Exploring Fountain Pen Ink: Painting Stones with Patterns

1. Intro to Ink Wizardry: There is magic anywhere in the world, it's definitely hiding inside a bottle of ink. So many things were written and so many things were created because of it. Many of us still associate with our grandparents writing letters with feather quills, but I'm here to break that spell. Ink and especially magic ink, as I call it, which includes fountain pen ink, shimmer ink, and duochrome ink and multi chroming feels exactly like a bottle of potion. It has unique characteristics, especially compared to classical art supplies like oil paint or gouache because it shifts, it sparkles, and blooms, and it separates in very unusual ways, and it rarely behaves the way you expect it. But that's exactly what makes it such a unique gem and the wild child in the art world. Hi, I'm Poocorno. I'm a fine artist, illustrator, and you're professor of ink studies here on Skillshare. In this class, our curriculum will consist of learning what these magical potions are, testing how they behave on different papers, discovering how they mix together, and learning how to create beautiful textures, patterns and color effects. And as your final exam, your class project, we will create a full composition of different stones with unique patterns. This class is perfect for students who love experimenting, playing with colors and textures and who are not afraid of letting new materials surprise them. And don't worry if you're a beginner. You don't need any kind of special advanced wizard license for this class. You'll need a few sheets of paper or a sketchbook, a few brushes, at least one ink color. I'll be showing six different types of ink, but even if you only have standard black ink, it will work beautifully right here. So grab your magic on, prepare your potions, and let's begin. 2. Your Class Project: Your class project. Thank you so much for joining this class. I'm happy to see everyone here. For your project, you'll create one full composition filled with different patterns. All of the videos will be split into 1 stone, one pattern at a time. Along the way, I will suggest other pattern options in case you would like to choose something simpler or something different. You can choose the size of the composition you want to create. I will be showing you an A five composition right here, but you can also choose an A four size or letter size in US. You don't have to recreate this composition exactly as it is. You can experiment with your own sizes of stones with your own patterns, and you can add fewer or less elements if you'd like to. If you feel that this larger composition is a bit too much, it's completely understandable. You can start by painting just 1 stone per page, and that's already a great practice. Most important thing is that you're already here and you're ready to create open to drawing something new. And when you're done, don't forget to post your work in the project gallery so we can all see your painting journey. It's also very exciting to see what unexpected ink patterns effects appear in your work. What kind of magic will you be able to cast on your paper? I'm so excited to see. You will find more information to help you with the project in the project section below this video. In the next vdio, I'll talk a bit more about the materials I'll be using and then we'll start drawing and painting. 3. Materials & Supplies: Materials and supplies. Let's start simple with the materials. You will need a pencil and eraser, of course. As well as some pointed round soft brussel brush. Minus size eight, and all of my brushes, by the way, are synthetic. And you will also need one small brush worton lines. I have lots of these simple cheap brushes. There's no size written on them, but preferably they should be size zero or one. When the brush is wet, it becomes very thin and pointy, which is perfect written lines. Then you need some napkins. Doesn't matter which kind, these will be used to soak up the excess ink on the paper. Wiping the brushes on them, you can get amazing patterns that look exactly like tie dye. If you use fountain paintings, you can see how they separate into different dyes and colors. It's very beautiful. But don't expect to see such dramatic results on paper, though. But these patterns could still be go or collages or something creative like that. We also need a jar of water to wash your brushes and dilute inks. Now, choose your paper. You will see another short more in the demo video showing how inks behave on different papers so you can choose whichever effects you like most. For this class, I'll be using my trusty old Sketchbook. It's 100% solos paper with a weight of 180 grams/square meter. Pages are cream colored and the size is 14.5 by 21 centimeters or half letter size in the US. The dickie pages give the ink paintings more professional look, and that's why I chose exactly this sketchbook. But you don't have to have this type of paper. You can even use standard A four paper or US letter paper. It's G paper, and it's actually great for practice because you are less afraid of wasting it and nothing stops you trying funky experiments, and I have made many paintings using cheap paper myself. Then, of course, you'll need some ink. First, the most important info is be careful with things. Set up your space so that you