Haunted Walking Houses: A Dark Fantasy Ink Illustration Adventure

1. Welcome and Introduction : Hi, everyone, and welcome to my new class Haunted Walking Houses, a dark fantasy Ikllustration Adventure. In this class, we are going to create three haunting imaginative ink illustrations of strange walking houses and dark fantasy creatures. The projects in this class include house that crawls, the nest of the cursed house. And finally, we have this final giant mechanical inspired project Meca House. This class is designed for anyone who loves dark fantasy art, creepy illustrations, storytelling through drawing and expressive inkwork. We'll begin with the fundamentals in which I'll be showing you some of the techniques that we'll be using and different kind of supplies that you can use in your project. Then we'll be diving in a little bit deeper with more techniques and different kind of texture you can create. And then we have this in which I'll be breaking down different sections of the project, how you can easily create houses, creatures, and this kind of mechanical parts of the house. Hi, everyone. My name is shal I'm an artist from India. Honestol sa I teach various classes on oil, pastel, ink, illustration, and watercolor. You can find more of my work on my YouTube and Instagram. This class is designed for anyone who loves dark fantasy art, creepy illustration, storytelling through drawing and expressive inkwor, whether you are a beginner or an intermediate artist, you will be able to follow along because I'll guide you through every project step by step. I have included multiple basic lesson with lots of examples so you can understand how different marks and texture work together in ink illustration. Then we'll dive deeper into constructing the elements used throughout the project. Also you how to break down and sketch different parts. Most of the class are in real time, so you can confrontbly draw along with me. So if you enjoy dark fantasy world, creepy creature strand architecture, and expensive ink illustration, then this class is definitely for you. Join me in this dark fantasy adventure, and let's create this terrifyingly beautiful walking houses together. 2. Class Project : For your class project, you can complete all three haunted walking houses illustration from this class. We have house that crawls followed by the mecca house, and then we have this mist of the cursed house. You can either draw all the project as you complete challenge or choose your favorite one and create it in your own style. Apart from the final illustration, I would also highly encourage you to upload your practice seeds from the basic section. Thise practice seats are a great way to improve your confidence with ink illustration and help you understand texture and seeding much better. Once you finish upload your artwork in the project gallery, I would absolutely love to see your haunted working houses and your creative interpretation of the dark fantasy creatures. You can use fine lines, brass paint, ink or even a simple ballpoint paint for all your project. Feel free to experiment and add your own creepy details, texture or fantasy elements to make the illustration more personal and unique. 3. List of Supplies : For this class, you will need pencil and a reset to do the music pencil sketching. You can use the ballpoint paint, gel paint or Sakura micron fine liner to create all the illustrations. You don't need all fancy supplies. With only this, you can create most of the sections. Apart from this, I also have lots of breast pain. I'll only be using one or two of them. So these are from Zikurata case and pentel. I also have this green colored breastpin that I'll be using for some section. If you want to make it a little bit colored illustration, you can use colored breast paints or the color fine liners. I also got this sparkling breastpin. I won't be using it, but if you want, you can include it in your project. Two more breast pains from the Tombo white gel pen will come in handy. Maskin tip to secure the paper. If you want to use ink or watercolor, you can use it too. I've got this top from Zikuratake. If you're going to use ink and watercolur then you will need braspin and white ink if you want to add additional highlights or cover some section. In here, I'm using 300 DS and watercolor paper to do the projects. You don't need all those fancy supplies, a single ballpoint pen or fine liner along with the breastpin. With only this, you can create all the illustrations in this class. 4. Basics : Welcome to the basics. In this lesson, we'll go through some of the most important stretching techniques that we'll be using throughout the class. Let's start with the basic lines, starting with a simple straight line. These lines may seem simple, but they help us practice line control, hand presser, consistency, and rhythm. Let's create a varieties of the lines, vertical lines, horizontal ones, diagonal ones. Then in here we have broken lines. Now creating wavy lines along with the broken lines. And a little bit of hatching. Hatching is a technique in which we create shading and texture using group of parallel lines. To make it a bit more darker, you'll have to increase the number of the layering. Here's another example of hatching technique using angle line. Every illustration inept using simple lines. Pratic simple lines helps improve your confidence, accuracy, and smoothness. Try drawing slowly first and then naturally increase your speed to do the seeding. Now in here, let me show you a little bit detailed version of the sading using the hatching lines. In here, let's create a gradient using the hatching technique. So we are going to do the seeding using this hatching technique and create a gradient from dark to lighter region. In case of the hatching, piecing matter, spacing refers to the distance between lines. The wider the gaps, the lighter the area will appear. The closer the lines, and darker the area will appear in here. I'm making this region a little bit darker. So closer lines in here, as well as I'm also adding more additional layers of hatching lines to make it darker. Here's another form of seeding that you can use. So I'm using this kind of small hatching lines to do the seeding, a little bit of different kind of textured look for the sading. Apart from it, the direction of the lines also affects the form and the movement. For example, the vertical line will make something look taller. With horizontal lines, we can make surface feel a little bit flat, and with curved lines, it will help sew around forms. In here, you can also play with the varied braser with the light braser you will get a little bit of soft siding effect. And with a heavy presser, you will get a bit bolder and darker region for the sding. The things that you can do with the sakura micron file and the same things can be done with the breastbins. You'll have to exert a little bit more control. I'm going to create simple hatching lines. I'll have to apply a little bit more creating simple straight lines like this to do the hatching. With the breastbins, we can create a little bit more dynamic forms of lines like this. To make it consistent, you'll have to apply the same presser and at the same angle. You can also do the seeding like this. It will be a little bit more dynamic and a little bit different from the simple paints that we used. Create this kind of textured seeding effect with the breast pain. You'll just have to flick your arms to get this kind of seeding effect, creating curved lines with the breast pain. This kind of textured, this kind of textured plus stru can be used to create f here or trees or to create shadows. Now, creating a little bit of curved lines. Here's another form of hatching lines parallel curved lines. So we have got this kind of parallel curved lines. One more example with broken lines. In here, we have got cross hatching. Crosshatching is created by allaying hatch lines on different directions. The first example, very simple one, vertical and hogontal one. Then this is the widely used kind of hatching lines, vertical and angled lines like this. Here's the third one. You don't have to use only two layers. You can do multiple ones. In here, I'm going to use three layers. This is the third layer. A one mode. Both are diagonal lines. Cross hatching can be divided into two sections, simple cross hatching in which one layer crosses over to the other. This creates a medium sadose then we have dense cross hatching. More layers are added. This create better depth, more dramatic contrast and moody texture. Like the hatching lines, you can also use this kind of broken lines to do the cross hatching. Now, let me show you how you can do the seeding using the cross hatching technique. In here, we'll have to use the second type of crosshatching, dense cross hatching. Now to make it darker, we are going to do a lot of overlapping of the lines like this. Just start slowly and increase the number of the lines to do the seeding. You've got the rough idea how you can do the seeding using the hatching and cross hatching technique. You can also use this kind of lines to do curved hatching and curved cross hatching. Let me show you how you can do the same thing using the bras pants. Simple line. Now, another state of line to do the cross hatching. Here's another example of crosshatching. Dense crosshatching. This kind of crosshatching is perfect to create haunted houses, dark, forest and fantasy art. This creates a little bit more contrasting effect, and this is comparatively more darker than the hatching lines. This takes a little bit more time, but the results are more darker and more contrasting than the hatching lines. I'll only be using a little bit of cross hatching for some of the sections. Mostly, I'll be using the hatching lines. Now let me show you some of the texture that I'll be creating using the breast beans. So this kind of texture for this project. We'll have to just create this kind of simple rows and rows of hatching lines, small hatching lines like this. This flicker arm like this to create this kind of texture. You can increase the length a little bit. You can also play with the direction. You can also use this to do a little bit of shading or the upper region, add more lines. And as you progress, just decrease the number of the lines and increase the spacing in between it. As you can see in here, I'm increasing the spacing in between the lines as well as decreasing the number of the lines. You can get a little bit of similar effect with a normal fine liner like this. If you apply a little bit more presser, you will get a bit more darker lines. Here's with the breast pin. Change the angle, apply light presser, and flick your arm to get this kind of effect. Now with the breast pin, you can also get this kind of rough texture. For some of the sections of the illustration, I'll be using this. It will be a little bit difficult to replicate with the normal ballpoint pen or the fine liner. If you want, you can also create this kind of rough texture for some of the regions, and you can also increase that intensity to create a gradient effect like this. That's all for the basics, and I'll be seeing in the next section with a little bit more example and more techniques that you can use. 5. More Techniques : Welcome to the second part of the demonstration video here, I'll be showing you some of the other techniques that you can use in your illustrations. I'll only be using a few of the techniques for some of the section, starting with the broken lines. These are the lines that are intentionally interrupted instead of being completely smooth. As I saw in the earlier video, you can use it to do the cross hatching hatching, as well as you can also create curved lines. I'll be using this kind of broken lines for some of the sections, especially to create the roof or to create a little bit of rougher texture to do a little bit of sading. You can also use the breast paints to practice this kind of broken lines. You can vary the length, you can make it uneven. You can also play with the spacing and directions. This kind of broken lines will help create a bit more rougher texture, and it also feels a little bit more organic and natural. This will work especially well for wood, stones, old houses, stream bark or to create weather surfaces. You can also use it to create rain texture or to create more rougher texture for the ground valve or to create wooden texture. Let's expand the lines. Simple, small lines like this. Simple, small line like this. As you can see, spacing matters a lot. The closer the lines are, the darker the region will appear. The farther apart they are, the lighter it will appear. We use this kind of spacing in hatching and crosshatching. The concept is very simple. With the wide spacing, we'll get lighter value. With the tighter spacing, we'll get darker value. This is one of the easiest ways to create depth using only ink. Next, we have line weight. Line weight refers to the thickness of the lines. With the fine liner or the ballpoint pain you can increase the line weight. You'll have to just overlay more layers like this. With the breast pain, it will be a bit easier. You'll just have to apply more presser to get more thicker lines. I'll be using thin lines to create delicate details, create distant object or create softer form. And with the thick