Dark Forest and Haunted Homes: A 5-Day Ink Drawing Challenge

1. Welcome and Introduction : Hi even and welcome to my new class, Dark Forest and Haunted Homes, a five ink drawing challenge. In this class, you will learn how to create hauntingly beautiful and atmospheric ink illustration through five unique projects. We'll be drawing a variety of scenes, including a smoky ghost house, a Secluded Winter Cabin, a broken, abandoned home. Then we have Haunting Under the star, and lastly, we have the Night Visitor. We will begin with the basics, where I'll guide you through essential ink techniques such as line work, hatching, shading. I'll also walk you through the simple supplies you will need a fine liner, and a bit of ink or watercolor is enough to get you started. And apart from that, I'll also be showing you various elements, houses, trees that we'll be using for our three main projects, how you can easily create it in different ways and different kinds. Hi, my name is Whale. I'm an artist from India, and on in skills here I teach beginner friendly classes on ink illustration, oil pistols, watercolor, and mod. You can also find my work on my Instagram and YouTube. This class is suitable for both beginners and intermediate. This class is designed as a five day challenge where I'll be uploading one project each day. Most of the lions are taught in real time, so you can draw along comfortably at your own piece. The projects in this class are under 20 to 40 minutes, so you can create one project each day very easily. So join in this class and let's create some dark, moody and beautifullyk ink illustration together. I'll be seeing you in the first lion. 2. Class Project : In this class, you will be creating a collection of five dark and atmospheric ink illustration based on haunted homes and forest scenes. In here, we have got the Night Visitor. Then we have Haunting Under the Stars, followed by broken house, we have got this Wood Cabin's Smoky Ghost. Then we have Secluded Winter Cabin. Apart from that, we have got the three practice sats, one of the basic pen and ink illustration techniques. Then we have got some of the elements that we'll be using in our three main projects. And then we have this tasting our supplies and creating various lines. Your task is to complete all five illustration or choose your favorite ones, focus on building mood, depth, and texture using ink, and take your time and follow along at your own piece. Once you are done, upload at least one finished illustration or your full set of the project. You can also include your practice seeds and experiments. I'd love to see how you interpret the scenes and add your own creative touches. Enjoy the process, experiment with your own strokes, and most importantly, have one while creating. 3. Supplies : For this class, I'm using simple pencil and erase it to do the basic pencil sketching. Then we have got Sakura microns, fine liner. Mostly, I'll be using black colored fine ans to do the coloring, and we have got the Stumbo brrst paint, gel pens, simple ballpoint pen will do the work too. Mostly black and blue colored wallpoint paint. I'll be using 300 TS and watercolor paper. You can also use sketch pens. In here, I've also got this grey colored breast pin, white gelpin. Apart from this, I also got this set of marker, grey colored marker. For some of the section, I'll be using this. There watercolor brushes, a small and large brush will do their work. Black ink. I have got tomb black ink from zukurataki TissuPaper and masking tape to secure the people. Apart from this, I'll also be using few breast paints. I won't be using all of them. But these are some of the breastpains that I have got. These are Zi Kurataki breastpin and Pentls breast paints. I'll only be using two or three of them. You don't have to use this. You can do all the work with simple breast paints or simple fine liner or using watercolor breasts. I'll also be using this large breast to cover larger areas and to do weight and weight technique. Apart from this for a little bit more detail, I'll be using this kind of brasses. These are optional too. And instead of using the black ink, you can always use the watercolors. To make the projects colorful, you can also use colored breast paints. You'll also be using white ink. You don't need all the supplies, a normal black fall point paint along with watercolor and a little bit of ink. With this, you can create all the projects. 4. Basics : Hi, and welcome to the basics. In here, I'll be showing you some of the basic ink and pen illustration that you can use. I'll only be using some of them. Let's start with a basic line control. With the fine liner breast pen or the ballpoint pen, we can create varieties of the line in here. I'm just creating simple directional lines. Then we have curve sheets and loops. You can also create this kind of broken lines. These are foundation for all inquire. Practicing this kind of line and various other helps improve hand control and consistency. Now moving on to spacing, spacing means the distance between the two lines. The wider the space, the lighter the area will appear. The tighter the spacing, the darker the areas will appear. The first one that I created with more spacing, the second one in here with less spacing. So depending upon the requirement, we'll be using various kinds of spacing in between the lines. Next, we have line length, so we can create various kinds of lines from large to small. Generally, I'll be using sort lines for root texture and long lines for smoother surfaces. Apart from this kind of simple and normal straight lines, you can we can create other kind of curvy lines, too, of various seeps in the sides. Then we have line weight. Line weight refers to the thickness of the line. With different kind of supplies, you can create different kind of line, and that will have different line weight. Generally, with the light freezer, we get thin lines and with heavy freezer, we get thicker lines. And to make line a little bit more thicken, you can just overlay more layers like this in here with this till pin. Next, we have angle. Changing the angle of the lines add variations and direction which helps guide the viewer's eye just by changing the angle as you can see in here, I'm making the lines a little bit more lighter. I'll be using this kind of angle line to do a little bit of setting later on. With different kind of mean you can create different kind of angles. So I would recommend you to do a little bit of experiment on your own. Now continuing on, we have got hatching. Hatching is one of the most important technique in ink drawing. It involves drawing parallel lines to create tone and texture. For most of the project, I'll be focusing on hatching for some of the sections. Here are some of the examples of simple hatching line. The first one I used vertical parallel lines. In here, we have horizontal parallel lines. We have got angled parallel lines in here. And the fourth one in here, we have got this kind of decreasing order of lines. Apart from this, you can also create this kind of broken hatching lines. Besides this, we have got even hatching in which the lines are evenly spaced and uniform. It's basically used for clean and flat surfaces. Next, you can create dense hatching in which the lines will be placed very close together. It will create a bit darker tone. Then we have loose or broken hatching. The three that I showed you in here, one with a little bit of even lines. The second one with more uneven lines. The third one with the horizontal ones. Then we have got directional hatching lines lines follow a directional flow like this. Or you can say that these are curved lines that follows the principle of somewhat closer to hatching. I'll be using a little bit of this kind of curved hatching lines for some of the sections. He things to focus on while doing the hatching, keep your lines consistent and control, maintain a steady direction in each layer, and avoid random strokes. Each line would feel intensional. Next, we have sading using the hatching. Next, we have sding with hatching. This is about creating a smooth pronation from light to dark. And here I'll be doing four different example of doing seeding using different hatching technique. Start with the light widely spaced lines. Gradually add more lines closer together, increase density as you move into the sados areas. In here, I'm making this region, the left side a little bit darker. So I added more lines in here with less spacing in between them. Now for the second one, and here we are using angle parallel lines to do the hatching. I'm going to make the upper section, the upper left corner a little bit darker. So more layers of hatching lines with lesser spacing to make this region bit darker. Apart from the seating, you can also create a gradient. The second example is somewhat of seeding mixed with gradient. For the third one, this is a different kind of seeding. Instead of using large lines to do the seeding in here I'm using rows and rows of hatching lines to do the seeding, layering one on top of the other to do the seeding in this manner. This creates a little bit more texture and we create different kind of appearance. Apart from that, you can also use the broken hatching lines to do the seeding in the same manner like we did for the first and the second one. Apart from this, just keep in mind for the lighter areas, use fewer lines, for mid tone, use moderate is piecing, and for darker areas, create tightly packed lines and to create a different kind of effect, you can always wear the line piecing, line length and line weight. This will help you avoid hard transition and make the seeding look more natural. Next, let's move on to the cross-hatching. Cross-hatching is created by layering hatching lines in multiple direction. In here, for the first one, we have horizontal and vertical lines. In here, we have angle line. And here's a combination of angle line and straight lines. Apart from this, to make it a little bit more darker, you don't have to just do the two layers of the hatching instead of it. You can do multiple layers like this. This is our third layer. This is our fourth layer. With more layers, you can make it more darker. And apart from the normal and the plain straight line, you can always use the broken lines to do the cross-hatching. Like this in here with the broken lines. Apart from this, there are different types of cross-hatching that you can do. For the light cross-hatching, just use two layers to get a bit of soft setting. For dense cross-hatching, use multiple overlapping layers. With the green cross-hatching, you can create evenly spaced line in perpendicle direction. It gives a little bit of structure and control look. And for the loose cross-hatching, it gives a little bit of uneven expressive lines. It's great for natural texture. In here, we are doing a little bit of seeding using the cross-hatching. This is somewhat similar to what we did for the sading using the hatching lines. You start with a lighter hatch layer. Add second layer in different direction. Increase density in sadose areas by adding more layers. And reducing this piecing apart from that, slightly increased line weight. So in here, I made the upper section, the upper left corner, bit darker. With fewer layers, you will get a lighter tone with more layer, you will get darker tone. Next, we have stippling in the technique in which we use dots instead of lines to build tones and texture. Ford stippling, just create this kind of simple dots with your pen or fine liner or the ballpoint pen that you are using. Simple plain dots with the name of your pen like this. With a larger pen or with a larger name, you will get bit more darker dots like this. You can also do the sealing using it. For this example, let's make the upper right side a bit more darker. To do that, I'll be adding more dots for that tree in the upper corner. The stripping is similar to the hatching and the cross-hatching for lighter areas, at few dots and speeds them far apart. And for the darker areas, add more dots piece close together. Like in here, I'll be adding more dots towards the corner right corner, the upper right corner. In here with this stippling, the density of the dots control the value, not the preser. So in here, the preser and angle does not matter that much. It's negligible. And to give it a little bit of cleaner look, always keep your dots small and consistent. Avoid turning dots into tiny lines, keep them circular. Like earlier with the hatching, you can also do the even stippling, cluster distipling or gradient stippling. In here, let's create a circular shape using this stippling and we'll be doing the seeding corner the lower section, the lower part of the right side, more darker with more dot. Adding more dots, increasing the density of the dots in here to make this set admit more darker. I'll generally be using it to create soft shadows or screen texture or for background atmosphere. Apart from this normal size dots, you can also create bit larger ones like this. You can experiment with this kind of smaller and larger dots with a strippling technique. Apart from this, you can also use it to do the outline or create lines using it in this manner. With the stipping you can create a very beautiful illustration. The main disadvantage is that it takes a lot of time when doing the stippling. Be patient stippling peaks times, but it gives very smooth and subtle results. I'll only be using a little bit of stepping for some of the section. Next, we have got scribbling. Scribbling uses free flowing, overlapping lines to create texture and siding quickly. These random lines in any direction will do the work. So these are just random scribblings? And you can also get seeding using the scribbling like this. In here, we are going to make the left side a bit more darker. As the hatching and the cross-hatching, scribbing can be divided into light scribbling, dense scribbling, and layered scribbling with the scribbling, speed of the movement affects looseness. It's also pressure sensitive. More pressure creates more darkness and overlapping in here creates higher density and create darker tones. Next, we have scallops or repetitive pattern. Scallops are repetiting curved themes, often resembling small arches or waves, simple kind of scallops like this, baby or curvy lines in this manner. In here, here's another one. You can create many variations for the scallops. In here, you can create this kind of triangular saves for the scallops, too, making it a little bit pointed and giving it sharp edges. You can create even scallops for clean and decorative elements. You can create layered scallops for overlapping rows or to create a little bit of depth. You can also create mixed pattern, combining arcs with knigag saves or lines. You can also create inverted scallops like this. Evenly or unevenly pieced scallops like this. The purpose for this kind of scallops is to create a stylized texture. Mostly, I'll be using it for the roofs. It also helps in adding rhythm and pattern to your drawing. You can also use it to create the scales for the face reptiles or for the tree. You can create more stylized version of the scallops like this. I would recommend you to experiment on your own and create more designs and more stylized pattern for the scallops. Now, some of the extra elements that I'll be using for some of the section in here, we have got salt flack lines. It can be used to create grass fur or rough surfaces. Mostly, I'll be using it to create smaller grasses on the ground. You can also use clustertugs to create ss foliage like this. You can use this kind of V seeps to create a resemblance of flying bird. You can use small curves and dass to create water ripples and wind effect like this. Apart from this, you can use random marks to create background texture and atmosphere like this. Feel free to experiment on your own and create more different kind of marks and more practice. So that's all for the basics. I'll be seeing you in the next section. 5. Testing Supplies : Welcome to the testing supplies. In here, I'll be showing you some of the supplies that I am. I won't be using all of them. I'll only be using two or three of them. Mostly, I'll be using the Sakura micron fine liner, the black one to do the outlining, and I'll use a lot of black watercolor, black watercolor or black ink, and a little bit of breast pain if required. Apart from that, I'll also be using white jelly pen and white colored ink for the highlights. In here, I have got this five different colored sakura micron pain. I'll only using the black one. But if you want to make it a little bit more air for some of the sections of the project, you can use red. You can also use a little bit of blue to do the outlining or add a little bit of coloring for the windows. Then here we have got breast paints. But mostly in here, I'll be using the Tombos bras pain. It's comparatively more darker than the Sakura micron fine liner, and it has got excellent control. Apart from this, we have gotten this from Pentls bras pen. With it, I can create more varieties of line more thicker and more thinner, a wide varieties of line with it. With this kind of breast pain, you can create more dynamic lines with varied thickness. You can create all the different kind of basics. You can use it to create hatching, cross-hatching, scribbling. So for some of the sections, I'll be using a little bit of the breast paints. You don't need the breast pins. These are not essential. With it, I can also create this kind of mitror texture by changing the angle. Apart from this, I also have this colored brush pins. The main advantage with the breastpin is that it creates more dynamic lines. I have also got the sparkling brass pens. With it, I can create yellow and a little bit of sparkling lines like this. I won't be using it, but we want to use yellow for some of the sections of the windows, beside it, you can also use the normal gel pens. I'll be using the steel Pismo some of the section, normal ballpoint pen. So this simple normal ballpoint pen in here I am. Here's another cheaper version of the ballpoint pen. You can also use the sketch pens to do the coloring or do the highlights or do the outlining. So I have got black and blue ones. Apart from this, I've got this gray colored breast pin, for some of the sections, I'll be using it to create gradient or to sew a little bit of cats for some of the regions. It's dual tip. With one, I can create thicker line with the other side, I can create thinner line like this. I forgot to include this normal breastpin that I have. So this is a cheaper version. With a cheaper version of the breastbin you can also create the same kind of line. And then we have the ink. I've got this two Zikuratak ink that I'll be using. As you can see with the brush, we can create more varieties of the line, more thicker and more thinner lines. I'll be using a large and a small size breast to do the inking. You can use the inner side of the brush to create hatching, cross-hatching, scallops and other basic ink illustration techniques. You can also use it to do the flat pass like this. My flat was, I mean, completely covering the entire section with a uniform color like this. I'll also be using wet on wet technique to create the ghost for one of the project. Start with the primary layer of the water and then on top of it, overlay the black like this. And you can also use the black in to create the gradient from dark to light. Just keep on adding more water as you progress and diluting it. I'll be just expanding the color in here by adding a little bit more water to it, by adding a little bit more water to it and diluting its consistency. Mostly for the background, I'll be using the darker consistency and uniform consistency of the plaque. And for some of the section where it's required to create this kind of gradient, we'll be using lots of water. And beside that, and to create Ghost or the smokes, we'll be using weight and weight technique. Feel free to experiment with other supplies that you have. These are some of those supplies that I sold you. I won't be using all of them. I'll only be sticking to three or four of the supplies for most of the projects. And that's all. I'll be seeing you in the next video. 