don't knock it down or spill. Since you don't have magic powers just yet, it's painful just imagining spilling ink all over the place, especially in a white carpet. Oh, God. Also, be careful with multiple rings. They contain strong dye sometimes, which is how they create multiple colors from one bottle, but they can stay in your hands and pretty much everything they touch. This depends on the specific ink you are using. Standard black inks usually do not stain. However, every ink brand is completely different. So I cannot tell you exactly which inks stain and which do not. And it is safest to assume that every ink can stain. Another important thing is that ink can go bad over time. Different inks contain different ingredients, so it's impossible to say exactly how long each one will last. Many inks will slowly change texture, color, or even develop a bad smell over time. If they're stored poorly, this can happen in less than six months. So make sure sunlight is not hitting your ink bottles directly because this can make them deteriorate faster. Unfortunately, inks naturally age and usually do not last forever. Sometimes they last a year, sometimes several years. It depends on the brand, quality and storage conditions. The same thing can happen to your paintings, actually. So make sure they are stored properly. If possible, scan them or take photos of them. For this class, you only need at least one ink. Can even use just black ink and still get similar results. However, multichrome fountain pen inks are perfect for this class because they are what I will be demonstrating with. You do not need these duo cromings, but if you already have them, that's amazing. That just gives you more things to experiment with. I call these things by many different names, as you can notice, because they are still relatively new on the art market. So there are no universal term for them just yet. Unlike something like oil pastels or watercolors. Because of that, you will see many different names used when searching for them online, and I'll be showing you a painting that uses six colors. Two things are simple, standard colors without any special effects, blue and yellow ochre. Then there are three duochrome inks. One is more reddish, the other is black, and the one is kind of diluted, watered down, green color. And finally, one especially in the ink, and that is dark purple with the green humor that I consider multichrome because it also contains an additional green humor effect. On the packaging, the inks that I call multichrome are labeled as chromatographic inks. So throughout this class, I will refer to them as chromatographic inks. You're looking for a specific brands, I can recommend these from the Blick store. It's Vers wheel, Brest fountain pen ink, and Sailor USA State inks. There are many other more interesting brands, but you have to decide which colors, which brands you like the most. I would also recommend trying these inks from EtS. These are octopus Shin ink and dllumTmd warm fountain pen ink. Hopefully I'm pronouncing that correctly. But make sure the ats sellers are not simply reselling inks from Alli Express or Timo. If you end up liking these inks, you can often buy them directly from those sites for less money. So check before you buy. Next, I will show you some cool effects you can achieve with these inks, and we will test different papers together. But if you already feel like painting, feel free to skip ahead to the sketching step. So I'll see you there. 4. Ink Swatches & Creating Unique Effects: Inks watches and creating unique effects. Here I will show you some of the results and effects you can achieve with these chromatographic inks, along with some experiments that I created. I think the so of this art material is experimentation. Most likely, all of us will get different results, even if we religiously repeat the exact same steps. So experiment as much as you can with this medium and the colors you own by creating various watches on different papers. You can spray water onto these watches. You can mix all of the colors together. You can add salt or spray alcohol on top. You can try different color combinations. Create watches with water or without water. Here you can see some of the works I created on different papers using the six colors that I own. I'm also showing you all of these watches I made by combining the six colors in every possible way. In total, I ended up with 15 different color combinations. I made these watches in two different ways. On the left side, I mixed the colors directly on dry paper, and then added drops of water on top. On the right side, I mix colors together on a wet area of the paper. These inks really need water and space to bloom and spread out. And do these cool, beautiful effects. So adding drops of ink onto what paper creates the best results. You can also achieve very beautiful effects by sprinkling some salt on top. Experiment as much as you can, and don't be afraid to waste paint or paper because nobody would swarm that. And here are some of my drawings that I made on standard letter sized printing or a four paper. One of the best things about these inks is that they are perfect for fast sketches. So use that advantage and paint as many sketches as possible and have fun. 5. What Paper to Choose? (testing different options): What paper to choose? Testing