lines, I'll be using it to create shadows, foreground objects, and I'll also be using it to create bold contrast. Then we have the directional lines, simple lines like this. You can use this scattered line to create different kind of rough texture. Curve lines like this. You can use it to give a little bit more form and the seeds to some of the sections. Basically, I'll be using curved hatching lines to give a little bit more form and shapes to the objects. This kind of curved shapes introduces flowing and organic line. Next, we have a stippling. Stippling uses dot instead of the line. Stippling is another shading technique entirely made up of dots. It works in a similar fashion. Few dots create lighter area with more dots, you can create darker area. In here for this spherical sad, I'm going to do a little bit of seeding. I'm going to make the bottom left con bit darker. So I'll be adding more dots in here to make this region darker. The closer the dots are, the darker the region will become. With this dippling you can create softer texture, organic surface, and it can also be used to create atmospheric sading. The sdingeffect that you'll get this dippling will be much more finer as compared to the hatching and the cross hatching. But the main disadvantage is that it takes a lot of time. For this simple spherical shape, I'm concerned that the light is falling from the top right side, so the sados will be forming on the bottom left side like this. You can also use this tippling technique to do the outlining. You can create softer outlining with dots. You can create tighter outlining with closed spacing. You don't have to create a small dots to do the stippling. You can also create large and small dots like this. So that's all for the stippling. Next, we have got scribbling. This uses loose overlapping lines. Random lines like this. This is very fast and very easy. As compared to all the other techniques, this is very fast and very easy. This kind of chaotic scribbling creates rougher texture. It can be used to create messy shadows or to give it a little bit of dramatic energy to your illustration. You don't have to use the curved lines to do the scribbling. You can also use this kind of straight line. And you can also do the seeding using the scribbling like this. It is somewhat similar to the hatching and cross hatching. I won't be using this scribbling, but if you want, you can incorporate in some of the sections. Then we have some small lines like this. You can create a little bit of rougher texture with it. Scattered lines like this, you can organize it like this. You can also use this kind of arrowhead like seem Then we have this kind of scattering effect that you can create with the small lines. So you can use this kind of smaller lines to create various kind of effects, simple scattered lines like this. Next, we have scallops. Scallops are basically repeated curved patterns like this. You can create various kinds of scallops. You don't have to stick with only the curved shapes. You can also use this kind of angle line to create the scallops. I'll be using it to create the roofs and also put some of the sections to do a little bit of designing. Feel free to experiment and create other kinds of scallops. You don't have to create connected scallops. You can also create this kind of unattached scallops. By changing the sap, you will change the texture of the scallops completely. Next, we have got contour lines. Contour lines follows the seep of a pane. First in here, we have got maybe contour lines. Here's another one, circular cantur line. Then we have this kind of angle line. Changing direction of the contour lines. This helps object feel a bit rounded, gives more dimension and also sows a little bit of lowness. Generally, I'll be using tu lines to follow the seeps of some of the sections. Here's another kind of seeding that you can use to give a little bit more texture for some of the sections. I'll be using it for some part of the roof and some part of the ground. Grass like texture that you can create for the crown. I'll be using this a little bit for one of the project. Splick your arm to get this kind of effect. And these are all simple example. If you want to create more sample and more texture and patterns, you can do that. Simple curved lines like this. Here's another one, creating this kind of bird like see with a small V like C. And that's all for this section. I'll be seeing with the next section in which I'll be using ink and watercolor. 6. Ink and Brush: Welcome to the final part of the tutorials. In here, I've got a small brush, and I'll be using this Ji kuratakase ink. Instead of it, if you want, you can also use the watercolor. You can use the ink to create flat. By flat se, I mean, spreading the color evenly. To make some of the section darker, you can use it. And like the breast paints and the fine liners, you can also use the brush to create the same kind of effect, hatching, cross hatching, stippling, scribbling and all the techniques. You'll have to be a little bit more efficient with the brush to make this process smoother. Otherwise, the lines will become a little bit muddier and it bit hard to control. I won't be using the ink and the brush to do it. But if you want to include watercolor or ink or the brush to do it, you can do that in the same manner. You can also create the same kind of texture with it, similar to the breast pants. With it, you can create very beautiful gradient. I'm just diluting this ink by adding more water to it. And one more advantage over the other supplies, you can use it to do wet on wet technique. And here I use a bit gray colored water so that it will be visible. And now using a bit concentrated black, I will spray on its own. So if you want, you can use wet on wet technique to create very different kind of texture and background for some of the sections of your illustration. And if you're good enough dust control, you can create all the illustrations of all the projects only using the ink and the watercolor. Feel free to experiment with more supplies and do more examples and more practices, and I'll be seeing you in the next section. 7. Projects Sketches: Welcome to the second part. So for this part, we have got the house that crawls, the nest of the urged house. And lastly, we have got the Mecha House. So all these three houses are on the move, so let's have fun with this second part, and it's going to be very interesting since for this, I'll only be using the mirrors pains. So you will get a lot of practice with using the breast pain only. And yeah, let's start with the demonstration of how are we creating a different kind of houses and a different and different creatures and the various elements that I'll be using for the next three projects. Here I've already started switching out the guideline for our first house. So this house is a little bit complex as compared to the first 31 that we did. And instead of a single building, we'll have three building combined in a one. So it's going to be a bit challenging and fun to create this kind of house. And so let's create the roof for this side of the house. So this is just a rough demonstration. We'll be making changes and adjustment in our main project. And yeah, let's create the roof for this portion. You can consider this as a cumulation of three different houses combined in one. O. So this section is a bit larger in here. So let's create a door in here. And for the front side of all the houses for the front side of all the building for this house, the windows will be a bit larger and only the windows will be visible and will be colored with a black ink. And as I mentioned earlier, for all the project in this section, I'll only be using the breast pain. So here, I'm using this Zig kurataki breast pain to go over the outlines and feel free to make adjustment and changes. You don't have to follow the strict guidelines that you created with a pencil. Here I'm applying low pressure with the breast pain to create this line. The main advantage with this breast pin is you can create dynamic lines, the lines where it thickness. Let's continue with going over the outlines and make adjustment wherever you see fit. And as you can see, for the edges and the cornets of the houses, and as you can see for the edges and the cornets of the building, instead of a single line, I'm creating two or three lines to give it more depth and more dimension to the building. So this section is a little bit curved, and so let's make it a bit curve. The lower region of this section will be covered with ink, so it will be darker in the seat. And now let's add the windows. I'll be creating bit larger windows. Simplified version of the windows. If you want, you can divide the windows into different panels. But here, I'll only be creating this small square seat with the windows. And let's encircle this. Now, let's add the third window for this welding. If you want, you can experiment with different seats and sizes for the windows. And if you prefer you don't even have to add the windows. Instead of three buildings, you can only create a single building. So the choice is yours, feel free to experiment. Let's create some pattern taxie for the top. So just simple broken lines. So you can consider this to be kind of card hatching. Or you can also consider or you can also consider this as following the contour of the heap of the roof. Let's add the contour line for the third and the final house, the small one. Moving on to adding the windows for this front side. Instead of the three windows, you can add only one or two, or you can even create a large door in here, too, along with the staircase. For the main project, instead of creating the square safe windows, I created rectangular safe windows, and not all the windows are of the same size. Some of the windows will be a little bit smaller. And apart from that, most of the things will remain the same. Let's move on to the curved section. So this section will be a bit darker than the sad. So the light is not falling in here, so I'll be adding a bit of black in here to create a bit of darker sad. If you prefer, you can even use the gray breast paint to create a little bit of gradiation, but I'll only be using the black breast paint for all the three project in this section. Let's set the final window. Let's encircle it with the broken lines. We are almost done with a very simplified version of the house for our fourth project. If you want, you can make more adjustment to it. And now let's add a few more lines to create a little bit of texture or pattern for this building. Add more finer details wherever you think it's required. I'm almost done with this. I'll be adding a little bit more details for the lower section or for the base of this house, a few more lines to create a little bit more defined bees for it. So this section two will be a bit darker in nature, so let's cover this section with the black two. And yeah, we are done with the base for this welding. Now, let's move on to creating the outline for our creature. So this creature has the body of a spider and the head of a human. So the skull of a human initially, I thought that I'll start with the pencil sketch, then I gave up on that idea since the seat is very easy to draw, so I am just directly starting with the breastpin to create a se of simple skull for the creature. This is the simpler version of the human skull for the head of our creature. If you're not comfortable with it, you can start with the pencil sketch. Let's add the eye sockets, two hollow black eye holes for this skull and adding few more lines in the upper section of the head to make it a bit more realistic. Let's add large canine for the teeth for this skull. This region let's make this region a little bit darker. And yeah, this is just a simplified version of the skull that the creature will be having. Now, let me show you the tough demonstration for its body. Before doing that, let's remove the pencil sketch. Ensure that the ink has dried and then only erase. Otherwise, you will get smrging all over your feet. I did the mystic a lot many times, so please be aware and ensure that the ink has dried and As I mentioned earlier, the creature will have the body of a spider. But instead of the eight legs, I'll only be creating the six legs since adding eight legs for it will be a bit challenging. So here's a simplified verson. We tiny miniskle and let's create the legs the spider legs. For the legs of this creature, we will be only creating three joints, and very simplified person, and the sets for the leg is quite simple. The three legs on the other side will not be clearly visible. Only a small portion of it will be. Only a small portion of it will be visible. And now for the remainder of its body, let's create this kind of pattern, the same kind of pattern that we used to create the grass, just some jig jag lines, and you can conside this to be some kind of scribbling that we are doing using the breast pain. So that's how we'll be creating the body, the legs, and the skull for this creature. My initial plan for the ground for this creature was that it's floating on the water and the water is rising above, but I did not create it that. Instead of that, I choose to go with this kind of texture for the land. So broken lines that is rising above or that is floating towards this creature. So I'll be