Drawing a parrot with a ballpoint pen.

1. Introduction: Hello darlings. My name is Katie, and today I would like to share with you how I draw with a ballpoint pen, a simple ballpoint pen that anybody has in their house? I probably have a 100 of them. I've been buying them since I got into ballpoint pen art, but I always come back to the same pen. I like this one zebra up when seven of the pen. So, but you can experiment like I did. I experimented a lot in the beginning. Here's my experiments with all of the pans above. And I always come back to this one is just it's the best pin for me. You can use any white paper you have printer paper works. This cat was drawn on a, just a simple printer paper. Also again, experiment, experiment, experiment. This is a pen paper or draw a baby. This is bumpy, cold press watercolor paper. So it already has some texture and the surface and made it easier for me to create the texture of the four on this little core game. You can get a really, a, really a realistic with bulk point PE and look at this I have done it was just one of the first times I tried this. I think ballpoint pen is absolutely amazing medium. I don't know something about it. And I like the blue color, suppose, but you can try different colors. I have, you know, purple and black, all kinds different ones. This flower was drone with a method called stippling when you put dots. All too boring for me. This is on the Bristol paper. This puppy was done in Bristol paper drawing with a pencil. Otherwise, another Bristol paper drawing. I'm sure you can find a piece of white paper. And wanted to show you one more drawing. I did. This one is on the smooth, very smooth surface. You can even tell. This paper is designed for pins. Also this I, very smooth paper. And this line is, I've done it for 10. My skill share lessons, got so many likes. I never expected it on Bristol paper. So I am going to use special paper, paper full pens made by the italic. We're going to use this pen, as I told you. You can sketch drawing first with the graphite pencil. So graphite pencil maybe and an eraser. And oh, yeah, you need like a tissue paper or Kleenex. Just dropped it to wipe the tip of your pan because sometimes Inc. collects at the tip. And if you don't wipe it, often enough it leaves the No burgers on drawing, which they're fine. But if you want to be really, really neat, it's easier to hold this in your left hand or whatever and your non-dominant hand and just wipe depend very, very often. So I think we're ready. 2. Clarification on materials and techniques: All right, so this is our project for today. I'm going to walk you through step-by-step how I drew this parrot. But before we begin with this project, I would like to say a few things just so we become completely clear. First thing, we are using ballpoint pens were not using technical pans or gel pens. They wouldn't work for us. There are different techniques for using technical pants and Jill pens. I prefer ballpoint pen because it gives me the different quality of line. So it gives me a variety of value. Just in one line, I can go from very light to very, very dark. I can, I'll do the same with technical pen. It will produce pretty much the same line, the same value all along. When I do, for example, hatching and you can see it very easily. I can press very, very lightly. And then if I press, I get darker lines with this pen. With the technical pen, I can't really do the same. So I'm trying to press lightly here. And then yeah, it's not giving me that. The variety here, how light can be in how dark here. So and dopends. Totally different thing than this Ben, I think it's supposed to be a ballpoint pen, but it's not as good. So you will have to play around with different bends and see which one works for you. My favorite one is, I will say many times is the Zebra 0.7 millimeters the blue color, but any zebra pen in gray, I just prefer blue color. This is black. So that was the first thing I wanted to say before we begin. We're not using technical pins, Micron pens, or gel fence, just a regular ballpoint pens. And the second thing is I will again repeat myself that I'm a very busy person in. I just love to Drew. I don't have much time for that. So I did not spend a lot of time doing any kind of exercise as practices. I found this old piece of paper where I tried to do something. There was probably a year ago and I was the last time I did something like this doesn't mean it's not a good idea. It's just me, my personality. So when I draw right now or the ballpoint pen, I use a combination of or different techniques. So the first one. Would be hatching. Hatching is just parallel lines next to each other. Since I've been drawing with a pencil for a long time, I have been sort of practicing hatching a lot. So for me, it's quite easy. But if you have time and if you're like watching TV or listening to a radio, maybe it's just a good idea to just practice drawing parallel lines. Because we, as viewers prefer art that is done with confident lines. Not shake your lines. On shore lines we want see confident lines. We want to see in interesting lines when they go from light to dark to light. Small, big, just play around. So the second technique I use is cross hatching. Crosshatching is parallel