How To RENDER Comics - shading, inking, and coloring!

1. SkillShare Introduction: Hey guys, I'm Ed for Chuck and I've got a new course for you here on Skillshare. This time it's how to render for comics. So what is that? Well, that's basically taking a flat, very thin line drawing and making it pop. The question is how you can do it through shading. So me and some fellow instructors go into that with pencils. You can do it through ink and you can see some examples here. Or you can do it through markers and coloring. Truthfully. There's a lot of ways to make your image pop. But the first thing you've got to understand is lighting and the principles behind that. So that's what we tackle first in this course. We go through lighting, then we attacked pencils, then we attack inks, and finally on to coloring. Guys. I partner with a few of my good friends that are professionals in the industry to make sure that I bring you an amazing course. And Skillshare is making that possible for you to learn it at your own pace. There are some instructional exercises that you've got follow along worksheets to, and there's a lot of learning on your own that as you're watching the videos, you can practice yourself. So there's all types and speeds of learning in this course. Okay, if you're ready, I want you to jump on in and started up. Let's see how good you can make your drawings. Pop. 2. Lighting Simple Objects Simple Lighting: Hey guys and welcome to this first unit on lighting. I know it's kinda strange to start it off with a bit of a head shot, but it'll make sense as we go along here. I want to talk to you about how we can look at lighting and look at the objects around us to help us understand better so that we can learn how to render better. Okay, so first off, I'm going to grab an everyday object. Not so everyday, but kind of everyday stuff, right? It's a lacrosse ball, white, simple, plain. And already you can probably notice something. I've got one major light source back. You can see it glaring off my head. You can see it glaring off the ball right? Now if I kill the lights in here too much, it's going to be really hard to see anything. Well, why don't I try that? Oh, now it's just a monitor. But now I'm going to show you I got my phone out. I'm going to show you how I can move it all around, right? You can see how if I get further away, kinda dissipates a little bit. As I get closer, it gets a lot harder. So watch this cut line, the division between the light and the shadow, right? As it gets closer, it gets far more intense. And as it moves away, it fades quite a lot. Right? So what I want you to be able to do is save this video and reference it back when you're doing exercises later about lighting, okay, under lit and all over. This video is going to help him more than you expect, because we are going to be talking about lighting objects from a lot of different angles from behind. Look at that rim right, from in front, from up top, and from even underneath. Spooky. The key point I really want you to understand is that objects like this. You've got around the house, whether it's a lacrosse ball or whatever it is, you've got access to it. So I want you to be able to think that you can use it to understand how layering works. Let's get into the unit. Okay guys, So let's get into this a little bit. We're going to do some different examples of when it comes to lighting. Just lighting some basic shapes and see how it flows. On, Let's see. We're going to pick something dark grayish color that we can kind of feel is a little darker and start to color some stuff. So well, actually, let's, let's flip this a little bit. And let's say my light. I like to decide this first words my light coming from, why don't we pick something simple? The left, okay? So the light's coming off from the left side here. Alright? So if the light's coming up from the left, we can see that it's coming in this direction, right? Let's, let's, let's say it's a big light source off to the side here. And it's all coming this way. Okay, If that's coming this way, how does that play out? That means it's going to hit here. It's going to hit here. And it's probably going to hit somewhere along here, right? What does that also mean for where it's not going to hit not going to hit on this side. It's not going to hit on this side. It's not going to hit on this side. Alright? Okay. So I know this seems really elementary, but bear with me. I think it's worth really looking at a lot of shapes and figuring out where would like touch and where would. All right. So we're going to look at this and not only is it going to hit on the sphere here, right? But when it hits spheres, it kinda hits circular, right? And depending how close this light source is, it can be a very hard and definitive line or it can kinda blurry as it goes out. And again, you know, this will kinda, like I said, it'll either blur Let's see if I can smudge this out so it looks like it's, there we go. We can do it this way. If we want to cheat just a little bit, right? For these curved surfaces, we can have some kinda smudge effect, right? We have this cylinder here, and then we have the shade on the backend of it. And of course, this line, this cut line, because it's a rounded curve, would generally kind of blur a little bit. All right. Okay. But what happens when it's a solid line? Well, the light wouldn't be touching here. It might touch a little bit just on the edge here, right? You might get some highlighting on the edge here. Okay? And it might, depending on how high it's coming from, it might come a little bit here. And you might get this kinda almost like a gradient effect with shade coming from the backend here, right? And then that's where you might have it kind of blending out. Okay? So even on a flat surface, you can have light as it fades out into the into the shade. Right? Okay. What else? Schools on bone. Well, we've got this, this ball is going to cast some, say, some type of shadow. Here. I'm using a select tool, but I'm just being lazy, right? The ball is going to cast some type of cache shadow here. So I can fill that if I want. This cube is probably if it's all the light's coming from up this way, It's probably going to cast something along these lines down here, right? Okay, so we've got the, the shadow, the shape that's on the object, and then we've got this cast shadow. Why don't we come down? So what I'm hoping is that you're practicing along with me. Now there's different ways you can practice, right? You can grab just a pencil. And that's what we're gonna do for this next one. Imagine that we've just got a pencil. I'm going to select the pencil tool and I'm going to make it big because it's going to take me awhile. And I'm going to once again choose a light source. But this time I want the light source to come from this way. And you know what, it's going to splay out a little bit. Okay, so it's coming from one light up here. Well, how would I do that pencil? The light's coming here. Chances are it's going to be down here, right? Lights coming up here. The top here is going to be lit. Maybe. It's going to come and start to come down the cylinder this way. Okay. And then if it's coming down again here, there, depending how far this is a head of this, there actually might be a bit of a cache shadow on there. Depending from the cylinder. Definitely this one's going to be all black doubt. But it depends. It might be a little corner down here, might be a little corner over here. All right. And then if I really want to, can, you know, here's going to be that cache shadow from the bowl. Here is going to be the cache shadow from the square. And here's going to be that cache shadow from the cylinder, right? And like I said, already kinda cast it up here a little bit. Alright, cool. I'm hoping once again, you're practicing along with me and this is really what it is. It's just trying to get used to how light might fall on different shapes. And as we go through this course, it's going to get harder and harder. So I know this seems really elementary, really simple to start. And that's where it should be. It should be elementary and simple to start, right? You guys should be just doing something basic. Practicing, even holding objects, like I've shown you in the video. Just object in your head and rolling it around in front of the light. Now what if I bring the light little bit closer? Really close, right? So it's going to be, let's say it's kinda, kinda making this 3D here kind of behind here, right? It's going to be behind. So that means the light's going to touch on here, touch on here, touch on here, and it might sneak through and just touch on there. You understand like the light is going to touch, touch, touch is going to touch all these things. And it might kinda come in between these two objects. Seems like there's a bit of a gap and might just kinda touch on this stuff, right? So where's the cache shadow then, or where's the shape? Well, it's going to be all back came here for sure. We know this one's a for sure. Right? We know back here is a for sure. Right? We know back here, somewhere back here is also for sure, and it's below here. So this one's going to be a for sure here too. All right? Because it's behind this object, behind the square, then we know that this is going to be colored in up top here though it looks like it's slightly above, so it might, might not it might just be touching on there. All right, cool. And then we've got the cache shadows back in here. But it's going to be little short because it's coming this way. So it might, might come to sway like cache shadow was coming back here from the sphere. And then this one might carry through, and then we wouldn't see it on the other side here, might carry this way, but it depends or it might actually fold just slightly onto this sphere. All right. Okay guys. This was simple shapes and simple lighting. Just one light source on simple shapes. And I know you're thinking that was simple. And that's the point. I want to start your visa. But as we go through this lighting series of units, you're going to find it's gonna get more and more complicated as we add to it. So start here, maybe print off a few copies of this and play with it yourself. Move the light source around. If you've got similar objects at home, place them in front of you and see how they react to different angles and intensity of the light, right? But for now, just stick to one light source. 3. Lighting Simple Objects Simple Lighting Practice: Hey guys, we're back with another unit on lighting. Listen, I know this is seeming simple, but it's about to get more complex now, right now, this is practice. But as we move forward, you're going to see how this practice will help you really understand how to render for comic books. In front of me. I've got an AIG both on the screen and didn't person. And I've set it up so that I can kinda have my light from my phone changing and around the egg. So I've got a free hand and I'm kinda just adjusting to it. Right? And this is something that you could do at home. I think something with a very simple object, set it up, even if it's an AIG, and just find a way to light it and move that light around so that you're practicing. Okay, so the first one we're gonna do is let's go straight up on top. Okay, So if the light sources coming straight up on top, that means the shade is down here. And this sheet is a little bit harsh there. That's a little bit better. That's what I want. And the shape kind of looks like this as, as I'm looking at my little reference off to the side here. Okay? What if we move it off to left or the machine moves off to the left, right. And you can see how it curves with the shape of the object, in this case in a crime. And if I move it left forward than the shade kinda just comes around that side. Okay, So light source up top, light source kinda left. Light source forward left. What do we keep moving it around? If I move it straight in front of us, you'll just see a little bit of shade on the sides there. Okay? Because that light sources basically where the viewer is. Now listen, I'm hoping that you're following along. I don't care how you're following along. Meaning, if you want to do crosshatching or whatever style rendering you're working on right now, whether it's markers or ink or whatever, that's totally up to you. So you're you're rendering of this lighting is, is your choice. Right now. I just want you practicing. And one thing you can practice too that I really enjoy is kind of a subtracting method. So you've, you can shade in again whether whatever method you want. And then he race. So where do we want this? Let's go with light source down. Lower, right? The light sources here and it kind of spreads. And I find this easier because especially with curved shapes, it seems to flow a little bit better as I, as I take away things, right? So let's do that for a couple. Let's fill it on in. And where do we want this whole boat? Top center. So I'm going to start here and I just start fanning out from there. Alright. There we go. Cool. Okay. And like I said before, in my little face video, right? That when, when the, the light source is super close, super close to the, to the object, you'll get a much harder line, right? And you can soften it just a little bit if you want. But you'll see how it's much harder line as the light source comes closer to it. As the light source gets further away, then you get this really going to see if I can. You get this really soft. It's not working, but I think you get the point. You get this really soft feel to it. You know, maybe I'll mash it a little bit. There, there we go. So here's an example, old, that's even better. I like that. Here's an example. The left one is when the light sources really close to our object. This middle one is more when the light sources far away. So this, the shading edge gets a lot softer, right? Guys? This is what I want you doing. I want you just playing around finding the style that you like to deal with, whatever style rendering it is. And then practicing on these aches, finding a light source where it would hit the object, hits right here. This is very light, light source and then maybe it starts to spread just a little bit, right? And it spreads out and out and wraps itself on that shape. 4. Lighting Complex Objects Simple Lighting: Okay guys, we're back and you're already bored with simple lighting and simple objects, right? I know, I know. It's simple. It's easy when you really have to have that down before you move on. So what we're going to keep with that same pattern right now, doing a simple one light source. But this time a little bit more complex of a shape. And what do I have in front of me? Well, as you can see, faces, right? Some, some classic busts. Not those types of busts. Of what we're gonna do here is just do some basic shading, okay? And see where the light would fall from different lighting approaches. It's always good to practice on faces because we go shapes going on, on faces. We've got the nose jutting out, often casts a shadow. We've got some sunken eye pockets, obviously the outline of the jaw, all of these things are really important when in fact doing it, right? So the first one we're going to look at here is a bit of an ambient light, just it's kind of all around. And you see this is when people are outside, mostly, there's kinda just light everywhere, right? It's just a general light source that is not harsh, hard, and one directional. So what you'll see with this is see if I can get this working a little bit. There we go. You'll see just a little bit under the jaw. You'll see a little bit in the cheekbone. And lining. This section here, for example. You'll see just a little bit maybe in the eye, under the brow. And then you'll see, you know, as it flows and hangs into the hair and stuff. Everybody's got a different hairstyle, right? So that's not that important, but you'll see just a little bit and then behind in the back there and stuff, right. Let's see if that makes sense. Okay. So you'll see those main areas. And of course you can come in, clean it up a little bit. The one thing that I like to do, especially when a shading, sorry, I forgot the nose, just a little bit under the nose. One thing I'd like to do, especially when shading is making sure that like let's say for example, I can actually go over the entire eye. And it gives it this kind of form, right? And then as I erase away, there's still that formed there, right? Okay. There we go. So nice and simple. You can come in a little bit more and give some grooves going on in the year or something like that, right? But this isn't really that complex of a lighting situation. It's just this general. That's kinda why I picked it to start. Okay, so we've got that. Let's go down to another one. Let's go to the three-quarter side. So let's say it's forward to our left a little bit. You can do one of a few things. Remember how it was talking about, like kinda just shading everything in and then subtracting if you want. What do we do that? Okay, So we'll shade everything in and then just start subtracting off the lights here. Then we know that it's going to be coming here, right? It's coming from this side. And pretty much most of the left side is going to get get some lighting to it, right? Okay. And we're going to have to get smaller here. The bridge of the nose is going to be lit. The lips, the chin. Maybe some of the hair here, right? Maybe depending on the cheek shape, could be here. And you know what, I erased a little bit too much on the nose there. But the cheek. It's got some their worlds of the brow a little bit more and might touch the hair just a little bit on this side. Alright? So you're kind of imagining where all the light is going to touch as it's coming from this forward left. Okay. It might come, like I said, a little bit into lips here and stuff and the nose. And of course, like I said before, you can come in and do the eyes a little bit. Right? Okay. So that's forward left, that kinda three quarter. What's another one? Street above? Do we want to subtract? I kind of like subtracting, you know, I mean, like I think for me, subtracting is one of the easiest methods. So if you're on, if you're working traditionally and you've got pencil, paper that kinda stuff, shade in lightly and then come with the eraser and just start going at it. So you know, if it's coming from above here, I wanted to talk down. So might as well start with the top here. Do the hair up top, right. As it touches all of these. Very cool curls and locks. That's right. It's going to come not directly on the forehead because there's going to be a little bit of a cast shadow from the locks, right? So there's going to be that. Then it's going to come into the brow. We've got the brown layer going on, right? We've got coming down into the nose and maybe just a little bit up into the brow here. We've got the cheeks. So it's good to know the planes of the face here, right? And this is, this is good practice for that actually. Alright. We've got the cheeks, we've got this part of the mouth. And there's going to be a little, little bit of a cast from the, we've got the top of the chain here. And depending on the size of the jaw, it could it could be like a manly jaw type of thing, right? And what you can do actually is once you've got this all in, you can start to blend a little bit, smooth it out a little bit, right? And how do you blend traditionally? While depends what medium you're working with. You'll learn this in the other units that sometimes you don't. A light hatch might do it for you. Sometimes bunched up piece of paper or your finger might smudge. Again, it depends what kind of medium. So looking at this, I think I want to have the nose cast a little bit more of a shadow here. Little bit of light in the eyes. And then where's all this going to fall? Well, I'm going to show you with my select tool if I'm looking at how the head is, that means that this is going to be covered by the chimp, right? So what I might do instead would be something along these lines. Just to show you what's going on here. There we go. So you can see how this hanging cache shadow comes down from the face, right? You can make it longer if you want, if you want to cast it down just a little bit more or something, it could be hanging further down. You could do a little bit of a highlight sometimes on the side here. But that is top-down for the lighting. And I really hope you're practicing along with me. Alright, let's see if we've got a top-down. When we go bottom up, this time, we will start with just this. And that means we're kind of going the opposite, right? So we're going to have shading in here. Shading all in the back here where the light might not touch. Maybe shading on the top of the brow, sheeting, on the top of the chin, sheeting and where the collarbone casts a bit of a shadow and shading on the back here, alright, something along these lines. Okay, and then what we can do is come in and clean it up. It's probably no shading there. But you know what? There would be shading right above this lip here, right. Maybe above the eye as well. Slightly there. Okay. And then you can come in and whatever tool you're using, you know, start to clean up the parts that where you think the light would be touching, the light would be touching the hair that overhangs here. The light would be touching the bottom parts of the eye. Light would be touching the bottom part of this nose, the bottom part of this lip. Maybe down in here, the light would also be touching, right? And so what this is, is just getting used to the form of the face, right? The light might be touching a little bit on the cheek depending on soft we want to make these cheeks and everything right. And that bit of the brown, All right, cool. Maybe even the eyebrow here. And this is something that you kinda keep working back and forth and just saying, well, does it look how I want it to look, right? Does it give the effect? Maybe if it's too harsh, I want to blend it out a little bit or something, right? Maybe it's giving too, too harsh or too light of an effect. Maybe I want it softer. I want it harder. You can come in with a harder pencil or something, right? This is something you can experiment with lat. Last one, why don't we practice with this one? And you know what, I'm just going to fill it on in here. Here we go. And I'm going to subtract, right? We're going to use that subtraction method. And let's see, it's from behind. So that means the light is coming from behind is going to touch all the things that might be somewhat impacted. It's a very strong light from behind. Okay. So you can have a bit of the cheek getting hit, right? Maybe up into here, even it's, it's a really powerful light coming from behind. So it's wrapping on the sides here just a little bit. The neck area go. Okay. But you'll see that through the face. That light doesn't really touch much. It might touch a little bit on the neck. And there we go. Okay guys. So looking at this now, they're starting to look more like three-dimensional forms. Instead, just flat, right? Understanding lighting, Gibbs form. That's the whole thing and that's what this entire course is about. Rendering will give form to whatever it is you're working on. If you're rendering a correctly, then that form becomes believable, right? You start doing it correctly and everybody's like, Oh yeah, that looks exactly how I expected. That's actually something now. Okay. So think about that before you get into rendering though, before you get into the techniques that are coming, understand this lighting and lighting will definitely help you make it more believable. So the first one, we've got this kind of ambient light, right? Second one, we've got front, our left. Third one, we've got what does that look like? An overhead right? Fourth one down. As we come down, we've got the bottom LET right. And then the last one here, bottom left, is actually lit from behind. All of these are ones that you should be practicing. And if anything, I would print out this sheet a couple times and just work that that light source from different angles. One light source. That's all we've got, but now we've got a more complex shape to play with. So print this out, keep working at. And when you're done, when you think you're ready. 5. Lighting Complex Techniques : Okay guys, we're back with another lighting rendering unit for you. And this one's a big one. So who better to have a big unit with the big man himself, the Hulk. We're going to take a look at this little Hulk buster and do a whole bunch of things with it. Okay. Lighting. Of course, we're not going to be drawing on this. We're going to be lighting it. I'm going to use a few different techniques. Nothing new stuff we've already covered, but now we've got a more dynamic figure. And so it's going to be kind of a more complex situation going on here. I'm gonna do kind of like that fill in takeaway technique. That's kinda my preference, right? So I just filled it with a hillshade. And normally what I would do is just say, okay, well, you know what, I've got? I'm going to use a lighter brush here. I've got light coming in from the forward, forward, our left, right. So what would I do? I would just start shading or lightening it up. Right. You don't like the light is all coming. I want to I can kinda come a bit bigger. Lights coming on this side. Maybe on the top here along the rim. There should be a bicep there, but that doesn't really count, right? So that would be one way and I could even get more detailed into the face. I could drop down the size of this. And a cheekbone had a bit of that, but some highlights in the hair, right? So that's how I've been teaching you that one light source from one direction. But why don't we switch it up? That's what we're here for. We're going to have two light sources. One is gonna be forward left, one is going to be forward, right? And they're the same color. Okay, So we're adding a second light source in here. And we're just gonna kinda follow that same pattern just a little bit. Alright. There we go. This almost as resembling like a backlight. Now we kind of talked about that a little bit lit from behind type of thing. But it's not. We're actually got to actual different light sources coming in. We've got forward left, and forward right. And we can play with that a lot and see how it, how it feels and stuff. And there we go. You can put a little highlights in here. Sometimes we might catch. Okay, so nice and simple. Two light sources. Let's see what happens when we fill this guy in again with shade. And I know what you're thinking. You're like, okay, I get it to light sources. Let me guess he's gonna do three. No, I'm not. Let's do it this way. Let's say one light source is above, right? So it's touching everything up here. Got his hair. Got a bit of the brow here. Alright. Bridge of the nose, maybe top of the chin, some of the cheek. That type of thing. Alright. Got the top of the PEC, maybe a little bit of the AB here, maybe a little bit on the stone. That's one light source, right? We're gonna do a second light source. Let me do green from down below. So the second light source might be down in here. It's down here. Right. And then lights under the under group, right? Lights under here. Lights under the abs. Slightly. Alright. Maybe even we can come in and put a little rim under his John is lip, maybe the nose, maybe a little bit in the eye, right. There we go. So that's a second light source. We've got the blue coming from up top. We've got the green coming from below. Now the question is, why would we have a second light source, right? Like, where does this usually come from? Sometimes it's an artificial light that can happen. That's actually pretty common, especially we go into a building or something, there can be multiple light sources. It can definitely happen that way. They can be different colors sometimes. But another time, It's actually not what you think it is. It's going to be something called Bounce. Let's do this again. We'll do the same thing and I'll make it a little bit simpler. The light source, the primary sun is up above. This primary sons. Nice and simple. It's coming from up above. But that sun, that directional sun coming from up above. Hits whatever's down here. Actually, I'm going to do this for us. Let's see if I just had a cool idea. No, you're not probably going to like it that much, but that's okay. Let's say that this pedestal that he's sitting on is this ugly. Whatever off pink purple color. Right? Okay. So you sitting on this pink purple color, we've got light coming down. It's kind of an off yellowish white. What happens? What happens when there's light hits here and bounces back up? Well, this is what happens. You get this reflection off of that and the light will be called bounce lighting. We'll catch in a rim these things down here. Okay. So what do you wanna do? Sometimes you could do it in a bit of a gradient. You can do it a bit of a soft brush here or whatever. And you'll find that this makes a lot more sense. So this light is coming down. It hits whatever surface you're on. A, bounces up just, just a bit. Obviously I'm not being careful here, but you get the point that it will bounce up and hit whatever shapes and forms would be there, right? So that's a bit of a bounce light, bounced, light, bouncing off a surface and grabbing the color of the surface. That's what often happens. Okay. You don't notice it always in the daytime if you're walking down the sidewalk because the light is off white, the sidewalks off white and everything just kinda gets off white. But you'll really notice it if you're standing over something very special. So let's do this again. And let's go with it's kinda off sunshine. One brush. The light's coming from above. Nice and simple. The light's coming from above, but he's standing in water. So what happens then? Well, just as you would expect, It's this blue type of thing. And sometimes you could do it running like this. Sometimes you could do more of just a general gradient that starts harsh down here and kinda filters up here, right? Okay. So you can have it to blue is a harsher one, but the glow and the glowed just kinda barely touches by the time it gets near the top or something, right? Something along these lines. And then, you know, it depends on what you're doing with it. But like if it's water or you can have this kind of swirl effect that the water has a bit of a pattern to it or something, right? You can do that kind of thing if you're working digitally. If not, it's a little tedious to do it your own way, right? But it can be done, right. Okay, So that's another way of doing it, right? That you have this bounce light, bouncing off whatever surface it is, liquid or solid and coming up and you can see it kinda dancing around on the figure. Okay. Let's see. I keep using this nice gray to colour in. And I think it's good if we keep practicing different lighting. Look at the colors that we can use here. What happens when we have more of an orange-ish red and we can get a little bit more into it, right? It's coming from this side. One thing you can notice is like you can fade out and it can get a lot harsher as it comes closer to the light. It comes as it gets really close to that light source. Just as we talked about all lengths sources, it gets a lot, lot harder, harsher, more defined, the colors stronger. And depends how you what you've got going on. Do you have do you have markers you're using? Can you smudge with it? Can you blend? Are you using digital or digital process? There's a lot of things that you could do to kind of blend this out, alright? Okay, so play with different colors. Obviously, we're looking at this and we're thinking, Oh well, the sun's touching or some kind of maybe a sunset. Something pretty harsh for this lighting that has this impact. And where would it touch wood it touch the neck when it touched the chin here, but maybe touch this other brow wouldn't do little highlights and in the face. And then like I said, if you've got something, you can come in and smudge just a little bit, maybe that gives the desired effect of what you're looking for, right? Another thing that can happen sometimes is the light source is not off the figure, but instead on the figure. Alright. So again, I'm going with my base shade here. And you can do it any way you want. For simplicity sake. And the light source. Let's go with blue here. The light source is the eye. Let's say he's got these electric eyes or something, right? And you know, they're, they're shooting all over the place. There's electricity, There's sparks. And obviously I would take more time with this or whatever, but we can do it for teaching sacred something along these lines. Then this is the one light source, or we can have two. Why don't we go with this? This is the one light source, right? So what happens? Well, things become lighter around that source. And even more so as you get closer to it, it could get really light. And then what happens is everything that that would kinda touch gets lit up. Everything that though that would come close to touching would just be again touched by that light. The shadow would be maybe harsher down here, right? But pay attention to what's causing that light. Maybe some little highlights up in the hair somewhere. That can be you can add that up in the hair. Give it some definition in the nose, the lip, chin, that type of thing, right? So the light source doesn't always have to be off the figure. The light source can be on the figure coming from the figure, whether it's like Iron Man's Chest, something along those lines, right? Of course you could add a secondary light source. You can add whatever. Just keep in mind that it can come straight from something on that figure. Alright. Alright. What else do we got here? I'm going to come in and shade. Sometimes what you can do just as you're starting to figure, and especially if you're using pencils and stuff like that, is you're going to have no color. You know, I've been playing a lot with color here to show you guys something, right? So I'm going to color pick this and you can see where it is off to the bottom left-hand side. And all I'm gonna do is move that up a little bit. And let's see, where should we have the light source here? Let's go with left. I'd like left of diseases. So the light source is going to be here. And I can just kinda almost make it simple like this. The light sources from the left. And now I'm going to keep bouncing back and forth and say, well, let's see. Make it darker on this side. Here we go. He making it darker. There we go. Right? And I'm just going to build up the tonal values. Like I said, you could do this with markers, with pencils, whatever you're working in, if you're working in a very similar range of it's just one monotone color, right? You can bounce back and forth between this and kinda do that way. Alright, come all the way down to almost black. And just keep working that tonal value. And maybe for example, I'm doing a little trick here. That's digital, but I'm selecting this tool. And then I'm going to come and fill this in as if it's a cast shadow off this head, right? Okay. And then if I want to, I can come and blend it out just a little bit. Depending on how close you want that that shadow to be too realistic, right? So that's, that's one way of doing it is just using the just one color and just running the spectrum on the tonal value of it. Alright? You can see we've got lots of options here. A lot of things that we can do here and that's for better or worse. You know, we, we can play around with it. Sometimes you can get really funky. And let's say for an example, let's say I add this green in here. Alright? There's, green is coming from this side. Now I'm going to, this is a purely digital trick. But you can kind of replicate it in traditional ways, sometimes with, with markers or pencil crowns each, each rendering technique is going to have its own little tricks to it, right? Or each rendering approach. So we'll see what happens here is what I'm doing is creating a layer, fill it with black, and then switching it to something like color dodge. And then coming over this again and you can see how it burns it out, right. This is obviously using harsh whites, something along those lines, but you can really catch almost a liquid field to it, right? To the highlights. So I know when I use markers, I use a gel pen or white gel pen to give this liquify type of feeling, right? So imagine if you laid down some light color and then you liquefy a white gel on top of it. That's a similar effect that you can be doing here, right? There's a lot of cool things you can be doing. One more thing that I'm going to show you guys. Just as we wrap up here. Is it listened you we could go over lighting schemes again and again and again. For at nauseum paper thing, right? Like there's so many lighting approaches. I've taught you two different ones. Oh, you know what last one I want to teach you here is more of a rim light. This one is, let's say once again, we've got a normal light that's coming in from the left, right. So I kinda highlight or erase some points and stuff I got, most of it's coming in from the left. And I'm maybe even come over here and put a little bit of darkness into this side that's coming