creating this kind of land or foreground for the fourth project. Let's add some contour lines in here for the bees, and, yeah, we are done with the elements and the houses for our fourth project. Let's create the body for this larger skull. So grass like pattern or texture for the body of this creature. If you have any suggestion or name for the creatures, let me know in the discussion section. Now, for the second project, we have got this mecca house. So a combination of past and the future, the old house and the modern robot. So for this one, I'll be showing you how I'll be creating the house, the legs and the arms of the robot, and some of the patterns that I'll be using for our house. This house is somewhat similar to the second project, the large house or the large her that we created. But here, instead of the simplified person, we'll be creating and adding more details. Just follow along with me, and it's quite easy, not that difficult. So this section of the roof will be a bit slanted. And instead of the single building, and instead of a single building, here too we'll have two or three buildings. So this is the second one, and the other two are behind it. Let's divide the houses into different sections. There will be balcony in the front, too, so let's create the extended portion for the balcony in the front. So this will be the door, and let's create the windows. Let's add the base for the house. So this section will be a little bit different. So I'll be creating the kind of brick like pattern for this here. And here we have got a small cannon on the top. Uh, ventilation or you can see a window on the top, too. So here I'm done with the basic sap. Now I'm going in with the brass pen to go about the outlines and add the final details, the windows, the doors, and fine lines and brick like pattern for the base. So let's continue with first, I'll be just creating the main outlines and then I'll be adding the details later on, applying light prezzer with the brat paint to create the dynamic lines. We're almost done with outlining this side of the roof. Let's add details and make it a bit more defined. Once again, here, too, I am using broken lines, or you can say organic lines to create a bit of texture and pattern. So for the top, I'll be creating this kind of fine lines to create this kind of pattern or you can say design for the top. You can concede it that it is covered with a hay on top. So yeah, let's add more fine lines. And I'll be dividing this section further on. For our main project, we'll be adding more finer lines and wearing the lens more. So let's add the fine lines for this last portion of the top of this roof. And for the other side or the other building, we'll be creating a different kind of roof, simplified or simple version of the roof, the roof that we created for the other two projects in the first and the second in the first part. Let's add a little bit of lines in here to create a bit darker set in here. Since this is covered by this large building, then we have got a small tower in the back. This will be a little bit darker, too, since it's covered by the first building and the second building. So some fine lines or you can consider it a little bit of cross-hatching to create this kind of scene. Fine lines in here to sew a little bit more darkness. And now let's add the tower on top of it. You have got this ring line structure on top of this tower. And now let's add one more in here. And on top of this tower, we'll add a little bit of design later on. But for now, let's add a little bit of black on the sides to make it a bit more darker and to make it look more and to make it look more three dimensional. Here I'm creating the contour lines following the contour of this circular tower. And the design I was mentioning for the upper section, a straight line, a rhomboid seep on the top, and two intersecting circles. Let's divide it into two section, and this is the kind of design or set you see. So this is the kind of design I'll be adding on top of the tower. And let's continue with the remaining section. So going over the pencil outline. So this house will be a little bit different from our main project, since I won't be adding the hand on the sides. So instead of the robotic arm, I'll only be adding the windows in that place. Let's add the windows, small tiny windows. If you want to make them detail, you can make them detail or you can add three or four panels window. The choice is yours, but I'll be keeping it simple. Only this kind of simple windows. I won't be even encircling them. But if you prefer, you can do that, too. The fine lines to make it a bit more green or textured. On all the sides of the house, I'll be adding this fine lines to make it a bit more old or or you can say green like texture or wooden texture. And as I was mentioning for the base, I'll be creating the same brick like pattern. So we are done with this building. Now let's move on to the main one. Let's divide this into two different sections. So this is a two story building. I'll be adding the windows in here, too. Now let's go over the outline for the corner or the edges of this house. So two or three lines to make it more bolder and more definite. I'll be going over the outline of the extended portion later on. But for now, let's do the roof on the other side, a bit of straight line and then it gets a little bit curved for this section. Now, let's do the outline for the other side. So two or three lines, and the extended portion or the balcony in here will be a little bit challenging, so I'll add it later on for now. Let's do the base. So let's do the base. This base will be a little bit lower than the one that we did earlier. And now let's add this line on the front, too. So this line divides the house into two different sections two different floors. Adding this kind of small and fine lines for this section. Now let's move on to the side. So let's make this side a bit more bolder and more defined, so adding a few more lines in here. And now let's do the upper section. So this will be so this is the cannon I was talking about, small cannon on the first floor or the top floor in the front. Instead of this small cannon, you can create even big one, or instead of a single cannon, you can add multiple cannons. And also, you don't have to even add the cannon. Instead of cannon, you can create a large window. Now, here I'm creating a large window on the upper section. So this window is a bit defined and detail compared. So this window is a little bit defined and detail, having two panels. Now let's create some green light texture and pattern for the remaining section of this upper part. Here I am going to add small windows, two or three windows. Now let's make it a bit darker now let's make it a bit darker since this region lies behind the roof. Now, let's move on to the other side. So here we have got one more door. Instead of this door, you can only create the windows or you can even create the staircase or the stairs. Now, let's create the fine lines to create some green line texture for the remaining section of this side. We'll be doing the same for the other side, too, but that side will be a little bit challenging. So we'll be creating the extended portion too. Here, let's create the brick like pattern for the base. Fine lines to divide it into different sections. And we have got only two more lines, and then we will move on to the front, the challenging side for this house. Speed division two part. So this is the first part, and I'll only be creating this house, and for the second part, we'll be doing all the remaining elements for the second and the third project of this second part. Let's do the brick like pattern for this side, too. Now let's create the extended portion. This region will be a bit darker, not bit darker, but completely darker. Let's create a door here, too. I'm using broken lines since I'm more comfortable with creating this kind of lines. I'm not creating the doors more detailed. If you prefer you can make it detailed Moving on to creating a single window, two panel window in here, a bit detailed. And now let's create these fine lines. So I'm just wearing the sit and sizes of the lines. And lastly, let's create a best. This will be similar to the one. So the best will be somewhat similar to the one that we did on the upper house. I'm not going to make it more detailed. Yeah, we are done with this house. If you want, you can add more fine lines, more details to it, but I'm satisfied with it, how it turned out. And with these, we are done with this video. I'll see you in the next one where we'll be covering the remaining elements. 8. More sketching : Welcome to the second part. I created a robotic hand on my own, but I was not able to record it. So let's create another hand. So the hand will be quite simple, simple circular and cylindrical seep of where it lands. Here I am starting with the basic pencil sketch. Since this will be a little bit trickier to directly starting with a bras pain to do, just follow along with me simple circular and cylindrical seeps for the hand. The hands and the legs will be divided into different portions to make it a bit more easy. Free and you are free to experiment with different seeps and the sizes of the cylindrical and spherical seeps. And you don't have to even use this kind of s sieves, the spherical and cylindrical seeps I'm using. And with these, we are done with the basic penciluskich. I'll be making some adjustments to the penciluskich. Here I'm going with the bras brine to go over it. Carefully going over the pencil sketch and making adjustment for some of the sections, I'll be making it a bit more darker as compared to the other one. So to create a little bit of more depth and dimension to this hand, and the remaining portion of the Rabatu I'll be doing the same. Some of the section will be a bit darker and others will be a bit lighter. And also, I'll be using the organic lines or organic. So I'm making things a bit confusing. By organic lines, I mean dynamic lines, lines of varied thickness. For any section that you are not confident or comfortable with, you can just add more fine lines or add more rectangle and circular seams to make it look more robotic or mechanized. Like here for this elliptical sad, I decided to completely cover this with the black to so that it's hollow from the inside. So let's add the black in here to create a little bit of three dimensional seed that it's hollow from the inside. And so this reason here I added a little bit more black to so that it's a bit darker. Instead of this, you can create broken hands or some parts of the hands or the links or the house missing. Now let's move to the hand. We are done with the elbow. As you can see, for the first hand, the portion below the elbow was a bit thicker. But here, instead of creating it a bit thicker, I decided why not let's make it a bit thinner. And as the hand extends, I made it thicker. So just completely opposite from the first one, so feel free to change the see sizes and experiment and see what feels comfortable with your illustration. Now, let's add the finger. Fingers are very simple, long and elongated cylindrical sieves. Here you can think that I'm creating the petals of a flower in here, and then let's create another set of petals in here. So very simple and easy see for our fingers. Let's add some fine lines in here to make it to make it look more realistic. And yeah, we are done with the hands for our mechanized house. Now, let's do the link. Before doing the leg, we'll have to create the base on which the house will be resting. So this will be the cylindrical sap on which the house will be resting. And on top of the cylindrical shape, too, I'll be adding somewhat of rectangular seep so that the house is revolvable. Now let's continue with sketching out the guidelines for the leg. This will be somewhat different from the type of construction that we did for the hands for the robot. Here we'll have somewhat elongated seats and bit curvier and more boulder for our leg. This is the knee or you can consider it as a joint main joint. The leg for the robit will not be much longer if you prefer you can make it a bit larger, but I'll be making it, but I'll be keeping it small. So this is the foot of the robot, and here we have put ball and socket joint for its foot. Now, let's add more details to make the fit of the robot a bit more stable. And yeah, this is the basic simple seep that I'll be using to create the leg of the robot. If you want, you can make more adjustment, you can add wires or other components to it. Here I'm going in with a rust pin to go over the outlines. For some of the sections, I'll be adding more lines to make it more darker to add more depth and dimension and make it more three or more realistic. For this section, let's create a little bit of contour that the ball is present or something is extending from this cylindrical that is connected to the remaining portion of the ling. And now let's continue with the remaining portion. So the hands the links and the remaining portion of this house is quite simple. It looks, I mean, it looks a bit challenging at first, but just following the simple instruction or just following how I'm sketching out, you can simply and easily create this hands and the remaining portion of the house easily. Now, let's create the food. So food is