lines crossing each other, different angles. We do not want to see 90 degree angles, but don't want to create limb prisons. Crosshatching is usually at the very slight angle. And the darker you want to make the area, the more layers you're going to create. So that's another thing you could do. Create transitions, doing crosshatching. So, and then there are two more techniques. I'll just show you here. So this is the third one. Let's call it scribbling. Scribbling. It's just moving your pen around. Chaotic. And then focusing on different areas. And that's how we create value. So this was done with scribbling, and this was done with scribbling. Fourth technique is stippling. This was done with just putting dots. And obviously the more dots you put in one spot, the darker will look. That's probably my least favorite technique because it takes very, very long time. And it's kind of boring to me, but it looks absolutely gorgeous, I think. And here I used actually a technical pen micron. But this technique doesn't necessarily coal for a ballpoint pen. But I wanted to show you that. That's one of the ways to create drawing with ballpoint pen. So with this parent are used. Hatching, crosshatching is a little bit of scribbling in the areas where there is there is a dark. Sometimes I would just go different ways because it didn't matter and what the lines are there. I don't think there's any stippling there, but overall, this is going to be a combination of all those methods. And I invite you to practice all those methods within a project. So doing something like this. And you think when we are involved in creating something beautiful, i'll brain works differently. And we learned sort of biased Moses. We get sort of saturated with this process and it goes deeper into our body and our muscles. We don't even have to remember later what it's called, which is learn to do it. So this two things I wanted to say before we begin, and now we'll definitely ready. 3. Pencil sketch: Alright, so I have my paper, I have my pan. I will use a graphite pencil to sketch. To prepare for our final drawing. An eraser, Kleenex. My reference photo. This reference photo came from Pixabay website. I edited it in, desaturated it. So it would be easier for you to see the values darker and lighter. Because eventually you will, you will learn to draw without using black and white photo. But in the beginning, sometimes it's helpful. Usually are wouldn't sketch anything with a pencil. But I did when I just starts. So I will show you how I sketch in then we'll move to the pen drawing. So if you don't know how to sketch, if you're not very confident, you can download the traceable image I have attached to the lesson and transferred to your paper. Or if you're confident enough, you can just start drawing with the pen. That's what I usually do. Because even if you make mistakes, they still look beautiful. It's just that kind of type of drawing. I like to see all the steps I've done in my drawing, so I don't mind the mistakes. I correct them. I just start very, very lightly. So but right now, I'm just going to start with the pencil. So when we look at the reference photo, we go into star with a circle. So we're simplifying. Then the circle. Somewhere around here. We see His face. What exactly a circle, but we started with the circle was somewhere like this. You can even measure it with your pencil. To make it easy. I like to just do free-hand without any measurements. It helps me develop my eyes for drawing. But when you start, use all the methods you know. So simplifying the face. Film, Ingo, how the beat goes. Like this, can indicate if and again, if I make a mistake, it's not a big deal. I have a lot of time to fix it. And it's just a very light sketch. We don't need too much. Won't pay for before we started working with a pen. Drawing animals is very forgiving because most people wouldn't even notice that you made a mistake. And I always ask myself silently, is the eye above the beak? Is it next to the big, what angle is placed? Just keep comparing different parts of the body. The children. And that helps. So I think that's enough for my sketch. I'm going to use my kneaded eraser and a lift some of the console. You can erase it completely. In the end. After you're done with your old point can draw. But right now, we'll just leave very, very pale lines. And now we're ready to start using our pin. 4. Outlining with a pen: Continue wiping local. It's going to become your habit if you draw a lot. So I'll have my sketch ready. And what I'm going to do, I'm going to start very, very lightly. And this brand allows me to do so. Unlike technical pen, we're strokes are pretty much the same. Intensity. Ballpoint pen allows me to create very dark lines and very light line. So we're going to start pressing very lightly, which allow me to create light lines. There. I know I'm going to outline a little bit lightly because the edge feathers create this uneven edge on his head. I'm not going to make the edge. I'm going to make it uneven as well. But I want to outline all the important areas where texture of the Bird's head changes right from further to scan to hard beak. And want to have all those areas separated by lines, very light lines. If you haven't drawn a lot. You