from the right. It's really dark on this side, right? The head casts and stuff, right. But let's say there's a really harsh, harsh light on the other side. So what I can do is just use a very small thin line and do a bit of a rim here. Do not call this a rim job. This is just rim lighting. Okay. So it would just kind of almost like a backlight or something. It would just touch on certain points. If anything, sometimes it just covers the outline of, of the, of the character. Like it doesn't always, always come in here. It depends. This is, this section is optional and stuff. But a lot of times it'll just run the outside of it, giving an almost a halo effect, but with an actual lighting scheme behind it, right? Okay guys, if we look at all of these approaches, you can see that we can have the same color twice from two different light sources, but same color. We can switch it up and have two different sources, different colors, right? We can have a bit of a bounce light reflecting off of a surface and then carrying that color up. We can have that same thing with something like water or fire. It's gonna have this kinda moving effect to it, right? We can start to play with the intensity of the light as it gets closer to the object or to the subject we're lighting. We can have thrown the lighting on top of the subject and have a rating radiating outwards. We can play with tonal values a lot. That's another approach. We can start to liquefy and use really harsh highlights. And that also has a pretty cool effect, right? Very wet looking. Then we can use a rim light. Again. Photography is really where it's at, studying photography and all the different approaches to lighting. It's mind-blowing. It's awesome. And this are nine examples that will help you in trying to understand how you're going to approach your rendering for whatever subjects you're working on. I hope this helped guys. This is a really, I don't know if there's tons of valuing here. And I'm going to include this worksheet so that you can practice. I want you to print it out maybe a few times. And just first-time you just get used to the forms of the Hulk folding over the muscles and that kind of thing of lighting and stuff. Maybe try it once with just one light source. Try the whole sheet again with two light sources and moving them all around. And then try it again with a bunch of different effects and see how it works for you. And see what kind of knowledge you pull after that. Because I guarantee if you get this down when you're working on your bigger pieces. It's gonna be kinda mind-blowing. Have fun with it guys. 6. Lighting Textures and Tones: Okay guys, we're back talking a little bit more about lighting, actually, a lot more, but especially how lighting is impacted by Textures. Okay? And you can see we've got a whole bunch of stuff in front of us here. I divided it up into different panels for us for a little bit at ease, but it's still going to take us a little bit to get through this unit. So if you have to break it up a little bit, I've got nine panels here. And if you want to take a break after each, and that's no problem. I'll also attach this printed out or rather for print out. And then you can kind of follow along if you like. Okay, that'll make more sense. Once we get into we can see panel one is wood, penalty was concrete, brick, some foliage, some leaves. Then we've got some snazzy latex here, some metal, right? This is leather or my leg if I don't use moisturizer. Sorry. That's my one that joke of the day, right? We've got some lighter tone skin and some darker tones skins. And I've included all these kind of for reasons, right? So the first thing I kinda advises, sometimes we get thrown by colors. Colors can throw us off when we're trying to understand how light impacts things. And I get it because we've already talked about how colors can be added to a rim light or something like that. And it's awesome. It's fun to play with colors. But one of the best things to do is attack it by just the tonal value. Okay? If you can get just the values down, then the colors can come after. So why don't we take a look at this. Let's come up here and we'll take a look at the woodwind first and zoom in a little bit. And what do we see? Well, let's see. I'm going to say, You know what? I could cheat. I can cheat and say on right here I'm going to color pick. And I'm gonna say you can see off to the side of the screen just a little bit. It's in close to white, but not quite rapid too much here. I've set up this panel here just as something that we could work on together. So if I wanted to, I could what I could do is one of a few things I could come in here and start to draw in the individuals, or come even bigger and just kinda color it in with a white and then come in with something dark, right? Like let's see if I might come something like that. And I can come in and start to extend it down, right. You can see how like if I come over it a few times, it starts to match that color a bit. I can come in and start to use a little bit of texturing that I want. Sometimes it's spotted, sometimes it's more of a shade, right? And so if I keep doing this, eventually, what it's going to start to look like is I've got wood, wood grains and paneling coming down here. And you can kinda change up and have, have some light gray come down. And so what this exercise is trying to do is help you to follow the patterns that you see. Just understanding the tonal value, it's important to get that tonal value down, right? Okay? So as we back out a little bit, this is what I want you to do, is to try to see if you could copy this. Now how you want to do it is up to you. My personal suggestion is just pencil. Pencil. You've got like a great range of tonal value you can do it with. But if you're not comfortable with pencil, if you'd prefer ink, Let's see what you got, right. Okay. So we're gonna come over to the next one. That's concrete. And again, I'm gonna kinda color pick and I'm going to say, okay, well, here's my off-white. I might grab, depending what you're using as your your resource, like your material, right? Look at how that just blended in, right? Okay, so I've got this, but then what happens? I'm just doing this little corner here because I know you guys. When you're following along, you could do pretty much as much as you want or as little as you want. Well, I've got these specs going on here, right? So I've got these dark specks, irregular shaped, right? So I'm going to grab all the way down here and a black and do up some irregular ones here. You can kinda see if I can get them in. And then I might come into a lighter one and just start to do some of this patterning. We can see these dots going on. We can see them starting to carry over in, right? We can see how they sometimes trace and almost squiggly line, right? You can see some little hooks. You can drop the value down just a little bit. And I'm going to say, when you're working digitally, there are some cheats on this. There's gonna be some ways to kinda make it easier on, you know, there's certain brushes you can download depending on the program you're using. I didn't wanna do that on here because the lesson I'm showing you is not how to to just do these little specs, right? That's it. That's not the lesson. You're I I hope I'm not trying to give you that lesson here, right. I hope what I'm saying is showing you here is that you want to try to understand how to mimic some type of texture using understanding what is going on with the light. So what do we think is happening with this when we talk about the lighting, how it's impacting here, right? Chances are the light is hitting these high points in this groove for an example. And these low points, these little points here, well what are they? This is where the light isn't hitting or there's some some texturing and some coloring in there, right? Okay. So that's good to understand. And so let's say we start to shift the light. We start to shift it. And let's say there's some highlight of a secondary light source and it's only touching the ridges of things, right? We could have it touching just a little bit of the ridge of each each high point of this, right? It's not showing up really well there maybe I should go with a more of a orange or something just to kinda show you. So maybe it's only going to touch this much and just going to touch along the ridges of each highlight. Okay. There you go. All right, let's keep going on brick. Bricks, interesting. So what are we going to do? I'll do a color pick for something in the middle here. Try and middle for an example, see if that helps at all. Just kinda color it in. You know, if you're, if you're using traditional stuff, traditional medium, you can start to color lighter, little bit harsher. Here's the brick and this one is formed this way. And then what happens? There's some pattern going on here. This is where the light is coming in here, right? So there's some patterns going on. We can see that below it, there are some darkness, right? So we can see how that brick starts to outline down here. And then there might be some texturing, some more highs going on, come down. And this really is just about working in the textures. Feeling comfortable with it, seeing if you like how it feels, if it's looking the way you want, you can you can do this by, if you have got a pencil by the pressure you are using, right? You can do it by if you've got like a lighter pencil, like even a white. I know that crayon packs comes with whites that we never seem to use that much, right? There's a lot of ways you can get away with starting to add color to things, or rather the tonal value, starting to really mess with it. Okay? So what you would do is just start to work these patterns. You can imagine maybe there's another brick somewhere in here. And then you can start to kinda build it up on the top with a light's hitting a little bit. And as you zoom out, it starts to look like that brick, right? So this is a nice exercise for you to keep on rolling on. This one's going to be tougher. What would we do? Honestly, what I would probably do is maybe I would pick low kind of coloring. Then pick, there seems to be about four values here. There's this one. And maybe I would come in and start to do some of these, these types of values for m. And of course, depending on how much time you want to spend on it, you could spend a lot of time and maybe get into it that there's a dozen different values or something and then become lighter one here. Maybe there. We can see how the shapes might take form. All right. Maybe looking at it and saying, well, it's a light sources coming in from top right, then that's where that's where I know a lot of that light is going to touch the leaf. For an example, I might do a couple of highlights there and then maybe grab this last one. And what we could do with this one is kinda run a rim just as if the light is just barely touching it, right? And that starts to give it that three-dimensional form. Here we go. Cool. Fully edge. This is something that I'm kind of practicing along with you. I hope you've got your sheet out and I hope you're playing with it. That with whatever medium you're doing, you're kinda messing around a little bit, right? This one should be fun. Usually what I like to do is I go dark on this sort of thing. All right. Let's just kinda bring it on down. And that's looking mighty ugly, but kindof. Then there's going to be kind of this kind of light gray going on here, right? Here we go. Seems to be coming on the top here. Two seems to be coming in on that one. And what you can do, it's not here, but what I like to see is a much smaller, let's say it starts from here and go even smaller than that. And higher than that. Let's say again, we can go something like this, right? And you can, depending on what you're doing. Like I sometimes use kind of a liquid gel, right? If you're looking to smudge, you can add some extra white in there and then just kinda drag it along, right? But what you're doing is basically looking at, okay, the light is coming from a certain direction. It's hitting in one area. And that's going to be the high, That's going to be the super high. We've talked about this, right? But because this is such a dark surface that high gets really concentrated into a thin band. And it only highlights on these these little ridges that, that tend to happen and stuff, right? Okay. So we can, you can see how that works with all these highs, right? It's very wet looking. And digitally, a lot of people will use kind of a finger, fingertips smudge tool. Let's see if this can come in with this kind of smudge. Look, right? And you can do this actually with your fingertips depending on the medium. And so you can come in and some white and then kinda come and smudge it out. And it looks all that liquidity look right, okay, so this is highly dependent on the medium. But really the fundamentals is the same that you really want to focus on. Whereas the light touching, where isn't it touching? And how can I get from a to B, the tonal value? How can I drag it along from the darkest of the value to lightest and doesn't make any sense according to where the light sources coming from, right? Okay, This one's tough because usually what we do is we use some tricks for it. What I usually do when I'm doing this kind of brushed metal. What I usually do is I'm I'm working digitally most of the time, right? So what I'll do is something like I'll grab an airbrush and I'll go really light. That's too much and see you one like this. I'll go something like this. And you can see these white specks starting from, let's see if I zoom in, if it makes a little bit more sense, right? And then I'll do that same type of smudge thing that we were talking earlier. And I'll kinda just drag them out. Sometimes. It can be more, I punch it forward. Let's see. The more I punch at Ford and I can just smudge it. All right. I can start to drag it out and stuff, right. Another one. Let's see if I blend it. I can fingertip this and drag it, right. And so you start to get this, you work up and down from there. All right, that unless you're sure if it's showing up on the screen really well. But you can kind of have these dark specks, have very light specs. And you couldn't concentrate them a little bit more in a very specific row, right? That type of thing. And then like I said, you start to drag it out and you get that brushed metal look, right? The point is sometimes what you might wanna do is overall through the whole thing, you might want to add another kinda overlay of where the light might hit. And so you can have almost as cross-section of light that's swirling over it as we still got this overall thing going on. So it might be darker down here, darker down here, and then this band of light going across it. As you can see, you can see how these band of lights are here, right? It's goes from light to dark to light to dark to light to dark. And so you can kinda mess with that. And this is really dependent on the medium. If it's a pencil you're using, it's tedious digitally as I showed you. I can just come in and do the specs and then drag them. All right. Okay. Let's go on to the next one. My dry skin. Again, you can sometimes get a lot of brushes that do this. I actually kind of enjoy this. There's a few ways to approach this. Well, you can do is like once again, pick the low, come in, fill it up, and then get, get even more detailed. Start to draw each individual type of line. Like let's say I was going to do this and I come in here. And what do I do? I just kind of continue this in. I come in and I start adding all of these, the snaky patterns of veins and stuff. I guess they're actually nothing. Sorry. This is just a close up cracking of the leather skin, right? And so you can kinda do this. I've done it when I was doing animal skin, I would kinda come in and have a bunch of flow going through it. I remember doing a rhino and then what was worked out really well as this cross-section hatching and stuff, right? So what you can do on this is do it almost looks like this funky mountain range right now. Then you can go darker on it. Kinda trace under it a little bit. Maybe with a bit of a smaller one. Give a little bit of a trace under give it some volume there. So it looks like it's sitting on something a little bit more. You can even add other ones in behind, right? And then so what are these? These are raised and lower parts. And what does that mean? That means that raised parts are having light, touch them, right? So that means you can see how this goes from light to medium to dark to really dark, right? So we can go even smaller here. And on this light part, it's just touching where the light would be hitting it. And you can keep doing these cracks to your heart's content. This is extremely tedious. Generally speaking, I don't think you'd ever do like a character sheet with something like this on here. But you never know if you want a hyper render, some type of animal texture or something like that, and you've got a couple of days on your hands, then this might be the way to do it, right? And you can add, and you can do it sometimes by just like look how long. This is a light color. But I'm just lightly touching it and texturing it, coming over it. Just going with the sweep of how the texture might look. You can get away with this a lot with pencil because pencil pressure is key, right? So you can come in and do that type of thing, right? There you go. Okay. So like I said, you can either use a kind of a cross texturing that I've used for animals before. Or you can get even more tedious and just go in and do every single one and snake it all out until it looks exactly how you want it to look. This one's interesting. And we've got two different skin tones here. Very clearly, if I color pick this one. Let's, let's actually pick a dark spot, not super shadowed. Well, why don't we go No, Let's go with medium. Okay, So there's her medium, right? We can see if I try to plot this and this is her medium, that's actually pretty dark. Let's try again. Yeah, That's why are you close to her medium? This is her medium. This is her dark. And then where's her light lightest maybe up on the cheek catch and all that light. Right. Okay. Does that look about right? Now What percent of this face falls into dark? Maybe just under the chin here. Little bit by the AI, little bit by the mouth. Tuck behind the years. That's about it. Even the cleavages in that darker. Yeah. Let's go over here just a little bit. And we said we wanted it. The medium first. Medium is somewhere around here. Surprising No one that the medium's a little darker here, right? For a fair bit darker. The dark. We can kind of go back here. Maybe. The dark is quite dark. And where's the light? Light might be, I don't wanna go into your eyes. So like this reflection here, reflection on the cheek usually, right. And there we go. Okay. So what does this tell us? Tells us something that everybody already knows. Different ethnicities have different tonal values for their skin, right? It's nothing shocking, nothing at all. But what is important is that you understand where this person, where you can use a ton of values to kinda color and match them, right? So if I come down here and I'm trying to work this chest a little bit. Let's see if I bump it just a little bit more. I can kinda try to lighten this chest here. Okay. So I'm going to come in here and I might bump it down a little bit. And here's a bit of a shade coming in, right? So like hurt, her skin tone is going to be a majority in this spectrum and the lighter spectrum. Whereas if I come down and I'm working on this girl's tones here, I'm a come into the shoulder. Do that. Come on this side, bring it over and that's even darker. Maybe it helps to pick, but I'm just kinda picking to save time here. If it's really you doing it, you're going to be experimenting a lot more. So I'm gonna come in here and, and you know what, I'm going to shave at all or shaded all the way across and I'll come down, I'll pick this kind of mid and come up with it. And those are the tones, right? So same kind of thing. It's not the face, it's a little bit off. We could see that the, again, surprising nobody, that the caucasian girl on the left, scarlet JO, she's got lighter skin and the lovely lady on the right has darker skin. The one thing that I would advise, we're not talking about texturing right now for skin texture. What I do with skin texture sometimes is kinda what I did before. I use a bit of an airbrush, but again, it depends on what you want to use or what medium you're using. Sometimes I'll come in and just do a little bit of texturing. So it can be a little bit of texture in here. And I'm going to come up here a little bit more texturing in here. And then all even come and just all that was too much. I might come in, just smudge it a little bit. Our skin has pores, right? So what you might want to do is just texture a little bit, smudge it out just a little bit so that the skin has some type of feeling to it. Like same thing if we were over here. You can see how this, this has this stipple like the skin pattern to it and stuff, right? So what would you do? Or you can come and kind of start to add in a bit of texturing here, right? And then maybe just lately, if you're working with pencil, I use my finger to just smudge it out just a little bit, right? So this would be something that you could work on again and again and again and try to find the pattern that you want for the level of detail that you want when it comes to rendering. Okay, So this is a rendering, of course. And we're, in this section, we're mainly talking about light. So with the wood, with a lot of these we talked about not just the patterns, but where the light might touch the pattern, touching the pattern of the wood on the highest ridges, touching the pattern of the leaves, on the leaves that reach out for the sun paper thing or the light or whatever with the brick. If it's the lightest coming from above, then, you know, the top of the brick is going to have more light to it. The bottom load brick is going to cast that shadow, right? With a latex. Where's the directional light coming from? And if you can, depending on the medium, give it that liquefied form as it, as it wraps a little bit on that rubber latex, right? Brush metal. Even though the brush metal has that streakiness to it, it can still carry highlights, highs and lows through it. All right. When it comes to skin, whether it's leather, animal scan, Rhino or whatever or human. You want to have a bit of texturing to it. Hopefully not too much if it's a live human, right? But you want to pay attention to those tonal values and stuff for him. And then after you get that all in, this is just tonal values. Then you add in color. Okay guys, I really hope this unit was interesting for you that it's something that you can practice along, whether you're practicing on the sheet that I'm providing or whether you're practicing on some of your own sheets, right? That you can really experiment and say, well, when light is hitting light, what's the reaction? When shadow is hitting late? How far does it go? When light is hitting dark? What's the reaction? How much does it spread? How sharp is this line, right? How sharp is this line here on the latex? And when dark, when the cattle go, when the cache shadows and all that. How much does that spread as well, right? I think this is a great thing to experiment because let's say you've got a hero that has, I don't know. The left side of them is a black super suit and the right side of them as a light super suit. Well, how would you go about changing that? How would you approach it? The light's going to hit it. But how that clothing, how their costume reacts to it, is going to be totally different, right? That, that white latex is not going to have a heavy shadow on it. That black, the dark part will write. But in turn also, the light latex is going to be all whited out when it comes to any light hitting it. But that the dark side might just catch it in a few areas. All right, so hopefully as, as this course goes on, you get a lot of practice, a lot of different ways of grabbing on to how light hits a form and how you decide to render it, right? This particular unit here was to talk about how it might hit different textures and how you can express that in that tonal value. Okay guys, this was a good one, and I hope you'll learn tons from it. And I hope you keep practicing. 7. Pencils Equipment and Arms with Mike: Hi and welcome back. Okay, So first off, grab your tools. Now if you want to use a tablet or anything of that nature, go for it. Myself. I'm using just paper, pencils and erasers. So you'll see the kneaded eraser. I have a, I believe a number and to H here, just a wooden pencil. And then I have my lead holder, and I believe that this has h or h in it. And then I have my smaller, finer eraser. So what we're gonna do is stick with the theme of using arms. And we're going to work on textures. So textures can be a lot of fun. Whether you're drawing a hairy character or a scaly character, or a metallic character, or just a mainly hawkish character. You know, thick skin, leather type scan or even reptilians skin. I mean, there's just so many avenues that you can take with different textures. So what I'll do is I'll quickly draw an arm and maybe a couple of different arms, and then we'll go from there. This is a good opportunity for you to kind of focus on where you are. You want to put your lights and shadows. You can be considering that while you're sketching. And then you can start thinking of line weights. Again. Line weights or just to, it's a terminology used where you're just thickening up or I like to say beefing up your lines a little bit to bring it closer to the camera and anything that's furthest away from the light, you're going to have thicker lines and also anything that's closer to the camera, which our eyes. Here's the camera, even though it's closer, is going to be more outlined. And this is just a rule of thumb. It's good practice and comics. Okay, So we have kind of a, what I would call to arms, all thrown a little bit more muscle here. Okay. So there we go. Two arms. So at this point, let's try and do. I think what I'll do is this one here. I'll make it more metallic. And I think I'll make the light source coming from this direction here. So we'll have a light source going here, light. And it'll be spreading this way. So basically, anything that's closer to this arrow point here is going to be lighter and anything that's further away is going to be darker. And then from there, we'll go ahead and start working on the metallic. 8. Pencils Arms with Mike: In terms of these shadows here, what I did is let's say that you have make sure we're on the page here. See that you have kind of an arm shape, right? This is kinda like the forearm. Looks like a chicken bone, chicken leg. So don't worry about this hand. What I'm, what I'm really trying to focus on here is this shape. And so there's a kind of go opposite. The opposite you want to run parallel with this curve here. See how this curve goes to another line like that, Right here somewhere. Just in then curve it almost like a Pepsi symbol. And then under here, it's kinda create or not create a sketch, another line, and then another line here. And this kind of indicates some musculature on the arm. Again, it does have to be perfect. Now, one of the things I like to do, and I'm going to move this paper up a little bit. Actually let me just zoom out. Well, might want to zoom in for this one. Let me just shift this camera a little bit. Zoom in now, okay. So we have this basic shape of the arm. We're not worried about the hand. We know that the hand's gonna go somewhere around here. Not hold nickel, nickel, thumb, palm. But what I want you to focus on this area here because I'm going to show you how to shave our shade, shade, and arm. So now that I have the shapes, I'm just going to go ahead and doing this guys and girls. Hey everyone who's there we go. So what I'll do here, Let's quickly sketch in lines. I'm just going to move this up a little bit more. Really want to zoom in a little bit more. I'm just going to go ahead and render. Render. Just sketch in our outline Quickly, no big deal here. And then we're going to put one muscle shape here, one line here. And you can take these lines and kind of eyeball towards the wrist. There we go. So when I shade this end to create kind of a three-dimensional look, what I do is considering that the latest still here from the top-left. You can do top right, you can do anywhere you want. Let's just do it from top right actually. So what I'll do is I'll I know that this muscle is kind of an overlap, right? Overlap over the arm because we have kind of an arm bone here and this muscle is kind of built in and wrapping around. Okay, So what I'll do is I'll cast a shadow here. Same thing here. Same thing here. So we've got three cache shadows. We can put a little bit more shadow here. You see what I'm doing here, and then a little bit here. Now, shading these, these areas might even when I had somebody here. And then a cool thing is, is to kind of eyeball and jump around at a few lines. And what they do is you'll see that your mind will start connecting these lines here. Okay? So now that we have some shades in, what I'm gonna do is just kind of do a zigzag. Now, what I mean by zigzag is site this. Can you see my pencil? You can do this in any direction you want it to. Now imagine if you did die here, here you can just go keep it close. Now, at first it doesn't look like much, but if you're consistent, just to like this. Same thing here. And now we've created some consistent aesthetics. And then you can even take these lines here and you can. As long as it's consistent and you're doing it over and over again. It looks good. Now if you just have one little block area, well here in there, it'll look inconsistent and I'll look like an ISR now. And these little areas where you have these crevices, you have one dark area here and you have one dark area here. What you can do is you can create a value in between them. And what I mean by that is a value is basically when you're going from light to dark to light again, or from dark to light to dark again, it's just an in-between is called your value. So in this case, I'm just going to create a value of lines like this. And it just kind of casts a shadow. Now can keep going like this underneath. Can do it here. And again, you see them consistent. I'm drawing them all in the same direction. It's not always the rule. It's a great rule of thumb and it's good practice. Can go all the way down to here. Now, if you want to get really crazy, you can start doing cross hatching. Crosshatching is basically you can make an X-ray. Now can you make a bunch of x's? That's basically cross hatching. So if we want this direction here, which is an upper kind of a diagonal line, and if we just do the complete opposite and go diagonal against it, well, you'd create kind of a cross hatching. Now you don't have to do every single line. Just do a few. Here and there. Again, these are all just tools of the trade. There are techniques. Some of them are gimmicky, some of them are really cool. You just have to figure out how to use them to your advantage and make your heart pop out a little bit more. That's it. I can continue and just draw more lines like this. And so we have another rendered arm with shadow scales here. Okay? So I'm gonna pull the camera back again. And we're going to pump this hub, actually only thing that paper down. And here we have it. So at three arms now, don't forget when you're done. Make sure with any sketched a DEA, always sign it. Because once you sign it, you own it, it's yours. And don't sign anything. And let's best work. Now, I'm not saying that this is my absolute best work, but I feel like I did a good enough job in conveying what I wanted to teach you. And so with that said, good luck, keep going. Don't ever give up. We're going to continue on in the next lesson here. If you have any questions, go ahead and well, you can reach out to me or just looking at your curriculum guidelines. And I will be including a bunch of stuff for you in the PDF forms formats. Think that's good for now. All right guys, enjoy, keep practicing. I'll talk to you soon. 9. Pencils Scale Arm with Mike: Let's just add some scales. So in this case, I'm just going to draw very lightly. Almost what we did here with the metallic arm. Just going to go over the shapes. And then I'm going to keep to an a here. And then we're going to follow these shapes along with these lines. You see what I'm doing. I'm just creating kind of a shapes of tubes and, and cylinders and all that good stuff. And this is just these are just guidelines. So with that said, No, I'm going to go ahead and draw. So these are all horizontal. Now that I have these horizontal lines going all the way around the arm, I'm going to go ahead and do vertical lines. So you're just gonna see what we're doing is we're just creating more shapes falling along the muscles. Same thing here. Okay? And now all of these are all kind of crossing over each other as you can see. And now I'm going to use them as a guide. So I will try and zoom in. It's a little bit more too much. Okay? Now you should be able to see. Now what I'm going to do is just create kind of a scaly kinda look. So I'm just going to take all these. And the first layer here and a curve it over like this. Then underneath here I'm just going to the middle of the line. So these were going with the pecking explaining a little bit better. I was just looping from line to line. Now I'm going to start as the center of the line. And what this does is it just creates contrast and moves the skills down. And we're gonna do this over and over again and again. And these lines are just here as a guide, nothing has to be, you know, you're not married to this sketch. You can always change it at any moment. And this is really just for kind of a foundational guideline to the same thing here. And so now we have these little guides. And as we get lower, I'm going to make them a little bit less. And this is just for effect. And I'll show you as I get down here. Okay, so now what we'll do is we're going to erase this one more time. We're going to have a leftover. I've gone ahead and I've erased along the arm here, and I've left the scales behind. So at this point, I'm not even going to draw the arm in. And we're just going to start with the scales because they are the closest thing to the camera. And I'm just going to put in hints of their shape. So underneath here, again, I'm sticking with the same light source. And I'm just going to keep drawing. And this is pretty easy. I'm making this up as I go along here. And what I'm doing is since these bottom loops here are these curves, they're further away from the camera and there, there are casting somewhat of a shadow. Now we're not doing our shades just yet. We're just kinda penciling this in, so to speak. And then we'll start doing more details and a little bit. Now, you can keep this rough. It doesn't have to be perfect. In fact, I like sketches kinda rough and gritty and sketchy. They don't have to be super clean unless that's the style you prefer. But here we go. So now I'm just going to start with this and I'm going to create some shadows. So since our light's coming from here, I'm just going to cache shadow under all of these little scales. Remember consistency. The more consistent we are, the more believable it looks. And see what I'm doing. I'm just quickly rendering this. It's not a, it's not rocket science. So don't try too hard to get this perfect. And you can even start shooting some in here. And actually, you know, you can just choose a chunk and just shade it in a way from the k, the light. So it can be considered a darker area. And right here, you can just start just drawing. Kind of wants to see this indicates that this is kind of going around the bicep. And you can also do that here. On only on the back of the arms here, closer to the light. We're just going to outline it. You don't want a shade too much. Keep the light very minimal. I'm sorry, the shades very minimum. And like a light to its work. Now, here we can just build along the muscles here. You can just get crazy with this. There's no rhyme or reason. I mean, again, all I'm doing is drawing little curves and putting little shadows underneath it. And I think a lot of times AS artists, especially when we're working, are just learning. We over-complicate things. You know, we, we, we think ourselves into trouble. And, you know, when you do that, There's a saying that says analysis leads to paralysis. So he'd become paralyzed with the art. You're not sure what to do. And now what I'll do at this point is I'll create, so I know that the muscle can, it flows here. So I'll create a shadow contrast. She then same thing here. I know that there's going to be some muscles here. Now again, if you don't know this, go ahead and study your anatomy. You want to be an expert at anything. Or if you want to be an expert at anything, or even rudimentary, if you want, can be considered decent as something. Study the heck out of everything. Study. Other artists study anatomy, books, study lightened shade, study life. Ask artists. Asked, you know, I myself, I'm a mentor. So I have a lot of students to kinda follow my guidance and they paid, constantly asked me questions and I help them out as much as I can. Tell you don't want to hold hands either. You want to kind of let the student, you, the artist, kinda find your way. Sometimes a little too much help can be a bad thing. Okay, so now we've kind of, we kind of merged in kinda create this fusion look here. Now I'm still going to probably little spikes here. I'm just getting a little silly with it. I like it. I like this kinda stuff he can create. You can really just create anything, monsters, aliens, you know. It's really, there's no limits. And I'm just leaving a lot, like I said in last one here, doing a lot to the imagination. And now this time what I'm gonna do is you see how these little scales are going down and they're all going the same motion. Well, once I get to this elbow point, I'm just gonna go ahead and reverse on like this. I'm just outlining. And since I'm going to keep this all shadow because it's away from the light. I think it'll be fun. See what I'm doing here now. I'm just shading it in. Keep it fun. Keep it interesting. If you're not interested. It won't be interesting. To keep your mind active and amused, and just keep yourself having fun. Now, you can technically go ahead and draw these little scales all over, or you can just incrementally. And so we're done, we're going to do now is I'm going to create more spikes up top. So like right here. And add a little bit more detail. So from this front knuckle, I'm just darkening in the line here and I'll darken in line here. And the other one. Now you can also get crazy and just from the knuckle, you can just create kind of a claw. Is all that. I just imagine that as I was going. And then you can start doing details. You can just draw some random horizontal lines here or diagonal lines. Underneath is from the zigzag lines here. It's more like this. Let's get creative. Just always keep your pencils moving your mind sharp and aware. Don't get too distracted. I myself, I like to turn my phone on, do not disturb. And also don't over your work yourself. You know, if you're, if you find yourself kinda drawing too much, you'll start to feel fatigue and you're going to start relating it to something negative that's going to feel too much like work. And this is what creates procrastination. You want to make it fun because think about it when you, when you're doing something fun, Do you ever procrastinate when you're a kid and you got a brand new bicycle, did you procrastinate to write it? Probably not. How about PlayStation 5? I believe you knew that there's a PlayStation 5 waiting for you at home right now. Or Christmas or whenever, your birthday, you'd be super excited to play and start looking up, you know, certain things on the Internet just to find out little shortcuts and what to do and what not to do. It you'd just be super Intune and very excited. And that's how you should be about your art. Because art is your skill. It's creative, It's something that no one can duplicate. And people can come close to that copy. But, you know, you're the originator. Here you go. So here's a kind of a monster slipping shaggy, spiky arm. And you can do other things too. But I think these are two good examples. And I'm going to clean this up and I see things get a little too muddy, cleaner and beef them up. Now what I mean by beef them up, It's just thicken up these lines. I think. Kind of step back away from it. I think this looks pretty decent. Considering that we didn't even know what we're going to draw. We just knew that when you're creating textures, you can erase some of these lines here. Just clean up your racers. A tool to don't forget. A lot of people don't like to use the eraser, but you use the eraser, often, use it, become friends with it. Realized that the eraser is your friend and is there to help you. And you can create certain effects with the eraser that you wouldn't get otherwise. 