Celestial Whales: A 7-Day Ink and Watercolor Challenge 🐋✨

1. Welcome and Introduction : Hi, everyone, and welcome to my new class. We have Celestial wheels a seven day ink and watercolor challenge. In this class, we have gotten the seven project. Starting with the wheel beneath the Azure moon, next we have wheel of the Rose Moon. Here we have got both sun and the moon. Then we have the golden Sky Band roll. This is one of my favorite one. Next for the fourth one, we have this Guardian of the Celestial Rainbow, yet another intricate one. So this is the wheel of the golden Dreams. Then the last two in here we have got the wheel of the midnight moon, a bit simpler one and a little bit more intricate and detailed one. Here we have got the wheel of the golden ellipse. We will begin with the basics, where I'll introduce you to the supplies I use and the demonstrate and demonstrate essential ink techniques, including hatching, cross-hatching, et cetera. I'll also show you how to create decorative elements such as cloud, celestial backgrounds and circular compositions using simple saves and how you can easily create the wheels using very simple saves. Hi, everyone. My name is Jeb Shale. I'm an artist from India. This is my Skillshare profile. On Skillshare, I teach beginner friendly classes on ink and watercolor illustrations, oil pistols and food illustrations related classes. You can find more of my work on my Instagram and YouTube. In this class, we'll be creating seven intricately detailed and majestic wheels illustration, each inspired by the celestial elements, dream skies and imaginative patterns, as you can see. Each day we'll explore a new illustration experimenting with ink technique, watercolor, metallic paints, sparkle effects, and decorative patterns to bring the celestial creatures to life. Most of the lessons in this class are recorded in real time, so you can easily follow along with me. I'll be uploading one project each day, allowing you to complete a painting daily as a part of seven day challenge. This class is suitable for both beginners as well as intermediate arters. So join me in this class, and we'll explore the majestic celestial wheels, and let's have fun creating something beautiful together. 2. Class Project : For your class project, you can create a single illustration or complete all seven projects from this class. You can follow my designs or experiment with your own unique patterns, colors, combinations, and interpretations. So these are all the seven projects that I'm going to show you in this class. Along with your finished illustration, I encourage you to upload your practice seats, including hatching and cross-hatching exercises, supply taste, metallic and sparkle paint experiment, and the patterns and designs you created during the class. You can also see your own interpretation of the celestial wheels, incorporating personal touches and creative details to make them uniquely yours. And these are all the seven projects we have Wheel of the Golden Ellipse Whale of the Midnight Moon, Whale of the Golden Dreams. Guardian of the Celestial Rainbow, the golden Sky Bandra, Whale of the Rose Moon, and Wheel Beneath the Azure Moon. I'm excited to see your artwork, creative experiment, and the beautiful celestial creatures you bring to life. Please upload your project in the project and resources section of this class. I look forward to seeing what you create. 3. List of Supplies : For this class, I'm using pencil and asea to do the psic pencil sketching. Then I'm using fine liners and the breast pins to do the outline for all the wheels. I'll be using Sakura micron fine liner and the Tombos braspin. I've got 0.5 MM and 0.3 M fine liners that I'll be using and two of the Tombos bras pin. In here, I'm using 300 DSM watercolor paper for all the projects. Apart from that, I am also using the white chill pin. Instead of it, you can use the white watercolor acrylic or gauze. I'll also be using sparkle pins. These are optional. Then I have got this metallic color from the Butone that I'll be using it. Instead of it, if you want to use watercolor or other mediums of the colour through the coloring, you can use those too. And as for the inking, I'm going to use the Zikurotakis black ink. I've got two brushes, small and large breast that I'll be using to do the coloring with the metallic colors and with the black ink. I also have the whitening. If required, I'll be using it for some of the sections. Apart from this, I also put breast pins. I'll be using it for one of the project, and this is Ms in optional. And to create the circles, I'll be using the compass. And you can also use other supplies that you have fine liner gel pins or the wallpoint pints and sketch paints too. These are all the supplies that I have and I'll be using in this class. 4. Basics : Hi, and welcome to the basics. In this section, we'll explore seven fundamental ink techniques that will form the foundation for all the illustrations in this class. In here, I'm starting with a very basic line spacing. So basically line spacing is one of the simplest but most important aspects of ink drawing. In here, by changing the distance between the lines, we can control how light and dark the areas will appear. For the first one, I created uniform distancing. In the second one, as you can see, it's a little bit of tight spacing, creating a bit darker value. And in here, I am gradually reducing the spacing between these lines to create a smooth transition from light to shadow. In a nut cell, wide spacing creates lighter value. With tighter spacing, we can create darker value. And as for this example in which I gradually reduce the space between the lines, creating a smooth transisen from light to shadows. And one more thing, consistent spacing can also be used to create green texture and pattern. Apart from this, to make it a little bit more dramatic, you can combine both spacing and sides. In here, as you can see, I started with the smaller side, and as I move, I increase the size of the lines as well as increase the spacing. Now, this is a little bit different. So in here, I'm starting with a little bit of consistent spacing. For this region, the middle region, I have decreased the spacing, this making it a bit lighter. And as I progress, I am once again increasing the spacing to make it a little bit lighter. So in this way, we can use this kind of line spacing to add more drama to our illustrations. And to make it a little bit more darker, you can just add more lines in between it, which will be covering in hatching as well as in the seeding section of this Basis. I just added more and more lines in between the lines to make it a bit more denser, a bit more darker, to give it a little bit of darker value. So it is easier to make it darker, but it is a lot harder to make it lighter. You can make it comparatively lighter by adding more lines to the other areas, thus making those section bit more darker and then comparatively, the other region will become lighter. So that's all for the spacing. Next, we have hatching. I'll be using lots of hatching for some of the project. Hatching is a very simple technique, which is created by drawing a series of parallel lines in one direction. It is one of the most useful technique for creating form to add texture and to create side off. The hatching also depends upon the spacing in between the lines and consistent spacing along with the hatching lines will help create cleaner texture and can be used to create pattern. In the earlier example for the spacing on use the straight lines in here for the hatching, you can use lines in any direction. The main thing is the lines would be parallel to each other. The hatching is similar to the spacing in between the lines that we just covered. Wide piecing will create lighter value with the hatching lines, but tighter spicing we can create darker values. Apart from this kind of simple lines, you can also use this kind of broken lines to do the hatching. It adds more drama to your illustrations. For some of the sections, I'll be using this kind of broken hatching lines to add more texture and to create a little bit of broken pattern for some of the sections. And you don't chapter stick with the same salges you can play with the sages of the hatching lines too. Apart from this, you can also use the hatching lines to the seeding like this. Starting with applying a bit more pressure with the pain, and as we move, I'm just decreasing the preset to make it a bit lighter like this. Apart from this, you can also experiment with a different line direction and the angles in here, I only created an angle line. You can also play with the salt and long strokes, thin and thick strokes by wearing the line weight of the pain that you are using. Like this piecing, you can also play with closely and widely spiced lines for the hatching. Apart from it, I'll also be using this kind of hatching lines a little bit similar to seeding, pencil seeding to give it a little bit of texture for some of the sections of the illustrations. I'll only be using for one or two of them. Make it a little bit easier and a little bit more organic, you can do the hatching lines like this in here, creating a bit darker to lighter tone. So layers and layers of hatching to create this. And so as mentioning, you can use the hatching lines like this to create different kind of pattern. Simple square like pattern like this using small hatching lines. You can also use hatching to follow the sep of an object. For example, curved hatching can help make a whale's body appear rounder rather than flat. I'll also be covering a little bit of curved hatching lines later on. So curve hatching lines or you can see curve lines, which we'll be covering later on. I would recommend you to experiment a little bit on your own and create different kind of pattern and designs using hatching lines. Or you can also incorporate other kind of angled hatching lines to make things a little bit more interesting. Now, as I was mentioning a little bit of curve hatching lines. The lines are parallel to each other and following the curved lines that I created first. So we can use it to give it a little bit more organic look to the hatching lines. The lines are parallel to each other and following the curved lines that I created. Yeah, that's all for the hatching lines. One more curve hatching line like this, a bit of elliptical sap like this. I'll be using a little bit of this kind of curved hatching lines to create patterns for the clouds and a little bit for the circular or elliptical saps that will be lying behind the wheel's body. And that's all for the hatching. Now moving on to the cross-hatching. Basically, cross-hatching takes hatching a step further by layering lines in different directions. One layer of line can create a light sado while additional layers make the Evia progressively darker. So starting with a very simple cross-hatching, starting with the vertical lines, and overlaying horizontal lines on top of it. So very simple cross-hatching. In here with the cross-hatching when can play with the angle of the lines. Like in here, we have got this kind of cross sectional lines. Mostly, I'll be using this kind of cross sectional cross-hatching lines to do the cross setching. Apart from it, you can use the combinations like this. So we have got horizontal lines and then angle line like this. And apart from this, you don't have to only use two layers. You can use multiple layers too. Unlike the hatching lines in here, you can also use this kind of broken lines to do the cross-hatching. So this gives a little bit of different look to it. It becomes a bit lighter and look a little bit more different from the other hatching lines or the cross-hatching lines that we have practiced so far. Now, moving on to using this kind of bit curvel lines to do the cross-hatching. So this is a little bit different. You can use this kind of similar lines with the hatching tool, which I forgot to cover. In here, apart from this kind of curvy lines, I also use broken lines to make this cross edging bit different from all the cross edging that we have covered so far. Now, let's make it a little bit more darker, starting with the vertical lines, now overlaying the horizontal lines on top of it. And this is our third layer, so angle line on top of it. You can stop here or you can add more lines to make it bit more darker. And as usual, we can use the cross-hatching to do the seeding too while wearing the line pacing in between the lines like this. And here, I'm going to make the upper section a little bit darker. The upper left corner in here, I added more lines to make this section a little bit darker, comparatively darker. In this way, I incorporated a little bit of seeding in here with the cross-hatching. So you have got the rough idea how and use this kind of cross-hatching to make regions a bit darker or a bit lighter. So far, in this section, we have covered two direction cross-hatching, multiple layer of cross-hatching, changing the angle of each layer to get a little bit of different kind of cross-hatching next in here, we are going to cover stippling. So stippling basically uses small or larger dots. Stippling creates value using individual dots rather than lines. The amount and the concentration of the dots determine how dark the area will become. So you're going to start with the smaller dots like this to do the stippling. This is similar to hatching in the cross-hatching, like those in here with sparser dots, we'll be creating lighter value with more concentrated dots, we'll be getting darker value, and with different kind of dots sizes, we'll get additional texture and variations. You can also use this kind of stippling dots to create the seep of an object like this. In here, all the dots that I have created were somewhat consistent and uniform or equidistant. But right now, let's make it a little bit different. So in here, we have dots of different seeps in the sizes. Basically, they are circular, but the sizes are wearing. So are small, others are quite large. So I'll be using this kind of stippling dots, a combination smaller and larger to add texture to some section of the wheels background. As I was mentioning, using a stippling to create the CP structure. So we have got a rectangular in here and I'm going to do a little bit of sading using the stippling dots. As I mentioned with the spars of dots, we'll get lighter value and with more concentrated dots, we are going to get darker value, start with a uniform consistency of the dots, and we are going to make this left side a little bit darker. Thus I'll be increasing the dots in here. So the dots will be a little bit closer to each other to make this region comparatively darker. Apart from this, you can also experiment with smaller and larger dots to create a little bit of seeding using the stippling techniques. With this stippling technique, we can create more subtle gradiation in between the different darker and lighter tones. But the techniques consume a lot of time, so I'll only be using a little bit of this kind of stippling technique for some of the sections. Basically, I'll be using stippling to create a bit of softer transition and organic texture that would be difficult to achieve with regular lines, and I'll only be using for certain sections. If you want, you can experiment a little bit more stippling techniques. And with these, we are done with the stippling. Now moving on to scribbling. Scribbing can be defined as a more spontaneous technique where overlapping, looping, curved or irregular strokes are used to build texture. Like this in here, I use a bit of curved lines. For this one, the lines are curved once again, but in here, the spacing between the lines are far closer. You don't have to stick with the curve lines. You can also use this kind of angled straight lines like this to get the scribbling. Unlike the precise hatching, scribbling does not need to be perfectly uniform by controlling the density, direction and preserve of the mark, we can create anything from a subtle texture to a very dark area. And as usual, like the hatching, cross-hatching, and the stippling, we can also do the seeding using the stippling technique. Unlike the hatching, cross-hatching, the stippling, we can also do the seeding using the scribbling technique in here. As you can see, I made the right side a bit more darker by doing more scribbling lines there, and it worked particularly well for g organic surfaces, shadows, clouds and foliage or to add decorative elements. This is comparatively faster to all the techniques that we have covered so far. Next in here, we have got scallops. Scallops are repeated curved or UIP mark that create pattern of overlapping arches. They are particularly used for drawing repetitive texture. I'll be using lots of scallops to create a little bit of different kind of scaling or you can say texture for some of the sections of the wheels body or for the background. And I'll also be using a little bit of scallops for the clouds. So this is going to be very useful. First example was of uniform scallops. In here, we have a little bit of non uniform miscallops These scallops are not connected to each other. In here, we are going to explore different variations from simple evenly speed scallops to overlapping and irregular patterns. And this can be adapted to represent scales, decorative services, sales or other repeating elements. So this third one in here, the sides of the scallops are comparatively longer. And as I mentioned, we are going to explore different variations. So in here, we have got this kind of angle scallops. I'm not going to use this, but if you want, you can use it too. And in here, I have got a little bit different, more different variation of scallops, somewhat armor like. Feel free to experiment with the scallops. You can come up with more designs that you can incorporate in your illustrations. And finally, we have the curved lines. So we have covered a little bit of curved lines with the hatching and the cross-hatching. Now we are going to cover it a little bit more. So curve lines allow us to make our mark, follow the form and the movement of an object. So mostly I'll be using this kind of curve lines for the clouds and for the outer shapes of the wheels body. I'll be using a little bit more easier version of this kind of circular curve lines to create elliptical or bubble shapes with the curve lines. Theise curve lines are especially used for following the contours of the organic objects in our keys, wheels, clouds, water, fins and other natural forms. With this kind of curve lines, instead of using straight lines everywhere, we can bend our stroke to make it feel three dimensional, more three dimensional. And that's all for the basic, and I'll be seeing you in the next video. 5. Metallic Colors and Ink: Welcome to this section. And here, I'll be showing you the metallic colors that I have as well as ink that I'm going to use and the sparkle pens. In here, I've got a set of 14 metallic colors that I'm going to use. Mostly, I'll be sticking with the golden colors and the sky blue and a little bit of silver colors. In here, I'm just starting with a lighter consistency of the color. I have diluted it by adding more water to it, and to make it a little bit more concentrated, you can just do the multiple layers or you can add a little bit of less water to it. First, I started the two swetches of the golden color. In here, I have got a bit darker color. Let me show you another one. So we have got light blue metallic colour. And for this, I added less water as compared to all the other three sweaches that I created. These are the metallic watercolors that I have got from the Brusto. And if you don't have this, you can always use the watercolor to do the coloring. You can get somewhat of similar effect with the watercolor, so you don't have to stick with the metallic colors to do the coloring. Apart from that, mostly I'll be using the black in to do the coloring for the wheels body. And here I have got this zikurataki dark black ink. So mostly I'm going to stick with it. Instead of this, if you want, you can also use the black sketch paints or other black colors to do the coloring. I also have got this white ink. Mostly, I'll be using the jelly, white jelly pen to the coloring, and I'm going to use two brushes, one of medium size and one of smaller size too to add the coloring for the inside of the heel In here, I'm just using the black colour to create a simple shape for the fizz. And on top of this, I'm going to show you how I'm going to create the patterns and designing using the white jelly pen and a little bit of white ink. Simple sap of the whale's body, a bit larger s. And the fins in here, we'll wait for it to dry a little bit. Also use the watercolor brushes to make the lines a little bit more dynamic. By dynamic, I mean lines of varied thickness. With it, you can create very dynamic lines like this and add a little bit more dramatic and organic feels to your painting. For all the outlining all the elements, you can always use the watercolor or the blacking directly. You'll have to be a little bit careful with it if you're going to use it. So you can do a mistakes like this. In here, I'd smuge the color a little bit. You can also use it to create the background elements. But as I mentioned, you'll have to be extra causes. And here I was going to create thinner line, but I made it a little bit thicker. And if you make mistake, you'll have to accordingly sept it. Simple rise, small and large reas coming out of it, and simple rhomboid like sees for some of the sections. I would suggest you to stick with the fine liners and the mis paints to do the outlining and use the watercolor and the ink to do the coloring for the larger sections. But if you want to experiment, feel free to use it. A little bit of detailing for the insides of the clouds. Curves like this for the secondary outlining for the insides of the cloud. If you have a blow dryer, you can use it to fasten this process. Otherwise, you'll have to wait a little bit till it get drier. You can also use a combination of ink and pine leaners. With the ink, you can create the broader and larger details. With the fine liner, you can use it to create smaller and finer details. And as you can see, we have got more precision accurate with the fine liner over the brush paints and the watercolor brushes, so feel free to choose whatever you see fit. Now, it has dried up somewhat, so I'm using the jelly pen to add a detailing for the fizz body. Insure that it has properly dried. Sometimes you have to do more than one layer to make it a little bit more clearly distinct and a little bit more brighter. But in here, since it's clearly visible and the contrast that it is creating is sufficient, I'm not going to do the multiple layering, but for some of those sections, you'll have to do multiple layerings of the jelly pen or white ink to make it a little bit more contrasting and a little bit brighter. Simple scenes like this for the body. Now, for this large field. In the next section, I'm going to show you how you can easily create the wheel's body and the different patterns and designs that we are going to use in the projects. Curve sweeps like this to create the bancles on top of its head, a little bit more outlining for some of the sections. And with these we are done with the wheel and this section. I'll be seeing you in the next section. 6. Simple Whale Sketches : Hi, and welcome to this section. In here, I'll be showing you how I'll be creating simple sketches for our veils. So I'll be starting with a simple straight line. This will be determining the length as well as the positioning of our v. Then I'll be creating this kind of bit curved seam. So this will be used to create the curved body of our ve. You can consider this curve see similar to this, correction mark like Sam The curve set that we created in here will be used as the middle portion of our wheels body. And basically, I'll be using it as the middle portion of its mouth. And as for the remaining section, its stomach and the tail, I'll be making a little bit of changes depending upon the wheels we are creating. In here for this whale, I'm going to divide into three equal section. The first section will consisting of its mouth like this. The second section will be for its stomach and third in the final section for its tail. And generally for all the whales, I'll be following this guideline. So dividing into three sections, somewhat of equal section, one for its mouth, one for its middle portion, and the last one for its tail. I'll be adding the eyes just beside its being somewhat elliptical see like this for the eye. So this is the very simple Skech for our wheel in our class project. We'll be making it a little bit more detailed and more defined and more intricate. But in here, you have got the rough idea how you can easily create this kind of simple wheels, just using simple straight and curved lines. For this example in here, once again, I started with a simple straight line divided into three equal section. And in here, once again, I have a little bit different curve sheep for its body. The first wheel that we created was facing towards the right. The second wheel in here is facing towards the left, and the seep of its curve sexony little bit different as compared to the first one. So depending upon the wheel, as I mentioned earlier, we'll be changing the proportion as well as the bend the curve sep of its body. In here, its tail is a little bit different. Now following the three qual section and creating the detailing for wheels body, its eyes, the two fins, the other side of the fin will only be visible a little bit like this. And with these, we are done with our simple sketch for our second wheel now for the third one. In here, for this one, I decided to create a little bit of different curves, so somewhat of arc like C for the wheels body. Now, once again, dividing into three equal sections, somewhat of equal sections. Now using this portion, the middle portion in here to create its mouth. Now in here just beside this section, I'm going to create its eye. Now, following the curve Sue's body and doing the outlining in this manner. I believe you have got the rough idea how you can easily create the simple bodies for the wheel using the simple steps, starting with the straight line to determine the length as well as the positioning of the wheel's body. Then dividing into three equal section, you can play with the sections portion. You can make some section bit larger, bit smaller and accordingly shift its mouth, tail, and middle ports in the stomach of way and then we have large eyes for the wheel, two fins, two fins at the middle section, one smaller fin at the upper part, and then lastly, we have tail. So this is the general guideline that I'll be following for all the seven projects in this class. If required, I'll be making a little bit of minor changes, but the guidelines will remain the same for all the wheels that we are going to create in our class project. Now, let's do the outlining. In here, I'm using Sakura micron paint to do the outlining. The pencil sketch that you have created, you don't have to stick with it. Feel free to make changes and adjustment to it. As you will be seeing in here, I'll be making some changes and adjustment to the pencil sketch that I did. So you don't have to stick with the pencil ske. Feel free to make changes and adjustment with the outlining that you are doing with the paint. I'm going to use two pins to do the outlining. One with the more line weight, other with a lighter line weight. So by line weight, I'm in the thickness of the lines. In here for this demonstration purpose, I'm only going to use a single pin. But for our main project, I'm going to use two pens to do the outlining. Human like eyes for our in in here, for this portion, we are going to create barnacles. So simple curved saves like this to create multiple barnacles. For the lower portion of its mouth in here, I'm going to use this kind of broken curved hatching line, a little bit of curved hatching line, and we are going to feel the entire section in here, below its mouth and below its stomach. Insure that the ink that you have used has dried up and lightly erase the pencil marks. Now, continuing on with the lines in here for this portion. It's the stomach for the other side of its fin in here, once again, using hatching lines. The other fin on the other side will be a little bit darker. I won't be adding that much details for that portion. In here for this front fin, I'm going to add barnacles and a little bit of designing and pattern. For the wheels body, I'm going to create various kind of patterns and designings that I have shown you. In here for this one, I'm just keeping it simple and plain. So cloud like set like this and inside this, I'm going to fill it with spiral seeps. Simple spiral seeps like this. This design is very simple. It's for demonstration purpose. For our mean project, we are going to make it a little bit more dramatic, more contrasting and more interesting. So you don't have to create the similar kind of designing that I'm doing in here. Feel free to experiment and come up with your own unique creations. Doing the same thing in here for the tail, and a little bit of more designing in here for this section. Simple spiral shapes like this. And with these, we are done with our first pay. Now for the background, creating celestial elements. So I'll be using compass to create circular shapes. Two or three concentric circles to make this process a little bit easier. Now going in with the fine liner once again to do the outlining, make it a little bit more bolder and more darker. Once again, feel free to experiment on your own, create your own unique patterns and designing. In here, I'm going to keep it plain and simple. Just set of two or three concentric circles, and I'll be using long straight lines of various sizes, and on top of it, I'll be creating simple diamond shapes. In here for these three sections for the upper part of the circle, I have left a space. And now going in and creating simple straight lines, two or three straight lines of various length Let's create one more in here. And as I was mentioning, simple diamond like sap in here, rhomboid sp. And with this, we are done with our first example of celestial. Now let's do the second one in here, I'm going to use ink and make it a little bit more detail. I here I'm using Zikuratak breast pain. The main advantage of this kind of breast pain is that you can create very smooth dynamic lines. By dynamic lines, I mean lines of varied thickness by wearing the preser of the breast pain. As you can see in here, I'm getting both thicker and thinner lines. So accordingly, change the preser and you will get thinner and thicker lines. With lighter pricer, you will get bit thinner line and with more preser you'll get thicker lines. The disadvantage with this kind of dynamic pain is that if you're not confident with it, the lines will become a little bit sicky and you won't get Chrisman outline. So if you're not that confident with it just don't use it that much. Let's create the eye. Now, creating simple barnacles using this pain. Simple curve seep like this, semicircular seeep like this in here, for the barnacles on top of its head. Now for the bottom section in here, once again, we are going to use a little bit of curve hatching lines to fill the entire section, beside and below its fin and for the front section too, just below its mouth. I no, let's do the same thing in here. Instead of using broken lines, you can also use the simple straight and curved lines in here for this section. I'm going to use curved lines, and these are not broken lines, so simple curved hatching lines like this. Feel free to experiment on your own. You can do shading hatching. You can also use cross-hatching in this section to make it a little bit more darker. Now on this side, on the other side, we are going to make it comparatively darker since it lies on the other side, so the sado of the wheel body will make it bit darker. A few more bonicles here and there. And making the outlines a bit more darker and more crisper. With this, as you can see, it is competive more faster as compared to what we did with the fine liner, but you will have to have a little bit more fluency and confident with it. Now in here, let's feel it entirely with the black and later on I'll be coming back with the white ailpin to add the designs or create the designs on top of it. You can also do multiple layers in here to make some of the section bit more darker. In here, I used a little bit of water with the ink, so its consistency is not that darker. But for our main project, I'm going to use bit more darker consistency of the ink to get bit more darker veils. Now, we'll wait for it to dry till it dries. Let's do a little bit of coloring for our vein. Using Zikuratak ink. So colorful ink in here, I have got this golden color. This is golden yellow color, and I did not do the outlining in here. I'll be doing the outlining later on. This is just for demonstration purpose, but for