Inktober Ghosts: 12 Simple & Spooky Illustrations Drawing Ghosts

1. Welcome and Introduction: Hi, everyone. Welcome to my new class, ink TubtGtTel simple and spooky illustrations, drawing goes step by step. In this class, we are going to explore the magic of ink drawing while creating fun and slightly spooky ghost illustration inspired by the classic bedsitGhost. This is a big now friendly class, so even if you are new to ink and paint, you will be able to follow along. So as the Nin menton we have got 12 project So this way the towel pen and ink illustration that we'll be doing. Hi, I'm Michal an artist from India. I love creating simple, fun and beginner friendly art classes that anyone can follow. On a skill sae, I teach a variety of classes including oil pastels, doodles, watercolor and ink illustration. You can check out Dark Doodles, mastering scary faces, eyes and hair design. This class is similar to the class that I'm teaching right now. My classes are designed to be easy to understand. You can also find more of my art on Instagram and YouTube. In this class, we will start simple first by tasting out our supplies and making lines with different pins and brasses. So here we'll be using micron pen and all the other ink supplies, brass pins or whatever else you have to practice and create different kinds of line. And then we will move on to the basics, creating different kinds of line spicing sides and few other important things. Then we have different strops and technique here I'll be showing you the examples of hatching, cross-hatching, scrippling, stippling, and few more examples. And then we will move on to basic bedstGs. Here I'll be showing you six examples and different ways in which you can create this bedstGs. After this will jump into the main project, which I have divided into four parts. Each part contain three projects. And before jumping into the three projects of each part, I'll be showing you the examples in the demonstration that I'll be using to create the projects. Like for this third part, I'll be showing you how to create the walls, the windows, the pavement, different kind of goes, that reese characters, et cetera. So before diving into the three projects of each part, I'll be showing you the techniques, demonstration and the thumbnails. And then we will move on to creating this duel, beautiful and haunting yet simple ink illustration, ink and paint illustrations. So along the way, you will also learn how to use different paints for line, wheat, and different kind of texture, applying seeding and hashing to give depth, experimenting with contrast using breast paints and the ink taints and fine liners, creating atmosphere and storytelling with a ghost drawing. By the end of this class, you will have spooky and charming inkhostillustration, perfect for ink tuber or anytime you want to practice your ink drawing skills. So grab your paints, inks, and pep and let's dive into the spooky fun projects together. 2. Class project : For this class, I have created a total of 12 ghost illustration, divided into four parts with three projects each. There are all step by step drawings of simple wet set ghosts and different spooky and playful scenarios. Here's how the class is structured. First, we will warm up with some practice sats, tasting different brass paints and ink. You will try out line variation, strokes, texture, and sailing techniques. This warm up will help you get comfortable before jumping into the main project. Then we have part one that consists of projects one to three. We will begin with the basis drawing out first ghost character and keeping the setting simple. These projects are a bit quicker than we have part two, part three, and P four, all consisting of three projects in each. For this class, your project will be choosing any of the 12 ghost project or create your own boost illustration using the techniques we cover in the class. You can also experiment with red ink or different brushes if you did like to add your own twist. Once you have finished, please upload your drawing in the class project section. I'd love to see your spooky ghost, whether it's just one out of the full set of 12. Don't worry about making them perfect. This class is about practice, creativity, and having fun. And finally, don't forget to leave your reviews, feedback and suggestions. I truly enjoy seeing. I truly enjoy seeing students project and your feedbacks help me make future class even better. 3. List of Supplies : For this class, you may need a pencil, an eraser, and a micron pen or ink pen will do their work. Any paper of more than 200 GSM will do their work. Just make sure that it's bleeding proof. Then you have got the ink. Here I'll be using Jig kuratakik, white ink to add more highlights or to cover the mistakes, or you can use even the acral colors or gauze colors. Then I have got this brass pens. This Kuraaki zig Kuraaki bras paints, here's another white highlighted that I'll be using to add a bit of highlights or cover mistakes, and all the other paints and ink bras paints or sketch paints or whatever else you have, watercolor brushes to cover large areas. And yeah, the other ink and paint supplance that I have watercolor, if you want to use black from that. This class, you don't need this much supplies. Only having a micron pen or an ink pen will do the work a little bit of ink or watercolor will come handy. So only this few supplies are necessary. And if you are using a loose seat, use masking tape to secure your paper. I'll see you in the next video where will we tasting out our supplies. 4. Testing supplies : A in to this section in which we will be tasting out our paints and breast paints and the ink supplies that we have got. So take out all your paints, breast paints, watercolors and brushes, and let's do this supply tasting together. So we'll be creating various kinds of lines, different texture using the paints. So first here I'm got the Sakura Micron paint. So I'll mostly be using this to do the outlining and for the first five or six project I'll be mainly using this. So it has 0.4 millimeter thickness. And here you can see that I can create varieties of lines using it, but I have to do three or four layerings so feel free to use other micron paints of various thickness as it will make the process each year. Next here, I've got few brass paints. With the brass paint, the main advantage is that we can create varieties of line dynamic lines like in here, lines of various thickness and thinness. Also, depending upon the brand or the company of the brass pain, the intensity of ink varies. Some lines from the ink paints are much darker as compared to other one. Like here, in this case, Zikurataki paint, the ink is very dark. The ink with this Cura take pin is much darker as well as it's waterproof. Then you can also use normal ballpoint pen. The intensity is a bit low. But if you layer it five or six times, you will get dark intensities. Then we have got the spine liner pins. So with these, I'll be using if I have to add tiny or minute details, then here's another bras pin. This is from Brusto. Here, too, I can create dynamic lines with it. I have got a few more paints here another one, the Grey colored, so I'll be using it to create a bit of sados for some of the project. Instead of using the gray paints, you can use watercolor, diluting the black to get different consistency on different seeds of the gray. Yeah, these are some of the lines that I have created using the normal breast paints. Here's another from Kura taki one. Here I have got laced ink in here, so I'll be using this to create this kind of textured lines. And here's the seam paint with ink in it, so you can see with it, I can create this dark and intense lines. And these are the 12 breast paints that I have got of various seeds. Only using two or three sets of it for only a few projects. So you don't need this kind of brass paints, you can make do with the ink, just diluting it to the consistency you required or you can do. You can do