10. Pencils Metal Arm with Mike: Of find worthy, the shadows and lights and darks go. So to make this look a little bit more three-dimensional, I'm just going to go ahead and pop a shadow here. I'm just going to make up a shape that kind of goes along with this shoulder muscle. Same thing here. I'm going to do the same thing, kind of making up the shape as I go. And then here, we'll just keep it very minimal. And then even behind here. And here, I'm just making shapes up as I go. And since we're closer to the light here, I don't want to do too much black. So I'll save the black fur here. So just to remind myself, I'll put a little x here and x, X, x, X here will be x. And let's see here, x, maybe even here. Now I'm keeping the outer layer or the outer edge here. Even though it's further away from the light. I'm keeping the darks kind of away from the edge. Because the reason I'm doing that is because this is metallic. And with metallic you want to have a sheen. So you don't wanna go all the way to the edge with your blacks. You want to keep it kind of in the center. And I'll show you what I mean here in a moment. More x's. Now. We'll do a couple of like, almost like a D shape here or a triangular shape. And I think that's a good start. Trying to see if there's anywhere else I could put one. Maybe just throw one here and we'll X. And if it's wrong and if you don't like you ultimately you can break out your handy eraser and go ahead and clean it up and fix it. So with that said, now what I'm gonna do is just start shading this in. There's no magic to shooting. You know, what we're trying to do is just fill these in as if they are blacks. Now, one thing I do recommend is just going in the same direction and keeping the pencil moving in the same direction just to, just for good practice. So you see I'm just basically going in a diagonal. And this just keeps your lines in your shading pretty clean. Ultimately, if you have an inker, this doesn't matter because all this will be covered in black ink. But it's just more, you know, again aesthetic and more appealing to the eye, I think. Okay, so still shading this in. And you can make up as you're going, you can think to yourself, Well, how would this look if I put another one here in dark in this line and start darkening some more. There's really no right or wrong. It's like I always say consistency and believability. Now, I will go ahead and put another shape here. I think this is fine for now. Maybe just to almost like a splotch here, like a splash of black. And then we can also do some details closer to the knuckles. Just shade it in a little bit, just to define or the fingers would go. Okay. Now what we'll do is we'll start doing kind of like a colossus type thing. This is kind of the standard for comics. Basically, you want to think of your thinking in three dimensions, right? So you wanna think of curves and planes. You want to have your lines going along the shapes. So I'm going to start from the top and I'm just going to draw a line here. And which kinda goes around this front part of the deltoid, which was a shoulder muscle. And then I'm going to put it like this. And then I'm going to do the same thing on this backpack. Now I probably could have curved up and we might change that later. Curve like this. Now, what I'm going to do is this is the biceps. So I want to make this kind of pop out a little bit, some of that kind of curve. This, I'm going to keep it. Because what we're trying to do is we're trying to look for a shape here that pops out and protrudes towards the camera and the way it's a recreating Nas. And then from here, I'm just going to blow this out. Same thing here. Then I'm just going to wrap it around the arm. I almost feel like I can pull it up this way. And these are things that you'll experiment with. Then we'll do the same thing on the arm here. So what I'm doing is I'm just going along these muscles here and just making them look more round and more tubes. So we're getting there. And then we have this area here, this kind of arbitrary array in the middle. So I'm just going to create more lines going this way. And I'm just going to draw a few lines here. Now you can get creative and you can draw, create, add more lines anywhere you'd like. So if you want to have more lines going around their fingers like this were not the actual fingers, but kinda lengthy bones. I go towards the finger. So now we have that. And then at this point we can just start adding more chain. So what I like to do is pop up just a fine line. And I stop. Before I reach these lines here, they're just for effect and they don't connect or touch any of the horizontal lines. They're just completely vertical. To do that over here too. And we'll do some in the back as well. Again, not going too close to the edge and we're not touching any of the horizontal lines. So at this point, we can even go further. And we can kind of take this thumb here. The winds like a webbing here. Two more circular ring motions. And then same thing with the nipples. Now the tips of these numbers, I'm just going to shade them in black. Now, these little fine areas here, I'm just going to add few more black streaks. Now you can find different methods to do this. There's no just one way pits off. Be creative, have fun. That's really what it all comes down to. So here we have some more opportunities to put in some splotches. And then we can even double up on these lines. So if you look at comic books, you'll see that there's usually a double up. Our line underneath the main line. Just signifying a little bit space. Pretty cool thing to do and it's just for effect. Remember, half of your job as being a comic book artist or an illustrator is creating effects. You're creating aesthetics. They're appealing to the eye and you're trying to be consistent so that it all works. So we have pretty much a metallic arm here. What I might do here is add a little bit more shade. Circular motion and being careful not to touch anything. Now you could touch if you wanted to. Personally, I just like to keep things separated so that the eye puts the mind's eye. Which is kinda like your subconscious mind. It will actually put everything together for you. So that's one of the tricks as an artist that you'll hear me mention a lot as well, is leave, leave some for the imagination. So if you don't want to finish a complete line or connect all the dots, It's okay. We're, we're intelligent creatures and we can put things together ourselves automatically without even thinking about it. So I'm just going to bump this up a little bit. Now, if you wanted to add a little bit more shine. You can, you can go through and you can, you can erase, clean up some lines here. What this would do is it creates more of an illusion. You can even just do like a cross here. And you can draw on, and I'll show you what we can do with that in a little bit here. And you can even been out these lines are closer to the light and keep these back here thicker. And then what we can do is we can get into some more tricks like okay, so now that we have this outlined, keep this then connected here. We'll leave this open. You just kinda, and then we'll do one more for the sake of consistency right here. So they got this line here. And then we're going to leave a little gap open. Now these are just little tricks. You don't have to use them. They might look a little gimmicky. It's really up to you. Study comic books. Find your arrange, find what feels best to you, and just go with it. Okay, so now what we're gonna do is jump on to the other arm. And I hope that this helps you understand a little bit about creating like a metal machine. Now if you wanna get really crazy, you can do a little crosshatching. But I find with, with metallic any type of metallic texture, less lines is better. Now you could experiment, you can go like this and do like a little zigzags here. Probably make it look pretty cool if you really wanted to. It might be a little time-consuming. But what I'm doing here is I'm just doing these little jagged lines that are going towards the light. And that's just another indication of light touching an object. Now we didn't put too much shadow here. Now, if I really want to get very complex, I can go ahead and cast more shadow here and make this whole area had dark. You can get more gritty than this. I'm bored, I'm doing is for the sake of showing you. I'm just trying to keep it very clean and almost simplified. By feel like if you learn these basics, you can start testing yourself and your own skills and experimenting and just learning on your own. You might even come up with your own methods. You can. What I'll do is I'll probably just scan this in high resolutions. Include it for you to use as a reference while you watch this video. 11. Pencils Hair with Mike: All right, welcome back. And I've just quickly rendered a female front-facing headshot. And I just stopped right before I went with her hair. So you guys can see how I would render her hair. And basically what this is again, was another quick headshot. So I'm going to use the same light source as I've been using, which is top, top over the right side, looking at them. And let's see. So what I'll first start doing is I'll shade in. And you can see I'm using just a basic number two pencil here. Something that you were the used in school to take your exams back in the day. Let's see here. Now, with females, less is more. You can leave, you can leave the shading to the colorist. So when it comes to ink, in pencil, you don't want to add too much because every line that you add to a female makes her look older. Now you can do things like thickening up her eyelashes. So for instance, um, I'll, I'll do some thicker eyelashes here. And you can get a little carried away with this and you can come back and erase if you do get carried away, it's not big deal. So you can see the difference. You block out this side. So let's go ahead and thick enough the other eyelashes on the other side. So all I'm doing is just beefing up the lines a little bit. And at the end you're going to have whispering up and away. And then underneath all had a little bit about just a little bit just to give the illusion that she has some eyelashes down below. And then another thing you can do say, you know, I did two different ones here. Let's bring these up a little bit too. And then right around where her pupils are. You can shade a little bit more, kind of a shadow. And then this just brings out the eyes a little bit more, in my opinion, makes them pop out, stand out. Now for this eyebrow here, Let's see. I'm not going to dwell too much because we're going to be placing hair over it. So for this upper lip, I'm gonna go ahead and shade upwards like this. See how it looks now if I don't like it, I can come back and change it. And then a little shadow under this bottom lip. Contrast. And then what we'll do now is start whispering and some hair. So I like to start the hair line over here to the side. A lot of times snot down the middle, which this side kinda whisper sit down. And there's no right or wrong way. I mean, here is hair. As long as you keep things in, conformed and consistent. You can make you can make it look like believable hair. Now I'm just drawing in some lines and I can come back and erase these and, and tie them up. For now. I'm making this up as I go along. I'm not using a reference or anything like that. Let me quickly cast some shadow underneath her chin. And you can see that compared to the login sketch, there's not many lines on her face, so I'm leaving it pretty open. My add a couple lines here. That's really it. Because I've learned through experience that you don't want to put to me lines on the female face. That's art imitating life. Okay. So now we're just going to part down this way. And I'm again, making this up. As I go along. I'm going to whisk this hair behind. And this here is coming up front. Maybe even a little hairs coming down the middle here. You can mess around all you want. Now. To contrast things and make them look a little bit more believable. We can do is you can come back here and you can start shading in behind. And then you can little shade over here, just creates volume and depth. And even back here. And so now I'll start adding a little bit of sheen to her hair. So I'll just pick a spot and look very easy. This is just the basics. Again, we're not getting too complicated with this. The easier the better, the more simple neural processes, the quicker you can get your work done. And like I always say is if you can keep your work consistent, people are going to look at the consistency rather than all the details. The details are really great for when you're doing like pin-ups and append them work or splash page or something like that. Dive into your details as much as you can when you're doing just quick rendering is like this. You want to, we want to get in the habit of being able to draw and produce very fast work, but also the quality needs to be in there too. Now I'm going to do a couple more hairs like this. On the sides. I'm going to put little neck muscle here. The I forget the name of it, but it goes back to behind the ear basically. And I'm not going to go into too much more to this one. Because I feel like the lesson I'm trying to show here is the less that you put on this face that better the prayer it's going to look, and I know that that's very subjective, but unfortunately we do live in this objective world. And when it comes to comic book are thin. You're trying to appease to your fans or whoever's reading. Everyone has their different views. Some look as kind of escapism. Some people who are trying to, you know, it's not even worth talking about. I would say that whatever you feel like drawing, just go with your instincts. And some people are going to like it. Some people are not. Just realize that you can't please everyone. And so don't even try. Now, this is enough for me for kind of female shots. Let me see. Sorry, Anything else I can do? I think this is decent enough for for the less than I'm trying to convey. Okay, So here we go. Now I could add some shadow under the nose, in fact, held up. I like this, knows that much. So let's see what I can do. Generally, I like to just add a little little bit of a nose. The nostrils showing. You're not trying to draw too much of a nose when it comes to a female. Because again, less is more. Now I could, let's try and experiment here and put like a little cache shadow under here. Could do this in. Let's see how it turns out. I mean, it's not horrible. So we can go with it. Now. If you want to give her kind of a smile or you can pop this up just a little bit of a line here. And she just changes our whole expression, right? You can draw the little lines here like they used to do back in the nineties. And you can get away with it. It doesn't age the character too much. But there you go. There's a quick female headshot. And I think you can do better than this. So keep, keep practicing and when you're done, you can go ahead and send me your artworks. Let me see what you got. You can send it to me in the inbox or you can send it to my Instagram at Van Orden art. And I'll take a look at it when I get a chance. All right, Here we go. That's it. Now stay tuned for the next lesson. I'll be working on it right away. 12. Pencils Aging Characters with Mike: All right, welcome back. So what we're gonna do now is we're going to, I'm going to demonstrate how to add age to your character. I'm going to go with a pretty iconic character login. And basically what we're gonna do is I've already done a quick outline. I've already erased it, so I have the ghost of the sketch left. So I'm going to sketch this really quickly. But as I do, I'm going to keep in mind that login as an older character. And we want to make them look a little bit withered, little worn and torn, little rough around the edges. Also has these massive sideburns in messy hair. So I think this is a good opportunity to demonstrate how to render a three-quarter headshot. So with that said, let's move. So what I'll do here is I'll probably end up starting with his eyes. And the reason I do this is because I was kind of bring or give a little bit of life to the character. So I'm going to be doing this really quickly, really, because this isn't about how to draw a headshot, it's about how to render a character. So let's just quickly sketch in the details of Wolverine or Logan's face. Alright. And as you can see, I'm not adding too much detail at this point. I'm going to give them kind of a square chin here. Pop this into the jaw line. Now, I'm not drawing in his facial hair yet. I'm just placing everything. And once I get everything in its proper proportionally and its proper place, then I'll start my rendering. So they're very pretty quick and easy. Now what we're gonna do is we're going to transform this into an older, worn and torn login character. So what I would start with now is, well, I would define what establish a light source. So in this case I'm going to put the light source, we're gonna put it up here in this area. Okay, So you had a little magic. This is the Sun, little beams coming out. Okay. So we know that the light sources coming from the above is above are, are about right, His above left. And so with that said, let's go ahead and render in his hair. Again for doing this. 13. Pencils Review with Ed: Hey guys and welcome to how to render comics. I'm Ed fully Chuck, and we're going to start off with talking about pencils. In particular, I want to talk to you about the pencils that I use. And you know, I know that a lot of students are in a lot of different countries around the globe. So your access to pencils, it might be limited or it might be vast. It really depends on where you're living. Most nations though, you've got a bit of a cow can explain you a bit of a variety you can choose from, right? This is the Staedtler Mars lithograph, wooden pencils that I use there, graphite. And what you can see here going from bottom to top is degree of softness. So at the bottom we've got a very hard pencil that's six H. And it moves all the way up to a very familiar HB. And then all the way up to eight B, which is almost akin to charcoal, in my opinion. Like it's very soft right? Now. It depends on what you like to draw like or rather how do you like light, quick sketches like this type of thing? Do you enjoy a little bit heavy handed? A little bit darker and stuff. Do you enjoy being able to go darker without having to press darker? You don't like, do you enjoy just laying it down and all of a sudden it's there, right? Like maybe you can just lay it on down. It's, it's dark, it's already there, right? This is a stylistic choice to a certain degree. The only thing I would say is usually when we're sketching light sketches, not blocking figures out but light sketches, we start to work in this area, right? When you're starting to block things out, you're moving into this area and stuff. And this will make a little bit more sense as the course goes on. The easiest one is the HB. The HB is usually the standard that you'll find for schoolwork around the globe. Everybody's use an HB, right? So most people are familiar with HB. And I think if you're going to pick up any pencil, this is the easy one. You can see it's kinda halfway down and halfway up, right? So it's that nice middle road that I think is really good for what we're going to do. Of course, if you've got this whole spectrum going on, well, all the better, because it's going to give you a lot of choices, right? Okay, so let's move on. I've sketched out this really rough picture of the character cable for our pencils practice here today. Okay. Why don't we zoom in just a little bit here and you can see how ugly he is. Sorry, Josh Brolin. We're going to work with pencils. We're going to work with. In this first section here we're going to talk about line weight. So what does line we mean? Well, we've got this rough sketch, right? And it's not really, I didn't focus on any line quality or anything I get. I just kinda sketched it out. What I'm gonna do here is I'm going to use my pencil to kinda show where I would put maybe some heavier lines. Now there's two theories of how to approach heavier lines and they're not exclusive to each other, right? One is the shadow, wherever the opposite of the light sources. So the light sources coming here, you're going to have a heavier line under here. All right. The second when it comes to line weight is proximity or close, how close it is to you, right? So something that's far away might be really lightened thin. Something that's closer will have a darker outline to it or some are more details and darker, right? What we're going to work here is I'm going to sketch just a little bit. And I'm going to do that kinda number one. Okay, I'm going to talk about, and I'm not going to do this whole figure. I just want to show you some examples. So wherever I think I'm gonna go with an overhead light right now, right. Wherever I think that the, the light would hang as in, it would drop a bit of a shadow there. Alright. And so if it's overhead wall, it's going to be heavier on the bottom of this jaw and chin. All right. And I'm going to the line gets a little bit center as it comes up towards light. Okay. And you can see on the top of this, so this is a chin right? Here's a generic gonna give him a little button. On the top of it. It's going to be kind of a thin line because the lights touching it, we want to thin it out, but under it is going to be a much thicker line as it comes around. And I could do this in the ear and the details here, right? Do it under here. So the top is a thinner line. But anything that's kinda hiding underneath, I can even hook it a little bit there. Gets to be thicker because you're imagining that it's it's kinda got a bit of a slight drop shadow to it, okay, and I'll explain some of these terms as we go on here. Okay? So I'm doing his nasty little snarl. And you can see how anything that's heavy. I am. I don't think the light wouldn't necessarily hit very much. I'm going over with a much heavier line, right? Okay. Anything that I think has very light detail, I'll just kinda touch very lightly. You know, some of these wrinkles. Roland's old but not that old. I'm not going to do them really in depth. But some of these areas that I think, you know, the brow, for example, is going to have some weight to it, right? And that type of thing, right? Okay. So you can see what's happening here is anything that is maybe on the underside. He's going to have that darkness to it, right? And as it comes up, I'm going to thin it out. I'm going to have a nice light line up top. But I want to emphasize that it's dark down below where, okay, So this, we're just talking about line weights here. We're not talking about fully shading yet or anything like that. Just why I'm choosing some of the line widths and I'm choosing OK. And now you can see what's happening here is I'm just kind of going over some parts to make sure I emphasize where that weight carries on the bottom of things. Maybe a little bit here, a little bit under that knows, you know, there's, there's some wheat, they're definitely the browse. All right. And now if I was to back out, you can see how it's already showing. Showing that light source, right? Where's the light source if we're looking at this picture? Wow, you know, all of a sudden I can see this image compared to the sketch underneath it is really popping, right? It's popping because it's a darker line. Yes. But it's also a popping because I started to define the light source. Not fully. I didn't render it out fully or anything like that. Right. But I started to just a little bit. Shoulder difference in line weight. Okay, so that's really important to understand line weight. In, like I said, there's going to be two approaches to it and they're not exclusive. This one is shadow, meaning understanding where the light sources and giving a heavier weight underneath. The second one I talked to is proximity, how close something is to you. So I'm gonna come over into something that's got some foreshortening here, right? And let's say I'm going to start to draw this right? I'm going to render it in. And I'm going to come in with a somewhat thin line. Back. Here you go. Now as I get closer, I'm going to start to thicken up that line a bit. All right. And you know, I don't know if you guys know, but he's got one metal arm so I can, I can do the bands if I want. And the bands will show that that foreshortening as well, right? He's got him coming across here, for example, right? And like I said, as I'm starting to get to a part that's closer to me. I can darken things up and thicken them up to try to emphasize that it's getting closer, right? So maybe this one will be a little darker than the one behind. And you can see already, you know, I'm transitioning. I could do this. I'm working digitally so I can bump my brush size a little bit. And now this gets a little bit easier here. And of course, you know, I'm going a little bit faster than and less careful than I might be if I was to actually wanting to make this into a final drawing. But I want to show you guys just how this, this can end up still getting sketchy look in here. Sometimes when you're in the heat of it, when you're up close to something, you're not always able to see exactly how it looks. So, especially when it comes to shading. And we're gonna do it here. But I would always recommend taking a step back, whether it's from the paper and you just look at it a bit more from a distance. Or if you zoom out, if you're working digitally, right? And so we can see how the darker at the line, it progresses light to dark as it gets closer to us, right? That's really important. And of course, you know, remembering to add these details in, right? And as things get closer to, you can add more details like these are not just circumference lines, but their actual they've got maybe a Devitt to them or something like that, right? Yeah. You could tell definitely this is much like the fist is much closer than that shoulder, right? So that's using that second approach to pencils for line weight using the proximity. Another one, just, it's not really another one. But what you could do is kinda outline the plane. If this fist is on one plane, I can give it all a bit of a harsher outline. Just overall around it. I don't like that knuckle. And then you can see how this is another plane. This is another plane. Here we go. This is another one. This is another one. And this is the last one. All right? And so when I'm talking about planes, I'm talking about like, kinda levels of the object towards us. There's this, this ball, the ball behind, the ball behind and the ball behind, right? And so this ball is going to be heavily outlined. This one's gonna be kinda line this a little bit and that's not at all, right. Okay guys, this is line weight. And if you can get this down, this is a really simple way to render with pencils. It's not labor-intensive. You can get it done pretty quick as you can see. Right? Like I just did this. What was it ten minutes for us or whatever or less. But it's a way that can really make items pop off the page. Okay, I hope that helped guys have fun with it and have fun with your practicing. Okay guys, we're back and I've got a little exercise for you here, something to do and something to learn. I want you to practice anywhere on any sheet of paper working on ingredients. What's a gradient? Well, it's practicing tonal value. For example, from dark to lighter to lighter. Now if you remember the pencils that we talked about, this could be easier with different types of pencils. Some of them carry really hard and are really hard to get a dark out of them. And the opposite, the soft ones are really hard to get something very light, right? So that's why I want you to practice with your pencil, is just do this again and again and again. You get to start deep and dark, working on and working on it. And I'll lift up on the pressure just a little bit. Lift up on it more. And nice and light so that it's barely touching the paper. Okay. You can even do it the opposite way. Go really light. Start to darken it up. Will it start to dark in and out more? I start to really push into it and get that dark fill, right? To be honest. This is the practice everybody needs. It's just, it's a good exercise for everybody. Working on this tonal vowel. You gradient. It will help you up your game. It'll help you get more dexterity and more skill when dealing with pencils and whatever you've got. And weirdly, if you're working traditionally, it'll help sharpen your pencils. So that's always a bonus. Something else I wanted to talk about is a different approaches to shading, especially with a pencil. Okay, so we've got this gradient, right? So we've got this gradient. That's an ugly gene, a gradient technique, right? Another one that we can do, and I've kinda been practicing here is let's say I do the same type of gradient. And I'm gonna kinda laid it up there. You can take, I take my finger but I get a little bit too oily. You can take a paper towel or actually something called a smudge pen or a smudge stick. And what you do is it just kinda blends it in so you can take like a tip of a paper towel and kinda rub it on the paper or something if you're working traditionally, a lot of programs have this type of thing. So you can see how this becomes kinda all smudged it, right? And then you can even go in and add into it more. Darken it up. If after you've already smudged it, see if you can smudge it some more because you wanted to dark on that side, right? And you can work on your gradients, going from really light to darker across the panel here. But smudged. Okay. So we've got a nice like a line ingredient that's just laid down. We've got the same thing, but then we smudge it out and so we can practice this nice blending. Okay? Another one that can be done and this is very similar to what we're doing here, is kind of a hatching. Now hatching can be like individual lines you get here, maybe you can hear how my patterns change. I'm, I'm no longer dragging the pencil. I'm almost doing grass type thing. And so I'm doing individual lines. And as I wanna get lighter, my lines become further apart. So as they're closer or as they're darker, they're closer obviously, and then it gets lighter as they start to spread until just a few lines, right? So this hatching, whether it's a defined feathered, hatched like this, right? We'll, we'll practice this more in inking with pencil doesn't work quite as well, right? But or whether it's just kinda like grassy type of hatching. That's another way to start to shade with a pencil. Okay? And the last one I'm just going to go with is a pure, pure fill. So let's say you've got this defined area. All you wanna do is get in there without really going over the edges. And you can even outline it if you want it at different times, right? I used to do that when I was younger with a pencil crown does nice little outline. And you're just shading, whichever to your ability, trying to blend in, fill in, get that whole thing filled whichever area. Okay. So this part is really where you should spend a lot of time. You know, it's funny because I sat down and, you know, I'm recording this for you in five minutes. I'm like, Okay, Done. It seems simple, right? It's five minutes. I have gone over gradients, smudging, hatching in film. But the truth is, the practice of just this one alone is going to take you a long time, a long time to get comfortable with it. And every time you switch up pencils, different companies or different hardness or anything like that, you might have to practice a little bit more. So what I recommend is have some sheets, some rough sheets of paper off to the side. And get practicing with this. Working those gradients, get comfortable with it and everything, right? Then. How do you get this much? Is it traditionally, are you going to use your your oily finger? I do. But not everybody wants that, right. You don't want my DNA on their pictures. Practice the hatching and practice of filming. Because as we go on through this course, this type of skill is invaluable. Okay guys, we're back and we've got another unit here with how to render comics. This one, we're going to talk about plotting out shadows. Now what does that really mean? Well, you know, as we've talked about in the lighting unit and stuff, once we know that a light sources coming from a certain direction, right? We can see our object and then see, okay, well, the light sources here, so that means the shadow is going to be somewhere around here. Do you? I mean, like that the light will hit here. But not so much done here, right? Depending unless we get into more complex lighting like bounce light and all that. But for right now, let's keep it simple. So if I'm looking at this picture of cable here that I've already started to render just a little bit, right? And I want to have overhead lighting. Well, how is it going to look? Where would that be? Where would I plot it? One Nice and easy way to do that is to just say, okay, well, the light's coming here, right? And his chest is this kind of plane that's here. Or I could look at the PEC here or whatever. And we know that it's going to come. The shadow is