6. Tutorials Part - 1: Welcome to the Part one. For the P one, we have the Ghost to the cabin, the first project, then we have the Secluded Winter Cabin, and the third one is the Broken House. This part one is divided into two sections. So this is the first section. These are the three projects in this part one, and I'll be showing you how you can draw out the basic sketches for the trees, the houses, the doors, windows, and some of the background elements. So so let's start with the basic S for our heart. So the first and the second houses are the hertz. So very simple and basic seeps for the heart, simple geometric rectangular seeps. This is a bit simplified version for the main project, we'll be adding a bit more details and And we'll be adding more characteristic to this heart. So let's add a chimney in here, a total of three to four windows, a ventilation on top of that door. And yeah, that's the simple and basic C for our heart. Here's a simplified way in which you can create at, a large rectangular C. And now let's divide it into two sections, a larger and a smaller one, a triangle undertp and few more lines for the top of the heart. So here's a simplified way in which you can create the heart. Now, let's ink it. So here I'm going with a brush pen to make the process a bit faster. If you prefer you can use the fine liner. And yeah, let's do the outlining. And then we will add a bit more details to the huts later on, the doors, the windows, and the ventilation on the top, and we have got chimney too. The ghost will be coming out of the chimney. For the lower section in here, I'll be creating a bit of texture pattern later on. So for now, let's only do the outlining. Now, let's do the outlining for the doors and the windows. You don't have to follow the same exact outlines that you did with a pencil. Feel free to make adjustments and changes as you see fit. So yeah, we are done with three windows. Let's add a circular. Let's add a circle for the ventilation at the top. Chimney on the right side. So this is our very simple version of the heart for our first project. Now, let's erase it, and I'll be showing you very simplified version of the two kind of windows that you can add for the art. Here I'm using the fine liner to get a bit more detailed lines and using somewhat broken lines to create the windows. For our main project, I'll be creating uniform and thick lines. But here I'm just showing you two different kind of windows that I'll be using Never Project. Dividing the windows into four sections. This window got four panels, and yeah, for the insides, I'll be completely filling it with the black. So here, once again, I'm using the brush pen. If you prefer, you can use the fine liner or sketch pen or black ink or watcle. And this is our very simplified version of the four panel windows. Now, let's create a bit more defined window. So this window will have five panels. A very simplified C for the windows, a rectangle, and on top of it is a semicircle. Dividing it into four panels for this section, and this will be the fifth panel at the top. Here, too, I use broken lines to create the outlines for the window. If you prefer, you can create uniform lines and if you want straight lines, you can use the rulers, too. So the choice is yours. Here, instead of using the breastpin, I'm using the fine liner to feel line sides of the window. So with the fine liner, I'll get more accuracy and precision for the small and final details, but it will take a bit more time. Depending upon the pre season and the accuracy, switch between the fine liners and the brush pins. I'll be mostly using the brush pains for larger areas and the areas in which I'll need to create dynamic lines or some part of dark texture or pattern. And for the smaller areas or to do the rough outlines or the skits, I'll be using the fine liners. Initial outlines will be done with the fine liners and the finals with the brush pines. Now let's move on to the door. A very simplified version of the door. So this door will be this door will have two panels. Let's read the outlines. Very simplified version of the door, divide it into two panels. So this son will be incomplete white, and the other parts will be covered with a black ink. So this is just a very simple version of the door. For our third project, we'll be creating a bit more detail doors with wooden planks. And for our second project too, the secluded ventral cabin, we'll have very simplified version of the door and the window. With these, we are done with the outlining for the door. Now let's ink it. Here, too, since the area is a bit larger and I don't require that much accuracy, I'm using the bras pane. Carefully filling the bras pine for the outer outline. And now let's feel the insides with this after this, I'll be sewing you the brick pattern that I'll be creating for the lower section of the hurt, the ventilation at the top of the door. A few example of the trees, the black ghost and the surface. We have got four or five things for the first project. And with these we are done with the door. Let's do the ventilation. So here I am directly using the breast pain. So if you are comfortable with directly using the breast pain, do that. I take it will save a lot of time. Here, once again, I'm using somewhat of broken lines to create the outlines. Now let's darken the outlines a little bit more, and let's divide this listen into four different sections. To draw out the outlines, I find it a bit more comfortable when I use the broken lines. Now let's fill nine sides with the black. For most of the windows and the doors, I'll be completely filling the regions with the black or the seeds of the grain. And now let's move on to the pattern for the base layer or the Bs of the hut. So I'll be creating this kind of pattern somewhat of brick like pattern. Here, too, I am using the breastban. If you prefer or if you want more precision and accuracy, you can do. You can use the fine liner. So the choice is yours, and I'll be creating this kind of pattern for both the sides of the hurt for its base. Let's move on to the hurt. Let's add a bit more details. So I'll be adding this kind of broken lines for this front portion, for this front portion of the roof of the hurt, and for the edges of the hurt, I'll be adding lines. So straight lines. Adding straight lines parallel to the main lines. And here, let's add the base layer. So the kind of pattern that I sewed in here, the kind of pattern that I sewed just now. So since the piece is a little bit small, the pattern is not that much visible. If you want, you can use the fine line it to create somewhat more precise and clear outlines for the brick, for the base. Now let's do the windows. You can see since the space is a little bit small, so I'm not creating that much detail window in here. But for our main project, we'll be creating a bit more detailed and defined windows. And if you decide to create the windows in this manner, what you can do to make it more defined and detail is to add another outline or bond ring. So just by surrounding it, you can add more depth and detail to the window. Let's do our final window, four corners for four panels. And yeah, we are done with the windows. Let's do the door. A very simplified version of the door, adding the black for the upper and the lower section. And finally, let's the ventilation, very small four dots for the ventilation. And now let me show you how are we creating the very simplified version of the trees. So this jig jag like pattern to create the appearance or resemblance of the trees. So pine trees in the background. As we move down, just increase the stroke's length and make it a bit more broader and more thicker. Very simplified version of the pine trees that I'll be creating in our main project. And let me show you how I'll be creating the ghost. Very basic simple outline. I'll be using wet on wet technique to create the ghost to create a bit of smoky appearance for that. So going over the outlines and completely filling the entire section with this water. And now going in with the black ink. So filling the entire upper section with it and let the ink flow towards the lower section to create somewhat of a smoky atmosphere for this black ghost. You can create the same kind of trees using the watercolor brush too. With the watercolor brush, you can create somewhat more defined and detailed trees as compared to the one that I created with the breast paint. So feel free to use breast pain or watercolor, whichever you feel more comfortable with Let's define the seep of the goose a little bit more, and then I'll spread the ink a little bit more towards the lower section. For that, I'll be changing the watercolibrs. And now here I'm using different brush to spread the ink. So this brush did not contain any ink. And yeah, we are done with the ghost. Now for the bees of the house or the hut, here, too, I'll be using weight and weight technique. So covering this section with clean water and now going in with the ink. So here, too, I'm creating somewhat seen smoky pattern or smoky atmosphere for the bees of the house, spreading the ink toward the lower section. Let it dry a little bit, and then we will get somewhat of unique texture. And for the background, too, I'll be creating this kind of smoky texture or atmosphere. So a little bit of green to create this kind of texture. And when the first layer dries, we will add another layer to create somewhat of trees resemblance of the trees. So here I'm using the plucking to create a little bit of background trees. Not that much defined, just the appearance of somewhat of some trees that are present in the background. Now let's add a bit more details to our art. So let's make it a bit more gray for the upper section of the heart and for the lower sexton too, for this region to a bit more darker side of the green. And now let's create a few more lines to create a bit of textured pattern for the remaining section of the heart. And with these, we are done with the major element of our first project. Now let's do the major element of our second project. So for this, I'll be showing you the stairs, the pavement, the house, doors, trees, and the grass at the background. So let's start with the hut or the house. So this will be a bit larger one, not larger, bit longer one. So the upper section of the hut is comparatively longer. Somewhat of rectangle seam for the front of this house or the hut. And yeah, we are done with a very basic simple sea. Let's add the chimney on the top. This house will have two door, one on the side, and one on this side, two windows for the front of the house. And since it's a broken house, some section of the front of the roof will be visible. Let's do the outlining and add more details with this fine line here. Okay. Use pencil to create the rough guideline and then add and then go in with the file and it to add more details to it. And after that, use the brush paints to add the final details to it. Now going over the outlines of the doors. So this will be somewhat different doors than that of the first one. Let's add the windows. The Windows two will be a bit different. And I'll be adding one ventilation on the top in here. Yeah. With this, we add with a very basic seat for our long house. Let's create the stairs. Very simple seats for the stair. Start with this kind of skewed rectangular seat for the stairs, divide it into different sections, different equal sections, and let's add the lines to create the resemblance of the stairs. And this is how I'll be creating the stairs for the houses and for the larger sections of the stairs. This pavement or this kind of stairs will be somewhat larger. And as we move farther away, the seep will increase further, too. The steers and this section will be somewhat of different length. Here, I made the stirs a bit smaller, but in our main project, I'll be making them somewhat of comparable length. Now, let's do the outlining to make the stirs and this section a bit more defined and detail. Feel free to make adjustment and try to ensure that the perspective is right. And yeah, let's do the outlining for the remaining section. We'll be covering some of the section. Never mean project with the grass. I'll be using the blacking to create the grass. And now let's add the fine lines for the strays. And we are done with this. Now let's remove the pencil outlines. Here, I made a mistic The steel is comparatively smaller. For our main project, we'll be making it comparatively larger. Now let's fill the entire region with this lighter seed of the green. For our main project, we'll be using seeds of the green and the black to create the grass or the foreground for one section or one side of the stairs and this section, we'll be adding a bit lighter or the darker seat of the gray and for the other section, we'll be adding bit darker tones. I'll also be using a little bit of stippling to greet bit of sading And here I'm just showing you the rough demonstration. We'll be making it more detailed and more defined for our main projects. And with this, we are done with the seeds and the remaining. Now let's move on to the house. So for the area here, the edges I'm using this sad of the gray and now let's go in with the water to blend it with the rest of the region. So spreading this gray to the remaining section of the heart. If you want a bit more uniform spreading of the color, you can use wet on wet technique the way we used for our ghost. Now, let it dry, and then we will add more details to it. Now let me show you how creating the doors. The door will be somewhat similar to the second window that we created for our first project. So this will be our wood panel door. We are done with the outlining. Now let's add the wooden planks to add more details and more characteristic to this wooden door. So for the outer regions, I made it comparatively darker, and for the inner regions, I'll be using single lines, single organic lines. Like here, I'm creating the wooden planks for our door. Now, let's create the door knob and the handle. And with this we with the first section of the spot one, I'll see you in the second section of the spot one. 7. More Elements Part - 2: Welcome to the second section of the part one. The color has dried. Now let's continue add now let's continue with adding more details to our large house. So here I'm using the fine liner to add the details for the windows, the doors, and the remaining part of our house, the same kind of door that I sawed you just earlier. And if you want, you can use the bras paint to make the process a bit more faster. You will get a bit more bolder and darker lines. Now let's create the front of the door to this kind of roof for the front of the house, and there will be stairs for both the doors in here and here, too. For our main project, on the one side, there will be a stair and for another side, we'll be creating the pavement. The broken structure, the broken roof that I mentioned, simple lines to so that the roof is somewhat broken on two or three different places. Here I'm using the fine liner later on, I'll be going with the brush paint to make the lines a bit more bolder and more darker and add more details to it. For the upper section of the roof, I'll be completely filling it with the black. And for the fourth ground too, I'll be creating the grass with the black. Using the black ink to create the grass, creating this kind of strokes with the watercolor brush to create the texture or the pattern for the grass or the foreground. So not completely filling the entire section with it, majority section with the black ink. Earlier, I mentioned that I'll be using the brush paint, but I decided why not let's use the watercolor brushes. With the watercolor brushes, the process will be much more faster. With the watercolor brush or the brush pins, you'll have to be a bit more cautious and careful around the smaller details. So for those area, first surround them or you can use or you can use the fine liner to surround it, and then later on, fill it the entire region with the bras pin or the watercolor brush. I have surrounded both the broken sections