same with watercolor, diluting the black to the consistency of the gray that you required. For line variations, use different paints like Sakura Micron bras, pain, chil paint, fountain paint or normal paint to taste thin, medium, and thick lines. So like here, we are doing testing or supplies. Also, you can try holding your paint at different angles to see how the lines quality changes. Then we have presser control. Practice applying light versus heavy presser to see how your lines from delicate to bold, especially with the brush pins, where the pacer to make smooth transitions. Then we have few line exercises that we'll be doing in our next videos like drawing straight lines, cirm lines, zigzag lines and spirals, also practicing parallel lines, cross-hatching and seedings that I'll be covering in the next two videos. Also, I'll be covering the texture and strokes like experimenting with dots, tases, and stippling to create tonal values using brass paints to make ripe brush strokes for ghostly effect, like we did earlier with the pain that have less ink. Then we have got ink flow and paper taste. Check how different paints react on your chosen paper. Some may bleed, some may stay crisp. Ensure that your paper is more than 200 or at least 180 GSM. See if your ink smerge or dry quickly, which will help to avoid ascendant. So with this, we are done with 12 breast paints. Now let's check out the highlighter. So here I have got from Ziuratake. For this, I'll have to do two or three layerings to get the kind of intensity of the white retirement. You don't have to use this. You can use the white from the watercolor or white acrylic paint or white gauze. So here I'm going with the white ink. With this two, I'll have to apply two or three layers to get a desired consistency. In see that the ink has dried, then add it white, you will get a smudged appearances. Now, let's create lines using the watercolor brushes. With this, we can create varieties of line from very thin to very thick. I'll mostly using it to feel larger areas. Also. This by wearing the water content, we can create varieties of seed with it. So it's more versatile as compared to the brass paints and the fine liner. And with these, we are done with our tasting symblies 5. Ben and ink basics : Welcome to this section, ink and brass pain basics. Here we'll be creating some simple lines and trying out various spacing sieges and different kinds of strokes in the lines you can create. Also, we'll be creating lines of varied weight and thickness. For most of this video, I'll only be using the Sakura Micron paint for weight and thickness, I'll be using various bras pains, ink pains and a little bit of watercolor brasses. The simple lines that we can create with this micron pin, simple straight line a little bit curved lines. So let's create three or four lines with this micron pen. Feel free to use other micron pints of various thickness and the other pins and the ink pens that you have got. To keep this video simple, I only use these two paints, this micron pen and the brass pin. So let's move on to spacing. For this class, spacing means how far apart the lines are from each other. The spacing plays a very important role. The closer the line are, the more darker the intensity becomes the farther apart they are, the less intense or less darker the project appear. The lines appear, o the same goes with the sides. Let's try out the spacing and the sides together. The longer here, I'll be creating lines from long to sort. So these are the long lines, and the spacing means exactly the same that is A. And as we move towards the right, I'll be creating a bit smaller lines and making them less spaced. So the closer they are, the more dark it appear, the farther apart they are, the less it appear. Also with the sizes, the same thing here. Let's create a little bit more small lines, and let's play with the spacing more. So as you can see, the smaller and the closer the lines are the darker it is and vice versa. So for our project, we'll be creating various sides of line from long to sort. Also, we'll be playing with the spacing a lot, creating dark tones and lighter tones. Now let me show you different kinds of line that I'll be using. I'll not be using all this kind of line, but I'll just showing you some of the different kind of line that you'll be creating. These are the simple parallel lines, a bit horizontal. You can do the same with the bit curved lines, then we have got more curvier lines. You can also create this kind of somewhat triangular lines, WC lines, inverted triangle lines. So we can create any kind of line using the fine liners. These are just some of the example you can come up with. You can come up with many more examples. Yeah, let's create a few more examples. And with these, we are done with a different kinds of line. I'll only be using three or four of them in our projects. Let me show you some of the example of different kind of line that I used in different projects. Here are some of the examples from our main projects. Next, we have got the weight and the thickness, weight refers to the impact or the heaviness of the line, and thickness refers to the physical width of the line. What I mean is line weight refers to the visible strength or heaviness of the line. A line with more weight looks darker, bolder and more dominant. Line thickness in the other hand, refers to the actual width of the line, how thick or thin it appears on the peach. Thickness depends upon the tool. Micron paint creates thin lines, or bras paint, generally makes thicker lines. So in here, I'll be showing lines of various wet and thickness using various tools that I have caught. As you can see, the lines that I created with the micron pen has less weight. And as for the thickness, the bras pain has more thickness. So we'll be playing with various weight and the thickness in our projects. And here I have got normal wallpoint pain. It has got least weight and no thickness at all. With the ballpoint pen or the Micron pen, you can increase its thickness by going over the lines three or four or five times to make it a bit more thicker, thus increasing its thickness and thus increasing its weight. Let's greet a few lines with the watercolor brushes here. With the water bros, we can create dynamic lines, having various wet and various thickness. Also, we can create this kind of textured line by having more ink as compared. Also, we can create this kind of textured line with it by wearing the water contained. Now let's create some lines with much more thickness. So for larger areas, we'll be filling the entire sections with this kind of strokes, and let's practice creating lines of less thickness and wearing the meat of the line. So as I move forward, I'll be creating lines of lightweight and less thickness. So, feel free to practice with the tools and the supplies you have. And I'll see you in the next video where we'll be practicing different strokes and few techniques. 