different options. Now, on to the question of which paper to choose. Exciting. For standard black ink, the answer is usually much simpler. But when it comes to special inks like these, there are really no one size fits all option. Sometimes you can buy sample packs of different papers from art paper suppliers. And if you can find one, it may be very helpful for testing the inks you own on different paper types available to you. Usually professionals recommend smooth heavyweight paper that allows the ink to flow freely without bleeding or feathering. But here I tested many different kinds of paper so you can see for yourself how these inks behave on different surfaces. You can absolutely skip this section if it feels too overwhelming right now and jump straight into painting. But if you stay, I will satisfy your curiosity. The choice of paper matters because chromatographic inks can create completely different effects depending on the surface. For each paper, I may swatch it by first adding water, then applying a few drops of different ink. I also tested how the colors mix together and how salt affects the inks, as well. So starting with market paper, it is thick and sturdy, but honestly, diorst option from this group. It makes the colors look dull and desaturated because paper absorbs the ink too aggressively, I would say. Most of the beautiful effects disappear immediately, and adding water on top does almost nothing. I personally would not recommend buying marker paper for this particular technique. Next is 300 GSM watercolor paper made from 100% cotton, so that's probably expensive. The color spread beautifully, but because the water moves so freely, you lose some of the more unique ink effects, surprisingly. It is also expensive and, in my opinion, not really worth it for ink painting alone. Then I tested thinner watercolor paper, since it's also cotton based, the paper tries to evenly distribute every drop of water and ink. So results look a bit like tie dyed shirts, which can actually be beautiful, but again, some of the more dramatic ink effects disappear. However, the salt technique works wonderfully on this paper. And finally, another green colored sketch paper. This was honestly one of the worst ones for me. The colors spread too early and rarely react to additional water. So the final effect looks boring. I'm not sure why, maybe because it's too thin or maybe because it's cheaply produced. Not sure. Then there is mixed media paper, which is the thickest paper I own. Surprisingly, it turned out to be one of the best options. It does not react as dramatically when I add water drops on top, but I would definitely be interested in making larger paintings on it and experimenting on this paper more just because it looks thicker and maybe for display of ink paintings, that would be kind of a good option. After that, I tested glossy dry techniques paper. Honestly, this paper feels like plastic, but surprisingly, the ink behaves in very interesting bags on it. I expected it to be one of the worst options. So this is exactly why testing papers can be so useful because ink looks quite beautiful on this paper. Then I dried textured watercolor paper. I expected this one to perform badly, too. But surprisingly, again, it was not as bad as I thought. The texture makes it slightly harder for the water and ink to spread evenly, but the colors remain bright and the ink still reactivates nicely with additional water. Maybe I like it because it's cellulose based and not cotton based. Next is thin sketch paper. It performs fine, but it behaves somewhat similarly to regular printer paper, just slightly better. That makes sense because it's a sketch paper, after all. Personally, I would not use it unless it were cheaper than simply buying standard i four or letter size printer paper. I tested 280 GSM dry technique paper. It was not one of my favorites. It behaves somewhat similarly to cotton watercolor paper or marker paper. It surprised me a bit because I really liked dry techniques, paper for ink. And after looking it up, I realized it actually designed more for markers and graphic work, which explains why it absorbs some of the ink and slightly saturates the colors and why I don't like it. Next is dry techniques, acid free paper, which is great for preserving work. This one was actually my favorite from the I love how the ink spreads and blooms on it, and I especially like how easily the ink reactivates when more router is added on top. Overall, my favorite papers were the dry technique papers, and they take mixed media paper. The worst performers for me were the marker papers, while watercolor papers landed somewhere in the middle. My conclusion is that you can really choose whiche paper you like most. Just be prepared to get very different results, and my personal favorite paper may end up being completely different from yours simply because we might be trying to achieve different results and effect. And that's fine. Now grab your paper and let's start painting. 