going to be obviously on the underside here, but where's it going to come up? Would be up here. This is pretty tough. I know it'll probably be in here and here and then maybe scoop somewhere down into there. Alright. So if I'm looking at the, how the light would fall here, the light's not really going to touch this part here so much. And I can get into more detail to, you know, like the lighting would probably not touch right here. About touch here, not touch on this part here. Not touch on this part of these little grenade things, right? Not touch here may become something like that, right? That's where the lighting would not touch if it's coming from above, you know, it can come something like this, right? But not only does it come in on this shape, but there's also this cast shadow, right? So this shape is going to cast a shadow onto this fabric below, right? Something like that. So if I'm going to shade, and this depends on how I want to shade, right? There's, there's going to be a few different techniques and doing this right? I can do it on here to just have a small little line underneath. And then I even have a drop here below, right? Okay. I'm gonna do something really cheap that you're not going to love. Let's see if I can do this. I'm going to follow the adjacent line here, and I'm going to select this section here. So I'm going to select in here. And all I'm gonna do is lightly. Shade. Now I'm using a bit of a hack because among the computer that I'm selecting within my within my, my plotted area right here, I'm going to come a little bit, maybe angled a little bit just so I can save on my wrist. Right. Okay. So I'm kind of backed out, right? And all I'm doing is coloring this in, not coloring, sorry, shading this, alright. Just with this nice scribble, I'm not going to blend it. I'm not gonna do any hatching yet. I'm not going to do any variety of anything like that, right? I'm just going to come in here and blend it up. Okay, so you can see how I've now defined that. That's where the light's going to drop on him, right. Like that's going to be the shadow underneath the chest, right. And I can come in, do the exact same thing in this section. If I want to, I can do it darker, right? Kind of plotting, I've already plotted in, so I'm going to fill it on in, right? Or I can do it lighter in this section, right? If I want this. This is really kind of a stylistic choice a little bit. We've talked about blending, hatching, different ways to approach it. This is your choice when you want to do you know, what's your style? Or you are a blender? Are you a hatcher, like that kind of thing, right? So you can see how we've got some variety happening here. One of the easiest ones to kind of plot out if I want to do is it's going to come down the neck because we've got this huge drop shadow from his head, right? It's going to drop over the neck. If I really want to. What I could do is kind of almost charcoal this thing, right? And just kinda blended in that way, Right? That's another way. Okay. So I'm kinda showing you guys a few different ways to kinda plot it out, right? Whether it's a hatching, whatever that might be for, for plotting out where that drop shadow goes, right? What you're going to find is we get into this in other units when it comes to texturing, when it comes to different materials, all that kinda stuff, right? That you're going to have a little bit of variety and I'll go over it a little bit here in pencils. But really whether you're choosing the hatch, whether you're choosing this charcoal kind of blend, whether you're choosing this blackout thing, however you choose it, is your stylistic choice. What I'm showing you here in this unit is how to plot out where the shadow might go. Okay, so I've plotted this outright. Here's where that drop shadow, where the light might hit, you know, it's coming across here but then, you know, it might come up through there. It's underneath that part, underneath this part. Right. And then it kinda comes into here and so I would shade in there, right? But you know what? This is where I'm going to point something out to you that this section here is fabric, right? It's this kind of superhero tights, whatever it is he's wearing in that kind of stuff. When it comes to the arm, its skin. And he eats a white dude, right? So it's going to be very light skin, right? I've seen them depicted as almost a light pink sometimes type of thing, right? So when we go over like something that might be dark black or inside this x might be already kind of a darker color. Usually it's like a red X with a black background, right? And that's what I'm kind of going with on this theme right now. If I'm going to shade that in, heck, that sucker is going to be dark, dark, dark, right? Like I'm gonna, I'm gonna really give it that because that black is going to grab on to whatever shade I'm doing already and really punch it. And again, we go over this in the lighting units. So this should be a little bit of a refresher for you, right? We've already talked about this already. Darker skin versus lighter skin, different materials and stuff. I get rim. So that's my sheeting on black. Well, how am I going to shade on this pale skin of cable, right? What I might do is just kinda come along this way, come in here and come up this way. And that might be it. And then how do I, how do I shade it inside of it? You know what? I might just do a light line like this. And that's it. That's all I might do on his skin. Okay. Something simple like that. Right. Like for the veins, I might drop a bit of a shadow on it. Do a little bit of Hatch. Drop a bit of a shadow, do a little bit of a hatch, something like that, right? Like this is all it needs to be. Something along those lines. Okay. So remember that when you're plotting out where the shadows being dropped, you recognizing that there might be some different reflective colors underneath and that the shadow might not catch them, especially in pencils, the same way. So let's take a hypothetical and let's say that this side of his, his suit as a dark blue and the inside bands here are light blue. If they're like blue, what I might actually do is, where's my eraser here? I would actually maybe take some of this away. Because that light blue wouldn't catch the light or the shadow quite as much. Okay. So it might catch up here in this dark blue area more, right? But as soon as it crosses this band here, it's going to go into light blue and it's reduced by about 50 percent or something like that, right. So it went from this full coverage to dropping down and the light kinda just doesn't catch that shade as much. Okay? Okay, I hope this helped for when you're plotting out, um, where to put the shadows and everything, what I would do is go through this whole character. And of course you're going to get this sheet without anything on him or anything like that without all my my goofy little sketches and everything, right, you're gonna get the sheet without that and plot through where the lighting would drop. This is another exercise for you, right? Plot through if you're gonna like from the side, whatever it is, and then try to figure out, you know, how the underlying material might affect your plotting. Good luck guys, have fun with it. Hey guys, We're back and I want to talk to you a little bit how you can do some more advanced techniques when it comes to rendering here with a pencil. I'll give an example here. We've already plotted this, this shaded part outright. But what if we've got a bounce from below? How are we going to handle that? I'm going to presume that this is just a solid shape. Okay, so what I'm gonna do here is I'm going to come in kinda do this selection. And I'm cheating a little bit because it's, it's a computer and because I'm trying to teach and this is a slight hurry, but you don't have to do this right? You can take your time, plot this out and do it correctly. Or just more carefully, not even correctly in the way that, you know, whatever suits you rate. So let's say that I, I come in and darken this area and I'm using a big, ugly pencil, right? Okay. So now what do I know that the light as it hits, you remember when we looked at the egg and when the light hit, there was like a really dark part on it and then it kinda gradient out, right? Because the bottom was hitting a bit of a bounce. The surrounding surface on whatever the surface was, was bouncing a little bit. So where it actually hit the line between light and dark here was a little bit darker and then it kinda just round it out. That's what I want you to do for this PEC. That, you know, you can do it with a gradient, you can do it with a pencil however you wanna do it. But you can do it, for example, like this is a solid part. I'm kinda turn it on my paper around here and then you can lighten it up as it goes down. So watch it gets solid as it's up here, right? And we could do it with crosshatching, you could do with smudging. And as it comes to the bottom of the PEC and maybe draw that one little line from this fabric thing RAM. So it's dark up here. And as it comes to the bottom of the PEC, kinda lightened up right? And again, it's dark up here. And as it comes to the bottom of the PEC, it lined up. And so that's another way to show a bounce, right? We've got the light coming from above and of course would be under all of here, like this cache shadow from, from these objects and stuff I go right? And there might be a little bit of a highlight over this little band thing or whatever, right? But then maybe there's some type of lighting coming up. Well, then we don't want to consistently we got on the right, right. This is kind of a little bit flat. This now gives it that extra blend, that extra bit of gradient. And remember I told you, practice your gradients right? If you want to, you can come in and start to blend it out, right? Like it depends on your style rendering. Is this going to be kind of a more fine artsy type of thing, you know, is it going to be blending doesn't always work in print very well. But it can look pretty darn cool, right? It looks like you really took your time, right? And so you can tell that here, right? That there's a darker shadow all up in here that was cast from up here from this shoulder pad or whatever he's got here, right. The shoulder pad cast does dark shadow onto Has PECC but there's something else impacting it down below. Right? You can see that from here that there's this hard cash shadow, but then there's this light. So the stylistic choice is yours. You want to hatch and you want to smudge. Do you want to speckle? I guess. And that's actually one more I can show you. Like are you going to do just dots as a pattern to show, you know, show that the density of it right there, the deeper density of the dots, the darker the shadow, the shade is and all that kind of stuff for him. These are stylistic choices, guys. What I'm showing you here is why you would choose to go in one direction or another for the lighting. And then which one you choose for rendering. Them. Have fun with it, play with it. Guys. I hope that helped with understanding how to plot and then how to do some type of bounce once you have plotted it in, right? Good luck with the guys and keep practicing on cable here. There's a lot of potential for a lot of cool lessons on him. Take all the ones you've learned so far, and render out the whole thing and then send it to me. I'd really like to see how you finish up with cable. Have fun guys. 14. Exercise Juggernaut Render: Okay guys, we're back and I've got an exercise for you here. You can see how we've got the juggernaut in front of us, right? This is a sketch I did up and then obviously copied it. So we've got two versions here. And you can see it's relatively thin line and right, if I zoom in, there's not any heavy lines. It's almost pretty consistent. It's really just a sketch at this point. Maybe a good-looking sketch. Let's do a sketch, right? I mean, like what I mean is we don't have any of the finishing done up on it or anything yet, right? We don't have any of the rendering, which is really what this course is about. So how would we approach a rendering on this, on this exercise, right? How would we tackle it? Well, you can just go in and, you know, if I come in and I can start to use some type of Incan start to go heavy. Presuming the lights from above, I can start to ink heavy like this and you know, you know, or I can even if I want to Paul plotted in and just do a fill that type of thing, right? And I can start to ink doing the process this way. Right? Like just just going at it. All right. But there's something that I want you to pay attention to in this particular exercise. So we've got a lot of different techniques in this course about how to, how to render with pencil, with ink, with markers, right? So the choice is yours, how you're going to render. But what I think is important is noticing when colors change on a costume, how would that impact your rendering, right? So what color is the geography? Well, I did a rough kinda color base on him. And you can see we've got these kind of off browns, this red pattern, risky. I kinda did three colors. You're actually four or five more if we start to get into his face. But three main colors here as skin, the brown and the red, right? How do you approach inking this, right? Well, sorry, I keep saying inking, but really it's rendering, right? How would I approach rendering it, right? You can look at and say, well, the skin is one texture and the outfit is another. Skin is a skin texture, presumably, even though he's got tough skin, He's a juggernaut. But maybe the the outfit is this harder, not latex, but this harder type of hard rubber latex feel to it. I've actually seen juggernaut rendered with more of a stipple pattern on his, his helmet and stuff, right. So the choice is yours. One thing I would recommend though, is to check out the tonal values. If you take a look at the tonal value, so you can see, okay, well his skins quite lightened home. It goes into the red which is darker but still kind of medium tone. And then the Brown gets into this darker tone, right? So then if we're, I'm using inking as an example, right? But you can use whatever you want. If I'm inking, maybe for example, like let's say I want to a heavy light and I want to black out this entire area or something like that, right? We're going to black out this whole thing. Something along those lines, like the light's coming from above and I want to black and white, right? So I'll just kinda back this out so we can see, well, maybe what I would do then is come into the lighter areas and subtract a little bit of that away. And of course I'm cheating here because I'm using digit, digital means, right? But, you know, I might come into that. And so on the skin, it would not be as dark gray. That's we've talked about how light reflects off of lighter surfaces and stuff in his skin is fairly liked him. And then once we get into this the abs section, we might even take away a little bit more something along these lines. And again, this is just kinda rough. And so we can start to take away more in here. Maybe a rim light that bounced back here. Maybe a little bit of texturing in there. And so you can see that the heavy black might still stay in the PEC region, right? It might even do even more. But as we get through the lighter tonal values, we start to back it away. Okay, So once it hits the skin, there's just a little bit of shading on it, right? When it hits this midtone value. And that's medium and heaviness in whether this is inks or shade or whoever we want to word it, right? And when it gets into the browns, it gets a lot darker, right? So what you could do for this exercise, again, depending how you want to work, you could print out this worksheet. Kind of what I might suggest is going over the whole thing and saying, okay, well, it's, it's backlit. Maybe I want to kind of go like this ink at all in right. And then just say, okay, well, where would I take it away from? Well, you know what? This is really light in the skin. So I'd start subtracting. And this is what the exercise could be. It could be like a subtracting exercise. And again, it depends on, on how you're doing it, right? Whether you're using traditional means or digital means or anything like that, right? But yeah, this exercise is geared towards understanding how you're going to render over different bass tones. Okay, so I've given you two examples here. What I'll do is all make sure that I include this as a worksheet in the unit so that you can ink over this base. And then you could also go on as blank and you can print it off as many times as you want, rendered in as many different mediums as you want, and just really have fun with it. Juno, explore different lighting like we've done before in different lighting approaches and stuff. But really this exercise again, and I'm going to emphasize this, is tackling how you would render over different tones. Okay, guys, so have fun with this, and I'd like to see some of these posted up later or or sent to me. Have fun with the guys. 15. Inking Starting Off with Tim: The new, My name is Tim foreigner. I am with how to draw comics. This is going to be a quick little session on how I find my reference. It's a lot of people ask me, where do you get this? What do you get all these awesome pencils to work from? So basically, because I'm a digital linker, usually take digital copies by phi scour the net, look for them unless you're working an actual, if you're working for an actual company and you're hired to do it, you, they'll more than likely give you a high res images. When I say high res, I need high resolution for two. So it can make it printable. And you also get the maximum quality and of your line work. So everything's don't look so blurry. A lot of times if you click on like an image, lake. Okay, So going back to my original part, we go to Pinterest. That's my main source where I get all my stuff. It's a free site. It's great. I used to think it's just for chicks, but it's not, there's so much more on it, so much value to it, so much inspiration. You really got to take a look and you'll get lost in there for hours. So a lot of times, because I'm already on my page, iterate, I guess it has an algorithm or the picks up and all the stuff that I like. So it automatically feeds me some even has referenced stuff. I'm elated this reference stuff. So if you're a pencil or you could just, you know, they get all kinds of cool stuff. For me as an anchor digital thinker, I need to find stuff that I need to ink. So for example, let's say I wanted to ink Wolverine by typing warring. And then I'll put pencils. Click pencils. Oh, stuff that came up. So I me mine. I mean, look at that stuff. There's just like a wealth of stuff here that you could have endless hours, endless hours of stuff then you can draw for reference or for inking. I mean, no, I get that. Right. So, and another thing like say you want to practice different styles, right? So I'm like, okay, I won't move every pencils by David finch. I'll just put in Finch just as an example. Hopefully, you will know WE is. If you don't, I suggest you look for them online. He's probably one of the best counselors. Artists working on for Marvel or DC. Did a lot of Batman. Look at this later, this guy. So there's a, there's a penciled version. So here's the thing, right, So now, okay, So let's just say for whatever, this guy right here. So I click that, it's going to magnify it, right? Let's do another page. I click it again. Okay. This is what I do. Oh, I'm on this page now. So now I right-click on it. Oh, it's asking you for that. Just ignore it. I right-click on it at viewImage and then I'll copy image or CV image, CV image eyes, right? And I'll save it to one of my folders now. Okay. When you look at it, it's pretty detailed. Okay. So now I bring it into my software Photoshop. Some people have Procreate, I guess that's okay. I gotta find it now. What did I do with it? Oh, well, just say it's this one here. Here we go. Okay, so now I have it. Now. When I go to image size, you're going to see that it says 72. 72 DPI. Okay? That's too low. That's like web quality. So most images you're going to get are on the web, on, on Google or for whatever part on the Internet. Is it going to be low res images because it's faster and quicker to load. So viewing it on your screen is okay. But when you want to do something printable, like the comic industry or comparable pages are pin-ups or whatever. And if ultimately you're going to have it printed out, it has to be at a higher-quality otherwise. So right now if I were to print it out, it's a seven by 11. It's not going to print out that good. So now what I do, because I'm going to be inking it. Like I said before, if you were doing it professionally, what will happen is your editor will give you high resolution images to work from. So your pencils will be scanned at three or 400 DPI. Okay, that way you'll get a really good clean line crisp stuff because what happens is it then it'll get reduced to size. And I think your pages are like like 11 by 17 or 15 by something anyways. And then he gets shrunk down to the format of a common point. So now what I do, so how I practice, I take that 72 and I'm going up to 400 DPI. And then I go okay. Wow, now I open it up. Let's take a look at like, look at that. That's crazy. Now we see all the details. I'll zoom out a little bit more so we can see what we're looking at. Okay, and then I'll go fit the screen. And now it's like it's still a little bit washed out because what happens is when you blow it up and you expand the pixels are your expand resolution from 72 to 300 or 400. What happens is it is a thing called interpolation. And what happens is that because net, because it's an image, okay. Little dots making up old all the, I guess you'd say the lines and everything like that, the coloration and everything that makes up the doctor, That's what DPI stands for, dots per inch. So now instead of 72 dots per inch, you have it 400 operands. But thing is though it washes it out. So because we don't know how we'd never, we didn't have a high resolution scan. It begin with, but this is just for practice purposes. So having a bit of an art background will help a little bit too. So you going to have to improvise sometimes because when you zoom in, which I'll show you here, just on the arm, CM current going in. It's still seems kinda blurry. Does That's because I blew it up. So now I have to interpret interpret those lines when I do my crosshatching and whatnot. So that just gives you an idea. So yeah, that's pretty much my starting process. When I when I look for some when I look for an image online, or if there's an artist's eye, a particular RSA I want to look for and try to ink to practice on because as an inquiry, you never know who the pencil is going to be. If you're Fortunately your work with the same pencil for a long time or maybe you want to have variety and a lot of different variants in a challenge when you're inking other people's work. That's is what I do or sometimes I just go on Google or that's another thing I'll show you quickly. Get out of here. And then we'll go to Google really quickly. Now, I'll go here, and then I'll go, I'll go up here Google. And I'll type in CEP in JAR, gentleman at a chair JR. John Romano. Say John or it's good. Yeah, it's easy to spell it. From junior pencils, ANOVA, we're going to find a lot of this stuff anyways. So we go here, boom, comes up that go, let me go to images. Oh yes, wow, some crazy stuff here. So let's find, let's just say, Oh, here's one. That's a nice one. And it was on Pinterest. So then I would go because it's on Google now. So what I would do is I right-click on it. Goals, you image. There it is linked in it. It's actually pretty good. And this is a bigger image and a higher-quality. And a lot of times you'll see that the magnifying glass, where is it Right there, right. Hit it again. Now let's even bigger. This is madness man like that. So now what you do is you right-click that one. All right? And then you save the image, and then you save it at all. Whereas my original, I'll just save it here. Actually, I might even ink this one nominal excited, Okay. Stuff. And then we'll just go right in Daredevil. And we go like that. That's awesome. Okay. So yeah, that should cover it for now, but I just want to just show you my process, how we have a look for images to ink. Or you can collaborate with someone, but you always have to remember if it's giving you a printing, you're going to have to have the proper dot per inch to do it. So I hope this helped. My name's Tim coordinate with how to draw comics. I hope you enjoyed the session and we'll see you next time. All right. Have a good one, guys. Take care. Be safe. Bye. 16. Inking Basics with Tim: Here we go. My name is Tim. I'm a digital inker. I was asked by how to draw comics to do a little video on my process. Now I do things. So this is a so you on screen, this is around 23 inches. And I'm using Photoshop as my software that I'm using to. So you can see when I'm working on this is the Pencils of the amazing Jose do is you just as fantastic stuff is like a modern-day Neal Adams, If you ask me, stuff is just so clean and the details you can work with are so much fun to ink with. So what I'm doing here now is I'm just, um, I got two layers here. I got to like a white layer so I can see what I'm looking at it afterwards. And then I'm going to have my actual inking layer. I'm not going to do the whole piece, but I'm trying to just work on a helmet to just show you how I do things. Use a custom brush and see if you can get a little bit bigger. Maybe add, we'll speed it up just to see what's going on. So depending on how long you want this clip to be. So first I'm going to get in there. It's kinda like you're translating into paper and pen to be you have to turn it around depending on what your what your angle is and how your if your quill or whatever. But I'll just get right into this makes a little bit smaller. And we'll start to start getting into this. Some dramatic music in the background. Now I was, I've listened to a couple of videos with certain angers per pencil colors. Then you can be really precise when you want to, when you want to ink. Or you can try to be a little more organic, right? It's up to you really. But so long as you try to stay true to the pencil here, I think I think that's the most important thing. So yeah, So I'm just trying to get some fresh lines in here. And I go here. Canon there. So this isn't completely black. I'm translating this part right here. It's kinda like a feed. So what I'll do a won't do full cross hatches, but I'll do lines like that to kind of simulate. So when you zoom out, it will actually give the illusion of texture and light. But even hearing, you know, like just a and if you want, they always separate your lines a little bit more, a little bit more. And actually it actually builds like dimension. So that's kind of, it's kind of interesting to, you know, but these are things you're going to learn through more practice and more practice. So straight line there, straight line there. It's a little bit of shading in there. And then we go up here, up here, and then C. And here's kinda great too. So I would just kinda like and we'll do more in there. You're going to appear. See what I did there. And then this parts all black. And the cool thing about digital tool, if I go, oh no, a two. Now if that happened in a real life scenario with ink, you'd have to start over or some crazy white out or something. But because of modern technology, I can just do this control Z. And then we just start over. It's pretty amazing. Get in there. And then some more this year to get the mouth in there. Maybe I'm a little bit of here. We can have some fun with the darker, a little bit more lines, and then some smaller lines in there. So the cool thing too, with the digital pen, I go smaller like this. I can do a thick line like that, or thicker line like that, and then even smaller lines. Depending on your pressure sensitivity. That's the kind of kind of one of the benefits of working in digital, digital format. So where's my Undo? And I'm like, let me go. Get in here to get all these little details in. And it's pointing to right because you're working in such a close thing. So are those lines straight or they're going to work? The problem is, the cool thing is too is working out at like 11 by 17, but they're getting shrunk down. So actually the details are going to get tightened up. For sure. See if we can get some of these nice slides in here. We've got a nice cross hatching. Their works. Can have fun with the lines, I mean, and it's also good to study other anchors. You crack open a common book and you know, even with a magnifying glass media, depending on how good your eyesight is or whatever. But you can take a look and see how those guys manipulate lions. You look at incurs like Joe Rubinstein are like class Jansen Or I, Scott Williams. Look at their details and what they do and how they do it, how they, how they interpret the pencils. And fortunately enough now he could by finding an image of the pencil somewhere online. And you can compare the two to study their, their, their line weight or line movement, how they interpreted the pencil colors. Pencils. And that'll play a big part in it because obviously you want to, you're creating this. You know, you're not just tracing over the artist is work if you're enhancing and making it better. So how are you going to choose? So you have to make these decisions like how am I going to translate their pencils to be amazing, to me, amazing piece with when you add the inks finally, see there's a little bit of shadow on there, so I want to get a little bit of small line weight in there and the teeth. And then we can see what that looks like. You know, having go up here, maybe a few more. So when you cross hatching to you also want to, want to build it. So it tighter, tighter, loser, loser, losers space it out. And then you move the cross hatching in and then rehear it's not completely dark. But you also want to create dimension. And then let me go, whoops, let me go here. And I'm going to turn this up a little bit. I want to be able to get my annual rate. And here you can see that the lines there. And the cool thing is two, you can start seeing guys can see it a little better. There we go. This looks like a pretty sick or even hear me add some shadow. And the cool thing is 2. And if you have a really good talented, I mean, it's always great when you have amazing pencils. And then when the impiety, when they get the inks on there. And then when you have a colorist, it just brings everything together and you get this wonderful piece, you know, any mean? And it's like wig and collaboration. I mean, I mean, just take guys like Scott, Jim Lee, Scott Williams and Sinclair. I mean, that's the dream team, you know, they could do. They just bring their a game, everything they do. And then as a result, the viewers get the best part because they see this amazing piece. Did all black in there. I could probably fill in and faster, but I got a pretty big brushes. So I can, I mean, obviously when i and I get closer to finishing the piece, I'll go back in and fine tune and clean it up. Bring him when I see what the, what the white looks like behind it. Took me a long time to get brushstrokes that clean like that doesn't happen overnight folks. And let me go over here. If you've been using a string and set a little bit, see what we got here. This part here. Reset. Ooh. Zoom out a little bit, see what we're looking at and move this over. It's pretty cool, right? But you see it. I go seen before, we'll get some white spots because you kind of miss it, will go back in there and clean it up a little bit. Just to give you an idea. Here, I clean that up and there you can even go in. I feel like this needs to be a little bit more darker. Combat up their hopes and often not up there. You can even go in with some white or an eraser. And I have some like little more highlights like die. My colleague dot like this. That's the fun thing about it. You know. See, we got here. There we go. Yeah, I'll probably have to clean this part up here a little bit. That was kinda done fast, but Isaac like that and really the magic of technology. So there's hope this gives you an idea. I mean, I could do the whole thing, but I don't think I'd would like me to do the whole thing right now and may take forever. But you get an idea, right? So I hope you've enjoyed this little segment. Obviously, if you've got questions he comment below, sending requests. If you want to see me ink something else, there's a piece you want me to see him happy to help out. I'm always available. You can message me anytime I'm Facebook for some tips or tricks. I like growing our community there to help because I just love it so much and I want you guys to get as much out of it as possible. My name's Tim Horner and I'm a member of the how to draw comics for a couple of, I think two years now. Anyways, it's a great community. It's a great learning tool for beginners, even pros. There's so much you can get out of this particular Facebook page. Thanks again Ed, for thinking of me. And I hope you've enjoyed this and we'll see you next time. Having an IT guys Take care. 17. Inking Styles with Tim: Array, where my name's Tim corner. I'm here for another segment for how to draw comics, digitally inking. Now this is something a style that I've never, ever tempted. I believe this is from the anatomy. I think, I think there's a manga version too. But I think this is the, Let's try ugliness. And this is, this is penciled by the amazing artists palatal Panther Lena. This guy does amazing stuff. You should definitely check for online somewhere, but it's stuffs amazing. But I was just going to show you the different styles. And because I was an anchor, you never know who you're going to ink some guy's pencil and eat their own stuff. Obviously assuming cures pencil solely just one guy being the fluid, Jim Lee and Scott Williams go MPS, has been inking Jim Lee stuff for like over 30 years now. And you're in 30 years but stuff like that. I mean, duals like that or sometimes you get anchors that ink multiple different artists throughout their career or pencils throughout their career. So they're going to have to adjust or make, you know, make some decisions when the ink. So for me I thought this would be a good challenge to see how I would tackle this style. So yeah, so there we go. I've expanded my I don't know if you can see it. Yeah. So for the resolution I found it. I was like a 100. I blasted at the 400. Kinda what I've talked about in the last setups. So I'm just going to draw us face and see, we'll see what kind of results we can yield from that. All right, so take fasten your seat belts for little. Here we go. Let's start with the eyes. I always like starting with the eyes. She just sets the tone, you know, so different so different style like this. But again, you never know. I mean, you look at a guy like Madeira. I mean, his style, he kinda cross the styles of anomie and classic superhero drawings. And he kinda, kinda me his own version of it and stuff is just fantastic. To see what you get over here. Now the hair the hair crazy angular guy looks like yes. The crazy triangular hairstyle. I mean, I'll be honest. It was never a style I was into. My daughter likes it. She watches enemy religiously. So I'm not going to say this one's for her, but which you'll probably appreciate this one when I'm finished. And that's the face. Now it's very linear, lot of stuff, but I'm gonna try to put my twist on it a little bit just to I mean, it's not a paid gig, so I can pretty much do whatever I want. But I still want to try to honor the style. At the same time, luminaires. So it isn't like luminaires. Little music. I don't know if you guys like listening to music when you draw me, watch a TV show, or watch a show that doesn't require a lot of watching and more or less listening. But if it's something like Mandalorian, it's going to have my full attention. I am going to be drawing that's for sure. Can you see it under the numerator 20? Because right now I'm drawing upside down. That's a thing when you're, you're inking your so zoomed in. You don't even really see the shape which could be kinda goods. So it doesn't skew your, isn't really skew your like that might skew your, your vision of their proportions. You're basically trusting the pencil colors. Look on everything and how they, how they explored or how they tackled the anatomy or the image they're trying to portray or whatever. And then for us is to honor those lines basically. So the gray now, right now you see a bunch of lines like, what the hell is this? But we'll me zoom out later. It'll tighten everything. I'll tighten up and see if I can. Woo, woo. Trying to do strong, confident lines. Oops, I misspoke. I didn't right there. Good Again. Yes, Control Z, your favorite two buttons in a digital world. Otherwise known as undo. Again, one of the many positive aspects to digital inking or digital illustration is the capability of erasing your mistakes. It's like a digital go back in time kind of things. And in front of it that way they kinda oops. So this was like a small enough various to kind of fill it in with the pen. Was crazy. Doing. Yeah. I'm going to first son was introduced to enemy or manga. Don't pay me for not knowing the difference. Was robot Jack early, early Saturday morning at seven o'clock. And I still love that. Admired that Michael B was supposed to be doing a live action version of it. Any fee is I am totally on board with that. And it's like Transformers on a whole nother level. And I enjoyed the transformer franchise. I don't care much for the story, but action, eye candy man, Popcorn, Popcorn appeal. That movie was dynamite. I mean, I saw some behind the scenes of transformers. And like obeys like dealing guy, his shoe will make catapult like a trebuchet to launch a real car. Just to get that extra added effect. I'm I okay, buddy. We get it. You're awesome. Some more hair. Like Yeah, that guy is here. Here we go to comic conventions where guys just like this and the use of Lear. So up here and see what this looks like. You finish a few more details. We'll zoom out a little preview. See what's going on. How is all panning out. Expressions is the line here and trying to keep the camera view here. Oops. I missed. Now fill that in. Turn his baby or see what we're working with here. Like a My God, that's crazy. And zoom out. Let's create a layer here. And we'll put some more kids. Oh, I missed it. I was looking pretty good though. We're manga Manish know. What's the word? I don't know. Let's go back here. Now I'll zoom out and look at that drawing manga and a film. These little white areas here that I missed will touch 0s, will touch ups. I'm just going to fill in those areas. Yeah. I'm pretty sure. I mean, I'm not going to lie. I'm feeling good about it. Feeling okay about it. All right. Cool idea. So I'm not going to do the whole thing. I just wanted to give you guys a little quick look at how I would approach it, but this is a sick one. I'm going to, I am going to finish this piece is going to be pretty epic. I mean, let us drag in my income. I like it that way. Can can we just sink my inking Tc into that one? But this is a little quick one. I just wanted to show you this process. And CIO would I would tackle this kind of style. Looks pretty good. All right guys. We'll see you next time and thanks for watching. Stay safe. And this is Tim Garner from how to draw comics. Cheers. 