your in project, always ease the pencil marks. Otherwise, it becomes a little bit harder. If you proceed to erase the pencil marks later on after doing the inking, some of the inks might get merged up and we don't want that. So I decided to use yellow and orange to do the color in here. Now, going in with the orange, once again, in here, I'm using Zukarataki breast paint. You'll have to be a bit careful with it to get crisper and sharper lines. You don't have to use the breast paints to do the coloring. Instead of it, we want you can also use the watercolors to do the coloring, or you can always keep it monochromatic only using blue, or you can also experiment with ink color using blue, red, greens, a combination of those. Now, let's do a little bit of mixing of the colors, mixing the yellows with orange a little bit. I decided to use a little bit of orange for the lower portion of the fin and on the other side, too, mostly using it, mostly filling it with the orange like this. To make the blending a little bit more smoother, going back once again with the yellow, another layer of yellow and mixing these two colors. Since both are of somewhat of same consistency, a little bit of blending has occurred in here now. In here, I'm using tombospres paint to do the outlining. Is that the ink has dried up properly and then do the outlining. Otherwise, you'll get smudging all over the paper. Following the coloring that I did and doing the outlining for our third and the final way. For these two colored version of the whels, I'm not going to create the background element. But if you want to experiment, you can create your own unique background for the whales, celestial elements. I'm also going to use a little bit of broken lines to give it a little bit of more organic feel to the whales. So some of the sections, as you can see, I'm making the lines a little bit dynamic, wearing the thickness of the lines and some of the section, the lines will be a little bit broken off, particularly for the section of its mouth, a little bit for its lower portion, the belly of the whale. Now the final portion just below its mouth. And finally, let's do the outlining for the fin in here. Cove save to do the outlining for the fin. We are going to create simple saves, simple pattern and designing for it. You can also do the outlining in two or three sections to make it a little bit more dramatic. Adding curved shape in here for the barnacles, human like eye. So just below and above the eyes, we are going to add three or four lines to make it a little bit more organic. Curved lines following the elliptical shape of the eyes. Now, as I was mentioning that I'm going to use two pins to do the outlining. So with the first pin, the tombosprest pin that I used, it has a bit more line weight. In here, I'm using the sakura micron pen with bit thinner line weight. So the lines are a bit thinner comparatively thinner. So this makes it a little bit more dynamic. If you're satisfied with only using a single pen, you can use that too, but I find it a little bit more. But I find just using two paints of different line weight, it make the whole painting a little bit more interesting and we get more contrasting lines. In here for this portion, as you can see, I'm using curve line for the upper section, and then following those curve line, I'm just creating more hatching lines, broken hatching lines. And as I mentioned earlier, you are free to use simple lines. You don't have to stick with the broken hatching lines. You can also experiment with other lines. You can use scribbling, you can use cross-hatching and you can also use stippling to create the lines. Erasing the pencil marks. In here, I did a little bit of mistake. I did not started with the paint. So the middle portion in here, the pencil marks won't be I won't be able to erase it, as you can see in here. In the ink has dried up, and in my keys, it has dried up properly, so I'm using the white el pin, sakura el paint, and creating bancles in here. And I'm also going to create this kind of simple patterns and designing in here. So these are optional. You don't have to create the same kind of patterns and designing I'm doing in here. Feel free to experiment and create your own patterns and designs. For all our main projects, we are going to make the lines more intricate, more varied and more fancy. Filling the entire section with it. You can also use the white ink or white watercolor or white gauze. That will make the lines a little bit more thicker and bit more In here, the lower portion of the tail is not visible, but I also added a little bit of designing like this in here for the tails. Simple pattern and designing like this. Now for the two friends in here, once again, the same pattern and designing. The lower section in here. Fin on the other side, I to create only a simple pattern, similar pattern like this. And with these, we are done with our second we for the third wheel. For the third wheel in here, I'm using a sparkling paint, so in here, I've got gray color, and I'm going to create this kind of cloud seems with multiple layers for the inside. Creating more curved shapes for the insides like this, concentric semicircles like this for the inside. You can also create patterns like star, moon, and other elements. You can also use various simple sap circle triangle rectangles, squares to make it a little bit more interesting and more geometric. Last detailing in here. Yeah, with this, we are done with our third and the final wheel. I decided to increase the number of Bncles a little bit in here for this one. A little bit of more detailing with the linework in here, more lines for some of the sections. You can always add more lines wherever you think it's required. So just be cautious. Once you add them, there is no way you can remove it. So yeah, that's all for this section. I hope you learn something new and I'll be seeing you in the next section. Happy painting. 7. Clouds : Welcome to this session. In here, I'll be showing you how you can create clouds for our background easily. In here, I'll be showing you a total of four simple demonstrations for the cloud formation, as well as few simple patterns and designings for the background. For most of our project, I'll be using this kind of simple saves for our clouds. Simple curvy saves like this. Generally, I'll be making the middle portion a little bit thicker, comparatively thicker with more thickness, or you can say heightwise it will be comparatively larger. And as for the length, as we progress from the middle section, I'll be decreasing it, as you can see in here. So very simple sap like this for our cloud. For all the clouds, I'm going to use two sets of the pain to do the outlining. Either I'll be starting with the pin with the lighter lines or with a pin with the darker lines. Mostly, I'll be starting with the darker lines, or you can see pin with more weight. With these, we are done with a simple outlining for our cloud. Sorry, I was not able to make complete sense of it, but what I mean to say that I'll be using two sets of the pin, one more thickness, and one with light thickness. With the darker ones, I'll be making the outlining and with the lighter one, I'll be using it to do the designing and a little bit of pattern for the inside. But in here for the demonstration purpose, I'm only using a single pen. So here I have Sakura micron fine liner to do the inner outlining, or you can see inner pattern no designing. This is the simplest pattern or you can see designing for the clouds that I'll be using for one of the project. So this set of two outlining for the clouds and inside it, I'll be creating a few more half clouds, half form clouds for the insides. Simple curves like this for the insides. If you want to keep it more simple, you don't have to add this. Instead of it, you can do the coloring using the ink or sparkle paints or you can just completely keep it clean and simple, only white, or you can also add black in to make it a little bit more contrasting with the white of the people. So this is our very simple cloud. Now, in here for this second one, instead of all the lines being connected in here, I'm creating them separately. Not the line, but the curve saves like this. As you can see, just by not connecting them, it is looking a little bit different from the first one. Apart from this in here for this one, I'm going to create shadows using hatching technique. So I'll be creating lots of hatching lines later. Same like the first one, a few more clouds inside, and now another layer of lines for the insides of the cloud. And as I was mentioning, I'll be creating a little bit of seeding effect or you can see sad or created by some section of the cloud. So using hatching lines on one side, I'm considering that the light is falling from the top right side, so the left side will be a little bit darker. And so that I'm using this kind of hatching lines. Instead of this, if you want to make it comparatively darker, you can also use cross-hatching or stippling. Or to make the clouds look a little bit more heavier and bit more denser. Instead of this, you can feel it entirely with the cross-hatching or other techniques stippling to that will make this a little bit more darker, a bit more denser, and it will look completely different from all the clouds that we are going to create. So these are the two simple clouds. Now for the third one, once again, I'm going to create the same simple p for the cloud. If you're not that comfortable, you can start with the pencil. Otherwise, the sp is quite simple, so you can directly start with the pain in here for this demonstration purpose, I'm only going to create single cloud, but for our main projects, we are going to create group of clouds three or four. In here for this one, I'm going to do the same kind of outlining that I did for the first one. I'm doing the same kind of outlining or you can see in lining as the second one. And for the inside of it, I'm not going to create multiple one. Instead of it, I'm going to create spiral seeps for the inside. Simple spiral seeps like this. So for the entire inside of this cloud, I'm going to fill it with simple spiral saps. So that's what I was mentioning about the second one. Instead of using hatching lines to create the shadows, effect for the shadow, you can completely fill it with this kind of spiral designs or using cross-hatching, or you can also create a little bit of patterns for the insides. For our main project, when I'll be using this kind of cloud to make it a little bit more distinct and a bit more clear, I'm going to use two pens, one with more line weight, and I'll be using it to create a little bit of clear separation between all the spirals so that it will look more distinct and bit more intricate and more defined. And here, since I'm only using a single sakura micron pen, and the spiral sets are not that well defined, so it looks a little bit chaotic. But for our main project, we are going to make a little bit of changes to it. And you don't have to stick with the spiral saves instead of this, if you want to create other variations or saves for the insights, you can do that, too. Feel free to experiment and come up with your own unique creations and designs for the clouds. Let's move on to the fourth and the final one. So in here, cloud, the same of the cloud will be exactly the same as what we did for first, second or third. The only difference for this one will be that I'm going to use sparkle pins to do the coloring for the inside. So you can say for the inside or the lining of the cloud details, I'm going to use sparkle pins instead of the black. In here for this one, I'm using golden color. Instead of using single curved lines in here, I'm using combination of one or two. As you can see, instead of using single lines, I'm going over the lines twice to make it a little bit darker. And for some of the section, instead of a single line, I'm also creating multiple one. By multiple, I mean two lines to make it a little bit more interesting and bit different from what we did for the first and the second one. And apart from that, I'm also adding a few more curves for the inside that are not following the outlines that we created with the sakura micron pen. In here too if you want to do a little bit of cado creation using the hatching technique, cross-hatching or stippling, you can do that, too. You can also do the coloring for the entire clouds using the sparkle paints that will be interesting too, or you can always use the watercolor, the metallic watercolors to make it more interesting. So that's all for the clouds. 8. Patterns and Designs : Welcome to this section. In here, I'll be showing you some of the patterns and the designs that we'll be doing for our clouds as well as on top of the wheels body and a little bit for the background elements. So the first one is simple wavelike pattern that I'll be using on top of the wheel's body for some of the project. Very simple seeps like this. In here, I'm just trying to create a very simple wavelike for using the simple saves. For most of the patterns and designing for our projects, I'll be using two or three outlining, or you can see in lining. First, I'm starting with the Sakura micron, fine liner it to do the first layer of outlining. And inside it, I'll be using sparkle paints to do another layer of outlining and add colors for it. You don't have to do the same thing. Feel free to do experiment and come up with your own unique patterns and designings. These are just very simple patterns and designing. For our main project, we are going to make it a little bit more intricate and a little bit more designed. So simple outlining like this, ensure that the ink has properly dried up and lightly release the pencil marks. For the second layer of outlining, once again, I'm using the Sakura micron fine liner. But for our main project, as I mentioned earlier, I'll be using two seats of the pen, one with more line weight, another with a lighter line weight. So mostly, I'll be using the pen with a more line weight to do the outlining and with the lighter one, I'll be doing the outlining for the inside. For this two demonstration, I'm just simply going to use the sparkle paints. In got this metallic blue color. This adding it below the outline section. If you want, you can fill the entire insides of the waves with different color combinations, or you can always use the metallic colors or watercolor, or you can just keep it plain and simple sticking with only the black color. And along with that, if you want, you can also use the normal wallpoint paint of blue colour, green colors, and white colors to make it a little bit more interesting. So very simple pattern like this, pave form. And for this another one, I'm just going to do exactly the same thing. Instead of starting with the fine liner for the second outlining, I'm directly starting with the sparkle pens. I'm also going to use the blue. So a combination of those two colors to do the coloring for the inside. So for some of the sections of the wheel's body, I'm going to create this kind of wave pattern on top of its middle section mostly and a little bit for its steel or a little bit on top of its fin. I think I have only used for two of the project. For others, I have used different patterns in designing a little bit more intricate and better as compared to these ones. In here, instead of using Sakura micron fine and to do the outlining, I'm sticking with the blue colour to do the outlining to make it a little bit more interesting. So these are the two simple wavelike form designs that I'll be using for some of the sections of our project. Now for the cosmic elements, the background elements, I'm going to use the compass to create perfect circles, so oval saves using the compass. And mostly I'm going to use concentric circles. So by concentric circle, I mean the circles that say the same center, circle of different radius like this. And yeah, we'll be using the as to create some patterns and designing incorporating elements of clouds and wave forms along with the wheelspoty in the center of it. Start with a simple pencil outlining for the circular shape of it, the circular for the background element. Now, in end, I'm just going to stick with the golden color to do the outlining and detailing. I'm going to create simple arrow like in here, and on one side, I'm going to use a little bit of straight and angle line and create simple pattern and designing. For some of the project, I'll be turning this into moons and suns and for others, I'll be adding clouds on top of it or wave like fonts on top of it to make it a little bit interesting. For some of them, I'll only be using single circular saves for others, I'll be using multiple ones. So you've got lots of choice to choose from. And let's make this a little bit bolder and bit more darker by going over the lines to add more line weight to it. It's all about trying new things and see what you like. Very simple pattern like this. I'm not used this simple pattern for any of the product, but this is just for simple demonstration purpose. And three straight lines that I was mentioning. And on top of this, I'm going to add this kind of rhomboid So this is our first simple circular seeps for the background. If you want to make it a little bit more intricate, a little bit more defined and detailed, you can do that. You can also use the micron paint to do the outlining to make the seeps a little bit more crisper and a bit more detailed. In here for the second one, I'm just going to use this kind of simple hatching lines. I'm just going to use this kind of simple hatching lines to create the simple pattern. And apart from this, I also forgot to mention it for all the circles and the semicircular see that I'm going to create. I won't be doing the outlining for the entire section. For some of them. I'll only be doing the outlining for half section or one third of the section to make it a little bit more interesting. Like in here, I'm just going to do this section, the upper section of the first circle, and for this one, I'm going to do the half of the circle. So for the first one, we did the outlining for one portion, one arc of the circle, but in here, I'm not going to do that. I'm just going to use this kind of hatching lines. And as you can see, I change the direction I reach the middle. So accordingly, set this direction or if you want to create a different pattern on designing, you can do that, too. Now, here's another layer of hatching line to make it a little bit more darker and denser. A little bit more pattern and designing for the middle section. So simple arrow like patterns like as I anon, you don't have to create the same thing that I'm doing. Feel free to create your own unique patterns and designings extending this one a little bit more, and on top of it, I'm going to create simple circular simple circles, basically to add a little bit more interest to it. I just came up with this pattern simple designing like this. I have not used this in any of the project. And this is our simple second example for the background element. Now, let me show you a few of the other examples. So a little bit different kind of wave like somewhat similar to the cloud. So instead of the Cloud C you can also use this kind of S. It has a little bit more edge as compared to the curvy CP of the clouds. Let's do the outlining. And inside this, I'll be filling it with the curved sieve following the outline sieve and we completely filling it with more sets of curved lines. And inside that, I'll also be using a little bit of sparkle pens to add a little bit more interest and a little bit of coloring. Right now, I'm just doing the outlining. And as you can see, I'm not sticking with the outlines that I have created. So you don't have to stick with the outlines. Feel free to make genius an adjustment to it if you are not satisfied with the outline, and see that the ink has properly dried up and lightly erase the pencil marks. Now for the second layer of retailing. So as I mentioned, I'll be just following the Sep and filling the inside with this. I'm also wearing the siges a little bit. For the smaller section, the sides are comparatively smaller and thinner. For the larger sections like this, this moon like seep in here, I made the side is a little bit larger and bit thicker. So accordingly, seep the seeps in the sides as you seep it. And for the insides of the section, I'm going to fill it with the sparkle colours. For this demonstration and for the demonstration of the cloud, I only use the paints. But for our main project, I'll mostly be using the metallic colors a little bit of sparkle paints. And if you don't have that, as I mentioned, you can always use the watercolor or you can only stick with the blacking or you can use the ballpoint paints. You have got normal ballpoint paints of green colors, blue colour and red. That will make it a little bit more interesting if you don't have the metallic colors or sparkle paints. So with this, we are done with the insights. Now, as I was mentioning, filling the insights with sparkle paint. In here, I'm going with the yellow. Mostly for the sparkle paints, I'll be using a little bit of silver colour, gray color, and blue colors. And yeah, that's mostly what I'll be using. If you want to use other colors, greens, violets, reds, you can do that, too. Filling the insights carefully. I'm adding it mostly for the intersection. If you want to add it alternatively, you can do that, too. That will also make it a little bit more interesting. And with these, we are done with it. And and apart from this, if you want to incorporate scales like seeps in here I'm just showing one of the simple pattern that I came up with for the scales like structure, if you want to incorporate in the wheels body or for the background element, curve elongated scallops seeps like this, and we are going to use a little bit of golden color to do the coloring. This is our simple outlining now, adding layers for the inside. Let's do it for all the sections. Who the final one? Raising the pencil mark slightly. And as I was saying designs, the arrowhead like designs for the inside, Bombid seep Rombus like seeps for the insides. You don't have to create the same designs, feel free to create your own unique patterns and designs for the insides. And in here, I have just shown you a simple and single scallop example instead of it, you can create multiple different patterns and designs for the inside. So scallops, you can play with the length sep and the width of the scallops to make it a little bit more to make it a little bit more interesting and completely different. NFE filling the colors. So in year two, I'm also using the yellow. Instead of it, if you want to use silver color or you can also use the black fine liner to do the coloring or you can keep it plain and simple. Apart from it, I also decided to add a little bit of more detail in the form of this kind of semicircular arc. We are done with the simple patterns and the designing that I'll be using for some of the sections, background elements for our project. 9. Whale beneath the Azure Sky Day 1: Hi, and welcome to this project. We'll be the Azure moon. Now, let's start with a simple pencil sketching, a simple straight vertical lines in somewhat of the middle of the people. If you're not that confident, you can always use the ruler to create the lines. Now, a curve seat for the wheel's body. For this wheel, I decided to make it a little bit different. And most of the wheel's body the upper part of the wheel's body will be lying above the central line. So this is going to be somewhat of the middle portion of the wheels bounding. No wheel steel. This is a rough sketch. Don't have to strictly follow what I'm doing. Feel free to make changes and adjustment to the SP and the side as well as the placement of the whale's body. This is going to be the wheel steel. For this one, I decided to keep the designs a little bit simpler. So mostly I'm going to using curved lines and curved hatching lines. And as for the patterns and designing, I'm just going to use scribbling and create somewhat of simple shapes. The curve seat that I used initially that was going to be the middle section. I decided to make a little bit of adjustment to it. Instead of using it as the middle section, I transform it as the top of the wheel's body. Now, in here, I'm going to add the fin. If you want to change the placement, you can do that, too. This is going to be the middle section for the wheel's body. And this is going to be the wheel's mount. In here, this is going to be the wheel's eye and just below it. In here, the wheel screen. If you're not that confident in dividing the wheel's body, you can always divide the wheel's body into three divisions, and then for the first division, we'll have his eyes. For the second division, the middle section will have its stomach, and for the third section, we'll be creating the wheels tail. Extending the new middle lines that I have created. For this project, most of the video is in real time, for some of the section that is repetitive or where we have to add lots of color. I haven't speeded up the portion, and I'll be mentioning it when that comes up. I made the wheels mouth a little bit more curve following its contour, and as useful, we are going to use three or four lines for the wheels mouth to make it a little bit more distinct and separate from the wheels stomach portion. In here for the background elements, I'm going to use large clouds as well as a single moon or somewhat of semi spherical sale. At the bottom, we are going to experiment with a little bit of dry breast technique to create wave like form. So this is our rough pencil sketching, and in here, I'm using Tombos breastpin to do the outlining. So I did a little bit of mistakes with the outlining, so I don't have to worry since I'll be covering it with the black later on. Or you can just convert the mistakes into designs. And continuing on with the remaining outlining. As I mentioned, you don't have to stick with the outlines. You have created feel free to make changes and adjustment to it. I decide to make this middle portion a little bit bulgy and doing the same thing in here for this portion, the head of the whale's body. And with this pattern with the upper outlining, now let's do the mouth and the remaining section. Two or three layers of the lines to make it clearly distinct from the stomach. Another line for the top section, and now extending it. And on top of this, we'll be creating ices. Small curved lines on top of it like this. Using a little bit of broken lines to add a little bit of more organic feel to it. And once again, following the CP and adding more lines like this. And in here, instead of the simple line, I'm using curved lines that will be utilizing later on to add Barnicles and a little bit of more detailing for this section. Doing the outlining for the lower portion, using broken lines like this. Moving on to the wel spin in here, once again, I'm going to use the broken lines a little bit more detailing in the form of spiral shapes like this, encircling the wheel spin, the point of connection. Now. Once again, utilizing the broken lines and a little bit of curved lines like this to do the outlining for the spin. I'm going to add nnicles and a little bit of designing using this kind of curved shape. Doing the same thing on the other side. Now moving on to the other fin on this side. Using this kind of curve shapes to do the outlining for the entire section. And with these we are done with both the fins. Now moving on to the remaining section, the stomach and the remaining part of the wheel spotting plain and simple lines to do the outlining in here. If you want to use the broken lines, you can do that, too. And let's create a rough outlining for the else using elliptical saves to create the wheels I and inside it, we are going to add large eyeball and leave a little bit of white space for the highlight. Filling the insides of the eyeball with the black while leaving a little bit while leaving a little bit of white space for the highlight. Adding detail in the form of more lines for above and below the eyes. Since the details that we created with the lines on above and below the eyes will be covered with the black later on, but we'll be using white chilly pin to add it later on. For now, we are just continuing on with creating multiple clouds in here. You don't have to stick with the outlines that you have created for the clouds. If you want to make changes to the seat side as well as placement of the different parts of the clouds, you can do that, too. Adding more curved seats on top of the wheels head. Adding another layer of clouds insides larger ones. Some of the clouds in here are not connected to each other later on if required, we'll be connecting it, otherwise, we'll be leaving it as it is. Secondary layer of outlining. I'm using the same rasping to do it. But if you want to make it a little bit distinct, you can always use the fine liner to do it and make it a little bit thinner. So continuing on with adding it for remaining clouds, another layer of outlining inside the clouds like this. Adding one more cloud in here. Now, once again, going back with the compass. I was not satisfied with the outline of the circle that I created earlier. So I decided to create another circle in here that will be our Azure moon inside in case group dried up and lightly erase the pencil marks. I also erased all the outlines for the circles that I created. I'm going to create another circle a little bit larger one, and I'm only going to create a circle for the upper section. I'm not going to extend it for the lower part of the wheels body. Now, creating a few barnacles here and there, particularly just beside the bump saps that we have created, the curve ship that we have created. And I'm using spiral saps like this to create the resemblance of barnacles. These are somewhat uniformly placed. But if you want to add it randomly, you can do that, too. A little bit more detailing using small hatching lines. Instead of it, if you want, you can add more curved lines following the sea or you can just follow along with me and do what I'm doing using small hatching lines like this, doing it on the other side as well as adding a little bit more detailing for the insides. Now I'm going to extend it towards the fin, and I'm going to use this kind of broken lines. Using curved lines like this and connecting it to each of the barnacles or the patterns or design that we have created like this. Let's make it a little bit more detail. So another layer of detailing like this. This is optional. If you are satisfied with your illustration, you don't have to add it. Apart from this later on, I'll also be using a little bit of fine liner to do a little bit of seeding just beside the fin and a little bit near the whel's mouth. For now, I'm not going to add the detailing and the lines for the stomach, I'll be adding it later on. I'm just using the ink to add the coloring for the wheels body and later on, I'll be coming back to it. Carefully filling the black inside the wheels earlier the design that I created, I decided to cover it. If you want to keep that design, you don't have to cover. Carefully filling the insides with the black. Continuing on with adding the lacking carefully. One of the main reason that I did not add the color for the bottom section, the tomach of the wheels is that I'm going to create a little bit of rough designing using the black ink directly in here. So that's why I did not cover it. And yeah, now, just continue on adding the colors. And this is the kind of a little bit of rough designing that I was talking about. Tandom strokes with a brush while leaving a little bit of white species in between, using this to create the separation and the outlining for the stomach section. This is optional. Instead of it, if you want to create plain and normal outlining, you can do that too, or you can just follow along with me and create the lines. Random strokes with the brush, leaving a little bit of empty species in between the brush strokes. Adding it carefully near the fence, a little bit of black in between. I'm not going to entirely cover it, but a little bit of black continuing on with the remaining portion, filling the black for the entire section. For the upper section, I'm not going to repeat this. I'm just going to completely fill it with the black. Carefully filling it in here for this curved seams. Extending the ink a little bit and filling the remaining portion. The gap in between the upper and the lower section of its mouth. I'm also going to feel the black inside that while leaving a little bit of spaces in between. And this portion, the detailings for the eyes that we created, I'm going to cover it. But later on with the white helpin, we are going to redo it, adding more details in the form of curved lines on top of the eyes. For this region, the middle section, we are going to fill it with a black ink, but not completely, as you can see, I'm leaving a little bit of white species in between. Carefully with the brush, create small strokes and leave