a bit more defined and more detailed. And we have also got a cannon at the base of the foot. Let's do the base. So this is the cannon that I am talking about. Small cannon at the base of the foot. It will clear the debrint is present on the ground. Let's add fine lines in here. This region will be a bit darker and save. Let's continue with the remaining section of the foot for this Robert. You'll have to consider that the light is falling from the left or the right side. And depending on the side the light is falling from, you'll have to add more shadows on the other side. So if the light is falling from the right, then you'll have to add more sados on the left, and vice versa, if the right is falling from the left, then you'll have to add sados on the right. And with these, we are done with the robotic hand and robotic legs. If you prefer you can add more fine lines or more details to it, but I'll be keeping it simple as it is. Let's ease some of the pencil marks, and then we will move on to the element for our third and the final project for the second part. Insure that the ink has dried and then on erase the pencil marks. Now, let's do the elements for our third and the final project for this part, the nest of cursed house. So we have got ostrich like legs and a nest on top of which the house rests upon. So let's create the hearts a very simple combination of conical C for the top and somewhat curb rectangular s for the remaining portion. Let's add the front in here, a bit of extended portion. I'll be dividing this curve rectangular seat into three different sections. One will be consisting of the door and the other two will be consisting of the windows. For our main project, instead of the single heart we'll be grating two or three. But for this one, you have got the rough idea how you can at this kind of simple herd. And now let's do the outlining and add more details to it. Starting with going over the outlines for the dividing sections. So you can consider this to be the Oden planks or wooden beams that will divide this heart into different sections. And for each different section, we'll be completely covering it with black dots, not black dots, but black strokes, not completely covering, but partially covering it. Region some of the white of the paper will be visible, but mostly it will be covered with mostly it will be covered with black strokes. Now let's create the front of the door. So this section will be a bit darker. And yeah, let's extend this dividing now let's extend this dividing lines for the base of this heart. The extended portion, let's do the outlining for the extended portion too. We to make adjustment and play with a seep and the sizes of the herd. You don't have to completely stick with the outlines that you have created with a pencil. And yeah, we are done with the basic outlines. Now let's fill the upper section with the strokes that I was mentioning earlier, partially covering it with this kind of small strokes with the brass pane. You can consider this to be similar to that of the strokes that we used to create the pine trees. And now let's create a door, a very simplified version of the door, wooden door. Here I'll be creating the wooden doors. Now let's divide it into different sections. And now, all we have to do is to create two windows on each side. And here, too, I'll be creating brick like patterns. Here I just created a very simplified version of the windows. For our main project, we'll be making it a bit more detailed and defined. There, I'll be creating four paneled windows. And now let's create the brick like pattern or the texture for the remaining portion of this art. So this pattern will be a little bit different as compared to all the others that we have created so far. Instead of the single lines, here we are creating two lines. And now let's divide it into different sections. And we are almost done with this. And if you want, you can create different kind of pattern or tation for this hurt. You don't have to stick with the same kind of brick pattern that I'm used in here. Now, let's add the same kind of brick pattern in here for this front portion, the front extended portion. And with this, we are done with this hurt. Now let's move on to creating the legs, ostrich like legs. But like legs, you can consider this very simplified sips for the leg, and we'll be adding claws for each separate finger. Instead of this bird like lake, you can create humanoid lakes or reptilian lakes or animal lake. Feel free to experiment with different kinds of the lakes. Now let me show you a closer look of the leg that I'll be creating for this house. So here's a closer view. The sep is very simple, and you can easily do it. If you're not confident, you can just start with a basic simple pencil ski and then add the bras pan on top of it. So these are the two different kind of legs, not different kind of link, the seam leg. One is smaller and one is big. And now let me show you the other kind of brick pattern that I'll be using for our heart. This is somewhat similar to all the brick pattern, but instead of a single lines that divides it, I'll be creating two lines. For the heart that we created just now, we use two horizontal lines for the brick pattern, but here I'm using two vertical lines for the brick pattern. The choice is your, you can use any of this kind of brick pattern or you don't have to even use the brick pattern for the heart. And with this, we are done with this section of the part two. I'll see you in the next project. 9. The House that Crawls: Welcome to our first project of this section, the house that crawls. This will be somewhat similar to what we practice in the demonstration video. Let's start by drawing out the guideline for the house, and then we will move on to sketching out the guidelines for our creature. This time, the creature is going to be a bit more defined and a bit larger. Very simple sketch for our house and the creature. If you want to make adjustment with the seeds in the sizes of the creature and the house, feel free to do that. And as I mentioned in the demonstration video, all the three projects in this section will have more than one building. A very simple seat for our main hut, then alongside it and then alongside it on the right side, we'll have a smaller hut and beside it, a bit larger or you can say an elongated heart or tower like structure. The whole video is in real time, so you can always join along with me. For this entire section, I'll be using the Basten only. If you're not comfortable with that, you can use the fine liner. You can use Roulette to create straight lines if you are not comfortable with using the pencil to create. So this will be the curved section. Now, let's extend extend the roof section for this hut. Here I decided to create a larger chimney. So if you want, you can stick with this. You don't have to create another building behind these two houses, but I'll be coming back and adding the larger building later on. For now, let's do the outlines for the windows, doors, and a little bit of sketches for our main feat. Instead of painting this large chimney, you will have to make it a bit smaller. And here I made a mistake. Show that side's bit larger. Yeah, this will be the curved section for both the sides. I'll be adding three windows. The windows will be larger and single panel windows. If you want, you can make them a bit more decorated or detailed. For the side to we have a large window and the door will be in here near the curved section. And for this small hut, we'll have two small windows, and this will be the larger one. This curved section will be a little bit darker in sets, so I'll be using setting. I'll come back to this house later on. For now, let's do the creature. So somewhat circular sea for the head or the skull of this creature. If you want to make adjustment, we free to do that. You can make it a bit larger or instead of single skull, you can create two or three. That will be really difying. This are just rough guidelines for the legs. I'll be making adjustments while I'll be going in with a breast pain. All these legs will have three joints. The legs on the other side will not be that much visible. These two legs will be visible, but the third one will not be visible that much. Let's add one more leg in between this So this was the leg I was talking about that won't be visible that much, and this middle leg is not satisfactory, so I decided to make a little bit of adjustment. So these are the six leaks that this creature will have. And as I was talking about, let's extend this person a little bit to add another building behind this too. And for this two, I'll only be creating the windows, two windows on one side and one window on the other side that will be partially hidden by the roof. On top of each roof, I'll be adding a smaller chimney. And yeah, I am done with the basic sketch. I'll be making adjustments as I go. Now let's do the inking. So here I'm using the Zikurataki bras and Zikurata ink. Here, I'll be creating some what of broken lines to create this kind of inty texture for the whole painting, the chimney at the top. For most of the sections, I'll be creating some fine lines to give it a rustic look. And for the corners and the edges, I'll be creating two or three lines to make it a bit bolder and to create stinton between separate buildings, moving on to the main house. Instead of creating this kind of broken lines, you can create uniform and straight lines. And apart from this, if you want, you can use watercolors to to create this kind of lines instead of using the brass panes. And you can also use the watercolor and ink, a combination of both to make it a bit more colorful, not colorful, but a bit monochromatic like our first three projects, continue on with the third and the final small house that we have in here. Adding the chimney on the top, let's create a small chimney in here, a total of three chimney for the three buildings. If you're using the breast pain, you will have to be bit cases and ensure that the ink has dried otherwise. There is a chance that you will get smudges all over your beach. Let's create the Base for this one. Two or three lines to make it a bit more bolder. I'll be keeping the door simple. If you want, you can make it a bit more detailed and add pattern or designs. This is the extended portion I was talking about. Let's fill this entire section with the curb hatching lines, and I'll be doing a setting later on. But for now, let's do this and this section, completely filling it with a black. Now, let's do the windows. For the entire section of the windows, I'll be completely filling it with the black, and then I'll be greeting. And then I'll be using the broken lines to create the outlines for it. So using broken lines to do the outlining for the windows, if you want, as I said earlier, you can create a bit more detail and define windows. Also, instead of completely filling the entire section of the windows with the black, you can leave it as it is the white. The insights will be white and you can create silhouettes of people or ghosts. And you are done with the windows for the third building, moving on to the first one. Here Alv creating the windows. Here the windows will be a bit larger. The one we created with bit squarish in C, but here it will be a bit rectangular, so a bit larger. The sides will be a bit darker because of the shadows casted by the roof. And yeah, let's create the rectangular or you can see a bit larger windows, three windows. If you want, you can create doors to instead of a single instead of this window, you can create a window and a door. Here, the windows will be a bit smaller, too small squares for the windows, and this window will be a bit larger, comparatively of the same length, comparatively of the same length as that of the three windows that we have in here. And finally, let's encircle it. So surrounding it with somewhat of broken lines. Let's surround our last window. For the smaller windows, too. If you want, you can surround that, but I'll be leaving it as it is. Adding a little bit of black for the upper section of this curved section, for the door, adding down knobs and. And let's add a bit of details for the roof. Some small and large fine lines a little bit of hatching to create kind of rustic look for the roof. If you want, you can leave it as it is completely white or you can also cover it with black, so entirely black roof. The lines are a bit larger, and as you can see, I'm not creating street lines. These lines are a bit sickyO you can say a bit curved. And for the last 22, I'll be doing the same kind of line. Moving on to the skull of the ghost. So this is somewhat humanoid see skull. Add few lines here and there to create a bit of rustic look for the skull hollow eye sockets. Encircling this circle seed to make it a bit more darker and airy. And for the tips, I'll be creating a bit large and curve canines. Let's add a few more log tiths in here for this humanoid skull for this creature. If you want, you can even create horns on top of his skull. And yeah, let's feel this region with the small strokes that we practice to create the texture or to create the body for this creature. Before doing the body, let's do the legs, since it will become a bit confusing since it will become a bit confusing if you do the body first and the This kind of