6. Techniques and examples : Welcome to this section here, we'll be creating different strokes and trying different techniques that I'll be using in our main projects, techniques like hatching, cross-hatching, and along with that, we'll be using this piecing meat thickness and the sides that we learned from the earlier video, and then we have scribbling, stippling, and a few other techniques. So let's start with a very basic and easy one hatching. So hatching is a seeding technique where we draw parallel lines close to each other. The closer the lines, the darker the area look, the farther apart the lighter it appears. The specing matters in case of the hatching and instead of creating the hatching lines in this straight line, you can do it in horizontal, vertical and in direction. So here's an example of slanted line hatching. So I'll be using this to create the valves or add pattern or texture to the doors and the wooden frames. So as I mentioned earlier, spacing, weight, and size matters and kegs of hatching or any other technique. So for our main project, we'll be playing with different spacing, weight, thickness, and sizes while we'll be using the hatching techniques. Next, we have cross-hatching, another simple one. So cross-hatching is cross-hatching generally builds on hatching by layering another set of parlar lines at an angle of a 90 degree angle, intersecting lines, this creates a denser texture and deeper shadows. These are some of the other example of the hatching technique. You don't have to stick with the rule that you will have to intersect lines at 90 degree. Also here too, you can play with spicing, weight, thickness, and sizes, and we'll be using this to create a bit of darker regions or to create much darker shadows and mainly I'll be using fine liner paints to do it. But if I want to have variety of lines of dynamic thickness, then I'll be using a little bit of brass paints. Next, we have got the scribbling. So scribbing uses loose random overlapping lines to build up sading or texture. So this is just a very basic simple example of the scribbling technique. Simple circular lines. You can create in any seep sizes or different forms. So all you two or three more examples. So it is less control and more organic and adds energy to your drawing by energy. I mean, it adds another kind of texture or arrect to your illustration. It's work well for mostly texture, smoky areas or background. So you can create more varieties of scribbling techniques. I'll be using this kind of to create a bit of grass for some of the projects. Now, let's move on to stippling. Stippling is a quite tricky one as it takes a lot of time, but the result that you will obtain with a stippling, right stippling will be very beautiful and really great. So stippling is just seeing with tiny dots. The more dots you place close to other, the darker it appears, Spiecedwnt create slight tones. It's excellent for creating delicate, subtle seeding and adding an airy atmosphere. I won't be using the stippling that much for our project, only one or two project and a little bit of stippling. And instead of creating the dots for the stippling, like in here, I'll be using small tiny lines, same as the hatching. So I'll be using that to create stippling like technique. So let me show you three examples of the stippling, the light, medium, and the heavy one. So for the first one, I added the dots a bit farther apart. For this one, I'm adding a bit more closer, and for the final one, I'll be adding it much more closer. So the farther they are, the lighter it appears, the closer we are, the darker it appears. So let's do the third one. As you can see, it takes a lot of time and pieces to create tiny dots. So that's why I won't be using that much for our project. But if you prefer, you can experiment and use it for some of the ghosts and some of the paintings. I will create very good texture and make your painting much more interesting and vibrant. After this, we'll be creating various kinds of line, like we did in the last video, you can experiment with various squeezing weeds, sizes, thickness and play with different kinds of line, experimenting and creating your own lines and different texture pattern. So let's add few more dots to make it a bit more darker and denser. So this is our light stippling, then we have got the medium one, and this is and this is the high stippling with the darkest side of the three. Now let's do some other lines. So here we have got a little bit of hatching lines, but instead of the straight lines, we have got parallel ones. Here we have got a center for the lines and it's coming out from it. I'll be using this to create a bit of grass. Here I have got this kind of lines. So I'll be using this to add details to the trees or the branches. Next, we have got hatching lines here. The lines are bit softer and much more closer. I'll be using it to create a little bit of grass or shadows or to sew the details on the wall. Then we have got this kind of pattern that can be used for the doors, windows and texture for the pavement or on the road. You can create various other kind of textn and pattern. Then we have got this jig jag kind of lines. So this is yet another simple technique that you can use. It's very quick and fast. And I'll be using this to create some grass for some of the project. Then we have got another one. Let's use the scribbling for this. So here I decided to show you an example of scribbling with decreasing intensity. Here I added the lines or scribble closer to each other. And as I move forward towards the right, I'll be increasing I'll be decreasing the intensity. So yeah, you can do the same with all the other lines that I have created in here. For the center, you can make it a bit darker and on the edges a bit lighter, or you can just do the post darker on the edges and for center a bit lighter. And with these, we are done with a different strokes. I'll see you in the next video. 7. Simple Bed sheet ghosts: So welcome to this section here. I'll be sketching out six simple ghosts. We will start with a very basic simple sketches, pencil sketch, and then we'll move on to adding more details, eyes, mouth, and the last ghost will be a colored one. Instead of the white ghost, I'll be creating black one. We have got six bedst ghosts in here. We'll be starting with a round s for the head, then flowing lines down for the draped seeds. This is just a very simple one. So let's create the second one. So begin with the light circle or oval for the head area. This gives the ghost its central seat from there, imagine dropping a seed over it and sketch the the fabric drapes. Don't worry about perfect symmetry. Uneven folds make the ghost look more natural. So this ghost is in movement, so it's moving towards Lab. Now here we have got the third one. So adding movement to the ghost Ghost don't generally stand stiff. The float create this effect by making the seats edge curvy or wavy like here I did. It's like flying towards the left. Now let's add hands for our meaning ghosts. Apart from the UN experiment with the seat length, short, long, medium, and then we have got the bottom edges, smooth curve, jagged torn look or uneven wavy ham. Then you can add subtle props or poses like holding a pumpkin peeking behind something or hovering above the ground, like we did for the third one. And let's create this one upside down ghost. This ghost sketches don't need to be too much deity. The charm lies in the minimal look, focusing on the silhouette and folds rather than oversding. And with these, we are done with very simple basic outlines. So here I'm using Sakura Micron fine liner. You can use the other bras pin ink paint or whatever you feel free. I would recommend you to use different paints or different ink paints for the six ghosts that we have in here. Generally, use thicker outlines around the ghost outer sea to separate it from the background. And for the insides, draw fine lines to suggest folds and shadows in the fabric, which I'll be doing in, which I'll be adding it later on. And as for the strokes that you can use, cross-hatching lightly, under the ghost can give the illusion of sado making it look like it's floating. I won't be creating that kind of look for our project. But if you prefer, you can go with the cross-hatching and the hatching to create the sados for our floating ghosts For this ghost, the upside ghost, you can treat each ghost like a character, not just a C, giving them moods playful, spooky sigh or surprise. So this one will be a little bit scared. Also, we can exaggerate folds and curves to make them cartoony or keep them soft and flowing for a gentle look. Now let's remove the pencil sketch, and then we will move on to adding itail to the clothes and the drapes, adding eyes and mouth. After this, I'll be doing the eyes. Two dark ovals or circles are all it takes to instantly turn draped fabric into recognizable seed ghost. Placement changes the mood, high and white eyes feels surprised, small, close eye feels high or cue, while tilted eyes look