of the roof, and now let's fill the remaining section with this black. For this smaller roof, too, let's fill it with the black. Now, let's do the outlining for the doors, window, and the edges of this large house to make it more bolder and more darker. So you can see the difference. The fine liner, the breast pin, and the watercolor brushes or the ink or the ink that I am using is completely different. The fine liner the regions where we use fine liner is comparatively less dark and the regions where I use the breastpins is more darker. So depending upon the so depending upon the requirement of the illustration or the project you are doing, feel free to use the different tools, the fine liner, the breastpin or the watercolor brushes. And we are done with our house. We simplified version of the large house. Now let's read the trees. So I'll be creating this kind of tree for the project. This kind of jig jag texture or you can see pattern for the tree, and I'll be using the grey brrass paint to add bit more details to it. For the foreground to, I'll be using the same kind of grass that I added in front of the house, very simplified version of the tree. This is the kind of trees that I'll be surrounding the background of the house with. Now, let's add the grass in the front. And we are done with most of the element for our second project. Now let's do the third and the final one. For this one, we'll have to pay a bit more attention to the background. For now, let's start with the heart. So very simple heart, just like the first one. It will be a bit more simpler than the first one. Here I have directly started with the fine liner. If you're not comfortable, you start with the pencil sketch and then add the fine liner or the bras pen. Very basic see for our heart. The ground will be covered in the snow, so I won't be adding that many color or the grasses in the foreground, but the background will be a bit defined and detail. The kind of background that I fit it in the upper part. Now, here I'm going with the lighter side of the green for most of the section of the heart, completely covering the windows and the doors with it. Let's make it a bit darker. The upper regions and the regions near the edges. Now going with the blank brush, my blank brr I mean this bruse does not contain any ink, only the water, and I'm using this to spread the and I'm using this to spread the darker color from top to the bottom. Now for the background, using the bit lighter side of the green for the primary layer of the background. This region was not that much dark, so I decided to add a bit more colour to it to make it a bit more darker. Now, let's add bit more details to the background, a bit darker side of the grain. So we'll have two or three layers in the background. And then on top of it, we'll be adding the dark. And on top of that, I'll be using the dark tone to create the outlines for the trees. In here, too, let me show you how I'll be creating the front, the snow ground. So a bit lighter seat of the green for the for now. And as you can see, some of the spec is somewhat white and the remaining saxon is completely covered with the gray. So this kind of texture or you can see this kind of atmosphere, I'll be trying to create for the front of the house. Spread the ink in this manner and let it dry a bit. And here I'll be showing you two different ways in which I'll be creating the background. Primary layer with a gray color. So primary layer with a grey color, and let it dry a little bit, and then we will add the trees, the birds. Now let's move on to the heart. The ink has dried a little bit, and here I am using a bit lighter side of the green and creating a bit more definition to the upper section of the heart. The watercolor that I'm using right now will blend with the remaining section of the green that we used, the green colour that we use, since the water has not properly dried up and we create somewhat of beautiful gradient in between them. Now let's go over the outlines of the edges and feel the doors and the windows completely with the black. If you want, you can make the doors in the windows a bit more defined and detail. Yeah, we de with the doors and the windows and the edges. Let's define the outline for the upper suction of the roof. Let's add a few more fine lines, make it a bit more detailed. And, we add her with the heart. Let's extend the grass a little bit near the edges of the stairs for this hurt. And yeah, we are done with the art and it's surrounding. Now, let's wait for the water to dry. And while the water dries up, let's create some kind of grass in here. So simplified version of the grass that surrounds this pavement. And with these, we are done with the grass that's around the pavement in here. Now the ink has dried. Let's create the seeds for our trees. So I'll be creating the trees in this manner using broken lines to create the trees. So for the trees, too, we'll be creating two or three layers of the trees. Front trees will be a bit darker and the background trees and the background trees will be a bit lighter. Here I'm just sewing with the seeps for the trees. And for the other two examples, I'll be sewing with the foreground and the background trees, the lighter and darker shades of the trees. Let's move on to the silhoutt for the birds. Very simplified son for the flying birds. You can consider this to be the crows or bats or pigeons. Simple seeps to resemble the silhouettes of the birds that are flying. We'll be creating this kind of pattern using the tapping method to create small dots that surrounds the tree. And now, as I was mentioning that I'll be creating two or three layers of the trees. So the background has dried. Here, I'm using a bit lighter side with the green to create the first layer of the tree. These trees are not that defined, doing the same for the trees in here. Simple shapes for the trees and the kind of texture of the pattern that we use to create the grass will be surrounding the trees with those texture of the pattern. A few more trees here and there that surrounds the background for the house. For the front, too, some simple lines to resemble a little bit of mounds, snow mounds that are present in the front of the house. Here I use a bit darker tones of the green. For the main project, I'll be using a bit lighter seats of the gray. Let's add another layer of the tree, a bit darker side of the gray on top of the lighter side of the gray trees that we created. And yeah, let's create very simple trees in here. So here I have shown you three examples for the background and the background trees. The first one, for the first one, you can create just simple silhouette of the pine trees that I showed you in the upper section. For the second one, you can create simple straight lines or somewhat curvy lines for the trees and then use the kind of texture or the pattern that I used for the grass. And on top of that, you can go in with the mid darker tone of the black to create more detail and defined trees. L here I'm doing. And So feel free to use any of these different kind of background for our projects. So let's add few more branches for our trees, and then we will be done with the second video of the first pot. And we are almost done with the trees. If you want, you can add few more branches here and there. And yeah, we are done with this. I'll see you in the first project. 8. Wood Cabin’s Smoky Ghost: Welcome to our first project, the Wood Cabin's Smoky Ghost. So this is going to be exciting, so join me, and let's start. Starting with the basic pasil skate, this will be somewhat similar to the one that we practice in the part one, not somewhat, but very similar to the first one. Instead of the small and minimal details, we'll be adding more details, making it bit more smoking. The side of the ghost will be much larger. There will be marine trees in the background, and we'll be using white ink to add more highlights to our herd and the ghost. A very simplified set for our hot if you want to make adjustment with a seep in the side of the hurt, feel free to do that, and I'll be adding the stairs too. Let's add the outlines for the doors, the windows. In the demonstration video, I did not add the defined stairs, but here I'll be adding the stairs like this. Here I'm not connecting the horizonal line to both the sides as I'll be leaving a little bit of white space for both the sides. And here, we are done with a basic sketch. Let's start coloring it. If you are not comfortable, you can start with a fine liner to do the outline, but here I am directly starting with the watercolor. A very light side of the green, and we'll be covering most of the areas, and we'll be covering most of the areas of the heart. A very light side of green, and let's cover the heart and the base layer of the heart too. You don't have that much causes, even if you spill some of the color, it won't matter that much since we'll be covering the background with the tree Now, let's do the land a bit darker side of the gree for this one. Here, I'll be using the wet and wet technique. I just use this bit darker side of the gree so that it will be visible. It would be advisable for you to use the clean water to do this wet and wet technique. Since we'll be using the dark side, so I decided why not? Let's use the darker side of the grill and it will be clearly visible too. So that's why I used it. Also ensure that there is no accumulation of excess water in some places. Here, I added a little bit of more water, so I'll wait for the people to soak some of the water, and then I'll add the ink. So till it dries, let's do the coloring for the background. So the same fate of the gray, and we will be covering some of the section for the background with it to create a resemblance of some of the trees that are present in the background. So this is our background for the trees. And once again, I'm using the Baton wet technique to create the silhouette of the giant goose that looms behind the house. So feel free to make adjustment to the seep and the size of the ghost. Here I have only created the sep of the ghost. If you want, you can add the hands too. That will make it more funny or somewhat scary too. So the choice is yours. And instead of adding the tail of this ghost to the chimney, I added it on the other side of the roof. But if you prefer, you can do that, too. Let's add a little bit of more grayish color for the background, too. Are we adding the trees in here, the pine trees in here later on. And I think we are done with this first layering of the color. Now, let's add the ink. Now let's add the color. Here I'm using watercolor, the black watercolor for the ghost, and I'll be using the same for the rest of the house. Primarily adding this black watercolor for the upper section of the ghost and let it spread throughout the rest of the section. And yeah, let's move on to the lower section, a darker tone of the black for the lower section, and we will be mostly adding this black for this section, the upper section, and let the ink spread a little bit. And if it's not spreading that much, you will have to use the brass to spread the ink. Like here, I'm going to. Like here, I have to spread the ink a little bit for the lower section since it's not spreading that much. But instead of this watercolor, if I have used the black ink, it would have spread a little bit better. Here I'll have to use a little bit more watercolor. So here I added a little bit more black watercolor, and now I'm using the water to spread it. Spread it in any manner if you prefer. You don't have to do this the way I'm doing it in here. You can create spiral patterns or bit of different kind of pattern to create a bit of different texture or different atmosphere. Now let's move on to the ghost. Here, once again, I use a little bit of more watercolor since the colour did not spread evenly. Now, let's spread it. The upper sexon will be a bit darker and the lower sexon will be a bit lighter. And we are done for the ghost and the land for now, here I'm using a little bit of black from the land to create a resemblance or the silhouette of the trees for the foreground. And I'll be adding more details to the ghost and the land later on. I'm waiting for it to dry. So spread some more darker side of the green for the upper section to create the resemblance or the silhouette of some of the pine trees in the background. Here you can see I'm not creating that much defined silhouette or the seeds. If you prefer you can do that, too. Like I was mentioning earlier, that you can create some kind of pattern or texture for this land. Here I'm using a little bit of black watercolor to create this kind of straight pattern or straight lines that is spreading from top to the bottom. Instead of this kind of straight pattern, you can create spiral patterns or different kind of texture or pattern. And if you want something unique, you can sprinkle a little bit of table salt. It will create some beautiful spiral patterns. Let's add a little bit more detail for this region. So here, once again, I'm going in with a little bit of water to spread the watercolor a little bit further. This reason was not covered, so I added a little bit more black to cover it. For now, I'm satisfied with the ghost and the land. I'll be adding more details if required later on. For now, let's do the heart. So here I'm using a bit darker tone of the gray. Let's start by doing the outlining for it. Once again, here I'm using broken lines to do the outline. If you prefer, you can create uniform or straight lines. And yeah, carefully, do the outlining for the heart. If you want, you can also use the breast paint. And apart from this black, I'll be using a little bit of white ink to add the highlights to our heart and add the eyes for our ghost. Here I made a little bit of mistake. This side of the heart is a bit more broader. Try to avoid this kind of small mistakes. Now let's add texture or pattern for the top of the roof for this heart. So simple lines. I'll not be covering the entire section of the roof with it, but most of the section will be covered with this Here, I just decrease the intensity of the gray a little bit by diluting it with the water. Now let's do the outrunning for the rest of the t, and then we will add more fine lines to create the more texture and pattern look for the het. So this is what I mean when I said it, I'll be adding pattern and texture. So simple straight lines for the entire section of the het with this lighter sad of the grain. Let's add a little bit more fine lines for the upper section of the roof, too. With this, we are done with this lighter section. Let it dry a little bit, and then we will add a bit more colors to it. Here I'm using a bit darker side of the green, and let's make the lower regions of this heart a bit darker. Here I'm trying to create a bit of gradient in between the darker side of the green and the lighter sides. Let's make the outlines a bit more bolder. Now I am blending the colors a little bit to create a subtle gradient between the upper section and the rest of the ht. So spreading the darker side of the gray a little bit with the pattern line that we created. And once again, here I'm using a bit darker side of the gray to define the outline for the lower section of the base for the lower section of the hot. Here I'll be creating the brick like pattern that we practice in the first part. Now going in with the darker side of the black to do the outline to make the outlines a bit more bolder and more darker. As I mentioned earlier, we'll have to do the coloring in layer. We'll have to add few more layers until we are satisfied with the desired outcome. Carefully adding it for the outline of the door. Let's move on to add the outlines for the windows. The windows, one window in here, and two windows on the other side. If you're not comfortable with the watercolor brush for this tiny and minute details for the windows and the door, you can use the brush paint. You'll have to wait for the ink to dry and then use the brush paint to do the windows, the doors or any other minute or tiny details. Let's create the four window panels. So adding black, small squares for the four different window panels for our windows. I'll be adding the blacks for the other two windows later on. Let's do the rough outlining for the door for now and we will move on to the stairs. Very simple straight fine lines for the stairs in here. And if you want, you can make it a bit more detail, but I'm satisfied with it since the space is very small, and let's move on to the base. So brick like pattern for the base. The patterns for the brick work. Very simple fine lines to create the resemblance for the brick pattern for this lower section of the heart. You'll have to be a bit careful around here to create this kind of brick like pattern, and we are done with the lower section of the art with this brick like pattern. If you're not confident with it, you can just completely cover it the darker side of the gray. The ventilation on top of the window. So here I used a bit darker side of the green to create the circular side for the ventilation later on. I'll be using a bit of whiting to create a bit more defined and detailed verson for the ventilation. Adding a bit more detail and definition to the upper section of the roof with these fine lines with a bit darker side of the green. And now let's do the trees in the background. So here I'm using a bit darker side of the lack the black watercolor. Let's create very simple version of the pine trees for the background. Same kind of texture in the pattern that we practice. So jig jack lines and increasing the thickness of the strokes as we move away from the top. Mostly, I'll be using the darker side of the black to create the silhouette for the pine trees. But for some of the trees, I'll be using a bit lighter sides of the grad too. So feel free to change the color, darker side and the lighter shades too. I'll also be wearing the sizes of the trees sizes and the saves of the trees. Instead of the long and straight trees, you can create a little bit of bend trees or a bit slanted trees. For both the sides of the houses, I'll be creating five to six trees. If you