could practice on a piece of paper like right now for the beak. I want my life to be very confidence. So if you don't feel confident, practice on a piece of paper. I wanted to be very like one, like I don't want it to be like this. It has to be one line. Even if it's not even in intensity, I want to create this beak in one go. So I know I'm wiping the tip. If you make a mistake, don't worry about it. I'm looking at my reference photo all the time. Like 50% of the time. I trust that you are with me and you are also looking at your reference photo. Downloaded. Uneven edge where the feathers. So his shoulder is a little above where his beak, and so it's converged here. So it was, I drew too low here, so I can just raise it. Now. Here we have some feathers going like this. So the outlines done. 5. Darkening the darkest areas: I'm wiping my and for the next step, I would like to darken the darkest areas on the board. So we see right here, part of his beak is very dark. Right here. We have some dark areas. Right here. On top of his head. There is that and part of his feathers that are on the shadow, or very dark between his shoulder. In chess, there's dark. So we'll start with those areas. We cannot whiten the white areas, so we have to be very careful leaving them white. So right here, this is very wide here, so we're not gonna do much at all. And we're going to leave it to white with watercolors, right? So the way I'm going to darken in, I'm just going to use, in this case I'm thinking hatching. I do not have a plan, how I'm going to shade things. You might see the different types of hatching, crosshatching in books that teach about using pens. I am pretty flexible. I just do whatever I feel like Dune. I look at the photo reference and I allow me to tell me what wants to happen there. And again, if it doesn't work for me, I corrected. You could use a scribbling or you can use hatching. Cross hatching when you cross hatch, we don't do it 90 degrees. We doing IT a very, very slight angle. I do not like to take time practicing this kind things. I like to learn by drawing a project. And that's what I'm doing here. So I'm just going to start by watching and wiping. And I'm not going to make them really dark yet. I just want to start by just indicating which area is going to be the darkest for me. So right here, we call dark area. I draw a lot with graphite and charcoal pencils. So all of these. Techniques for shading or very familiar to me. But that's not how it started and I only started drawing three years ago. I do not like spending too much time on exercises. Even though maybe it's a good idea. I started doing when I was 40. And on this whole world of Art opened up for me. I felt like, wow, I wasted so much time. I need to start drawing right away. What I did and just jumped in. And I learned by working on a project mode. Boy, don't exercise. Nothing wrong with them. It's just, I think you learn best if you work on something that you enjoy. Continent is beautiful. But that's just me. The darker hysteria goes somewhere in this rectangle. This paper is very, very smooth. I like to mix things up. So sometimes I like small, sometimes I don't like Smith. Here. All these feathers, they went dark. Just covering this area. But later we will draw a single feathers separately. Like or egg-like shape. Is all dark. Iris. I'm leaving some areas white because you can see this area. That's not gonna be the darkest area, but we would like to indicate that it's kind of a darker than this one. I'll just draw some sticking out that are in the shade. We make them dark. And when you start working on shading, again, compare different areas. So is this further darker than this beak? They kinda the same value. Just like this part of the beak. Base feathers darker than the big Gnome Day. A lighter. Is this shoulder darker than the beak? Notes, Leiter? What about this part of this head is a darker or lighter than the shoulder? Darker. So keep comparing and add to your shading layers so make it darker. Or stop if it's already dark enough. Alright, so we'll put some details around his eye in the next lesson. So for right now, I'm done. Let's move on. 6. Drawing the area around the eye: Work on the area around I. So it looks like little waves. I'm going to draw placement and then I'm going to make them bigger. And it looks like there's a point from which they originate. Now I'm going to make them like little fishes. And they are pretty dark, so I'm just gonna go ahead and just fill them with ink. They get bigger. Onto the eye. Toward here as one long area is dark. Bottom. Looks like this. More or less. Dark area right here. And I'm going to fill it with ink again. And again. I'm still not making it as dark as it's going to be in the end. Right here, see pretty dark area going to draw it in. And then there is a very interesting pattern right next to the beak. So we don't have to be exact with it, but we're going to try to imitate that pattern. So I crinkled paper kind of thing. So I see alloying and gone here. Then I see the line comb like this. And like this. Here there are a little closer. And I see some shady areas that look what triangles and that's all I'm going to do like shade or few drawing goals. Right here. I just see the lines bit darker