mischievous. So for this one, we are creating a little bit of surprise look for our ghost. So adding a little bit of white for the highlight for this second pair of eyes. I decided to cover it and encircle it with another round Oval seep to create a different kind of big, scary looking, not scary looking, but cartoonist type of eyes for this. Now, let's create the eyes for this third one. So I'll be creating the same kind of eye that I did for the second one. I'll be leaving a little bit of a white of the paper to sew the reflection or a little bit of white for this third ghost. Now, let's add the eyes for this fourth one. So this is somewhat similar to the third one, but instead of a small white for the center, I'll be creating a larger white. This is the fourth eyes. Now for the fifth one, instead of this circular or oval seeps for the eye, I decided to create just a single eye, the human like eye with big pupil and is. I won't be using this kind of eyes for the ghost in our main project. But if you prefer, you can use this kind of eyes. And now for the last one, very tiny dots for the eyes. And let's add the pupil around it. So it's looking towards the down or here in case it's looking up, and we'll be using black color for this one, as well as going in with the white ink to add highlights. And we are done with a simple eyes for our ghosts, six different kinds. Now let's add the mouth. So this is a smiley mouth and a tongue for the mouth, and let's completely fill this entire region with the black. But the first one, I did not add the mouth, so leaving it as it is. Now for this one, let's create mouth, another smiley piece mouth, but here it will be having four tooth canine like draculs. So yeah, four teeth. And for the other three, I'll be creating a jig ag kind of baby mouth, then an upside down mouth. Now, let's create the wavy mouth for this one. Completely filling this entire section with a black. And for this one, let's create an upside down mouth. So he's sad, somewhat sad. And for this one, the eye is not looking that much good, so I'll make adjustment to the eyes later on. But he and I decided to create a very small mouth. And yeah, we done with the mouth. Let's add folds to our cloth and the drips. So for this one, very simple folds to our clothes simple lines. Not much detail, straight and a little bit curved lines for the drapes of the clothes. If you prefer, you can add more details, but this is the simplest version of the fold that I'll be using for the second one, just like the first one. But here, I'll be adding more lines. For the first one, the lines were somewhat uniform, but here they are not that uniform. And instead of one or two lines, I have five or six addition to each other. Adding a few more lines. And yeah, we are done with the folds for the second one. For the third one, let's add lots of line. So Jig jack lines, and yeah, following the pattern of the clothe and adding more lines. So here, I'll be adding comparatively more lines compared to the first and the second one. It will be a bit different from the second one since for the second one, I use multiple lines. Here, the lines will be single, but the side will be of varied length and the piecing will be less. And we are done with the folds for the fourth one, just like the third one, but not that many lines. I'm using the stippling as well as hatching technique to create the lines for this one, single lines and few dots. For this one, let's use proper hatching. So I'll be creating the dark kind of hatching in here, and as we move upward, I'll be adding less lines. So here, the spacing is less. So decreasing the intensity of the lines as we move forward and thus creating somewhat of creating feel free to use other techniques that we practice like hatching, cross-hatching and scribbling and even stippling. Stippling will create something completely different and more detail, but it will take time. That's why I did not use the stippling in here, but if you prefer, you can use that. So just like the third one or the fourth and the fifth one, you can use stippling instead of the lines. And for this sixth one, since I'll be covering the entire section with a black, creating outlines, that will be white in color and the rest will be the black. The eyesil not that defined, so I decided to add more blacks and make it like the second or third one. Now, let's color it. So for this 61, I'll be using the black ink. So here I'm using the Jigurataki black ink and using watercolor brush to completely fill it, you can use the brass paints and other tools. With the breast pin, you will get a with a bras pin or the fine liner, you will get a lot of accuracy, but it will take much time. That's why I choose the watercolor brush to make the process a bit faster. And if you want to go with the pre season and more accuracy, use the fine liners or the bras pins. Adding it carefully for our hands for this gs And instead of this complete black ghost, you can play with the breast pain or the watercolor brush in here, create rough or dry texture. Also you can change the consistency of the water in the ink and create a little bit of grease color for it, or combinations of both grease and the black to create this black ghost. Adding the white care fully around the eyes. And later on, I'll be adding or using the white ink to create folds for this ghost. I'll only be using this black ghost for a single project, and I want to be creating this much bigger ghost, this small ghost for the portraits on that project. So we have got a little bit more black to fill, and let's talk about a little bit about the weights it ghosts that we are creating. The idea of a ghost under a white seat comes from the that did we often buried in simple routes or seats in earlier centuries. And in the Victorian times, when ghost stories were usually popular artists and storytellers often depicted the spirits in long white seats to resemble this burial clothed tradition. And over time, this turned into a cartoonist and fun symbol, especially in the Halloween culture, where children would throw on a white sat with a cut out eyes as an easy ghost costumes. We'll have to wait for the ink to dry, and then I'll add the details using the white ink or white breastpin that I have got in here. So here I am using the karataki white breastpin and let's make the a bit more detail. I'll have to do two or three layers to get the kind of consistency of the white I need. Now using this white to add more details to the clothe, the drapes adding fine lines to create the folds for this black ghost. And you can add a bit more lines to make it a bit more detail, but I think we are done with this one. Feel free to make adjustment or draw out any more variations. And if you have drawn any other variations of it, please upload in project section. Have fun with painting more ghosts. I'll see you in the next video. Happy painting. 