a little bit of empty species in between like this. If you're not that confident, you can always use the micron pen or the breast paint to create this kind of minute details. Now feeling the black for the remaining portion of the wheel's head, and with these, we are mostly done with the whale's body. We'll have to add the coloring for the whale's fin. Carefully adding it in here. I'm leaving a little bit of space in between the outlines and the coloring. I'm also going to leave a little bit of white species in between the coloring like this, somewhat similar to what we did for the stomach section. Do the same thing in here for this fin on this side, comparatively more species in between the lines like this. I have divided this project into two sections. This is the first section, and mostly we are going to cover up to here in this part. I'll be doing a little bit of detailing in the form of creating the outline for the moon. But yeah, mostly, that's what I'll be covering in this part of the project. And in the next section, we are going to add more coloring, more designs and patterns using compass to create another circle like this, a little bit larger circle. In here, I'll be using the blue color later on. On top of it, I'm going to use the golden colour and create two more concentric circles. Instead of this kind of pattern designing, if you want to use other, you can do that, too. I was mentioning using the golden colour to create another concentric circle above it like this. This is option. Instead of this, if you want to use other colors, you can do that, too. Use the same center and create two concentric circle like this. And that's all for this section of the video, I'll be seeing you in the next part of this. 10. Azure Sky part 2: Welcome to the second part of the wheel. We need the Azooul. Continuing on where we left off. Let's do the coloring for the clouds. In here, I'm starting with the golden colors. And for this section, I've increased the speed a little bit since this is going to take a little bit of time. Right now I'm using a little bit of concentrated color and later on, I'm going to spread it I just adding it for the middle section of the clouds. Adding this concentrated golden color, golden metallic color in here for all the clouds and now using a little bit of water to spread this color entirely. I'm going to make the outline section of the clouds a little bit lighter and mostly focusing the darker seeds near the bottom section or the middle portions like this. And we have to do the coloring two layers. This is the first layer. For now, just spread the colors and feel insides of the clouds. Instead of using this colour to do the coloring, you want to use other colour or if you want to create patterns or designings for the cloud. And if you want to keep it plain and simple, then you don't have to follow along with me. Otherwise, I'm just going to spread the color for now. Now, we are going to make this section. The contact between the wheel and the clouds a little bit darker, adding color in that region and spreading the colors evenly somewhat evenly. Now, second layer of the coloring. So a bit more concentrated color and then spreading it. I'm also aiming to get a little bit of textured look, a bit of grainy look, so I'm not going to spread the colours evenly, and I'll be using a little bit of random strokes for some of the sections to achieve that. In here, I am using a little bit of different seed of the metallic colour, metallic golden colour, a bit concentrated seed and spreading it unevenly like this to get a little bit of grainy appearance for the clouds. And in my case in here, the wheel I painted has not properly dried up, so I'm adding the colors carefully not to smudge the ink. Now, add more colors wherever you are required, particularly add more colour on top of the secondary clouds that we have created on top of it to make the upper section a little bit darker and the lower section a bit more lighter. And the first outlinings try to keep it a little bit lighter. So this is going to be our cloud. And for the moon, I'm going to use this blue metallic color. For this two, I'm going to do the coloring in two layer. This is the first layer, somewhat spreading the color for the entire section, and then to get a little bit of grainy appearance and a little bit of darker region for some other section, I'll be adding more concentrated color later on for now. This is spreading the color evenly and feeling the entire section with this metallic color. You will have to be bit cautious and careful near the outlines of the cloud. We don't want the two colors to mix. In here, most of the colors that I use near the clouds has dried up somewhat, the golden color, so I'm adding it comfortably but insure that the color has dried up, otherwise, there is a high chance that two colors will mix if you make a small mistake. Carefully surrounding the cloud. Now, just filling the remaining section with it. So this is our first layer, spreading the color a little bit wherever it's required. Using a bit concentrated color and adding it for some of the sections and spreading. Doing this to get a little bit of grainy texture for some of the sections as well as to create a little bit of light and sidos for the moon that we have created in here, particularly near all the outlined section of the cloud, add a little bit more color there. And as we move up, I'm just decreasing the intensity a little bit, spraining the color and even to get the grainy texture, a little bit for the upper sections too. We'll wait for it to dry a little bit, the two colors, the two layers will mix on its own because of weight and weight technique and will get a little bit of blooming effect and a bit of grainy texture. Apart from this, I also decided to create this small sphere sieves using the same blue color, large and small bubble like see like this. This is optional. Instead of this, if you want to use the other color, the golden colors, you can do that too, or you can use the combination of both. I'll also be using the golden color, but I'll be adding it for the bottom section. As you can see, I'm not even spreading the colors to get a little bit of grainy texture for this spheres too, I'm adding a little bit more concentrated blue form insides like this. The color had dried up, and we are going to do the outlining for the moon like this. For the blue moon, I'm going to do the two outlining. This is the first one. Apart from that, I decided to do a little bit more detailing for the insides of the clouds. So you're using stippling technique like this and extending some of the sections of the cloud and creating a few more formations like this. Instead of it, if you want, you can also create the plain outlines like this, but I'll be using a little bit of stippling technique to extend some of the clouds and create a few more. So this is Jobson. If you're satisfied with your cloud, you don't have to do this. Using stippling technique to create this kind of rougher texture for the outlines of the cloud like this, additional clouds for the inside. A few more clouds here and there. For some of the sections, I'm making the outlines a little bit darker if required, otherwise, just using the stippling technique to create the clouds like this. And the bubbles that we created earlier, the blue bubbles. I'm also going to use the breast pain to do the outlining for those. A little bit of more detail in here. Now, moving on to the veil. So using the gilpin white ailpin and adding white like this for the insides of the bancles in here, this above its mouth, using this kind of spiral saves, using the curve lines like this and adding it like this in here. So for this il two, I'm going to keep the design simple. Instead of this, if you want to create other patterns and designing way to do that. Mostly, I'm going to use the hatching lines, curved hatching lines and then use scribbling to create simple pattern and designing for the inside. A few more banicles like this using the spiral seeds, and now moving to the eyes, creating details, using the curved line. We're just going to surround the eyes, the eleptical sep of the eyes with lots of curved lines like this to give it a little bit of weary I I'm also going to use this kind of small hatching lines to make this region a little bit more denser, adding it for the upper section to small hatching lines of varied like this. I'm going to create this kind of small hatching lines like this, broken hatching lines of varied length. And for most of the whale's body, we are going to cover it with this kind of save. This kind of small and broken hatching lines like this. I'm going to use this scribbling technique like this to create this kind of simple save. Simple seep like this using the scribbling technique. Simple cross like seep like this. Instead of this, if you want to create other seeps, you can do that, too. But mostly I'm going to use this kind of simple cross saps using the scribbling technique for the middle section. I'm trying to keep the sees a little bit uniform, but if you want to vary the seeds, you can do that, too. With the scribbling, you can create this saves quite easily, and it won't take that much time. For the sections in here, I'm making them a little bit smaller. For the veil steel, I'm not going to add it. And also for the helpin I'm not going to add it. I'll keep I'll be creating other designs using the scribbling. And for the remaining section, as I was mansoni just broken hatching lines of where it lands like this in between the sieves that we have created, the cross seps I broken lines, broken hatching lines of varied length. Try not to oversaturated. We are just encircling the scraw saves that we have created lightly with the broken lines, broken hatching lines of varied length. The white species that we created earlier with black ink also surround them with the broken hatching lines, moving on to a little bit of detailing for the fin for the upper section, a few curved lines like this. I decided to make the ice a little bit more denser, so more lines for this region. Now for the upper section, using the scribbling like this, simple designs. Now continuing on with the remaining section, broken hatching lines like this and encircling the cross seats that we have created using these lines. And as we progress towards that, I am just decreasing the number of the lines. Small simple lines like this. This region is a little bit empty so add more lines. Now add more lines wherever you think it's required or wherever there is a lot of empty spaces in between. This region is a little bit empty, so I decided to add more lines in here. Now for the fins, using a scribbling technique to create more random seeds like this. In here, if you want to add cross like seeds on the fin, you can do that, too. But I'm going to keep it plain and simple like this. Now moving on to the other fin, creating more details, the same kind of detailing using the scribbling, moving back to Mel's body, a little bit more detailing for the outline section and more small broken hatching lines like this. Finally, moving on to the wheel steam. In here, I decided to create this kind of simple designing for the lower part of the wheel steam using the scribbling. Oh for the remaining section, once again, using the broken hatching lines like this and filling In here, the size of the lines are comparatively smaller. And with these we are done with white ink. If you want to add a little bit more details and coloring, you can do that, too. Now, going with the fine liner to add smaller and finer details. For this section, the smaller sections of the pin I'm just adding small dots and a little bit encircling it like this. This is optional. If you're satisfied, you don't have to do this. This section was looking a little bit empty, so I added a little bit of black in there, doing the same thing on the other side of the fin, small dots and encircling it with smaller lines. Doing a little bit of seeding just beside the fins to make these sections a little bit darker and doing the same thing for the upper section of the whale's mouth. A little bit of seeding using the hatching lines. Now going back with the breast pain, and we are going to encircle all the small spheres, the blue spheres that we have created with it using broken curve lines like this to do the encircling of all the spheres that we have created. Instead of this, if you want to create other patterns or design in the form of rays coming out from the blue spheres or other small stars encircling it or surrounding it, you can do that, too. But I'm just going to encircle it in this manner using broken curved lines. I'm doing this in two layer. First, I'm encircling it completely and then using broken lines to encircle another layer like this. We have got three or four more continuing on with and for the bottom section, I'm going to use the golden color to create the same kind of spheres. But with those, I'm going to create a little bit of more patterns and designing the golden spheres, as well as I'm going to use the bras to create wavelike forms. And with these, we are done with the upper section now using the breast pin and creating this kind of wavelike form. Mostly using this kind of broken curved hatching lines to create the wavelike form. I'm included in photo. You can see I created simple wave like form using the broken lines. Multiple lines like this using the breast pain. We have got overlapping lines like this in here. Now I'm using the breastpin a little bit of dry breastpin and giving a little bit of this kind of duher look to the waves that we have created. If you don't have the breastbin, you can also use the watercolor brush. Just use less water, a bit dried brush and using that, you can create this kind of rougher texture. Rough texture using the breastpin. And for some of those sections, I'm once again using the Tombos breast pain, giving it a little bit of defined look like this. This is all option. If you want to keep the wheels plain and simple, you don't have to do this. Apart from this, I decided to create this kind of rhomboid designs for some of the section. Simple rama seeps like this, simple roma seeps like this and filling it with the black like this. Me rhumba seeds here and there. I'm adding it randomly. Now going in with the golden color, a bit concentrated golden color and creating numerous small spheres like this, the same kind of spheres that we created with the bloom. I'm wearing the seeds and the sizes as well as the placement of the spheres. Numerous small and large spheres with this golden color. If you want to use other colors, you can do that, too. A sequence. And here I added lots of spheres randomly for the entire bottom region. Now I'm going to encircle all the spheres that we have created. So this is going to take a little bit of time since we have created lots of spheres in here. And here I increase the speed a little bit, since this is a repetitive process. And as I was mentioning, simple pattern and designing like this, arrowhead like seats for some of the spheres. Mostly, I'll be adding it for the larger ones and another layer of outlining if required. Simple pattern like this for the larger spheres, not all the spheres, and another layer of outlining like this. Once again, I increase the speed a little bit since this repetitive process, doing the same thing for most of the larger spheres, creating arrow head shapes like this and doing another layer of outlining for some of the sections. Simple pattern likeness for the larger spheres, not all the spheres. With these we are done with this project. 11. Guardian of the Celestial Rainbow Day 2: Hi, and welcome to the guardian of the celestial rainbow. This is one of the intricate one with a lot of designing on the heels body, but the background elements are quite easy for this. In here, I've already started with a straight line in somewhat of the upper section of the people. I'm going to make the curve sip of the heel's body a little bit downward, so that's why I separate the line a little bit upwards. So this is going to be the curve sip of the wheels body. And I'm going to make the wheels piece towards the right. If you want to make changes to the seep in the side as well as the placement of the line, you can do that, too. As usual, I'll be going to divide the line into three sections to make the process a little bit easier. To make the process a little bit easier, you can always divide the line into three sections. For the first section, we'll have the whale's head, then for the middle section, we'll have its stomach and for the large section, we'll have the whaletail the upper fin in here at somewhat of middle section. And and then in here, we are going to create the alte. Creating this somewhat semicircular see or arc like see for the weltil and creating the remaining outlining for the whale sail. Let's make this region a little bit more thicker now extending the lines in here for the wheels stomach, doing the same thing in here. And as I progress from the right towards the left, I'm going to increase the thickness a little bit. This region will be a little bit more thicker, the middle portion. In here for this portion, the whale steel, I'm going to make a little bit of changes to the shape of it. I'm not satisfied with it, how it turned out. The middle portion in here, this will be the whale's mouth. And following the semiddlecur, we are going to create the whales fin, the other fin on this side, and in here just above it, I'll be going to create the whale's eye later on. This is the simple pencil sketch for the whale's body. If you want to make changes in adjustment to the C side of it, you can do that. For the wheels, mouth, and the head, I'm going to make this sports a little bit more defined using a little bit of curve lines so that it will become a little bit easier for us to create the Barnicle slit around. Now going in with the Sakura micron pine liner to do the inicial outlining. You don't have to stick with the outlines that you have created. Feel free to make changes and adjustment to the outlines. And here, I'm going to make this a little bit curved like this so that the creation for the bancle later on will become a little bit easier. Instead of making it curve like this, if you want to keep it plain and simple, you can do that, too. Now, from here onwards, I'm going to make it plain and curved a little bit curved like this. If you want to set the position of this fin a little bit, you can do that, too, extending the lines and changing the curve a little bit for the whale steel, as you can see in here. I also decided to make the whale's mouth a little bit larger, so I extended it, and accordingly, I'll be shifting the wheels a later on for now, just doing the outlining for the whale spin on this side, the front pen, using mostly this kind of curve line so that it looks a little bit more organic. Let's increase the thickness a little bit. And here we'll be adding cults using the partkle pins. And yeah, with this, we are done with this fin. Now on this side, once again, I'm going to use a little bit of curve line for the lower section of the whale's mouth. In here for this project, I made the lower half of the wheels mouth a little bit more broader as compared to the upper half. Now the other fin on this side, same kind of outlining. Curved seep like this. If you want to keep it plain and simple, you can do that, too. If you want to keep it plain and simple, you can do that, too. Now, a little bit different outlining for the wheels tail, the bottom of the wheel tail like this. And now following the curved seep like this and extending it towards the wheels fin. This is the initial outlining using the fine liner. Later on, I'll be using the breast pen to make the outlines a little bit more crisper, a bit more darker. Now doing the outline for the heltel at the back. For the steel, I decided to make it a little bit more broader, so I'm going to increase its thickness like this a little bit comparatively more than what we created with the pencil sketch. This is our simple outlining with the fine liner for the whales body, a little bit of change in here, making it a little bit curved so that I can add the eyes later on. Using compass to create the background element. We have got this kind of simple semicircular sea and few more concentric lines here on me using the metallic colors to do the coloring for this background element. For the remaining section of the whales body, I'm going to use the sparkle pints and the fine liners and the breast pins to do the coloring. Feel free to experiment with various shapes and sizes for the background. Initially, I was going to create this concentric circle, but I decided to use some of the other examples that you can play with. So instead of the concentric circle, you can create this kind of other variations too. Likely leasing the pencil marks, insure paint his dried up toperly and then likely release all the pencil marks. Me once again with the pencil. In here, I'm going to show you how I'm going to create this kind of simple curvy seam. How I'm going to use this kind of simple curvy saves for the patterns and designing inside the veils body on top of it. So mostly, I'm going to use this kind of simple curve them, a little bit of cloud like seeps. A combination of cloud like seeps and the waves like sep, so I'm going to combine both the seeps. So this is somewhat similar to what I saw in a demonstration new, but the sizes of the seeps are a little bit more larger and it's a combination of both the curve seeps as well as the wave like form. I'm also wearing the seeps in side accordingly. For the il steel, I made it a little bit smaller. And then in here for this middle section, this will be one of the biggest pattern or designing in here for this project. So using this kind of wavele form for the entire section, for the entire middle section like this. I'm also going to create this kind of simple sieves on the fin like this. This is just a simple inicial sketching when I'll be doing the outlining and adding the coloring for the insides. If required, we'll be making changes to Now, another larger patent in here. So these are not connected with each other, but if you want to connect them all together, you can do that, too. One more smaller in here just beside the upper fin. On top of the wheels, I a smaller one. I'm also going to create a little bit more smaller one, smaller wave like phone in here for this win. These are just simple initial sketching. If required, I'll be making changes to it. You don't have to particularly stick with the outlines that you have created. Now, using the file end to do the outlining in here for the steel, the waves like form is somewhat similar to the clouds. In here, I have not created the SR edges for the waves like form. But if you want to include few SR edges, you can do that too. Now moving on from this point onwards, I'm going to create the wave forms more clearly like this. Inside this, we are going to fill it with concentric broken hatching lines, and for alternative layers, I'm going to use the alcalpins to add the coloring. This is quite larger project, so I have divided this into four sections. This is the first section. And as you can see, I'm not exactly following the outlines that I created. I made a little bit of changes to it. Now, the one in here, consider it to make it a little bit different, giving it a little bit more edge like this. Sharp edges like this to the end of the waves that we have created. The other smaller one in here this beside the fin. I made it comparatively smaller than what we sketched. Now in here for the fin, creating small circular seep spiral like seeps for the curved seeps that we created for the outlining, a total of four or five. Now encircling it and making it a little bit more broader using the simple curved lines. I'll be coming back to it to do the outlining for the wave life. Now, just repeating the same thing in here for this fin. Simple curved and spiral shapes like this. I'm not going to make it more detail, since this lies on the other side. Now moving back to the front fin and creating a seam wave like form comparatively smaller. Doing the same thing in here for this one, but smaller wave like form. And in here for this portion, I decided to let it remain simple, plain and simple. I'm not going to do the wavelike form outlining for the region just above the else. But if you want to include that, you can do that. Now, let's make the portion a little bit detailed. Simple curved hatching lines like this for the entire region for the wheel's mouth. Later on, I'll be using the breast beans to make these outlines a little bit more darker. And then once again, we'll be using the fine leenters and add more finer details. I decided to create this broken small hatching lines. Later on, as I mentioned, I'll be using the breastban and make the bigger lines a bit more bolder, a bit more darker. Making this region this beside the fins a little bit more denser by adding more lines, and I'll be doing the same thing for the upper section of the wheel's mouth. But for the middle section, we are going to keep it a little bit less denser so fewer lines. Broken hatching lines of varied length like this. Instead of it, if you want to include other kind of patterns designing or if you want to use the stippling technique, you can do that, too. For some of the sections of this project, I'm going to use stippling technique too. More broken lines, broken hatching lines, following the contour of the larger lines that we created. And with these, we are done with a lower section. Broken hatching lines, following the contour of the larger lines that we created. And as you can see, And as you can see, I kept the middle section with fewer lines. But if you want to make it more uniform, you can add more lines for the middle section too. And with these, we are done with this section. If you want to create the same kind of spiral set with it for the whales fin, you can do that, too. Once again, let's erase the pencil marks. Now, going back with the fine liner once again and I'm going to create the spiral network, and I'm going to follow the seeps inside the weaves and yeah, just simple curved hatching lines for the entire section. I'm using the combination of both broken and preen lines to create the simple designs inside. Instead of this kind of patterns and design if you want to use other variations of it, you can do that, too. Mostly in here, I'm going to make the insides of the larger seeps a little bit more well defined. And as for the remaining section, I'm just going to use whatever seep that is left and use that seep to create and fill the remaining section. In here, we have got a large seep like this, feeling it entirely following its sp. And Since this process is a little bit repetitive and going to take a little bit of time in here, I'm going to increase the speed a little bit. If you want to follow along with me, you can pause the video or you can reduce the speed. For the smaller section, we have got this kind of rhomoid same, so completely filling it with this. In here, I've increased the speed to 1.5 X, and yeah, let's do the same thing for the remaining elements using broken curved hatching lines like this to fill the entire section. And for the insides of it, put some of the layers that we have created with this kind of broken hatching lines. We are going to use the sparkle paint to fill the color. I'm going to use the golden color. Instead of that. If you want to use other colors, you can do that, too. And as for the remaining designs, I'm going to use the white gel pen and create small circles using a little bit of strippling technique and small stars with a little bit more details to it. For this project, it will be a little bit trickier to add the coloring since we have a lot of curve saves as well as wave like form. So we have to be a little bit cautious while adding the colors for the whale's body, the black ink. In here, doing the same thing for the whale teals. The sizes of the curve saves in here are comparatively smaller. Moving onto the other side, doing the same thing. Simple curved lines like this. We have got three more section in here for this tail. Simple curved hatching lines like this. In here, I only used a few of the broken lines to do the designing. Now moving on to this section. Once again, since this is a little bit smaller area, we have to make it a little bit smaller. And I'm only going to cover up to here in this part of the video, and in the next video, we'll be continuing on. And I'm going to feel the remaining section as I saw you on my own. And in the next section, we'll be continuing on with the coloring of it. 12. Using Ink to color the Whale: Welcome to the second part of the gorgin of the celestial rainbow. So creating the same kind of simple pattern and design using the broken and curved lines for the inside of this larger pattern. Now we are moving on to the wil spin. In here, apart from the curved line, I'm also using this kind of spiral form. So simple spiral form like this. These are all optional. Instead of this, if you want to continue on with the same patterns and design that we did for the rest of the wheel spoding, you can do that. Or you can just follow along with me and include these spiral forms. Now for the remaining section using the same kind of simple pattern, broken and curved lines for the entire section, following the random shapes we have in here and filling the entire section with it. No. Moving on to this one. In here, if you want to include the spiral forms, you can do that, too. But in here since we have a bit smaller piece, I'm just going to I'm just going to fill the entire section with the same kind of broken lines. Simple and plain curved lines to fill the entire section mostly. If you want to also include the broken lines, you can do that. But since in here, we have comparatively smaller area, so I'm not going to use that much of broken lines, mostly simple and plain curved lines like this. And with these, we are done with all the designing elements in here. Apart from this, I also did a little bit of hatching lines for the lower suction of the real stomach down in here. I'm using the Zikurataki blacking. And yeah, let's fill the entire section with it. I would recommend you to start by doing the outlining pull all the curve first and then put the remaining section add the colors so that in this way, we'll be avoiding the smudging of the color. Outlining the curved saves of the waves like this and then feeling the remaining section for the e steels like this. Instead of using the black ink, if you want to experiment with other colors, you can do that, too. You can also keep the veils yellow, and instead of it, you can use the black color for the insides of the patterns that we have created. And if you want to cover some of the patterns that you have ad, you can just simply cover it with the black ink. Carefully moving from left towards the right. Choose a direction either you add color from right to left or from left to right. In here, I decided to go from left to right. Carefully moving from the left towards right to avoid smudging of the ink. Carefully adding the color in between the waves like this small triangular s. Now filling the spiral form in here. Gradually moving towards the right. This is a little bit trickier. For some of the section of this wave life form, I'm also going to cover it a little bit to make it a little bit more sharper and give it a little bit more edge. Initially, my plan was to do the outlining once again using the Tombo fine liner or the breastban, but in here, I decided instead of using the breastbans this will do the work. So I'm using the black ink to do the outlining, the secondary outlining. And if required, I'll be going with the breastban for some of the section. But for now, continue on filling the entire section with the black ink. Adding it carefully in here. We want to preserve the sap of the top fin. After doing this, we'll have to wait a little bit till it dries up since we have to create lots of patterns and designing on top of the black. After that, as Manson, I'm going to use stippling technique and create large and small dots. Apart from that, I'm also going to create rhomboid stars, four contin stars, and then we have the sparkle pints to feel the color. For the background element, I'm going to use the golden metallic color, and I'm also going to create a single cloud. For the cloud too, I'm only going to use the sparkle pin. If you want to use the black paint to do the outlining, you can do that, too. But for the entire background element, I decided to only stick with the metallic colours and the sparkle pins. Oh With these, we are halfway through the wheels body. Small brushes strokes to preserve the curve edges. Now, the upper section of the wheel's head is comparatively easy to fill color. But for the fins in here, we'll have to be a little bit extra courses since the size of the designs that we have created in here is comparatively more smaller than the wheels stomach and the wheel steels that we did. Small brushes strokes to preserve the curve edges. Small breast strokes in here with the ink to preserve the edges of the wave like form that we have created. And with these we are mostly done with this front fin. Adding the black for the lower section, this beside the eye, this under the eye. Now for the whale's mouth in here. I'm not going to feel it entirely with the black, as you can see, I left a little bit of small white specs in between. I decided to cover the entire section with the black. Later on, I'll be using white ink or white jail paint to create the eyes, filling the entire section for the whale's head with the black. And now a little bit more coloring for this fin. Moving on to the final fin. I decided to cover some of the smaller section with the black and now filling the remaining section. And with the we are done with the coloring for our vein, I'll be seeing you in the next section. 