since this is a big portrait of the bird, we have got larger scallops, but for the other project, we'll have very small ones. If you want to include the hatching lines for those projects too, you can do that, but I won't be including them. In here, we are continuing on creating more textured scallops in this manner. After doing this, we'll be doing the coloring for the fees. I'll also be using a little bit of grey to create a little bit of detailing for the eyes beside the black eyeball. We'll be using the grease and create simple dots to give it a little bit more text appearance, the eyes of the word. Once again, I would like to remind you that the whole video is in real time, so you can always follow along with me. A little bit of detailing on the side, so small hatching lines in this manner for the outlined regions. Now for the head, a little bit more hatching lines in this manner. I'm also creating few smaller ones in here, wherever there is a lot of empty spaces. Now add more wherever you think it's required. You can also create smaller scallops like this. Et's do the detailing for the eyes using the file and make the upper regions of the eyes a bit more detailed and texture. Since in here, we have got a little bit less thickness as compared to the breast pain. So using this to create a little bit more texture look for the face, Just simple and plain curved and curved hatching lines for some of the section. This will be a little bit darker. The sad is casted by the upper portion of its beak in here too, doing the same thing in here. Try to maintain the symmetry to make it more darker using cross-hatching. A little bit of cross-hatching just beside this portion. On the sides of the eyes, more hatching in this manner, since we'll be overlaying the blue on top of it, but the intensity of the blue will be quite lighter. So all the blacks that we have in here will remain visible. The grease will be visible too with the blue. So we have got the blue in here. The fine liner that I have in here has a little bit of less thickness. So we'll have to create lots and lots of lines to make it quite darker. I'll be doing the coloring in layers. This is going to your first layer. Following the curve sweep of its eye and using this kind of rows and rows of hatching to feel the entire section beside its eyes. This process is also going to take a bit of time around four or 5 minutes to completely create its squeeze. For the beak in here, mostly we'll be using the curved lines as the first layer, then we'll be using made of more hatching lines as for the third layer, we'll be doing a bit of cross-hatching to make of the section more darker. The curve sections in here just create curve line following the set, the contour of the different sections. And for the remaining section, you can just create rows and rows of hatching lines in any manner. The regions where we created this kind of hatching lines and add the blue in that manner. So just following the hatching lines and adding it in that manner. Make this bit more darker, doing the cross-hatching, for this origin, completely filling it with the blue, continuing on with the beak, a little bit of sading using the hatching lines. This is our first layer. We'll be doing the same thing on the other side. And then we'll also be adding it for the entire section, the middle portion. For that, I'll be applying less pressure with the breast pain, and I'll also be changing the angle so that we can get more lighter lines for the middle section. Starting from the top, making the upper part comparatively darker. Now continuing on with this kind of curved hatching lines and using it to do a little bit of sading. And yeah, with these, we are done with the loose in here, a little bit of hatching in this manner, angle line in here to make it a little bit more darker, comparatively darker on the sides of the beak. Now, moving on to the eyes, the second eye in here, the same kind of hatching, rows and rows of hatching lines in this manner. Adding it for the lower portion of the eye, simple plain hatching lines in this manner, the side of the week, following the curve shape and adding the lines in that manner. Once again, in here, following the tu, the curved shape of the beak and adding the line in that manner. Plain simple hatching lines and now cross-hatching the side portion of the beak, cross-hatching here too to make it quite darker. Put the beak in here, a little bit of cross-hatching to make the sides more darker, doing the same thing in here, a bit of cross-hatching and extending the lines in this manner. Now for the remaining section, as I was saying, changing the angle of the pen and creating and creating bit of lighter lines in this manner and completely feeling the entire section. We'll be using the lighter lines like this for the remaining section. We are going to cover the entire section with the blue. Just tan the angle of the pen and feel the remaining section with the blue in this manner. Making the sides more darker, do the same thing on the other side. Me lines to make it more darker. And with these, we are done with the blue. If you want to make some of the section more darker, you can do that. If you have other darker sits with the blue, you can also use that. Now, going with the gray, creating this kind of detailing with this kind of lines for the eye, doing the same thing for the other eye. And with these, we add with our project. I hope you enjoyed painting this portrait of the bird. And this was quite fun and refreshing to paint, and I'll sing you in the next project, happy painting. 12. On the Rock: Welcome to the project on the rock. Let's start with a simple sketching. Once again, in here, I'm starting with a circular s, somewhat of circular or somewhat of ovals for the head of a bird. You can create both the ovals or the circular see for the head. Somewhat of this kind of circular see. Now its head is turned for this project. So a little bit of different kind of neck in here. Somewhat of angled cylindrical seat in here on the side. This is going to its neck. Now for the remaining section in here, we'll be creating somewhat of elliptical seam. To make it more simpler, you can divide into different section in this manner and then do the sketching. We have got a cylindrical seat and two curve triangular see Now for the rest of its body, as I was mentioning, somewhat of elliptical see like this. You can create just a large eye in here like this for the rest of its body. Now for the wings in here, a little bit beside its neck, curved, curve line in this manner for the wing. The wing on the other side will be visible to only a small section like this. And we'll be creating a little bit of textured look for the feather and the wings, the tail feather tail feather like this. For the ends of the wings in here, in this manner, same thing on the other side, somewhat of triangular set like this on the other side. This is going to a simple past sketching, making changes and adjustment as we go. So feel free to make adjustment as you see fit, and this is going to be our leg. So the upper part of its foot on the leg. The leg on the other side, simple cylindrical sap like this for the middle section, and for the padded foot. Is create this kind of simple curve drawing in facing towards the right. Doing a scene for the other one in here a little bit of square like scene. This bird is resting on top of a small rock. The simple outlining in this manner. This is optional. If you don't want to create this, you don't have to do this. We have not created any kind of background or any kind of surface for the bird. So this is optional, you don't have to create it, or you can just follow along with me and create very simple kind of rock in this manner, and divided the rock into many sections. Now moving back to its phase. Gritting this kind of curves for its eyes and the start of its wing. Now, extending it. The beak of the bird is urate in his wing. Circle C for its eyes, circulo its eyes and for its weak, simple straight line in this manner. This is going to be our simple pencil sketching for the bird. Feel free to make changes in adjustment. You can increase or decrease the length. Here, once again, I'm using the br bean to do the outlining, starting with doing the outlining for its freeze. A bit of rough textet for its neck. I'm dividing this project into two sections. This is going to be the first one in here and only doing the outlining in the next section, we'll be adding that detailing as well as doing the coloring for the rock and the remains portion. I kind of bit texti outlining for its neck. We'll be creating texted outlining in the same manner for its wings and the feather. Starting with the wing in here. Some of the feathers in here are like this. The beak is buried in here in this manner, doing the outlining for the beak. A small section of the beak is covered in here by the fur and the feeder. Create this kind of scallops for the entire section just above its wing. As we progress towards the neck, I'll be decreasing the sizes of the scallops. Simple curved scallops in this manner for the entire region, wearing the sides as we move towards the neck, making it quite smaller. More scallops in here on the side. For the feathers on the wings of this bird in here, I'll be creating three rows of the feather, starting with creating this kind of simple curved shape, simple scallops in this manner. This is going to be our first row. And this is going to be our final row. Create one beside other. Other side of the wings is also visible. So this will be the center, and now on the other side, just creating this kind of scallops and increasing the size and changing the angle. This is going to be the middle or you can see the second layer of the feather. Extending the lines in this manner to create a clear distinction between each separate feeder We'll be keeping it quite simpler and only doing the sading to do the coloring, we won't be adding the details in the manner of simple straight lines and then adding the angle hatching lines on both the sides. Instead of it, we'll only be creating the simple hatching lines and doing the sading. Now for the extended portion of the wing, going over the pencil outlining and dividing it into different sections in this manner. Not for its steel feather. Here, too, I'll mostly doing the sading using the hatching lines. For now, just do the outlining in simple manner. We have got four or five large feather in here, so dividing into different stucture in this manner with simple straight lines, not for the link. Let's do the outlining for its stomach and the chest, and then we'll be adding the detailing. A little bit of texture look in here just beside it line. Doing the outlining for the second leg, the upper part in this manner. Now the padded foot dividing into three sections. If you're not that confident, you can proceed with the pencil sketch first and then do the outlining. Going through the third one. Small curve shape like this for the claw, now connecting the three, doing the same thing for the second one. Changing the angle a little bit since it lies on the other side to a large portion of it will