6. Sketching the Composition: Sketching the composition. Let's start with sketching. For your convenience, you can download either the A five or a four sketch and start coloring it in on printing paper, where you can trace it. Otherwise, you can sketch the same composition in your sketchbook simply by following along with me. The most important thing is to add a few larger shapes and surround them with smaller ones. So first, I drew one large shape balancing on top of another. Then I added smaller stones around them wherever I could fit them in to balance the rest of the composition. I was fidgeting a bit with the positions of the stones, which is why you can see me redrawing them with darker and darker lines. I added a few shapes on top of the larger stone and then one in between. After that, I started filling all of the gaps with smaller stones. You can also see me adding one shape that overlaps the others. Later, this will become just a line I will not be filled in with color. Little trick that I like adding to my composition is creating a hole inside the larger shapes, where I can place additional stones in the middle. But if you don't like it, you can completely skip this step. But I think it makes the composition feel more unique and playful, doesn't it? Like a Tiny treasure or a iot. Once this sketch is finished, I begin raising the lines. First, I go over everything with a regular eraser to remove unnecessary marks. And then I use my soft kneaded eraser to speed up the process and lighten the remaining lines. You absolutely do not need this type of razor. A regular one works perfectly fine. I just personally like kneaded razors because they don't leave any little crumbs behind. I'm lightening the sketch because I drew the lines with a heavy hand, and if I leave them like that, they will still be visible underneath the ink later. So I raise them just now so they are barely visible to me. I can still see the sketch, but now it will not overpower the ink that will add in the next steps. After all the pencil lines are not the main stars of the show. And now the sketch is finished. So let's start coloring these shapes in. 7. Painting Stone No. 1: Painting stone number one. Let's start painting. I will show you how I paint these stones, but you might feel that this version is a bit advanced or difficult to follow. Completely understandable. For that reason, I have also added a simpler version of each individual stone which you can repeat, and you will see it in the top right corner of the screen. I recommend first watching the full process and then repeating the version you feel most comfortable with. If you think you need the simpler version, just wait for it to appear in the top right corner. Happy painting. I will also show you a close up of each stone and tell you which colors I use, but feel free to use whatever colors you have on hand. For example, here is almost the same composition, but done only with black chromatographic ink. So don't feel pressured to match the exact colors. But let's begin. I'm starting with the top left stone. I'm using my palette to dilute the blue ink by adding water with the brush and then mixing in a small amount of ink. Then I paint the entire stone with the light blue wash. And add a few dots of very water down purple. Next, I add small drops of clean water until I'm happy with the texture. After that, I mix water with black chromatographic ink and deepen the color by adding a bit more purple ink to make it darker and more interesting. I adjust the color until I'm satisfied with how it looks. You can also see a spot of extra water on the stone, so carefully remove it with a clean napkin before adding darker lines. I start from the Sandra ovul and draw more ovols around it, and the final outline follows the edge of the stone. For the Es version, you can simply draw these same circular lines without the background color. You can either leave it as is or use a light wash water down black ink and then add color on top of the lines. But going back to more detailed version, this time I'm adding water on top of the stone, and as you can see, the lines start to shift in color from dark to orange. This is the magic of these inks, and it's something you definitely cannot achieve with watercolors. After that, I add a few more spots of darker ink for my palette. Then you can do another trick. Gently leave the extra ink with a napkin, and this gives a very beautiful effect, and that's it for the first son. So let's move on to the second. 8. Stone No. 2: Stone number two. Now let's paint the top right stone in the composition. I'm starting by adding some water to the palette and then mixing in yellow ochre ink. Then I fill the entire stone with this color, giving it a beautiful creamy tone. Next using the green ink, I add this pattern of line starting from the top of the stone. Then with the same darker mixture I use for the previous stone, I trace around it while the ink is still wet on the paper. I also added a bit more purple to make the colors more interesting. And After that, I decided to add another set of lines in the center. While the stone was still wet, I also added more of the darker color around the edges to create a stronger contrast. And that is it for the more detailed version. As for the simpler version, I started by filling the shape of the stone with clean water. Here I'm showing with the reflected light how evenly the water layer covers the surface. Then I raised the shape using reddish in and repeated the same line pattern by dragging lines from one side of the stone to the other. Closer to the top, I drew these open shapes that create the illusion that the stone is rounded rather than flat. And that's it. Much simpler but similar result. 