right here because there's a shadow on this side. I'm going to make those lines a little darker. Sort of like a spider web situation. There would all want to make them, even. There's nothing perfect or perfectly symmetrical in nature. So I'm just going to loosely indicate creases. And the darkest ones are right here. Just a little, a few more lines. To create this messy look on his cheek. If it's a he, I don't know. So this area shaded. So I'm just hatching over it a little bit. Right here. This whole area sorta going to shade. This looks like folds. So where the folds began, I make those lines darker and then I let them go darker, new beginning nonetheless, to go dark line right here. For me here. I don't want my lines to be this one, my lines to be artistic. I want them to be darker and the beginning lighter in the Maital, darker. Towards the end. They can even break up a mail. No straight lines. So here I'm going to make it better in this area. Federer in here. It'll federal right here. Then this also, when lines connect those areas should be darker or right here. Part of this beak connects to the tool bar and I'm gonna make this dark. Then I lighten my pressure and then again come back to dark. Dark, light. Wherever there is a shadow, we want the line to be darker. If there is a highlight, the lighter color area. We like Navarre fret pressure. So again, right here. I see right here, very, very dark area. And there are no variations in this darkness, so I'm just going to make a dark already. There's a bump right here and it's not really, well darks on dark money, but with a lighter touch. So let's see. This area is all dark and it has little lines. Rounded. Looks like some sort of see you anymore. A seal decorations on his face her there. And they go like this. Most lines going this right here. This area is going to be very dark or dark in it. From the bottom. I apply some pressure to the bottom and then I lighten my pressure towards the end. Because I do not want to have a line right here. This will allow me to continue with a lighter pressure hatching in a seamless kind of way. With this kind of hatching, we are risking creating this line that we don't want. So here I am pressing and releasing. And look at the variety of quality of the lines. This, how light there, here and how dark. Here, only ballpoint pen can do that. So when we look at this area, we see that this area in front of his dy is darker than the area around his eyes. It's darker than this area. So I can actually cover this whole area with light touching right now. And this just parallel lines to this area right here on this space. We're leaving this white slide. Changing go slightly up not to make. I was hatching MOOC a little better and pressing very likely. So I would have room or creating other shadowy area. So right here, it looks like this. Oval is darker. So I'm going to just shade around it a little more towards the left. Light, light strokes, many of them. And wiping your pen. So right here I see this line a little darker, a little more pressure, little hairs there. So this area is also have some bumps so we'll go into shade right next to them. These darker areas seem to be elevated so they are giving some shade underneath. So I'm gonna keep them really dark, but add some shading underneath. Very dark. Shading underneath. Here. Again, very dark. You can add a little more. And here I want to start defining the eye. Because for the next video we're going to work on the eye. 7. Drawing the eye: So we have a very dark coat lie around it. Very dark iris area right next to the iris is little darker. Then It's a little lighter than the iris, as well as this little area to the left and right under the top lid. Also there's a little highlight right here. I'm going to try to keep it white. We lose it, then we lose it. Not a big deal. So that would be the lightest area. Then next one is this moon shape. Crescent shape. Area in everything else is darker. So this is not the sharpest point pan. You're confined. Yet it's my favorite ever. So I'm going to try to leave that wide-area. So I'm gonna draw that circle there. So I don't touch it, I don't do anything. They're going to darken the army's completely. Then we have very dark area above, below current with an outline of the eye. Then we have a shadow under the top lid. Lighter touch. Right here. Again. Lighter touch. Right next to the iris. Very light touch. It's not exactly around, so I do not want to draw a circle around it. The iris leaves it edges uneven. And then I'm going to cover the whole lie with one layer of hatching C. So there you go. So now I'm going to darken a little more right here. Right here. And that's it. So you can see a little design going around his clean dots. Can do that. You see little wrinkles. The eye is done. 8. Drawing the feathers on top of the head: Move to move. He's found there's top of his head. So i'm going to lightly indicate larger areas and we will have grown to draw hair by hair. When I drew pineapple for the pineapple class, pick a feather and start with one, and then grow the one center next to it. Oh, we'll, we'll need to do is create a volume of each feather by indicating where the shadow is. We're not going to draw every single hair on it or whatever's cold