be visible like this. Creating the panded food by doing the outlining in this manner, simple smart law like this. Let's do the outlining for the rock. I have created a very simple rock in here. For the rock, I'll be using cross-hatching and the hatching to do the detailing. And I'll also be using a little bit of gray, dividing the rock into different sections. For the sections, I'll be using the hatching line for the top sections of the rock, I'll be using cross-hatching to make them quite darker. This is going to be the top rock. Just below it, I'll be creating two or three more layers. Creating the best for the top one and now extending it in this manner. This is all optional. If you don't want to create it, you can just leave it as it is, or you can just create a simple layer of the rock. One more extension of the rock in this manner, a bit square like seep in here. The lower section of the rock is not visible in here, so I've included the image. You can just pause the video and create the outlining for the rock. Me rocks in here, more extensive in this form. And yeah, this is our simple sketching for the rock. Creating the eyeball inside the eye, extending the beak a little bit in between the feather. This is our simple pencil sketching as well as the outlining for our board. Ensure that the ink has dried up and lightly erase it. I'll only be covering up to here in this video, and in the next section, we'll be doing the coloring. We'll be creating lots of small scallops, triangular see scallops along with simple, small hatching lines for the region just beside its head for the neck and a little bit beside the small fre them. Creating the outlining for the second wing. And then for the wings, apart from the black, I'll also be using a little bit of blue and doing the seeding. As for the rock that I see, we'll be mostly using the cross-hatching and hatching. I'll also be using a little bit of green to do the coloring for the rock. The coloring and addition of the detail will be quite easy. So that's all for this section of the video. I'll be seeing you in the next one. We will be starting with creating the scallops. 13. Rock with Gray Brush Pen : Welcome to the second part of the project on the rock. Let's continue where we left top. This beside its eyes and the upper part of its face, creating this kind of small hatching lines simple, small scallops. We'll be using combinations of both simple, small hatching lines as well as small triangular shapes like this for the scallops and primarily adding it near its eyes, a little bit on the other side of its neck. You have got the rough idea of what I mean to say. We're going to concentrate it in here in this manner. Later on, I'll also be using a little bit of light blue to do a little bit of seating in here. For now, just continue on with creating this kind of small hatching lines or small scallops, simple, small triangular sap in this manner. The curved portion in here, the other side of the neck, will be concentrating a little bit more scallops there. For now adding more scallops just beside its weak a simple, small, open triangular seat like this for the scallops, a little bit of small hatching lines too. Add the lines as well as the scallops following the curved sweep of the neck. Now in here for this region, we'll be concentrating more scallops and more hatching lines to make this region quite darker. Comparatively more scallops and small hatching lines in this area. Here, too, we'll be creating lots of hatching lines and scallops to make it quite darker. More scallops. If you are satisfied with the consistency of the scallops or the darkness of the scallops, you don't have to add more continue on with creating more scallops on the sides of the neck. A few more scallops on the other side, the right one, and for it just in the stomach, I won't be creating the scallops. Instead of it, I'll be creating curve, small hatching lines. Now for the wing on the other side, a little bit of detailing in this manner, small feather like outlining. And for the entire section, I'm just going to cover it with this kind of simple small hatching lines or even consider it to be scribbling, completely filling it in this manner. Now, a little bit of detailing for the scallops in here. I'll be doing a siding in this manner and creating small single straight line for the larger ones. You can use the file liner to do the detailing since the sides of the scallops are quite smaller in here, but I decided to do a little bit more detailing using the bras pen so that I can make it a bit more darker and bit more bolder since we'll be using blue later on. So that's why I'm sticking with the bras pen for now. Continuing on doing the same thing. Simple sading using the hatching lines in this manner. For all the scallops in here for the upper part of the wing doing the same thing. And in here just creating more smaller hatching lines to completely fill this entire region for the upper part of the wings, small curved hatching lines in this manner. A bit of broken and small curved hatching lines to make it quite darker. Now in here we'll be doing the same thing, Sading using the hatching lines. For all the three sads of the feather that we have created, simple hatching lines in this manner and using the hatching lines to do the sading Instead of it, you can create other variations of the feather. You can create a simple straight lines in the middle and then proceed with doing the sading. Apart from that, you can also create a simple straight line in the middle. Then on both the sides, you can create the angled hatching lines like we have did so far for most of the projects. Whatever you feel comfortable with, but in here, I'll be continuing on with this. I switched to the fine liner since creating the seeding using the brastpin was quite difficult. And I can create the seeding using fine line quite easily, and the intensity is quite lighter compared to the one that we created with the breast been. So sustaining the angle of the fine and I need to create this kind of sading doing the same thing for the upper section, creating this kind of light lines to do the sading, doing the same thing just below the first layer of the feather. My light sdings like this in this manner. The region just beside it's me in a small scallops. For this side too, just simple small sading like this Now moving on to the third and the final layer of the feather that we have created, do the same thing. If you want to make it a bit more darker, you can just add one more layer using the breast pain. So on top of it, for the lower section, you can create the simple seeding lines using the breast pain. Continuing on with creating this kind of simple small lines and doing the seeding for the remaining section, the remaining feathers in here, the third layer of the wing, the third layer of the feather, the third row of the feather. The third drop of the feather in here for the wing, making this region quite darker. Making this region quite darker, more sating in this manner. With these, we are somewhat done with the wings, a little bit more detailing in this manner. You can do a little bit more seating for some of the regions. For the tail feather and extended feather in here, I'll be doing the same thing. Simple setting using this kind of hatching lines, doing the same thing for the other side. For some of the regions where I did not add the settings, I'll be using the blue later on for now containing one with it. We are done with extended portions of the feathers and the wings for the tail feaer doing the same thing, creating this kind of shedding using the fine liner. Now, on the other side, doing the same thing, simple hatching lines and doing the seeding in the simple manner. To make it more darker, you can just do another layer of it or you can also use the breast spin. Now in here, just simple hatching lines, nose and nose of hatching line two or three to make it more darker for the upper part of the foot, following the curved shape and creating this kind of hatching lines, more hatching lines in this manner. Just below the wings, we'll be following the curve shape of the wings and creating more hatching lines. For now just concentrating on the region in between the two foot. Making the second one bit more darker since it's lying on the other side. Now for the chest, as I was mentioning earlier, just simple rows and rows of curved hatching lines for the upper part of the chest. And as we progress from left to right, I'm increasing the sizes for the region just below the wings, simple small curved hatching lines in this manner. So in here for the chest, we have got four or five rows of the hatching lines, a little bit of detailing for the middle portion of the leg. Making this quite darker, just the region between the two legs. A little bit of seeding in here for the chest to make it more darker, comparatively darker. This is optional. If you're satisfied with it, you don't have to do this. Also, for some of the sections, I'll be making it more darker using this kind of simple sading light seeding in this manner just beside its eyes and the beak. The regions where we have created a bit concentrated look of the scallops and the hatching lines, a little bit of seeding on those regions. Once again, I would like to remind you that this is optional. If you don't want to proceed with this, you can just leave it as it is. More hatching lines extending it towards the upper section of the neck. For the beak to a little bit of sading in this manner. The lower side of the weak. Now in here too, a little bit of sadingEtending the line a little bit in this manner. Add more detailing wherever you think it's required. So the region is below its swing, a little bit of sating using the hatching lines. And with this, we had done with the detailing for our bird. Now let's do the retailing for the rock that we have created. As I mentioned in here, I'll be using simple cross-hatching, starting with the hatching lines. And then we'll be adding two or three layers to make it more darker and convert it into cross-hatching. I added more lines just beside the legs to south the shadows casted by the legs, creating another set of lines, another set of hatching lines in here, converted into cross-hatching. Now to make it a little bit more darker, more more sets of the hatching lines for some of the sections to make it more darker. You can also use the sading technique to make it more darker between the two padded foot, a little bit more cross-hatching lines in this manner to make it quite darker, doing the same thing on the other side. Third layer of hatching lines in this manner to make it more darker. A little bit of detailing on the other side too. Now for the straight section, starting with the hatching lines. For the larger section, create large line for the smaller section with smaller lines. Now, cross-hatching. I'm not going to do two or three layers of the cross-hatching simple another layer of hatching in this manner to make it a little bit darker. Now for the remaining section, the extended portions of the rock will be doing the same thing for the upper section, we'll be doing a little