8. Part 1 : Welcome to the first part. So in this first part, I'll be showing you the various things or the element or kind of strokes that I'll be using to create the first three project. The first one, the tornado ghost, then we have gone the ghost at the watch tower, and then we have got C of ghost. The third one in Doodle. So for this first one, I'll be showing you how you can create the cyclones, the tornado and the cyclones. So I have divided this into two parts. The first one is the funnel and the second is the circular C for the tornado. Apart from this, I'll be showing you how you can create the grasses and the leaves for the first one. So let's go over the outline of the funnel see. So very basic saves for this. So very basic strokes, hatching lines, a bit of curved hatching lines are varied length to create this funnel for the tornado. The lines are not that much far apart. So the piecing the piecing is less in case. So here we'll have to play with this piecing, keeping the lines not that much far apart, and also the sizes. Instead of creating uniform same length here as you can see, I am wearing the length of the strokes. So this is how I'll be creating the seep of this funnel for the tornado. Now let's create the circular one, just like we did in our practice station. Here, once again, I'm creating curved lines, and let's encircle the main small circle that we added in the center. And yeah, I'm wearing the line sizes. So if you want, you can use them in the ras pins to create dynamic lines of where it thickness. Changing sizes and adding curve lines. These are the very simple ways in which we'll be creating the todo. In our project, we'll be making it with more detail and adding more lines and playing with the thickness and the weight. Now, let's do the grasses. Two different kind of the grasses that I'll be using. For them, I'll be using hatching and cross-hatching technique. So the first one will be the cross-hatching. Instead of using the vertical and horizontal line for the hatching, here I'll be using this angled nine, somewhat slanted lines for the bottom region, I'll be using more cross-hatching, adding another layer of lines on top of the lines to create a bit darker sense for the bottom of the grass. And for the second type of grass, I'll be using simple hatching lines. So as you can see, I'm wearing the sizes of the lines, and for the lower regions, I'll be going over once again and adding another layer of the lines. So simply using the hatching lines and instead of the simple straight lines, making it a bit curve following the seep and the contour of the grass or the shrubs that I'll be creating. Another layer of the lines on top of this one. For our project, we'll be using both this hatching and cross-hatching to create the grasses. Now for the third kind of grass or stubs, I'll be creating leaves, starting with the basic seed. So this is this area in which I'll be creating the leaves. Where is simple seeps for the leave? Instead of the organic uniform seeps. Here I'm creating this kind of leaf. You can see it resembles a save of the leaf. But instead of the natural looking live leaf here, I'm making the lines a little bit more edgy. So yeah, I'll be creating this kind of leaf for our first project. Also, I'll be using somewhat same kind of leaf for the second one. But instead of this, I'll be making a little bit more changes to it and making the lower regions a bit more darker using hatching and cross-hatching for that one. So this is a very simple demonstration of the leaves that I'll be using for our first project. For the second project, so we have got two ghosts as the watch tower. So this is this is the second project. And for this, I'll be showing you how you can create the tower or the bricks. Then we have got window and another kind of grass and more leaves. So let's start with the basic C for the wall of the tower. Instead of the straight lines, here I'm creating somewhat of rough lines. And as for the bricks, I'll be creating these kind of lines. The lines are not uniform. And instead of the single lines, here you can see for the sum of the lines, I'm using two or three lines wearing thickness a little bit. And the bricks for this tower or the castle walls is not that uniform. And instead of the rectangular C for the bricks, here you can see, I am just sketching out the outlines for the one side. So these are the kind of bricks that I'll be creating for our walls. Feel free to use other techniques to create the walls or the bricks for the walls. And in our other project, I'll be creating different kinds of wall using hatching cross-hatching technique and sometimes complete different kinds of strokes. So this is just a simple demonstration. For our main project, I'll be making a little bit more detailed one. Let's add the borders for it. For the outlining sections, I'm adding more lines to make it a bit more darker and a bit more detailed. Now let's sketch out the top for it, adding this kind of line, the hatching lines to create a little bit dark top. And yeah, this is a very simple demonstration of the bricks for the wall. And now, let's create a very simple window. So this is a six pen window, and I'll be using the cross-hatching technique. The left side will be a bit darker as compared to the right side, using cross-hatching to create a bit of darker tones for the lower left side. And as we move towards the right, I'll be decreasing the intensity. Going in with this fine liner to define the seat of the window and adding the different panes. Six different panes for this window. You are free to create different kinds of the window. You don't have to stick with the same kind of the window that I am creating. You can add more details, subtract detail and you don't have to even use the windows. The choice is yours. And with these, we are done with our first window. Let's use hatching lines to create a bit of darker tones for the window. Here I'm using the hatching technique, and later on, I'll be using the cross-hatching. Overlying another set of lines on top of it, intersecting the lines. And for this other side on the right side, here you can see I'm wearing this piecing and making it a bit less darker. You can leave it as it is, but since I mentioned that I'll be using the cross-hatching technique. So adding another layer of lines on top of it to make it a bit more darker and to show you how you can create the darker tones using the cross-hatching technique for the windows. And yeah, we are done with this window. Let's add a few more lines to create more darker sets for the left side of the window. Since this side is a bit darker. Since this side is a bit darker, Now for another kind of grass, so these are the grass or the part of the trees that are visible far away. So for this one, I'll be using the hatching technique. The lower regions will have more lines. The spacing is less so to create a bit of darker tone. And as we move about, I'll be decreasing the intensity and making the lines a bit lighter. So from top to bottom, we are creating a gradient from dark tones to light tones. You can use other kind of lines or other kind of strokes to create the grasses. But in here for the second project, I'll be using this kind to sew the grass or the trees that are present far away. And with the with this simple demonstration. Now for another sets of the, this will be somewhat same to the one that we did earlier. And instead of a bit lighter tones here, I'll be using the target tones. So for the bottom section apart from the normal leaves, I'll be using hatching or cross-hatching techniques to make it a bit darker. Instead of this, you can go with the scribbling technique too, and you can also use the stripping technique to add more dots at the bottom to make it a bit more darker. Here as you can see the leaves that I'm creating in here is somewhat different from the ones that I created earlier. The leaves are not that much defined, and I am not creating the proper save of the leaf for some of them. Just simple lines two or three lines a little bit curved and especially for the lower section where I am not paying that much attention since I'll be using cross-hatching to make this a bit more darker. So let's do the cross-hatching to make it a bit more darker. With these, we are done with the four demonstrations for our second project. As for the third one, the doodle Ghost. So C of Ghost. Let me show you how we'll be creating the wave like pattern for this one. Simple dove curve C. And inside them, I'll be creating this kind of random sieves. For the outlines, I'll be making them a bit more darker. And then following the contour of the rough seps that I added, encircling it. This will be somewhat similar to the one that we did for the tornado. And yeah, the outlines would be a bit darker. So going over once again with the micron paint to make it a bit darker, And just follow the s rough outline and use curvy lines to encircle the lines and add curvy lines to follow the outlines as well as the center to create this kind of wavy patterns for this third project. Let's completely fill this entire section with