18. Inking Crosshatching with Tim: Okay, My name's Tim corner and with how to draw comics. And I mean, firing digital inker. And I'm just going to show you some pro. I'm going to show you a little quick and say quick, but I'm going to show you how I do crosshatching. Lot of people are asking how do you do crosshatching. You know, obviously there's a lot of there's a lot of videos online you can probably take a look at, but it's always nice to see someone doing an hands-on. It gives you a feel. And I'll try to narrate as I go along to try to explain like how am I, my process works and everything like that. Another suggestion is to, is, you know, especially for comic book art, Marvel style or like kinda of any kind of Indie superhero style. Obviously OS study. You know, what the pros are doing. Good. I mean, if you look at Scott Williams and how he is Jim Lee stuff is a lot of cross hatching in his work. David Fincher does a lot of cross hatching in his work. I would say the master of cross hatching is Dale Q1. And if you have an opportunity, just go online, Pinterest or Google and take a look at how they're doing their line work. It's some of it's just so pristine and crisp, but like anything like so for example, here. So here's my brush, right? So when you're inking digitally, one of the advantages is you can go really thick. And depending on your pressure, didn't go with the thinner, thinner, thinner, little thicker, little thicker, little thicker, little thicker. And as you can see, how the line works sort of thing. And then if I want to build off that, I could do something like this. And I mean, you know, see how that builds up like that. So, you know, being yellow tighter. Like say for example, we have some like an arm here or something like that, some darkness. And then we want to show some some roundness or some depth. Now a lot of times what I'll do too, and I think even traditional leakers kinda test to this. Depending on how your pen or how you hold your hollow, you hold your instrument. A lot of times, you're going to be moving things around a little bit so you can get that perfect angle kinda thing. So then I go here and then see how that works around like that. And again, sometimes you're getting a little more fun with it. Once you get a little more daring with it. But you see what I mean. And then say from one to a circle. And you want to show like, you know, like a reflective surface there. I'm just doing this really fast, but I'm going to show you another example in a second here. This isn't the best example, but it has a little overkill. Let's not show this one. Delete. But anyway, so what I'm gonna do is like again, I'll do another quick review. So depending on your on on the pressure of your pen and how far and how hard you push it down. I mean, obviously don't like pure shear screen or anything like that. But then that's a real thick one. And then the last one was one. And you can just kinda what I like to do too is depending on how I crosshatch. Like for example, I have something like that, right? And then you scroll down here so you can see a little bit better. Now, what I'll do is I'll start going close together and then I'll start spreading it out a little bit more. And that kinda creates the illusion of like some sort of depth. Okay, So what I'll do is I'm going to go to an actual picture, but I don't do the whole thing in ten minutes. Yeah. Okay. No. But I'll take a section here and we'll just build on it and see what that looks like. So I found this on, oh, this is Jose. Blue is amazing. Pencils. I mean, this guy, like a modern-day, those details man, he's so much fun inking. You can learn so much doing just one of his pieces. I've done a lot. If you actually take a look on my Instagram are the history of some of the stuff I've done on how to draw comics. You can see a lot of, i've, I've spent a lot of his work for practice for practice purposes. And just by by doing his stuff, I've learned so much. So I mean, look at this dark area. So first we're gonna do because, because it's a low-res, I have to increase the seed sovereignty to see that. So row, right. So I want to jack that up to 400. Boom. Now that gets really cold, Washington and everything. So I'm going to zoom out. And I'm going to focus on one part here just to kind of. Illustrate how I would do the cross hatching here. So we'll get that in first. Here, the dark spots. I don't want to be too careful how I do it. I just have to, you know, because it's all going to be dark anyways. So we'll just do all this, get all that in there. Now, this is the correct way. Maybe is how I do it. This actual saw primate, this pen a little bit smaller because it's pretty big right now. So I am a little bit smaller there. So we've got this here. Some people wait to do the black slider. I like to do. It depends on how I feel about the whole thing, but usually I'll I'll mix and match. Sometimes I'll do the blacks after, but I like usually to do it first x and I can build off of it. So we'll just start building it up with the initial layer will start up over here. And then what I'm gonna do is I'm going to turn it around just because and what I said and slowly build it up. And then I'm going to go on this side and do the same thing. Taper it off a little bit to the little bit of around us to start doing down here too. And it's okay if it's not like exactly. You can get away with a lot. Like I said, this is, this is such a small section of what we're looking at. And then try to follow where the line is. And then we can just start building on it. Same thing here. Sometimes you can even go even smaller lines. They're just kinda build some more depth and some roundness. What I'm doing here, you try to it's like I said before, it's like the crowd he gave Mr. Miyagi and you're doing the bonsai tree there and you just feel good. Danielson, me go and then get that out there like that. Zoom out. And we'll see how that looks. So looking pretty, pretty sweet to me. And then obviously gives you a good idea, right? So that's how I would do it. And basically you just build on that. Again. I'll do one more little section, Cedric rate here. And I'll just go this and then this white part here I probably like, probably just fill in in any ways. And then I'll come back in later with an eraser and just kinda do something like that. But for now, I just guys, it's all dark here. And then I'll do the same thing here. So it's like and then smaller, smaller, smaller, smaller, bigger, bigger, bigger, bigger, bigger. And kind of build on it. And then same thing over here. Then you're needing here. And then you get lines up here, taper them off. So linework here. And then so basically you're just like, it's just like rendering, right? And you try to follow the light source, you try to follow the shape. And that's what you're trying to build, your building layers, your crosshatching. Now there's other artists that don't even do crosshatching its own language and the clean weeks he just does these amazing linework. Max Dunbar, it's all just nice line work and then they go in with colors to shade it and stuff like that. So it all depends on your style, especially even like with the anime and manga, you know, it's all very cartoony, is very linear. And then they do the shadowing with, with, with, with color. But you know, this type of style, this is more my style than you guys. I like Mike big nola, where it's all blocks and just like light and dark shapes. And it all depends on your style. But this, I mean, I could probably do another video just only darker shapes as opposed to crotch hashing. But this, this particular tutorial, I just want to focus on crosshatching and show my process. So it gives you hope that helps a little bit in some way. It'll cool Alex. And yes, I will be inking this piece eventually. It's pretty sick. They are DO give you permission to do. So. Yeah, so hope you got something out of this. My name is Tim Garner with how to draw comics. Stay safe and I hope to see you again soon. Cheers. 19. Inking Clothing with Tim: Array dies. Welcome back. My name's Tim Warner, and this is another segment for digital inking. Today's class I'm going to be doing clothing. See how that looks with some shading on the actual clothing. So here we have is a piece I believe is from, I haven't Reese. And this is, I think pound from one of his comic books. But we're not gonna do the whole thing where it is going to probably do this arm here and maybe has had and in some other articles of clothing here, just to give you an idea of what that looks like and how to attack it. Okay, so let's just jump in and see what we got here. And I'll see where it takes us. So again, I'll start with my pan. And that's going to go here and we'll fix it. There we go. And I think the next episode, I'm going to do how to make your own brush. And then I'll give you some insight how to do it. Okay, so let's just jump in. See you the fun thing about clothing. You know, it's super organic and super forgiving. You don't I mean, because, you know, there's folds, There's some dark parts as shadows. You know, it's not like you're drawing a building, right? A little bit of cross hatching up here just to give it some depth. I don't know if you can see it, but you can see some parts are a little bit more fatal, but usually that's the thing, right? Because I'm working with a low resolution image and I'm outputting at a higher resolution. Now, if you're not familiar with digital terms like that, if you want to start getting to digital inking, you might want to take a couple, go online classes or whatever. And, and understand, you know, how high resolution works in terms of printing. Because the images you find off of, you know, Google or something like that. A lot of them are, are optimized for the Internet, right? So they don't have to be these big, high or as things because people are just flipping through it because it's your screen that's being as translating basically the image right? Now, if, if you were to print something off the Internet at, at the right size, like say for example, you find like an image on Google of Spider-Man and it's 72. Dpi means dot per inch. That means how much, how many pixels are dots are in and that image, It's abbreviated. But so what will happen is if you try to blow it up or make it bigger than the actual image, what's going to happen is when you print it, it's going to get all washed out and blurry. Kinda like what you see here. Oops. And turn that off just to show you what's going on. Okay. So we'll zoom out like this. It's not so bad. Because I already, I already blew the image up at four hundred, four hundred DPI. So when I'm inking, my inking will output two, as you can see like if you look closely here. Okay, my inking is pretty tight, but the images are all kinda like the pencil sort of speak behind it are kind of washed out. That's because I blew it up and because it wasn't saved or are saved as at a higher resolution or scan in a higher resolution. This is one of the things that I have to deal with, especially if you're a practicing anchor, a digital ink or for that matter. So soon we've got here, I hope that makes sense. And some weird way. Again. So if I were to draw it at 72 dpi, the print quality, I mean, it'd be okay for like the internet kind of thing. If I were just like post a smaller version on my website or Facebook or something or Instagram. It's okay then because it's only being viewed at that, at that level. Whereas if you're going to print it, I wouldn't recommend it because it's what's going to happen is that it will, it will, it will blur out and your current quality will look like crap. So that's something to consider and think about. And a lot of times too, because he's images are washed out. I got. Use my background and try to interpret what's going on. And sometimes you're gonna have to zoom out to see the serum. Fill that all in for now. Again, we can always go back and look at will be done later on. See if we have to adjust. I'll zoom out a little bit so you guys can see a little better. And I see how they agree here we are like a fool. And then it was like highlights two on SEO starts dark and gets lighter. We don't want to lose that because that's going to create the illusion of the fold and end up in the light hitting on it. Basically. Let's see what this looks like. That's all dark, so I'll just make it easier on myself. I don't know why I just did that. I see. I want to say it and I'm a bit of a tool. Because what I did was I didn't create my other layer and go over it. Now I feel like a moron. Let's see if this is going to work. If I go Select Color Range, see what happens here. Maybe I'm going to get lucky. If I go Control C. Go back up here. I'm just going to fix something. Thanks to the work. Like it, that it almost works. Perfect. Okay, So we're good. So I'm just gonna go back up here. Could be either layer here. If I lost everything, but we're good. Okay, So all right, so let's go back in here now. Remembering it and rotate sometimes. Keep your pen. Basically now we're just kinda following the lines of the pencil. And again, I was saying before, it's pretty organic, so I mean, it's kind of hard to mock it up. It can't happen, but you don't over render it either. But if he stayed true to the color is original lines. I think you'll be okay. Let's get going. Again. Like I said, I'm not going to do the whole piece obviously, but So you look at this closely. We'll go back and take a look to see me as I when you're trying to get these little details in there too. It comes down to your pressure sensitivity to and then you want to be able to taper it a little sketchy with it if you want. Okay. See all these lines, all happy presses. This looks like especially when you look at it really close like this two eyes looks messy, dirty, but again, these are blown up and then they get shrunk again. So it actually it'll end up tightening everything up even more. And have you ever seen like Todd McFarlane, inky just goes in these crazy hyper details. But it tightens everything up and it just makes everything look like this crazy, crazy, chaotic, beautiful poetry, so to speak. But it all depends on your style to, I guess I was at the decision. I want to make great here, but we'll see what that looks like. Now. This is all dark in here. But when you look at it all close like this, it's always like 100 lines and everything. And we can see close in here there's like there's a kind of variants of darkness is just to try to give it more texture. So we're not going to do probably is like and then just go with a very fine tip to try to create a value kinda thing. Because that'll create like texture. Yeah, starting to take shape your folks. So what I'm going to do now here is just kinda fine tune it. And then we're going to stretch this out. And now for the moment of truth, Let's see what that looks like. All right. Let's see me it looks like as well. All right. Part of a jacket. I'll finish this up. Call it a night. Bidding guidelines for the a cross hatch, they're building kinda layers on. And so you start off with your brushstrokes, a thinner strokes, and then you go in a different direction and start working with those strokes. Smaller but she go wider and that creates like a cool little pattern, sort of speech pattern but like a shape. And that's ultimately what you're trying to do. A little bit. The darkness in there. You can see the header and heightened highlights in there. And then there's some more light grays and the hair solution to build upon that. All right, Cool. See what that looks like on Zoom. What do you think, guys? And we'll see what looks like on the weight there. So I think that works. So pretty cool I think. And it gives you an idea. See how I can see how I built some of the depth here from the darks to lights. And obviously a colorist will come in and then they'll add their values on top of it. So with the pencils and then when the inking and the coloring, you'd have this amazing collaboration between all these different departments. Focusing on one thing, on making a great product. And you get three guys that know what they're doing with the pencil or the anchor. And the color is obviously the writer to the letterer. Books, isn't it? As a group effort? And you get some amazing things. So I hope this gave you some, some insight. I hope this helped a little bit. My name's Tim corner with how to draw comics. And thanks a lot for watching. Be safe, and we'll see you next time. Take care. Bye. 20. Inking Hair with Tim: All right guys. This session here we're gonna do. We're gonna be just not gonna be doing the whole body. I'm just going to be inking hair today. Just to give you an idea, if you look at this, this is a JSON feed books, Wonder Woman, the zoom out here so you get the full thing. I'm not going to be inking the whole thing actually. I think I mean, this piece before, but I just want to do the hair just so you guys have an idea of my approach to see how I how I do it. I might do maybe some of your face depending on how much time I have. But I'm just basically going to be doing a couple of segments on different editing techniques, on different strategies, whether it's clothing, muscles, lading. I haven't really decided yet, but I'm going to be touching on a few of these different things. So this particular one here, I'm going to be doing hair. So let's just get into it. All right, so you create a new layer. And again, I use my trusty my particular pen on off. You can see it, but it works well for me because I like to pressure sensors and maybe I'll even do a tutorial and how I became a brush. That way you can even use it to if you wanted to. All right, so as you can probably tell, it's a little blurry. That's because the, I don't have a high res version of this image. So as an aspiring inker, we try to make do with what we have. You can find on the internet. So I was able to blow it up. And this is where drawing skill and technique, I mean, I'm, I'm a trained Illustrator, so I went to school, went to school for all this stuff. So I know sort of what I'm doing. So I kinda helps, but still, hopefully you'll pick up a few techniques are a few, a few tricks that I learned along the way. And we'll go from there. All right, let's do this. So right now I'm just trying to build like a sheen kinda thing, you know, simple little baby little brushstrokes. And then obviously this stuff Here's all black. Now what I'll probably do an after, after a, she's a little bit of a feed here. So what I'm gonna do is kinda cool, smaller. Right now we're pretty zoomed in. Only zoom out. And again, after zooming out, it tightens everything up because when you look really close, you'll see a lot of discrepancies, but that's okay though. So part of the process anyways, I do a little bit of cross hatching, just a little bit. Not too much, not too heavy for the hair because you really want to kinda build those strands kind of thing. Even here I'll probably just like I don't even cross hatch. I think I'll just kinda double-up and build like layers and layers and layers on the hair like that. Smaller, thinner, smaller, thinner, bigger, longer kinda thing. So sure that I have CH2 bills like xin or that, that pentene, a cover girl luck. And only zoom out. And then afterwards I'll probably cut in either with an eraser for it's kinda like go with it. You know. I got some interesting stuff here. I alternate around just because I like the way my pen works. Try to get into some sort of sort of angular motion. Again, building up the layers as all-black anyway. So here we got, we got a little bit of white there. Again. We're going to build it up. You don't even think a moment. I'm going to use cross hatching for this. I'm just going to build it up with lines. Then I'll show you afterwards when I zoom out what that looks like and how that translates. Translates on white afterwards. And you can't really muck it up unless you did something like, you know, like obviously but hairs organic rates. So it doesn't have to be an exact it's not an exact science. But if you kinda like follow the motion, the movement in the, I guess you can see the flow of the pencils work. You really can't really mark it up. And there's only happy mistakes, you know. But you see what I'm doing here and just kinda going with it. I know some people struggle with it. But like anything, it takes a lot of practice, right? And you want to kinda get rid of those lines there. And then we're gonna go in afterwards. And either darken it up certain areas or add some more lines, which is fine. And here we got like kind of like a part because I think that you see, you're kind of like her music crown or whatever you wanna call it. Let me call that sort of like your crest on her hand or her they call it whatever, you know what I mean. Okay, so then we'll just go like this. As you can see, my pushing a lot of pressure on it and gain those big thick strokes. That's the power of using one of these digital pens. Some artists, you know, if they're doing the traditional matter, big thick black lines, they're going to get a brush obviously and fill it in white quicker as opposed to using a smaller little quill or whatever to get those fine details. But thankfully, with this and the power of modern technology, you can kind of emulate that stuff. Kind of like what I'm doing here. See this looks like here. I'll try to send a free measure UI, stuff like that off I go in and fine tune it with with an eraser or something. And you try to read, go to the ends kind of thing, trying to taper it off kind of thing because it's like a string of hair kinda thing. Um, if we see that there, some are curls here. This looks like in a second and we'll zoom out. And then obviously you right now you on your site, what you do as saying that it's a big mass, it just a bunch of lines. But trust me folks, when we get to the CRT, this is part of the hair, but I just kinda wanted to do this part anyways, because it looks cool. Okay. A little bit more in here. And go with the flow rate. And then we get some more here, here, and then just move it with your risks. Like that's okay if you get broader thick strokes a lot, especially with dark hair like Kubernetes or jet black here. It can be very forgiving because you can get away with a lot of blacks. But even if it's blonde area, you just, you know, you minimize your line thickness, your weights. Again, depending on your pencil or, you know, obviously your character sheets with the local lake and stuff. And if you have to think of color contrast, obviously, if someone's blind, you're not going to go as dark on this or like under some extreme late. And then the coloring, they're going to highlight the colors and the coloring process, so to speak. See where am I here? So I'm gonna go here. And there's highlights here. So trying to go over them if you can. And then the ones that are a little bit lighter than other equally thinner lines kind of thing. But ultimately you're going to want to you're going to want to kinda like gradually. That's her face Rake. They're getting there. Folks. Turn around. Face. I'm a law degree this side. I mean, obviously meeting someone like JSON file block that you don't even need inks for this guy. So excellent. Here we go. Starting to take shape. Almost a nice big one here, woo, woo, woo, woo. Yes. You get that. Done. Make sound effects to do explosions because we're doing here for you, steal them, you'd go. So you don't mess me up. I got to undo that because I just feel like, oh, perfect. All right. Back to it. Beautiful jet-black hair. Dad is saying gaga DO She's nailing it as Wonder Woman. I don't care what anybody says. Just iconic and herself, beautiful and she plays the character quite eloquently, I must say. And her hair just looks fantastic. I want to have her out. Yeah. No, I don't. Gary colitis. So you only kind of stopping on the insurer or the weight is that's going to build up. What's going to build up that shine that we're looking for? Those highlights. Let's get some of these curls. It's okay if you mess it up. There's no right way. Well, there isn't a recent but we'll clean that up after. We're almost done, guys. Since all black here, we can just fill that in. I mean, there's other ways that I could have filled this in faster, but this is just to kinda show emotion. It's okay. I'm going to speed this up a little bit. There's a big stroke, but that's okay though. Getting the idea of what I'm trying to emulate here. Hopefully this will give you some more insight or some ideas on how you can tackle here next time. Oh my God, almost there. To the angle here is going to go with the curl kinda thing. You know. I get a nice moment here. Like the camera. Now know here of one of the last girl. All right, let's see what this bandwidth looks like. Fit Screen. Let's see what the white background actually in the left because it's gonna look funny. I was telling you before, what have I done? I know what I did. We did on the wrong layer. That's why she said if he came by the way, there we go, try this now. There. All right, so let's zoom out a little bit. And then we'll put the white background on the back there. And that's not wait. Let's try that again. So as you can see, it's not battery is some nice shapes in there. Obviously. We're going to go there and clean it up. I go saying, you know, just kinda round out some stuff here. That's a machine. Take out some of the white areas like that. And then we'll, obviously we'll we'll go in kinda like and want to see even the moat would kind of try to give it some more shape. Because area that are there. There we go and just clean it up. Or if he has ever seen the karate kid, you know, Mr. Miyagi is teaching on how to cut the bonsai tree. Just go with feeling dioxide. Goes eyes look. And then I don't know if he said that. He said something like that. But I think you get the point right. So just kind of go until it makes IT team think it looks good. That's all. I mean, ultimately when you're doing comic books, it's all about making it look good and making it look cool. So That's your job, right? If it looks cool and no one's going to complain, trust me. There we go. Almost done. Walked into a hair salon stylist. There's little commercials that are traveling. Curve those things out. Here we go. Give me some more development here. You don't want any stragglers. They're kinda funny. You kinda wanna make it all makes sense. It's feeling good. I'm feeling good about this. And then we're going to zoom out a little bit. There we go. All right. I think that should cover it. I think they only gives you read it. I mean, one last thing. We can go in there with some white and it's kinda oops, wrong one some way. Or in racer, whichever you want. You're like, What are you doing? I'm just going to even things out a little bit. Kind of taper them off. Oops. You can see here. It's kinda because a little bit more texture. You know, there we go. And that covers this part. Discovers inking hair. Hope you guys enjoyed it. My name's Tim corner and with how to draw comics. And I hope you got a lot of information out of this are some tips. And I'll be back again very shortly with another tutorial. Think air guys, be safe. 21. Inking Line Weights with Walden: So here's our topic about line thickness or what I call line weights. And the reason why we do linewidth. Here's an example of something that's inked with just a flat, flat my way. So something where like an artist would just use like either a size 8 or size three are satisfied and they would just see one line. And this is why call a deadline, just really no language going on. There's no line variations in just one line fit to the noise like that. So it just, it just looks dead through. When I'm making a lot of times I'll use a brush pen or just a regular brush. Any kind of brush you can use as long as it's a brush or you can also use a quill. In this case, I'm going to demonstrate how I'm going to approach doing line weights. I'll have a bottle of ink. The ink I have here is a super black maybe speed ball, and I'm just using a pocket brush, a disposable pocket brush. I just dip it in there. Okay. And a lot of times before I start inking, our tests are going to side with a scratch piece of paper. And I make sure I can get it into a nice, fine tip. As long as you can get a nice tip, then you can start doing a lot of effects with this. Now, again, back to this. This was just a deadline. You notice that even though I'm using different micro is different shaped like this is maybe a 0.05 and this is the point 3 and 0.8. It does show foreground, but it's not as, doesn't create as much depth as you can. We're doing linewidth. I'm going to demonstrate some linewidth inking you at this piece here. So this is a piece that was printed off of a blue line in right here out slowly start inking lines like this. As I'm making a bounce the linewidth around some areas thicker. In some areas thinner. Okay. You notice that I'll also like making some of the lines sharper. And most of the times what I'm making, I would like to taper off the lines like that. And for the most part, it good rule of thumb is that the sun is always coming from up here. And because the sun is coming from the sky, the bottom portion of like for example, this person's arm is going to be a little bit thicker. So I'm going to eat this piece, I'll tapers off like that. And then on the bottom part, the interest thicker now bounced the linewidth around. The more you bounced a lightweight around, the more that our work is going to have depth into it is going to make a 2D image will like a 3D image. So the majority of the time we do line weights is when we're doing with the holding lines. Holding lines is the outside of the character, like for example, around here, around here, sorry here I'll bounce, align your way around your nose algos. Then I got thick. In a good thing again, I'll start with a thin line and make it beefy in and we get thin. And then here I'll start thin, pushed down again. Okay? Right now, I'll do this in red over here. I'll go thick with the brush like that. Okay, so right here, they did see, now we have variation on the line weight. Right here. I'm going to insert this line. I'm going to go thicker at the bottom because it's heavier down there. It wouldn't go all the way up here and then it's dinner. So I'll press down on the brush and as I'm gliding up, our lightly ease up on your brush is much better than flat line. That's this dead vat line. Okay? Now I'm going to do some linewidth on these flat lines and show you what a difference having him line weights can make into a, an object to pop out in the foreground. So right here I'm just the ink on top of it. Thicker here and thinner. Thicker and thinner. Just that. One stroke alone makes a big difference in the variation of the line. Okay? Mics aren't worth much better, okay? Like this arm over here is just a flat arm. But once I start bouncing that line weight around, it just looks so much more, more, more 3D in depth, okay. Right here. Like her dress is just a deadline. It's really hard to tell what's going on. But once I bounce that line around, it just looks so much better. Now may demonstrate a few more lines over here. I'll start then. The best way I can explain when you're inking lines is you want to start with a brush and press down into it to get those variations. Your ink very lightly. You always want to present a lot of people when they're drawing, they're so used to drawing in pencil that they're always pressing down very hard. With inking is not just drawing the lines, is also controlling how much pressure you pushing into the brush and how much pressure easing up. So that is very important. Okay. So some of the hair, I would bounce that line around. So I think the outline of the hair I'll go thicker and thin and then go thicker around there. Okay. Some of the face, I'm going to ink this part. That they grow on the bottom because that's where usually the light snack to show a bounce to face around. As I get up to here, I get then right here I get a little bit thicker. Okay, see that? It is closer to the screen. Say that line weight corner on it as I go towards the top, because this is on the inside of the body, I go very light. Now on the US are the hair and press down on it. I'll ease up. I'll press down on it. Eats up a lot of bouncing around. And just does take a little bit of practice just to get to this stage. Okay. You notice I'm pressing down lightning. I'm controlling what areas I went to be dark, in which area I want to be light. Which area to be thicker? In which area to be thinner. Okay, just like this, the better you can bounce the light weight, the more depth images kinda luck, okay, should be able to control how. You should be able to control how to ink with a brush to get really thin lines. Now this was inking with a brush and I'm just controlling any pressure would do as long as you can get a nice sharp tip to the brush, you should be able to do a good job of doing some of the inking. Okay, Now if somebody hands right here, this is drawn and it's a flat line, this is how incur approaches inking your hand and giving that hang some texture to it. So I'll go thicker, thinner, press down here. And then some are some artists like new artist. They'll ask, how do I know which area to go to theater, in which area to go thicker? With practice, you understand which areas should be thicker, in which areas to be thinner. A good rule of thumb is just to figure out where the light sources, light source, for most part it's coming from the sky. In other cases, depending on where the light is coming from, you kinda ink accordingly, can eat this part down here. Now you notice that this shirt is just one line. There's really no shadow. This artwork was penciled by Chris Brown's I was what the Incas for this project for a Jupiter circle. And this line, it's a deadline. So I'm going to eat this line and also create some line variation. And this will give this jacket in front, moving forward in the BIA shirt in the past, in the back. Okay, if this line and demonstrate what I mean by that. So first, I'll go lightly. I'll do a ghost-like cosine is where I'm making the hand movement to make sure I can ink that line. And you'll see me spinning the paper every so often like this, just so I can get that correct line. Once I'm happy with the line, I make sure I get a nice tip. It once it gets going, then I'll press down in our draw that line like this. Okay, now we have a thin line going thicker, Not only that I look at, so the inside like for example, is pants area. I'm going to go in here, it that line and go thicker there. So now you can see some of the inside of the line, even though the pencil, are, you as an artist within draw that are initially in the pencil, you can go in there and start adding that in right here. And here's a four inside the shirt. And we'll create some depth in here. Thicker, thinner. Okay. And then I'm just going to follow through like that. See now we can see some of his shirt Inside