and feathers. And here, the direction of our hatching is very important. We won't want to create the illusion of those feathers. So you can see the feather as middle part and then goes something like this again. You see I'm pressing the beginning and then let it go. They're not really clear on this. Had so weekend even when we have our feather and we can just do like this. So I'm just going to cover every father was one layer off. Shading, just strain, patching in the direction that I observe in a reference photo. Don't have to be too careful, just one layer. And now when so the feathers that have this Cranor shape, we're like a bump, right? So and one bump connects to another bump. Threes or shadow. So the light's coming this way. It hits the feather and then epsilon, this bird warns that yeah, it is coming this way. So what I see is actually because of the bumpiness, This area is light and this area is dark. So. Everywhere going to darken this point of connection, like right here. And you can observe it on your reference photo too. If I didn't draw enough feathers, you can add. It does look like pineapple, but I did for a pastel lesson, you see where the shadow is darker and on this side it's lighter. And I can just draw in new feathers if I see something new on the reference photo. I'm not trying to be very precise. I just want to create this illusion. Because the feathers are not the focus of attention. Is face is the focus of attention. This line should not be straight. It should fold. Growth of feathers. Cohn Foster, No, because again, it's not a very important area for me. Only those points where the feathers meet. Those are important parts. And once again, this part is in the shade. So I'm just going to cover evenly this whole area right here. I might add more details later. But right now, I'm quite happy with Tableau. And you said, this moment, we've learned to create some darker areas. So I see it right here. Going dark. Because I'm making this darker. I need to make other eras in the shade darker. No. No, I cannot unsee that. Pinup. Pineapples. This is just a demonstration your firewalls and talking. I would probably spend a lot more time. But I want to keep your attention with me. So I'm going faster. Going to emphasize points of connection. Little more everywhere. And if then the shadow, I'm gonna make them darker. And that makes the dorm interesting. So I would like to pay little more attention to the edges. So you can see it go like this. And you stop them and go again, sticking up. And then the direction changes a little more towards the back. And this area right here is really dark. So I'm going to darken it. Look, line is not even because their feathers, they're so good with the hand for I know. Let's move on to the beak. 9. Drawing the beak: He's bleak. So it has some interesting shapes in there. We don't want to be too detailed again. But we should start by indicating the lighter areas. Think of them work islands in the ocean. So I'm going to wipe and lightly indicate those islands. Don't have to be too precise. Just observe the shapes. Those areas. We're going to leave light right here. The rest of the peak we're going to cover just with a layer of hatching. And I'm going to go in this direction right now. Usually we wanted to follow the direction of the shape. So I see this way and then it changes the angle. I'm pressing lightly. Do not want to create to darker lines. Were those rows of hatching connect? And I'm completely avoiding my islands. You could have done them in pencils so you won't see any lines. But I told you, I like seeing the process that I went through. Well, I want to draw all mistakes, everything, I want to see everything. So this area is not precise. Drying goes Karina, curvy right here. So now just observe in dark and even more the areas that need to be darker. And you don't want to keep those lines. How to say it. You don't want to leave the lines. You want to go over them a little. So you don't have very smooth edges. Those islands, they're not really Islands. It's just something that I created for myself to simplify my work. So I'm gonna change my hatching a little bit. I went a little over the edge, so I'm gonna fix it by making this line a little bigger. You can even go over this in some areas because even within those little islands, the colors are all different. So I see around here going dark, dark area, changing direction. I'm looking at the photo. Sorted tells me which direction to go. Probably depends on NANDA curve of particular spot. So we just want to be interested in this area is very dark, so covered completely. It gets lighter. It gets darker again. Right here. This area is going to be really, really dark. Guard told you before we compare this part to this part. This part is really dark, so I can just go ahead and cover this area very dark. Right here we have a little reflected lights, so we're going to leave it like this. It will give us the illusion of that curve. So for me, the darkest area will be right here. And right here. When I'm covering a spot, making it as dark as I can, I don't really care which direction we're hatching goes because I want to cover it completely. Right here we have the beak curves, so I'm changing the direction of my, the