these curved lines. Feel free to add more centers to it. Now, let's do the second one. Making the outlines a bit more detailed and defined. So going over it with the micron paint to make it more dark. Adding random sees inside it, and the outlines of the random sees would be a bit darker. And yeah, let's encircle it. Creating random curved line and following the contour of the outline as well as the center that we added. Let's encircle the second one, too. And yeah, we are done with this very simple demonstration of the wavy lines. Let's darken the outline for this side too. And yeah, we are done with it. Now, let me show you how we'll be creating the simple Ghost. For the ghost in here, I won't be drawing the whole body, only this kind of simple sieves, tiny little eyes and mouth. I won't be adding the hands. Most part of the ghost body will be covered by the wavy lines. And yeah, simple seeps for the mouth. So happy feces, some sad one. And yeah, this is the simple ghosts that I'll be using for our third project. Now let's combine both the ghost and the baby patterns. Apart from the wavy patterns like this, we'll also be using hatching lines to create a person in between the wavy patterns. For this, I'll be creating the outline regions and then fleeing with the simple straight hatching lines. And for the other regions, I'll be adding the ghost, as well as using the curvy lines with the centers to create the pattern. So let's create the patterns, some random centers, a bit more darker edges. And yeah, let's go over the outlines to make it a bit darker and adding the curvy lines following the contour of the centers and completely feeling the insides of this outline section with these curvy lines. Here you can see the spacing in between the hatching lines that is on top and at the bottom, is comparatively more as compared to the ones that we have created in here, the curvy lines. So the distinct feature in between these two is the spacing in between the lines. Let's add another one, two centers for it, and let's add curvy lines. Following the contour of the outlines as well as the center let's encircle the centers and follow the contour of the outlines to fill this entire region. Another outline for the hatching lines. So we'll be using the combinations of the both. I won't be using the hatching lines a lot. Most of the regions will be filled with these curvy lines. For some of the regions that have a lot of curvy lines, I'll be adding the hatching lines with the outlines like this. And now let's add two ghosts. Simple ghost. For the outlines, too, I'll be making the outlines a bit bolder for the ghost so I clear distinction in between the curvy lines, the hatching lines and the ghost. Let's add another ghost in here. And if you prefer, you can add the mouth, but I won't be doing that for now. The centers for it. And once again, adding the curvy lines, encircling the centers that we just added. And let's completely fill this entire section with the curvy lines. Follow the contour and the seeps of the outlines to make the curvy lines a little bit non uniform. We are almost done with this. I'll see you in the next project, the Tonado Ghost Happy painting. 9. Two Tornado Ghosts : Welcome to our first project two tornado Ghost. So this is the simplest of all the project, and the main theme of this project will be two ghosts and a tornado in the background. So let's start with sketching out the guidelines for our two ghosts, simple basic seeps for the ghost. One will be a bit larger, the other will be a bit smaller. And I'll only be creating the very simple versions of the ghost, only the eyes, no hands or mouth. Feel free to make adjustment. If you want, you can add the hands, eyes, mouth, and even more details. For the background, I'll be adding the tornado, as well as a small river and grass on the background, as well as in the front, too. For the front, you can add more details. Like in here, you can add wall or fence. Here, too, you can add electric poles. The choice, Yo, these are just for examples. I won't be adding the wall or bricks in the front or the fence. Now, let's do the outlining for the river at the back and the two rows of the grass that we'll be having. It's divided into two sections, and this is the basic and this is the basic funnel shape for our tornado. And as we move away from the center of the tornado, we'll be creating somewhat of different kind of lines for the sky. So this is just a rough pencil sketch. Feel free to make adjustment, change saps gs or add more elements. Let's go in with this fine liner. Here I'm using Sakura Micron, fine liner. Feel free to use breast pain or any other paints you have. Let's go over the outlines of the ghost that we have created in here, not uniform or straight line, somewhat of organic lines like this. Let's do the outlining for the second one. This two ghost are the main subject for this first project. Apart from these two goes, the second subject matter will be the Tnendo at the background. Let's add the Let's add the tiny eyes, small circles. And if you want, you can leave a little bit of white for the highlight. But I'll be covering most of the whites with the black. You can add the mouth, hands, and yeah, I'll be adding the details for the bed sets or the drives later on. So for now, let's remove the pencil sketch, and we will move on to outlining our Tnendo at the background. Now, let's divide the background into different sections three sections. This will be the place where the Toneto will be present. Now let's do the outlining for our tornado. Basic funnel C a bit more curvier than we practiced in the first part, and the detail for the other side. This is somewhat more detail than the one we did for our first part, and the same kind of line a little bit of curvier lines using hatching technique. If you want to make it a bit more dark and more detail, you can use the cross-hatching too, but I'll be using only the hatching technique and yeah lines of varied length and the specing is somewhat uniform throughout the whole funnel for this tornado. So this process will take a little bit of time since we'll have to cover a large portion of this funnel, not a lot, but the whole portion. If you want to make it a bit more darker and more dynamic, you can go in with the brass pins and create dynamic lines lines of varied thickness. And the process will be much faster. But for the first three project, I'll only be using the micron pen mostly, and a little bit of rust pen for the last one, one with the doodling. Let's continue with adding the lines for our funnel for this tornado. As you can see, I'm adding a little bit of more lines on the left side as compared to the right side, so as to provide a little bit of three dimensional see or a curve C for the funnel for this tornado. Let's continue with adding more lines. For this narrower section, we'll have to be a bit careful and create even more smaller lines for the tornado. Apart from this tornado and the two ghost, you can add the electric pole that I was mentioning fence in the front and you can also add one or two houses in the background. Apart from this, you can add the silhouette for the crows or you can add the silhouette for the bats flying around. And with these, we are done with our funnel for the tornado. Let's do the spiral C for the tornado. So just encircling this funnel sap and creating lines and creating lines of varied length. Also for this spiral sap, I'll trying to keep the thickness of the lines same but wearing the siges. So yeah, let's continue with adding the lines encircling this circular funnel. For the upper section, I'll preserve the circular see. But as we move toward the horizon, I'll be making it a little bit open and then I'll making it somewhat straighten s to sow the sky. Try to maintain somewhat of the uniform spacing in between the lines, vary the length of the lines. The consistent thing for both the torno and the spiral is the distance between the lines, the spacing, as well as wearing the, as