organic lines or dynamic lines, lines of varied thickness and add some fine lines for the insights to make it a bit more realistic or more grainy or textured like pattern. The joints for each leg. Adding some fine lines and small strokes of the brass to create for small here like projection and textures alongside the leg. The last joint of this creature will be a bit larger and here, too, you can see, I'm creating small strops to create this kind of rough texture. Let's do the second leg. As you can see, I'm not strictly following the outlines that I created with a pencil, so feel free to make adjustment. And now, last, the longest section of the link. If you want to make it a bit more interesting, you can use a little bit of red to colour some of the sections that will be interesting. So you can make the legs and the skull bit red. Also, the roof will be red. That will make it a bit more haunting and terrifying. Moving on to creating the legs on this side. The third leg on the other side, I'll be adding them later on. For now, let's do the section that are more visible. So this front leg to create a distinction between the legs and the rest of the body, I'll be leaving a little bit of space in between the body and the leg creating these kind of small strokes to create the texture for the fur or you can see small hair projections for the leg. And as I was mentioning, I left a little bit of space in between the creature's body and its long legs. So I did not have a name for this creature. This is somewhat similar to the spider. If you have any ideas or suggestions for the name, let me know in the discussion section. Let's create our secondly for this side. The third and the final legs that I'll be creating for the both sides. I'll I'll try to make it a bit larger. And for the lower section of its body, I'll be trying to create projections, some small projection to sew some of the bones. Here, too, I'm living a little bit of space. The lower section of its spotty later on I'll trying to create later on I'll be creating some small projections to sew a bit of bones. Good. Let's move on to the remaining section, creating a little bit of small strokes to create the remaining portion of its body. For the lower section, as you can see, I'm making it a bit more darker. If you want, you can continue with the same kind of texture and leave a little bit of space in between the strokes. Finally, let's do our third and the final leg for this side. As I said, I'll be making this lag a bit larger as compared to the other two ones. Initially, I thought that I'll be adding a staircase, since it will become a bit challenging, but if you want, you can create hanging ladder from the door. And we are almost done with this third and the final legs, making it a bit more broader. Let's add a little bit of mod strokes to make its body a bit larger. Now, we'll have to create one more leg in here. Only the two joints of the legs are visible in here because the leg is a bit larger and the other portion of the leg is covered by the building, creating this kind of pattern and texture for the leg and it's extended. And we are done with the legs. Now for the ground, I'll be creating the same kind of pattern or texture that we practice in the demonstration video, this kind of broken and somewhat curvy lines, not uniform lines, and I'll be trying to create puddle like surface. First, let's cover the entire section with this kind of broken lines, and then I'll be trying to create the contour of water droplets. Wearing the length and sizes of those lines. The sexon in the middle will be a bit larger, and as we move away from it, I'll be decreasing the sizes. Extending the lower sexon a little bit. If you want to create uniform line, you can use pencil to draw the horizontal line, and then from there, you can create this kind of lines. This kind of mid curve lines that encircles the legs and lower portions of some of the lines. So the goal was to so that this creature is working on the water and because of its presence, the water is rising from the ground. Let's add few more lines wherever you think it's required. For the rest of the region, in the foreground, if you want, you can cover it with the black or you can create more puddles of water, somewhat of semicircular lines to cover the entire section. And I think we are done with this. If you want, you can add few more lines. Let's add the final details. I did not add the lines in here for the upper section of this last building, adding fine lines. I'll be adding more lines throughout the entire section of the building, some small lines of varied length to give this building a kind of rough and rustic texture. If you want, you can create patterns like brick like pattern or you can use scallops for the roof section or feel free to experiment on your own. And we are almost done with this. Let's add a few more final details here and there. As I was mentioning, for the lower section of its body, let's create some small projections too, so the bones of its page is visible. Some of the bones of its picage is visible. In here, I decided to extend its body a little bit. And here, we are almost done with this. Wait for the ink to dry and then let's erase the pencil marks. I hope you enjoyed this project. I had fun painting this one, and it turned out pretty well. If you want to add highlights or background for this project, you can do that, but I am satisfied with it, how it turned out. I'll see you in the next project, happy painting. 10. Mecha House : Welcome to the second project of this section. So we have got the wondering House of Iron. This is going to me yet another interesting wn. Let's start with doing the sketching for our house. Very simple sketch, the same we practice in the demonstration video. Here I'm starting with the roof. And we'll be creating exactly the same kind of house that we practice in the demonstration video. Minor a small adjustment will be made wherever it's required. So here we have the extended portion of the room that is a little bit slanted. For the other side, too, let's make it a bit slanted. So this is going to be a two story building, and we'll have a cannon in the front. So I'll be making the cannon a bit larger in here as compared to the demonstration video. And now let's create the sides of the house. If you want, you can make it a bit more long. That will be interesting too. With these, we are done with a basic see for our main house. Now, let's sketch out the guideline for the adjoining house. Here I decided to make the roof a little bit smaller. Moving onto the towers at the back. Now let's sketch out the cylindrical tower, two rings on the top, and on top of this, I'll be adding the pino. I'll be adding a total of three finos, one on top of this tower and two on the top of the roof of the main building. If you want to change the seat and the sizes of the pin, we free to do that. You can also do with the remaining building, the welding that are lying behind the main one. Now let's create the hand. In our demonstration video, instead of the hand, I created windows. So in place of the window here, I'll be creating the hand. It will be quite similar to the one we practice. Here, the sizes will be a bit more under. So this will be the hollered portion for the soldier of this robot. Now, let's create the forearm. Here, too, we have got a cylindrical s. And for the elbow in here, let's create a small circular c, some kind of knob in here and let's extend it to create the remaining section of its R. This video is in real time, so you can follow along with me. There will be two part of this video for this one. I'll be doing this sketching and then doing the majority section of the front house and a little bit of the arm and in the next video, we'll be completing it. So for this video too, I'll only using the breast pin. If you want, you can use the watercolor or the fine liner. I'll be adding the fingers for the robot later on. For now, let's create the best for this house. For the west, I'll be making a little bit of adjustment in here, as you can see. I'll be creating a somewhat of cylindrical sat so that is revolvable. So this is the revolving part, and it will be lying on top of another clindal that will act as the hip for this robot. Let's create the arm on the other side. Not all the portion of the arm will be visible. It will be lying behind this. So only this section of the soldier will be visible few wires in here. Let's create the remaining section for this arm. Joint is not visible in here. If you want, you can create another perspective for the hand so that the whole hand of this mega robot will be visible. And for the finger, very simple one, consider this you are creating four petals. And now another set of four petals. This time the end this time the ends are a little bit pointed. And in here, too, let's extend it to create the palm of its hand. Instead of the hand, you can also create cannon or some kind of weapon that is attached to its arm. Or you can make it hold a large bucket of water, creating the fingers for it, quite simple, flower petals like projections. And let's create the thumb for this one. I'm moving on to creating the revolvable section. So in here, this will be the hip Yeah, I decided to create somewhat of ball and socket kind joint that connects this hip section to the remaining sexion of its leg. Let's create the same kind of sef in here for the other leg. I'll be keeping the legs sot if you want, you can make it a bit larger. Let's connect it to the cylindrical sea, the hip of the robot. Now let's do the remaining saxon of its leg. A somewhat elongated cylindrical sea. Beyond this, I'll be creating somewhat of a combination of elliptical and cylindrical seam. Feel free to make adjustments or changes. You can create totally different kind of leg for it. Or instead of a double leg, you can create a single one. Now, moving on to the lower section. Let's create the foot. So for the foot, if you want, you can make a lot of changes to it. Here, I practiced as I showed you in the demonstration video, I'll be creating small cannon at the base of its foot. It's not clearly visible, but I created the same kind of leg that we practice in the demonstration video, as you can see it in here. Now, let's move on to the other link. So the legs are quite large. Here's another kind of lik that you can try. So this is somewhat similar to the type of best that we have in the Army tanks. I won't be using this but. I just wanted to show you a different kind of leg that you can create. Later on, I'll be adding a few wires that are coming out from the upper section to the foot. Let's extend it a little bit to make it a bit more stable in here, so you can create this kind of leg to with the wheels. I'm showing you as an example that you can do this kind of legs too. Feel free to make adjustment and then organisti with me and create the kind of link that I'll be creating or that I created in the demonstration video. Now let's add some finer details, windows on the top. This window will be a little bit detailed. So a four panel window in here. For this top floor, I'll be creating the cannon in the middle. For the cons, I'll be using two or three lines to make it a bit bolder and more distinct. Let's divide the cannon and the windows into two different sections. This line divides the whole house into two different floors. Now, moving on to the other side here, I'll be creating a single door and a single window. For the upper section for the upper section of the floor, I'll be creating two smaller windows. In here, like factors in the demonstration window, a small window, and a door, as well as an extended portion, or you can say a balcony in the middle. This will be the extended portion here, I'll be creating fence. And here, I'll be creating a wooden door. If you want, you can create different kind of the doors. Here I'll be adding a little bit of texture for this one. Moving on to the second building, here, only two windows will be visible, small windows on the lower section. For the beach of both the buildings, I'll be greeting brick like pattern. And, we are done with our rough sketching for this entire project. If you want, you can make a little bit of adjustment and changes. To pinions that I was talking about that I'll be adding for the top of the roof. So this will be the first if you want, you can make changes and adjustment to the seeds and the sizes of it. And yeah, we are done with this. Let's ink it. Once again, here I'm using zikurataki bur and let's ink this whole section, starting with the upper section. So for the top, I'll be creating this kind of pattern. So for the top, I'm trying to create a kind of rustic and old look that the top is covered with e and I'll be dividing the top into different sections. And for each section, I'll be doing a little bit of seeding along with the hatching. Going over the sides of the roof here, as you can see, I'm creating somewhat of broken lines. If you want, you can create the straight and uniform lines. This is the portion that divides the whole roof. So we have got the upper roof, and this is the extended and slanted roof. Dividing the upper section into further parts. And here, let's do a little bit of hatching. The upper section will be a bit darker and as we move away, it will become a bit lighter lines of different length. For all