bit of cross-hatching for the lower section. We'll be using the cross-hatching tube, but it will be comparatively lighter. As you can see the lines that I'm creating for this straight section are comparatively lighter and we are just doing a rough cross-hatching in this manner. Now for this flat surface, following the seep of it and creating these kind of curve lines. You can also do a little bit of scribbling in here. To make it more darker, just simple cross-hatching in this manner, doing the same thing on the other side. The extended portion of the rocks on this side, more cross-hatching. For this section, making it quite darker, simple setting, simple hatching lines in this manner. Sorry, it's not visible, but I did the simple hatching in this manner, and now going in with the blue, we are going to completely fill the entire beak as well as entire foot with this blume. This is optimal if you don't want to do this, and if you want to keep it monochrome, you don't have to use the blume. But I'm going to fill the entire section with this kind of simple hatching lines, rows and rows of hatching lines to fill the entire section in this manner. I'll also be doing a little bit of shading just beside eyes and the starting of its beak to make those resin bit more darker, continuing on with the lower section, nose and nose of hatching line in this manner. For the upper part of the beak, more hatching lines like this, another layer of hatching lines to make it more darker, particularly near its eyes and the start of its beak. With these, we are done with the coloring for the beak, now for the foot. Here we'll be doing two or three rows of hatching lines to feel the coloring for the entire section with this light blue color. Now, for the padded region of the foot? For the straight ones, just following the soeptating this kind of comparatively long hatching lines. Doing the same thing for the first leg, simple and long hatching lines in this manner. And adding it for the middle one. Now for the padded region of the foot, following the curt shape and creating this kind of mid carved hatching lines to feel the remaining section in this manner, extending it like this near the claws, doing the same thing on the other side, following the curve shape and creating this kind of hatching line. Now for the right leg, we'll be doing the same thing, following the following the curved sweep of the padded foot and adding the lines in that manner, doing the same thing for the remaining two regions, completely filling it. And for the third and the final one, once again, curved hatching lines in this manner. With these, we are done with it. Once again, I would like to remind you this is optimal for some of the sections, I'm going to do a little bit of seating using the value, particularly for the wings, the feathers a little bit for the neck to small hatching lines in this manner to do a little bit of shading for the chest. For the upper regions of the wings, a little bit of shading in this manner. Two actituency again creating a bit of lighter lines by applying less pressure as well as changing the angle of the fine liner. Put the second row of the feather in here, doing the same thing, a little bit of treading using the blue. Making this region a bit more blows. Now for the chest and the stomach, a little bit more sdingF the leg too, a little bit of sading. The region is beside the tail feel there. A little bit of sading for the extended wings as well as the tail feel there. I've included the image since it's not visible properly in here. Put some of the white sexon a little bit of sading in this manner. Now for the smaller scallops in here, making it quite darker, comparatively darker for each individual scallops in here, mostly the larger one, a little bit of coloring in this manner, moving on to its neck and the head a little bit of sading for the concentrated region, the regions where we did the sading with the black, a little bit of sading the middle region too. Do the seeding wherever you think it's required or wherever you feel comfortable with, do the experiment on your own and add your personal touches. Creating a little bit of curve siding for the bend portions of the neck, making it more darker than here for the middle portion. With this, I am satisfied with the view. Now, a little bit more detail for the lower portion of the tail feather, simple siding lines in this manner. Making this is bit more darker this beside the tail feather. For the other side of the wing, a little bit of setting in this manner. And with these, we are done with the Blue for the seating and adding the detailing. If you want to do a little bit more detailing, feed to that. As for the rock, in here, I'm using the gray. And for the regions where we did a lot of cross-hatching, just adding the gray, particularly on those regions. Once again, I would like to remind you this is optional. If you don't want, you don't have to do it. You can also do a third or fourth layer of the cross-hatching to make the section bit more darker instead of using the grey colored buts pen. Now, for the sides, concentrating it more towards the cross-hatching sections, a little bit of detailing in this manner near the outlying regions. If you want to do a little bit of coloring for some of the sections of the bird, you can do that, too. I won't be doing it, and I'm satisfied with how it turned out. So this is our bird on the rock. I hope you enjoyed painting this. This is a little bit different. And yeah, this was quite fun to paint. 14. Guardian of the Nest: Welcome to the guardian of the Nest project. This is a little bit different, and in here, we'll be creating a mommy bid, along with two chicks and four or five eggs, starting with a simple circular seed for its head. So instead of this kind of seed, if you want, you can also create a bit of egg like seed to make the head a little bit more elliptical. Extending it in here in this manner, creating this kind of somewhat cylindrical see for the neck. This porton, its head and the neck will be somewhat similar to the project that we did earlier, the portrait of the bird. So we'll be creating the face in the same manner. We'll be making it a little bit less detail, but most of the things will remain somewhat same. Now for its main body, its stomach and the chest, creating this kind of simple same. In here, we are going to create somewhat of elliptical or you can see oval see for its body. I here for the wing, the wing in the front, creating this kind of very simple see a little bit a little bit curvier ptical see for the wing. But it's a little bit difficult. You can divide it into more smaller section and then create the wing. The tail feeder in here, it's not the tail feeder. It's the wing on the other side. And for the tail feeder in here. This is going to be the tail feeder for our mama bird. It making it a little bit more longer and increasing its width a little bit. As usual, this is our primary sketching if required, we'll be making changes and adjustment when we'll be doing the outlining. Now for the leg, the front leg in here, extending it in here to create a stomach and the chest a little bit curved in here for this portion, the stomach. This will be the upper part, the chest and the neck. The other leg that lies on the other side. Here too, I'll be creating a small portion of the wing, knowing on the other side that will be visible only a small portion. Here I decrease the width of the neck a little bit, since it was looking a little bit more bigger, comparatively bigger. Now, for the wing on the other side, only a small portion of the wing is visible like this. As for the foot or the leg, Slandca seep in here for the middle section. Most of the portion of its footed feet will be covered by the eggs. But in here, just for the demonstration, I'm just creating a small resemblance for the feet, the lower part of the feet. As for the eggs in here, I'll be creating a total of five or six eggs, simple oval seeps like this for the eggs, and apart from the eggs, I'll be creating two cheeks, one will be smaller and one will be comparatively larger. These are all optional. If you don't want to create the eggs or the cheeks, you don't have to do this, you can just create the simple and plain normal feed that we have created so far. So the choice is yours. In here, I'll be creating the larger cheek. This will be quite simple. We have got circular C for its head and a little bit of curve seem like this. Or you can or you can consider a combination of two oval saves for its body. Simple triangular see for its week. So this is our simple sketch for the chick, adding a little bit more detail for the bond. As I mentioned, it will be somewhat similar to the portrait of the bond that we created, dividing it into three sections, one for the beak another two curved section for its eyes. So the bird is facing towards us. The front of the beak will be visible and to create it will be dividing into different section so that the top as well as the other sides of the beak will be visible. Simple circular shape for the eyes. The front portion of the beak and the side portions. So this is our simple pencil sketch for our bird. If required, we'll be making changes in adjustment, and if you want to add more elements to it, feel free to do that. Now we are going to do a little bit of outlining using the Tombos breastbin. You don't have to use the breastbin. You can always use the ballpoint pen or the sakura micron pen. Generally, I use this since it provides a little bit of more darker tones. Creating this kind of bit preferred taxion to create a appearance of the fur or the feather body for the body, or you can see the head of our bird instead of this, if you want, you can also use the broken lines or simple and clean normal lines to do the outlining. Moving on to its face, starting with doing the outlining for the sides of its eyes, upper part of its big, a little bit of rougher texture. The lower half of its eyes. Circular eyeballs. This will be comparatively less defined as compared to the portrait of the bird that we. But if you want to make it resemble it like that, you can do that, too. Adding the eyeballs for the inside while leaving a little bit of white piece for the highlights. Now for the beak, this is going to be the upper portion. This will be visible from the top. Make the outlines a little bit more darker so that we can create a clear distinction between different or separate sections of the beak, the sides of the beak. The middle portion of the beak, this is going to be the middle portion, extending it and connecting it to the edge of the beak, making it a little bit more longer by extending it in this manner. So this is the side of the beak, the front beak, or you can see the top part of the beak. If you want, you can add two more lines on the sides to sow the lower portion of the beak, but it will do the work, so I won't be adding it. Now continuing on with the remaining portion, its body. So in here, I'm started with the wings, a little bit of this kind of carbon lines for the upper part of its body. As for the wings, we'll be creating rows and rows of feeder. I just created a