9. Stone No. 3: Stone number three. Now, let's tackle the biggest stones. I'm starting by creating a wash of black herrmatographic ink mixed with water. Then using a small, long bristle brush, I begin tracing around the shape of the stone. After that, I repeat the same line a little closer to the center, and then again, even closer. Finally, I trace around the center shape, excluding the center, of course. Next, I begin filling the gaps with green ink until every section is filled except for the centerpiece. I try to leave small gaps between the lines, but it's completely fine if some of them touch and merge together. And while the ink is still wet, I add drops of darker ink mixture just to make it more texture and interesting. And sometimes I also add drops of clean water, and I keep repeating this process until the entire shape is filled. As for the Es version, I start by filling the entire shape except for the center with water. Then I trace the shape using a larger brush, so the process goes a bit faster filling it in similarly to more detailed version just with lines around the shape of the stone. After that, I sprinkle some salt on top while the ink is still wet. Keep in mind that this effect probably will not work very well on standard printer paper, but in thicker paper, the ink separates and blooms beautifully, and that's it for the simpler version. For now, I'll leave the more detailed version as is, but I'll come back to it once it dries. But let's move on to the stone number four. Oh. 10. Stone No. 4: Stone number four. Now let's move on to the centerpiece inside this larger stone. I'm mixing some water with green ink on my palate, and the chromatographic ink that I own is really fairly diluted in the bottle, but I want to make it even lighter. With this color, I'm filling in the stone, and then I'm adding a little bit of a water down darker color. Next, I add a few drops of green ink in the center, and then using a thin brush, I trace around the stone with dark purple ink. With a large brush, I soften the edge between the two colors by adding a bit of water to help them blend together. Mm hmm. Then using a clean napkin, I gently dab the paper to lift some of the ink. After that, I once again go over the whole shape with water down green ink. And again, I add darker purple around the edges. But to be honest, I probably could have stopped at this stage because it already looked absolutely beautiful. Then last but not least, I add more green ink to the center. I try to go over the purple incons more, so it spreads a bit more. And finally, I place a small dot of darken in the center. As for the simpler version, I start by filling the shape with water. Then I trace around it with dark purple using a small brush. Next, I add a drop of black cmatographic ink in the center and place a few drops of water on top of it. As you can see, the water and ink begin moving into the crevices of the paper. So I carefully try to soak up the excess with the napkin. Then I add a little more water to encourage the ink to spread further and remove some additional extra ink from the bottom area. After that, I decide to place another drop of black ink in the center, and that's it. Our progress is going really well, so let's keep the ball rolling. Let's go. 11. Stone No. 5: Stone number five. Now we're painting the stone on the left side of the center section of the composition. I'm starting with water down blue ink and adding a few bean shaped forms. Then using a thin brush, I trace around the bean shapes with lines. One of the bean shapes, I decided to cut off at the edge of the stone. Toward the third line, I connected it so it travels from one side of the stone to the other wrapping around this in shape in the center. Then I continue filling the shape with more lines, and that's for the pattern. As for the simpler version, I'm doing basically the same thing. I start with a few bean shapes inside the stone and begin surrounding them with more and more lines. Then I continue filling the rest of the shape with additional bean shapes and bean forms where I can fit them, adding more lines around them as I go. But back on the more detailed version, I'm adding drops of darker ink onto the areas where the surface is still wet. Then using the larger brush and water down blue ink, I paint another layer over the shape. For the easy version, once I finish drawing all the lines, I simply fill the shape with water, and that's it. Everything is looking pretty fun. We're turning to the more detailed version now. After that, I lift some of the ink with a napkin in the center and in a few different spots as well. I go over the shape with blue ink once more to increase the contrast of the line. Then I add water again, but oops, I should have waited longer for the lines to dry because they started disappearing under the water straightaway. So once again, I remove this extra water with the napkin, and at this point, the whole thing started looking too pale, so I ended up repeating parts of the process again. This is where my brain starts spiraling into perfectionist cycles. So there is absolutely no need for you to repeat all of these extra crazy stops. Added more lines on top of the blue ones, and instead of adding more water, I simply lifted extra ink with a napkin. My napkin