the lines, I'll be doing the same kind of hatching. For all the lads, I'll be doing the hatching and a little bit of seating. Also, if you want to divide into further section. Let's make the finals a little bit more defined and detailed. You don't have to create the same kind of final I'm doing or you can create the same kind of final. A three finals will be somewhat similar. The kind of final that we practice in the demonstration, we do a combination of two circles and vertical and horizontal lines. Moving on to the slanted section of the roof, making it a bit bolder and more defined for the engines and the sides. I'll be creating the same kind of hatching. Let's feel the entire region with small and large lines, a little bit of hatching along with the sading. Moving to the top and let's create another penial in here. This one will be a bit larger. Moving on to the other side. For this side, I'll be creating a little bit of sados the sado that is casted behind the upper section of the roof. Creating dynamics line, and let's add a little bit of depth and details to it by adding few lines, few curvier lines. Moving on to the inside. Going over the outlines for the windows. Are we using a little bit of sading in here for the four panoi windows that I'm creating in here. Making this region a little bit darker to sew a little bit of shadows that is casted by the roof. The cannon in here. The upper section of the inside is a bit darker. And now let's encircle the circle receive and extend the cannon to the rest of the building. If you want, you can create multiple cannons or you don't have to even add the cannons. Instead of this cannon, you can also create an extended portion in here and a second door. Now, moving on to the sides for the sides, creating two lines to make it a bit bolder and more distinct. Dividing the cannon and the upper window into two different section with the dividing lines. Adding a few lines below the cannon to make it a bit darker. So the shadows cast at by this. Now let's add few lines here and there to make it a bit more old and rustic. Creating the lines that divide the house into two different floors. And here I am creating this kind of small pattern. Two windows in here. Most of the section of the windows are covered by this slanted roof. And apart from this, I'll be adding a lot of fine lines in here to sew the shadows casted by this extended portion of the roof. Doing a little bit of siding and hatching in here. This section will be quite darker because of more shadows casted by this section of the roof. Now extending the lines. We are done with the upper section or the upper floor of this building. Let's make the windows a little bit more defined. So doing a little bit of shading in the upper sections and dividing the window into four panels. Now let's do the other buildings. So starting with the second one. For this two, I'll be creating a little bit of cidos that is casted by the roof of the front building and a little bit of sading on the other side to make it look a bit old and rustic. And below this two, I'll be adding some blacks to create some cidos casted by the second roof. Moving on to the tower behind it. So we have got a combination of a square and circular tower. No circular, but cylindrical tower. Let's do the square one first, and then we will move on to the cylindrical one. Adding fine lines in the front and for the back, adding a little bit of hatching to create a bit of dark to sew the sados. Moving on to the cylindrical tower here, following the contour, creating contour lines and doing this somewhat of circular hatching of varied length. The two rings on the tower. For this two, I'll be doing a little bit of hatching for the upper sections. Let's extend it a little bit and create another ring. So this ring is a little bit different. It's extended upward. Here, too, for one of the sexton I'll be making it a bit darker and add some fine dots or fine lines to make it a bit more rustic and old. Let's create the finial at the top. This is the final that we practice, a combination of vertical and horizontal lines along with two circles and a rhomoid sap at the top. Create two intersecting circles. And yeah, we are done with this. Let's set fine lines for this roof. And here, let's create a little bit of shadows. So a bit dark in here. Now moving on to the remaining section of the second building. So before doing this, we'll have to do the outlining for the hand. And then we will proceed with the remaining section and then we will proceed with the remaining section of the second building. For the hands of the robot or the other elements and the parts of the robot, I'll be making the lines a bit more dynamic. So lines with varied thickness. Some of the section will bit more thicker as compared to the other ones. And for the larger begins, I'll be adding more lines to make it look more rustic and more vintage feel to the robot. Here I'm creating this kind of square and circular patterns for the side of its soldier. The soldier will be a little bit hollow from the inside. So for the inside of it, I'll be using hatching and a lot of siding. So filling the insides with these kind of lines to make it a bit darker and using a lot of sailing. We are done with the soldier a bit. Let's connect it to the remaining section. Here, too, I'll be adding a lot of lines in the lower sections. And finally, connecting it to the rest of the biding. Here, too, let's add few lines. And now for the all of this second building, a lot of fine lines to make it look more textured and grainy. If you want, you can do the tiling, or you can feel the entire all of this second building with a brick like pattern. Moving back to the hand and let's extend it and add more details to it. Oh. Let's do the remaining section of this wall. So you have got two small windows in here. Completely filling it with the black. If you want, you can create the borders and the edges for the windows, but I'll be leaving it as it is, filling the rest of the areas with these fine lines. For this video, I'll only be doing the inking up to its elbow. And in the later video, I'll be adding the inking for all the details for the remaining section of this robot and the house. And here, too, I'm adding fine lines to create a little bit of sado. Et's extend its elbow a little bit, and later on, I'll be adding the palms and the fingers. For this section, I'll be creating two somewhat of hollow saves, two hollow saves that I was mentioning. And here, let's do the contour lines that follow the seep of this hollow sap. And with these we are done with this section of the video. I'll see you in the next video. 11. Inking : Let's continue from where we left off. So we'll have to do its palm and the remaining finger. For the palm to, I'll be using a lot of lines to make it a bit more rustic and old, and I'll be doing a little bit of seeding too. And for the lower section of it, I'll be making it a bit more darker. So a bit of dynamic lines in here. Let's at the small fine lines following the contour of the seep of this palm. Now, let's add the fingers. So petal psych projection, four projection for four different fingers. Moving back to the building. So here, I'll be creating the brick pattern for the entire section. If you want, you can create different kind of pattern. You can do the scallops or the tiling. Let's add a little bit more detail to the palm of the hand. And with these, we are done with the second building and this left hand. Making the edge a bit bolder and more thicker. Let's continue with the remaining section of the house, and then we will move on to the legs. Here, I'll be reading somewhat less detail or you can say simple door. If you want, you can make it a bit detail. For most of the section of this entire house, I'll be adding a lot of fine lines. A small window in here, completely filling the entire section with the black. And now let's surround it with this broken line. Finally, filling the entire section with the broken lines. The lines are of varied length. If you want, you can use broken cross hashing to create different kind of text for the entire section of the wall. And yeah, we are done with this upper section. Let's move on to the other side. Here we have a bit defined window, two panel window. You can add one more window on the other side, defining the outline for it. And with the sweat with a single window here, too, for the upper and the lower sections, I'll be creating the fine lines a little bit of hatching. Now, let's define the edge of the building. So this is the side of the building, making it a bit more, making it a bit more bolder and more definite. Now we have got the door and the extended portion for this floor of the building, starting with the door. Here, I'll be creating wooden door, a lot of wooden lines and a lot of texture for here. So I'll be creating a lot more longer lines in here. Let's create the lines and later on, I'll be creating the extended portion in the balcony with the fence. Moving on to creating the extended portion. So this is the fence. Filling the remaining secon with the fine lines. And this is continuing on with the extended portion. The lower section of this extended portion will be completely black. And yeah, we are done with extended portion, the door and the balcony, filling the remaining sexon with the fine lines on both the sides. Fill the entire section with the black. You'll have to be a bit cautious while adding it near the door near the door and the fence. Let's create the second hang starting with the joint, the solder joint. Since only the other side of the solder joint is visible in here, so I'll not be making it more detailed or defined simple saves, simple cylindrical and circular save. Adding this kind of dots that we highlight for the other side. I'll be adding the remaining section of the hand later on. Before doing that, let's create the brick pattern for the entire base section of this house. If you want, you can do the scallops in here, but I'll be sticking with the same kind of brick pattern that we did for the second building, starting with the horizontal lines. Let's extend the horizontal lines on this side too. And now let's create the brick pattern for the entire section. Creating this kind of brick pattern is quite simple and easy. So that's why for most of the section, I use this pattern. And with this, we'll be done with a major section of the house. Not the major section, but the whole section of the house. And yeah, we are done with a house. If you want, you can add more details or finer adjustment to the house, but I think I am satisfied with how the house turned out. Let's continue with the remaining section of the robot. This reason that lies behind the base of the house will be a bit darker. So here I'm using the hatching to create the upper sex and a bit darker and the lower sex and a bit lighter. And this will be the revolving portion of the house. Here for the upper section, I'll be adding a lot of black to create a bit of sados. There will be two or three layers of this creating the second layer, and let's divide into two sections to make it into three layers. And yeah, we are done with this upper section. Let's continue with the remaining section of the hand and the rest of its body. So here I'm continuing with a cylindrical seed that we have for its hip. So going over the outlines for the upper section, I'll be doing a bit of siding and hatching, curved hatching in here, and I'll be adding a lot of blacks for the upper regions to make it a bit darker to sow the shadows cast by the upper section of the building. Here I'm doing the contour hatching. And now let's make the upper. And now let's make the upper regions a bit darker. Cree fine lines in here. Fine, horizontal lines. Three or four lines will do their work. Continuing on with the rest of the cylindrical sea. Here to levating fine lines, but comparative, but comparatively less as compared to the upper section. Creating some fine lines using broken hatching. And we are done with the front of the cylindrical portion. This will generally be completely dark since it's covered by the hands and the upper section of the house. So filling this entire section with the black, you'll have to be a bit careful while adding it or encircling the fingers. I'll be extending this black to the rest of its hip joint, but later on, for now, let's do the remaining section of its leg. So here we have got ball and socket joint that connects the hip to the rest of its thigh and the remaining part of its leg. Here, too, I'll be doing a little bit of sading for the lower section. So we'll have to do lots of sading lots of fine lines to make this look old and rustic and give it a vintage like. Let's create the section for its thigh. In here. As you can see, it's somewhat cylindrical seep. And here, too, I'll be creating a little bit of plaque for the center of the seep to sew a bit of hollowness for the side. This is the hollow porton of its joint. More fine lines in here. Let's do the remaining section of its thigh. A few more fine lines in here. So I'm doing it from left to right so as to avoid smudging of the colors. So start from top to bottom and left to right. Let's move on to its hand. As I mentioned earlier, most of its hand the upper saxon hand is behind the building, so I'll only be creating small portion of it, but the