13. Creating Designs : Welcome to the third section of the Garcin of the celestial rainbow, one of my favorite one. So the ink has propellal dried up insure that the ink that you use has properll dried up, and now you're going to proceed. I'm using the white chili pin, and first, I'm going to create the wheels I. So humanoid I, I'm starting with creating the upper and the lower section of the eyelids, and then for the insides, I'm going to use white to create the eyeball. Layers of white like this to create the eyeballs and a little bit of white for the insides for the highlight to make the eyes a little bit more detailed and more realistic, more curved lines like this for the upper and the lower part. Now, for this section, to make it a bit more denser, more lines, broken lines, moving on to the wheel's mouth to make it a clear distinction in between the mouth and the upper part of the sides, I'm going to use multiple lines, broken lines like this, following the curve sweep of its head and adding the lines in that manner. For the lower section, a little bit more lining, a bit more detailing like this. Now, moving on to the curved and the bump saves that we have created, a little bit of scribbling like this in here. Instead of the scribbling, if you want to create a spiral font or the concentric circles, you can do that, too. But I decided to go with the scribbling, a little bit of smaller scribblings. And for the upper part of the head like this, small and larger dots like this to create the appearance of barnacles. Now, let's have a closer look. Now, let's have a closer look, another line to make it a little bit more distinct. I'm going to surround all the circular saps that we have created with broken lines like this to make it a little bit more interesting. A few small dots and lines to make it a bit more distinct. I and with these, we are done with the whale's head for now. Later on, I'll be adding more details. For now, I'm just going to encircle all the wave like forms that we have created using broken and curved lines like this. All the wavelike form in here that we have created, I'm going to do the same thing using broken and curved lines like this. Mostly, I'm going to use only a single line, but instead of it, if you want to include two lines, that will be interesting too. Or instead of it, if you want to use the sparkle pens or metallic pens to do it, you can do that, too. And some of the sections, I did another outlining and this is what I'm going to repeat for most of the section before doing that, a little bit of detailing for the upper part of the wheel spin, broken lines and curved lines. Put the curve sections in here for the fin, spiral forms with a dot at the center and more curved lines following as bit of patterns and design creation in here, encircling all the wavelike forms that we have created and just above it, we are going to use stippling later on. I was going to do the stippling later, but I decided to get to stippling right now and finish this win. This simple small dots with the white. And as I move away from the designs, I'm decreasing the intensity of the dots and making it a bit lighter. I'm only going to use the stippling in here for this win for the other fin, I'm not going to use that much of a stippling. Apart from the smaller dots, I also created a bit larger one. As I was mentioning, I'm going to use a lot of stippling, large and small dot like this for the entire wheels body. Making a clear distinction between the wheels fin and the remaining portion of its eyes and the body. A little bit of more detailing and simple pattern creation like this just beside the wheels fin and the eye. This is optional. First, I'm going to create multiple dots like this large and small size. I'm going to keep it somewhat uniform for the entire section, this kind of simple dots. But for some of the smaller section, I'll use smaller dots to do the stippling. For instance, the upper fin and a little bit for the wheel stay, I'll be using the same kind of stippling that I did for the wheels fin. Moving on to the wheels, fin on the other side, following the curved sea, using broken lines. Now, a little bit of stippling and random marks like this here and there, small and large dots. Instead of it, if you want to use the same stippling that we did for the first fin, you can do that. But I decided only the back part of the finance sivals, so I'm just going to keep it a little bit plain and bit simpler. Using the stippling dots and small broken lines to create the rectangular seep in here. Encircling the wave forms that we have created using broken lines. Just follow the simple saves using broken lines. Instead of it, if you want to use plain and normal lines, you can always do that, too. Now for the remaining section on seeing small and large dots. This process is going to take a bit of time to create since we have to cover a large area and for the wave lifon we'll have to do the outlining for all of them. Then after creating the small dots, we'll have to do a little bit more defined stippling for some of the section. After that, we have four corner stars, time consuming process, but the wheel will turn out. After completing all this, the wheel will turn out very beautiful. This is one of my favorite project from this class. Inserting all the wave form, and apart from the small dots, I also created the four corn star, a simple four corneal star like this. And with these, we are done with the wheel stall For this curve part of the wheel steel using broken lines like this to give it a little bit of action so that it's in movement. Small dots and four corners starts like this. Following the curve shape in here for the smaller design. Adding lines for the intersections. Now we have only the two way form. So yeah, doing the outlining, using the broken lines like we did for the rest of them. What some of the sections. If you want, you can always use two lines to make it a little bit more bolder. Now for this section, it starts in a small circle. I'm also going to do a little bit of stippling for some of the sections using smaller dots like this. This is optional. Mostly, I'm going to use the bit larger dots and the four corners stars. I'll also be adding a little bit more detailings to the four corners starts later on. For now, we are done with this section. Moving on to the middle section. In here for this section, I decided to add a little bit of color to create a clear separation in between the wheel's upper part and the wheels body. So instead of using the blacking for the smaller section, I decided to go with the Tombos breast pin, also doing the outlining to make it a little bit more bolder, a bit more crisper for all the sections in here that we outlined with the fine liner. Also for some of the designing elements like this on the fin, I'm also doing the outlining using the fine liner to create a clear distinction and separation between the barnacle heaps and the wave patterns that were for the designing. And with these were done with outlining the fins, outlining the lower part of the wheel's mouth. For all of the section in which I use the fine liner to do the outlining, I'm just going over it with the breast pin. And if required for some of the section, I'm also doing the outlining with the breastpin for the intersection. For this one, creating a little bit of highlight, using simple rectangular saves like this, following the curve s for the upper part of the designs and just repeating the same thing. Using broken lines to do the outlining for the remaining section. For the remaining section, we are just going to fill it with four corners stars and the circles. Creating small and large dots as well as four corners starts like this. And filling the insides with a small dot like this. And with these, we are done with the largest one. We have got only a single one. For now, creating stars and dots. As I was mentioning a little bit more detailing for the star in the form of more lines for all the four corners like this. Moving on to doing the outturning for the last pattern. For the remaining section, we are just going to fill it with the four corners stars and the circles. More corner staff than small dots in the circles. Creating this kind of small rumba seep or rhomboid see like this, filling the entire inside. Moving on to creating small circles, small dots of various seeps covered the area somewhat uniformly. A little bit more detailing the small lines like this. This simple small lines like this makes the stars a little bit more interesting and make it a bit more distinct. For most of the stars, I'm going to do this. And for some of the other empty species, I'm going to add more stars and more dots. A For the stars in here, for this section, adding more details in the form of the small lines. And with these, we are done with the detailed creation. Now, moving back with the tombos brastpin as I was mentioning earlier and going over all the fine liner marks the curved lines, covering the curved lines with the bras pin. I'm also making the upper section a little bit more darker to make the separation a little bit more distinct. Covering the entire section with this. For some of the larger section, I'm also using broken lines like this. Now for the last one. Now moving on to this section, the lower part of the stomach, also doing the outlining for the wave forms that we use to create a design. Simply doing the outlining for this. And with these, we are done with the trombos bras paint for now, going with the fine letter. And that's all I'll be covering for this section, the third section, and I'll be seeing you in the final section of this video. 14. Using Metallic Colors: Welcome to the fourth and the final part of the Guardian of the Celestial Rainbow. In here, we are going to create the background element as well as do the coloring. As I was mentioning, I'm going to create a large cloud in here using the sparkle pin, so creating a rough outline for the cloud. And for all the outlines of the circles that I have created, I'm going to use one of the medium sized one and add the coloring using the metallic colour. Instead of this, if you want to incorporate other design elements or add more patterns and designings to it, add more circles, you can do that, too. Let's slightly erase the pencil marks and then we'll be doing the coloring. I'm starting with the clouds, so I'm using the golden color in here to create the outlining for the cloud. Instead of this, if you want to use the black brass paints or fine to create the outlining for the clouds, you can do that, too. I'm going to only use the metallic colors in the sparkle paints for the background elements. And as I showed you in the demonstration video, I'm just going to use a lots of curve saves for the inside, and I'm also going to do a secondary layer of outlining for the intersections of the clown. Apart from the curved lines, I'm also including spiral seeds for the insides of the cloud. Instead of this, if you want to create other variations and patterns for the insides of the cloud, feel free to do that. You can also include the hatching line to portray the sas. You can also use stippling technique for some of the sections. You can also use a little bit of scribbling to make some of the sections of the clouds a little bit more distinct. And apart from that, you can also do the coloring for the insides of the cloud. For the smaller section, creating small curve lines, and I'm not adding the spiral forms for the insides of the smaller section. Another layer of the outlining for some of the sections to make it a little bit more distinct using broken lines to do another layer of the outlining for the outer section of the cloud. Following the curve and doing the outlining in this manner. A few more smaller sections inside the cloud like this. If you want to add more details, more outline, you can do that. Now let's do the coloring using the metallic colors. Right now, I'm going to do a flat and then use a little bit of more concentrated color for some of the section, particularly near the whale's body, as well as near the clouds to make some of the section a little bit more darker. Spreading the color and doing the flat was for the entire section of this. No spherical. We have a semicircle in here. Instead of this, if you want to use other color, feel free to do that. Adding it carefully near the fin. In here, I'm using a smaller brush since we have to do the outline for the finer details of the cloud, encircling the cloud and feeling the color for the remaining section. Printing the color somewhat evenly. I'm going to make the upper section just beside the cloud a little bit more darker. Now, encircling the lower part of the cloud and doing the outlining, feeling the remaining section. To make it a little bit more darker, using a bit more concentrated color in here. Let's make the outline a little bit more crisper and darker, using a bit more concentrated color like this in here. More concentrated color for the outline section and then spreading it and spreading it thus reducing its intensity a little bit for the middle section. We'll wait for it to dry a little bit and then come back to it. Now using the golden sparkle color and adding the detailing, starting with the eye. Now moving on to the stain. Now for some of the curved saves, I'm going to feel a color like this. You can add the color alternatively, or you can add the color for only some of the sections. I'm just going to add the color for some of the section, not all the curved lines that we have created. For each of the black form that I have created, I will be adding color for one of the form or for the other one. Once again, I would like to remind you you can use any other color you don't have to stick with what I'm using. Moving on to this section. Only adding a little bit of color for some of the section, not the entire section for the larger wave like for. I'm just going to add it for the outer sections, and for a few of them, I'm also going to add a little bit for the inner section. I decided to use the sparkle paint to add the coloring for the smaller section, as it would be a little bit difficult for me to use the metallic colour for the smaller regions. So that's why I decided to go with this sparkle paint. Now, for this one, I decided to add the coloring for the insides too. Earlier, my plan was to add the colors for each alternative layer, then I think then I thought that it would look a little bit too oversaturated with the golden color. But instead of this, if you want to add it for each alternative layer, you can do that, too. This process is going to take a little bit of time since we have got lots of designing in here, and I'm also going to use a little bit of this for the wheel's mouth. So for the upper and the lower section of the wheel's mouth, I'm going to use it to do a little bit of sading adding it for the lower section like this. To make it a little bit more bolder and darker, I'm doing two or three layers of it for some of the sections. So just increasing the line weight a little bit by overlaying two or three layers, as you can see. Now we have got two section for the upper part, and then we have two fins. So the last one in here for the whales body, then we'll be moving on to the was fin. For some of the white sections of the whales fin, I'm also going to add the lines. Adding the yellow for the outlined section near the barnacles that we have created for the fin and a little bit more coloring for some of the larger seeps. The larger cut seeps in here for the fins. As I was mentioning that I'll be using a little bit of this color for the white sections in here. The simple curve hatching lines for the entire section. If you want to add a little bit of this golden color on top of the stars and the dots, you can do that, too. I'm moving back to this one just above the fin. You have got four or five more curve saves in here, then we'll be moving onto the other fin. After doing this, I'll be moving back to the background element and create two more concentric circles just above the semicircular c and a few more detailings in the form of more curved lines just below the cloud. And with these, we are done with this one. Now moving to the other fin encircling the curved seam and a little bit of coloring for some of the curved saves in here. And with this, we are done with the fins and the patterns and the designing. As I was mentioning, the upper and the lower section of the whale's mouth, using it and doing a little bit of seeding. I'm not going to cover the entire section with it. I'm just going to make the upper and the lower section comparatively darker using this color. A little bit for the underbelly in here. Now, just beside the fins. In here, the sides will be comparatively larger as compared to the upper part. Simple sading like this for all the lower sections, extending the lines like this to do the sadingEtending the lines a little bit more for this section. If you want to do a little bit of more sading for the middle portion, you can do that, too, but I'm satisfied with it, how it turned out. Now moving back to the background element and creating another outlining as I was mentioning, I'm going to create two more concentric circle encircling this semi spherical s Another one. And if you want to create rays and other kind of patterns and designing coming out of it that I sold you in the demonstration video, you can include that below the cloud, a little bit more detailing just below the clouds. These are optional. If you are satisfied with your cloud and the background element, you don't have to do this. Also using this color to make the outlines a little bit more crisper and clear for the sphere. Earlier, my plan was to add a little bit more coloring for this background, but I'm satisfied how it turned out. And with these, we are done with our project Guardian of the Celestial Rainbow. I hope you enjoyed painting this. 15. Whale of the Golden Eclipse Day 3: Hi, and welcome to this project Wheel of the golden Eclipse. Let's start with a simple pencil sketching. Starting with a simple horizontal line. I'm sketching this horizontal line a little bit towards the upper part of the people now. Now the curve for the whale bonding. So this male is going to be somewhat horizontal and for the background element, I'm going to create a large sun or you can see a large moon and lots of clouds surrounding this whale. This is going to be another interesting project, and this is going to be the wal stain. Creating the outline for the wing steel, and this is going to be the middle portion. Sketching out the guidelines for the wheels mouth, the lower section, the underbelly of the wheel. And accordingly, we'll have to set the wheel tail a little bit. It's looking quite smaller. So later on, I'll be making a little bit of changes to it. The upper part of the he's head, this wheel is not going to be that much curve as all the other wheels we have created. This is going to be somewhat horizontal. Creating the upper fin, a little bit of changes to the wheels tail in here, making it a little bit larger. The middle portion of the wheel, this is going to be the wheel's mouth. And if you're not that confident, you can always divide into three equal section and use that to create the guidelines for the wheels, head, wheels, stomach, and the wheels D. In here, just above this, I'm going to create the wheels I. This are going to be the wheels fin. One on this side, and the other I'll be creating later on. Continuing on with the outlining for the wheels underbelly. In here, I'll be creating in here, I'll be creating human like eyes. This is going to be our simple pencil sketch. I was not satisfied with it, so I'm going to make a little bit more changes to it later on. I'm going to make it a little bit more horizontal for now, creating the other fin on this side, quite smaller compared to the first one. I decided to make this fin a little bit larger. And with this we're done with the basic pencil sketch for the wheel's body. Now going with the sakura micron fine I need to do the outlining. In here, creating this kind of small bumps using curve lines. In here, I'll be creating banicles and a little bit more detailing. You don't have to stick with the outlines that you have created. Feel free to make genus an adjustment to the sketch. In here, I separate the wheel steel a little bit towards the left. The whale's mouth in here, extending the sides a little bit in here just above it, I'll be creating its eyes later on. For the whale's mouth, I'm going to make it a little bit distinct to create a clear separation in between its forehead and the remaining portion, the lower part of the whale's mouth. So mostly I'll be using two or three lines to make the separation more distinct. So something like this. And now put the wheel spin in here. These are somewhat rough sketches later on if required, I'll be covering it with the blank ink, the upper part of the wheels body that can be covered with the black ink. But for the lower sections, you will have to bit causes for those section, we are going to keep it plain and simple with nothing but the white of the people, doing the outlining for the wheels fin. In here, once again, I decided to extend the side a little bit more, doing the outlining for the second one, making it a little bit larger, only a little bit larger and mostly using curve lines to do the outlining. Now extending this ports on the underbelly of the he and we have to make a little bit of changes in here to adjust the steel and the remaining portion of the wheel's body. So I decided to make it a little bit more thicker. The extra line that I have in here, I'll be covering it later on with the under value of the pond now, doing the remaining outlining for the wheel stain. As you can see, this e is comparatively more horizontal and less curved as compared to all the wheels that we have covered and that we'll be covering. And yeah, doing the outlining for the remaining portion of the wheel steel. And with these you are done with the basic outlining for the wheel's body, for the insights and for the detailing. Mostly, I'm going to use fine liner for this one, for some of the sections. If required, I'll be using the breastbin the Tombos breastbin, but mostly I decided to stick with only the file liner to create this wheel so that I can show you that only using the fine liner, you can create the project. Making the outline a little bit more distinct and separate using more lines. And this is just to show you. Otherwise, I'll be covering it with the black ink later on. And with this, we are done with most of the outlining in here. The final details we'll be adding it later on, see that the ink has group will dried up and lightly release the pencil marks. Now in here, I'm directly starting with inking it. So using the Zikurataki Plack ink, I'm going to cover the entire upper half of the whale's body and a little bit of coloring for the whales fin. So this process is going to take a little bit of time, so I'm going to increase the speed a little bit. If you want to follow along with me, you can always pause the video or you can reduce the speed. Be careful while adding the color near the smaller and detailed section. Otherwise, just start doing the initial outlining for the sections and then feel the remaining portion with the black. For the middle section, you don't have to worry that much, but for the remaining section, the middle portion and the final detailing, you'll have to be bit cautious. Spreading the color. Generally, I start with doing the outlining for the important sections and then feel the remaining section with the black or otherwise, I generally add a lot of color for the middle section and then spread it for the remaining portion. Add the color in whatever manner you feel more comfortable with extending the colors in here for this upper fin, and I decided to extend it a little bit more, making it quite larger. The two outlining that I did for the wheels under Billy, I decided to cover it. Later on, once again, I'll be going with the fine lander to create more detailing. Put the wheels fins in here. I'm creating a little bit of separation in between the upper part and the fin phone now. If required, I'll be covering it with the black now filling the entire section with the black. The other fin on this side. I would suggest you to start from either right or left and move towards the other direction so as to avoid smudging of the ink. Now, once again, continuing on with the remaining portion, this side, on the right side. As I mentioned, this project is a little bit larger, so I've divided into three sections. This is the first section in here. Mostly, I'll be doing the coloring using the ink and a little bit more detailing or create simple guidelines or sketch for the background element. So the background will have three or four large clouds surrounding our and a large, a large spherical s. Mostly in here, I'm going to use sparkle paints, blue, and golden color. And as for the metallic colors, I'm going to use golden color and a little bit of orange. I let's create larger clouds in here. The simple saves like this as I showed you in the demonstration video, one cloud just above the wheel's head, one in here, just beside the wheel's tail and this pin. One I'll be adding it in here. Reading one in here, just beside the wheels. Under Bili it's not touching the wheel, but all the remaining three are in contact with the whale's body. The final one just beside the mail spin in here. So these are going to be the four main clouds. If you want to create more clouds, you can do that, too. These are just for the rough example. Mostly, I'll only be sticking with the four clouds that I sold you initially. These are all optional. Let's do the outlining for the clouds. Once again, I would like to remind you you don't have to stick with the pencil outlines that you have created PF to make changes and adjustment to In here, I'm going to use the fine liner the golden sparkle paint, as well as blue sparkle paints for the coloring of our clown. Mostly with this fine liner, I have done the initial outlining. For some of the inner sections of the cloud, I'll doing the second layering of the outlining, and then I'll be using golden sparkle colours to add a little bit of more detail put some of those sections of the cloud. And finally, with a blue sparkle color, I'll be using it to create shadows and feel the entire section of the cloud with the hatching lines. This is somewhat similar to what I saw in one of the demonstration we knew for the cloud in which we use hatching line to create small shadows. But in here, we'll be using lots of hatching lines to fiel the entire section of the clouds with it. As you can see, I've also created a little bit of shadows using the hatching lines with the fine liner, which I'll be covering on later on using the blue color. For now, just create a little bit of more shadows with this fine liner. Extending the size of the cloud and making it a little bit more fluffier just below the stain. If you want to keep it a little bit plain and simple, you don't have to create this much of the clouds. You can decrease the number of the clouds as well as decrease the size of the clouds. This is going to take a little bit of time since we have lots of cloud in here, three more to go. Mostly, I'm going to cover only the elements in this section of the project, and in the next two sections, we are going to add the coloring using the white jelly paint for the wheel's body and for the background elements, we have got metallic colors and few more patterns that I'll be creating. As you can see, the ink has not properly dried up. That's why I'm keeping my palm from the paper so as to avoid smudging of the color by my palm. Now we are done with the two glouds for the upper part, the remaining two clouds in here, starting with the third one just beside the fins. So this type of smaller elements take a lot of time. So instead of it, if you want to only focus on your wheel and the circles or the moon that you are going to create, you will see a bunch of times around ten or 15 minutes. The final cloud, the fourth one, that is not in contact with the wheels body, but if you want to make it a little bit nearer or closer to the wheel spot, you can always do that bit of more curved line for the intersections of the cloud. And with these, we had done with the outlining for all the clouds. Now I'm going to add a little bit more details in the form of secondary outlining and a little bit of hatching for some of the sections. Simple small lines to do the hatching. And I'm not going to do the hatching for all the smaller sections. I'm just going to focus for the larger ones. I'm moving on to the fourth one. Small hatching lines and secondary outlining if required. So I have not done secondary outlining for any of them till now. For now just continuing on with more hatching lines. Small hatching lines like this. Adding a little bit more detailing for the clouds in here with small hatching lines, creating few additional smaller sections for the cloud. Now, I'm going to lightly erase the pencil marks. Once again, ensure that the ink is properly dried and avoid touching the eraser with the black ink that we used earlier. Even if the ink dries up, if you apply erasin on top of it, some of the intensity of the ink will be decreased and we don't want that. Carefully and lightly raising all the pencil marks and the additional clouds that I created to show you as an example. And that's all for this section of the video, I'll be seeing you in the next part of this Whale of the Golden Eclipse. A 16. Creating Tricolor Clouds: Hi, and welcome to the second part of the wheel of the golden eclipse, continuing on where we left off. So in here, I'm starting with a compass to create the background element, a perfect circle. For most of the project, I have only created semicircles. But in here for this one, I decided to make something big. So we have got a large circle in here. Apart from this large circle, I'm also going to create two more concentric circles later on. But now just create a large circle. This lies somewhat towards the right side of the wheel's body, but if you want to center it to the middle, you can do that, too. This is going to be our main background element, lightly raising all the additional marks that I created for the circle. Now I'm going to add the coloring for the inside. I'm going to use metallic color, golden metallic color, as well as a little bit of orange. I'm also aiming to create a little bit of grainy texture for it, completely raising most of the pencil marks. Now. Let's do the coloring. And here since this process is going to take a little bit of time, I have increased the speed a little bit. If you want to follow along with me, you can either pause the video or you can reduce the Pemex speed. Starting with the diluted consistently of the metallic colour, golden metallic colour first in here, I'm going to do a little bit of light was spreading the color somewhat evenly throughout the entire section, and then I'll be using a bit darker consistency of the color to get a little bit of darker tone forme of the section, particularly near the clouds and near the whale's body, as well as I'll also be aiming for a rough texture or you can see a little bit of grainy texture. For now just continuing with the light was for the entire section, carefully doing the outlining near the clouds and the whale's body and then spreading the colors somewhat evenly. I so not to mix it with the ink of the whale's body. We don't want the ink to bleed with the coloring in here. With this, we are somewhat done with the light was now. We are going to use a little bit more concentrated color for certain sections that I was mentioning. So Light strokes of it. Basically near the clouds and near the whales body. Bit concentrated color. So I mix a little bit of orange color with it to get this tone, adding it in here for this smaller section. If you want to spread the colors and get a subtle blending, you can always use water and spread the color. The two colors, the light was and this darker concentrated color will mix on its own because of the weight and weight technique. So this kind of random strokes when