in, it just created more depth in here. And just say here, instead of just taking the line like this, I'm going to add a little bit thicker. Here. You can see more depth. Same with his pants. On the inside are just this line. That is the omics sorcery areas, thicker back. Okay, And we continue again, the rest of us alphabet so you can see how I approach a line variations. Okay? And is mostly about just bouncing your brush around. If you're using a crow quill or nib or micron, you can do the same thing, but with a brush or a colloquial, you can accomplish the same task, but some are easier than another. Okay, now we have this little belt over here. Okay? Is this drawing with a flat deadline? I'm going to give certain areas more of a bounce and this is going to help with the photo look a little bit better. So in this part is thicker enamel go thick and thin right at their watch like that. And then I'll press down here. If this indigo thin as I'm here, I'm going to make this line thicker than this line. Where the line is thicker. It pushes it to the front of the viewer. Marijuana is thinner, it pushes it back. So right here I'll start with this line. I'll push it. And then on this side, I'll go 10 K. See that? Now this one is popping four and this one is going towards the back. Okay, early I started this with a thin line. I'm going to push this line a little bit thicker. I'm gonna go thin and I'll press down on it. And then here, I'm just going to add that line. And then I'm going to pass line and we go from. Thick and then an inch thick. So and we control that from thick, thin, thick. Okay. See that right over there to bounce at lightweight, right over here. Thicker, thinner, each line. You always want to bounce it as much as you can. Try not to go a flatline. If you can bounce the light, the more sexy that light will lock. Okay, I'm going to make this line thicker and in very thin here and thicker here. So right here, then I'll present. And then on this side, I just connect this, okay? I would decide it with thicker and I'm going to decide thinner there. Okay, Now, compare what I ate on this figure here with the deadline figures right over there. Okay. You can tell there's a big difference in the yard. Okay. I want to show, demonstrate a little bit more. So right here, we're going to imagine the light sources coming from up here. I'll press down here. I'll break up the line got then. Can we zoom in a little bit so you can see a little bit better right here. I'm going to go here and I will press that line. So that just gives it more of a chest area k right here and we go tick a weapon in there. And then here just to give this some life into it and we'll go take care. Then. Really connected. Here's this sleeve, bounce this part right over here. Okay. I'll go thicker in the past that line. See him majority time when you're inking is really hardest choice of which area you want to bounce, thicker, in which area you want to bounce later. See this part, I see this for it. I see in my head, I see how this can be a really nicely. So this art was drawing with no blacks and it was just line work. So I'm going here and press down into it. Right now you have that nice fold on that, on his shirt right over there. So here we go here. Could thicker. And then right here it's just a little blob there. I'm just going to press that in there. Then week that Luke is part of the folding of this close same thing. We'll pick the way that give some depth into the work. Go like that. Okay? It's just so much nicer having a line weights compared to deadlines right there. Okay? So here I'm going to press down and I go way too. Practices is practice how to draw lines. I'm going to demonstrate practice how to draw thin lines and then go into thick k. The more you can control that line, the more you have control of your tools. Not only should you be able to go from thin to thick to thin, a nice way to go from thick to thin, and then back to thick. These are nice ways to practice dirt, practicing your, your line variations. Okay. Go is all it is is just drawing the line, controlling where you want to move the line. And also controlling how much pressure you push down and how light to ease up where we just control it. Sure. How you like the lines to be. And that's lightweight. In a nutshell. Just push those lines so we'll take one more look. Like it didn't line variations. When you're 18, you can also add in shadows. Some ears can be thicker. In some areas lighter, for example, right here. And the thicker you put lines, the easier it is. If you use a micron, sometimes you just have to build upon line. You draw one line and then you're going to go back in and add more line width to it. And this is what I'm doing with the brush. Okay? 22. Inking Spot Blacks with Walden: Okay, In this demonstration, I'm going to show you how to spot blacks. This was a project I worked on when he was 11 and I worked with a crisp rouse on this project. It was for Jupiter circle. This was done a long time ago, but I used to have this extra sheet here, this figure here. He is actually wearing a black t-shirt. When I was drawing, it was just all completely dry with line work because no black at all. There's no indication of where blacks are supposed to be. Okay, we're back to that for the sake of this lesson here, I'm not saying the words. I'm going to show you how to spot the blacks as well as keep all the lines around his shirt. Okay, we'll look at this figure right here. So the first thing I want to do is I'm going to outline which I call the holding line with the brush cow go in there with the brush into the outline. And what I'm doing is I'm using a print 0 brush been as well as, as people superbly, I'll just dip this in here. You can also use a crow quill. A protocol is a nib like this. Okay. It's just what you prefer, would you prefer to use? Okay, so I'm gonna go in here and I'm going to ink everything without using any white out or gel pen. And I'm just going to ink around in spot the blacks. Okay, so right here, what I'm going to do is I will look at every line in our CDOS, lines as white lines in my head. And then I'll eat the outside lines. This I'll start things in there are around those lines like that, okay, right over here. So that's one chunk. We're gonna make him wear a black t-shirt right here where? This line then here when Italy all this time, I'm keeping track of where it should be late because I want to keep if I eat everything in with black, everything's going to mesh together. You can see his alphabet. Okay, so I'm gonna go in here. This part like that. And then here I'm going to ink around that life, that even some of these foes and we go around it. Okay. Just to keep some of those folding fabric texture happening. Somebody care this, you know, go out here and you notice I sometimes I'm wiping my brush really quickly. The quicker I can whip my brush to smoother. I keep that line. Go here and fill this out. Some artists, they like to ink everything in the go-ahead. For example, the user quote all these lines like this, and then like that, and then they go back with another brush in the Philadelphia me being artists for a good amount of time. I like going in there and using my brush to fill in all the ink areas. Right here. You see the holy language is outlined here and you see this photo. I'm going to ink that light and maintain that line. And I'm going to round those lines. So right over here, I'm just going to press in here. We have that light. And then here I'm just going to ink around it like that. Okay. Some of the folds over here, I'm just going to go around and go around. Okay. Then on this shirt here to keep that white line, this go around here. And the reason I like filling the blanks while I'm doing the inking is so I don't have to go back and do an extra step in all the outlines and get a brush in, in, in kilo, the econo, the inside lines. I do that with one step like that. Okay, Here's the chest muscle. There's a line there that the artist drew. So I'm saying that lie going here in the second line, k, Here's a neck area and go in here. And then here I'm going to round all of the fabric that I left. Okay, here's the top of this leaf. I will maintain that line. Here's the sleeve and that's his power, his head there. I'm going to keep that in here. I'm just going to fill in all the rest. So this is filling the rest is it does take a little bit time. So why why go in there in do the extra step where you can just go in there, What's in this kind of push it and then fill in the blanks at the same time. Early in my career, I used to do that method where I'm thinking you the outlines that I will come back later with a brush into flow and insights. And I would see some of my work being published it I will miss certain areas. So going this way, you can actually see every area that you're working on, so you're not missing areas. Here's a little bit of a chest muscle and it's going to eat this part and then save that little bit of the chest muscle. Okay, So these lines over m, we eat that line here is around the top of the arm and we go around here again in my head, I already see the lines. I want to maintain it. I'm just thinking around it. Okay, We'll be here. Some of you may say, you know, what did, what did you just get a gel pen and ink around that because lot of times when you're using a job is you're not going to get the crystalline as if you're hiking around the line. Okay. When you're inking with the brush, really get a cleaner line. Sorry, this part. Right over there. It did now I will round this side. So right here, and we follow this line to swing goes in, follow that line, connect these, go around here. Co-vector, the ASA, the arm, it, the bottom of this arm here, and go back on top. Then here, maintain that white halo that the line separating the two black areas I caught that halal each ALL that helps separate. So now as opposed to just a line, I think this vigor completely black and then I maintain all the white lines. Okay, want to go in there, wouldn't give him black here. Okay, so read over here, Misko here, press down. Very easy for here. I'm just going to go in here, that line, go back around this side. And then now you can see that for including the black here, that inky any of the outline and coming back to finish it up at that little white crack there will help separate the hair for the left side and on the right side. And even if you're inking say backgrounds. For example, if this person is cynobacteria who's also weren't T-Shirt. This imagine, this is tissue through here, I'm just sitting this way. You want to create a Halo. Halo is this white line over here that helps separate two black areas. And we include the rest of the shirt. So you can see here's a sleeve shirt. Then some of these lines here, I'm just adding some of those folds, maintain those lines around this. Okay. I'm going to keep that arm sleeves that he had that was drawn there and go there and fill that out. Just like this. Okay, get rid of all that lines. So this books already been published out in the stores. Now it's called Cooper's legacy, based on Jupiter circle. Full-time e-book that I worked with Mark Miller and crisp rouse on here. So there's that person sitting back there was this. We're going to separate the arms over here, here, here. That watch how I go in there. And I'll separate this arm from folds, will push in there. Then. Now the reason we do this is with comic book work. Anytime you're thinking everything is completely in black and white, black and white ink only. That's why sometimes artists will do some hatching and crosshatching and haloing, which is what I'm doing right here. Okay. I'm going to separate the belt. We'll have a black belt as was the black purpose and what to maintain all that detail. Okay, so now I'm going to make sure none of my black area touches that shirt. I'm just going to eat this line all the way up to there like that. And we can maintain this and continue with the rest. That then none of the details of the original pixels will be gone. Okay, we have that now. I'm going to ink the bottom of the pants underneath the belt. This we had those a pocket here. So all I do is this ink around our pocket. And then next thing I will do, I'm going to ink in some of the the belt. Okay, we have a black, black color belt. Okay. So instead of using brush because the brush is a little bit wobbly, are going there. I can either use a micron or I can either use a crow quill. It then. In this case I'm just going to use a micron or using micron in that are inside here. Yeah, I just think they're very thin line that helps separate the artwork. This is like Dad. Okay. All those lines after the belt is interior are going there. And I'm going to fill in the rest of the parents though, the outline of the paths. This is just like inking, rise, even go quick lines, Korea like that. Okay, ever so often you read our inking, you go back in there and depth d and again, defeat, mature, you have on your brush, fill it in. Kc me, keep track. Nothing was thinking you really need to keep track of where you lasting fuzzy view. Don't maintain where they intersect. Each has a human hand might smudge, and that's something that you wanna do. Okay, so why am I doing for the Google though? I keep everything on the inside, in the center. I won't ink like this. I'll just turn my paper around. Okay, here's this line or this line like that. Okay, fill in the rest as I'm making. Some of these lines over here. I just think that side, this side, and I'll keep that line. So right here, Here's the his his right side of his pants. This line, then this is his perfect. We see this is dispatcher at it. This is just a 4. So I will decide when this line. Okay? And another thing is we eat nice halos. You want to have these halo lie is consistent, which means you don't want one halo of a sudden. For example, if this is black and this is black, you don't want one Halo to be thicker here, obviously, doing here, that doesn't help separate it by your, you want everything to be consistent thickness. So we go in here and it kinda afford fill this in. And notice how I'm turning my paper. First of all, I'm turning it so this way it won't be underneath my arm. If I'm making this side, there's a chance that my head might touch in the area that's wet. So I'm always thinking away from the areas that I'm working on. So here I will fill this in, go a little bit quicker to get a nice clean line. Then I press down a little bit harder to get that line thicker like a fill in the black areas. And then now he's just weren't all black. I didn't have to use any white gel pen. I'm gonna echinoids face just to finish up this character. Okay? And we'll grab my smaller micron. Because the smallest details on face, right underneath the bottom of the chin and disagree these lines. And even as I'm making here, I'm still doing a lot of whipping motion because I also want my lines to be smooth at all. Any flat deadlines are busy making lines like this. You're just gonna get a lot that flat deadlines. I like flicking it is. So even when I'm using a micron, I still get that nice sharp tip. So right here is is like that. And then I little bit on this national loose per eye right there. Okay. I'm going to complete this arm just like that. So that's how I go about filling black areas. Just make sure when you're filling in blanks, you want to make sure you look at the site that you're covering. You don't want to fill in blanks on this. I you are looking on this side and just press down nicely like that. Okay. So we have a person wearing a white shirt and then we have person wearing Baxter's right over there. It's just maintaining, practicing. And sometimes you get the paper that's not as nice and you're gonna get a little bit of a gray area there where I use are just dip it in ink again and I'll go back into our ink. It just saw the ink artwork is a little bit nicer. Okay. Sometimes if it's a little bit gray and you're scanning your artwork for publication. Like for example, if you're working for what are the publishers, you do what this inky areas to be as nice as you can. Not only that, when you're inking some of the original art in case you ever give it to a friend or sell it, the collector will want to have that our work looking as nice as possible. So I will leave this way. I'm not touching this one. So you can see the different textures of the ink of how I'm filling in the blanks. Now a lot of grays, it'll be a nice rich black compared to the other one. You see a big major difference. Sometimes when I go in here and I'm filling in the blanks, I'm just making it nice, nice and clean. So now I filled that out. You can see how nice and rich this black is the alphabet compared to this one. Okay. There you go. That's how I approach how to spot blacks. And the reason why I want to make those lines nice and clean. 23. Inking Hatching with Walden: Okay, this next lesson is about Hetchy and why we approach hatching. Hatching, I'm going to use a pigment liner here. Fine liner hatching is a series of lines, for example, like here is a series of lines that creates a gray area. You are a night penciling when you draw in pencil and you're sharing, for example, if you're drawing in pencil and you want that area to be dark, you can go in there and make it dark. But if you want to lay the area, some artists would just ease up on the pencil and draw lightly. Okay, So some of them even will use a smudge and kind of soften that up. But with comic book art, majority of everything is either black and white. It, because it's black and white. You want to go there and add hatching details. I'm going to use this pin right over here and we use this one. So you see how this is going from in pencil household from dark to medium value to life very, I'm recreate that with a marker. Okay, So what I'll do is I'll I'll inking lines in our space them as evenly as I can. Okay. So that's hace the next thing as you're going back then you cross hatching. So we cross hatching, you're creating a darker value like that. Okay? The AMI gone a step further with triple cross hatch like that. So now right here you can see how this area is darker and you go into a better area. Okay, So this is done with a pigment liner. I will demonstrate how to do hatching with a brush. So this is a brush. Okay, so what I had with the brush, same technique. I'll just start thin that out, just thinking those lines like that. Now we hatching, you want those lines to space evenly. Uh, you want each of those lines spaced evenly as best as he and you want to have those line to start in the right place and then end in the right place. That line to end in a pattern like this, you'd go in here and hatch like this. Okay? So when you cross hatch, all you do is you tilt the paper and you go to here. And you cross hatch technique with crosshatching. Go in here and darken up this area like that. Then I'm going to double cross hatch, go away from this area two here. So I'll start light. And as, as I go into Turkey out, press down a little bit harder like that. Okay, now we have a light area, a median value, and a dark value. Okay? Another thing with with the hatching is you can always go in there and do different spacing case. For example, instead of hatching lines are just parallel across from each other like that. And then go in here and then making it darker. What's some artists like to do is those spaced or hatching, which they'll start really thin. And then as they get into the black area, B L ACK, black over here, this is the light. Hey, they'll go closer. And then that light will get thicker gradually. See that the spacing is getting closer. And then that line is getting thicker as you go into the black area. Okay, here's one hatching technique like this. Now I'm using a micron and you see me going back and forth to create that texture. If you had a brush that is quickly done faster. So I may demonstrate over here, I'm gonna go thin. And it has I go into a darker, I'll go closer in our press down a little bit harder. So I'm also thinking about the negative space. Negative space is, you're not just looking at the black line. You're also looking at the white line in between. You're looking at the spacing of the white line. I'm going to grab some more ink so I can continue. So right here I'm using a speed ball, super black, and I'm also using a Pentel pocket brush and dip this. Every time I start Iike, I always want to go in there and make sure I have a nice sharp tip. Now hatching narrowly when I hash is touching isn't just one direction he go as many as you want. You can go straight. It has those lines straight like this. You can curve those hatched lines like this. Okay, so what I'm actually, for example, if I'm patching a details are the shirt, I follow the direction of the clothing, so ready, I'm just gonna make sure my brush is working. Press in here. I'm hatching underneath his elbow. Notice how I'm spacing as evenly as I can. Okay. Now only about spacing evenly. I'm starting that point. In the same area. So that means when you're hatching, for example, you don't want to just randomly hatch lines like that. That's that's messy. You want it to be clean and neat? Hatching. Okay. I will add some hatching on the side of his jacket over here, right here. Watch how I start the lines. I start thin and then I space them evenly. If I wanted to gradually become dark, I press down harder. Okay. With hatching, would you want to accomplish is a gray area just like the pencil that goes from really dark raised to a medium value to a light value. So if I was creating this, I would just press in thin, press in like this. You're creating a gradation that copybooks can print, like a light area to a dark area. If you're a cross hatch, you just tilt the paper, do the same effect and just go back in there and just press down like this, like that. Okay, so that's one way you cross hatch. Another way of cross hatching is spacing the lines, okay? So we have here that you turn it, okay, leave some of these lines. Actually, we had a little bit more. Leaves some of that line. It is start crosshatching somewhere here. So you go like this. Okay? So now you have a series of lines which, which you can see that there's a pattern going on. So you have, you have this here, that's only one line here, you have double line. And then now I'm, we go in here and I will do three times cross hatching, which is the same technique. But I'm only going as far as this. So now you have a light value, medium value, and a dark value. If I would just value to a darker, I go in there, I adjusted it our start inking and other direction. K hatching. You can hatch as many times as you want, as long as you have a gradation is sometimes I'll go in there and how you can break up that Ashland uses a gel pen, for example, this is a white pen that you can enquire white lines. I go in there and start breaking up these lines. So some of these lines, I just go in here now cross hatch, some of those lines. So you have these white lines going through the black ink like this. Okay. What is print it? You will see that whole line going across. It may be hard to see in the video, but right here, we'll scan, will look like the rope broken minds like this, like that. Okay. So that's crosshatching. And we demonstrate cross hatching with a crook. Well, this is a crow quill, red over here. This is a Huntsman or to nip. When I'm inking, limit, grab my bottle of ink. I'll just dip this reading here. Now with cocoa is different than using a brush or micron. With cocoa you can only in one direction, which is the concave side is facing upwards, which is the round cipher isn't worth. So this side is the bottom of the well, and this size is topic well, you can only go in one direction. So what I'm crosshatching with quo, you flick it instead of using a pill and you're just drawing the lines. What you're doing with quo is you're flicking it. So right over here, We share my co-workers and I'm just going to flick, flick like that. You can have full size as long as you want. Space them evenly, or you can have them as close as you will. But a lot of flicking motion. Okay. You want to press down on it and then flick. And you do hear that sound clicking self. So that's me cross hatching right over here. Now I'm going to cross I'm going to cross hatch. That was me hatching here across ash. Same thing. You just go in there and do this flicking motion. Okay? What do you want to keep an eye on is make sure those little squares inside is a pattern. You want those to have a nice pattern on your cross hatch lines. Okay. I'm gonna go here and have a few more lines with a quote every so often you don't have to dip it to the stippling year bottle of ink. And then we're gonna do some hatching around this cuff over here. So two ways you can hatch. You can go from Victor then, which I'm going to demonstrate now. They today. Let me get this started. Thick to thin like this. That's one way. And once you get used to using rush, you should be able to go from thin to thick. Thick to thin is freaking out this way. Event then you take is you're pressing down this way. So you start off with a thin line. So right here, then this way you have full control of your tools that you're using. You're not limited to only going one direction. You can go this direction. And you can also go this direction. So little skill that it takes a little bit of time to practice. But once you practicing is it's going to speed up your process of your work. Okay? I'm going to do some hatching over here and then I will do some cross hatching in between here. So you see how the difference between this area and that area. So right here I'm going to hatch with a crow quill, like so. And then here I'm going to cross hatch because I want more depth on to the side of the hip as Jackie right here. So I'll hatch this. And again, you, what you want to do with hatching is your space theme as evenly as you can. Okay? You want to let that dry for a little bit because nothing worse than when you're using a cocoa you hatches line also you have just like it drags of that ink over to the other side of it. You create a blob and grab some more ink with a cocoa, you have to keep dipping a micron or brush. You just need to costly there. Okay. Now, earlier I demonstrate how I was flicking from to then go this way. Now I'm going to cross hatch going from thin, from thin to thick. Okay, So right over here, again, space them evenly. It is controlling your tools. Remember, is not the tools that Chris ours is the artists that creates. This is not a tools that create art is an artist that uses the tool that creates start. Okay, so right here, I'm going here, CEDAW, this pushes back and it has a nice pattern. Here. I will do a little bit of cross hatching here. Now, I'm going to demonstrate how to hatch going from left to right, from here, left to right. Like that. I'm right handed, so I go left to right. Most of the artists who are born writing from left to right is just easier going from the frame. Just some artists who will go up to down the ink this way. And it's really what you're comfortable with. There's really no wrong way of thinking. As long as you're comfortable with wherever crushing your ego. So I'm going from thin to thick, right over here, thin to thick. Or I can go I can also go thick to thin, red. I'll get some more ink. And this is something that's just normal. When you're using a quote, make sure you do not press down too hard. Or some of the new artists here ticket like this. The new artists, when you press too down, that tip, the two little tip over there, it will break like these, these two little tips here. If you press down, what's happening is faxing open three, going closer so you can see better that when you press it out is opening the tip. Now if you press down too hard, that tip can break. Okay, so control how hard you press. This is as far as your ego, you want to go further and further. You just get a break, break the tip. Sometimes there could be some danger where the tip can fit into your life, into your eye or so going through your eye. Okay, that's my lesson on how to ink with a hatching. So some of the shadow here, if I want to add more depth to this, I'll just go in there, ask them a hatch lines here, space and further apart as a going out. And then if I want this area to be a little bit thick, the darker, I just cross hatch here. The outs fade out like this. Okay. And that's hatching events, otherwise you just, you just flicking it with a quote. Well, okay, That's the lesson on hatching, where O'Hare, the different values of hatching. The way to use a brush to hatch, how to use a micron hatch, as well as how to use a quote or the hatch. Each of them provides a different way of Hetchy is what you're comfortable with and which one is more effective for you. 24. Inking Textures with Walden: This lesson, I will show you the different textures that you can do with the inking. Okay, so I'm going to demonstrate are just a random piece of paper or scratch paper that I have K one. The first technique is called hatch HAT CH hatched lines, LIN. Yes, hatched lines is when you're taking a series of lines going the same direction. So what I'm doing is lines, you're taking it like this. These are going to hatch lines. Okay. The next one is called cross hatch, crosshatch. See our OSS HAT, see cross hatch lines. Okay. Cross hatch lines is basically hatch lines, but you do it twice. Okay? So right here we go, one line like this. And then you're going to go back in here and you inclines like that. Okay. That's called crosshatching. Okay. Another one you can do is called three times cross hatching. This is something that I do often. 3 x cross hatch that three times cross hatching is why do the same two techniques on top. And then I'll add another line on the bottom. So right over here, I'm going to go hatch line. I'm going to cross hatch it. And then alternate a finite angle which I haven't repeated. And then I'm going to three times crosshatch. K. What does is as you're creating a pattern at an infrequent darker tone, four times cross hatch. As most of you can guess this just doing the same thing and you're going four times. So again, when I go in this direction, we ensure lines are parallel to each other, space apart evenly. You turn it this way. Okay? So now you have perfect boxes. All those boxes are spaced evenly. Okay, That's the second way. Then we go to the third time. Again, you still spacing your lines evenly, so you're creating a pattern so it doesn't look random. Okay? There you go, four times root over here. Very important that your hand is consistent and your spacing and evenly. Now, what is the difference between this texture and random hash line textures? And we'll do some random ones on the side right over here. If I was hatching these lines randomly scattered like that, it can be messy, just it just doesn't look good. Cross hatching. It is I'm doing this is again, is too messy, doesn't look like a gradation three times cross hatching on the dimension over here. I go this direction or this direction into some artists do probably be used to doing this. It just does not look as nice as this. And four times is just going to be a complete mess. Cal go one direction here and another direction here. I'm doing this randomly without any control. That is just the area as it just doesn't look that good. But if you if you space them nice and evenly, it just looks so much better. See that? Like this. Okay, now, another akin technique that I do is called stippling. I'm going to demonstrate here STI, PEP. This is another inking texture. Steeply is a series of dots that you do. The more data you have in one area, the darker that tone will be. With inky caribou inking or any kind of printing ink, which do is you try to mimic gray areas. So for example, if I was drawing in pencil, you can draw a dark line like this and gradually go lighter to get a light shade like that. But with making you can't really do that. Okay? You can cross entropy, cross hatch evenly. So some artists, they'll go in there those charts to play. The more dots you have in-between all the other dots, the darker that totally, I'm going here and create like a dark tone to a medium tone to a light tone. They told you they have little lines like this. Then here you're just going to add more dots in between to give it that dark tone. And there we go, all the way here where it's going to be really dark. You don't see this in comic books In that often because it is time-consuming. For every so often you will see some artists that will add some texture into their county blinking because it's just the more textures that you can create in Europe, caribou art to nicer. That is going to look at the difference in variation of subjects that you can create from that. So right here, and it's not we, I'm not just going there and randomly pulling us. I'm controlling where I want those dots to be. Okay. We have all this as a black area. So here's what we can see, how all this black area goes into a gray to a light gray to a dark area. So this is called stippling. Okay? Besides stably, there's also some pickup basketball basking is another texture, be a k, e, t ING basket is exactly what it sounds like. What you're doing is you're drawing four lines, 1234 like this, then you're repeating that pattern right next to each other. So we're gonna go 1234123412341234. This is called basket is another inking technique. They actually go towards the bottom. You'll go like this, like this. With that. Okay? You see some artists applying these techniques to like floors below the sum of the close some of the objects that they're drinking. Okay, so add a few in here. Again, just takes a little bit longer, but the quality just looks better. You can always go back in there and do cross basket and cross basket. And then we separate this cross basking C, R or S cross B, a, S, E, T ING case lateral artists DO uses for a background fade were not so nicely as here though. Just go in here like this. A little bit more random here. In, um, we go from a dark area to a light area. So let's have the light area here. And it has are going towards the light area. You notice that the lines that I'm applying gets a little bit shorter. Okay. But as I go into the dark area, just like with the simply add more darker in our cross hatch some more. Okay. So this is almost like four times cross hatching and crosshatching, three times like that. But then you're doing the basket. In effect, you're going different directions to create that texture right over here. And we're gonna continue do this so we can see it looks like complete it. Okay. It does take a little bit of work, but the final results just looks very nice. Here we go, here, here, be sure it's consistent smoothness. Any areas that I see that I can cross hatch another direction. I just go in there and add, okay, So as, as I'm building up on it, you'll see that it's going from light to dark area. Like some of you may see, some of the blue. I said this blue line is what kind of regards to come Quartus, the inker special encourage that though have PESTLE files and they'll convert it into blue in Photoshop it after they convert it to ink on top of it. Once you're done inking in the sky, the artwork for production, not the blues would disappear. That's why else some of the artists to do a blue line. You can also do blue eyes you already I do is use for reshaping, going there and convert the gray pesos into blue lines. And then you get that blue. I look like this. So I'm gonna go here and do some basketry and then summaries to go vacuum and also use white gel pen and del cross hatch some of this. So I'm using white. I'm breaking up some of those lines. Right over here. I'm breaking it up like this. Just saw principle little bit more. So let's cross basket. Okay. Now another technique, carry book artists. They're doing for the different techniques, different textures. There's something called a daggers, which I like to call dagger. A dagger is where you're eating a line starting from thin to thick and you're creating that line like that. This is called a D. The a DAG G dagger. So you're going in there and you're pressing deadline from thin to thick. This is easily achieved with a brush compared to a micron. So I'm gonna go in here. I'll start then press down. This is called dagger lines, which is basically looking like a dagger, k. K, where you're starting thick, restarting thin to thick to thin it. So that's a diagonal line. Okay? Now there's something called blends, limited some more ink in my brush. So blinds is where you're starting with a, B. You in tea blends, starting with a thick line, you're going thin and it's going to decline. So right here, see these are plants which is I'm pressing down hard. I'm easing up and present their heart like this. What you want to do is create a thick to thin to thick disciplines. And other again, you add texture is called tapered lines. K t a p e, e d tapered I N E S. Tapered lines is where you go from it Dick shade to a dark area. So you go in here, you draw in this line. Pressing down on it like this, you're tapering the lines. So what's happening is you're starting from a thin tip, you're pressing down and you're getting thicker like that. Okay. So if you wanted that line to be longer, you just drag that line a little bit longer to space them evenly. A mixture that line is smooth as you can. You can do cross tapering right here, that's tapered lines. Next one is called cross the percy, our OSS TAP ER, cross taper. And crossover is, as you guessed, it's going in very crossing one direction like this. After you have that, you turn it and you're gonna continue tapering into another direction. Just make sure those lines close up like that. The, you're tapering it into the lines here. This is cross tapering. Very important that these diamonds that you see in there creates a pattern. Because if you don't create a pattern with the diamonds, it does not have, it doesn't create a good gradation. See these, there's no pattern over here. What you already do is when you're cross tapering or hatching or crosshatching, you want that pattern to be there. Okay? Now, earlier I mentioned you can crowd, you can taper across taper and there's also three times cross taper. Three times cross taper. Same. Just the geeking, yes. Right here you go one direction, press down, close up the line as it gets into the black area. Like that. You're going here. Horizontal line as you get into the black area like this. Okay, Now you have a nice gradation rarity. And in here you can go very lightly as you go into the black, press down on your brush. Right over there. See that nice gradation that is three times cross tapering. Okay? Then earlier I also talked about the different textures, about how you can do basket in stippling all these different effects, the tapered lines. Some artists, they are just start going from thin to thick. Very important that you learn this then too thick. Now the next lesson is to go from thick and an easing up your brush and then going thin. Okay. Tapering backwards like that. Okay. I'll demonstrate over here. Taper ops TAP, tapered different direction, the INFFER, different direction, d i or ECT, I enjoy. So what I'm doing is I'm starting from a blank area. And like this one, I'm starting from the white area to a black area. This time I'm starting from a blank area or this is by, I'm pulling up right here. I'm going to take a peristyle in that Aesop. It is a press down, is up, press down is up. Okay. Again, stick with the pattern and try to have your lines as the edge get. Every so often you can go back in there and kinda like Queen Elizabeth, close them up because you also concentrating on negative space. Negative space is the white areas on that line. Okay, so these are all the different textures that you can apply with your inking. There's a lot of different textures that you can go in there. And textures depends on what objects that you're looking for. For example, if I'm thinking like a sandy object, I can do this. If I'm doing a Valmiki, the ocean, okay, say I'm again river, here's a river, LSA, this is the river. I'm going to apply the the dagger lights. Okay, So further away, Here's the horizon line and here's the sign. Let's say there's a mound of your aneurysm clouds. Okay, so if I'm making this river outdo the diagonal lines like this, little bit thinner in it as I go closer to the viewer. Or just make those diagonal lines or control in and make this a little bit thicker like that. So it just shows depth in your artwork. Now if I wanted to create sand texture, I can always go in there and add stippling around the sand to create that sand texture. Okay, If I want is Baskin texture, I can use this basket in technique. And going there and just create those 1, 2, 3, 4 lines like this. And at the same time create a different perspective. Right here. See I'm changing it up to have to give this a one-point perspective in the inking texture. And over here. Okay? And again, you're just doing different. It's just a series of how you use these in certain places to create the different textures I'm going to show you are the textures right here. So we have cry, we have hatched lines, we have crosshatch. We have 3 times cross edge, four times cross edge. This is what not to do. Okay? This is what not to do. We have stippling. We have basketball, cross Pascaline, darker lines, bloods, which is this blend of air tape realized from sharp tip go into the black area. Cross taper, retired cross taper, taper going from black to you to Lake area. And these are the different textures that you can apply when you're inking coloring books. 