forearm is completely visible. He. I'll be using a lot of setting for the forearm and make it a bit darker for some of the region. Now, let's continue the remaining section of its hand. As I mentioned earlier, you don't have to create the same kind of hand that I'm using. You can create cannon or other weapons attached to its hand or you can create or you can make it hold bucket or any other thing. So this is the joint that connects to the rest of the palm, and let's create the fingers and the rest of its palm. This region will be a bit darker. Let's create the finger. So four digits finger. And the remaining section of the finger. Let's create the thumb for it. And now let's add fine ninth for the remaining section. Following the contour of the palm and adding the fine lines, so a little bit of hatching for the upper section. Making the sexon a bit darker inside. Now moving on to the other side of the hip joint. Going over the outline of this leg. Here, too, most of the sexon is not visible. Here I'll be adding two or three wires so that it's hollow from the side, I'll be adding a little bit more ink on the sides. I'm moving back to the leg. So let's make this middle person, the knee of this Robot. This is another joint that we have in here. Here on the other side, I created a bit of hollow seam, so the inside is a bit hollow. Let's do the seam on the other side, too. Here, too, if you want, you can add fine lines, but on this side, I'll be leaving it as it is. Let's create the joint in here, somewhat of the cylindrical and circular see that we have in here for the joint. Here for the remaining section of foot, I won't be following this sketch that I created. Instead of that, I'll be creating the same kind of leg, the foot that we practice in the demonstration video. If you want, you can create other kind of foot or you can stick with me and create the kind of food that I'm creating in here. We have got a bit more broader and more defined and detailed foot. And for the best of the foot, I'll be creating two small cannons. Just follow along with me and yeah, let's continue with the remaining saxon of its foot. For the insides here, I'll be creating some circular seep so the cannon present in the bees of its foot. And for the insides of this circular seep, I'll be adding black. A second circle shape that we have gotten here is not a part of the cannon, but it's the opening and closing section of the cannon. Let's do the remaining part of the foot. Now let's create the base rectangular see for its base and extending it more extending a little bit farther.This is one section of the foot, and I'll be extending it a little bit more further to make it a bit more detail and more balanced. This region as well as the upper region will be completely in black, since it lies behind the upper section of the foot and contains the cannon. For the front senson adding few fine lines, creating the remaining portion of its leg. Now, I'll be adding the fine lines and a few more details here and there and extending the leg a little bit more backward to make it a bit more balanced. As you can see, just by seeing it, it appears that the leg is not balanced, so we'll have to make it a bit more balanced. Here I'm using a darker tone of the ink to create a clear distinction between the two different section, the upper section and the lower section of the foot and the cannon. Now, let's add a little bit of details and defining the remaining section of the upper section of the foot. I'll be adding a few wires later on. Adding some fine lines, a little bit of hatching on both the sides. Now, let's make this a bit more balanced, encircling this extended portion a little bit. And now let's create more extension for the lower section of its foot to make it a bit more balanced, extending it a little bit in this triangular s, doing this on the both side, and this extended portion is completely covered in the black. And yeah, we are done with the lower foot. Now I'll be adding the fine details. As I mentioned earlier, this portion is going to be hollow, so feeling a little bit of black, extending this portion too, since this lies behind the upper section of the entire building, so it will be in shadows. Et reach the pencil marks and letter, and after that, we'll be adding the final touches, adding fum wires here and there, and adding more lines wherever it's required or doing a little bit of seating and hatching if required. Before erasing it, ensure that the ink has dried and we also have to create the base for this Robot. So I'll be creating theme kind of line that we practiced in a demonstration video and that we did in the last project. Instead of the simple and bit caer lines, I'll be creating kind of small buses in here. You will get what I mean to say when I do this here as you can see, the ink was not dried up in here. I got a little bit of smudging here. I'm just completely covering the entire section with the black and let's add a few fine lines in here to create a little bit of sados cover the mistake that I made. Yeah, I have somewhat completely covered the mistakes that I did. Now, let's create a few wires in here and there. Single wire that connects the knee to the rest of the foot. Now, let's create the grass in the front. So this kind of small strokes of the bras paint to keep this kind of texture and pattern for the ground. If you want, you can leave it as it is simple and plain, and I'll be adding a few more strokes to it to make it look like the grasses. Completely filling the entire section with these lines and for some of the larger lines, I'll be creating this kind of texture or wency pattern to make it resemble some of the grass. Yeah, let's do the entire section with this. I'll be overlaying it on top of the food, too. So if you don't want, you don't have to load this. For some of the section, I'll be making this grasses a bit taller. And we are almost done with this. Add a few more details in here to make it more defined and detail. We are done with the lower level or the ground for this project. At few more fine lines here and there we requie for the foot to make a clear distinction between the ground and the remaining section of this robot. And with these, we are done with this product. I hope you enjoyed this project. I had fun painting it. I'll see you in the next project. Later on, I created two more wires extending from its hip to the thigh joints. 12. Nest Of The Cursed House : Welcome to the third project of this section. So we have got the nest of the cursed house. So we have got a nest, which is running away, and let's start with sketching out the guidelines. M basic simple saves for it. It will be somewhat similar to the one we practice in the demonstration video. The only difference is that instead of the one unit of the house here we'll have 31. So two extended portion on both sides. Here, as you can see, I have already started with a cylindrical see for the main building. On both sides, there will be two small. On both side, there will be two extended small huts. One will be with the roof, the other will be open with the fence. Sketch out the guidelines for the second one. Somewhat semi cylindrical see on both sides. And for the main house, and for the main hut or the house, I'll be dividing into four sections. Let's create the roof, the upper section. So wooden beams that divided into four wooden beams that divide into four different sections, a total of five wooden beams for this one, and for the second one, I'll be creating three. Or you can see only three will be visible. Extended portion on this side. I won't be adding any roof. If you want, you can do that, but I'll be keeping it, but I'll be keeping it open and creating the fence surrounding it. Extending the lines that I create extending the lines that I created, the wooden beam or the beam at the top of the roof, extending it to divide the rest of the house into different sections. The middle section will have the door, and the other two will contain the windows. Create the rough outline for the legs. So about like legs. Feel free to make adjustment or instead of this kind of bud legs, you can create human legs or robotic legs, or you don't have to even create the legs. Instead of that, you can create wines or any other things. The theme for this section is houses on the move. So you can create any other kind of appendages that helps the house to move. And we are done with a very simple basic pencil outlines. Now going in with the rust mean to do the outlining. Let's go over the outline of the wooden beams. So here, as you can see, I'm using broken lines for the upper section of the roof, I'll be creating small strokes with breast pain to create a texture of feather like texture, and for the lower section, the nest on which this house rests upon, for that to, I'll create feather like projections. So bought feeder. And you can see that it's a house it's a nest of the ostrich and it's running away. Haunting and terrifying ostrich net, which has three house on top of it, and it's running away. So following the contour of the conical shape of this roof and creating the wooden panels, following that, and creating the wooden panels, keeping that in mind. Let's create the last one on the far on the far right side. If you want to make it a bit more detail, you can divide it into further sections. So you can add vertical you can add horizontal wooden beams and dividing it into different sections. Let's do the outline for the roof. So this will be the boundary. The upper section will be covered with a feather like projection, feather like breast pain strokes. Here I'll be creating the texture or pattern for the brick and the door and the windows will be in here. Following the following the guideline of the wooden beams and creating this kind of beams that divide the rest of the house into different sections. If you're not comfortable if you're not comfortable with directly using it, you can use the ruler to get straight lines. The side of the beam will not be that much visible because of another extended portion of the house. Let's go over the outline of it. For this side, only one window will be visible. If you want, you can create multiple ones, but I'll only be creating one windows on two extended sides of the house. Do the extended side on this side too. So here, first time starting with going over the outlines of the wooden beams that we have created in here. So only two wooden beams are visible on this side. Let's define the outline, the upper section of the roof. In here, as I mentioned, I'll be creating the fence surrounding it. So if you want, you can create the wooden beams in the same heart like formation. But here, as you can see, I'm creating small fence that encircles this portion of the extended building. Now, let's create the best for it, following the contour of the following the canto the cylindrical seep of the main building and trying to create the bees somewhat parallel to the seep of the main building. Let's create the piece for the main one. At now, let's move on to the second extended portion, extending the wooden mem. Only two mems are visible. Let's create the best for it, keeping the perspective in the mind and Now, let's define the nest. So this is a rough outline for the nest, and later on, I'll be making it adjustment. If you want to make it a bit larger or smaller, feel free to do that. I'll be completely covering the entire section with these kind of strokes. The regions near the houses will be a bit darker. Creating the extended portion in front of the door. So this is the extended pavement that we have in front of the door of the main house. Let's create a little bit of text shut that encircles around the entire section of the house. This is just a rough demonstration to so how I'll be creating the nest, as well as defining the rough outline for the perimeter of this nest. Now let's go over the outline of the legs that we have created. So we have got birds like leg for this running house. Too, I'm using broken lines to create this kind of lines to give it a more raw look. For some of the section, especially the lower part of the leg, I'll be trying to create a little bit of appearance of the furs or the hair. Let's do this region and then we'll move back to the remaining portion of the leg. Completely filling this entire section with this kind of brush strokes, small brush strokes. So you can consider this kind of seeding and a combination of small hatching. The lines are not in any particular direction. I decided to do the glove first and then I'll move back to the rest of the nest. So going over the outline of I did not create any defined outline, simple stump like sep with a pencil, but here LV. But here, as you can see, I'm making adjustment and giving more depth and dimension to the sip of the claws. We have got four claws for this leg, and yeah, we are done with this. Later on, I'll be adding a few more strokes to it to give it a bit of hairy look. Let's create our second leg. This one is a little bit bent. This is the kind of hairy texture that I was talking about. So you can then as you can see the bended Pusan has some small strokes that is coming out, and it gives a semblance of hair like projections. Now continuing on with the clause that we have got in here. Let's create the last one, the last claw. If you want to can create the ground for