this trope of will create a little bit of grainier texture for our background element, the orange moon. I'm going to call it orange moon. Now moving on to the lower section, starting with doing the outlining. Once again, in here, we are going to do the same thing, starting with the initial light was, and then we'll be using more concentrated color. You'll have to be with cautious while doing the outlining for the clouds and near the he body. After doing the light mass, we'll be adding more concentrated color near the whales spin and near the clouds. Now for the smaller section, completely filling it with the light was. Now in here, I'm using a bit more concentrated color. Mixing a little bit of orange with a golden colour to get this consistency of the color, a bit concentrated color, and a random strokes, especially near the wheels underbelly and near the clouds. Carefully encircle the clouds like this and spreading the color. And a few more strokes in here for the middle section, random strokes. When these we are done with it, I meet the lower section completively darker as compared to the upper part. Now another concentric circle that I was mentioning using the metallic orange color to create this. I'm just going to follow the circular s of this orange moon. I'm going to call it orange moon and just following the C. If you're not that confident with it, you can always use the compass and create the outlining and then feel the remaining portion with the color. In here, I made a little bit of mistake. The outlines that I created is not that crisp and clear as you can see in here. So later on, I'll be covering it with the blue sparkle paint, so I'll be using it to do the outlining and make the outline bit more crisper and bit more clear. You don't have to use the same color, and if you want to experiment on your own, add more color or create different patterns and designing, you can do that, too. I'm going to do the same thing in here. So for the lower portion, another outlining using the same metallic orange color. I'm also going to do one more outlining using the blue colour, blue, sparkle paint, and the same kind of simple designs that I showed you in the demonstration video using small and large lines and rhomboid sieves. I'll be using those. Carefully adding it beside the clouds. We don't want the colors to bleed into the cloud. Using a bit saturated color and continuing on with the remaining portion. And try to get a light was for the entire section of somewhat of same consistency. Only a small portion remains, adding it carefully near the fin and near the cloud. And with these, we are mostly done with the background element, the golden moon. I decided to make some of the sections of the outlines for this orange moon a little bit more darker, so using it, especially near the outline sections. It has not dried up properly so that two colors will blend on its own. And Now, we will wait for it to dristll it dries. I'm going back once again with the fine liner, so this is a little bit thicker fine liner, so it has a little bit more line weight. I'm going to create a little bit more detailing for some of the sections as well as create few more hatching lines as you can see in here. Instead of it, if you want to use the tomospspin or the same fine liner, you can do that, too. Another layer of outlining for some of the sections of the cloud. Once again, this is going to take a little bit of time since we have got lots of sections for the cloud and lots of cloud, a total of four clouds and numerous smaller sections inside it. Because it's not to smudge the colors that we have just added. The hatching lines that I'm creating with black right now will make the sados of the smaller section of the cloud, but more darker than we'll be adding the more blue on top of it. So it depends upon you, whether you want to add more colors and more detailings to it, or you can just keep it plain and simple with only this much of detailing. And with these, we are done with the largest cloud. With these, we are done with this one. Now we have got two more clouds. I'm going to do the same thing, create a few more additional inner clouds, as well as do the inner outlining, add a little bit of more hatching for some of the sections. This is the second part of this project. We love the golden eclipse. And after doing this, we have to add the blue color, blue metallic color, blue metallic color, as well as we are going to use the white jellypin and add and create patterns and designing. For this one, I'm going with the eclpse them. So I'm going to create small moons inside it, as well as create celestial patterns, the constellations like pattern for the inside, adding more inner outlines for some of the sections. For this cloud, I forgot to add the inner sections in or outlining like this, adding more in or out lines for some of the sections. These are our optional details, adding more in or out lines for some of the sections. With this, we are done with it now. Going in with the golden color and doing the outlining for some of the sections inner outlining like this. All the tailings in this form. I just use the golden colors to match with the orange moon that we have in the background. This is once again optional. Instead of it, you can directly jump in the blue, sparkle pin and fill the entire section with the hatching lines, or you can just follow along with me and add this I as I was talking about designs and pattern for the insides of the wheel, I'm going to create a set of five moons, starting with a circular seep and then semicircular seep followed by an elliptical sep, or you can say ellipse seeps for the moon. This will be surrounded by small stars and curved sieves. And for the middle portion of the wheel's body, as you can see in here, I'm going to create constellation pattern. So using small dots and star like seep and connecting them straight lines. Basically, I'm going to give it a little bit of resemblance to the night sky with the stars in the constellation. So this will be the theme for this project. I hope you enjoyed creating this celestial constellation wheel. For this class, I decided to make all the wheels that I'm going to create completely different from each other and try to give a little bit of thing to each particular wheel. Let me know which one is your favorite. And with these, we are done with the golden color now going with the blue, so metallic blue, sparkle pin, and we are going to fill the entire section with it. I'm not going to overlay it on top of the blues and the golden color, but I'm going to cover the small hatching lines that we created with the black. So this overlaying this small blue on top of the black will make those section, the sections near the smaller sections of the cloud, particularly darker. I'm not able to convey what I mean to see, but you will see the regions where they overlap of the blues and the black will become comparatively darker. For now, I'm just focusing on creating another outline just below the yellows as well as creating smaller hatching lines beside the blacks and the yellows. Later on, I'll be adding a little bit of more detailing and overlaying the blues on top of the black now. Just avoid doing that. Once again, this is going to be a little bit time consuming. If you want to experiment a little bit, you can include a little bit of cross hatching or strippling or if you want to make this process a little bit faster, you can always use the scribbling. So with the scribbling, you'll have to do a little bit of seeding too, to create a little bit of distinction between different sections and different portions on the cloud. Otherwise, it will become chaotic and completely dark. So we are halfway there with this first cloud. After doing this, I'm going to increase the speed for the remaining three clouds since this is our repetitive process, and this is going to take a bit of time. If you want to follow along with me, you can always pause the video or you can reduce the speed. Mostly we are done with the upper section. We have got three more clouds, so continuing on with a little bit of increased speed. Same thing for the remaining three clouds on the small section just below the hiltee. For this wheel, one more thing that will be different is the side of the wheel's e. This will be comparatively larger, as well as a little bit more different kind of detailing for the wheels eye. The barnacles that I'm going to create in here will be comparatively smaller and not that well defined. Only the curved saves that we have created for the upper part of the wheel's head will act as the banacle. Otherwise, we'll somewhat of uniform, small curve seat for the entire sections. And the stars in here that I'm going to create will be different. For most of the project we used four corners stars in here, we are going to create multiple corner ones and eight corner stars. That is also one of the different things about this project. And with these, we are done with the second one. We have got two more Just filling the entire section with the simple hatching lines. Adding it carefully just below the wheel's mouth. We are doing exactly the same thing, creating more outlining underneath the yellow, the filling the entire section with the hatching line. For some of the sections, we are overlaying a little bit on top of the black hatching lines that went in earlier to make those section bit darker. I forgot to add it in here, so adding it just below the wheel stay in here. That's all for this section of the video. In the next section, we are going to use the pie hail pin and add the finer and final details for it. Fourth in the final cloud, small and large hatching lines for the remaining sections. With these we are done with this section for the wheel of the golden eclipse. 17. Coloring the giant Circle : Welcome to the third and the final part of me of the golden eclipse, continuing on where we left off the ink and the metallic color has dried up properly. Now, as I was mentioning, I'm going to create another concentric circles. Here I'm using the blue sparkle pain and using broken curved lines like this to create another set of concentric circle following the seep of our orange moon. This is once again optional. If you want to keep it plain and simple, only the moon, you don't have to do this. Now creating ladin small lines and rhomboid like this to create more patterns and designings in here. Instead of this kind of pattern in design, if you want to incorporate other design elements, you can do that, too. I'm going to repeat the same thing for the lower section. Simple rhomboids, and this is the last one in here for the upper part. Now let's repeat the same thing. Now I'll be repeating the same thing for the lower section, but before doing that, as I was mentioning, the outlines that I created with this metallic orange was not that well defined. So using the blue to make the outlines a bit more crisper and a little bit more detailed and defined, doing the same thing for the golden moon. With these we are done with the upper section. Now moving on to the lower section and repeating the same thing, starting with doing the outlining for this orange metallic color. If you have used the other color to do the outlining or you have come up with your own unique patents and designing, please see or your work. Additional concentric circles following the seep of this orange fin. And yeah, after doing this, we are going to create once again additional lines, three or four lines with rhomoid sees for some of them. In here, because of some regions, my mean was not working properly. Now, let's create the lines and the rhomboid sees for the addisonal designs. Lines of varied length and creating rhomboid at the end for some of them. Basically, I'm just creating rise like sees in here, as coming out from the oranges that we have in here. And finally, creating the rhomboid sees for some of the lines. As you can see, I have not added the rhomboid C for all of them, but if you want to add rhomboid C for all of them, or if you want to include more designing, you can do that, too. And with these we are done with design elements for our orange moon. Now we are going to use the white siltin and add the detailing for our wheel, as well as use the black fine liner for the underbelly of our wheel. For now, I'm starting with a white so in here, let's start with the whale's mouth, using this kind of small curve lines as well as straight lines like this to create a clear separation between the upper and the lower section of the whale's mouth. Mostly, I'm going to use two or three lines in here using the white. And with the black fine liner, I'll be using two or three lines for the lower section of the whale's mouth later on. In here for this curve section, I'll be creating the eye later on and using more curved lines in here to create a clear separation in between the whales fin and the remaining portion of its body, creating the human like eyes, a bit larger eyes in here, spherical C for the eyeball. And in here, I decided to use this kind of C, a little bit of rhomboid C for the whale eyeball, the inside the pupil of the eye. Making it a little bit more detailed and defined. So using simple pattern of small dots like this for the wheel's I, encircling it a little bit more to draw a little bit more attention towards the wheels I. Now for the bumps that we have created using scribbling to create simple lines like this, simple random lines. And now for the remaining section, instead of creating the spiral seeps or the circular saps for the bancles, I'm going to create this kind of small curved saves for the entire section along with stars and bit larger dots. Mostly, I'm going to focus the curved saves for this section just beside its head and beside its eyes and a little bit near the end of its tail. Now, let's create the moons. The different stages of the moon that I was talking about. I'm going to create a total of five moons. We have got the elliptical seeds. So as I progress from left to right, I'm going to decrease the size. So we'll have larger see than bit smaller one and then a smaller circle and then repeating the same pattern on the right side. In here, I'm going to create somewhat of half moon see. And as you can see, this is comparatively smaller than the elliptical seed for the moon that we created. I to make it a little bit more brighter and more contrasting, you might have to do two or three layers with the white. On the right side, moving on and creating the half moon and the elliptical moon in here. Repeating the same pattern. I did not create the small moon, the circular moon, which I'll be adding it later on in between the two half moon, filling the entire section with the white. So this is going to be the main pattern for our way Basically, I'm going to encircle all the sees that I have created in here, the elliptical moons and the half moons on both the sides of the elliptical moons, I'm going to create another pattern, something like rays that are coming out from the elliptical moons. Before doing that, let's create the middle moon, simple small circular s and continuing on with encircling the different seeds of the moon, the half moons and the pole moons along with the elliptical moons that we circled earlier. Additional outlining for some of the sections using broken lines to do the outlining for the entire five moves that we have in here. The race pattern that I was talking about on both sides, I'm going to repeat the same pattern. I'm decreasing the size of the line as we move away from the center, doing the same thing on the right side. And at the end of it, I'm going to repeat the same thing small dot, small white dot like this. Let's do the same thing in here. Small white dot at the end of the line. Now we are going to create the celestial pattern somewhat similar to constellation. So for this, I'm going to create this kind of random small and large dots and using straight lines to connect them with each other. The idea behind this is to create somewhat of a resemblance to that of the constellation present in the night sky. On this side towards the left, we don't have that much space, but towards the right, I'm going to extend this constellation a little bit towards steel. All the dots that I have created in here are not that perfectly circular, but somewhat of different saves. Now we are just going to continue on with connecting each other. After doing this, we are going to create a few more semicircular shapes as well as few stars. As for the steels, I'm going to keep it plain and simple mostly using hatching lines. But if you want to incorporate stars, moons or other additional designs, you can do that, too. As for the fin, I'm going to create a small set of constellation and use few stars and curved seats. Now, creating stars, simple eight cornered stars like this. Eight pointed stars. I'm also wearing the size of the stars a little bit. Now, in here for this one, curved lines like this. A bit larger stars for some of the sections. One more larger one in here. I'm going to do another set of outlining for the upper and the lower section using the broken lines like this, doing it for the upper part too. Now moving on to the wheels fin, following the curved sap and doing secondary outlining. For this fin and here, I'm going to keep it plain and simple and only using the hatching lines to feel the entire section like this. If you want to include patterns in designing, you can do that, too. In here, I'm going to use the simple designs of somewhat of elliptical seeps. And once again, I'm going to create a small constellation in here with few stars, larger star connecting all the dots for the constellation and small stars like this, only two stars. Let's create one more in here, a bit smaller one. For the larger empty species, either I'm going to connect the dots or I'm going to add stars or this kind of curve saves. And with these, we are done with the main body, now for the wetail, another set of outlining following the curved seal. And now I'm just going to use hatching for the outline section in here to feel it completely. For the remaining section of the middle part, I'm not going to add any patterns design, but if you want to include constellations, starts or curved shapes, you can do that too. Another set of outlining with the broken lines to make it a little bit more broader. And with these, we are done with the white food now. I decided to use a little bit of golden color for some of the section of the moon. This is optional. If you want to keep it plain and simple with only the white, you don't have to add this. You can also add a little bit of this yellow on top of the stars as well as a little bit for the eyes. It was looking a little bit vacant, so I decided to add a few more detailings with the white simple dots and curve seeps for some of the empty spices here and there. And I also decided to connect all the points in here, all the straight lines, bit of curve seeps like this and connecting all of them like this. A little bit of more detailing for some of the sections, making the outlines a little bit darker and bit bolder for some sections, particularly in here for the h stay here the wheel stay. And with these, I'm satisfied with this. For the remaining section, the underbelly and the mouth, starting with the curve section in here. In here, I decided to make it a little bit different. So I'm going to create completely separate units like this for the entire section. So using this kind of simple curve lines and creating this kind of separate units for the lower section of the wheel's mouth. Instead of this, if you want to repeat what we have done with the earlier wheles, you can either use the hatching lines or broken hatching lines or you can use the combination of fine liner along with the breast pain to create a clear different sections for this Apart from this, I am going to make the upper section a little bit darker by doing a little bit of hatching there for the upper part. And for now, just continuing on with creating separate units like this. And with these, we are done with this side. Now for the remaining section, the under value of the well, I'm just going to use the broken hatching lines following the curve sea and filling the entire section with it. One more seat of line in here, extending it a little bit towards the wet towards the whale's tail. A little bit of hatching for the upper part in here, for the whale's mouth. A little bit more hatching, making the outline a little bit more darker with more lines like this in here. Making the sepreon in between the fins and the underbelly a little bit more clear with more lines. And with these, we are done with the wheel of the golden Eclpse. I hope you enjoyed painting this. This was quite fun, and I had a lot of fun painting this. I'll be seeing you in the next project. Happy painting. 18. Whale of the Golden Eclipsed Dream Day 4: Simple straight horizontal line in here. I'm creating this line somewhat in the upper section of this seat. And for this way, I'm going to make the curve see the arc see a little bit more curved as compared to all the projects that we have covered so far. Arc see with more curve as compared to all the others that we have created so far. You are always free to make changes with the C side as well as the placement of the lines. In here, I decided to experiment with this kind of arc seat for this wheel, a little bit more curved arc see. As compared to all the projects that we have created for this class, this is going to be the only wheel that lies so below the horizontal line. Doing the outline for the upper section, we have got a little bit of horizontal see like this for the wheels head. This is going to be the wheelpin at the top, simple curved line, simple curved set like this and extending it to create the wheel stay in here. The wheel still start the semicircular seep like this. And then we'll be adding that detailing, extending it in here. So we have got somewhat of semicircular shape in here and now adding the details for the wheel stay this is going to be our simple pencil draft. We'll be making changes to it when we'll be doing the inking and doing the outlining. Later on, I'll be increasing the thickness of this while steel a little bit, continue on in here. The remaining section, the remaining parts of the wheel's body, it's underbelly and then we'll be connecting it to the wheel steel. This is the simple say for the wheel's body or you can say the silhouette for the wheel's body. This is going to be the front fin of the wheel. Add another one in here. I'll be making the sizes a little bit softer later on, extending the side of the head a little bit more. I'm also going to increase the thickness in here for the middle portion. You don't have to stick with the pencil sketch that you have created. If required make changes. In here, I'm going to create the wheel's e, dividing this section into upper and the lower part for the wheel's mouth. Human like eyes that I'll be creating later on. A little bit of more adjustment for some of the sections with the pencil. Most of the video in this class is in real time, so you can always follow along with me. For some of the repetitive section, if I increase the speed, I'll be mentioning it. Now going in with the pine liner to do the outlining. Mostly for this wheel, I'm going to use this kind of curve saves to do the outlining. Instead of this, if we want to use the stream line seeps that we have used for most of our in, you can always do that. This is going to be the mouth of the hs. For all the heels that we have created so far and the remaining whales that we are going to create for the mouth to make a clear sepression between the upper and the lower section of the mouth. I'm mostly going to use lots of lines. The main goal for the mouth is to create upper and lower section that are clearly distinct from each other, and it gives the idea that the mouth opens and close, that it has two distinct layer. So for those, I'm going to use two or four sets of the lines later. Here this curve seed that I had created. I'll be adding the ice later on. Continuing on with the upper part of the wheels outlining, as I was saying, I increase the thickness a little bit. Now for the wheels when making it quite smaller. If you want to change the sep size, increase the length or decrease it, you can always do that. More curved seeps like this to do the outlining. The main reason for using this kind of lot of curve seep to do the outlining is to make the wheel look a little bit more organic with more curved seeps. You can always use the streamlined seeps And instead of using the atomos Basbin to do the outlining, in here, I started with the Sakura micron fine liner to do the outlining. The small mistakes if I made with the sakura micron fine liner, it will be easier to remove it or to cover it. But with the tomos braspin it will be a bit harder. But if you want to proceed with using the tombos brasbin or other bras pens, you can always do that extending the lines like this for the under veiling, continuing on with this section. And finally, doing the outlining for the wheel steel. So with this, we are done with a simple outlining for the wheels body. As I was mentioning for the mouth, this is going to be the lower portion of the whale's mouth, more curved lines. And for the upper sections too, I'm going to do the same thing, but later on, when I'll be adding the ink, and then I'll be applying the white jelly pen to create the clear separation, ensure that the ink has properly dried up and lightly erase the pencil marks. Once again, going back with the pencil to create simple organic seeps like this. So random seeps like this. So these are the places in which I'm going to create simple patterns and desding for the wheel spotty. A combination of curved and a little bit sharp edges like this. Instead of copying me, create your own patterns and designing for this section. Give it a little bit more unique charm to your painting. Just add your own personal touches and add the designs and make the designs a little bit more yours, change the placement, change the seats and sizes of it. A little bit of smaller design pattern in here for the wheel steel. Now for the pens in here, mostly adding it for the lower section like this in here, for this pin, only a small section. And with these, we are done with the pencil now going with the black ink. This is going to take a little bit of time since we'll have to do a lot of outlining. But in here, you don't have to with that much causes, as you can cover it completely the pencil outlining that you have did and use the ink to create new outlining for those. As you will be seeing it, what I mean by it for some of the sections, I'm going to completely change the outlines that we have created. Just feel the ink as you see fit in here for this one. As you can see, I have reduced its side a little bit. For the others to, I'll be doing the same wearing their saves in the sides, and for some of them, I'll be completely changing their shapes if required. What I'm aiming in here is just to preserve the curved seeds and giving it a little bit more organic look. By organic look, I means a little bit of curve and uneven lines like this. In here for this portion for the eye, if you want, you can leave a little bit of white of the paper and use it later on to create the eye. But I completely covered it with the ink. Later on, I'll be using lots of white jelly pen to recreate the eyes. They outlining for this section and now filling the remaining section with the black ink. I would recommend you to either start from the right or from the left and then move towards the other direction so as to avoid smudging of the color. Generally, I start by doing the outlining for this kind of sections and then feel the ink for the remaining section. That makes the process a little bit easier. And for the other wheels, which I have to cover the entire section with the ink, I generally add lots of ink for the middle section and then spread it even this making the process a little bit more faster. Now moving on to this fin, the fin on this side. We have lots of ink in here and a very small section like this for the detailing that we'll be covering on later on. And with these, we are done with this one. Now, continuing on with this one, the front fin. As you can see, I have reduced the size of both the fins a little bit. The initial pencil skies that I did has a little bit larger fin, but in here, I made it softer. So try to keep it proportionate to the body size, the wheels body size. The remaining section in here for this portion. For project with lots of smaller details or finer detailing, the inking process takes a little bit more time since we have to do a lot of outlining. Otherwise, the inking process is one of the fastest process for all the projects, but because of the kind of smaller detailings and the outlining, it becomes a little bit time consuming process. We have mostly done the outlining, just carefully feeling the color Still, if you want to use other colors, you can do that, too. You can keep the half of the whale's body black, and for the remaining portion, you can use other color metallic colors or watercolors. As I have shown you in one of the demonstration video in which we used orange and yellow to create the coloring for the whale's body. Now we are halfway there. Carefully filling it. This section is a little bit streamlined the upper part of the al steel. But the remaining portion, as you can see, we have got lots of curves and bumps. Carefully doing the outlining in this area for the patterns that I'll be creating for the alteel on this side too. Later on for the other sections, the section which we have outlined with the fine liner, I'll be coming in with the tombos breastbin and redo the outlining for the white patches that we have created in here, if you want to add other colors, metallic colors or watercolor, you can do that, too. That will also make the wheel interesting, or you can just keep it plain and simple. And giving a little bit of more streamed save so streamlined save in here for this section of the wheelstaeEtending its size a little bit, just a little and with these we are mostly done with the inking of this he, the wheel of the golden eclpse now. Once again, going back with the fine liner and we are going to create spiral shapes. Random spiral saps. Spiral shapes are not going to be even. Mostly, I'm going to use curved and a little bit of skewed line like this to create this kind of simple shapes. I'm going to create multiple shapes like this. I'm going to create multiple ones of shape sizes and most of the lines are going to be uneven, as you can see in here. Instead of it, if you want to keep it uniform and somewhat similar to what we did in the demonstration video with the clouds, you can do that, too. Either you can create spiral ones or you can create this kind of uneven ones, or you can also use a combination of both. So this is the initial designing. Later on, I'll be going in with the Tombos Brass pin and make the design element a little bit separate from each other. So for each individual, I'll be using the Tombobestpin, and redoing the outlining later on. And with these, we are done with the first one. In here, my ink has not completely dried up. That's why I'm keeping my palm above from the paper. Ensure that the ink has dried up properly and then proceed. Otherwise, you might smudge the ink all over the paper. Or you can just keep your palm a little bit above the paper to avoid smudging of the ink by your palm. Now, we are going to repeat the same thing for all the patches of the white that we have in here even lines like this in the form of somewhat of a spiral saps. I'm also wearing the seeps in the sizes a little uneven organic lime like sees for the remaining sections. This process is going to take a little bit of time since we have to create lots of it. In here, if you want, you can also include the sparkle paints. Instead of using the fine liner, you can always use the metallic or the sparkle paints to create this kind of sieves. Or you can use the sparkle paints later on to feel the inside for some of them or some of the spiral sieves that we have created. For the smaller section just create very small ones with two or three random lines. This is the largest one. We have got lots of flowing seep in here. One more in here. And with this, we are done with this one. Smaller ones like this here and there. For this kind of empty spaces, if you want, you can include smaller ones, but I'm going to keep it plain and simple. Later on, I'll be covering it with the tomos breastbin continuing on with the front fin in here, three or four random spiral seeps uneven lines. So this was the first wheel that I created for this class. It all started with this one, so it's a little bit different from all the project. So this was the first so that's why we have a little bit easier and simpler background elements. In here, I have created two concentric circles, semicircle or one fourth of the circles, and two or three clouds on top of it, quite simple and easy clouds. Now moving on to the il steel. We are going to repeat the same thing. And this project is a little bit larger, so I have divided into three sections. This is the first section. We have two more sections. And that's all for this section of the video. I'll be seeing you in the next section. 