25. Inking Colossus with Ed: Okay guys, I'm back and in this unit I'm going to talk about how to ink metal. And I came up with this idea in an interesting place. The other day I was sitting in the bathroom doing what people do in the bathroom. And I was kinda looking off to the side and I noticed something. I noticed these different hinges on the door, right? I'm gonna kinda zoom in here and see we can take a better look. And I was like, I know what that looks like. That kind of reminds me of clauses, right? We've got this big band going along. So you can see how we've got some primary light sources. We've got some reflective shadowing and stuff. I got some deeper lighter shades and stuff and we can see how it changes according to where the shade was falling. This is actually reflecting a mat off the ground. You can see how it's a little wobbly, right? So the things that I want to point out too, as I was looking at these references, I was like, Oh, it's got this cool, like highlight off the the top of that ridge there, right? It's got these different bands of light and dark and medium tones going through it. Okay? And that's something that I want to use as we go forward into this unit, this kind of basically abandoned metal look like what works well with bended metal here. Guys. You don't have to be sitting in your bathroom to do this, but draw inspiration from wherever you like. My second point of inspiration here is going to be Rick Leonardo. These clauses. This was a sketch TO pencil version of what he did in one of the exponent books. And I just always loved this, his version of clauses, right? So I'm going to get into inking this. It's gonna be a little tough. It's not, it's not a super easy piece. So there might be some parts where I kinda fast forward and move through things, right? So just bear that in mind that this is we're looking for the details here. So I'm going to send us an attach it into the unit for you so you can ink along with me or do it on your own or watch me and just listen and learn and then do it separately. It's up to you. The first thing I do when I'm approaching a piece like this, especially inking it digitally as I am with Clip Studio Paint is looking at a light source. So I'm going to assign a light source. I'm going to say it's coming from this side. It's going to come from yeah. Let's just put it to light as is from the top left. And dark is gonna be from down here. Okay, so if I've got that going on, what does it do? Right? Where where do all the where's the light going to fall while the light is going to fall here. Especially here, might be a little bit up here, might be a little bit here. And then through the fingers might have a band down here. And here. This is where the primary light is going to fall. Anywhere else. Well, that's mainly worried that light is going to touch. Now what about the dark where it's gonna be the darkest points? Well, in some shadows here and maybe, maybe somewhere around this point in this crotch area, lights not going to fall there and maybe just under the arm a little bit there, right under the knee here. It's going to be shadowed and maybe just a little bit under here. Okay, so in somewhere in these points, maybe down into the apps. So you can see how this is the primary light source. This is basically going to be the darkest spots. What I'm gonna do is back this layer away even more, just so I've kind of got it there and I just got it as a bit of a reference for me. I'm also going to back my pencils away so that they're not quite as punchy. So what I'm doing right now is lowering the opacity just a little bit. And now, after all that setup, now the inking actually begins. I'm going to grab a pen. The Clip Studio Paint pens. There's a whole bunch of different ones. G pen, real G pen. Some of these are really good. I downloaded this Japanese one that I like. There's something about just the way it flows, just kinda flows with how I like it. Okay? First thing I'm gonna do is kinda pop into this area over here. It's the highlighted part ripe, coming to maybe around 15, testing my size. Something like that. What I'm gonna do weirdly is put a couple of little highlight circles in. So I could do this after. I could do this before. But this is going to show kinda like where the sun is hitting, right? This is going to be like some blank spots for, for showing that. Basically this is a pure white that's gonna be in there. So now that I've got that, I'm like, Okay, where do I start? Well, why don't I started in the shoulder. It's the first thing that's out on the side here and just kinda move it around a little bit here. Okay, so I'm going to do a simple outline of the shoulder. Not always love in that first stroke. And you going to see I'm bounce back a little bit. I'm going to do the metal bands. They're gonna be and you can see they kind of thick and thin as I go through it. Going to do the chest here. Little bit of a thicker line there, even though it's up against here, usually I try to have thinner lines going on. Now as I'm coming towards this band, I'm going to just kinda make sure that I don't incorporated that much right? Right now, I'm just kinda doing some outlines and this can seem a little bit not that exciting. And I get that because it doesn't seem that exciting right now. It's gonna get a lot more exciting really quick. See if I can attach those lines properly or not even attached to them and just bring it close. Here we go. Okay, so I'm gonna bring this across. And this Peck is kinda coming up here under his chin, into his neck there. And I'm kinda getting it all put together a little bit here. I might just do some little bit of here to show this banded. Why am I doing? Why is there some taper here? I like the feel of the stroke. That feeling of how this has a natural kinda thickness going through the middle of it. But see, what do I have here? I've got this drop shadow here. So you know what, I'm gonna do, this drop shadow that comes from his jaw. I'm going to just outline it for now. I'm going to come in here and this is where that drop shadow is going to be. Now I'm going to come in not because I want to draw ink as face yet or anything, but because I want to show that in here, now, there's some things that I can do. I've got this drop shadow. And I'm just gonna kinda pop it over. And there's a few things I could do. I could do hatching, right? I could do that. I can darken it up underneath even more if I want. I guess when accent there, right? You could do another line through here if I want. And again, what does that do now? Well, that grabbed onto that dark blue that I wanted to show has a bit of a drop shadow, right? Where else is there some blue? Because right now I'm doing all these highlights and stuff. Why don't I come down here and show the difference in an arm of how this might look. So here's the bicep coming in on this point. And in theory, we would just have these bands coming straight across, but they're being blocked a little bit by that highlight. I'm also going to have this line coming in and that's going to follow roughly what I did for that, that block shadow. For that section that I want to block out. I want to block this whole thing. I'm not so sure right now. Let's see a mall. Also do a light one with the hi light. Hits a little bit, alright, kinda come in there. I can even accented a little bit, a little bit of a lineup this way too. But this one is darker in here, so I'm going to thicken this up, make it a thicker line. Just to show that this not a lot of light is catching here, right? Maybe even another line coming in here and thick on the border. Underneath here. There we go. Okay. Even go a little bit thicker. Some of that bended metal look. Okay. If I want to, I can do a few other things. I could put a little bit, a little bit of a band in there, right? I can also come in and this is what I'll do quite often, is remember when we were talking about the tip of the ridge, just having a little bit of a highlight on it. All I have to do is hit that. That kind of follows this highlighted a ridge here. I'm just erasing it a little bit so that it looks like it's got that highlight on the band. Okay. So what I did there was you can use white if you're inking naturally, I guess. Right? But what I did there was just use a little bit of black to her, transparent to the black set out from underneath the pec here. I think there should also be a little bit of extra black here. I didn't quite do it in. There. Here we go. But I think it'll work really well. Okay. So anything else that we want reflective here and maybe another little circle, sometimes, a little bit. Actually, I want more wiggle in that little reflection. Swirl, right sometimes. Okay. Now some people like hatches, other people, they like a little squiggle. Like I said, what that squiggle I might just put that little band in there. Okay. Just cleaning it up a little bit. As I go through, you can see how this is already coming together, right? This looks pretty good already. I could do this. And these are sometimes want to go black. These can be some light lines coming through here. And it's my choice whether I want to do that, highlight and get rid of it. I can even just come down to transparent and do it as a highlight. Let's see if I want to get rid of that. That can kinda give that same appearance a little bit, right? What do we think? It's getting there? Now? As I come down into here, there's gonna be some some darker spots underneath here and a real dark underneath here, right? So I'm going to really darken this up because this is an area that I said would be mostly in shade. So I can come here. Maybe do this line here. If I want to. What I can do is actually come in, fill it depending on the program I'm using. I'm trying to avoid fills in this eye. I sometimes use a bucket fill that can sometimes work right? Like sometimes worked really well. Other times, I might use a lasso tool a little bit. Let's see if I just have this band it in here. Okay? So this is looking all right, so far. I want to have something that comes along here a little bit more. We go And I wanna do this transparent. I can always go in and clean it up a little bit more if I want right. Looking not too shabby. If I do say so myself. If I sent her this just a little bit. There we go. Yeah. You can definitely see that this is the lighter area right underneath here is darker and that's what I'm showing in my inks that there's gonna be some, some areas of where the sun is hitting and some areas where it's not. Alright. So keep on going here. Keep on doing the bands. So what I'm gonna do here is I'm going to actually show how I use a selection tool to fill instead of dragging all the way through. Alright, so I'm just going to select that and then fill with my assigned color. Now that might be a little heavy for what I want. But of course, what can I do? I can come in here and get rid of a little bit of it if I want. Alright, just notch it out. Come back and do some of the detail on the other side. Again, like I said, I wanted this heavy on wherever I was laying this blue, right. Wherever I was planning on laying the blue. That's where I wanted to put some extra emphasis into any part that I was putting down this light source. All I wanted that a little bit lighter, right? So there's gonna be not as many heavy inks going in these areas, right? I might just put the occasional band underneath here or something, right? And carry some consistency with it being away from the light source here. It might just be a little bit under there, something. Just a little bit their income. So like I said, I'm trying to respect this light source a little bit, not a little bit as much as I can while still being able to play around with some of these lines. So if I want to, I can even play. I can even do it off of using the select tool and stuff right? There we go. And this is modeled a lot after the the reflection that we saw on my hinges at the beginning of this video, the bathroom door hinges. It might be a little bit of black down there. So what do we think? Is that looking like there's contrast between this bright spot here and this dark underneath belly here. Definitely, I'm definitely seeing the difference. If anything though, I want to show a little bit more form in this piece here, just to have it give the form that I want. There we go. I wanted to give a little bit more formed that bicep, right. Let's see if we can move on to another area that maybe we could totally block out this area, the crotch. Block out the crotch. There's a few things that we could do here when we're blocking out a big area, right? So one could be simply select it and fill it. I want to fill with this. There we go. Select it and fill it, right? That's one way to do it. Another way to do it is to select it and use our brush and fill it with a hatch and then maybe even outline that selection a little bit. Alright. So it kinda works well. Sometimes it depends on the style that you're using and stuff, right? I like it that here I'm going to really add some, some heavy darks down here. I like it that it frees me up to be able to do a lot of different things, right? It kinda unknown for me. It gives me a lot more time to focus on being able to just add in details after a selection does not have to be an automatic full-on fill. A selection can be something that'll just help you gather that space, right? And just say, Hey, okay, what am I doing in this? You can see on this side of things, I'm gonna go heavier with the blacks. Maybe even a little bit of occasional hatch, right? And on this side, other than like this, this pans part that might be heavy underneath it because that shows like the shadow of the shorts up top is gonna be kinda late. There we go. That's one way to do that selection is we could do it with a fill or we can do it as just this kind of selection and see what we've got in it. Let me show you another way. Or it let me show you more examples of that. Maybe I'm going to come in, select this again. Like I said, what I can do is kinda maybe grab a larger brush and fill the outside of it. Then I can come inside if I want. And just kind of goal back and forth. Kind of slid on that one. Something like that, right? Like there's a lot of different patterns that you can use here. So I'm just going to use this and see if I like that. Come back down to a ten here. I'm showing you a little bit of the the sizing I'm using for my brushes just off to the side down here. You can see how this can be used. Then I'm going to come off the leg. Maybe even in here, I can do this same kind of swirl. Come in this side. Now why did I leave this space under here? I kinda I came here but I didn't quite see if I angle this a little bit better. I didn't quite come to here. I'm using this. This thin section here as thinking there's a bit of a bounce light. So there's a little bit of a bounce coming through there that I'm going to leave it as is. And I might even come in black this part out a little bit more. Okay, so we can see already these are the dark spots, right? So I've got a few ways to do it. I can go in and dark fill it, right? Just with the autofill or bucket fill whatever program you're using. I could come in, do it as a simple hatch. I could do it as a bit of a combination of those things, right? It really is up to you and how you want to do that. Okay? We'll try one more dark spot to see how this works. I'm going to use a little bit of a fill here and just kinda outline the forums a little bit. You see how I'm kinda like just flowing with these forms? Just a little bit. Alright. So I've got those forms down. Nine could come in, do a line to separate them. Maybe even not. I like my squiggles. You can do those little squiggles. And now I'm coming in doing, you know what, this is gonna be high here, right? So I come in, here we go. So I've got my high line. This is going to be like how I did this shape actually for the biceps. So I'm gonna kinda around it this way and have these bands go this way. I don t think my sketch was bang on. Okay, so how am I gonna do this? Well, I can come back and do it this way. So I can do that. I can do over top here and then erase just a little bit for those bands, right? I can erase a lot if I want. I could cut out some of this swirl, gives it even more. I could do if I wanted to. Oops, wrong one, sorry, balance back to black. Do a few different ones here. I like that. Here we go. Once again, if I wanted to, I can come in here and have the bands show just a little bit more, right? And that looks pretty good. That's it looks like abandoned metal, right. That we were talking about before. But like I said, I didn't do just a shadow here. The shadow was over here too. So maybe what I could do here is come in and take some of these bands and carry them down. So I'm selecting, selecting, and following the shape of what would be the curve of these pecks. Alright, oops. Jumping between black and transparent here and filling them that way. Sometimes they need to be cleaned up, right? It isn't always the previous when I do it the first time. So I'm going to come in. This is nice too because it gives me a nicer, smoother brush line. Then my selection tool, we'll selection tools are great, but sometimes they can get a little ugly depending on how you have your selection settings, right? And what I'm gonna do here is maybe just, I like this line that I've got this contrast. So I'm gonna kinda go like this and bring it up into here. But going to add that little bit, extra little tick there, alright? Okay. And you can see how much I bounce out and bounce back in and bounce out and bounce back in because I want to make sure that this is heading in the right direction that I want. Alright, I want to make sure that this is doing exactly what I want. And there's my little patented squiggles. Alright, everybody's got something. Some people like hatching. I'm not a big hatchery. I've never been it takes too long. Never been a huge fan of hatching, right? I've always just enjoyed doing little funky little squiggles and stuff, right. So what do we think so far? How was this looking? Do you understand the approach between looking at it at first assigning a light source. Then with that light source, you're going to do very, very light actions. You're going to keep the lines a lot lighter or even not there at all, right? You're going to add maybe a little cute little highlights to it or something like that. You could even, and I've seen this done, you could even bid away. Actually, I'll do it on the inside here. At the the line work itself. Like imagine that this can be done in the coloring stage as well. That you can start to eliminate things in the lines. Alright? So I could do that there. I can come in here and just kinda say, okay, well there's a nice line coming through here. And I'll come down come down over here and do the same thing. Maybe somewhere along there as if that's the hard bounce coming off that light. Right. So once you've got the lights going, well, what do you do? Start tackling the darks. An automatic fill light, just a massive fill. That could work, right? But I say use a little bit of variety here, right? Use anything from fills to various lines, whatever you need to kind of get your point across. Okay? There's a whole lot of ways to skin a cat when it comes to inking here. I think that there's no really one wrong way or absolutely right way. The wrong way is if you convey things wrongly, venue are intended. E.g. if I have everything on this hand, a very thin line. Like if I come down and I start to do everything really thin, well, pause. Well, what's going to happen is if I back out, this hand itself is supposed to be closest to the viewer. This hand, maybe this knee or something, right? So they should carry forward. But a deeper, darker line and I've got to be careful that I've got to be aware of that when I'm inking it. So I won't jump to this seven here. I'm going to stay somewhere around my ten. And I'm going to do my lines at least as heavy as what I've got going on here, right? If not heavier it in places. And of course, once it gets to the light section, well, maybe I can lighten it up just a little bit. I ease up on the pressure sensitivity. So one thing I tried to do a lot is when I think of these forums, I tried to follow the shape of the form in the shadow, right? So this, this deltoid is, is kinda like, consider it a ball in the summary guards, right? And so that's what I'm trying to do a lot here, is just to follow that shape. It doesn't always work out exactly how I want. But for the most part, it works pretty well. Following that shape that'll guide you. So we're looking at the forms of what everything is. Does. This kind of baseball form of the bicep, this round basketball of the deltoid. These big slabs that are over top of the, the PECS. We want to follow those forms as best we can. One thing I've tried to do when inking to or when drawing in general is work on the one that's closest to me and then work on the one that's behind it. So in this case. These abs, certain ones are closer to me here, and then the next one does. Next. Ab is slightly further away, so this one would be overlapping. And then this one would be behind it from our viewers perspective. Trying to use a little bit of squiggles and hatches to show the form of these abs. One thing you could do if you want is to really just kinda get loose with it. If I know that this is the form I want, I can get a little sloppy with it. This is up to you as a stylistic choice for inking. Alright? But for some people that might work like this kinda brushy, brushy type of inking might be the stylistic choice that you want to go with. It's really up to you. I can't say one is better than the other. I just want you to know that. I'm trying to give you a few different pointers here when it comes to how your inking and stuff, right? Generally speaking though, I would say stay consistent. So if I'm doing squiggles through most of my my work, then I want to maintain those squiggles throat. If I'm doing a lot of selections and stuff I got, then I should probably maintain those selections if I'm doing heavy brushwork, heavy inks, what do you think I should do? Maintain those that pattern, right? Okay. Speaking of that, I might do a little selection right here. Here we go. Okay. Just fattening up a little bit on the side of this hatch. You can see how well this is coming together, right? This is looking pretty darn awesome for really not being that long of an ink job here. I can add some of the swirl and get looser. I'm bouncing around a little bit here, but I really want to show you guys some different styles. Like I said, you can do it all with selection tools if you really want to play it that way. Just realize it's going to have a certain look to it, right? Whereas in lines, loose lines might have that different sort of appeal to it. They're both. Both are good. Both can be valid. Just which one works for the style you're working on right now. And that you're going to stay consistent in that piece. Okay? Now the face is a bit tough. I'm just gonna kinda do a little bit of the features outline of Peter here. Okay. They've been roughed in for me already. You look stressed? Actually, if I remember this, he was angry about something, was trying to blow off some steam. So I'm just adding in a few things here. Now, how do I want this to fall? I can, I'm just going to follow roundabouts where I think this might kinda go. I'm looking at thinking of the forms of the face and how this might go. So this is gonna be that highlighted section. I, I roughed it in with the orange here, but that's not exactly how I wanted. I just know that this is roughly how it's gonna go. So that'll be one line and I might do a darker one. Passing into it. And coming off the chin here into the jaw. Patented swirl. So you can see. It's going to stay nice and light. It's going to stay nice and light on that side, right? With the occasional accent or something like that. The occasional little swirl or tick to show, to show what's happening here and stuff I guess. But I'm really not going to go very heavy on any of this side for the inks, right? I might do another swirl here, coming in off this hair. But on this side, I might choose to go but heavier. This is a risk because whenever we start to blacken the faces, a little bit too much, it can take away from what I'm wanting to achieve. So I might black in here and I can come in here and I can fill it if I want. Alright, and just kinda clean it up. I can come in here. Under this part of the, I give it some of this little bit of heaviness there. I can come in here under the lip. Give it a lot of heaviness in their right, Even on the outside here. So I'm kinda following this ridge here, right? It's getting dark, it's getting dark. And even into the chin might get a little darker. Right. So do you see how on this side I've kind of got the occasional little light lines and stuff, but on here, I've decided to go a lot heavier. I went heavier around the eye when heavier and the eyebrows, actually, these eyebrows can probably go pure ink. Dark eyebrows. Okay. But I chose heavier lines all underneath on this side. And as I'm going to go into here, I'll probably do the exact same thing. I might come in here into this shoulder and just black that entire thing out. Maybe just put one tick through it or something. Okay. What does that do? What darkens this side quite a lot. Right. And that's where I wanted, I wanted that light to show on that side of him. What I wanna do here next is show you guys how we can maybe fill his hair. Okay. And then what we might do after we fill, we're going to fill as not a great Phil, I didn't change my bucket settings, so I get this little alias outline to it. But it will still work nice and fast, just makes it a fast fail for me. Okay. So I've got this fast fill and it's black. But do I want that exactly black? Maybe I want something here, right? Let's see some kind of reflection. Maybe here and here. Maybe up here. Actually I can squiggle. There we go. That's looking how I want. It looks good, right? Okay. Gives that dark outline to what we wanted there. You know what? Looking at this hand, I think I'm going to draw some little bit of extra on in some of this. Just because I want to pack into these the weight of this hand a little bit just to make sure it's giving the proper the proper weight to that hand. So when approaching an area that I want to maybe concert totally blacking out. That's exactly what I can do. I can just select it. And instead of having to fiddle with the outlines and everything, I just came on in and blacked it all out. Then I can come over with my with my pen and just kinda finesse things afterwards and stuff, right? Because like I said, sometimes that selection tool is not exactly how I want it to look. I want it to be a little bit more finessed sometimes, right. There we go. You can see how I've got some heavier form line weights on this side, whereas in here it's gonna be a lot lighter. They're just lightened flowing on this side because that's where that light sources hitting. Right. And I can have a swirl coming down, some kinda squiggle or something like that, always following the form of that muscle. And maybe even cutting through those just a little bit, right. And cleaning up a little bit there. And don't worry if you make mistakes, get on in there, clean them up. It's better looking when you clean it up then if you just leave it, alright. Here's this knee. Now this is dark here too. So how do I want to play this? I'm always thinking of what do I wanna do? This underside, maybe have another line coming. Follows this form. These are coming in here. This vastus lateralis is on the outside here. So that means that if this is my form, that means I want that shadow that's cast by the shortest to kinda follow that form a little bit. Even though it's my shorts shadow, right? I wanted to to realize that it's it's hanging over something that's around the shorts might not be round, but these forms of the legs certainly are Okay. Dark inside here, right. So why don't I come back in. Render this a little bit. Grab by grabbing select tool, select tool and filling. That's not bad. And now I can come in, follow that same form. Come in here, erase that Haute and do my hoops. Back to black. Do my occasional little squiggle here. I don't know if I like that. How do we look? Not bad, it shows what I want it to do, right? Although I might think this is a little plane. So there might be something else I can throw in there somewhere. There we go That just punched it just a little bit more. I'm gonna do the same thing and come on here and give it a little bit more down there. Cool. This is popping where I want it to pop. When darkening out where I want it to darken. Maybe a little bit more backyard. That's the one thing I've tried to do is like I'm always backing out from it. And then popping back into it and saying, is this the look that I want as it, is it pushing and pulling where I want it to push and pull, right? If I get rid of this stuff, How's it looking? Is it looking the way I want it to? There might be some, there's a lot of detail and a lot of push, push here, but maybe I want a little bit more in here. So I can see that want something a little bit more contrasting. Over on this side. Even though it's my light source, I'm going to play with it just a little bit and punch it up just a little bit. There we go. Just because I want a little bit more punch will run this side. Do you see how that did that? Just by darkening that line just a little bit. I punched it. Tiny, tiny bit. That's what I'm gonna do this back to. Kinda want to square them out a little bit anyways. There. They're looking really good so far. It's, it's achieving what I wanted to achieve. Alright, it's teaching you guys the different styles of inking here and conveying the darkness that I want to convey. Maybe too dark since you see how I'm constantly like jumping and say maybe this. Do you see I can kinda come in here and do take away some of that black. There we go. So even if you do a whole fill, just like I did on the hair here or this knee, you can come back into it later and say a little bit too dark. This is what I wanna do to it. Guys. I hope this was helpful for you. I hope that you really enjoyed watching me go through this process. I think it's important to kinda learn what we have with inking and put it all together. It's not an easy process. Incurs are the unsung heroes of comic books and stuff. You know, there, there's that old joke of them being the tracers. They're not. This is an art form by far. And if you learn how to do it, well, even more of an awesome artist than you were before. So guys, enjoy yet to it and show me your ink jobs of this. Rick Leonardo, his version of marvels Colossus. That's your assignment. Have fun with it guys. 26. Exercise Captain Corea: Hey guys and welcome back. We've got another unit for you here that's kind of more of an exercise actually. What I was hoping for this and I'm going to attach, attach some different worksheets for you here, is that you could take different figures and start to play with the lighting and then figure out how you want to approach the rendering. So in this course, we've got different methods of rendering, rendering. And it's kinda up to you which one you want to choose, whether you're a strong with a pencil or with ink or whatever it is, write. My buddy Mike Van Orden here, he drew up this sketch of Captain Korea, actually the first sketches by a man named Mao sharp. And then the other turnaround is by Mike. I colored this first gets, so this is me rendering and you can see what did I do if we really tried to break it down? What's happening here? The normal costume as white and black with the spooky swirl in the middle, right? Okay, so that's that's the basic white, black, and red and blue in the middle. I okay. So that's the basic flat colors. But what did I do? How did I approach this drawing? Well, you can kinda see, see I'll even color-coded here for us. I've got a blue rim light coming from this direction, and I've got a bit of an orange-ish glow coming from this direction, right? So you can see how it, it hits on this side here, on the inside, and you can see how the blue is on the outside, right? Maybe this blue is more of a secondary. I think this one is kind of more primary, right? Okay. So now what I want you to do is figure out what you're going to do for this turnaround. He rolled back a little bit so you can see them all much better. You can print this out a bunch of times. It's really up to you. What I would recommend is figure out maybe your primary light. So let's say this first one, the primary light is up above, right? Okay. Now, once you've chosen that up above that overhead lighting, right, how would you do it? Well, when it comes to the white, for example, you might have just a little bit of a heavier line in the PEC, little bit of shading in here. And then coming down in here again, it