this project, but I won't be doing this. I'll be keeping it simple. You can create the texture or pattern for the grass or you can use a little bit of watercolor to create some kind of foreground. Now let's add some fine strokes in here to create the resemblance of some tiny, small hairs on the leg of this bird. Adding a few more fine lines here and there to make it look more realistic. Small tiny lines and small strokes. You can use a little bit of stippling to give it more depth and dimension to the legs and the claws. Fine lines following the contour and the round shape of the leg and the class. And I think we are done with it. If you want, you can add a few more lines and add more details to it. But I think I am satisfied with it, how it turned out. I decided to add few more lines for the clause to make it a little bit darker. And, yeah, we are done with the legs moving back to the upper section. Now moving back to the extended portion on the right side, creating two wooden beams and dividing into three different sections that are visible from this side, moving back to the nest, and let's feel this entire section with this As I was mentioning, the regions near the house will be a bit darker. So you can just do the outlining in here and then later on, continue with the brush and then later on continue with the brush strokes to fill the rest of the regions. The small and large strokes, and yeah, let's continue with the rest of the surface. I'll also be covering some section of the ling when this is small strokes. If you want to make it a bit more interesting, you can even add a tail. So a little bit curve and rounded tail. And apart from that, you can add some feeders in the background or you can create hands that will be also interesting. And here we are almost done with this nest. Only a little bit of it, only a small portion of it is left. So let's fill the entire sexon with it. If you want to make it a bit faster, you can use the watercolor breast. But since I decided for the whole sexon I'll only be using the breastpin. That's why I'm sticking with the breastpin. Insert that the ink has dried and then lightly remove the pencil marks. And here we are done with the lower section of the nest and the leg. Let's do the main thing, the upper section, the roof, and the main house. For the door of the middle house, I'll be creating wooden door and I'll be dividing into three or four different sections. The door will not that much defined, but if you want, you can experiment with different kind of doors. And let's start with the upper section, the roof. So small strokes to create fether a pariens for the entire section of the roof. So this kind of small strokes, this is somewhat similar to the kind of strokes that we used for the nest. But here, this spicing is a little bit much more farther and the density is a bit low. The main difference is the difference in the density and the size of the strokes for the nest and the upper section of the roof. So I'll be filling the entire section, four section for this one, two section for the other house. So slowly and gradually filling the entire section, you will have to bit causing you'll have to bit cautious while adding it around the wooden beams. One thing you can do to make this process a bit easier is to do the outlining of the wooden beam, and then alongside it, you can add the strokes to create the feather like a perians for the entire section of the roof. For the upper section, try to make it a bit darker and as for the left side too. And with these, we are done with two sections of the main roof. Now, let's continue with the remaining two ones. Also for the top of the roof, you can create even small projection or small windows. Apart from this, you can also create some silhouettes of the birds and the crow. And apart from this, you can create the silhouettes of the crows that are encircling the top of this roof. And instead of the crows, you can also do the silhouettes of the bats that will be interesting too. And with these, we end with the third one. The whole videos in real time, so you can always follow along with me. And this videos in two parts. So this is the first part. And in the next part, we'll be adding that details to the windows doors and creating and creating the brick like pattern. Let's continue with the remaining section of the roof. I'll be making this side a little bit darker. I'm considering that the light is falling from the right side. So the right side will be a bit lighter and the left side will be a bit darker inside. And with these, we are almost done with the entire section of the roof. Add a little bit of more strokes wherever you think it's required or the density is low. Now moving on to the roof on the left side. So we have got two small sections in here and I'll be creating a little bit smaller strokes to fill these two regions. Moving on to the last section, and let's completely fill this entire region with these small strokes. And yeah, we are done with the roof of both the houses. Add few more lines here and there to make it a bit more darker. And as you can see, I'm making the outlines of the denim a little bit more defined. Now let's do the rest of the building. Here, let's start with the door. The middle portion will have the door. And there will be this extended small roof in here, and I'll be completely filling it with the black. If you want, you can create a different kind of pattern to it. Or instead of this extended horizontal roof, you can create a bit of lented roof and you can use scallops or different kind of pattern for it, or you can also add the feather like projection that we added for the roof. That will be interesting too. Here I have created the outline for the door. And now let's add the final details to it, dividing into different section, two parallel lines, and dividing the whole door into different section. We have two panels door, and it's divided into four section. And we are done with our simple door. So let me show you the kind of texture that I'll be creating for the rest of the house for the rest of the building. So we'll have this kind of brick pattern a little bit more defined. Instead of a single lines here I'm adding two lines, and the horizontal lines are broken lines. I'll be completely filling the entire section with this kind of pattern. For this side, here, I'll be creating a single window, a four panel window. For this side, too, I'll be creating the same brick like pattern. But here, the lines will be a bit smaller. And let's do the remaining section of this window. Dividing into two different panels. And now let's divide into four panels. All the windows of the houses will be similar four panel windows, and for the insides, I'll be completely filling it with the black h. Let's create the upper part for this one, and I'll only be doing only this for this video, and in the next video or the next part of this video, we'll be adding the final details and completing the project. So I'll see you in the next video. 13. Texture Creation : Welcome to the second part. Let's continue where we left off. So we have to create two more windows. We'll have to do the upper section of the extended portion of the house on the right side, as well as create the brick pattern for the entire section. Let's start with this extended building. Simple lines, and now let's divide it into different sections to create the resemblance to create the resemblance of brick like pattern. And we are done with this site. If you want, you can add the window in here or you can also add the doors. So the choice is yours. Let's do the remaining two sides of this main building. Here I've already started with the outline section for the two windows. I'll be adding I'll be adding single window on both the sides, four panel windows, following the contour of the cylindrical seep of this building. Let's create the brick like pattern for the upper and the lower regions of this window and on the sides, too, and then later on, I'll be creating the guidelines for the window. Brick like pattern for both the sides of the windows. And let's create the same kind of pattern in here for this side too. For this side, only a little bit of it will be visible because of the perspective. And now let's create the outline for the remaining section of the window, four panel windows. If you want, you can create different kind of windows. For each building, you will have different kind of the windows or you can just create the same kind of window that I'm doing. So all the building will have the same windows. I'll be adding the black later on. For now. For now, let's create the horizontal line following the contour of the building, a little bit of broken lines. Moving onto the other side. Here too, I'll be creating the same kind of broken lines, following the contour of the cylindrical seat of this house. Moving on to the lower section, doing the same. Let's do the same for this extended portion. So here the lines will be a little bit less farther apart. So I'll be decreasing the spacing in between the lines. Now for this region, you can create the brick like pattern following the contour of the main building, or you can completely cover it so that it's in darker region or the sado cast it why the extended building is making it look a bit darker. Moving on to the main building, and let's create the pattern for the bricks. So a bit more defined pattern, two lines to create each separate and different bricks. Now, let's feel the black for the insides of the window. You happy with bit cases. Lack for the last panel of the window. Now continuing on with creating the lines for the brick pattern. I decided to add a little bit more lines in here. Now moving on to this section, doing the same two lines to create the pattern for the bricks. Now, let's colour the window for this one, for panel windows. Instead of filling the entire windows with the black, you can create the silhouettes of the people or the ghosts. Let's feel the last panel. Carefully filling the black for the insides of the window, and we are done with three windows. Let's continue with two lines to create the resemblance of the brick. Now moving on to the extended portion, the extended building, here too, here too, I'm creating the brick pattern. Only the differences, I'm just making it a bit smaller and decreasing the spacing in between the lines. For the upper section, you can leave it as it is in white or you can color it. I'll be completely covering it with the black. For now, let's create the window in here. This building will have a single window. If you want, you can create more windows on the other side, but I'll be creating a single window in here, the same as the other extended portion of the building on the left side, creating the brick pattern for the upper and the lower side of the window. Let's create the four panel windows. Small lines to divide it into two different section. And now let's create four different panels. Here you can see I'm following the contour of the cylindrical sea. So one side is a bit larger, the other side is a bit smaller. And let's continue with the rest of the building. So here too, I'll be creating the brick like pattern. So starting with the horizontal lines, small horizontal lines. And then let's do the vertical lines. And with these, we are almost done with a brick like pattern for the entire building. Now for the upper section, the area surrounding the fence, I'll be completely covering it with the black Carefully adding it in between the fence and Now let's feel the top section, adding it carefully near the extended portion, the extended beam of the main building. And yeah, we are done with this upper section. And you can leave it as sets or if you want to mix a little bit of adjustment or add a few more lines here and there, you can do that. Here I decided to create the top for this. Let's make this sap a little bit rounder in here. And the area near the base of the houses, let's make it a bit more darker. For this reason, you can leave it as it is, or you can completely cover it with the black. Here I'm completely covering it with black. And yeah, we are almost done with this. Let's a few more final details to the clause of this. Small broken lines. And with this, we are done with this third and the final project of this section. I hope you enjoyed this. I had a lot of fun painting this, and this really turned out quite well. Let's unmask our painting, and I'll see you in the next section. 14. Class Conclusion and Thanks : Thank you so much for joining me in this class and creating these haunted Wing houses illustrations with me. I hope you enjoyed learning the different ink techniques like hatching, crosshatching, stippling, scribbling, seating and texture building, and then applying them to the final project, house that crawls nest of the cursed house and the mecca house. Don't forget to upload your final project and practice seats in the project gallery. I would love to see your creations and your unique interpretation of this dark fantasy illustration. If you enjoyed this class, please consider leaving a review and following me here on the Skillshare for more classes on ink illustration, watercolor, oil pastel, and other creative projects. Thank you once again for joining me, and I hope to see you in my next class until then keep creating and have lots of fun with your art.