well as wearing the length of the lines. For the final seep, we had curved line, but here we have somewhat circular lines for this spiral seep of the tornado. This will take a lot of time since we have got half of the piece to cover with this kind of lines. Also, as you can see for the other side of the tornado, that is the spiral seed that lies behind this funnel, it's somewhat denser, since I added a lot more lines in there and I decrease the spacing to create that region a bit darker. So for that region, add a little bit more lines to make it a bit more darker. And with these we are done with the top the spiral C. Now I'll be creating the lines following this manner, a little bit of VC, or you can see check mark C. So to represent the rest of the sky, here I am creating straight lines. The spacing is somewhat uniform, not that much uniform, but as we move towards the horizon, I'll be increasing the spacing, and here too, I am creating lines of varied length. Following the contour of the outlines and let's add a lot of lines for this whole region. One. After finishing this tornado and the rest of the sky, I'll move on to inking the grass for the background and for the foreground. Then we have two more. Then for the front, I'll have two different kind of leaves, grass or you can see rubs a little bit more detail than the other two. And as for the water body or the river flowing, I'll be creating simple lines and a little bit of spiral waves like pattern. So yeah, let's finish this and we will move on to the rest of the painting. Also, I'll be adding the shadows for the two ghosts. And we have got a little more lines to add for this region, and then we will add lines for the rest of the sky. So as I mentioned for the sky, I'll be increasing the spacing, and the sky will be a bit more faster. Now let's completely fill the rest of the sky with the straight lines and I'll be increasing the spacing in between them to make this region a little bit of lighter to make this region of a bit lighter sad. Now you can clearly see how important role the specing plays. The farther apart the lines, the less denser and more lighter it appears. The closer they are, the denser and more darker it appears. Now for the remaining sexon, I'll increase the spacing further more. So to make it the lightest of all the sky region, more spaced out lines for the remaining region. Apart from this kind of line for the sky, we can also create cloud seeds. So I'll be continuing to add the lines later on. But before that, let's add the outlines for our grass. Here I'm using hatching technique to create the outlines for the grass. If you prefer you can create more detailed one, but I decided to create very simple ones. Since this is our first project, adding the hatching lines in between the two goes, now let's add the hatching line on this side. And with these, we are done with it. If you want to make it a bit more darker, you can add another row of hatching lines on top of this. Now, making it a bit more darker, adding another row of hatching lines, thus converting this into cross-hatching. Now, let's create the bank on the other side. So once again, using hatching technique. But here, I am placing the lines a little bit more closer to each other to create a bit more darker tones for this grass that is in forefront, not in the forefront, but on the other side of the bank. Let's add the hatching lines on this side. And yeah, we are done with this for now. Let's add the pattern. Let's add the straight and curve lines for the water body. You can consider this to be a pond lake or flowing river. Simple straight lines and a little bit of curb and circular lines to sow ripples on the water surface. Let's go over the outline of the grass to make a clear distinction between the water body and the grass. So for the top section of this grass, I'm adding a little bit more color, a little bit more ink to create a distinction in between the rest. Adding it on the other side. And let's continue with adding the texture and the pattern for the water body. And with these, we are done with the water body. We have only got the front and adding a little bit of more lines to darken the weaver bank. And with these, we are done with the background. Let's add details the folds for the clothe of this bedsit ghost. So fine lines, simple fine lines of varied length to create the folds for our bedsit ghost. Let's add the line for the second one, simple plain lines of varied length. For the upper section, the lines are a bit smaller. As we move downward, the lines are a bit larger. Let's create the shadows for the two ghost. So here I am using sading or you can see hatching, adding more lines near the ghost and as we move away from the ghost, I'm making it a bit lighter in side. And with these, we are done with the sados for the two ghosts. Here I'm creating leaves like pattern for the grasses in front. So yeah, let's create this kind of pattern for the leaf that we practiced in the part one. Simple leaf like seeps for the strus that is present in the front. So I'll be adding this kind of leave on both the sides For the lower regions of these leaves, add a little bit more lines to make it a bit darker. And yeah, just very simple, very simple seeps of the leaf, a little bit more a little bit more edged as compared to the natural seep and add few more leaves here and there wherever you think it's required. And instead of the small strp in the front, you can make it a bit larger and bigger. Et's add it on the other side, simple plain seeps for the leaves. And for this side, I'll be making it a bit smaller as compared to the one on the left side. And with these, we'll be done with our very first simple project. You are free to make adjustment, add elements or subtract element. And this was the first and the very simplest of all the project. For the second one, we'll be adding a little bit more detail. We'll have washed our more grass and different kind of background. Adding a little bit more details for the clothes of the midst ghost, making it a bit darker near the bottom to create a clear distinction between the shadows and the clothes of the ghost. And with these, we are done with the first project. 10. Ghosts in front of old building : Welcome to the second project. Here, too, we have got two ghosts, and this time we are in front of the old castle or you can see WatchTower or lighthouse. I have divided this project into three sections. This is the front in which I'll be adding the grasses. This will be the middle section where we'll have shrubs and plants as well as the cachel and for the background, we'll have the trees. The shadows of the trees. I'll not be making the detailed kind or defined kind of trees, just simple shadows for the trees. So this is the shrub that I was mentioning about. I'll be creating the leaves that I did for the first one, and here's the castle. You can consider this as a castle or old welding. Add a little bit more detail and definition to the outline for this one. This will consist of two windows with six pans. You are free to make adjustment chain siges and the placement of the ghost, the tower, and the remaining thing. So this will be a little bit extended portion of the castle. For this portion, we'll be adding more details. Now let's create the outline for the trees in the background. I'll be adding the outlines for the windows later on. Here I'm going in with a fine liner, sakura micron to do the outlines for the ghost. The main subject of this project is the two ghost and the tower at the background. You can add more details. And with these, we are done with outlining the two goes. Let's do the outlining for the rest. So going over the outlines of the strubs that is present behind the two goes. For the forefront, we have grass, then we have serubs and in the background, we have trees. Doing the outline for the building in the background. So for the outlines of this building, I'll be going over the outlines two or three times to make it a bit more darker. Let's