prefer you can create more trees or you can even decrease the number of the pine trees. And you don't have to even create this kind of pine trees. You can create totally different kind of trees that we practice in the Part one. Apart from the ghost, you can also add the silhouettes of the birds. Here as I was mentioning that I'll be using lighter sets of the gray to create the pine trees, too, so you can see that I use a bit lighter sates to create the pine trees. Let's add a little bit of black in here to blend it with the rest of the trees and the foreground. And, we are done with this side. Let's move on to the other side to create our pine trees. Here, too, I'll be wearing the seeps and the sides of the tree very simplified versions of the pine trees. So let's continue with creating our long and straight pine trees. And while we are creating these pine trees, let's sprain storm to make this project a little bit more creepier and more haunting. To do that, instead of this one giant ghost, you can create multiple black silhouette of the ghost that is flying around or encircling the cabin house. Then for the foreground, instead of creating this kind of texture or pattern using the ink and the watercolor, you can create giant roots that is coming out from the trees. A from the foreground, you can create a little bit of blackness structure or black silhouette of the ghost that is coming out from the foreground or from the ground. And then for the windows, too, you can create tiny silhouettes of the ghost that is hidden behind the doors and the windows. And instead of the pine trees, you can create other small ghosts that are setting or that is lying behind the trees. So for that, you'll have to change the kind of trees. Instead of the pine trees, you'll have to create different kind of trees that we practice in the first part. So combining those two elements, the long trees and small ghosts that are pecking behind the And with these, we are done with the pine trees for both sides. Let's move back to the hut. So using a bit darker side of the green to add more fine line to add more fine lines or more details for the upper section of the roof. And let's move on to the other two sides of the house. Adding some more finer lines and fine details to create a bit of rough and textured pattern for the rest of the hurt. Let's make the outline of the door and the windows a bit more darker and more clarified. Here I choose to create a simpler version of the door. If you want, you can create the same kind of door that we practice in the first part. Let's add the blacks for the windows, very tiny small rectangle would see for the four panels of the windows. Moving on to the final window. And we are done with our windows and the doors. If you want, you can add few more fine lines or more details for some of the section of the roof or the remaining section of the hurt. Decided to make this section of the door a bit larger. And for this upper section, too, let's add few more lines in here. And I think we are done with the art and the rest of the background and the foreground. Here, now I'm going in with the white ink to create the tiny little dots for the eyes of this giant ghost. So here I'm using Zikurataki white ink. If you don't have the white ink, you can use the bit thicker consistency of the watercolor, or you can even use the acrylic white. Now let's add more finer details and more highlights to our heart. So I'm using this white ink to do the outlining. And to do that, I'll just add a little bit of white broken white lines to create a bit more distinction in between the different section of the heart. So here I have started with the roof of the hurt, and now let's move on to the sides for the edges, one or two lines to create a clear distinction in between the foreground, the background, and the rest of the hot. If you want, you can add little bit smaller dots or strokes of the white to create a bit more texture and pattern for the brick layers, ventilations. Now moving on to the door. Now add more white wherever you think it's required. I decided to add a little bit of more white for this lower section. Let's do the outlining for the stairs, too. Let's add a few lines in here for this section of the roof. And I think I am done with the white. If you want, you can add a little bit more white. Now let's move on to at the final details here, I'm going with a bras paint to make some of the section a bit more bolder and darker. Here, I did not use the fine liner, since I use a little bit of darker sets of the black for most of the regions, and the intensity of the black that I will get with the fine liner will be bit lighter. And let's continue with adding more finer and bolder outlines with this bras paint for the regions that are bit lighter in the seeds. Here I decided to add a little bit more black for the slower region of this hut to blend it with the background of the trees and the rest of the foreground. And with this, we are done with our first project. So I hope you enjoyed this first project, and I'll see you in the next project, happy painting. Did 9. Secluded Cabin: Welcome to the second project, the Secluded Winter Cabin. For this project, I wanted to create an atmosphere, a sad atmosphere for this one. So we have got a lot of grey colors in here. So let's start with drawing the horizontal line and let's sketch out the guidelines for our simple heart. For this project, we'll have to do a lot of layering, so multiple layers of the colors starting from very light colors. And as we progress, we will move on to adding a bit higher or darker tones of the grease and the black. As I mentioned here, we are aiming to create a sad and eerie atmosphere for this secluded winter cabin. So very simplified version of a hut in here, and in the background, we'll have some barren trees, few crows or bats flying around, and the front and the front will be barren too. Et's sketch out the guidelines for the stairs in front of the door. Now, let's move on to sketch out the guidelines for the doors and the window. There will be only a single window, a large window. If you prefer you can add two windows instead of single one, and you are free to make adjustment And with this, we are done with a basic pencil sketch for the hurt. Now let's do the rough sketches for the trees. So these are just simple sketches. I won't be following the same or exact guidelines. So feel free to make adjustment in here, too. And yeah, we are done with the basic guidelines for the whole project. Now, let's start with coloring. For this project, I'll be using both watercolor and brass pinto. Here, I'm starting with a mid tone of gray. So let's spread this gray in here for the upper section to create a resemblance of foliage or somewhat leaves for the trees that are in the background. For the trees in the foreground, I won't be adding any leaves, so the trees will be barren. But for the background trees, I'll be trying to create this kind of pattern or texture that there is a leaf foliage. I'm doing the same thing in here. This portion to will be a bit darker in tone as compared to the middle section, and you'll have to be bit careful while adding the color near the heart. I don't want to add any color on top of the surface of the roof, so you'll have to be a bit cautious in there. And, let's continue with adding this middle tone of green for the remaining person in which I'll be creating the background for the trees. Different kind of background. You can use wen weight technique. So you'll have to apply the water for the entire section, the entire background section, and then a little bit of darker or middle tone of the gray to create the foliage or the background for the trees. For this region, I'll not be adding that much gray tone. A little bit of grease will do the work. So a lighter tone of the grease as compared to the one we used in here for the trees. Here I'm only using the water to spread the little gray that I added. Let's blend it with the rest of the gray. Completely covering this background with this watery consistency of the gray. Ensure that the water is evenly distributed. This region become a little bit too light, so I decided to add a bit more darker gray tone in here. Feel free to add more grease wherever you think it's required. This will be our primary layer. I'll be adding two or three more layers of the different tones of the green Andrews is a second layer, a bit darker tone as compared to the earlier one, and I'll only adding this beside the heart beside the heart or the house that we have got in here. And for both the sides of the hut, I'll be trying to create small boses. So for the left and the right side, small darker tone or dark black boses which I'll be adding later on. Let me so what I mean by the bosses. So this will be the small presentation or silhouette of the bosses that will be covering the front section of the house a little bit, or a small portion of the lower sexion will be covered with this And for both the sides, too, we'll be continuing with this narker middle tone of the black that I am using in here. The thing is I'm not separately using the green and black. I'm just diluting the black watercolor to get different consistency of it. For this gray stone that I used in the background, I diluted the black a lot. And here I did not dilute the black that much for the bushes around this house. Now let's colour our cabin. Here, too, I am using a very light consistency of the gray Bring the states with this lighter consistency. And also, I'm spreading the grey from the buses a little bit for the entire section of this foreground. If you want, you can make it a bit more darker, but I decided that I'll be using the same consistency of the white that I use for the background, the right side of the background. Here I'm using a bit darker consistency for the regions near the upper section of the roof. So the upper section of the roof will be a bit darker This is our first laying of the darker color. On top of this, I'll be adding two or three more layers to make it a bit more darker. In here, I have used wetn went technique, so the consistency of the gray that I just applied in here will decrease further as it dries. So that's why I'll be adding more layers on top of it later on. The background has dried a little bit, so I'm adding this second layer on top of the earlier layer, a little bit of it, not covering the entire section, but some of the section. The buses in front of the house has dried also, so it's spreading a little bit of lighter side of the green for the lower section of the hut or the house that we have in here. Since the water in the background has dried a little bit, not the entire section, so I'll be creating our first layer of dough tree. So you can consider that I am using wet on wet technique. Here, the consistency of the gray is in medium. It will spread a lot since the background is not completely dried. So I'll be just creating some silhouette of simple trees, a bit thicker trees. Here, let's create this kind of silhouet for the background. So these trees will be a bit thicker. And after this, the next layer of trees that I'll be adding will be a bit thinner, but it will be in dark color. I'll be creating eight to 12 large silhouettes for the trees in here, and then I'll also be trying to create a little bit of foliage or representation of small leaves. Instead of this kind of long trees, you can create the pine trees. That will be interesting too. So the choice is your, feel free to experiment and create different kind of scenarios or different atmosphere for the second project. Here I am adding smaller trees. Now let's create the foliage for this tree. Small strokes of the brush. So small brush strokes with this side of the gray, and I'll be covering the upper section mostly. So here I won't be covering the entire section, but I'll be trying to cover most of the section and surrounds the silhouettes of the tree with these kind of brush strokes with this shade of the grain. So let's move on to this right side and do the same thing, creating these random strokes of the brush to create the foliage of the leaves for the background. This is our second layer, and for the third layer, I'll be adding the darker tone. By darker tone, I mean, I'll be using the black to create the trees and few leaves if you prefer, but I won't be adding the leaves. For this sexon, I decided to add a bit broader strokes to make this area a bit more darker. This region will become a bit lighter later on when the colour dries since we are using weight on weight technique in here. We are done with the background, the foliage, and the salvets for the tree. Now let's move on to the foreground. Here, I'm using a bit darker consistency. So let's make our bosses a bit more darker. Here you will have to weigh bit causes. Since the water has not dried up, either you can wait for it to dry or just follow along with me using a bit lighter shade of the green. So here I defined the rough outline for our stair and used fine lines to create the different stairs. Now let's move on to the foreground. As we move away from the bushes, I'll be just decreasing the intensity of the color. And here, I'll only creating this kind of small fine lines, a bit of jagged burquin lines to create a resemblance or the presence of snow in the front. If you prefer, you can add few more elements in the front, too. You can create fence surrounding this secluded cabin, and you can also add other elements like snow money, like a snowman or some of the branches that are fallen in front of the house. Fourth layer here I'm using darker tone of the blacks and overlaying it on top of the other three layers. Now, let's wait for it to dry until it dries, let's move on to the art. So as you can see, here I used a bit darker tone of the black, and now, let's spread it. For the upper section, it will be a bit darker and as we move towards and as we move away from it, I'll be just decreasing in intensity by mixing it with more water. You don't have to worry if you even cover the doors and the windows since we'll be completely covering it with the black. I'll be adding another layer of black later on when it rice. For now, we are done with this. Now, to create a bit of atmosphere for the background, here I'm sprinkling a little bit of tiny dots using the brush. I'm just tapping the brush to create this kind of small dots, mostly on the right side. If you want to make it more interesting, you can also use the white ink to create this kind of small dots that will be interesting too. Now, here I'm using a mid tone of the black, and let's define the upper section of the heart a little bit more and make it a bit more darker. This time, instead of using the mid tone of the black, here I'm using the darker tone, but I have just dilate it a lot more. So let's redefine this area a little bit more. So the edges and the corner of the roof will be a bit more darker. That's what I'm doing in here, spreading the black from top to the bottom, this decreasing its intensity as we move away from the top. Let's add a little bit of more black for the bosses in here, too. So it's covering the little bit front side of the heart. As I mentioned earlier, we'll have to do three or four layers of the coloring till we are satisfied with the buses. So we are trying to create a little bit of dromatic and are atmosphere. That's why two or three layers of coloring is required. Now, let's wait for it to dry, and then we will proceed. And now it's dried up, and as you can see the consistency of the black and the grease that we use has decreased a little bit upon drying. Now, let's create the tree. So as an encenn, I'll be using the brush pen in here. If you are comfortable or if you want, you can continue with the watercolor brush to create the salutes of the tree. Here we'll be creating some defined and a bit thinner trees in the foreground. So I'll be adding numerous trees behind and beside the house. So let's continue with creating the trees for our background. You can add as many branches as you want for the tree. Start with creating long and thin main trunk for the trees and then add small stems and the branches coming out from it. Make the branches and the stems a little bit curvier. If you want to speed things up, you can use the watercolor brushes. Here I use here I use the breast paint to get thin and crisp outlines for our trees and the branches. So if you want to get some organic and dynamic lines, you can prefer the watercolor brushes. But here, I'll be digging it with this breast pane. For some of the trees, I'll be making them a little bit curvier, but for most of them, I'll be trying to create them a bit straight. And you'll have to bit cautious while adding the trees behind the roof of the hut, so as not to merge it with the roof. So while we are creating the trees, let's talk about other things that you can do to make this project a bit more complicated and more traumatic. So you can create small creatures that are sitting on the branches of the tree. So small blobs of the ink, you can add small blobs of the ink on the branches and use white ink to create tiny eyes. Apart from that, you can make the roof of the hut a bit broken like we did for our demonstration video. Oh also for the windows and the doors, you can create the silhouettes of the ghosts or people that are lying behind the doors and the windows. That is one thing that you can do and what else if you have any ideas or suggestions that you would like to add for your project, let me know in the discussion section. Here I outline the upper section of the roof so as not to get confused with the trees and the outline of the roof. Let's add a few more trees in between these two larger ones, a small tree. To make it a little bit more dramatic and more haunting, you can create large ghost clades of the large black, smoky ghosts that I created for our first project. You can create a bit smaller versions of that that are picking behind from that trees in here. Also, you can create a little bit of ghastly snowmans that are roaming around in the front of this house. And as I was mentioning, you can also play with different kind of trees. Instead of this kind of long and bony