19. Patterns and Designs with Brush Pens: Hi, and welcome to the second part of Wheel of the golden eclipse, continuing on where we left off, starting with the tomos bras pin, and we are going to do the outlining for individual sections that we have created using this kind of spiral lines and spiral sieves. This is optional, if you want to keep it like this, you don't have to do this, or if you want to experiment, you can use metallic colour to do the outlining, you can use metallic colors or sparkle paints to add the color for some of the insides. That will also make this a little bit more interesting. So carefully, doing the outlining for each individual saves that we have in here. As I mentioned, I'm also doing the outlining for the other sections, the sweep of the wheels body for some of the section. Continuing on with going over all the outlining. If you want, you can feel the empty species in between with a black two that will be interesting too. After doing this, I'm going to use the white chilly pen to create the patterns and the resigning. This is the second part of this project. After this, we have got one more section. Moving on to the wheel spin, doing the outlining for the smaller one. This larger one, put some of the sections in here. I'm going to create a few barnacles later on with the white hail pin on the sides of the wheels fin. As for the designing elements, mostly, as I mentioned, I'm going to use lots of stippling dots of various sizes, combination of both small and larger one. For some of the lower section, the underailing sections, I'm going to use smaller strippling dots. But for the remaining sections, mostly I'll be using larger dots. I'm also going to use a few of the rhomboid saves to create four cornered stars. And for this wil, as you can see, I have not created the underwil portion. Later on, I'll be using white chill pin and use lots of hatching line to create the underwily portion, a little bit underneath these designs. We have got four more sections to do. In here for this middle portion, the ink that I used is not uniformly spread, so I'm going to cover it with lots of design elements later on. These we are mostly done with the sections. Let's do the outlining for each individual sections, the smaller one. Et's do the outlining, going over the Sakura micron fine liner. And with this, we are done with this. Finally, moving to the whale steel doing the outlining, and then let's do the outlining for each individual sections, the smaller ones. Most of the videos in real time, so you can always follow along with me for some of the sections. If I increase the speed, I'll be mentioning and finally, the last one. And with these, we are done with all the design elements going in with the jelly pen in so that the ink has properly drin. So for the upper section of the mouth, for some of the sections, we might have to do two or three layering to get a clear and sharp line with more line weight. In here for this bumps like see, I'm going to use large and small dots to create resemblance of the banicle present in here. Basically, what I'm doing is creating a larger and then surrounding it with few smaller ones like this. For the remaining section, the middle portions in here, I'm going to create more dots and use more smaller stippling dots and a little bit of curved lines to surround them, as you can see in here. I'm not going to add a lot of it. Four or five will do the work surrounding it like this in here. Let's create a few more smaller dots, a little bit of stippling. And with these, we are done with this section. In here using lots of stippling for this section. This is going to be the upper portion of the whale's mouth. Later on, I'll be using a little bit more black for the lower portion and add more white on top of it. For now, continuing on with extending the lines more lines in here with a little bit more line weight. To increase the line weight, you just have to do two or three layering of the white. And in here, we are going to create the human like eye for the w, somewhat of elliptical seep like this. And to make it look a little bit more realistic, we are going to add more curved lines for the upper and the lower section. And let's put the designing. I'm going to use a little bit of a stippling on the right side. Inserting the eyes with this kind of curved lines with varied line weight. Now creating the eyeballs with a little bit of black for the inside. Small stippling dots like this, put a little bit of detailing. We are going to encircle it with a dynamic lines lines of varied thickness. This kind of things becomes a little bit easier if you are using the breast pins. For this kind of pain, you will have to do two or three layerings of it to get a little bit more line weight to it. More distributing dots in here. This are optional patterns and designing. Now for all these design elements that we have in here, I'm going to encircle it like this using broken curved lines. For most of the bum saves that we have for the upper part, I'll be adding small dots and large dots. These are once again optional. In here for this middle portion, I'm just going to cover it with lots of small and large dots. Instead of it, we want to include stars or other designs and saps. You can do that, too. Continuing on doing the outlining using this kind of curved organic seeps, broken lines like this. So this process is going to take a little bit of time since we have to create lots of lines and lots of dots in here for this portion, as I was mentioning for the bancles lm using this kind of scribbling technique and just add this kind of saves for this portion, to create a clear setson between the wheel's body and the whels fin more curved lines like this. In here, I'm just trying to give it a little bit of movement. That's why I'm using this kind of curved lines and curved seeps to give it a little bit of acons. I'm trying to demonstrate that this is in movement. More outlining like this with more curved seeps. So we have got two mancles in here, and for the remaining portion, small dots and few stars, four corner stars. If you're not that confident, you can always use small and large dots and few stars to feel the remaining sections. And if you want to experiment and add different patterns, designs, feel free to do that. Small and large dots. For the remaining portion, I'll be coming back to it later on for this one, the fin on this side, a little bit different kind of designing in here. In here, I decided to create a little bit of feather like appearance in here, the backside of this fin. If you want to keep it plain and simple, you can just use the simple dots that we have used so far or apart from that, if you want, you can also feel it with the hatching lines to sew the side of casted by the wheels. Mostly using the smaller stippling dots in here. Now, continuing on with more curved saves. We have to encircle all this and then use lots of stippling dots of various sizes, mostly large and small for some of the lower sections, I'm going to use smaller dots, otherwise, we have got mostly larger dots. And here you can see a little bit of difference in the ink. So for this section, I'm going to cover it with lots of smaller stippling dots. This is the largest section of this project. We have got around 20 minutes of content in here. So be patient and just follow along with me. And if you have experimented with different seeps pattern designing or colors, please here your work. Apart from this, I'll also be using a little bit of yellow color for the eyes, which is optional, moving back to the wheel spin on this one, the front one. Feel the like seep in here, smaller section. More curved lines. For the section which you are not that conformed, you can just use more spiral and more curved lines like this. You can always use curved hatching lines too. And then for the remaining section, you can just feel it with the random dots. With these, we are done with both the fins. I'll be adding a little bit more details for some of the section, but for now, for now, this continuing on with this underbelly section. Using lots of hatching lines in here for this underbelly portion. Now for some of the remaining sections in here, I'm just going to fill it with the dots stripping technique. A few more dots here and there, just covering the difference between the two ink. Now moving back to this section, doing the outlining with the broken lines, curved broken lines. I this additional outlines, this makes the seep a little bit more interesting. Now for this smaller fin at the top, small dots following the curved seep of it and more lines like this to give it a little bit more dynamic seep a little bit of movement to If you want, you can also do more outlining like this for some of the sections. Four continent starts like this, and you don't have to create the perfect dots. You can also create this kind of smaller elliptical shapes too. Small random sline do the work too. So random lines with a little bit of line weight. For this section in here in between these 21, I'm going to use lots of smaller stippling dots. For the other sections too if you want, you can do that, more stripping dots for those sections, smaller ones. In here, I'm using combination of both large and smaller ones. Now continuing on with the remaining section. The wheel steels, I am not going to use that much of stippling technique. Mostly, I'm going to use the hatching lines, broken hatching lines to give it a little bit of flowing movement. Doing the outlining in here for this section. And same thing on the other side, curved lines. Adding more curved lines, curved hatching lines like this. This kind of hatching lines give a little bit more movement to it and makes the painting a little bit dynamic using broken lines. Using this kind of hatching lines to give this tail a little bit of movement, continuing on with the remaining section for the upper part. And for the remaining portion, we have got the four continent starts and stippling dots. This is all repetitive process. With this, I am satisfied for now if required, I'll be coming back to it later on. Now going in with a tombosbeast pain. And as I was mentioning, I'm going to add lots of black in here, put this lower portion of the whale's mouth, creating a clear separation in between the upper and the lower part. Another set of outlining in here. I'm going to do the seeding from the upper part. And here I'm using the Zkurataki ink and adding the black in here. Lots of black, but I'm not going to cover the entire white sections. I'll be leaving a little bit of white increasing the line weight a little bit in here for this section, a little bit more outlining. With these we're done with the wheels mouth to make the pupil a little bit more darker, a bit more black. For this section, let's make it a little bit more darker. So redoing the outlining, going over the fine liner. And instead of using streamlined lines to do the outlining, I'm using a bit of dynamic lines. The dynamic lines portray the movement a little bit better, and it looks a little bit more organic and adds more interest to the painting. We are going to do lots of curved hatching using broken lines to feel the entire section following the curve sip of its lower part of the mouth. For now, just using this sakura micron pain. And once again, I'll be going back with the thrombos breast pain to redo some of the section. Not some of the section, most of the section to create a clear separation between different sections of the under part of this. Follow the sp and use broken lines. You have also got the option of using streamlined scene as we have used for other projects so far. After doing this, we'll be completing this section of the project. And in the next section, we'll have the three clouds and the background element, simple background element. If you want, you can add few more lines here and there, a little bit of smaller dots and smaller hatching lines for this section, the front part. Just focusing in here for the front section, making it a little bit darker, comparatively darker with more hatching lines like this. A little bit more detailing for some of the sections, more hatching lines. Avoid over saturating it with the hatching lines, increasing the lines a little bit more. And with these, we are done with the fine liner for now, going in with the tomos breast pain, and we are going to make lots of line a little bit more darker and use dynamic lines in here. I'm only going to do the outlining for some of them entirely. For others, I'm going to use broken lines like this. So we have got a combination of long curved lines and other are quite broken. Basically, I'm creating separation in between different sections and using it to create different and clearly separate sections like this. Just by doing this, you can see the difference it has made. The lower portion looks a little bit more interesting, and it has added another dimension to it. Carve see with a little bit more line weight. So that's why I use two pints to make things interesting. If you are confident, you can also use the breast paints or the watercolor brushes. It will make the process much faster. And with these, we are mostly done with this section of the project. I hope you enjoyed painting this way. If you want to keep it plain and simple, you don't have to add any details background element. You can just leave it as it is. 20. Final Detailing and Background : Starting with the compass to create the outlining for the circles, you don't have to follow along with me if you want to create other variations or increase or decrease the z inside of the circle or placement, feel free to do that. So this is going to be the main circle, and this inside it, I'm also going to create another circle, a bit smaller circle, creating the outline so that it will be easier for me to add the color for the intersection another set of smaller circle that I was mentioning a set of concentric circle. This is going to be the one fourth of the size of the first one. And I'm going to create small clouds, three small clouds, quite simpler one. In here, for the first circle, I'm going to use the yellow and for the second one, I'm going to use the metallic color. Shining for the clouds, simple seeps for the cloud, the kind of clouds that I showed you in the demonstration video. If required, I'll be making changes to the seeps in the sizes of the cloud. One in here for the upper part. So these clouds are lying on top of the circles that we have created. Instead of it, if you want to please the clouds underneath them, you can do that, too. A Third and the final one, this is the smallest one. Simple curved saves like this for the louds. In here, once again, I'm using both the Sakura micron fine liner for the final and smaller details and using the Tomosbspin to do the outlining. So this is going to be the simple pencil sketch for all the background elements. If you want to make changes to it, feel free to do that, going in the Tomos bras pin to do the outlining for the clouds. If required, I'll be making changes to the saves in the size of the subsections of the cloud. But for now this falling and going over the clouds right now, extending its side a little bit just like this. And with these, we are done with the first simple cloud. Now the second one that lies in here and the upper part. It should be visible now. I've also included a picture in here. For the insights of the cloud, if you want to repeat the same kind of pattern that we did for the fields body, you can do that, too. That will make it look more identical, but I'll be keeping the designs a little bit different from the design elements for the insights of the way. Extending its size a little bit more. And these are going to be our three clouds, a little bit more detailing in the form of this kind of spiral seeps. So for now, just creating the curved seeps for the inside and then and then I'll be creating this kind of spiral seeps for some of the larger ones. If you want to add more of this kind of seeps for the intersections, you can do that, too. But mostly, I'm going to use this kind of curved seeps and for the larger ones, the spiral seeps. I'm also going to change the direction of some of the spiral saves facing in opposite directions like this. A few curved sieves like this for the insides. These are optional. If you want to keep it plain and simple, you don't have to add this. And we are going to repeat the same thing for the remaining two clouds, adding another set of outlining using the curved seeps and for some of the larger section. And for some of the larger section, adding curved spiral saves like this, another spiral in opposite direction like this in here too. One more in here. Now for some of the sections, a bit larger and smaller ones. Lastly, moving to the third and the final one, curved seeds for the smaller one and the spiral seeves for the larger ones. Few more spiral saps here and there. And with these, we are done with the Tombosbrspin for the outlining and small seeps and designing like this. I decided to add few more. Now we are going to lightly use the pencil mar a little bit more detailing for some of the sections using the fine liner. Since the spine liner has comparatively less line weight, so it will make things a little bit more interesting. I'm going to encircle some of the spiral seeps and add a little bit more curved seeps for some of the sections. This is optional. Few curved lines and circling some of the larger spiral saves that we have in here. That's what I'm going to repeat for the remaining two clouds, few curved saps here and there as well as inserting some of the spiral seeps. Instead of using the micron pin, you can also use the sparkle pins using yellow, red or other colors to do this. You can also use a little bit of hatching to create shadows. If you want to make it a little bit more similar to the ails but you can also use a little bit of stippling techniques and create few stars here and there. Apart from the clouds, you can also add those stars and stippling dots for the background elements. And finally, moving in here for the smallest love, repeating the same thing. A few curved lines and encircling some of the larger spiral saves that we have in here. A bit of more detailing with this. And with these, we are done with both the Tombos breastpin and the fine lineup for now. I'll be going back with the Tombos breastpen later on for the background element. In here, I'm likely reaching the outlines that we created for the circle. Insure that a small section remain visible so that it will be easier for us to add the color. Now, going in with the yellow, using the yellow and filling the entire section with it. So this color is from Zikura. So this breast pain, using this breast pain to fill the entire section, you don't have to use the breastpin. You can also use the watercolor or the metallic colors or other supplies that you have, you can use sketchpins and acrylic colors, et cetera. Whatever supplies you have and whatever you are comfortable with. And if you want to only create the clouds, you don't have to do this. Going over the outline first and then we'll be feeling the insides with it, carefully doing the outlining for the clouds and now extending the color to feel the remaining portion, slowly and gradually moving towards the right. We are halfway there. To get ink out of it, I have to squeeze it repeatedly and yeah, continuing on with the smaller section in here, doing the outlining for the clouds and feeling the remaining section with this yellow. And with this, we are done with two thirds of the way, also going over the outlines with this yellow for the smaller one. Making the outlines a little bit more clearly visible. Later on, I'll be using other color to add the color inside for now, just going over the outlines. Inside this, if you want to create patterns and designing using the Tomas bras paint or the file liner or other colors, you can do that too. With this, we are done with outlining for this section. Let's add the color carefully. And now extending it downwards. This brain that I'm using it for the finer and smaller details, but I decided to use it to feel the color, so it's taking a little bit more time. Extending the color upwards, adding it just underneath the cloud and feeling the remaining portion with it. Only a small section remains in here. And with this, we are done with the first circle. Add more color wherever you think it's required. Now, I forgot to add it for the eye. This is optional. If you are satisfied with the eyes, you don't have to use this. If you want to add it for the inner section, you can do that, too. Now for this one, I decided to use the metallic color. A using this ocher metallic color, concentrated ocher metallic color and feeling the entire section with it. Carefully beside the clouds outlined section underneath the cloud in here, carefully doing the outlining, sending the color for the remaining section. Try to maintain the outline that you have created. Try to feel it inside the outline section, aim for a flat vase with these, we are done with this. And with this, we are done with both the circles and the background elements with the clouds. Later on for this project, as you can see, I added a little bit of more detail using the tombos breastbin and this is how it turned out. 21. Whale of the Midnight Moon Day 5: Welcome to this project Whale of the Midnight Moon. Let's start with a simple pencil sketch. Starting with the simple straight horizontal line in here. This will be determining the length as well as the placement of the wheel's body in here. I am making this line a little bit towards the upper part of the page a curved arclC for the wheels body. This wheel's body will be a little bit argued near its tail. This wheel will be facing towards the left. This will be the middle section of the whale's body. Now let's screen the wheels, sketch the remaining portion of its body. This will be the upper part of the wheel's head. In here, the whales fin. Now extending it for the whales tailed. If you want to sift the position, make it small or large, you can do that. Now for the remaining portion, the whale's mouth in here. For this one, I decided to make the lower part a little bit more broader and bit more thicker as compared to the upper part. As you can see, the lower part has more width. And now extending it towards the whale tail, making this ports and curve. This is our initial pencil sketch if required, we'll be making changes to it when we'll be doing the outlining a little bit of click shape like this in here for the whale tail. This project is also divided into three sections. This is the first section. Most of the video is in real time, so you can always follow along with me. If for some of the section or the repetitive elements, I'll be increasing the speed. I'll be mentioning it. Add a little bit more detailing. I decided to shift the middle portion a little bit in here. I'll be creating the whales I. If it is easier for you to use the reference by dividing the whale's body into three section, you can do that, too. Now extending this in here to create the whale's fin. A little bit just below its stomach. The wheels are in here on this side. So this will be the wheels under whaling. And yeah, this is the simple sketch for the wheels entire section. In here for the background, I'm going to create the midnight move. So semicircular seat. I'll be using compass to create it. But I'm just showing you a rough guideline for the background elements that I'll be using As for the patterns and designing, I'm going to create lots of wave blight forms using the sparkle paints, blues and the yellows for now. Let's continue on with doing the outlining in here. I'm starting with a tombosprspin to do the initial outlining. I created bump like see on top of its side for the barnacles, which we'll be creating later on. This is the wel spin on the top. I change the site I change its set position a little bit. Now doing the outlining for the hel steel. Apart from the wave like form and design, I'll also be creating multiple large stars, eight corners and four stars and lots of stippling, stippling with large and small dots, doing the outlining for this side, the weltem. And now let's do the remaining section. So this is going to be the whale's mouth, the middle portion, a little bit of curve seep in here. On top of this, I'll be adding the eyes later on, extending it for the whales fin. Now this portion. I decided to divide into two sections. This will be the upper part, and then for the lower section, we'll be creating the wheel's underbelly, extending it from in here, the whales fin and taking it towards the whalestail extending a little bit more with curve lines. In here for the whale's mouth. A bit of curved and organic saves like this for the lower portion, and we are going to extend it towards the whales fin in here. Now going over the outline for the other pin. So this is a simple outlining using the fine liner. I decided to extend the size a little bit for this fin to make it more longer compared to the other fin. A little bit of more detailing for the wheel's mount. So this person, I'm going to keep it plain and simple with the white of the people. For upper and the lower sexon I'll be using seeding and adding the colors on top of it. For the upper, we have inking and for the lower, we'll be doing the seeding using a little bit of dry breast technique, using the tombos breast pin. Now, sure that the ink is properly dried up and like erase the pencil mounts. Later on for the outlining, I'll be going with the Tubosbasbin for the lower section, but for the upper part, we'll have the blacking that will do the outlining. Now for the seeps in the patterns and here, I'm going to create somewhat similar patterns that I showed you in the demonstration video using metallic colors. I'm going to create similar patterns that I showed you in the demonstration video, wave like patterns. I'll be using the sparkle paints, golden and the purple or the blues. This kind of wave like patterns easily we'll be starting doing the outlining with a fine enon and then add the colors inside. Look at now let's do the outlining. So I'm not going to stick with the outlines that I have created, if required, I'll be making changes and adjustment, and I'll be creating this wavelike form and layers. So a total of two or three distinct layer, starting with the smaller one for the lower section. And as we progress, I'll be making the sizes a little bit. So the middle section will be a little bit larger. And then for the final section or the final layer, we'll have comparatively larger wavelike form. Yeah. Let's continue with conting this kind of a little bit sharp edges for the wave like form. Instead of this, if you want to pleat other patterns or other designs, feel free to include those two. You don't have to exactly follow what I'm doing. You can also increase, decrease the seeps and sizes. You can also increase and decrease the number of the layers. For now, this is just initial sketching. We'll be making changes to it later on. So right now I'm just doing the outlining for the upper part. The second and the first layer, I am not included in here. I'll be doing it later on. So simple outlining like this for the upper part of the wavelike forms. Portion of the sections, I'll be doing two or three outlining like this. For the others, only single outlining will do the work continuing on in here for the whale's tail, extending it on this side. As you can see, I created a design simple and small design in here. For the sections, we'll be having only a single layer of the wavelike form, doing it for this section, this side of the whales tail. Now doing a little bit more outlining and dividing some of the section into multiple ones. I'll be coming back to it later on, but for now, let me sew you in here, I'll be creating the eyes. For now, I'll be covering it with the black, but later on, I'll be using the whiting to recreate the eyes. And as for the pens in here, we'll be using lots of curved line to sew clear separation. And for some of the sections of the fin in here, we'll be creating small wavelike form. For the lower sections, we'll be using hatching techniques and a little bit of coloring. The same thing in here on this smaller fin fin on the other side, same wavele form. Is that the ink is properly dried and then inset that the ink is properly dried and lightly erase it. And here I erase all the pencil monks. Now, I'm going to do the inking and later on, redefine some of the edges of the wavelike form and add more details to it. Try to preserve the curved edges that we have created. In here, I'm starting with the left side, and I'll be proceeding toward the right. You don't have to worry that much about this section, the upper part. But for the middle section, we'll have to be bit causes to preserve the sharp edges of the wave form and the designs that we have created. Instead of this, if you want to cover it entirely with the black and later on come back with a white ink or white gauze or white chili pin to recreate the wave blifms, you can do that, too. For now, I'm just continuing on with spreading the colors from the left towards the right. Spreading the black ink evenly in here. As I mentioned, this project is divided into three sections. This is the first section in here. Mostly, I'll be covering up to here and a little bit of detailing for some of the sections. And in the next section, we'll be focusing on the wave forms and a little bit of designing. And for the third in the final section, we'll do their coloring for the background elements, a little bit of more designing and adding final details, doing a little bit of hatching and seeding if required for some of the sections. Carefully doing the outlining in here for the sin, preserving the sharp edges of the outlines of the wave life form that we have created. Now in here, doing the same thing for this section, just above the whales stomach, spread the colors evenly. One more thing that you can do to make this process a bit easier is you can start with the Tamospespin or the curaakiprespin, if you have and do the outlining for this wavelike forms and then use ink this making this process a little bit easier and you will get more SAP and bit more precise SAP. It is for the waveli forms that we have created carefully and slowly creating the outlines like this in here. You don't have to worry by mistake, if you cover some of the sections, you can use the ink to redefine it later on. As for the coloring, as I mentioned, I'll be using golden color, the blue, and I'll also be using a little bit of gray color. And as for the background, I'll be using the metallic blue colour and the golden color for the midnight moon for the blue moon and for the wreaths that are coming out of it, I'm going to use the sparkle pin golden colour. The background element for this one is quite simple and easy. The most time consuming process in here will be the wave creation, spreading the colours evenly in here for some of the section, the upper part of its head. We are halfway there, only the tail and one of the pin remains. Continuing on with carefully doing the outlining for this and we'll be extending it towards the right. The whole process is in real time, so you can easily follow along with me. This is a simple version of the wheels. The only time consuming process will be the wave creation and adding the color for it. Apart from it, if you want to include more designs, more pattern for the background elements, you can do that to make it a little bit more interesting. You can add your own personal and unique touches to and finally, we are moving to the whale tail. In here, we have got more smaller sections, so I field it on my own, and this is how it turned out a little bit more in here with the end of the wale tail. And the last thing in here, the other fin on this side, carefully preserving the pages of the wave forms and filling the entire section with the black using the black to do the outlining. And now we are going to fill the entire section with the black. I'll only be covering up to here for this section of the project. We will wait for the ink to dry a little bit and then proceed with doing and creating more details for it. For this section for the inside, I decided to add a little bit of black. And yeah, if you want to add a little bit more black for some of the inside sections of this, you can do that, too. But I'm satisfied with the inking and how it turned out. I'll be seeing you in the next section. I 22. Tricolor wave pattern : Welcome to the second part of the wheel of the midnight moon. We'll be continuing where we left off. So in here, the ink is not dried up properly, so I'll be focusing only on the wave form in here for the lower section. I'm going to divide into more section. As I was mentioning, I'll be divided