lines. Leaving this area right here a little lighter and we'll see we'll need to make it darker or not. But right now, I'm not going to make this decision. We're going to cover the rest of this beak. Within this triangle looking spot. We see that this area right here is a little darker. In this one has a highlight, so I'm gonna leave it white. And these areas are actually are highlighted area or mirror it light. I'm jumping from one spot to another because I am going to that process of comparing the darkness, darkness of the different areas. So when I see something the same volume, I just jumped and make them look the same. It looks like it is part of the face, elevated above the beak, so it's in the shadow. There's a wrinkle layer. Gives us a shadow as well on the beak. Pretty dark shadow. Let's merge here were see lines. Lines. We see different designs. I'm going to try to replicate them. I'm leaving this area light again. Still. Darker area inside that little island that are left, right here's pretty evenly dark. We don't want to divide the beacon to separate parts. It's one whole thing cell. Once in a while I just cover everything was even layer except for this part, which is highlighted part. And this reflected light. And to make it more visible, i'm going to make the area or next to a darker. You see how it made it stand out for the No, I can even add more feathers there. Dark feathers. To emphasize the reflected light. I'm going to go back to darker here right next to the reflected light curve. So it's indentation inside the big. Let's finish the top part. So right here, we're going to leave our reflected light just like we did here, right next to it and would be a dark, dark area that gets lighter and lighter. Part is completely in the dark and ultimately reflects light there, but we can leave it there for the illusion. Highlighted area right here. This one leaving this white line right there. And then I'm continuing to cover the beak. So another layer. You can, you can probably draw those kind of lines within it. The thing that's gone very well. So if you squint your eyes on the beak, you will see that right here is very dark. Right here is very dark, and right here it's very dark. So we're going to just darken those areas. And then we'll cover the whole beaker again with a layer of kind of ka-ching. Price right here. Right next to the beak meets the face or chink. And make it a little more intense right here. And let's cover it again. This one is highlighted, so not too much. Very, very likely. But I do not want to the beak to look like a divide it into different parts and I want to include everything slightly different Ingo, NO ONE To make this part darker, so not doing go into touch this highlighted area. I'm not worried about the direction of my lines. Again, the beak looks very chaotic, all those things on it. So we wanted to look a bit messy, unified about messy. And I'm wiping my Sunni darker. Many times as I need to. Right here a little bit. And I want to emphasize the edge B-C. And close to us. Some things further away from us. We don't want it to be in sharp focus. Emphasizing areas as closest to us. As viewers. See you just known as sharp as I drew it in the first person. See little line. Falling edge. Create little designs. We've been Durkin right here a little bit. Now, I want to cover this reflected light. Okay? So what I see now is the bottom part is darker overall than the talk. So I'm going to go cover this area where the fuel more layers of my chain. So I'm pressing harder now until I'm happy that this is darker than this. You can leave those lighter areas. This right here. As dark as the bottom barred. Thinker, done with their beak. 10. Drawing the parrot's chest area: The next part we're going to work. This area is just the edges of this area right here, the white US Theory. And maybe after that will just fine tune everything in. We will be done with this one. So once again, I'm going to simplify. I see layers of feathers go like this. So where does this men? The way we see them? Something like this. This area is going to be the darkest because of the local color, because this area is darker color than this. Already covered it with comparable layers of my hatching. So right now we're just going to, we're going to use negative spaces, so we're not going to draw the feathers, we're going to draw the shadows. So we're going to look at the shape of a shadow and a repeat that. So right here, the shape of a shadow to me looks like this. So we'll go into dark and just that. The next excellent, this is going to cover that negative space. And again, the pineapple C right here, right here. Now I'm going to emphasize the areas were the prisoners couldn't act. Umbrella. Here. Quite a few dark. And I am applying the hardest pressure. And then drawing the lines for those feathers are quite dark. Variation there. Because of that local color. If you squint your rise, you can just completely cover, can be given as a shadow. So now for this values, I'm just going to go like this. Their feathers and some gaps. So no make darker lines right in the middle of those three areas. And not making them ongoing at a different angle. Going to darken the points of one of those layers meet chaotic, chaotic kinda way. We