trees, you can create the pine trees or the other kind of trees that we practice in our demonstration video. I'll be adding a few more trees, three or four trees, and then we will move on to adding details to our bosses and houses. I'll be covering the entire section of the door and the windows with complete black, and then I'll make the stairs a little bit more defined. Here I made a little bit of mistake. As you can see, I smothe some of the color while I was tasting whether the ink is dried or not. I think we are done with the trees. Let's add the small silhouettes for the birds, the crows that are flying away from this secluded house. I'll only be creating the shotes of the crows in here. If you want, you can cover the entire sexon on the right side with it. Ari the plan was to cover the entire Saxon, but I thought it will take a lot of time, and this is our second project, so I choose not to create or not to feel the entire Saxon with it. But if you prefer, you can do that. The whole project is in real time. You can always follow along with me. I think we are done with the silhouette for the crow. If you want, you can add few more, but I am done with it. Now let's proceed with the heart. Let's darken the outline of the roof a little bit more, and let's make it a bit more lacquer. I'll be creating this kind of fine lines all around the upper section and for the lower sections too. If you want, you can use the watercolor brushes too. But here, I'll be using the fine liner, not the fine line, but the bras pane. You can also vary the seats and the sizes of the lines. Yeah, let's do the outline for the edges of the house. Now, let's move on to the windows and the door. As I mentioned, I'll be completely covering the entire windows and the doors with the black filling the entire window with the black. Now here I'm dividing the upper and lower section of the roof with this fine line. Let's add a few more fine lines in here to make it a bit more detail. I was not able to record, but I completely filled the black for the door, and we are done with our second project. If you want, you can add more details or make some adjustment, but I am satisfied with it, how it turned out. Let's unmask our painting, and I'll see you in the next third and the final project of the part one. 10. Broken House: Welcome to the third project, the Broken House. This will be a little bit different from the demonstration video. We will be adding more details to it and make it more wonderful and bit frightening. Let's start with sketching out the guidelines, for the house and the states and the pavement. This is going to be fun. I have divided this video into two part. In this first part, we'll be sketching out the guidelines and going over it with a fine liner and in the next part, we'll be adding the finer details and inking it. Continuing on with the sketch, the long house that we have got in here, I have extended the roof. I have extended the side of the roof a little bit further as compared to the one we did in the demonstration video. And instead of sewing two or three broken places on the top of the roof as we did in the demonstration video, here I'll only sewing one broken place on the top of the roof, and it will be quite large a small circular see for the ventilation. Here we have got a large chimney. Instead of this single chimney, you can add multiple went that will be interesting too. And this will be the broken surface on the roof. I'll be making it quite large. Two long lines. It's quite simple to create this broken surface, two simple straight lines, and then we'll be intersecting them with another set of two lines. In here, I decided to create a little bit of pattern. And now let's add the doors. There will be two doors in here, one on each side and two windows. For the door on the left side, I'll be creating pavement and for the door on the right, I'll be creating the stairs. For this roof, we have an extended small roof in here. And let's create the pavement, the extended pavement. And as we move away from the door, I'll be increasing the size of the pavement. In the demonstration video, I was not able to properly create the pavement in here. But in here, I'll be trying to create it much better, and I'll be explaining it much better too. To small windows on its side, this is somewhat square and safe, not complete and square, but somewhat squarus. If you are not comfortable with darky using the pencil, you can use a ruler to create straight lines. And here we have bought a large door. Both the doors for this illustration or the painting will be wooden doors, and we'll be creating wooden planks for them. Moving back to the pavement for this door. And here we have the smallest one. And as we move away from the larger pavement, I'll be increasing the size of the pavement and I'll be making it a bit curve, since it's coming out from the door. Feel free to make adjustment as you see fit and try to maintain the perspective. Oh and we are done with a simple sketch for our pavement on this side. Let's create the stairs in here. We simple set for the stair, like we practice in the first demonstration video. Let's add the fine lines to create different steps for this austere. Now let's create the outline for the grass. So this area will be partially covered with a black ink. I'll be creating the grass in here, the kind of texture for the grass that we practice in the first demonstration video. And I have shown you the kind of tree that I'll be creating for the background. Here, I'll be showing you a few more examples or a few more ideas that you can implement with this house. Instead instead of surrounding the background of the house with a tree, you can play with different kind of ideas. Like in here, you can create small ghost, small and large ghost, this kind of simpler scenes. That are coming out from the broken roof or from the ventilation, or you can even add them coming out from the windows. Apart from that, you can also make apart from that, you can also create cracks on the surface of the wall, and from that, to ghosts are emerging out. So this is one of the ideas that you can implement with this one. And instead of this kind of smaller ghost, you can create larger ghosts, the smoky ghosts that we practice in the first project. Also, you can completely cover the background with a black and add a small circular seep to represent the moon. Or even circular set, you can create an lbsed moon. That will be quite interesting, too. So feel free to experiment with this idea. And as I was mentioning about the trees, let's create the outlines for some of the trees. You can incorporate both this idea, trees along with a ghost. And so let me show you some of the trees that I'll be creating for the background that will surround the house. So some large and small trees, it will be surrounding the house. And as I was mentioning, you can incorporate the ghost along with the tree. For that, you will have to make the ghost a little bit smaller and the ghost will be peeking out from behind the trees as well as they will be lurking out from the stems or the branches of the tree. And instead of creating the barren trees, you can completely cover the trees with black or a combination of black and gray color, and you can create the ghost picking out from that. You have got lots of idea, and so feel free to use any of this idea, but I'll be sticking with the plan that I had, and I'll be creating the barren trees in the background. Let's add a little bit more details to this sketch, and then I'll go in with the fine liner to do the outlining and remove the extra details that I have added the ghost and the trees. So here I'm using the fine liner to do the outlining. If you prefer, you can use the breast paints. But since this has so many tiny and manutetittles, I decided for this project, I'll be using the fine liner. For this broken surface on top of the roof, I only created the long parallel lines, but now I'll be creating both. But now I'll be creating both the vertical lines and the horizontal lines. So I'll be creating somewhat of cross-hatching in here with these parallel lines. This is what I meant to convey. So this will be the broken surface in here. Instead of this single large broken surface, you can create multiple ones, like we practiced in the demonstration video. The choice is yours. Two now let's continue with doing the outline for the rest of the sketch. If you want to make a little bit of adjustment or change some of the seeps in the sizes, feel free to do that. You don't have you don't have to strictly stick with the outlines that you have created with the pencil sketch. For the corns and the edges of the roofs and the walls, instead of creating a single line, I'll be creating two or three lines to make them a bit bolder and more definite. Let's do the outlining for the windows here too. I'll be making them a little bit more bolder and more darker. So instead of single line, I'll be creating two or three lines. And here, I'll be making the shape of the windows a little bit different the kind of windows that we practice in the demonstration video. On top of the windows, there will be a single straight line. So in the middle, we'll have an extended portion. This windows will have four panels. So this is the extended portion that I was talking about. You can play with the design. Instead of this extended portion, you can create other pattern design and here I was trying to create a little bit of broken surface, but instead of that, I decided to create this kind of pattern or design for the top continuing on with our door. So as I mentioned, here, I'll be creating the wooden planks for our door. So we have got wooden door in here. We have got the door knob and the lock on the right side. Now let's create the texture for the wooden planks for this wooden door. So here I'm using the broken to create od like green texture. You can add a few more lines to make it a little bit more grainier. And we are done with the dough. Let's move on to the other side and the stairs. I decided to create the stairs a little bit curvier. Let's add the fine lines to create the steps for the stairs. Making the side of the house a little bit darker by adding more lines to it. So the seat will be more definite and more bolder. The regions and the place that you want to make it more bolder, you'll have to add a few more lines to make it more distinct and have more characteristic to it. Let's do the pavement in here. For the pavement, I'll be using a combination of stippling and a little bit of hatching. The extended roof, the extended small roof in front of this second door that we have got in here. Let's add let's create the outlines for the door, and then we will add the details. This two will be the wooden plank door. If you want, you can create different kind of door, too. You can also create a large window on the upper section just below the ventilation, this circular ventilation that we have got on the top. And above this, you can create a little bit of cracks that will add more characters to this house. Let's create the fine lines, the broken lines to create the pattern for the wooden pattern or the wooden texture for this wooden plank door. Here, too, this two is the wooden roofs, creating some fine resemblance for the wooden beams that are placed on it. Now moving back to our pavement. Let's do the outlining. And try to follow this perspective and make it a bit more coherent to the rest of the pavement. So follow the contour, and yeah, let's do the outlining. If you are not satisfied with it or if you want to change it, you can do that. Instead of this kind of pavement, you can create the stairs. And we are done with this. Let's do the outlining for the ventilation. And with these, we are done with outlining our main house. Let's do the trees. I won't be doing the outlining for the coast or the foliage of the leaves for the trees. Instead of that, I'll be creating the kind of trees that I sowed in the demonstration we knew. So trees with many branch, the main trunk of the tree will be a bit broader. I'll be creating a total of four to five or five to six trees in the background that will surround the house. So these are bony and barren trees. And to add texture and pattern for it, I'll be creating somewhat of circular seeds for the insides or some of the person to so that it's a bit older and have more texture and pattern to it. Let's create more trees on the other sides. This is going to be a repetitive frozen, and it will take time. So if you have any more ideas or if you are trying something different for this project, let me know in the discussion section. Also, you have the option of using the other two trees that we practice, the pine trees and the barren long and straight trees that we did for our second project, the Secluded Winter Cabin. And apart from that, I was mentioning about small ghosts. Instead of a small ghost, you can create two or three large smoky ghosts that are peking from our. Let's do the outlining for our. I'll be extending the size of the grass a little bit in here. You don't have to stick with a strict outline that you created with a pencil. Feel free to make adjustment. For the grass in here, I'll be partially filling it with the black. And on top of that, you can create small ghosts that are emerging from that grass. That will be interesting, too. Let's make the lines a little bit bolder. Apart from the fine lines that we added for the doors, I'll be adding more lines to make it look a bit older. On the next part of this video. In here, I'll only be doing the outlining for the major sections. Let's erase it, and then we will add more trees in the background. If you want, you can continue with the previous idea with the flying ghost and the tree with the dense foliage. But as I mentioned, I'll be creating more trees for the background in here, the same kind of trees that I showed you in the demonstration video. I'll be creating three or four more, and for the trees that are behind the roof, I'll be making them a bit larger. So as you can see there, the higher the trees goes, the thinner it becomes. For the lower saxon it is bit broader. For this tree, I'll be adding few lines and few spiral patterns, and I'll be using the dualtip market that I have got and create a rough texture for the tree. For the house on the roof, I'll be completely covering it with the black ink. And on the left side, I'll be using the bit darker side of the green, since it is on the left side and the light is following, I'm considering that light is falling from the right, so that side will be a bit darker. And on the right side, I'll be using a bit lighter side of the green and will create a bit of rough texture for the entire sexon. I'll be leaving the windows completely white. And as for the doors and the second roof, the small roof that we have got on top of the door, I'll be using a combination of dark and light grease to create that And as I mentioned earlier, the grass will be completely partially covered with a black. A small or tiny portion of the white of topiper will be visible. And for the pavement on the other side, I'll be using a combination of light gray and the dark gray along with stippling. So I'll be using the stippling for the pavement. So that's how I'll be coloring. And for the chimney on the top, I'll be adding gray on one side and for the other side will be complete. And for the other side, we'll have black. So we are done with the largest So this is the circular pattern that I was talking about that I'll be using for our lower section of the tree. So if you want, you can use a lot of this kind of pattern or you can even use different kind of texture. And if you want to make the trees look a bit more old, you can add more fine lines and follow the contour of the tree see. And this is the last trees that I'm creating that will surround the house. And if you want, you can add few more trees. The trees will be a bit salter since we don't have that much space, or you can extend the height of the trees a little bit. Yeah, we are done with our last tree in here. Let's add a few more patents for our trees, and then we will move on to our next video where we'll be adding more details to our tree house and we'll be inking it. Also, since we'll have a lot of blank space for the background, and that you can create flying crews or flying bats or silhouette of the moon in the background, and then we'll have lots of bats flying around it or encircling it or encircling the house or the tree. I'm only adding final touches and making a little bit of adjustment wherever I think it's required. Adding few more smaller branches that are coming out from the main trunk of the tree to make it look a bit more denser. Yeah, we are done with the trees. Let's add a little bit of detail for this extended roof, the smaller roof that we have got on top of the second door. So I'll be adding the fine lines in here to make it a little bit darker. And so let's add the fine lines. So we are doing hatching in here, completely covering this section with the hatching lines. Let's move on to the other side and doing the same, completely filling the side with the hatching lines. And I decided to make the broken part of this roof a little bit larger. So let's do that and doing it on the other side too. And as I mentioned, instead of this large one hole or broken piece on the top of the roof, you can create multiple one. So for that, you'll have to decrease the size. And yeah, we are done with this video. I'll see you in the next part of this video. M 11. Broken House Coloring : Welcome to the second part. Let's continue where we left off. In this part, we'll be adding the finer details and inking it. So let's start with adding the fine lines to give more depth and dimension to the whole structure of this house. Small fine lines of varied length. And for the upper sexon in here, I'm creating a bit smaller lines. On top of the fine lines, later on, I'll be going in with the breast paint to add a little bit more depth and dimension. So to make it a bit more darker, so later on, I'll be adding a few more fine lines using the breast pain. Let's move on to the other side. So doing the same fine lines