small resemblance for the fether that we'll be creating later on. And in here, this going over the outlines and making a little bit more changes, I extended the side a little bit by increasing the width, doing the outlining for the lower portion of the wing like this. I have included the image. Doing the same thing on the other side, the other side of the wing that are visible. So since it's not clearly visible, you can clearly see the different image that I have provided. Here, too, we'll be dividing into different sections and creating lots of feather. Now for the tail feather, it's looking comparatively thinned, so I'll be extending it and increasing the width as well as the number of the feather that we'll be adding. For now, just do the outline. I'll be creating a total of six or seven feather in here, larger feathers. The whole video is in real time, so you can always follow along with me. And I have divided this project into two sections. This is the first section in here. We'll only be doing the outlining and adding the detailing for its free. And in the next section, we'll be adding more finer details for its wings, as well as doing the coloring for the cheeks. And apart from that, we'll also be using the blue color for now continuing on with the remaining section of the tail feather, as I was mentioning, increasing its width by adding multiple feather. One more smaller feather in here to increase its width. Once again, sorry, it's not visible in here, but I'm just doing the outlining for the lower half, the two portion of the legs that we created. And now, it's just neck. Simple outlining with clean normal lines like this. Do the outlining for the wings, too. The small portion of the wing that is visible. Now, extending it like this for this middle section of the feet. Let's do the outlining for the eggs, put some of the eggs. I'll be increasing the size a little bit. And you can also create the resemblance of the broken eggs or a little bit of crack appearing on the top of the eggs. You know, for the cheek in here, the smaller cheek, using small hatching lines to the outlining for it. And this way, we are creating a little bit of fluffier texture for the cheek, using the same kind of guidelines that we have used so far for its face, this kind of somewhat of circular see for its eyes, and now extending it in here for the small meat. Adding the eyeballs with simple circular see. And for the remaining portion of its body, once again, using the same kind of small hatching lines to do the outlining, a little bit more detailing like this for the small wings to add a little bit of more texture, a little bit of more small hatching lines. A small section of its eyes on the other side is visible. So this is our small little chick. Now, continuing on doing the outlining for the remaining eggs that we have created. One more egg in here, just beside the check. Now, let's do the outlining for the larger check, starting with its beak, a little bit larger weak as compared to the smaller one. The same kind of guidelines that we have used so far for the faces of other bids. Simple circular see for the eyes. And once again, I'm using small hatching lines like this in this manner to create a little bit of fluffier texture for our cheek. Small hatching lines in this manner. Making it a little bit curvier the upper portion of its body. Small wing like this, a little bit curved and bends up like this for the wing here too, I used bit of broken lines and small hatching lines to do the outlining for the wing. Continuing on with more hatching lines for the remaining section of its body, the upper part of its leg, and a little bit of resemblance like this for the tail feeder. One more egg in here. So only a small portion of its leg will be visible in here. The other leg, what I mean to see the small portion of the other leg will be visible. But for this leg, the front leg, it's visible like this. It's completely visible. The egg that lies behind its leg, doing the outlining for the other leg of our mother bod. Simple cylindrical shape like this. A small disemblance for the lower section of its feet. For this feet, the front wing, small section is visible like this, creating the appearance for the claw in this manner, the middle portion, small claw adhered to, and the other regions are completely covered by the eggs. As for the background, or you can see for the surface, I'll be creating small appearance for the straws, simple plain lines like this to create the appearance for the straws. Just add as many as you want. Instead of this, if you want, you can keep it plain and simple. You don't have to add the straw. Follow along with me and treat multiple straws like this. This is quite simple. Create a lot of straws near the eggs, and as we move away from it, I'll be decreasing its intensity. What I mean to say is that I'll be decreasing the number of the straws. More straws on the other side. These are quite easy to create. You can create as many as you want. You can completely fill the entire section, the lower half with it. You can completely fiel the entire section, the lower half with multiple straws. I won't be doing it. I'll be focusing near the eggs and then near the chicks. But if you want, you can add more a little bit more detailing for the larger chick. Now let's add a little bit of detailing for the eggs to give it a little bit of volume. I'm using a combination of hatching lines and a little bit of cross hatching to give it a little bit more three dimensional s. Two. So the curves that are present on the eggs, simple plain lines or you can say I'm using combination of broken hatching lines and a little bit of curved crosshatching, some simple circular seeds to sew more highlights and detailing. The eggs that lies on the other side add more lines to sew a little bit more darker tone like this for this one, using comparatively more lines like this, a little bit of cross hatching in here to make it more darker. Now for this egg, once again, combination of both cross etching and hatching to give it a little bit more three dimensional look and making it darker to add more characteristics to the egg using this kind of somewhat of cubicular see on top of the egg. The last egg in here, the same kind of detailing. With these, we had done with the eggs. I decided to create few more straws simple lines like this in here to create multiple straws. If you're satisfied with your painting, you don't have to add more straws. You want, you can add a few more eggs or you can also add one more chick on the left side, since we have got more blank space there. Now moving back to its space, we are going to add a little bit more detailing. So for this, in here, I'm continuing with a tomboprspen for the upper part of its weak. More smaller hatching lines to make it a little bit more denser. In here, mostly I'll be using the scallops. So simple triangular saves for the scallops for the entire region. I'll also be wearing the sides of the scallops that we are greeting for the upper part of its head. For the upper part in here, I'm keeping it somewhat uniform. For the sides of the eyes, we have got somewhat smaller scallops surrounding its eyes and the beak with a smaller scallop. And as we move away from it, I'll be increasing the size of the scallops. More Icalop. As you can see, these are comparatively larger. More callop. For the upper region, we are going to completely cover it with multiple escalops and for the lower region, we'll primarily focusing towards Sunegg and a little bit near the weak Me simple scallops like this on the sides. So you have got the rough idea, but we are going to do the same kind of thing that we have did so far. Apart from this, if you want, you can also use the hatching lines to add more texture. You can also use triangular seeds from the scallop instead of this kind of curvy one. And in near, as you can see, I have increased the size of the scallops a little bit, and mostly I'll be focusing near the neck. I won't be adding that much near it's me. But if you want to add more near it's B, you can do that, too. More scallops in here. Adding few more smaller ones in between the larger ones. Now, to add a little bit more detailing, I'm just adding one or two lines in between the scallops, the middle section. This is optional. If you're satisfied with it, you don't have to use it. You can also do a little bit of sading that I showed you in the earlier demonstration video. You can use the breast pain. You can use the Sakura micron to create smaller strokes and do a little bit of seeding. But mostly in here, I'll only be using the Tombos breast paint to add the texture like this. And later on in the next section, we'll be using a little bit of blue to add a little bit of more coloring for some of the feeders. Using broken lines to add a little bit more texture for its eyeball. Using a little bit of broken curve lines to add a little bit more detailing for the region near its eye. And as for the beak, I'll be using broken hatching lines and cross hatching to add a little bit of detailing and to sew the sides and to create a little bit of clear distinction between the top and the sides of the beak, two or three simple broken lines to do the cross hatching. The whole upper section in here, I'll be doing a little bit of seeding. So first row of the hatching lines, the second row. And one more row in here, making it quite darker. Third in the final round like this. For the upper part, small hatching lines in here for the upper part of its eyes, doing the same thing on the other side. And yeah, so these are the simple detailing for its fee. If you want to add a little bit more detailing the projectile, like the portrait of the bird, you can do that. More detailing for its meat, making it quite darker. So these are all optional detailing. If you're satisfied with your project, you don't have to do this. And I'll only be covering up to here in this part. I'll be seeing you in the next part. 15. Coloring Chicks: Continuing on where we left top. And here we are going to create more scallops in here for the upper part of its wing just beside its neck, somewhat of curved scallops like this. Apart from this, if you want, you can create a few more smaller one in between it. In here, I decided to add a little bit of detailing for the scallops in form of this kind of small hatching lines. For the upper part of the scallops, adding this kind of small hatching lines. As for the lower part, we'll be dividing into two section by simply adding a single line in the middle like this. These are all optional. If you want to keep it plain and simple, you don't have to do this. Later on, I'll be adding blue on top of it. A now moving on to the tail feeder. So in here for the lower portion of the tail feeder, we'll be doing a little bit of hatching and making that section bent darker like this. So simple plain normal hatching like this. For some of the smaller ones, I'll be doing the hatching like this for the upper part two. But for the larger feathers in here, we'll be using the angle hatching lines on both the sides. What I mean is this dividing the feather into two section, and on both the