into two or three sections. For the upper section, we'll have larger waves for the middle section, but smaller, and for the final section, we'll have the smallest ones. This divide into separate sections, using lots of curve lines to divide this to make the separations a little bit more clear and distinct. If required, I'll also using Tombs breast pain later on. If you want to do the outlining and make it a bit more crisper and a bit more darker with more line weight, you can always use the breastpins do it. Here, as you can see, I added a little bit of mistake. I smerge a little bit of ink in here. I'll be covering it later on using dried breast technique. But now, continuing on with the remaining portion of the wave form. For this video around ten to 12 minutes, we'll only be focusing on this wave like form. And this is going to be a little bit time consuming process since we'll have lots of smaller and larger waves. And for most of them, we'll be using different colors. We have got golden, sparkle color, then blue and a little bit of and a little bit of silver, too. So a total of three colour golden blue and gray or the silver colour. So these are the third one for the middle sections. As you can see, we have got fewer one, fewer wave like forms. For the middle section, I'll be generally creating three or four or six or seven. These are all for the first layer. In here for the smaller section, I'll only be creating the first and the second layer. I'm totally eliminating the third layer for the smaller sections. Making the outlines a little bit more broader. You don't have to worry about it. Later on, we'll be using the breast pans to make it more darker. Only a single layer of wave like font for this section, since this is quite smaller and bit thinner. Simple lines to divide the wavelike form into different sections. For this section in here, the bend portion of the wheel, I'll be coming back to it later on. For some of the sections in here, I decided to add a little bit more details with more lines. Avoid over saturating it with more lines, then it would become a little bit difficult for us to add colors later on. Dividing some of the larger weaves into more sections so that we can add more colors to it. If you want to keep it more broader and with less divisions, you don't have to do this. Now, in here, coming back to this section, the bend portion of the wheels tail. Now let me show you how I'll be adding the coloring, starting with this blue color. For the remaining section, some of the bend sections as well as for the fins, I'll be adding the detailing later on. But now I decided to show you how I am going to proceed with it and also making this process a little bit easier for me to do the outlining for some of the section using sparkle paints. So I don't have to redo using the colors later on. Mostly, I'm going to use the blue color on the left side of the waves. For the right sides, I'll be using the yellow and for the middle section or for some of the waves that are three or four sections, I'll be using gray in the middle the gray or the silver color. Two or three lines like this to increase the line weight a little bit and to make it a little bit more sparkling. You don't have to use the same color. You can try other variations of the color and other patterns too. Or you can also a bit plain and simple with only the outlining using the Tombosbespin, and the fine linon that will be interesting too. For most of the weaves in here, I'm going to add the blue for now and then we'll be adding a little bit more detailings and more colors later on. So larger than the smaller weaves in here, the middle portion, the upper and the lower portions to, same thing. Mostly focusing on one side of it. So blues on the one side with a little bit more line weight to it. Mostly done with this section with the blue. Coming back to it for some of the sections, so add a little bit of more blue. Now, moving in here for the upper section for the whale's tail. Since this is quite a smaller section, we'll have to add the blue a little bit less as we have to add other colors too. We have got silver and the golden color for later on the side of the fin, few smaller strokes with the blue. And in here for this section, the curved section of the whale's tail. After adding the blue, I decided to increase the divisions a little bit so that the addition of the yellows and the silver will become a little bit more easier and we have a clear and distinct outline for the different section. That's why I decided to go back with the fine liner. Earlier, my plan was to directly use the colour for the waves, but in here, I found that using the fine liner will make the process a bit easier and bit faster. It will also avoid overlapping of colors on top of each other. Apart from it, I'm also creating few more additional smaller waves in the middle section. This is optional. If you don't want to intude more, you don't have to. Cover this one. And instead of using the silver color that I was mentioning, I'm going in with a gray color for now. Later on, I'll be adding a little bit of sparkling silver, but for now a little bit of green to create a little bit of sados too. So for some of the sections, the middle sections of the weaves, I'm going to add this gray to sew a little bit of sados for the wave. Continuing on with the grief for the middle section of some of the weaves. Now moving on to the hel tail, adding fewer strokes of gray like this onto the other side of the heltil. A little bit of more graze for the lower sections like this. Now going in with the golden colour. I'll also be overlaying a little bit of this golden colour on top of the grease, as well as for the other sides of the weaves that we have created just beside the blue and in between the gray and the blues, I'm going to add this golden colour. This is going to take a little bit of time since we'll be adding comparatively more yellow as compared to the blues and the grays. So be patient and yeah, just feel the remaining section with this golden color. So now it's looking a little bit more vibrant by just adding Generally for the project, I start with a simple cumal sketches for the wheel or nothing that I'm trying to create. Then as I go, I make changes to it in here, my initial plan was a little bit different from what I have created in here. The blight form that I am creating in here was a little bit more intricate and more defined, but since it turned out a little bit chaotic, so I eliminated some of the steps. But anyhow it looks pretty good. I did the coloring of some of the sections on my own, the yellow since it was taking a little bit of too much time, and you can do it on your own. And apart from this, if you want to add a little bit of pink or red in between, that will be interesting too. I tried a few of the different wave forms, and for some of them, I also use the other colors variation, the reds and greens too. So if you want to include the other colors in between some of them, you can do that, too. My plan was to also include a little bit of silver colour in between, but I decided the grey sketch pin that we use, the bras pin that I use will do the work. You have got two more sections the sections of the pens. We are going to repeat the same thing with grease blues and the golden color. These are quite smaller sections, so I'm not going to increase the line weight that much, and we're just going to create smaller strokes with sparkle paints. We were done with this section of the pin now for the other one. Only a little bit of blue like this. A Now going with the golden color. Since these are smaller sections, I decided to not include the gray, but if you want to include the gray or the silver colours, you can do that, too. I'm also leaving a little bit of the spaces empty with only the white of the people, just like what I did for the larger forms. And for some of the sections that are not well defined, you can always use the tomos breastbin or the fine liner to make them a little bit more crisper and more sharper. Now coming back with a fine liner. In here, we are going to fill it with lots of curved hatching lines. And for the sections near the whiles fin on both the sides, we are going to do a dry brush technique and make it a little bit darker. Like in here, I did a little bit of shading using the hatching lines, but I'll be doing another layer on top of it using the dry brush technique with the atombs breast pin to make this section more darker and to cover the mistake that I did with the smudging of the ink. And on both sides of it, we have got this a little bit of hatching technique and seeding using the fine liner. Later on, we'll be covering some of them with the breastpin lightly raising the pencil marks for the outlines that we created. Let's do a little bit of coloring. So metallic blue color for the smaller moon, this is the midnight blue moon. A bit concentrated color. I'm going to make the right side a little bit more darker. But for now, I'm just using it to do the flatb and creating the outline for try to avoid mixing the two colors, the ink and the metallic color. We don't want the ink or the metallic colours to bleed into each other. We're not just aiming for a flat was and then we'll be creating a little bit of gradient and a little bit of lights in the shadows going over the outline near the wheel's upper part and spreading the colors somewhat immunly for the second one, I'll be using the golden color later on golden metallic colour, crating the color for the remaining section. Extending it a little bit more. Underneath this fin. And with this, we are done with this section. 23. Large Star and Moon: Welcome to the third and the final part of the wheel of the midnight moon. This is a bit larger section, so I created the other half moons on my own using the golden metallic color, and I waited for it to dry, and it has dried up. And now in here we are proceeding with a white jelly pen. So for all the bumps that we have created, I added a little bit of white for the insides, and now I'm using white with the broken lines. So white jelly pen with the broken lines to do a little bit more outlining for the inner sections of the upper part. To create a few more additional barnacles for this section in here, I'm just going to use this kind of semicircular seas and then encircle it with curved lines like this. Apart from this, as you can see, I'm also going to use a lot of hatching lines, broken hatching lines like this. And in here, I'm just creating a clear separation in between the whale's mouth, the upper section and the lower sections. On this curved section, we are going to create the eyes, a little bit smaller eye for this way. If you want to make it larger like the other wheels, you can always do that, filling the insides with the white while leaving a little bit of black for the inner part. I'll also be adding color on top of it later on. For now, let's make the eyes a little bit more distinct, a bit more defined, a little bit of designing for it with curved lines. For some of the section just to increase the line weight, you'll have to do two or three lines. In here, I use multiple lines to create a clear separation between the fins and the upper part of the wheel's body. Moving back to the wheels head, a little bit more detailing with more curved lines and a little bit of small dots, a bit more designing on top of the wheels I using this kind of broken lines. So small wreaths like pattern on top of the wheels I like this. For the remaining section, we are going to create multiple large stars and small dots like this. I'm going to create eight stars and few smaller ones. For now, before doing that, let's create multiple small dots. In here, just by doing two or three layerings of the white, I'm making it a little bit more brighter. I'm also going to do the outlining for each individual waves that we have created using broken curved lines. For some of them, I'll be using two lines for the others, only a single line will do the work. For all the waves in here, the upper parts, do the outlining. Continuing on with creating more dots with the white. I'll be moving back to the waves later on. For now, I decide to add a little bit of stars and I'll be overlaying some of the stars on top of the waves. So that's why I did not continue with creating the outlines. Basically, what I'm going to do is to use some of the dots and create this kind of stars. First, create large vertical and straight lines like this, intersecting lines, and then more small projections like this triangular s to create the eight con stars. Instead of this, if you want, you can also create the four con stars that I showed you in the other videos. Multiple large and small stars like this for the entire section, the upper part of the wheels body. I'm not going to include this for the wheel tails or for the hel fin, but only for this middle section. The dots that are covered with the stars, you don't have to worry about that. Later on, we'll be adding more dots, the same kind of dots, large and small dots. I'll also be doing a little bit of stippling for the smaller section, the thinner sections of the wheels burning. In here for the stars, you have to increase the line weight a little bit to make it look more brighter. One more star in here just underneath this fin. More dots here and there. Since this is going to be a repetitive process, I'm going to increase the speed a little bit. If you want to follow along with me, you can always pause the video or you can reduce the speed. I would recommend you to start with the dots and please them and please them strategically and then transform those dots into stars. Now, in here, I have increased the speed. I have increased the speed only a little bit and continuing on with converting the dots that we have created into stars. Still, if you want to include other patterns and designing in here, you can do that, too. You can use other techniques like scribbling a little bit of hatching, cross-hatching too, and includes smaller patterns, the curve lines and the small inverted circular sieves that will be interesting too. I think for this section, this much of stars will do their work. Now for the remaining section in here, since this section is a little bit thinner, so the sizes of the stars will be comparatively smaller. I'm going to create eight or ten more stars and then we'll be adding more dots. Now, in here for this pen. Right now, I'm just adding another outlining using the white, using curved lines, also doing the same thing in here. For this section, the am like form. And for the remaining section, I'm just going to add more curved lines, doing the same thing in here for this fin, the other fin, outlining it, outlining the curve wave forms, and now filling the remaining section with more curved lines. Instead of this kind of simple pattern using curve line, if you want to include fused jars or increase the number of the waves using the jelly pen, you can do that, too. A bit of more detailing for the inner side of the wheel using more curved lines. Adding more curve line following the sep of the wheel's body. This will act as another outlining and it makes the things a little bit more interesting. Adding it on the alternate side of the wheel tail like this. A bit of hatching line in here for the curved section of the wheels tail. For now, I'm going to continue with adding more dots, large and small dots and for some of the empty spaces in between, if required, I'll be adding a few more stars. Only the smaller star will work right now. Otherwise, it will look too oversaturated with the large stars. Small and large dots of random sizes at random places like this. We still have to do the outlining for the waves, continuing on with the remaining waves like form, curved broken hatching lines like this to do the outlining. Now, continuing on with dots, more dots like this. And Once again, coming back in here, simple curved lines like this to create the designing in here for this one, multiple curved hatching lines to fill the entire section. Since this lies on the other side, that's fine. Now in here, doing the secondary outlining for the under value of the wheel using the tombs breastpin. In here, we are creating a clear separation in between the upper and the lower part. And using this tombos breastbin and applying light pressure with it to get somewhat of dry breast technique in here and covering the mistakes that I did using the seeding outlining the wel spin to using the tomos breastpin. Doing the same thing for the wail spin on this side, outlining it by overgoing it on top of the fine liner. The fins were looking quite thin, so I decided to add a little bit more detailing using the fine liner, simple curved saves like this and encircling it with the broken lines, doing the same thing in here for this one. And for the remaining white section in here, I'm using the hatching lines, so completely filling it with the hatching lines. Now in here, I'm doing the same thing. Since this finish a little bit bigger, so I'm also going to leave a little bit of white pieces, continuing on with the hatching technique using the fine liner, while leaving a little bit of white spice in between. I'm also going to add a little bit of yellow for the small saves that we have created semicircular saves. For now, continuing on in here for the he's mouth, making the outlines a little bit more darker by increasing the line weight, and we are going to do the same thing we have did for all the whales. So using the prokin hatching lines and feeling the entire section by dividing into different sections, I also decided to include more barnacles in here for this section. So creating this kind of random seeps random spiral like saves for barnacles in here. Now, creating the broken hatching lines, following the curved set, the curved contour of the wheel's mouth. We are also going to do the seeding and a little bit of more hatching. But for now, just dividing into different sections using broken lines. And here I'm going to use the broken hatching lines. Instead of it, if you want to use the stream line line and simple lines, you can do that, too. This is the last one. Let's do a little bit of seeding. So using the hatching lines in here to do the seeding. Mostly, I'm going to do the seeding on both the sides just near the fin and at the end of the whale's mouth. So continuing onward, doing more hatching with a fine liner. After doing this, I'll be going back with the Tombosbsbin and make the distinction a little bit more clear by increasing the line weight and thus making the separations a bit more distinct. I'm not overlaying this on top of the barnacles that we have created. I'm just surrounding it and adding it beside it, going in with the Tombos braspin making this section more darker, making the separation bit more clear, going all the larger lines. So adding this tombos breastin on top of all the larger lines, I'm also making the lines a little bit dynamic of varied thickness, especially near the part of its mouth and near the fins. I'll be increasing the line weight a little bit more two or three layers for those section and then extending it. For some of the larger ones, I am going to completely do the outlining, but for the remaining ones, I'm going to do the broken outlining. Extending it like this. We have got one or two more. Still I'm not overlaying it on top of the barnacles that we have created. I'm just surrounding it or just passing over it like this. The last one in here, using it to do the outlining. Let's increase the line weight for some of the sections. Now using it to create a dry bras effect, applying very light breezer with it and adding it at an angle to get this kind of seeding effect. Instead of this, if you want, you can also use the watercolor breast with less water to get this kind of dry breast effect. Adding it carefully in here. Avoid adding it on top of the bancles and with these, we are done with the veil now. I decided to do the outlining for this. This is optional. The outlining that I did not turn out the way I hoped. So if you want to keep it plain and simple, you don't have to do the outline or if you want to include other patterns and designs for it, feel free to do that. Outlining the inner section. For this middle section with the white, if you want to add few patterns and designing, you can also do Extending the line to complete the outlining, doing the same thing for this midnight blue moon. And with these, we are done with the outlining. Now going in with the golden sparkle paints and adding it for the center of all the stars. This is optial if you want to keep it plain and simple with only the white, you don't have to add this. Only a single dot like this, two or three layers of this golden colour to make the dots a little bit more brighter. Now, using this golden clad to create more designs on top of it, so I'm going to create the same kind of designs, rays coming out of it, as well as rhomboid seep on top of it. So random rays like this or varied length. If you want to create other variations of it or other patents or designs, you can do that, too. Or if you want to just skip it as it is, you don't have to do this. To make it a little bit distinct, I decided to do a few more outlines of broken curved lines like this. Rhomboid sees for some of them. I'm not going to include the rhomboid seeps for all of them for only some of them, around eight or ten of the rhomboid sees for the entire section. Adding few smaller one in between the larger ones. Now, the curved see and few more rhomboid here and there. In here, we have got lots of ended species, so I'll be adding more smaller one, smaller straight lines, broken straight lines in here for these two sections. And with these, we are done with this simple pattern and designing. If you want to include two more patterns and designing or increase the number of rhomboid saps, you can do that, too. And with these we are mostly done with the project. I'll be adding a little bit more golden color for the veins a little bit, which is optional. If you're satisfied, you don't have to do this. I forgot to add it in here for this section, the curve part, a little bit of this golden color. And with these, we are done with this project, wheel of the midnight moon. And 24. Whale of the Rose Moon Day 6: The veil of the Rosemond. This is one of the simpler one. So as I showed you in the demonstration I'm starting with the straight line in the middle somewhat middle section. This will be determining the length of our in now a curve for the body of the veil. So as usual, I'm going to divide this into three sections. If you want, you can draw two simple straight lines in the middle section of this veil to divide it in three equal section. Or you can just continue with an approximation that way the divisions will lie. Most of the video is in real time. For some of the repetitive sections, I have increased the speed a little bit for those section, I'll menton it. Continuing on with creating the upper section, the head and the upper part of the wheel's body in here for this section, make it a little bit uneven so that when we'll be creating the barnacles on top of it, it will become a little bit easier. Extending it for the wheel sail. And The curves of the wheels that I created in here is a little bit different from what we practice in the demonstration now. You don't have to strictly copy what I'm doing. If you want to change it a little bit, you can do that, too. In here for this portion, I'll be creating the eyes for the wheel the wheel's mouth. In here, make it a little bit curve for this section. So we are going from a little bit broader than a bit thinner than 1 second bit broader. This section, as you can see, is a little bit thinner. Now, making it a little bit more broader. Extending it from the opposite side. So we sting. Now, in here, creating a rough guideline for the il stating. This is just a rough pencil skate. If required, we'll be making changes and adjustment to it while doing the outlining or while adding the ink. Rough outlining for the whiles fin in here, making it a little bit longer. And on the other side, the only a small portion of the whelpin will be visible. You can just have an approximate gauge of where it will lie using the first pin as a reference. This is going to be our simple pencil sketching for our and for the background elements, I'm going to create a large semicircular sp or somewhat of elliptical seeps or half moon seep on the left side and on the right side, I'll be creating a circular sea. I was not satisfied with the el steel, so I'm making a little bit of adjustment to it. The el steel was looking a little bit smaller, comparatively smart to its whole body. That's why I decided to make it a little bit softer. In here, this will be the stomach portion of our el. We are almost done with pencil sketching for the way, a little bit of adjustment here and there. Let's do the outlining. And here, I'm going with the tombospeaspin. And as I was mentioning, making it a little bit uneven to create the banicles later on. So for this motion, the front of its head, a little bit uneven outlining. I'm just going over most of the pencil sketch and if required, I'll be making a little bit of changes for some of the sections. As for the coloring in here for the half moon, I'll be using the violet color or a little bit pinkish violet color. Then for the full circle or the full moon, I'm going to use metallic silver. And for the decorative elements, small stars and small spheres, I'm going to use golden color along with the purple and a little bit of black or gray metallic color. You can use the metallic colour or you can use the sparkle paints or you can keep it plain and simple without any background elements. Creating the outlines for the hel stein. We are done with the upper part of the els body now, doing the outlining for the remaining section, the lower section. In here for the portion, this person, the mouth, I'm going to use three or four lines to make the mouth a little bit more distinct from the rest of its body to two or three outlining for mouth, the wheel's mouth later on. Let's do the outlining for the fin in here. In here, too, I'm also going to make the fins a little bit more uneven. I'll be attaching a few barnacles here and there. But if you want to make it a little bit more streamlined and with smooth curves, you can do that, too. The other fin in here, I made a little bit of changes to its position and I made it a little bit longer. So I shifted it a little bit towards the other fin. This is what I mean that I'll be using two or three lines to make the mouth a little bit larger. I was not able to record this section, a small section, but you have bought the idea. Using fewer phone lines to create this kind of mouth. Humanoid eye using elliptical shapes like this and a large eyeball inside. Feeling the insides with the black and leaving a little bit of empty spaces white to sow the little bit of highlight for the eyes, not to make it a little bit more realistic, add more lines for the upper and the lower section. So yeah, we are done with the basic pencil sketching and so that the ink has properly dried and lightly these the pencil marks. I also did the outlining using a bit of broken lines for the remaining section at the stomach, as you can see, a bit of broken lines to do the outlining in this section. Always insure the ink has properly dried and then lightly these the tensil marks. Otherwise, you will get smudging all over the people. And here, I'm using the ink to do the coloring. So I have got this Gura takis dark ink, and for the entire upper half of the whale's body, we are going to completely fill it with the black. Later on, when it dries, either I'll be going with the white ink or I'll be using the white el paint to add highlights detailed patterns or designing on top of it. For the we spin in here, I'm not going to completely fill it. I'll be leaving a little bit of empty spaces on the sides, as you can see like this. If you want to completely cover it, you can do that, too. And as I mentioned, instead of using black color to do the coloring, if you want to use color, other metallic color or other water color or other color mediums, you can do that, too. Continuing on with the upper section. Instead of using the white jelly pins or the white ink, if you want, you can also use the masking pune and create the design pattern banickels. You can start with the masking pune and create the patterns and designing beforehand and then apply the ink and later on, you can remove that. You will get somewhat of similar effect. But the main disadvantage of that will be you won't be able to get crisper and bit thinner lines. If you want, you can proceed with that, too. Carefully adding the color here. We are almost done with the coloring of this section. Only the il sales remain. Carefully adding the color here. Now finally moving to the al stain. Use concentrated consistency of the ink to do the coloring for our demonstration purpose, I diluted the ink with the water. So it was looking a little bit gray but in here, as you can see, it's looking completely black and dark. So that's what we are aiming for. Filling the remaining section, only a small section of the we stain. And with these we are done with the inking for our we you have to wait for the ink to dry a little bit. I'm just going to proceed with creating the lines for the stomach. Curved simple lines like this or you can say curved hatching lines, a little bit uneven lines like this for the entire section. I'm going to use both Sakura micron and this tombopespin. So this is going to be the first layer create more finer lines to do a little bit of sading for some of the section, particularly near the fins of the he For now, just broken lines like this for the entire section. Going to do the same thing for the whale's mouth. If you have low dry, you can just fasten this process by quickly drawing the ink. Now for the mouth, doing the same thing using the curved broken lines and doing this kind of hatching following the seep of the wheels mouth and adding the lines in that manner. In the front section, I'll also be creating or you can say adding few baniclesF now just feeling the remaining section with this kind of simple curved lines. Few bancles here and there, simple curve C and sphere like C. Instead of creating this broken lines, you can always use the plain and normal lines. Now connecting all the lines to give it a little bit more curved and defined C for the upper section like this. Not to make it a little bit more denser and darker, I'm going to add few more lines here and there for the broken section. For some of them, I'll be adding the lines above, and for the others, I'm going to add the lines below. This is optional. If you're satisfied with the line work, you don't have to add any more lines. A little bit more detailing in here for this section, making the seat a little bit more defined. Moving on to this side, adding few smaller and larger line just below and above the broken sections of the line work now using the compass to make the circular C. If you are confident, you can directly create the circular shapes using your pencil. I'm not that confident with the circular saps, so I'm using the compass. On this section on this side, the left side, I'm going to create a half moon. Just few concentric circles. Just using few concentric circles to create the arc like C for the moon. By concentric circles, I mean the circle at C is the same center with different radius. And in here on this side, on the right side, I'm going to create a small moon. So small completely circular, small sphere like this in here. And you don't have to create exactly the same kind of designing the background elements if you want to experiment and create other variations, patterns or designs, feel free to do that. Now, using the arcs that I created earlier to give it a little bit more defined C, somewhat of semicircular, half moon like see. These are not going to be perfect circles, but this kind of see, half semicircular, half moon like seams, try to make it as symmetrical on this section, I'm just going to cover only up to here. And in the next section, we'll be continuing on where we left top. We'll wait for the ink to dry at the metallic coloring for the moons and the suns, or you can see in both the moons and create more decorative elements. Just a rough approximation for this. Try to make it asymmetrical and circular as it is. In here, as you can see, I did a little bit of mistake, a little bit of black ink tsuch in here, just below the fin. So try to avoid this I would recommend you to wait for the ink to rise and then move forward. Otherwise, you will do the same mistakes that I did with the smudging of the ink. Just a rough approximation of the seep of this half moon. Erasing the extra lines that I have created, lightly raising all the extra lines. So I'm going to keep this outline that I have created, the half moonlight s, and we are going to do the outlining. For the outlining, I'm not going to use the fine liner or the brass pins. I'm just going to directly color it, and