across the two sides of the roof. So for most of the surface, the upper and the lower sides of the house, I'll be adding these fine lines. You can also experiment with the tiling that will also give unique texture to the house. So feel free to experiment with different kind of tiling if you want. Now let's move on to the stairs, adding the fine lines on this region to make it a bit darker. And as I mentioned, and as I mentioned, that for the pavement, I'll be using the stiffling let's do the stippling. It will take a little bit time. So if you want to make this process a bit faster, you can use the hatching technique. I'm using the stippling on the sides, but for the upper sections of this pavement, I'll be using hatching. Also, I'll be using a color combination of two different sides of the gray. Continuing on with the remaining pavement. For the first concrete slab, I did a little bit of sading, but for the remaining of them, I'll be doing a uniform stippling. If you want, you can create a little bit of sading that one side will be a bit darker. The other side will be and the other side will be a bit lighter. We have got two more concrete slabs of the pavement. And yeah, let's fill this entire region with these small tiny dots. So I want to show you that you can create this project only using the fine liner and to add more depth and more details. For that, I'll be going in with the breast pin. Instead of using the breast pin, you can also use the watercolor like we used for the first and the second project. So this region, I decided to add a little bit more stippling on the first concrete slab to make it a little bit more coherent. Now adding that stippling to the last pavement And we are almost done with the stippling technique for this entire section. If you prefer, you can create brick like pattern or texture for the upper sections. Now, let's do the same for the stairs that we have got in here. I'll only be adding this stippling dots for the lower sections. And let's add it for the last one. And as I was saying, that I'll be using the hatching in here, so just increasing the sizes of the line as we move from, increasing the sizes of the hatching lines as we move forward. Also, I'm following the contour of the concrete slab of the pavement. You can also experiment with the cross hatching to make this a little bit darker inside. And we are done with the last one. You can also do the same thing for our roof. So instead of creating small hatching lines, you'll have to create a bit larger one, or you can experiment with something different. You can use tiling or scallops. In here, I'm going with a breast pin. In here, I'm going with a breastpin to make one side a bit darker. So this is optional. If you don't want, you can leave it as it is. But here I inside to show you that a combination of breast pain and the fine liner. For one side, that will be a bit darker. I'll be adding this. And I'm considering that the light is falling from the right, so the sados will be on the left. So the left side will be a bit darker, like in here. And as I mentioned, I'll also be adding the fine lines a little bit of hatching in here. That's what I'm doing in here. Now, let's do the outlining for the remaining section, the extended small roof and the sides of the door. On this side, I'll be completely covering it with a side of the gray. So here, I'm using this dual tip marker that I have got, and I'll be completely filling it. The seed is a bit lighter than the earlier one. So if you don't have, you can use the different seeds of the black just diluting it to get the consistency of gray. And if you are not satisfied with it, you can stick with a fine liner and create pattern and texture. You can create green like text in or wooden plank like texture. And as I was mentioning, you can also use the scaling. For the roof, you can do the scallops, tiling, or just plain structure, plain lines to completely cover the entire upper section of the roof, or you can also use cross hatching. In here for the pavement, I added the gray on the sides, and now I'm adding it on the upper section. So only one side, just covering the hatching lines that we created. It is not clearly visible in here. On your painting, you can clearly see the hatching lines that you created with the fine liner. In the video recording, it's not that much clear. I don't know why, but on my original painting, I can clearly see it. Move on to the front side of the house. In here, I'm using a lighter side of the gray. Now, let's move on to the sir. Moving on to the pavement. So using the lighter side of the gray to completely feel the entire section of this adding the gray for the wall behind this small extended portion. I forgot to add it for the chimney on one side of the chimney. For the other side, I'll be going in with the black. Here going in with a darker side, not the black, but darker side. Now let's do the broken part of the roof. So for the insides of the cross sections, I'll be filling in with this light side of the gray. So I have got this dual tip marker. So one side has broad tip, and in here, I'm using the smaller fine tip to fill the square saves inside. And as you can see, I'm not filling the white sections of the line, so I'll be leaving them white. And we are done with all the sections. Now, let's do the doors. So using this darker side of the gray, using this darker side of the gray for the horizontal sections. Define the outline of the doors and make it a bit bolder. So this time, I'm using the zukuratake ink, and I'll be completely filling the upper section. If you're not comfortable with it, you can start with a fine liner and do the outlining area first. And then for the remaining area, you can feel the ink or you can use the watercolor. Whatever you are comfortable with The ink that I got from the ik karataki is quite bold and quite dark. It's comparatively more darker as compared to the fine liner and the brass paints that I have cut. Carefully feeling the black for this other side of the roof. If you're not sure for the smaller section, you can use the breast pain. And to get the same intensity as that of the ink, you can dip your breast pain into the ink and then do the outlining. Now, carefully filling this black in between the middle portions of this broken section of the roof. Instead of completely filling the entire section of the roof with the black, you can create a bit of gradient like we did for our second project. So for upper section will be darker, and as we move away, the darkness, the intensity of the black decreases using the watercolor or water to decrease the intensity of the ink. Now we have completely engulfed the broken section. Now, let's feel the rest of the upper section of the roof. I was not satisfied with the side of the chimney, so I decided to completely cover it with the black on the side. Now slowly, let's feel the rest of the space for this roof. And we are almost syn with us. We have got only a little bit of the porton, the lower section of the roof to fill the plaque. I'll be using the black for the foreground, too. So for the foreground, I'll be creating the grass with a black, and I'll use the watercolor brush to create that. And with this, we are done with a black roof. Let's make this extended portion of the roof black two. Black roof for the upper section and smaller roof the black two. That's why I decided to add black for this one. Adding a little bit of black for the pattern in here. I decided to add a little bit of black on side of the door to make it a bit more bolder and to create a bit of shadows for one side. Go over the outline of the windows with this black ink to make it a bit bolder, since the intensity of the fine linen that I used earlier is not that black. So to keep the coherency of the ink and to ensure that all the lines are of somewhat sam consistency of darkness. That's why I'm going over some of the outlines with this ink. Let's move on to the foreground. So before proceeding to create the grasses, let's go over the outlines of the houses and most of the sections. And then we will move on to creating the grass. Let's do the same for the concrete slab of the pavement, going over the outlines of all the pavement, and then we will add the grass. So we have got two more concrete slab of the pavement to do the outlining for. Moving on to the last one. So let's do the outlining for this one, and then we will add the foreground, the grass for the foreground. Before doing that, I decided to make the staircase a little bit bolder. So going over the outlines of it, Now, let's do the grass, so For the grass, I'll be creating this kind of strokes and filling the foreground with it. I'll not be covering the entire section with a black. I'll be leaving a little bit of spaces in between each individual strokes. Not for all the section, but for some of the section, I'll be completely covering it with a black, but for majority of the section, I'll be leaving a little bit of white space in between different strokes. So let's continue with creating this kind of pattern or the texture using this watercolor brass to create the resemblance or the presence of the grass in front of this. For the front of this house and in here, specifically, I'll be completely covering it with a black since this region will be a bit in the shadows of the house. Now to avoid smudging of the colors with the pavement, let's do the outlining for the pavement, and then we will add the grass later on. In here, too, I'll be covering most of the section with the black. Only a little bit of white will be remaining. But as we move away from the house, I'll be increasing the number of white space that is available in between different strokes. Moving on to this side. Going over the outline of the pavement and then filling the rest of the spaces, and then filling the rest of the space for this side. And with these, we had done with the left side. I decided to extend this porton a little bit to make it a bit more bigger and to also encompass the remaining section of the pavement. And we are done with this side, let's move on to the other one. So as I move away from the house, I'll be increasing the number of white spits that is present in between the strokes. Let's do the outer section first, and then we will add the strokes for the remaining section. Creating these kind of strokes is quite easy. Just ensure that you don't smerge your ink using your palms. So lift your palm to avoid smrging of the color and ensure that the color has dried and then add the later colours. Also, you can create a different kind of grasses in here, too, a combination of a darker side of the gray and combinations of the grease and the black, that will be interesting too. And we are done with it. For this side too, I also decided to extend it and make it a little bit larger. So somewhat of a round C for the entire section of the foreground, adding the black for the ventilation. And yeah, we are done with the foreground. If you want, you can make it. If you want, you can cover the white spaces, but I decided to leave it as it is. Now add a little bit of more black wherever you think it's required. Now, wait for the ink to dry, and then we will proceed with the houses in the background. Most of the ink is dried up and I am causes not to smudge it with my hands. So in here, I'm starting with the breast paint to go over the outlines of the tree. So I'll be going over the entire section of the tree with this breast pain. If you want, you can use the black to create completely black trees or a combination of black and the gray to create the trees. But in here, I'll be doing the outline with the breast paint, then using the same gray that we used for the sides of the house and fill the entire section with So this is going to take a little bit of time, and then we will proceed on with adding the details, not the details, but the color inside the trees. For the doors, too, I'll be adding a little bit of grease, and I'll be adding the grease in a manner similar to that of the seeding. So the upper regions will be a bit darker, the lower regions will be a bit lighter or vice versa. For the insides of the doors, for the insides of the window, you can create small silhouettes of the people or the ghost. And we are done with two trees on this side. Let's move on to the other side. The ink on the upper section of the roof has dried. Ensure that it's dried. Otherwise, you will get smudging on your palm. The lower section or the foreground ink has not dried, so I'm not keeping my hand on top of that, but for the upper section, the roof has dried, so I'm placing my palm on top of that and going over the outlines of the tree. Also, you can use the tissue paper under your palm. In that way you can avoid smudging of the color. Or if you have a blow dryer, you can use that to speed up the process of drying. And we are almost done with this section of the trees trees. I'll also be going over outlines of some of the pattern, the circular patterns that we created for the insides of the tree. And if you want, you can add more circular patterns or bit of cantoon lines to make the trees a bit denser and to add a little bit of more volume and characteristics through the trees. We have only got two more trees, not two more only a single tree to do the outlining for. And then we will proceed with inking it, not inking it, but coloring it with the lighter side of the gray. And we are done with the outlining for all the trees. If you want, you can add a little bit of texture and patterns like this. Now, as I mentioned, I'll be using the same grid that I used for the sides of the front side of the house. Yeah, let's completely fill the entire sections of the tree with it. You'll have to mit causes while filling it for the smaller branches. You can use the watercolor just diluting it and getting this kind of lighter consistency of the gray and then filling it for the insides of the trees. So we have got two more trees to fill the colorful. So as I was mentioning, for the doors two, I'll be creating somewhat of seeding. So I added a little bit of green for both the doors, and let's add the green for the last remaining green. And with these, we are done with the third and the final project of the part one, let's unmask it and I'll see you in the part two. So for part two, we have houses on the move. That will be interesting and very fun to do. So happy painting and I'll see you in the next part. 12. The Night Visitor : Welcome to the project night Visitor. In here, we'll be using lots of ink and we'll be creating two large ghost. Let's start with the reference line. In here on top of this, I'll be creating the house and just below it. I'll be creating the path and two water bodies. We'll be using simple square and rectangular seats to create the house. The south is simple hut, two parallel lines in here for the front of the house and one line a little bit farther away. This will be the side of the house. Extending the size a little bit. On both the sides, I'll be creating a single door and multiple windows, a triangular seat for the front side. C. And this kind of parlogram for the top the roof of the house, we have got a small chimney in here at the front of the house. If you want, you can also increase the number of chimney, you can add one more. Increasing the length a little bit more. For this, we'll be coloring with black and red and a little bit of white later on. A simple door like this. In the front, I'll be creating multiple windows, a total of five windows in here. These are optional. If you want to increase or decrease the number of seats and the size of the windows and the door, you can do that. On both sides of the house, there will be fence along with this kind of small bushes. Silhouette of our large ghost. I decided to create two small hands, so small projection like this for the hand. Projection in here, continuing on with the bushes on both sides of the house. Initial plan was to create water puddles in front of the house, but later on, when I did the coloring using the red, it did not turn out the way I expected, so I covered the entire section with the black and use the white to create water bodies in the fence. Circular shapes like this for the eyes, large eyes. Smoke coming out of the chimney, if you want. Instead of the smoke, you can create smaller ghost like this small projections of the ghost. Inside the silhouette of the large ghost, I'll be using black to create another silhouette of the black ghost. In here on the sides, I'll be creating a large window and a large door. To these we are done with simple pencil sketching for the main theme. Now, going in with the fine liner to do the outlining. On the outlines of the houses, I'll be using red. I'll be increasing the width of the outlining later on. For now, just go over the pencil outlines. If you are not satisfied with some of the section, you can change it. You don't have to stick with the pencils case that you have created. Feel free to make changes and adjustments. Doing the outlining for the Buses on the sides. Sorry for the lights for fluctuation. Creating these kind of simple street seams, simple stick slide sets for the fence. For the fence, I'll be using white and a little bit of gray. Outlining the mouses in here. For the outlines of the bosses in here, I'll be using gray along with a little bit of white. Creating this horizontal line for the fence. Instead of this kind of fence, if you want to create other variations or designs or pattern for it, you can do that. Now for the ground in here, later on, when I'll be covering the entire section of the ground with a black, I'll be using white ink and create broken lines to give it a little bit more texture and pattern. For now, continuing on with the remaining outline of the bushes in this manner, creating a second outlining like this, extending the side of the house a little bit once again. Now, the bottom section of the roof, two lines to do the outlining. For the top, here too will be doing the two lining, another line like this, the remaining section, this side of the roof. This video is a little bit longer. So I have divided this into two section. In the first section, we'll only be doing