depends on what style you're choosing to render. Maybe just a little bit the bottom of the delt, that type of thing. Whereas in, you know, you might choose to for an example. And this is going to look really ugly because it's, because it's undoing it in orange here, right? But I wanted to do this as an example. This is all going to be blacked out. And then you could come in and kinda like say, okay, well here's, here's where the PEC might com. Here's another line, that type of thing, right? Like using the fact that the light is coming from up top here, maybe even more. So you might have a bigger type of line in there, right? Okay. This is your exercise. This is what I want you to do. Take this turnaround sheet and roll with it, render with it. Right now it's just kind of like a basic character turnaround that has some very sketchy lines, right? Use the Color Guide off to the side and use for that center black. How are you going to do it? Is going to be heavy inks. What are you gonna do with it, right? Are you actually going to throw colors in your gonna bust help pencil crowns? The random choice is yours. I'm just trying to get you to really think of this as an exercise that will bring you into starting to look at more sheets and how you would approach different characters. What if the character is all dressed in white? What if they're all in black? And that's why I kind of chose a contrast here to really get you thinking, you know, how are you going to approach the rendering for the, for, for a white part of the costume and a black part. Plus he's got, you know, you could throw in the skin there and that type of thing, right? So this one has a little bit of little bit of a challenge to it. Guys. I'm excited to see how you're going to render and you know what, as always, send them to me. I'm excited to see what you get done and have fun. 27. Markers Materials with Deth: Hey everyone, My name is death penicillin. How are you doing today? I'm partnering with Ed Foy chat today to kind of give you guys an example or a lesson on using brush markers. This first part is just going to be to give you an idea of these materials that you need, the equipment that you need. So let's just get into a man, I'm trimming this video shortest possible because this is like the boring part. People don't want to watch this portion, I'm assuming. Maybe you do. I don't know. Let's start with the pens. I know this is a broad brush markers, but you're like, Why is he talking about pens? Write it. You have to be sure that the pens that you're using don't bleed, right? If you end up using one that bleeds, it's not going to be pretty. So that does come. It takes some experimentation. It takes some figuring out. One examples, microns. Microns not only drive very well, they use permanent ink, they also use archival ink. Archival ink doesn't degrade through time. Like if you use a sharpie, for instance, to do your artwork. A Sharpie after a few years, even less, especially if it's in the sun. Anything in the Sun is going to degrade even if it's archival ink. But for the most part, if you keep it protected, keep it out of the sun. Year. The archival ink is going to make sure that your drawings don't ever degrade in equalities. Sometimes it turns purple, sometimes it turns yellow. So just remember, when you guys go out and buy markers, make sure one, they're not water-based water-based pens. When mixed with alcohol mark markers, they're going to bleed. You. Just gotta make sure that any ink, that it's basically archival ink and that it is not going to bleed and make sure it's waterproof. Become a different types. This one is an actual pen, micron pen, right? You're gonna get a straightforward mark a line with it. Here's another micron. It's like a pen tip, but it's, it's different. It's almost like a brush. So those are the micron brands. They have other brands. Copic has a brand. Michael sells a brand to Artist's Loft, Hobby Lobby cells or brand through master's touch. Those are their brands. But that's basically it for that. The second thing is these, these are, this is a Japanese brand, right? If you have a store called Dicer, if you live in an area with the deisel every so often when you go in there and you go into their art section and calligraphy section, you're going to see these, these are brush pens like, like you have here. We're talking about brush markers. These are brush pens. You basically they come in different sizes. A tie. So the relatively cheap, you want to use those to cover wide areas, becoming different sizes. So when you use these, you can use these to basically make thicker lines. With less pressure, there'll be thinner lines. Basically variations in your line weights. Unlike the Micron pens, where it's basically, unless you're really skilled with it. The pen stroke is the pen stroke. With a micron pen. With a brush pen, you're going to be able to vary your line weight. Okay? The next thing to show you is the actual brush marker. This is a Copic brand. I will also show you another brand that I have. These, uh, graphlets. Right? Now, I, I specialize in gray tones. I thought when I, when I first got into it at that I would just do great towns because it will be cheaper. It turns out that the gray tones in themselves are almost a different subset from the rest of brush marker colors. Because when you have brush marker colors, It's just the color. There's many colors, but it's just that color. So you can mix colors. And you can blend colors into each other, but it's always just that color. So you might have like a civilian blue and indigo, blue and whatnot, but you don't have like a lighter shade of indigo blue and a lighter shade of certainly will and then darker. It's just that with these, there's different variations, right? There's, there's warms, cools, neutrals, and then there's different numbers for it. So you'll have warm one, warm too, warm 3, cool one, CO2, CO3, and neutrals basically, right? So like this one, you can see, let's see, did you see this is a warm five right? Now, when you go to Michael's or Hobby Lobby, it goes from 1357 and I think that's it. Every once in a while you'll see one of the denominations in between. But for the most part, those are what they sell. If you go to Dick Blick, you can get a wide spectrum. It's really up to where you want to shop, Dick Blick. You can purchase things online and you can get a full spectrum of everything. So it's really up to you. But they're not cheap. These kopecks run 799. The graphics were like 699. I got the graph, it's for 50 percent off. When I went at a comic convention, comics sending a Comic-Con. And I, that whole bundle right there costs, wanna say a $180. So normally it would be over $300. Capex or even more expensive. Just the small amount that I have. I don't really have that many. These right here, or at least a $150, right? At least. So you have to figure out how to cut the cost. And one of those ways is refillable. So this is a refillable for Copic markers in each color and each tone has its own reef refill ink. So like this is warmed three. So I haven't worn three. I have a refillable for every shade of gray tone that I have. These actually run like $16, so it's more expensive than the marker. But one of these, if used properly, will refill your marker for well over a year if you're using it. Not even sparingly, if you're using it a good amount. It'll still last few buddy here. And then you have these these are brush nib replacers, replacements. There are about $9 for three. And if you're using a brush pen like every day, if you're using it a lot. In the last about three months. The ankle last three months. If you're using it every day, you'll have to constantly refill it. But the brush nib itself will ask about three months and then you'll have to replace it. So these two things, at least for Copic, are going to extend the life of your marker by about a year. 11 bag should last a marker, but a year. And then one of these will asked it about a year. So these three things in conjunction with one another is going to last about a year. If you don't have those things, the marker will die out within months. So keep that in mind that this is definitely an investment. When you get into brush markers, you want to try to make sure that you are going to be able to utilize it. To potentially get commissions using it. You want to make your money back on these markers, basically. So the next thing I wanna show you is this. It is a Jelly Roll pen. I use it to make minor corrections. I also use it to accentuate highlights. It's, it's, it is a very useful tool. And as we go, I'll show you how to apply it. At least how I apply it. You may find a better way, a different way. It's really up to you. And then I have some titanium white goulash acrylic brush. And I basically use this to make any major corrections like big areas. And if I do need to make a big highlighted white area, I'll use it. I also use a white colored pencil. Just to basically the areas that are too dark. You can use a white colored pencil is slightly brighten it up so that you get rid of a little bit of that dark gray tone. As I was saying, these are expensive. So especially co-pay kopecks are probably the most expensive. Run about 799 at Hobby Lobby or Michaels. I believe they're a little bit cheaper clicks. The Plex also has, all of them really have sales. But another way to go about it is to purchase a different brands like I have these graphlets. They are different brand, they are a little bit cheaper. But I noticed also that they have different tones. So like the cool gray for these graphlets are different from the cool gray for CAPEX. So as you experiment and you purchase different brands, you're going to notice different things about them, the graph, it's have a harder tip. So blending with them isn't as good. But the variation in the grays are very good home. But yeah, that pretty much sums it up for the materials. Like I said, then you're going to find different brands. Experiment. You know, like whether you're gonna be working with just gray tones of the colors. I found that different brands react differently. Prisma colors. Those first ones that I purchase and I purchased the colors. They go on really heavy. So it's really difficult to blend with them. There's no, there's no in-between, right? So once you put down a color with the Prisma colors, you can't really change the color or blended into another color just because they go on so thick. That is the beauty of kopecks. Kopecks are the most expensive for a reason. They really blend into each other very well because they don't go on light. I mean, they don't go on heavy onto the paper. They almost go on like like lighter than they should. Lighter than you think, you know, you put on there, like, why isn't going on there, right. You know, but that's not the way kopecks works. Co-pays kinda goes on there lightly so that you can build up the color to the color that it's supposed to be. Or even more, making it heavier by utilizing multiple strokes. And the same, the same applies for other colors and kopecks. The reason that you are able to blend them together so well because they go on so lightly. But yeah, we'll go over that later. For now. This will be the end of this video. Um, I just wanted to get you guys comfortable with the materials. Give you an idea of financially what you're looking at when you start purchasing these markers? It sounds daunting. It was the sound of daunting to me, the idea of getting colored ones son a daunting to me. But as, as I'm progressing and moving moving around, it's becoming much more comfortable. So yeah, I mean, there's less basically for now. So let's enter here and the next step will be tonal values. Now, I know that Ed's working on lighting and tonal values basically for rendering. So I know that when you guys get to this part of the course, you'll have at least gotten a glimpse of Ed's portion and got an idea of what you need to do as far as lighting and tonal values. So we'll kind of go over that here a little bit as well on how to create those tones with these gray tones. And a little bit of color. I'll show a little bit of color. But, uh, yeah, that's it for now. So until the next lesson. See you guys later. 28. Markers Tonal Value with Deth : Okay, so I'm just going to show you a section and doing tonal value with, let's just go with neutrals. Here. I have a neutral one. It's kinda hard to see. But what I'm gonna do is I'm going to start here. And what the neutral one. I'm only going to go about three-quarters of the way, not all the way. And this is the first tonal value, right? And I'm going to build up, I'm just going to keep building up closer to the darker edge to get a little bit darker. And this is going to give you the true neutral one. On this side. And on this side, it's going to be completely white, right? So then you're gonna get this colorless blender. I forgot to mention you're going to want to pick up a colorless blender. It's not really a blender. What it is is essentially it's an eraser. And you're going to want to use it to erase the edges of some of your lightest colors or any color really. And then it goes into the white of the paper. And it basically creates a blend of that color into the paper. You don't use it to blend one color into another color. It's used to blend a color into the white of the paper. This one's a little low on ink, so it's not now coming out is clears I like, but you get the gist. That's essentially one, right? So we're gonna go to N3 now. But notice I'm still going to be using N1 right. Now you say, well, you know that we do an M3 and we are. But your base for entry is actually going to be N1. And in fact, because it's clear, you want it to be one tone all the way through. You can actually use the chiseled tip to soil just colored roof. Like so. Right? So this is your 1 N1. Now once you've gotten that base down for n1, and what you're really trying to do is you're trying to do N3, right? You're gonna get your N3. And you go about halfway. But halfway. And strokes at the end. They don't have to be exactly lined up. In fact, it's preferable not now for it to be. Now on this side, you're going to build up a layer and that's going to be your true. And three, right over here is gradually becoming this N1. And you're going to take this N1. Then you're going to go to the tip, the area where N3 meets the N1. And you're going to blend that N3 into the N1. So it's not a quick process. And it really all comes down to how much effort you are willing to put into it is, well, how the blend is going to come out, right? Like the more effort you put into blending. The more it's going to come out and blended, less effort, the less of a blend, right? So the next one will be n phi, right? I'm gonna move it over a little bit to see you can see better. So I'm using the N3 as the base. Right? Now if you want it, you can even go. From the end 52 it. And one. If you want it to be like a different tone or flight. And more like a warm. You can even combine a warm and in the end, neutral color where a gray tone together. But for now we'll just say that's neutral three, right? As the base for neutral Five. We'll go about halfway with the neutral. And then we get that neutral three back. Right along the edge. I'm going to start blending that neutral file into the neutral three. It's really that simple moment. So just, you know, just all comes down to how much time and effort you have put into each tone. And it's basically like that for the further fluorescence moment. If I say, the next would be a base color for N5. This is going to be in seven. So basically I'm doing is I'm laying down 547. And this is my technique. Know how to do this. I'm sure other people have different techniques. You know, if you find a technique that you prefer better, by all means, go for it. I'm just showing you this as a way of you having a basis of something, at least the C, technique wise, what you can do. I'm sure there's other artists that have a better way of doing this. This is just one. This is what I do. And then I'm gonna go back to the N5. And I'm going to shade the N7 or blender and seven into that and 5 with the N5. And if you noticing if it's getting too dark, like right here, then go shade, even under that, go to like an N3. And the N3 you're going to use to blend the N7 into the n phi. Takes a little bit more work, but you're gonna get more of a blend. And you're just going to learn. It's all by I, you know, if you're just not looking right, do you switch it up? You're the artist, you know, was up. You know what you need to do. But that's pretty much it, man. That's pretty much it guys. Like. It's pretty straightforward. Now, I will show you some different techniques as far as clothing, right? Like calling. It's all about how light hits it, right? So let's say you have a piece of cloth right here. And it's got curly like that. Let me see that very well. I'm basically just showing you offhand, you know, how, how it would look. Almost out an N1. And then basically you're going to create started with anyone. You know, she'd basically for your class. And I know it doesn't look like much. But this is just an example and you'll see more an application in the next section. But essentially I'm gonna go back to one, right? So just like I showed you before, You want to blend the shades into each other so that it creates a smooth blend between N1 and N3. So good talkers. I can basically just show you the steps, talk you through it a little bit, and hopefully you attain it makes sense to you. If it doesn't, you know, I understand. You come up with the old method or whatever the case may be. But as for now, it's pretty simple, pretty straightforward. You know, that that is the best adjusted it really. Now, I did mentioned to you before the gel pen, right? And what I like to use a gel pen for is to create a contrast between two dark, like a dark area and a light area. So let's say I'm going to go ahead and use the N7, right? Let's say you have, let's just say, for instance, the shadow light is coming from here, right? So let's say you have a line that right here and there's a crease. And so this area right here shadow. The light is not hitting it, but this spot right next to it. That's getting hit by a blight, right? So use the gel pen to come right there, right next to the shadow. And what it does is it creates a contrast between light and dark. And that's what people noticed the most you ever hear the saying when people say your eyes drawn to the dark areas first, I always say that it's actually not true. Well, what they're actually seeing is the contrast, right? If you have a drawing with a lot of blends of gray or, or just color, and then you see something that just stands out that just doesn't seem to fit. That dark area. That's what people are noticing, is just something that stands out to their eye. It's the same thing. So when you see dark area and x2, a white area, though, that's what you're going to notice, right? You're going to, you're going to notice the differences. Something, the thing that stands out here I saw and I do that a lot as far as textures for for like metal, for clothing, for veins, even if it's just giving it that shine that that white kind of provides next to dark and you don't wanna do it. If if the gray tone is really isn't dark enough, then, then that contrast isn't going to be there, right? So it all just takes experimentation trying to figure out what works and what doesn't work. But for now, this is pretty much the technique that I use to shade, you know, whether it's N1 and N3, psi it, whether it's N1, N3, and N5 or N7. Whether I'm doing cloth, a different technique for metal. I have even different technique for skin because skin responds differently to light than it would to clot or than it would to metal. So really all you're basically doing, we are doing all these different textures is you're simulating way that light reflects off their surface. So the next lesson, we'll basically be practical application. I have a sketch that I'm going to, we're not going to finish the sketch, but we're going to do little sections. And in those little sections, I'm going to show you how to color or shade skin, shade, cloth, shape, metal. Just so you get an idea of what you can do with these markers. Okay, I want to thank you very much and till the next lesson. I'll see you then. Bye bye. 29. Markers Faces with Deth: So basically, I'm going to show you some different applications for utilizing kopecks or just brush markers in general. So this first phase is gentlemen, I'm just going to basically show you my process like what I would do. Okay, right now, I'm going to just do gray tones for this face in the next phase, which is a woman I'm going to be doing in color. Right? Here is a warm 0, 1, 1, 1, 13. All right. So zeros my base. And basically I'm just going to establish where the shadows on this space are. So if the shadows coming if the light is coming head on, basically, your shower is going to be coming from the side or your shading. So we're going to start on the sides, like so. And basically you're just finding the contours of the face and this adding shadow appropriately to the areas that the light would not hit as well. I have some sniffles, so I apologize if there's noise. So done the sides. And then on the nose. Since it's, the light's hitting head on the sides of the nose will cast shadow. Below the nose will cast a little bit of shadow on that too much because the light is coming head-on. If the light was coming from the top, then you will have more of a shadow underneath the nose. But as it is, is just a very slight. So this is the base. So you added this base shade to the face. And I'm sorry, you're actually going to be using additionally colorless blender. And you're going to take the tip, doesn't just the edge or the marker meets the paper and sort of brush in the markers. And this is going to blend, give you a blend between the paper and the marker so that it looks more blended instead of having a definite line. Okay? Now you gotta go to the next step, warm one. And you're just going to reiterate the areas that are in shadow or shading to them. But less. You're not going to go as far in as you did with the, with the warm 0. This is being used to sort of support that. The 0 shade. I'm going to go back and utilize that warm 0 and 0 the edges where the warm one kinda ended. And that's going to blend. Cause it to blend in together. So you'll get a smooth blend between the warm one and the warm 0. You don't have to hard. Just lightly press down. And what's good? I'm going to go up to the next tone, warm 3. And this is really all about experimentation. So you need to experiment and see what works and what doesn't work. So right now I'm going to warm 3 and I'm going to the very, very edge of the head, right? And I'm going to be shading in. And I'm going to be blending it in with the warm 0 first. I want to see the warm zeros enough to blend the warm 3 into the warm one. And the reason why they do that is you're basically experimenting and you want to make sure that you don't go too dark. Like trying to use the warm one to blend a warm 3 into the warm one. Because you don't know if that's going to be to make it too dark. So you want to just go for a warm 0 first, see a warm zeros actually doing the job. So I don't need to utilize the warm one to blend it in. So you're going to get this ridge here as well as some shadow to the bridge. Let's go darker. I have warm seven here. Just for the eyes. Darker than the whole. I see this go warm day again so I can add shadow underneath the nose. Is basically going to build a process. You just taking your knowledge of how shadows and lights work and you just adding them to your drawing. Go back to that warm 0. Let's see. And let's color his eyebrows. I'll use a warm 5 for that. Just because and this one I'm using strokes, right? Like I'm not just calling it in kind of making messy strokes to simulate like bushy eyebrows or bushy hair. And we'll do this HER2 and then with the neck area. So it's the same principle, basically, like it's same deal. Really. The only difference with the neck is that you have the shadow casting from the chin. So we shadow. You go to routes. You can go like a light chamfer, like a soft shadow or a hard shadow. So hard shell is going to have a definite line. Like like so. Like you're not going to have like a blended edge to it. You can go soft whatever the case may be. But it's pretty much like privilege. I do. Like It's all about building up. It's all about blending. It's all about figuring out like how you want it to. I guess look where they must be dark with the ones be light. Like I can go darker than this if you want. It's really up to you. So this is the first phase. The next phase we're going to be doing it in a color. The process is little bit different. So I'll explain it to you. Once were working on it. Alright. Alright. Before we cap is dropping off, I'm just going to show you one or two things. This is a white colored pencil. When you're drawing on this face, on a face, if the area is too dark, you can use a white colored pencil. This sort of light it up. It. It's not going to do like inexact. Get to like make a huge difference. You just want to just slightly brain it so that it's not so dark in certain areas. The white gel pen, you're going to basically utilize this to add extreme white areas. So like for the eyes, for instance, I just meet all black or all dark. So you just want to add some white dots in there for the reflection of light. Maybe some reason the ear. Basically wherever you think you need to add, like a major light source or shine or something like that. Okay, Let's move on to the next part. The next part, unused, allowing some colored kopecks. They're not they're not too strong. That basically for skin color. I'm using a skin white in a pill, fruit pink, and I may add some other ones if I don't like the way these come out. So what do you wanna do is you want to test out how the gray tones are going to work with these? Because I use the gray tones to shade still, right? So this is a warm 3. You want to go a little bit darker because it's gotta show underneath the color. And you want to use the grays before you, before you utilize the color. And the reason for that is because if you go use the grays on top of the color, it actually determines out the cone here. You're not going to get the desired effect that you want. So this is a warm gray essentially. And I'm going to start with the pale pink and go over that. So the shadow is a little dull. But trust me, it's a lot more dull if you utilize the shadow over. And I'll show you an example that in a second. So I'm going over the shadow with this skin whitening. Skin white is essentially I'm using it as a shade for that pale pink. And I'm going over it again with the pill Who pink bled in that skin white. So that's basically how you shade. I have other tones. Barley skin, pink egg shell. So if you're finding that the gray is like dominating the color too much, you can add more. So this helped to give them a barley skin pink. And then just come over with that skin white again and again a little bit with the UPI. And let me show you why you don't want to the gray after. So this is the pale hooping. Okay. This is the skin white. Go back over it with the people who think a little bit of this, these given peak. So there we have this skin tone, if you like, looking like that, then utilize it like that. But let me show you what happens when you add a gray tone to that. That's more than three. Now, notice the difference. Like when I use the warm 3 underneath the color, it kinda blended out that gray. Added it to the color. So that's kinda what you want to go for here. It's dull and out the color a lot. You can kind of go over it and try to smooth it out, but it's just not it's not going to look as nice. It's not going to be as effective, is just one of those things when you experiment that you find along the way, you can try a different shade of gray. Maybe that'll help. But for me that that's just what I've come to. So okay. So we're gonna start working on the face. I'm going to be using a warm 3. A warm one, a colorless blender. And these these are skin colors. You guys. Okay, So this is a gross face random girl. Just do it up for this practice. So like I said before, you're going to go over the face and your gray tones first. That's what I would do. And then I'm actually going to start with the warm 3. Now I'm not going to worry too much about blending in the gray tones. Because we are going to be utilizing color and color is going to be doing a lot of the work. So let's choose where the light sources coming from. I'm almost say it's coming from the left front leg like this. Right. So if it's coming from the left, right, you're gonna get a little bit of shadow over here, is still going to get some shadow under the eye, right? But a lot of shadows going to be on this side because the light isn't hitting over here nearly as much as on this side. So we're going to add some shadow appear here because the hair is obstructing the light. And then some image of the eye here. Let's add a little blue shadow underneath the nose and that's going to be blended. So there you have the 13 shadow for the face. And now we're going to use the warm one and go the edge of that and blend that into the rest of the head. Like so. And you're probably saying then it looks pretty dark. But when you add the color and the color is going to sort of drowned out the gray. And so it's not going to be as pronounced. So at this point, I'm going to take the colorless blender, not the warm 0, the coal is Blender. And I'm going to blend the edge in so that it kind of blends the color and a little bit. Or the shade. There you go. See it's not too hard guys. It's actually pretty pretty simple. It's just the colors that you have available to you or the shades that you have available to you. That's gonna make the difference. Again. Let's just do the neck. We'll click his warm 3. A warm one. Blend that in. And depending on if you want to shadow who use a warm five for the shadow, right? So you can put the shadow underneath. The chin is going to be more prominent on the on the right side because the light is coming from the other side. The shadow to the hairline is pretty straight forward. Okay. Now, you're gonna take that skin white brush and you're going to go over the gray, see how it's coming up. If you put the skin first and then the gray tones last, it would have been very dull from the gray. And this one is a base. So you're actually going to want to cover most of the face with this. Only, the only areas that you're going to leave, white is the areas that you need plan on making the highlight. So like right here in the middle of the forehead, you can sort of leave bare because it's going to be the highlight of the face. Some areas and the cheek area. Can we white. And the chin. And on this side, so this side I've colored in pretty much everything. On this side, you're gonna color just a little bit less using a lighter touch. Just because the light is hitting on this side. You want to simulate that light. Okay. Next step is getting that pale pink. I used the wrong color. That's okay. Improvise. Right. This should have been the base, not the not the skin wise. But we're going to improvise. It's basically can still be the same thing. So that's essentially what I'm doing. And then you didn't even go a little darker with the baby skin pink. And get those edges with a gray tones are in there. Go under the eyes. Just underneath the eyes. Back over with the pink and the edges of this, just to give it more of a blend. So a little bit of color to this. I'm going to go ahead and utilize a let's see, where did I put it? I'm going to utilize a light thoroughly and blue for the eyes. Let me use the dental. Light. Blues are really dull blue. These are prisma colors. I'm going to be using them for colors at this point. So on the outer side, the base for these eyes is really light blue. And then I'm going to take my true blue. And I'm gonna do the circle on the inside and kinda trace the outside line. And I'm going to add the white gel pen. Let's go a little bit more blue. Just on the darker area. This is a purple, like a violet mixed in with that will like so. And then you can take your white gel and add the light reflections to those eyes. And then you have eyes right now, That's not that difficult. It's pretty simple. With the lips. Now you really need to be subtle, right? I'm using a peach. Okay? So the top, you can pretty much do the top. Like how you want, right? Like, like the actual tone, the bottom. You want to kind of subtly put in there. Because of the shine. The light is hitting the bottom lip. You want to kind of show satellite. And then you want to take your colorless blender and sort of blend in together with the white, white background. Like so. And what this is doing, this is actually causing the pink to recede. So you actually want to bring in more. Use that white coal is Blender to receive the areas where it's too pink, I guess you say. Just give it a different variation. And then go back over. Maybe what, a baby's skin pink. And you want the upper lip, but just to be slightly darker, then the bottom lip, just because the shadows not hitting it as much. So find another like color, I guess you could say you get even. You can double layer. So like experiment. Just try to figure out what works, right? So going over the paint again, that works. So if you want to add like makeup, you know, I'm saying what I usually do is I'll take this peach and add a little bit right there, hold it right there. And I'll wash it out like a lot with with the colorless blender. So if you take this colorless blender, you just keep going over that teach. You're going to dwell on it out, but you can also spread out like the area that it covers. Let's see. And then basically just use a brown to do the hair. I have a golden rod. So I'm going to use the golden rod. Some areas open for the highlights. Pretty much the process for calling, at least for me. The next thing I want to show you a little bit is folding clothes and stuff like that with CAPEX. So give me one minute and I'll be right back. 30. Exercise Turn Around: Hey guys, we're back and we've got a little bit of an assignment here for you. Now I'm pulling up this old muscular anatomy tutorial that I did up to try to help you in your rendering course. What I'm hoping is with this figure faded out how I've done it, you're going to start adding your choice of maybe materials or texture or something on top right? So almost consider this like a light sketch in the background. And what I want you to do is take this figure. And let's say for example, you want to go, why don't know, throwaway in a leather arm band or something, right? How you choose to texture it is up to you, right? But you can start to add in the patterns of leather, this hatching and scratching of it and stuff like that, right? And that's basically it. Now this is a really easy assignment, right? A lot of it plays into your creativity, but that's not really what the assignment is. What I want you to try to do is put a uniform or a costumer outfit or whatever on this muscular character. And really push it. Push it and say angle, I'm going to have half his arm is going to beat the bushes. And you could ink some tree technique or something on a mirror, something right? The other arm might be like cable. It might be one are made out of steel or something. Right? Then. That's what you do. You do bended steel along the arm with the reflections and all that kinda stuff. Take this as a basic guide to a figure and drawn it. Well, rather render on it some things that will challenge you. Okay, seems like a simple assignment, but you might have to print this off a few times and have a few go's at it. Get creative with it. Don't worry about how pretty it looks. And what I mean by that is, you know, design wise, you might be throwing every texture in the book at it and stuff for him. Just push yourself when it comes to rendering, whether it's the more finished pencils or whether you're delving into inks. I envision inks on this, but it's really up to you. Have fun guys. 31. Render Thank You: Hey guys, I was cool, right? Tons of learning how to render from pencil work to inking, to coloring and having some amazing professionals help us along the way. Lots to learn though. And sometimes it can be a little bit too much. So if you ever want to go over it again, right? Nothing stopping you. But if you do have a question that you feel maybe isn't quite covered very well. Shoot me a message, leave a comment, and I'll be sure me and the boys jump back in there and answer it for you. And if we can't answer it in a little blurb, well, we're going to make a new unit for you. I'm always updating my courses and always adding more content so that you have the best deal on the block. Guys. If you like this course, it really helps us. If you can review it, give it a thumbs up, tell us where on the right path and making content for you. It's appreciated. And speaking of content, I've got about 20 something courses on this site that I know you'll love. So once you're done this one and you are, jump on to the next one and see what else you can learn.