that's all for this section. I'll be seeing you in the Nick pot. I 25. Rose and Grey Moon: Welcome to the second part of the Wheel of the Rose Moon, continuing on where we left. I have created graph outlining for the background elements, and in here, I'm starting with a bit in here, I'm starting with a diluted violet color or purple color to do the coloring. For this entire half moon seed that I have created, I'm going to completely fill it with this color. You don't have to use exactly the same color. If you want to use other color or if you want to keep the background element plain and simple, or if you want to use the black ink to do the coloring, you can do that, too. Or you can just follow along with me and do the coloring in the same manner. In here, I'm using a small breast, so that's why it's taking a little bit more time. If you have a bit larger breast, it will make the process a little bit more faster. I'm going to use two seats of the colour to make it a little bit more dynamic. I'll be adding a lot of dark seeds of the color for some of the section, particularly near the whale's body to make it a little bit more darker. To sow that a little bit of cyto cast and why the whales spotting on these moons has made them a little bit darker for some of the sections. I'll also be adding more concentrated color on the tips of the moon on both the sides, slightly using the pencil marks. Later on, I'll also be covering this black smudge that I have created by mistake. Carefully doing the outlining in here for the wheels mouth and then adding the color later on. For now, I left a little bit of space in between, which I'll be filling in later on. For now, continuing on doing the coloring. Later on, I'll also be using the sparkle pink, the pink colored one, to create double outlining for the moon using a little bit of curved lines, curved broken lines. And as for the circular one, I'll be using the black or the gray coloured to create another set of outline, two more outlining. This is the first layer of the coloring and carefully surrounding the wheels in here. Creating the outlines. If you have experimented with the other colors, please share your work. Lightly raising the remaining pencil marks, and now we are going to feel the remaining section with this color. I use metallic colors and the sparkle paints for this project because it add another dimensions to it, and it looks more amazing as compared to the plain watercolor. But if you have only the watercolor, that will do the work too. As you can see, we have got a very light seed of the color in here. Once again, this process was going to take a lot of time. So I just added a bit more concentrated color for some of the section that I was mentioning continuing on with adding more concentrated color for some of the sections like this. The entire section has not dried up properly, the two colors will mix on its own, wet blending. Extending the colors a little bit more. Just add the color, extend it a little bit, add a little bit of water, and the two colors will mix on its own. Start with a wet concentrated color. As I mentioned, I added more colours for the tip of the moons, as well as near the wheels body to make those sections a little bit darker, comparatively darker. This process is going to take a little bit of time, so be patient and just follow along with me. Also try to create this kind of grainy aperians add a few strokes of color here and there and don't blend it. By doing that, you will create this grainy apparians for some of the sections. We are almost done with it. I'm going to mix the colors a little bit more and I'm going to add a little bit more colors for the bottom section and then use water to blend these two colors. It has started to dry up a little bit, so just a little bit of water to extend the colors a little bit and do the blending, wet on wet blending. So the two colors, the first layer and the second layer of the colors that I'm adding will mix perfectly. A bit of water to extend the colors, and the blending will work on its own. Carefully doing the outlining, making it bit crisper and more sharper, a bit of water to extend the colors, and the blending will work on its own. And with this we are mostly done with arrows moon, add a little bit more color wherever you think it's required. I decided to add a bit more concentrated particularly near the whale's head to make this region bit more darker. Carefully doing the outlining, making it crisper and more sharp, using water to extend it and blend it with the remaining color in here. And with these, we are done with our rose moon. Now for the grey moon, I'm going to use gray. I have got two seeds of the grey. In here, I'm also starting with the lighter side of the green. I'm going to completely peel the entire circular see of the moon with this lighter side of the gray first and then I'll add a little bit of darker side of the gray for some of the sections. And for this, as I mentioned, I'm going to use either gray color or the black color, parcle paints later on. On top of the wheel's body, I'm going to create a little bit of simpler designs and pattern, and I'm also going to create more bubbles or circular sphere like sees using the golden golden metallic colors, and I'll also be surrounding them. We are done with the first half. Now let's do the other half. Carefully adding it just below the wheel's stomach. Doing it on the other side. Try to stick with the outlines that you have created the circular outline and fill the intersection with the grey color. Now, using the darker side of the gray, a little bit of blackish gray and I'm going to spread it to get a little bit of darker regions for some of the sections particularly near the whale's body. And apart from that, I'm also aiming for a little bit of grainy texture. So for some of the sections, I'm not going to spread the colours entirely. I'm just going to spread it a little bit. And by doing that, I'm going to get this kind of bit grainy texture when the colour dries off. For the Rose moon, I only did a little bit of that to create a bit of grainy texture. But for this green moon, I'm going to create grain texture for more of the sections. You just have to partially spread the dark seed of the colors and when this dries off, it will create a bit of grain texture. Later on when this rises off if you want, you can also use the white ink or the white paint to create highlights. I'm going to add a little bit of white ink on top of the moon to do a little bit of outlining another layer of outlining for the wheels when this dries off now, we'll wait for the moon to dry a little bit. And if required, I'll add a little bit of more color tell it dries in here, as I was mentioning, using this golden metallic colour to create more elements for the background, sphere like elements. Simple circular shapes like this, small or large. I'm going to create ten to 15 of these. Instead of this, if you want to use other color or if you want to create other patterns or designing, you can do that, too. Feel free to experiment and add your own unique personal touches to it. Apart from this, later on I'll also be using the Experiment and add more colors if you want. For the bottom section, adding a little bit more. In here, too, as you can see, I'm not spreading the colors evenly. For this small spheres, too, I'm trying to make some of the sexon a little bit darker and also to create a little bit of grain texture. If you want to keep it uniform, you can do that, too. But I find that with this kind of ununiformity, it gives a little bit more depth to the painting. Decided to use a little bit of this golden colour to make the tips of the moon a little bit more sparkling. This is optional, and we'll wait for it to dry till it dries in here. I'm using jelly pain and I'm going to create this kind of small sees somewhat of a laptic or you can see spherical sees throughout the heel's body. So this is going to be the simple designing for our el. Instead of this kind of designing, if you want to create or use other kind of patterns designing, you can do that, too. This is our first layer of the designing. After this, I'm going to use hatching lines as well as a little bit more patterns, and so that the ink is properly drained and then only proceed. Oh Adding more lines just above and below the ice to make it look a little bit more organic or more lifelike. Also for the sections near the joints of the fin, add more lines following the sieve of the fin to add a little bit of more movement to the painting. Another outlining in here for the stomach section, simple curved lines. Also using the sieves to create a little bit of appearance for the bonickels in here for the fin. Creating the same patterns or design or you can see barnacles in here for the section of the fin on the other side. Now, let's have a closer look to avoid smudging of the color by my palm, I'm using a small paper underneath my palm for the barnacles, the uneven seats that we have created on here, uneven saves that we have created on top of the head, simple spiral like saves like this. I'm going to add multiple bancles in here, and then I'm going to surround it and use hatching lines later on for now. Just simple spherical seeps like this, spiral like seeps of varied length. If you on top of the whey. Now, I'm going to fill the remaining section, mostly using the hatching lines, curved hatching lines. I'm going to keep this project a little bit simpler with this kind of simple designing. But if you want to incorporate more design elements, you can do that, too. So these two projects are a little bit simpler and easier under 45 minutes. The other projects which are quite longer and has more elements, more design element, we'll be covering it later on, adding more lines in between the banicles that we have gradient and using curved seeps to surround it. Simple semicircular curved seeps like this to surround the bancles that we have p for the forehead. Basically, I'm going to surround all the spiral seeps that I have created with more curved lines. And then for the remaining section, mostly, I'm going to use the hatching lines for this large empty section, adding more lines a little bit more detailing for the in following the curved seep of the blacking that we have added and adding more lines in here and there, curved seeps and broken hatching lines like this. If you want to add more patterns and designings in here for the sections of the fence, you can do that, too. Now let's do the same thing for the remaining section, the wheel stain. Added basically the same thing for this smaller fin on top of the wheel's body, following the seep and added the curved lines in here for the wheel steel. For the curved section, I just added more spiral seeps and for the remaining section, I'm just going to follow the contour of the wheel steel and adding more lines. Just try to avoid over saturating with the lines. Combination of articles and horizontal lines in this section. A few small simple designs like this, ravel designs for some of the sections, I'm not going to oversaturate with this kind of design. For the middle section, I'm also going to incorporate a little bit of this kind of pattern or design for the spheres that we have created using the golden color and encircling it completely encircling it with this color. Instead of this, if you want to use other color combinations, you can do that. I'm going to use two outlinings like this. For all the sphets that I have created in here, I'm going to do the scene thing. For some of the spheres in here, I decided not to completely do the outlining, so I'm using a little bit of broken outlining. Apart from this, I'm also creating this kind of starts to add a little bit more decorative elements for the background, to add a little bit more decorative elements to the background. Once again, these are all optional. Instead of this kind of patterns and design if you want to incorporate other ideas, you can do that, too. Continuing on with the remaining circles that we have created. And adding more simple stars. Now for the gray and the pink moon in here, I'm using the black color. I'm going to do double outlining and for the section in which we have got the spheres, the golden spheres, I'm going to leave it to make it a little bit more darker and to increase the line weight, I'll be doing two layerings or multiple layerings of it. For now, I'm just encircling the moon. More starts with this color. With this color, I'm creating comparatively smaller circles, and smaller starts. For the lower sections, I'm doing the same thing, it's not visible in here, but continuing on with creating more small circles and stars using this. Now continuing on with the remaining section, doing the outlining. After doing the outlining for the gray moon, I made the outlines a little bit more darker, added more stars and spheres, then proceeded with the rose moon, use the pink to do the two layers of the outlining, creating stars and more spheres using that. And this is how this project turned out. I hope you enjoyed painting this wheel of the Rose moon, and I'll see you in the next project. 26. Golden Sky Wanderer Day 7: Let's start with a simple pencil sketching, starting with the horizontal line in here. We have got this horizontal straight line somewhat in the upper section of the paper. The wheel that we are going to create will be facing towards the right. In here, we have got a little bit different kind of arc seam, so this kind of little bit curved arc seam. This is somewhat similar to angle line. Here, this whale tail is going to be a little bit different from all the tails that we have created so far. Extending the line a little bit more for the undervalue of the veil now extending it in here like this. The line that we started with the arc, I'm using it as the outline section, the part of sketching, and we are going to create another line for the middle section. Making this section a little bit more thicker, this is going to be the upper part. The middle line in here for the whale's mouth. Is mouth is shifted a little bit towards the upper part and it's facing towards upper direction. So that's why the lower portion in here will be a little bit larger as compared to all the other whales we have created. In here, we'll have its fins and the eyes. Now extending the lines to create a clear distinction for its stomach and underwlling. Extending its size a little bit for the eyes. You don't have to strictly follow what I'm creating. Feel free to make changes to the side as you see fit. The other fin on this side, As we progress towards the left, I'm making it a little bit thinner, a little bit different kind of veil stall in here. So it's facing downwards like this. For this project, I'm only going to create multiple clouds, larger clouds for the background elements. And apart from that, I'll also be adding one cloud on top of its body that is covering some sections of it. I was not satisfied with this section, so I am recreating it the eyes and the hels win in here. This project is going to be a little bit easier. The whels are in here. The wheels are in here. Creating the curve saves for the barnacles, making it a little bit more curved, clear distinction between separate section of its mouth, upper and the lower mouth, upper and the lower part of the mouth. The wheels in here at the top. All the steps in this project is going to be somewhat similar to what we have done so far. So I've skipped some of the steps like doing the outlining and creating the background elements, the cloud and inking it. So this is how it turned out. I know you can easily create it. You have the pencil outlines. I just did the outlining the file liner, added the ink color, and created multiple clouds like this. Now in here, I'm continuing with the file liner and creating multiple inner outlines. So for some of the sections, I'm using two lines. For others, I'm going to use three lines. And for the insights of this section, I'm also going to create few more additional clouds. So of all the projects that we have covered so far, this project has the most amount of clouds, larger clouds in here in here, I'm not going to use Amt color, I'm only going to use the golden sparkle paint. For the designing elements for the whale's body, I'm only going to use the stars and a little bit of smaller and larger dots. Now, going in with the sparkle paint to show you how I'm going to add the patterns and designing for all the clouds. Underneath the black point liner, I'm going to add the yellow like this, the golden yellow, two or three layers will do the work. So for all the sections, I'm going to create single lines for the smaller one, I'm going to create multiple ones if required. And I'm also adding more line weight to it. So two or three layerings if required. Some of the sections, as you can see in here, connected with each other, others are separate. Same as what we did with a fine liner. Few additional clouds, smaller section inside. I'm not going to oversaturate it. Four or five will do the work. Now, once again, I'll be going back with the filed for outlining the sections, the inner clouds that I have created. Once again, going back with the file and and creating all the smaller details, two or three lines like this. The second and third outlining in here for all the remaining clouds In here, I decided to do all the outlining the inner outlining for the remaining clouds first. And then once again, we'll be going back with the golden colored pen. And as I was mentioning, adding another outlining for these clouds just under and above the golden section, the golden sparkle pins that we have used. Continuing on with the remaining clouds in here. In here, I've increased the speed a little bit, since this is the repetitive process and going to take a little bit of time. If you want to follow along with me, you can always pause the video or you can just reduce the speed. Y apart from the clouds that we have created in here, if you want to include other background elements, you can always do that. You can use the compass to create multiple moons and the suns in the background. Or you can also experiment with other variations and patterns or designs, unique patterns and designs that you can come up with your own. And with these, we are done with this one. For now, just continuing on with doing the secondary and tertiary outlining for the intersection of the clouds as well as adding a few more additional clouds for the internet sections like this. I With these, we are done with the clouds in here for the middle section of the whale's body, and we have got two more clouds in here. Since I have removed some of the sections of this project, the repetitive sections. So this project has become a little bit smaller. We only got two sections. This is the first section. Then after that, we have one more section and which we'll be adding the detailing on top of the whale's body as well as use the sparkling golden pints to add more detailing. And with these we are done with this one. Now moving on to the last cloud here, repeating the same thing. Now creating few more adsont cloud for the intersections, repeating the same thing, multiple outlining for the intersection, moving on to the other side of the pon repeating the same thing, multiple smaller cloud outlining and now creating few more a distint cloud for the intersections like this. And with these, we are done with all the clouds. Using the fine liner, we'll be using this parking pin later on. For now, and just decided to continue with the fine liner in here for the wheels mouth. Multiple curved section and curve line like this in here for the under part of the wheel's mouth using small lines to do the hatching in here for the underpar in here for the wheel's mouth, adding this kind of curve chips in here for the barnacles. Adding few more lines and increasing the line weight in here, the curved part. Adding few more curved lines in here with a little bit more line weight. Now, we are going to create the multiple large and small lines like this in here for the remaining section. I'll be increasing the line weight later on. Also be increasing the line weight of the different sections a little bit and also be doing a little bit of hatching, as well as a little bit of sading for certain sections. For now, just continue on with creating this kind of broken and long lines like this. Adding it in here for the under veil continuing on with more lines, broken lines like this, broken hatching lines. So be doing the same thing for the veil tails. For now, just increasing the line weight a little bit. Instead of using overline technique, I'm just adding more line beside the main lines like this. Two or three lines. I'll be doing the sing using the hatching technique just near the fence as well as for the middle section. Now doing the same thing in here for the underbelly part, increasing the line weight a little bit by adding more line addition to the main lines. Later on, I'll also be using a little bit of the tombos breast pain and use dry breast technique to make some of the sexon a little bit more darker by overlaying on top of this fine liner, the tomos breast pain. In here, using curve lines to do a little bit of hatching and doing a little bit of seeding to make this section a bit darker. And with these, we are done with the fine liner for now, I'll be using a little bit more fine liner later on. For now, going back once again with the sparkling pink, the golden color. We are going to do the same thing that we did for the first cloud that we created two or three lines like this inside the fine liner. So two or three line like this with a little bit of more line weight. For all the sections of the remaining cloud, we are going to repeat the same thing. And once again, I'm going to increase the speed a little bit, since this is your repetitive process and it's a little bit time consuming. And before doing that, as you can see, apart from the addisonal outlining that I am doing, I'm also creating standalone clouds for the inner sections like this without any black fine liners. So for some of the empty sections, I'll be including or adding this kind of additional clouds for the inner part. Apart from this, if you want to make it a little bit darker, you can always create few shadows, additional shadows using the golden sparkle color paint or you can use the fine leonarO if you can also use the blue colored sparkle paints. Now moving on to this cloud, the middle cloud. In here, we don't have any other addisonal background element. If you want to include other sun or moon kind of background element, you can do that. And you can also use the black ink that will also make it interesting. Since we have separate clouds of lighter set floating around the whale's body, and you can use black to create another circular moon that will be interesting. The remaining two clouds in here, adding get in here, the same thing, two or three outlining for the intersection, as well as creating a few additional one. And finally, moving on to the last one, repeating the same thing. This is your repetitive process. A few more additional one like this inside. And with these, we are done with this, moving on to the other side. And with these, we are done with all the clouds with this golden sparkling pane. We are back to normal screen using the same sparking pain, the golden colored one, and we are going to do a little bit of seeding as well as hatching. In here, we are doing a little bit of sding. So I'm applying a little bit of more presser towards the whale's mouth, and as we are moving away from it, I'm decreasing the presser. Just flick your arm to get this kind of lighter sading. And with this, we are done with this section. I'm moving on to the other side, just near the whales pen doing the same thing, flicking my arm and getting this kind of lighter seeding. I was not satisfied with this section, so doing another layer of seeding in here. Instead of this, if you want to use other colour, the gray color or the blue color, that will be interesting too. Now moving in here for this side, beside the fin, a little bit of seeding. Moving on to this side, just beside the whale's tail, a little bit of more seeding using the sparkling paint. And with these we are done with the seeding. If required, I'll be doing a little bit more. But for now we are done with this. Now, let's have a closer look in here for the whale's tail. Dividing into different sections using the fine liner. Now we are going to do a little bit of seeding in here using the hatching line, the same kind of thing that we did with this sparking pin, flicking my arm to get this kind of lighter seeding. This is somewhat similar to the pencil seeding. Just flick your arm lightly to get this kind of lighter seeding effect. I'm also making these sections a little bit larger with a little bit more line weight. Now, we are going to do the same thing on here, this side, extending the size a little bit. And then we'll be doing the seeding using the simple technique. Let's do the seeding. Very simple seeding technique. Just by flicking your arm, you can get this with these, we are done with this section. Now for the upper part two, we are going to do the same following the conto the curve part of the hiltail and adding it accordingly. Now in here, we are going to change the direction. Just by flicking your arms lightly we'll get this kind of lighter sed, adding it for the remaining section. And with these, we are almost done with this. I'm also going to add a little bit of yellow in here. So going in with this sparking paint and doing the same thing. Seeding in here for both the upper and the lower part. So mostly we're going to feel it entirely. I'll be keeping the middle sections a little bit lighter, otherwise, the upper and the lower part, as you can see in here, are completely covered with the seeding technique using this is sparking paint. If you want to do a little bit of seeding for some of the suction inside the clouds, you can do that, too. And that's all for this section of the video for this project, the Golden Sky android. 27. Large stars and Stippling : Let's continue where we left off. And here we are going to add main detailing for the whale's body. So using the jelly pen, white jelly pen and starting with adding a little bit of detailing in this form. So a little bit of scribbling in here for the upper part of the barnacle for the whale's mouth or for the whale's head in here. So for all the curve saves in here, I just simply added the following the car part of the whale's mouth and using this kind of broken lines with a little bit of line weight like this. Moving on to creating a few more addonal bancles using simple circular saves and inserting them, adding a little bit more detailing using small dots and small lines like this. Now let's create our eyes before doing that, creating additional outlining using the in In here, we are going to create the human like eye. A little bit smaller eye, eyeball, this is going to be the eyeball, a little bit of highlight using the white for the inner part. To make it a little bit more distinct and a little bit more interesting, we are going to encircle it with lots of lines. So curved lines like this. Few more additional baile slides in here just beside the eyes. I'll be coming back to the eyes later on for now, continuing on with the particles in here for this section of the wails fin, another outlining in here with the y. For most of the sections in here, I'm going to do a little bit more outlining using the white, and to create a clear separation between the wails fin and the remaining portion of its upper part of the body, a few more lines to sew a little bit of separation in between the els upper part and this fin. A little bit more detailing for the eyes, more curved lines like this. For all the clouds that we have created in here on top of the wheel's body to create a clear separation in here, I'm just going to do this kind of outlining. So basically, I'm going to encircle all the clouds with two lines like this, and this is how it turned out. Now for the designing, as I mentioned, I'm just going to use simple dots and a few stars like this, a bit larger dots. But if you want to include smaller dots too, you can do that like this. And I'll be using these dots to transfer them into stars as well as add a little bit more detailing for some of the dots. I'll be sewing you later on. Now, just continue on with adding a few large and small dots throughout the entire section. Adding it for this one, and now for this one, adding small and large dots like this. No transforming some of the dots into star. Eight corners starts like this. So we have got vertical and horizontal lines, so intersecting lines. So we have got vertical and horizontal lines in here, then a few more additional lines on the other four sides like this to transform into star. Another star in here on top of this find. Let's create in here for this one, too. One more in here. You don't have to transform all the larger dots that you have created. I'm just going to transform some of them. But if you want to add more stars, you can always do that. You can also create smaller stars like this and add white dot on top of it later on like this, smaller star in here just beside the wheel steel. On top of this fin. In here, too. A smaller star in here just beside it. So underneath this fin and I'm not going to saturate it with lots of designs and pattern. I'm just going to keep it a little bit plain and simple. Apart from this, I'm also going to encircle some of the larger dots like this. I'm not going to encircle it completely just inserting one or two sides like this for some of the larger dots. You can do the same thing with the smaller ones too. And for the empty species, add a few more dots here and there. If you want to include more designing and pattern for some of the sections, you can always do that. Inserting some of the smaller ones too. Transforming this two into a star Encircling some of the smaller ones too. A little bit more detailing for the eyes, more lines to encircle it. Two more dots in here for the fin, and this is the additional detailing that I was talking about. Four lines on four sides of the stars, four lines on four sides of the dots like this. This makes the dots a little bit more interesting. The simple small lines like this on all the sides of the dots like this. For some of the larger one and for some of the smaller ones, I'm going to do this small dots or small line on all the four sides of the dots. And with these, I am satisfied with it. If required, I'll be adding a little bit more detailing. But for now, I'm going in with the Tombos breast pin. I'm going to use a little bit of dry breast technique to redo the outlining for some of the sections. So overling top of the fine liner like this. Now for the underblly. So basically, I'm going to make the outlines a little bit more darker to make the separation in between the clouds and the wheel's body a little bit more darker and a bit more distinct. And since the pain that I'm using has a little bit of less ink, so I can use it to also do the dryrse technique. I'm just changing the angle a little bit to get a little bit of dryrus technique. So for the sections, I'm going to use a little bit of drivers technique. Going over all the larger lines that we have created earlier with the fine liner and adding the breast pin in here like this. And as you can see the lines that I'm getting is a little bit less darker, somewhat similar to the dry brush technique that you can get with the atrocl brush. A little bit of mount detailing. And with these, we are done with this section now in here or under bail repeating the same thing, a little bit of drustechnique, the same kind of drivers technique that you will get for the watercolor brushes with less water on it. And as you can see, I have not covered the entire section, only some of the sections. And with these, we are done with the Tombos breast pin for now. Going back with the fine to add a little bit of mount detailing, making some of the section a little bit more darker by doing a little bit more hatching using the curve line, particularly for this section, the middle section. Adding few more line just beside the wails fin to make it a little bit darker. And with this, we're done with the last project, I hope you enjoyed painting this. 28. Conclusion : Thank you so much for joining me in this seven day Celestial Whales challenge. I hope you had fun painting these majestic creatures and exploring ink, watercolor, metallic paints and the intricate patterns in the designing that we created. I hope this class help you experiment with new techniques and encourage you to add your own unique creative touches to each individual illustrations. If you enjoy this class, please check out my other classes on ink and watercolor illustrations. And if you have completed any of the projects, don't forget to upload them in the project and resources section. I'd love to see what you have created. Thank you, once again for joining me. Keep creating, keep experimenting, and I'll see you in my next class. Happy painting.