the outlining and in the next section, we'll be doing the coloring or you can see the inking, creating this kind of see simple saves on top of the roof to give it a little bit of texture and pattern. These are opsin instead of this kind of texture and pattern if you want to do other if you want to add other variations or pattern or include scallops, you can do that, too. For this, I'll be using gray and white to do the coloring. Now, the front of the house, continuing on with the fence on this side. The ground and remaining section of the bushes in here, doing another outlining like this. And with this, we are done with a simple outlining for the house, coming back to it and do the outlining for the windows and the door later on. In here, I'm just doing the outlining for the water petals that I'll be creating. This is optional instead of this, if you want to cover the entire section with the black, which I'll be doing in later on, you can do that. Or you can just follow along with me and create this kind of water petals and do the coloring later on accordingly. Now, moving back to the house, doing the outlining for the door. If you want to add a little bit of texture like this, you can do that, too. Simple outlining like this for the windows. We've got a total of four windows on this side and on the other side, I'll be creating a large window. A little bit curved on the top, like the door. Now, on this side, a large window. For the insides of the windows and the doors, I'll be using red. And to do another set of outlining, I'll be using white later on. Going over the outline of the ghost silhouett the large ghost that we created, giving it a little bit of more curvy saps. Its hands. The hands are optional. Another set of outlining for the hands. In here, I'll me adding the black letter on. Doing the outlining for the ghosts eye, simple oval seep or circular seeps like this for the ghost I chimney on the top. If you want to add a little bit more detailing, you can do that, too. In here, I was going to do the outlining for the windows and the doors a little bit. But then I decided that later on I'll be using white to do it. Raising the pencil marks. Now, going with the green and adding the green like this, I'm not going to cover the entire section. I'm adding only a little bit of it like this, adding it for the inside of the doors and the windows on one side, adding it for the buses. Now, adding it for the fence. And finally, adding it for the water petals in here. That's all, and I'll be seeing you in the next part. 13. Ghosts Silhouettes : Welcome to the second part of the ninth visitor, continuing on where we left off. In here, I'm directly starting with the black ink. We are going to cover the entire background with a black. In here, I'm using Ziuratakiblack ink and I diluted it a little bit with the water. Instead of this, if you don't have the ink, if you want you can continue on with the watercolor. Or apart from that, if you don't want to do the background black, you can use the black to do the coloring for the ghost. In 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, can reduce the speed or you can dispose the video. Carefully doing the outlining, following the curved tip of the ghost's body. To get a little bit more precison you can always use smaller brush or you can use the fine liner or the brush paint to do the outlining and add a little bit of coloring beside the outlines regions of the ghost body and then continue on with the watercolor brush. And with this, we had done with the upper part. In here, I decided to use the us to create a little bit of textured foreground. So I would be following the outlines that I created, the water petals that I created. But if you want to follow along with the outlines that you have created, you can do that, too. In here for some of the section in between the black salmi using red later on. Continue on with doing the remaining section, adding it just beside the house base, covering some of the outlines that we created with the pen uglier. This is optional, as I mentioned, if you want, you can proceed with the outlines that you have created and fill the remaining section with the black instead of creating this kind of trophor and denser pattern like this. Or you can just follow along with me and create this fill in some of the spaces with the black. For the insides of the doors in the windows, I'm going in with the red, so you are going to completely cover the insides with the red. If you're not that confident with the brass to do the coloring for smaller regions, you can always use the fine liner or the brass pants you can always use the fine liner or Blass pens or the cage pens to do the coloring. And as I was mentioning, I'll be filling the insides with the red like this. Insure that the black ink has dried and then add the coloring in here, the ink was not that properly dried, so I'll wait a little bit, adding the color red for the outlines of the house. As you can see, the red has come out a little bit out of the outlines. You don't have to worry about it since we'll be feeling the insides with the black later on. Going in with black once again, we do the coloring for the buses on both sides of the houses and completely fill the insides with the black. Here's another silhouette of the ghost using blacking to directly create the silhouette of the ghost instead of it. If you want, you can proceed with the pencil sketch first, and then you can proceed with the pencil sketching of the goose seed and then fill the insides with the black. This is optional. If you don't want to create it, you can just leave it as it is. Giving it a little bit of curvy saves like the earlier Ghost. You'll have to be a bit cautious while adding the colour beside the red outlines of the house and ensure that the red ink that you used has dried up or instead of it, you can always use the fine line or breastbin to go over the outlines of the red and create another defined outlines or the boundary between the ghost and the house. Carefully feeling the black inside the outline region. Once again, I have increased the speed since this is your repetitive process. So if you want to follow along with me, you can pass the video or you can reduce the videos speed. Doing the outlining for the buses in here and then filling the remaining outlined regions with the black. Carefully going over the outlines of the house and feeling the black like this. If you want to extend the p or size of the ghost, you can do that too. Now, for the inside of the house, once again, filling it with the black. This is a normal speed. Try to preserve the red outlines that we have created. You'll have to be careful while doing the outlines near the windows and the doors. We are also going to do the outlines and feel the color inside the fence and the smaller bushes that we created while leaving the white and the grease that we used earlier, feel the remaining section with black, like we did for the earlier section of the bushes on the right side, creating simple pattern like this for the insides of the windows, dividing into four panels or six panels. And here I increase the speed once again, we are going to fill the entire section with the black, the front, the side, and the roof with the black. Instead of it, if you want to use other color or if you want to create variations pattern or you can use hatching cross searching to give it a little bit of tax shared look, you can do that, too. Carefully doing the outlining for the windows and the door, as well as creating the window panels by dividing the windows into four or six sections. You can always use other supplies to do the coloring for this mono section. You have got brush pens, you have got fine linar sketchbins. I would recommend you to use sketch pens or the bras pin that will make the process a bit more smoother and you will get more precision and accuracy with that. Now for the top, you don't have to with that much causes if you've covered some of the section by mistake, you can always use whiting to redo it. You can also increase or decrease the seeps in the sizes of the rectangular seeps that we have created on top of the roof. With these were done with the front and the top now for the side, dividing the window into panels, filling the remaining outlined region with the black, carefully recreating the outline for the boses and now encircling the door like this, adding a little bit of texture and creating this kind of simple pattern for the door, adding black for the top of the chimney. And as I was mentioning, I was not satisfied with the red, and I did not plan to continue adding the red for the inside, so I'm going to cover. Instead of it, if you want to proceed with the red for grown, you can continue on with that, too. We'll wait for it to dry and then continue on till it dries, adding the color for the ghost hand, carefully filling the black for the insides. This is optional, too. You can keep it plain and simple white or you can also use red to do the coloring like this. Now for the second hand, the same thing, filling nine sides with the black. Carefully filling the black for the outlined regions. Now for the ghost eyes, completely filling the black. Here, too, if you want to use red or other colors to do the coloring for the ghost eye, you can do that. You can also use a combination of black, red and blue white, other colors to do the coloring for the ghost eye. You can play with the C side as well as the distance between the ghost eye. You can also give it a little bit of PCL expressions. Adding a little bit of more black for some of the regions. Now we will wait for it to dry until it dries in here, I'm using sakura micron jelly paint to do the coloring, not the coloring, but create the outlining for the ghost eye. It was not dried up properly, so I'll wait for it. Till it dries in here, I'm using white ink, and I'm creating this kind of simple star like pattern. I'll be creating multiple star like pattern for the background, and apart from that, I'll also be creating this blattering effect with the brush. In here, once again, I have increased the speed a little bit since this is going to be a repetitive process, you don't have to create the stars in the same manner and in the same position in which I am creating it, feel free to make changes to the C side as well as placement of the stars that I'm creating, adding the white for the ghost eye for this black one. This is Open. I'm giving finger to the ghost hand. Creating smoke coming out from the chimney. In here, right now, I'm using a bit diluted consistency of the whiting. Later on, I'll be using a bit more saturated tone to make it a little bit more lighter and create a bit more contrast. Using white in here to create the path ahead of the house. Simple wavy lines like this to create the path. Since we used layers of red earlier and it was of high consistency or you can see concentration. Some of the reds in here are revisible just by adding this wine. We'll do another layer to cover. Using a bit more concentrated white to create pins surrounding the path. Create simple straight lines like this following the curve shape of the path. Now adding it on the other side, following the same. Adding few more fans on the side. Now we are going to connect all the fence together. Instead of using straight lines in here, I'm making the lines a little bit angled or you can see a little bit curved following the curved sweep of the path, doing the same thing for the other side. Now for the base of the fence, I'll be giving a little bit of texture, creating this kind of small silhouette or you can see texture for the grass on the sides. Creating small lines like this to give it a little bit of texture. On both sides, I'll be creating small water bodies. Adding a little bit more detail for the curves of the path by adding more lines in here, using a bit more concentrated white. Now, another layer of white for the ghost eye does not dried up properly. We'll wait for it to dry and then redo it. With the outlines of the doors in the windows, I'll be using chili pen later on, continuing on with adding a little bit of this kind of texture for the foreground. Now for the water body, I'll be getting this kind of allptical s. In here, since we use concentrated black, so the white in here is not that much visible. We'll have to increase the consistency, the concentration of the white to make it more visible. So I'll be doing the coloring in two or three layers. This will be the lightest one, and on top of it, we'll be doing this kind of another layer on top of it, one more layer. And after that, I'll be creating curved lines, curved hatching lines to give it a little bit of swirly look, or you can see curved sees to it to give it a little bit of three dimensional see. Now, in here going into the jelly pen and doing the outlining for the windows and the doors, I'm using two lines to do the outlining. This is optional if you're satisfied with your windows and the doors, you don't have to do this. For the entire section of the house, apart from the windows and the doors, I'll be using this jelly pen to do the outlining in this manner to make the house a little bit more contrasting. You can do it with a white ink, but it would be a little bit difficult to get this kind of thinner lines. That's why I proceeded with it. S. Adding a little bit more retailing for the ghost eye. On the side of the water body, you can create small grasses using these kind of small patterns. It's not working properly in here because of the concentrated black and multiple layers. So I decided to use the whiting to create small grasses before doing that, adding a little bit more concentrated white for some of the sections, like in here for the ghost eye and for the center of the star. Now, as I was mentioning, curved hatching lines in here to give the water bodies a little bit of more three dimensional seed and create this kind of bater waves. For this section, too, some of the rates are visible, but if you want, you can cover it entirely with more layers of the white, adding it for the other water body and creating this kind of small texture to resemble small grasses and the stubs present in here. I was not able to record a small section, but I used a little bit of whiting to create splattering effect by tapping the breast with loaded whiting. And for the insides of the large got silhouette I'm creating kind of small starl pattern. Instead of the white in here, I'm using black, simple and small starl pattern like this. Instead of this, if you want to create other variations or other patterns, you can do that, too. And as for the foreground, I added a little bit more detail surrounding the water bodies with more smaller grasses and few more broken hatching lines for the foreground to give it a little bit of rougher roof. Continuing on with adding few more smaller star like soep as well as small stippling dots. And with these, we are done with this project. If you want to add a little bit more detailing for the ghost size or add a little bit more detailing to other sections, you can do that. I hope you enjoyed painting this. This was a little bit different from all the three projects from the first section. And, I'll see you in the next section with another project. One more thing if you want to create silhouettes of the people or the ghosts inside the windows, you can do that. You can use the black pile and black color to create the silhouettes of the people inside the house. That will make it a little bit more scary. 