just want to keep this white is the darkness and this is kind of medium color. Right here, the shoulder. And you see a dark area in here. Lightly indicating the rows here because it's the lightest area on the bird and just go into the beginnings of the feathers. And a hint that their feathers there even a little bit of a shade right here. So again, covered this a little more. Just hinting. When this white area, it's going to draw. Again using negative space. The feathers that are towards the back. I'm just covering this whole area evenly. You can always drawing player, so we need to hi, I'm self-taught artist and besides I am Russian. I live in the United States, but English is my second language. So I apologize for not knowing some terminology and not knowing what to call something. I always learn. By example. I don't need words. I prefer to just watch someone draw. Learn that way. I'm hoping this could be useful for some. Drawing for me is not a mental thing. It's very much feeling. Sometimes. It's like when you're driving and you don't know how you get somewhere? Because you are an autopilot? I wouldn't say I'm on autopilot when I'm drawing. I am not in my head either. Ram somewhere in my heart, my soul. So here we have some rows of feathers. And it's more important for me to be correct with the values. Where's the darkest area? The lightest line work with the details are here. That's where the white area. And we can indicate a girl like this. Well, it reminds me of a pine cone. You can see I'm not drawing lines here. And we're gonna leave this area even like the edge of feathers. So now we're going to darken. Areas underneath. Lines go in a direction of the growth of the feathers. That looks the most natural. So I'm just going to darken some areas. Again, just a hint of a feather. This kinda connects here, recover. I'm darker than feathers, a little wider than this part of the area underneath it. It's very dark. Kay, here. Should redraw a little bit clear. Well, just again, a hint. Draw what I see. Looking at my reference photo. No drive to be too precise. I'm just going to shade the top right corner, corner of each other. I'm going to make the middle of those feathers darker. And this whole areas and shadow. So I'm just going to lightly cover it. Just right here. Let me run the lines to create an illusion of texture. Just kinda take a break right now. 11. Fine tuning and finishing up the drawing: We're almost done. I would like to just fine tune and cover the darkest area. One area has one more time. So what would I like to dark? And here, again, we want the front of the beak, 2V, really dark. Front of the beak. Underneath the beak. This area right here, we wanted it to be very dark in front of the beak. Dark right here. An Apache kinda way. Want to darken this area. Here. Around the eye. There's one more. Here. Have a little bit or her looks like some phasors are thinner in the show, areas underneath them. So this top part is a little darker curve. Would like to emphasize the singer, Yes. And this whole area. Here we lightly shoulders not in focus. We want to keep our interests of our viewers on this face. So just creating a little bit on balance. Because this darker area looks a little more heavy. So I'm creating balanced by adding something more to this part. Here, there he's going to arise. You will see some areas are darker than others. And I wanted to make the edge of the shoulder darker. Not just one simple line, but kinda make it follow the shape of different feathers. Have Grover. I'd like to make every ending a little more precise. What else? There's areas known as dark as I needed to be. I'm going to darken this boats right here. This whole pattern. It's like fishes are. So women away from this point right here. This spot is actually bigger than the top of it is darker than the border. As dark as this. Right here. Would like to create this illusion of wrinkles searcher. Well, I don't really know what that is. Right here. This is much, much darker than order have no, looks like zigzaggy, kinda Potter. Some fine tuning step of every drawing. A very personal thing. I used to not know when to stop. Now, I know exactly what I want to stop because I don't make a commitment that I'm done. I am open to the possibility that tomorrow wake up and see something else and I will want to correct it. So commitments can be scary, right? So I do not make a commitment. Oranges, tell myself, I'm done for now. And you see what I'm doing or I know. I don't think about it. I just look at the reference photo and reference photos telling me what to do. I hope it makes sense. To me. What's this area a bit more defined? You see emphasizing all the points where the lines meet and become darker. So if I have a line that meets another line over that spot, more, that makes this drawing more interesting. So at this point I feel like we have achieved the goal. The goal was to introduce you to drawing with a ballpoint pen. I can sign my art. Interfere with me. You can sign you worse. I hope you enjoyed this lesson and if you have any questions, I will be very happy to answer them. You can connect with me here on the skill share, or you can send me an email. You can find me on Instagram, on YouTube. And I will be very happy to help you.