sides, we'll be doing the hatching like this. So angled lines like this on both the side to create this kind of foot tag for the larger feeder. Apart from this, if you want, you can create other kind of detailing for the feeder that we have practiced in demonstration video, making the regions lower regions a bit more darker, dividing into two sections and using the angle hatching lines for the detailing for the feather. Apart from this, later on, I'll be adding blue on top of it. Now, for the feather in here, the same thing, a little bit of shading using the hatching lines. And in here, for the feathers, we'll be adding a little bit more lines on the right side as compared to the left, since the middle portion lies in here like this. Continuing on with adding more hatching lines like this in this manner. As you can see for the feed that's on the right side, I'm not adding it on both sides since a small portion of the feather is covered by the larger one. That's why I primarily added it on the right side. In here, I was not able to record this section, but I added multiple scallops in this manner for the wings. Very simple and easy scallops in this manner. So I've created a total of three rows of scallop. Now continuing on with the lower section of the wing with larger scallops like this. The other side of the wings, using hatching lines to do a little bit of sating in this manner. So for the upper and the lower part of the wings, use hatching lines like this. For the curve section, use curve hatching lines to do the sading. To get a little bit of thinner line, you can always use the ballpoint paint or the Sakura micron fine liner. I'm not going to do the hatching for the entire section. I'll be leaving some of those pieces plain and simple with white. We are going to do the same thing in here for the lower section of the wing. We'll be doing the seeding using the hatching lines for the upper and the lower part. As for the middle section, we'll be completely leaving it as it is, and later on, we'll be adding blue on top of it in between the blacks. Now doing the hatching lines for the lower section. Doing the seeding using the hatching lines, a little bit more detailing for the side with more hatching lines. Now put the upper part of the wings. We are going to make the outlines a little bit more darker. Adding another line in here like this to make the scallops a little bit more distinct and a bit more separate from each other. I'm also trying to leave a little bit of empty species empty whitey species like this. Now, in here, once again, we'll be doing the hatching. So two or three rows of hatching like this and using the hatchings to do a little bit of sading too. I'm also leaving a little bit of empty spaces in between the rows of hatching lines. Later on, we'll be adding blues in there. Doing the same thing for the third row of the scallops that we have in here. For the remaining two rows, I'll be leaving a little bit of white ties in between the scallops to create a clear distinction. So I'm not able to clearly explain it, but when we'll be doing the detailing for the two rows of the scallops, I'll be explaining it a little bit more better. More hatching lines while leaving a little bit of empty spaces in between. And with these, we had done with the third row. Add a little bit more blacks in between the scallops like this to make it quite darker. Now for the second row, as I was mentioning, try to create a little bit of clear distinction. So leaving a little bit of white is piece in between the scallops like this. We'll be leaving it as it is simple and plain white. And for the insides of the scallops, we'll be doing the same kind of thing that we did for the third row. We'll be creating two or three rows of hatching while leaving a little bit of white piece in between. Using hatching line to do a little bit of seeding while leaving a little bit of white space. Apart from this, if you want, you can always use the fine liner or the ballpoint tin to make it a little bit more thinner a bit more lighter. Continuing on with the remaining scallops that we have created for the feather in here for the wing. As for some of the smaller scallops that we have created, I won't be leaving empty species in there. Mostly, I'll be covering it completely with the black like this. Continuing on with the larger one while leaving a little bit of white species in between. And as I mentioned, for the smaller ones, you can just completely cover it with the black. Covering it completely with the black in this manner. We have got two more smaller rows of the scallops in here. Mostly we'll be covering it with the black. But for the larger ones like this in here, starting with doing the outlining in this manner while leaving a little bit of white space. In here, I'll only be doing the hatching. So I won't be leaving that much of empty spaces. Simple and plain hatching line this making the lower region quite darker, whereas the upper region bit lighter. Later on, we'll be feeling it with the blue, but for now, just do the simple and plain hatching like this in this manner. I saw the smaller scallops, completely filling it with the black hatching lines in this manner. The smaller rows of the scallops that we created in here, carefully filling it with the black like this. Now for the empty spices in here, we'll be doing hatching and a little bit of shading. We'll be making the upper region a bit more darker for doing that. I'm extending the sizes a little bit using somewhat of broken lines, a little bit of curve broken line. And as for the upper part, a little bit of shading using the hatching lines to create a clear separation in between the upper part and the lower part of the wings. And with these, we are done with the wings. For the remaining section, it's just in the stomach. Mostly in here for this region, the chest, we are going to do rows and rows of the hatching. I'm not going to do the sanding, but if you want, you can make some of the regions a bit more darker, especially near the wings and near the upper part. For the leg, once again, using the hatching lines in here for the lower part of stomach, following the curved sip of its body and adding the hatching lines in this manner. We are making the lower region bit more darker, and as we progress we are making it quite lighter. More hatching for the leg, the upper part of the leg. As for the remaining section in between the stomach and the neck, we'll be doing two or three more rows of the hatching lines, moving into the second one, second leg, and doing the same thing, hatching, making it a bit more darker. Now continuing on with its stomach, two or three more rows of hatching lines in this manner, following the curved shape of its body. Also the sizes of the hatching lines, you don't have to create all the lines larger. Use the combination of both smaller and larger line to add more characteristics to it. Using small hatching lines in this manner for the upper part near the chest. Now for the wing on the other side, I'm not going to add any detailing. I'll mostly be doing the hatching lines. I'll be making the lower regions quite darker, comparatively darker, and for the upper regions, I'll be making it a little bit lighter by using simple curved hatching lines like this in this manner. Just rows and rows up the hatching lines. And as we are progressing, we are increasing the spacing in between the lines, thus making it quite lighter, comparatively lighter. Make the upper region a little bit darker by adding more lines. And with this, we had done with the side wing for the middle and the lower portion of the leg, I'm not going to add that much of detailing simple and plain curved lines like this, a little bit of straight lines in here. And with this, we are done with our bird. And with these, we are done with the black fur our bird. Now going in with the blue fine liner. I'm going to cover most of the lower part of its beak with the blue You can just follow the seep of the curved section and add the rows and rows of hatching lines in this manner to color the beak. I'm going to make it quite darker. So if required, I'll also be doing a little bit of cross hatching. The main goal for me in here is to do the coloring for the lower section of the beak. But if you want to do the coloring for the remaining section to the upper part, you can do that, too. Continue on with creating more rows of hatching lines to make it darker. Oh another layer of hatching lines to make it more darker, extending the lines a little bit. Now for the leg, once again, we are going to add rows and rows of hatching lines to do the coloring for our leg, the lower section of its leg, following the seep and doing the hatching lines for the padded region of the foot, adding rows and rows of hatching lines to do the coloring in this manner. The other leg in here, For the cheek, too, adding the coloring for its beak and the face. A small portion of it was not covered, so adding the blue in here, the larger cheek, filling the entire section of its beak and the mouth with a blue. Adding the coloring for it feet with the blue. A small section of the feet is visible like this on the other side, making it a little bit more darker near the curved section by adding a little bit of curvy lines like this. Make it more darker by adding more lines for the lower section like this. If you want, you can also add a little bit of coloring for the eggs with the blue. I'm going to add the blue in between the blacks. We are just going to completely cover the white with the blue like this using the hatching lines. For most of the section, I did not add the color where the white is visible. We are going to cover it in this manner. As I mentioned, for most of the section, I'm not going to cover the entire section with the bloom. I'll also be leaving a little bit of white spaces in between the blues and the black. Do the coloring in any manner as you see fit. And if you don't want to use the blue, you can just leave it as it is simple and plain monochrome painting for the mother bid for the lower section of the wings, completely feeling it the bloom. Now, continuing on with the scallops that we created, using the hatching lines to feel the blue in this manner. Apart from the wings, we'll also be doing the coloring for the tail fither the upper part of the wings we created somewhat of larger scallops. I'll also be using a little bit of blue for the scallops that we created near it space. And also, I'll be using a little bit of blue for the other side of the wing for now continuing on with the remaining white section that we have created in here in between the black hatching lines. If you want you can also use the blue for the outlines that we created with the black, the white spaces in between. For the larger scallops in here, completely feeling it, the lower section of the scallops with a blue. Doing it for all the scallops in here. Just overlay this blue on top of the black and cover the white in this manner. To make some of the section a bit more darker, you can just add more rows of them blues on top of it. Now, in here for the wing, I'm not going to cover the entire section. I'll