happened to have a textured surface, which left behind some really interesting marks. But then with the water down, blue ink, I added more ink to these lines and removed some more with the napkin. You definitely do not need to repeat every step exactly the way I did. I was constantly going back and forth because of my perfectionism and simply could not leave the painting alone earlier. So maybe a simpler version for the in here. But let's move on to painting the Tiny stones now. 12. Painting the Tiny Stones (No. 6 & No. 7): Painting the tiny stones, number six and number seven. Now, let's fill in these small stones, starting with the smallest stone on the right side of the center section of the composition. I'm picking up a bit of purple ink from my palette using a brush that already removed the excess water with a napkin. The brush is fully loaded with ink but not wet, so it leaves bottles of water behind. And using a dry brush technique in circular motions, I fill in the little stone with ink, which creates this cool texture. For this simple version, you can simply fill the stone with purple ink using a small brush, and then add a drop of water or maybe don't just fill in with purple ink, and that's it. But here you'll see one of my mistakes now. I wanted to lift the excess water ink with a napkin, but there was too much liquid in one tiny spot, and I pressed too hard. So the ink escaped and spread out and it created this weird shape, but that's fine. We'll work with. Like watercolor, you cannot always fully lift or remove the ink once it stains the paper, so I decided to leave it as it was. To help conceal the mistake a little, I added circular lines around it using a small thin brush. Now, for the next tiny towe, I picked up a mixture of dark purple and black ink for my palette and tries around the shape. Then I added another shape inside it. And then another one in the center. To make it a little more interesting, I added a few drops of water and left it alone for the moment. For the simpler version, you can follow the exact same process, but without mixing colors. Just use one dark ink to trace around the stone. And then add another shape inside while leaving a small gap. And finally, fill the center with the last shape. And that's it as simple as that. So now let's move on to stone number eight. Oh. 13. Stone No. 8: Stone number eight. Now let's fill in the last larger shape. I'm mixing red ink with water on my palette, and then I fill in this shape using a water down red chromatographic ink with a larger round brush, excluding the center, of course. Next with a small brush, I trace around the shape using green ink, carefully adding it to the edges of the stone. Then I add blacking to the edges as well and go over the area where the colors meet using a larger clean brush to soften the transitions. After that, I let it dry for a few seconds. And then using a round brush, I trace around the central park with red ink. After that, with a small brush, I add tiny drops of dark ink around the center. As for the simpler version, I first cover the stone with the layer of water. Then I add drops of red ink using a small brush until the entire shape is filled with these drops. This effect only works well when there is enough water on the surface. If the paper starts to dry, I simply add more water and continue adding more dots of ink. You can also use multiple ink colors for this technique if you have them available, of course, but it's fine if not. And that's it. I then add drops of water, and look how cool the effect turned out. I think this works because there is enough water already on the surface, and then continue adding small drops of water until the entire stone fills in with this beautiful texture. So let's move on to sounds number nine and done. Oh 14. Tiny Stones No. 9 & 10: Tiny stones number nine and ten. Now it's time to paint these smaller stones again. Ya, let's start with the small stone on the bottom left side. As for this one, I'm using black chromatographic ink to paint a thick line around the edge of the stone. Then I fell in the smaller inner shape, leaving a small gap between the lines. Since this one is pretty simple, there's no need for a simpler version this time, so that's it for the stone. Let's move on to the next one. For this stone, I'm mixing purple and black ink and watering it down. I repeat the same process as with the previous stone. I draw a line around the edge, making it thicker in some areas and thinner in others. Then I draw another line slightly inside the stone. And by the way, for the simple version, you can do the same steps, but just use purple ink straight from the bottle. Then I draw another line, again, varying in thickness. For the simplified version, you don't need to worry about that. Just add a line using water with a larger brush and then drop in some ink while the surface is still wet and that's it. Oh Back to the more detailed version, I add another line using an even more diluted ink with a larger brush, forming a band shape around the center while leaving the middle empty and just filling in up to the edges. Then I add drops of water with a small brush while the ink is still wet. You can also draw a line in the center of this band, if you like, which is what I decided to do, or you can just play some dot here and there. After that, I add water to the center to connect it with the surrounding band. Then I draw another line in the middle of the band. This is probably another of my perfectionist decision. You can absolutely leave it as it is without adding anything more. Then I add even more water to the edge of the band. Again, thanks to my perfectionism here. Finally, I take a clean side of the napkin and gently dab the stone to lift some of the wet ink. And that's the result. It turned out pretty interesting, in my opinion. But let's move on to the last stone, stone number 11. 