14. Under the Scars : Welcome to the hauntings under the Scar. This is completely different from all the projects we have created so far, starting with this triangular Sef the mountain. We have this kind of bizarre landscape in here. We have a large mountain in here, a big gown that is inside the mountain as well as two small huts. And then we have lots of large trees like this. These are comparatively more larger. So the perspective is totally different in here. When though the mountain is big, the trees and the river that I'll be creating and the background landscape will be more bigger. So we have got a complete string setup in here. This will be the inside of the mountain that is visible. I'll be creating a total of two small houses, two small herts. And this will be the ghost inside. We'll be making it scary and terrifying. In here, you can increase or decrease the number of houses and herds. Apart from these two, if you want, you can increase the number of the hertz, too. This is going to be the main sketch for our focus point. Now for the background in here, for the trees, I divided this landscape into different sections. So on both sides, we'll be dividing into two or three section and a small aver that is blowing out like this. Likely, it is the pencil marks. We'll be doing the outlining and then we'll be using lots of ink, diluted ink and concentrated ink to do the coloring, starting with wet and wet technique. For the background, we are going to create a subtle gradient from back to light rain to do that, start with lots of water and cover the entire section with water. Now, using a bit diluted consistency of the black ink, spreading the colors a little bit. I'll be adding the ink or the watercolor in layers. So this is the first layer. We'll be making it a little bit more darker. I'll be making the lower regions comparatively darker, and as we move away, I'll be making it a bit lighter. Sketching out our guideline for the lowing river, as well as the different sections of the landscape. Let's do outlining for this mountain. Just use this diluted consistency of the color and add it for the inside section like this, the different sections that we have created. Here, too, we'll have to do a little bit of layering. This will be the lightest color, and it will act as the primary layer in here. Adding the same diluted consistency of the color in here for the foreground. Adding it on the right side. Now a little bit more on the upper section, spreading the color a little bit. I also added a little bit water inside like this. Because of a little bit of fluctuation of the light, I have removed some of the sections of the video. For those section, I'll be mentioning it, how I did it. In here, right now, I'm using a bit more concentrated black ink and adding it as a second layer, the color that we use earlier when the water has not dried up properly. So the two colours will mix on its own and create a subtle gradient, adding another layer of this color for the different sections in here. Okay. Now, going in with the sakura micron pile and to the outline for the huts, we have got two huts in here. And as I mentioned, you are free to increase or decrease the seat in the sizes of the hot. Instead of creating this kind of simpler hurt, you can create other variations of the house or the building as you see fit. In here for the huts, I'll be using a little bit of red for the upper section, the roof. Apart from that, allowing me using black and white. Creating roughs, leave it for the ghost like this. Large hollow sockets for the eyes and open mouth like this. Doing a rough outlining for this section in which we'll be doing the inking. We'll be filling this entire section with different sets of the black encircling the house with this kind of rougher outlines. Now going in with the black. We're going to feel the entire section with this diluted consistency of the black. The seed of the black is comparatively darker, but it's been diluted since I added more water to it, spreading the color. Is that the earlier layers of the colours that we use has dried up and then proceed with it. Otherwise, the two colors will mix. Carefully encircling the ghost space. I'm not going to cover the entire section. I'll be leaving some of the spaces like this. Later on, I'll be adding more layers of black on top of it. So the lighter seeds of the regions that I have left will become a little bit more clearly visible and will create a bit more contrasting effect. Instead of it, if you want to cover the entire section, you can do that, too. Adding a little bit more black for this region on the right side, we are going to make this region comparatively more darker and a little bit larger. Creating this kind of bitter or outline this black, a little bit of black on the sides. Extending this a little bit more. I'll be creating two more rows of this kind of line rough line with a black adding a little bit more black in here, a bit more concentrated form of the black. As you can see earlier, the diluted black that we used earlier, it has dried up somewhat for some of the sections, and its intensity has decreased a little bit. Now for the hollow sockets of the eye, using a lighter consistency of the black in here, adding it for the phase two, very light and diluted consistency of the black in here. When it will dry up, it will lose more of its intensity, spreading the color a little bit more. Now for the trees in the pyground using a bit diluted consist of the black ones again. And the earlier two layers of the colors that we use has not properly dried up. The silhouette of the trees that we are creating in here will blend a little bit with the background. And this is going to be our first layer of the trees. After this, we'll be adding a few more layer of the trees. Making the lower regions comparatively darker with more black like this, as well as using it to create the limit of small trees and small bushes and shrubs in here. Now, we are going to create small branches for the trees like this. Very simple projections like this for the branches. The black ink that we are using in here will lose its intensity a little bit and will mix with the background color. The silvets will remain visible, but most of the branches and the stems of the trees will mix a little bit or blend with the background. When this riser will be adding more layers of the trees. Using the same seed of the black and creating small strokes like this with the breast to create resemblance of small grasses in the buses. Small and mini strokes like this to create the resemblance for the grasses and the bushes like this. For the region that lies behind, we are creating smaller one and for the regions closer to the mountain, we are going to make it comparatively larger using it to do the outline for the mountain like this. Wearing the lines thickness a little bit to give it a little bit more dynamic look. In here, this will be the largest tree. And as we move away from it, we'll be decreasing the size or the thickness of the trees, giving the ground a little bit of textured look with a dry like this. Now, for the front in here, using a bit more concentrated black and creating rougher texture in here to create resemblance of more grasses. Once again, choosing a diluted consistency of the black and creating a little bit of more detailings in this manner. I waited for it to dry a little bit. It has dried up. Now using the gelpin to do the rough outlining for the trees. We are going to create multiple trees like this. For the front in here, I'll only be creating one trees, and as we move away, I'll be decreasing the thickness of the trees a little bit, but I'll be increasing the number of the trees. You are free to create any other variations, other types as well as you can change the placement and the size of the trees as you see it, creating numerous smaller and larger trees like this. Now, let's do the colouring for the trees using a bit concentrated black. It's concented but not that concentrated since I used a little bit of water with it. This is first layer for the trees. Later on, for some of the sections of the trees, we'll be using a bit more concentrated for the blacking or watercolor if you are using watercolor. Also use this to create more grasses for some of the sections. We're just going to add it over all the outlines of the trees we have created. You don't have to strictly follow the g lines of the trees that you have created. You are free to create and add more trees wherever you see fit. I'm also making the thickness of the trees a little bit different. Just by wearing the bros stres, we are creating bit of dynamic sake for the trees. By dynamic sap, I mean lines or strokes of varied thickness like this, giving it a little bit of prefer texture or rougher outline for the trees. For the background, I am making the trees a little bit thinner and a bit softer for the foreground or in the middle section, we are making it comparatively larger and bit more broader. Also for some of the trees, we are making it more thinner like this one in the middle in here. The trees that lies behind the mountain in here, comparatively thicker and larger green. Let's create small branches and more detailing like this in this manner. Instead of creating this kind of small branches, if you want, you can create small bushes or other different kind of texture. You can also create a resemblance of small stones and rocks in here. The black that we used was darker but not that darker, so this is a bit more concentrated black. And for some of the sections, we are going to use a little bit of this concentrated black. In here, right now, we are going to create multiple smaller branches and stems for the trees, as well as add a little bit more darker side of the black for some of the regions of the particular trees. Just continue on creating multiple branches and stems coming out of the trees, and for some of the section, the trees looks bit duller or a bit lighter, you can add a little bit more black for those region. You can also use this darker side of black to create multiple streaks along the length of the trees to give it a little bit more textion and bit older look. For the larger trees, make the stems and the branches quite thicker and bit larger. For the smaller, create small projections for the stems and the branches. If you want to increase the number of the trees, you can do that. You can add a few more trees in between the trees to make it a little bit more denser and a bit more compact. This video is also divided into two sections. This is the first section. In this section, we are mostly going to cover the basics, and in the next section, we are going to add more details using the white chelly pen and a little bit of coloring using red. Apart from creating multiple branches and astons, I'm also creating small bushes and grasses at the bottom of the tree or you can see at the base of the trees. Now moving on to creating outlining for the flowing river, choosing to do the outlining like this. One more tiny branch in here. Now, let's make the outline a bit more distinct for the mountain. Now, adding the black, a bit darker side of the black for the hollow eye socket snows in the mouth of the ghost that we have created a little bit for the upper section too. More darker side of the black to make some of the sections bit more darker. In here, as you can see, we'll have to add just the consistency in the seeds of the black depending upon the requirement to make it more contrasting and more impactful. Since the seeds of the black when s gets a little bit lighter and we are making it bit diluted by adding more water, depending upon the requirement and the surroundings, we'll have to add more black or increase the concentration of the black, a little bit more detail on the sides using more strokes like this. You can also make some of the section bit more lighter to make it lighter. You'll just have to transpor the other section and make it a bit more darker. Creating another streak with a black in here, creating a bit larger grasses using this kind of smaller brush strokes. Instead of it, if you want, you can create multiple small branches in stems too or you can just leave it plain and simple. Put some of the empty sections in here and for the background, create more grasses. Use this kind of simple projection and small bratro to create the resemblance of the grass. Me blacks for the inside. More black for the ghost. Since some of the trees has dried up, add a little bit more black for some of the trees that are looking comparatively lighter. Extending the side a little bit in here. One more section in here, comparatively thinner section. Combining it with the outline of the mountain. Now let's create a bit smaller grasses in here for the front. For the base of the tree, making it a little bit distinct and bit apart from the foreground. This project is divided into two sections. This is the first section, and I'll only be covering up to here in this section. I'll be adding a little bit more detail or a little bit more concentrated black put some of the sections of the trees or for the foreground, if required. Otherwise, we are mostly than went it. I'm just going to create a little bit more projections for smaller sections of the stems and the branches, giving the flowing revel a little bit more pro per se, making the outlines a bit more distinct between the foreground and the different sections that we have created. Doing the same thing on this side too making the outline more distinct and more prominent. Smaller projections like this with smaller brush strokes to create small grasses like this. Creating a few more smaller trees and more branches in the background. Also for some of the sections of the branches in the trees making it more darker. Small trees like this in the background and making some of the sections like this bit more darker. Later on, I will be using jelly paint to add a little bit of texture and detailing for the trees. And yeah, I'll only be covering up to in here for this section of the project. I'll be seeing you in the next section where we'll be continuing on when it dries off. 15. Tree Texture : Welcome to the second part. Let's continue where you left off. And here I'm starting with this. In here, I'm using this gray colored breast paint to do the coloring for the roof, as well as add a little bit of texture and detailing for the house using this kind of simple hatching lines. Now, going back once again with the gel pen to add a little bit of detailing for the roof, adding more hatching lines to give it a little bit of texture and a little bit more defined look to the roof in this manner. Now we are going to create a little bit of detailing in the form of windows, doors and ventilations like this. Simple circular seats like this for the ventilation at the top of the hut. This kind of rectangular set for the door. Square C for two windows like this, filling the inside with the black two. For this one, the lower regions is comparatively darker. But on creating two windows like this. Later on, we'll be using white to make the outlines a bit more distinct, going with the red to do the coloring for the roof. This is optional. If you want to keep it monochrome, you don't have to add this black. Instead of it, if you want, you can use different shades of the black or the gray to do the coloring and later on continue with the white to add the outlinings. And these we had with both the roof. Now going in with a jelly pen, and we are going to use a lot of hatching lines to do the detailing for our ghost for its head, making it a bit more darker with small hatching lines, the sides of its space, following the curved tape and adding the hatching line in this manner for the inside of the eye socket, encircling it. Adding more rows of hatching lines for the top of the ghost head. And I let's do the outlining for the house once again. Also doing the outlining for the windows and the doors. And for the remaining sections in here, we are going to create this kind of small hatching lines to give a little bit of resemblance to the grasses present in here, small strokes like this for the entire section, adding it on the sides and top and below of the house like this. And apart from it, I'll also be using white to add a little bit of detailing for all the trees. Mostly, I'll be using this kind of broken hatching lines to give the trees a little bit of texture look for most of the trees. The simple and train hatching lines like this to give the trees this kind of look. This is optimal. If you are satisfied with your tree, you don't have to use this or instead of it, if you want to give it a little bit of different kind of texture or look, you can use cross-hatching to or other kind of scalings or patterns as you see fit. For the grasses that we have created in here, I'll also be using white and adding lines inside it. Continuing on with adding more lines for all the trees like this. For the insides of the branches and the stems, I'll be adding fewer lines, but for the main stem, we'll be adding multiple lines, multiple broken lines like this. Apart from the broken lines, I'll also be adding this kind of spiral pattern for some of the sections of the trees, mostly for the broader trees trees with more thickness. Continuing on with the remaining trees, more lines like this. Since this process is repetitive and time consuming in here, I'm increased the speed, if you want to follow along with me, you can pause the video or you can reduce the speed. We are mostly done with the trees on the right side. Let's do the same thing for the trees on the left side. Adding for the grasses too for the largest tree in here, the same kind of broken and curvy lines like this. Of it if you want, you can also continue with white ink with white ink or wine tumbrapinT with pen and the white ink using the watercolor, you can create bit more dynamic lines of varied thickness that will be more interesting. But with that, you will have to be more precise. Otherwise, the lines will become more thicker and we don't want that. Adding it for the background and creating a resemblance of trees in the strps like this, smaller ones. You'll have to clean the tip of the pen, otherwise, the white will get accumulated and it won't be easily applied on top of it like For all the rows of black that we have created in here, we'll be creating this kind of texture, texture for the grasses like this for the entire section. As we progress, I'm increasing the length, as you can see. In here, too, once again, I have increased the speed since this is a repetitive process. And as I was mentioning, for the entire section in here, mostly using this kind of broken hatching lines. We'll also be using the hatching lines to give the body of the ghost a little bit of more defined s. Adding a little bit more detailing for some of the sections of the trees and the stems and the branches, as well as for the grasses in here. Now going back with the gree and adding a little bit of detailing for the flowing riven. In here, I was not able to menton it, but I added the grease for the river like this and use different seeds of the green a bit of different seeding to do the coloring like this. Back with the il pen to the make eyes, nose, and the mouth bit more darker, as well as cover some of the white section that were a bit larger. Also, making some of the outlines of the houses a little bit more darker with it. In here, I'm using hail pen instead of the sakura micron because with it, I can get more darker lines and of the gel pen won't be that much affected. But with the micron pen, it will get affected and it won't work. That's why I'm using the il pen. Continuing on with the white once again, the same kind of texture using the simple hatching lines like this. And with these, we had done with our project. This was a little bit different. I was not satisfied with it later on, so I gave a little bit of more definition to its body like this. This is how this project turned out. 16. Conclusion : Congratulations on completing the Dark Forest and Haunted Homes five day challenge. Over these five days in the five project, you have explored how to create multi ink illustrations from simple structures to detailed haunted scenes using hatching, cross-hatching and texture technique. More importantly, you have practiced building atmosphere and storytelling through your artwork. I hope this class helped you feel more confident with ink and inspired you to experiment with darker, more expressive composition. If you have not already, don't forget to upload your projects and practice seats in the gallery. I'd love to see your work and your progress. If you enjoyed this class, feel free to leave a review and follow me for more creative challenges. Thank you so much for joining me, and I'll see you in the next class, keep creating and keep having fun.