be leaving a little bit of white pieces in here. Right now, I'm just overlaying a little bit of blue on top of the black for the lower section. Now doing the same thing for the upper section, overlaying a little bit of blue on top of the black that we used earlier, while leaving a little bit of white pieces in between the two rows of the blues that we are using in here. And with these, we are mostly done with this wing. Now for the tail feather, overlaying a little bit of blue on top of the black like this. So I'm not going to add the blues for the whites pieces. Mostly I'm overlaying this blue on top of the black that we used earlier. And mostly I'll only be using the blue for the larger one. For the smaller ones, I'll only be adding a little bit of blue, comparatively less blue like this in this manner. If you want to cover the entire section with the blue, you can do that, too. Or you can just keep it plain and simple without any blue. For the lower section, I won't be adding that much of blue, but if you want, you can also do that. And as I was mentioning, for the scallop, for the lower regions of the scallops, a little bit of blue, a little bit of blue like this. You can just add three or four lines or you can do a little bit of seeding for the larger scallops using the blue. Once again, I would like to remind you this is optional. If you don't want to do this, you can just keep it plain and simple with the black only. All the larger scallops, I'm going to do this. For the smaller ones, I won't be adding any blue. As for the chase, the neck and the lower portion of its stomach, I won't be adding any blues, but if you want, you can use a little bit of seeding. If you want, you can do a little bit of shading using the cross hatching lines and add it in between the black hatching lines that we did earlier. A little bit of more detailing for the cheeks with the blue for the wings, using small hatching lines in this manner. A little bit for the lower section of its face. Doing the same thing for the smaller check in here for its wings. And with this, we are done with the scallops for its face, using the yellow colored ballpoint pink to add the oring for the eyes, adding the yellows for the mother bond. And yeah, with this, we are done with the yellow. If you want, you can use the yellow for the eggs or the straws. But I'm satisfied with it, how this pointing turned out, the Garcin of the nest. This was somewhat different and difficult as compared to the other project that we have covered so far. I hope you enjoyed painting this, and I'll be seeing you in the next video. 16. Blue Ripples : Welcome to the final project blue ripples. This is one of the longest and the most detailed project of this class. Once again, we are starting with the simple sketch to draw the guidelines for the bird's body, circular C for its head. Now, cylindrical C for the neck of our Bird. Making it a little bit curvier extending it a little bit now for its chest and the stomach. A little bit of semicircular see in this manner. As for its steel fen, a little bit of curved triangular sein. Instead of it, if you want, you can also create I see for its body and then later on, add more detailings For this project, both of its fether will be open. This follow along with me. Feen in the front will be a little bit softer as compared to the fether on the other side. Sketching the guideline for the feather on the other side. So mostly I'll only be creating the outline for the one side for the other side of the wing, we'll be creating numerous small feathers. Making a little bit of adjustment to the lower part of its body. You don't have to stick with the same outlines and the guidelines that I am creating feel free to make changes in adjustment as you see fit. Now for its legbt of curve shape like this. And the other leg, triangular and cylindrical set like this, simple triangular set for its beak. So this is going to a simple pencil skis for our word. Adding a little bit of more detailing for it. Making wings a little bit more detail. In here, I'll be creating three or four different rows of feather for the wing. I'll also be changing the orientations of the feather as well as wearing its seeps and the siges. This is just a rough demonstration of how I'll be creating different rows and rows of feather for our wing. We'll be doing the same thing for this side, rows and rows of feather. I'll be wearing the seeps in the side for this one, too. Now, a little bit more detailing on its head. The beak that we have put in here does not look natural. Hanging a seep a little bit and extending it a little bit in this manner. A little bit more adjustment in here. Creating the lower part of the peak, a little bit curvier see for its e, making a bit of more changes in here, extending it for the remaining section Simple circular sin for the eye. And with this, we attend with a simple pencil sketch. Now going in with the Tomos breast pain to do the outlining. You don't have to use the Thomas breast pin. You can always use the fine line or the simple normal ballpoint paint to do the outlining and add more detailing. Dividing the beak into upper and the lower section, making it a little bit curvier for the bottom part. Simple circular O C for the eye. Now, for its head and the neck, if you want to create a bit rougher taxa, you can use small broken lines so you can create a peians of feather with different kind of small scalings like this. Simple outlining in this manner on its neck. Now, let's do the outline for its wing, starting with a wing at the front. As I have already mentioned, you don't have to stick with the outlines that you have created. You don't have to stick with the pencil sketch that you have created. Feel free to make changes in adjustment as required. Doing the outlining for the wing on the other side. Right now, I'm only doing the outlining on the left side. For the right side, we'll be creating numerous small projections for the feather. Simple outlining in this manner for the upper part of the wing, the wing on the other side. Now, let's divide the wings into different section, and then we'll be creating multiple small feathers and larger ones. Let me show you how I'll be creating simple feathers. So just rows and rows of this kind of scaling lines. A bit curved scaling structures like this for the feather. So using scaling technique in here in this manner to create the appearance of small feather like we have already created in the same manner that we have created the other wings. Now, for this second row in here, making it a little bit larger, you can also vary the thickness and the length, as well as the seep in the sizes of the scaling that we are creating in here since this part is a little bit bent in here. So I change the direction a little bit for that section. And depending upon the region that we are creating the scalings, I'll be wearing the sizes. As you can see in here, I made the sizes a little bit smaller. But in here, I'll be creating larger feathers. Quite larger feather in this manner, start with creating the outlining for the upper part of the feather and then we'll be extending it and doing the outlining for the remaining section. Making it a little bit triangular in the upper part, extending the lines in this manner for the remaining feathers in here, the upper part of this wing. I'll be dividing the feather into two sections and then then we'll be adding a little bit more detailing. As for the section in which we did not add ifeen, we'll be adding it later on. Quite smaller feathers. But for now, let's do somewhat of same thing for this feather, the feather in the front, not the feather, the wing in the front. Small projections like this for the scaling, a little bit of outlining for the upper part. Now, in here, I'll be creating two or three rows of feather for this swing. In here, too, we'll be changing the direction a little bit. Starting with simple curved structure like this. Now extending it a little bit to create a little bit of rougher texture, the rougher version of the scaling. We are trying to make it look a little bit complicated and bit compact, adding this adding the feather in this manner. The second layer of the feather in here, a little bit of refined and bit uniform scaling in here for the feather. In here, we'll be changing the directions of the feather a little bit. So this place, the lower part will be a little bit complex. Doing the same thing, creating large lines, creating long lines for the larger feathers. As you can see, I'm also changing the angle of the lines a little bit. For the upper part, we have a little bit skewed angle, and as we move downward, we are changing the direction of the angle a little bit. Now, doing the outlining for the remaining section of the feather, making it a little bit of curved rinlar see like this. Doing the same thing for the remaining smaller feathers in here, making it a little bit sharp in this form. Now, in here, as I was mentioning, changing the direction a little bit. A bit larger feed that's in here, another row feather. Now for the tail fen, right now, I'm just doing the simple outlining. Later on, we'll be making a little bit of adjustment and add more detailings to it. Doing the outlining for the lower half of its body, making it a little bit more curvier for its stomach, the other side of its tail fan. Now for its tail fen, starting with the simpleort lines. This will be the largest tail feeder in here, on both sides, we'll be decreasing the sides of the tail feeder a little bit in this manner. Adding one more on the other side, making it quite smaller, comparatively smaller. This is a simple outlining for our tail either for our bird and fan, doing the outlining for its legs, making it a little bit more rougher. So small hatching lines in this manner, doing the same thing for this side. For the webbed feet and the upper part. Simple saves like this, simple rittle seep like this in this manner, for the middle part of its leg and fine knee creating the web feet. Creating small projections like this to create the resemblance for the claws, now creating the entire section for its scraped feet. And with this, we turn with this one, doing the same thing for the other one, dividing into four different sections and then we'll be connecting it all together. So connecting it in this manner. And with these we turn with a simple outlining for our bone. In here, I'm creating resemblance of small water toplets And just below its leg, I'll be creating ripple effat. It's not visible in here, but I have included the picture. As you can see, I created simple wavelike pattern using simple curved lines in this manner. This is optimal. You can just keep it plain and simple. Creating the eyeball for our bird. And with this, we are done with the base now a little bit of detailing for its head. Is that the ink has dried up and lightly erase the pencil mass. For this project, we'll be adding lots and lots of detailing. This is going to be comparatively darker than the other projects we have created. And for the finer and smaller details, I'll only be using the Sakura micron fine liner. Removing the eryths dust. Continuing on