15. Stone No. 11: Stone number 11. Our last stone, how exciting? This is the center stone of the largest bottom shape in the composition. I'm mixing green ink with a bit of black ink and adding water to it. With this color, I fill in the entire stone. Then using a small brush and black ink, I draw a four pointed star connecting all four sides of the stone, adding a bit more ink in places to increase the contrast. And then I fill in the empty gaps with these small arch shapes, repeating the step on all sides. As for the simple version, I start straight away with the star shape. And then I fill in the gaps using a small brush. After that, I go over the whole shape with water using a larger brush. Finally, I trace the outer edge with black ink. And that's it as simple as that. 16. Final Adjustments + Small Improvements: Final adjustments and small improvements. Now, let's check if all of these stones and shapes are finished before we wrap up this art practice. First, I want to finish the stone where we left a few drops of water because it will take ages to dry. So I'm gently soaking these drops of water using the edge of a clean napkin very carefully, but that's it for the stone. Next, I promised we would come back to the upper larger stone. So let's finish that now, although you can absolutely leave it as it is at this point, so feel no pressure to continue. But now since the inks are dry, using a larger brush, I go over it with the clean water. Wanted the inks to blend together a bit more so the contrast isn't too harsh when looking at the whole composition. So I also add a bit of water down green ink all around this stone. And then I add a few more drops of clean water using a larger brush. And look at this cool effect that we get here. I gently remove some small pools of water from the surface using the edge of a napkin, and that's it for this part, but I think it looks amazing now. Another small adjustment I wanted to make is to fix the center stone of the large bottom stone. The ink spread a bit too much for my liking and my perfectionist side, couldn't leave it as it was. So I go back over it with the same lines using black ink. Then I add a small drop of water in the center, and that's it looks much better now, in my opinion. 17. Adding the Final Lines: Adding the final lines. Let's add a few final lines and shapes that I had planned. Feel free to skip this part if you feel like you're already done for the day. That's completely fine. But I'm coming back to the upper large stone and the empty area on the left. If you remember from this sketch, there was an intersecting line there, and now I'm going to add it using a small brush and black ink. But at first, instead of waiting for the ink to dry, I decided to dab the corner with the napkin to speed up the drying process. And then I draw a free hand round the rectangle shape or circle shape. Don't try to make it perfect. That's exactly what makes it special. After that, I add a few more lines around it and look how beautifully the ink blooms when it touches the larger stone. Next, I repeat the same shape around the small stone on the right, loosely circling it with a small brush. So basically the same step, but just one more time. I go over it the second time to make the lines darker. Again, this is my perfectionism showing up and taking the spot, so feel free to skip it. But that's it. Great job. 18. Class Wrap-Up! Thank You :): Glass wrap up. Thank you so much. So wonderful to see you here, my dear ink wizards at the end of this class. We created a full painting together, and I hope this process showed you that one of the greatest kinds of magic is simply practicing, experimenting, and having lots and lots of fun while painting, and then being surprised by the results. And I'm truly proud of you for trying something new because it's not easy. Painting something new is always challenging. So it took quite a bit of courage and patience and dedication, but you are here. I also hope that in feels a little less intimidating to you now. And that you feel more confident in exploring its unique qualities and all of its unexpected to surprises. Don't forget to upload your project to the project gallery. You can add your photos there. And please don't worry about taking a perfect picture of your painting. This is not an art competition. It's a cozy gathering of artists here on Skillshare, and I would generally love to see what kind of magic you created. Thanks to your support and comments, I'm able to continue creating new classes. And if you enjoy this one, I would be very grateful if you left the review. And don't forget to follow me here on Skillshare you. Don't miss future classes, updates, and occasional voting and upcoming class ideas. Let's stay in touch. Until next time. Bye for now my fellow ink wizards.