once again with the wings, the wing on the side. Here I'll be creating one or two rows of feeder, small feather, extending the lines in this manner to create the resemblance of another row of the feather in here for the wing. I have also changed the direction a little bit for the upper part we have. For the upper part, we had different kind of angle, and in here, we have changed the angle. In here, once again, extending the lines a little bit and making the edges a little bit curved. Liter on will be connecting it, but for now just extend the lines in this manner to make it a little bit more compact and bit more dense. Right now, I'm continuing with the breastbin but for the minute and smaller details, I'll be using the Sakura micron fine liner, doing the same thing on the other side. Now in here, starting with small hatching lines to create a clear separation in between the two wings. In here, I'll be keeping this region, the region in between the two wings, quite simple and plain. I won't be adding any detailing for that. I'll be keeping it plain and normal white. More tiny projections like this, small hatching line in this manner to make it a bit more denser. If required, we'll be converting it to scalings, but for now, just continue with this. Moving on to the beak, adding a little bit of detailing for the beak in the form of small hatching lines like this, the kind of hatching lines that we use for the other projects, making the region just beside its eyeballs and a little bit for the lower section of the beak and the other end of the beak bit more darker with more hatching lines. Now moving on to its head, rows and rows of hatching lines in here, I'll only using the hatching line. If you want, you can always use the scaling, different kind of scalings to add the detailing and texture for its head. A little bit of scaling in this manner, triangular scaling. Feel free to experiment on your own and try different scaling manner to add the detailing for the head. As usual, we'll be making some of the sections quite darker by adding more lines or more scalings there. And for the regions where we want to keep it a bit lighter, we will be increasing the spacing and adding less lines there. Sorry, this region is not visible, but you have got the rough idea how you have created all the projects earlier. So I'm doing the same thing in here for the lower part, the chest and the stomach of this bird. Just below the wing, a little bit of detailing in the form of cross hatching and bit of curved hatching lines, as you can see in the picture in here. Lots and lots of hatching lines, a little bit curved hatching lines to make those region bit more darker as you can see in here. A little bit more detailing for the neck. Adding more detailings for the lower part, more hatching lines in this manner. Now, the region just below its springs, once again, using a little bit of curve hatching lines to make this region a bit more darker, rows and rows of hatching lines in this manner. And we have decreased this piecing in between the lines and using the hatching lines to do a little bit of shading cube. So the goal in here is to make the regions bit darker. As you can see, I use curved hatching lines in this manner for the lower half, following the curved shape of the body and adding the hatching lines in this manner. Now for the legs, once again, rows and s of the hatching lines to make it quite darker and to create a little bit of rougher texture, a little bit of heather like appearance. At the hatching lines in the same manner that we have used so far for our earlier projects. We'll be making this region darker. So more hatching lines in this manner. Also, this angu starting with a little bit of scaling lines and then we'll be surrounding the scaling lines with lots of hatching lines and making this region quite darker. Small hatching lines in this manner, and I'm not completely covering the scaling line that we used earlier. Surrounding it in this manner. In here, I'll be creating somewhat of curve triangular same with lots and lots of hatching lines surrounding the scaling structures that we have created. More hatching lines in this manner. In here, the other side, more scaling lines. If required, I'll be adding more, but for now, moving back to the leg, a bit of hatching lines for the upper and the lower part, a little bit of detailing in the form of curved line for the webbed feet, more detailing with more lines. Making the lower part of the beak a bit more darker. Me hatching lines, small hatching lines to make some of the sections a bit more darker. Now, as I was mentioning that we'll be making a little bit of changes in adjustment in here. So in here, I'm making the lower part of the lines a bit more darker. Just increasing the weight of the lines in this manner. Doing the same for the remaining lines that we have created on this side. So by doing this, we are making this section a bit more darker and by doing it, we'll be making it a bit more clear and a bit more distinct from the other rows of the feather that we'll be adding or creating later on, more hatching lines at the lower section. Converting all this into scaling, creating this kind of curved set for the upper part. And on top of it, we are creating more scalings like this, rows and rows of scaling to make this region quite compact and a bit more darker, not darker, but increasing the volume and making it a little bit more compact by sewing the resemblance here that here, we have gotten lots of small feathers, compact feather, more hatching lines, more curved scalings in this manner. For another row of the feather in here, doing the same thing, making the edges a little bit more curvier, the upper part bit more curvier in this manner. Now in here too, connecting the two scaling lines that we have created. In here, I will decrease the spacing in between the lines to make it more compact comparatively more compact than the wings on the other side. This is going to be the first part of this project. I have divided into two section, and then here, I'll mostly be covering up to here and a little bit of more detailing for some section of the feeder. But in the next section, we'll be adding the final detailing and add and use mostly the Sakura micron fine liner. In here, I'm just adding more small hatching lines for the section where we change the direction of the feeders. Now as for the tail feather, we'll be dividing some of the tail feed into sections or otherwise, mostly we'll be using the angle hatching lines to make it quite darker to create the resemblance of different section present in the feather. For now, just create this kind of bit curve hatching lines to divide into different sections. And yeah, that's all for this section of the project. I'll be seeing you in the next one. Good 17. Minute Details : Welcome to the second part, continuing on where we left top. In here, we'll be mostly adding more details. Right now, I'm continuing on with the Tombos breastpin and we are adding additional line for the scallops. Adding simple curved line a little bit curve line like this inside the scallops, dividing into two different sections. We are also going to make the we are also going to make it a little bit more thicker like this. So the upper portion of the scallops, making it quite thicker in this manner. These are the scallops, not the scaling earlier in the earlier video, I just mispronounced it as the scaling. I did the same mistake for the wings and the feather. We have got feather inside the wings, not the other way around. We are done with the first wing, doing the same thing for the second wing, making the outlines a little bit more thicker and a bit more darker, as well as adding a middle line inside the scallops for the feathers. After doing this, I'll be going in with a fine line sagura micron fine line, and do a little bit of seeding as well as hatching. For now, just continuing on with making the outlines a bit more crisper and a bit more clear, as well as add the middle lines in this manner. Apart from this, as you can see, I'm also making the second row of the scallops a bit more darker by adding more black in this manner. And with these, we are done with a raspin for now, going in the Sakura micron fine liner for the larger feather that we have created in here, adding the hatching lines in this manner, particularly only on one side like this. If you want, you can add it on both the side, but I decided to only use it for one side so that the other side will remain a little bit whiter. And apart from that, I'll also be adding a little bit of black and to the seating using the hatching lines for the tips of the scallops that we have created. For some of the sections, the upper section, as you can see, I'm also doing a little bit of shading using the fine liner. This is optional too. If you don't want, you can just leave it clean and simple and only and only do the hatching on one side. The tips, doing a little bit of sading using the hatching lines, making it quite darker to recapitulate it for each individual scallops that we have created in here, we'll be doing a little bit of sading for the tip. For now, for the second row of the scallops, using simple hatching lines and doing the seeding in this manner. You have to apply a little bit of light preset towards the end to make it quite lighter in this manner. So for all the rows and rows of scallops that we have created for the feather on the wing, we are going to do the seeding. Moving back to the scallops in here, doing the same thing, a little bit of hatching lines on one side, for the other side, we have got sding. As for the tip to, we'll be doing a little bit of sading making it quite darker in that manner. Let's do the same thing for the remaining feathers or the remaining scallops in here on the side. Extending the sins of the seedings a little bit more in this manner for the upper wings or the upper feathers in here. Now continuing on with the remaining one, we have got four or five in here. Since these are quite smaller, I'll mostly be using the hatching lines or a little bit of seeding. I'm not going to make it that much detail as the upper ones. I'm using the tissue paper underneath my palm to avoid the smudging of the ink by my palm, continuing on with the remaining smaller scallops. A little bit of hatching and a combination of hatching and sading for the remaining one. Since this region is quite smaller, completely filling it with hatching lines in this manner, and with these, we are done with a larger one. Now for the smaller scallops, only doing the seeding using the hatching lines to decrease the preacher and change the angle to get this kind of bit lighter seeds of the black. Now for the third row, we are going to do the same thing. Make it quite darker near the other scallops and as you move away, decrease the intensity. Doing the same thing for the remaining one. Moving on to the scallops, bit more curvier scallops on the sides, just completely filling it with the sding lines. As you can see, in here, I am maintaining the pacing, and I have decreased the intensity. So with reduced presser and the angled lines in here, I've created a little bit of lighter son of the sading For the smaller scallops that we have in here, I won't be doing I won't be adding any detailing for it. But for this one, the fourth layer the fourth row of the scallops, doing the same thing, a little bit of shading using the hatching lines while leaving a little bit of white piece in between, doing the same thing in here for the remaining section, using the hatching lines to do the sading in this manner. And with these, we are done with our first wing, we are going to do somewhat of the same thing for the second wing. Making the outline a little bit more distinct and a little bit more uniform. So using the fine line to make the outline in this manner. Now for the heather, the scallops that we created for the heather. We are going to do the same thing, hatching lines on one side, a little bit of sating on the top, as well as one side of the heather that we have. Once again, this process is going to take a little bit of time since we are creating lots of minute detailing. For this wing, I decided to do the hatching first and then we'll be doing the seeding. For one side of the feather or the scallops, we are going to do the hatching and then we'll be coming back and do the seeding using the hatching lines. For this one, I forgot to add the middle line. For the smaller ones, I did not add the middle line, so I'm going to add the middle line and then do the rest of the thing. Creating the middle line and then adding the hatching lines in this manner for the smaller scallops that we have at the bottom. Now we are going to do the seeding on both sides, the upper side, as well as the tip. For this project, I'll only adding the blue for its beak and for its leg, as well as a little bit of blue for the water. I won't be using it for the wings on the feather. If you want to use that, you can do that. You can use the blue and do the same kind of seeding that we did for our earlier project. For now, we are continuing on doing the seeding for the larger scallops on the feeder, adding it for the tip. This project is one of my favorite from this class. Let me know which one was your and how much time it took you to create this one and the other one. Continuing on with doing the seeding for the remaining feathers. For some of the smallest ones, I'll be completely filling it with the seeding. Now we have got three or four more in here, so just reducing the intensity of the ink and completely filling it with the seeding lines. And this is the last one. With this, we are done with the first row of the scallops for the feather. Now for the second one, we are going to do the same thing. Doing the seeding in here in this manner while living a little bit of white species. This white species adds a lot of characteristics as well as create a clear distinction and create a clear distinction between the different rows of the scallops that we have created for the feather. Continuing on with the remaining five or six scallops that we have in here. In here, we have got few larger one, doing a seating for the tip of the scallops for the larger ones. And with these, we are done with this one. Now for the scallops in here, I decided to make it a little bit different. So for each alternative scallops that we have in here, I'm using this kind of straight hatching lines and completely filling it with it. This is optional. Instead of this, if you want, you can do the normal sading that we did for the earlier wing. Now in here, we have got quite a lot of scallops with different direction. So using a combination of both hatching lines and the sading for the scallops that we have in here for the scallops in here, the first row, a little bit of sading now doing the seeding on the other side, the tip of the scallops. And with these, we are mostly done with the front feeder. If you want to add a little bit more detail, feel free to do that. Moving on to the head of our bird, a little bit of hatching. So in here, I have reduced the intensity of the ink to make it quite lighter. A little bit of sading for some sections of the neck. The upper section of the ks like this, doing the same thing for the beak, particularly on the edge, making it quite darker, making it quite darker with a little bit of sading in this manner. Now, this region was looking quite lighter, so I decided to do a little bit more sading and with these, we are mostly done with the two wings. Now for the tail feeder in here, I'm just going to do a little bit of seeding as well as a little bit of hatching. For the upper and the lower part, we did a little bit of sading and for the middle section, we did the hatching lines. For the tail feeder in here, for each individual feeder, I'm going to do a little bit of sading on the sides like this in this manner. As you can see, I have reduced the intensity of the ink to the earlier outlines that we did with the tombosbstbin, so it remain visible. That's why I have reduced the intensity to make the sading lines quite lighter, completively lighter. Do the same thing for the remaining feather that we have created in here, make the upper and the lower regions quite darker by doing the seeding. And as for the sides, use a little bit of seeding or the hatching lines and overlay it on top of the earlier lines that we created with the tombos bras pane. If you want, you can also leave a little bit of white spaces in between the lines that we created earlier with the Tombs breast pane. Feel free to experiment on your own and add more characteristics where brasnel touches to it. And with these, we are mostly done with a tail either. For this region, making it quite darker, a little bit more sading in here in between the smaller scallops. I'm not going to make it completely darker, a little bit of sading to make it comparatively darker. This region too a little bit beside the tail fether making this region just below the wings quite darker, doing the same thing for this region, just above its leg. More seeding to make this region quite darker. For the sections where we added more hatching lines, make it quite darker by doing a little bit of seeding. You can also use simple hatching lines to make it darker, add rows and rows of the hatching lines. The other foot, making the upper region darker. Put this section of the neck, making it more darker by doing a little bit of sading. The chest a little bit more hatching lines. So we are adding more hatching lines to add a little bit more characteristics and add a little bit more detailing in this manner. If you are satisfied with your project, you don't have to do it. For the wings, too, I decided to make it more darker, so a little bit more sading in this manner. And in here, the white spaces that I left earlier, I decided to do the sading in here. So instead of using the vertical lines in here, I'm using horizontal line to do the sading. So we have got alternative vertical and horizontal lines in here for this section of the wing. So mostly we are done with the upper part. Now for this section of the feet, the padded region, a little bit of sading in this manner to make the curved regions a bit more darker, doing the same thing for this region. Now, moving on to the second feet, doing the same thing. Also making the droplets of the water that we have created a little bit darker wide, doing a little bit of sdingF other droplets on this side, do the same thing. If you want, you can also add a little bit of sading for the ripples that we have created in this manner. I decided to extend it a little bit for some of the section of the ripples that I have created, as well as doing a little bit of seeding and using broken nines or cross hatching or hatching to make it a little bit more detailed. Once again, I would like to remind you this is optional. If you're satisfied with your water, you don't have to do this. Once again, I'm using the tissue paper to avoid smudging of the ink, a little bit of more seating for this region of the wing. And with these, we are done with the black. Finally, going with the blue sakura micron fine liner, and as I mentioned, I'm going to feel the entire region of its beak and the leg and a little bit of the water with the blue. So rows and rows of hatching lines in here to do the coloring for the beak. Adding it carefully near its eyes, following the curve sweep over this eyeball in here and adding the blue in that manner. Now another layer of the blue to make it more darker. And with these, we are done with the beak. Now for the leg, we are going to do the same thing, falling the seep and adding the color in here for this cylindrical region. Now for this region, once again in here, I'm using somewhat of vertical lines to do the coloring. For the pattern regions, I'll be using somewhat of curved lines to add a little bit more characteristics to it and to change the direction, doing the same thing for this leg. Using somewhat of vertical lines to do their coloring. Now for the curve portion of the padded fit, using curved lines to do their coloring in this manner. I was not able to record a small section, but I did the coloring in this manner, as well as I added the coloring for some of the water droplet. I overlaid a little bit of blue on top of the black and added the coloring in that manner. And for the water ripples that we have created, a little bit of seeding using the blue. These are optional. If you want, you can cover the entire section with the blue. I'm only going to add a little bit of blue and doing the seeding on the sides of the ripples that we have created. More seeding with the blue in this manner for the water ripples that we have created. Here, as you can see, I have decreased the intensity of the lines to get a little bit of lighter tone of the blue extending the blue in here for the water droplets. For this section to a little bit of shading in this manner, adding more blue in here, overlaying a little bit of blue on top of the black, extending the blues a little bit more for the water droplets on this side. If you want, you can add few more water droplets using the black. And yeah, with these, we are mostly done with this region. Add more blue wherever you think it's required. I decided to make the beak a little bit more darker. So this is our third layer of the blue for the beak. And with this, we are done with our flying bird. I hope you enjoyed painting this. This is one of the most detailed and most time consuming project of this class. I had a lot of fun painting this, and this is our final project. So I'll be seeing you in the next video. M. 18. Conclusion And Thanks : Congratulations on completing this blue footed words a seven day ink and pen illustration challenge. Over the seven days, you have explored different ink techniques, improved your line work, and created a beautiful collection of word illustrations. More importantly, you have built consistency and confidence in your drawing process. I hope this class inspired you to keep experimenting with ink and breast pain and to continue creating regularly. If you enjoyed this class, please here your project. E will review and follow me for more classes. Thank you for joining me, and I'll be seeing you in the next one.