do the outlining for the extended portion or this kind of details that we have got for this old building. So you can see I'm not creating street and uniform line. I'm just creating the lines organically, going over the lines again and again till I get the endpoint. Now let's add the eyes, very simple eyes for these two ghost. If you prefer you can add the mouth. If you prefer you can add the mouth or add more details, but I'll be keeping it simple. As for the folds, only a few folds like this for these two ghosts. You can add more detailed folds, but I'll be keeping it simple. Let's do the outlining for the trees at the background. Here I'll be creating same kind of gradient that we practice in the first part. For the lower region, it will be a bit darker. And as we move upward, I'll be increasing the spacing and making the tone a bit lighter. Comparatively more lighter. Now let's move on to the forefront, the grasses and forefront. A lot of lines to create the grass in the forefront. And instead of this kind of simple lines, you can create dynamic lines. For that, you'll have to go back and forth to make the lines a bit more darker. But here, I'll be using only the micron pen. If you prefer you can go in with the brass pen to create dynamic lines, and we are done with the grasses for now. I'll be moving back. To add more details and more lines. Let's do the rubs, that is, let's do this rub that lies behind these two goes. So the seeds of the leaf like we practice in the first part, this is somewhat different from the leaf that we did for the first project. The leaves we not that much detail in the first one. I'll be creating the leaves in this manner for the scrubs and let me show you how I'll be creating the background trees. As I mentioned, I'll be using this hatching technique. For this, I'll be using the hatching technique like this and for the lower regions of the trees, I'll be making it more darker. With less spacing. As we move upward, I'll be increasing the spacing in between the lines of this hatching and just decrease the intensity to make the tone bit lighter. So this is how I'll be creating the forefront, the middle, and the background. Let's continue with adding the leaves for our stubs. And this will be taking a lot of time. And for some of the section that is too much repetitive, I will escape that part or I'll increase the speed. So the whole video is not in real time. It took me around 30 to 35 minutes, but the video is in 20 minutes. So I have escaped some of the section, as well as increase the speed of some of the section. I have not increased the speed that much twice the normal speed for some of the section, not all so yeah, let's continue with adding the leaves for the entire section. To create a clear distinction between the leaves and the trees at the background, you can do the outlining. You can do the outlining and make it a bit more bolder and more darker, which I'll be doing it. But later on for now, let's add the leaves for the entire region. Place where the leaves made with the tall grasses, make it a bit more darker, use hatching or cross hatching to create a bit more dark intensity tones for that region. Let's add the leaves for this region. Creating leaves carefully on top of the second ghost head let's continue with adding and completely filling the entire section with the leaves. Instead of the simple building that I'll be creating in the background, later on, you can make it a bit crumbled or broken windows or no windows at all. So feel free to make changes with the building. And instead of drawing this building in front, you can create castle and less detailed and only the silhouette of the castle in the background that will be interesting too. And we have got only a little bit more poison to add the leaves to. So let's completely fill this entire section with the leaves, and then we will move on to the background and adding more lines for the tall grasses in the forefront. Adding it carefully in between the two ghosts, so we don't want the leaves to overlay. We don't want the leaves to cover the sections of the ghost. And as I mentioned earlier, for the lower regions, the place where the tall grasses meets the leaves, I'll be making it a bit more darker using hatching or cross hatching or adding more lines to make it a bit darker. Like here I'm doing it. So this is a bit time consuming process since we have to add this much tiny details, and it will take a bit more time. Doing the same thing in here, making this region a bit darker, and continuing on with adding small leaves. Since this process was repetitive, I added the leaves on my own, and now I am making the lower regions of this srub a bit darker by adding more lines to it. And as I mentioned earlier, that for the outlines of the leaves, I'll be making it a bit darker. So as you can clearly see, for the upper section of the strubs of the leaf, I made it more darker and more bolder. Here I'm adding more lines for the grasses in the forefront. So for the grasses that are in the forefront, I'll be making it a bit more darker. And as we move towards the ghost, I'll be making the intensity S. As we move towards the ghost, I will decreasing the intensity of the lines. What I mean to say is that for the tall grasses in the front, I'll be adding more lines to it, and as we move towards the ghost, I will be decreasing the number of lines. Let's continue with adding more lines for the tall grasses in the front. Yeah, this two will take a little bit of time since we'll have to add a lot of tall grasses. Instead of the stall grasses, you can add fans in front of this that will save you a little bit of time, or you can create valves that will cover most of the section of this grass. Yet to make it a bit easier, you can choose that. Adding more lines for the grass in the front. For some section of the grass near the ghost, I'll be making it a bit more darker as compared to the other sections. We'll have to move back and forth until we are satisfied with the kind of grass we are creating for the front. And yeah, also, we'll have to move back and forth to create a consistency in between the three layers of the grass, the trees, the grass, and the tall grass that we have in front, consistency in between them, that the intensity of the colors should be a bit contrasting and different in values. Otherwise, it will make the whole composition confusing one. Let's do the trees in the background. So as we move towards the and as we move upward, I'll be decreasing the intensity of the lines, increasing the spacing, and also decreasing the thickness of the lines. Carefully adding these hatching lines near the top of the first go head. Compared to the tall grass and the scrubs that we just created, this is much more faster and quicker. Let's continue with adding the fine lines of decreased intensity to complete the background trees. As I was mentioning, I'll be adding two windows with six panes. And instead of this normal windows, you can add broken windows or no windows, or you can even add a big clock. I'll be creating clock for one of the project. So you can experiment with different kind of windows and add more elements. So we are done with the trees in the background, add more lines wherever you think it's required to increase the intensity. You can only increase the intensity, you can't decrease it. So we are done with the grasses in the front, the strubs in the middle and the trees in the background. Let's do the building. So for this here I'm starting with this portion will be where I'll be creating the bricks. I'll be adding the bricks later on, but before doing that, let's do the outlining for the windows. If you're not comfortable, you can start with the pencil sketch, but I think I'll be able to create the windows, simple seats for the windows, two windows So this is the first one, and let's create the outline for the second one. For the windows, I'm not creating uniform on straight lines. I'm creating this kind of organic lines. So as I move forward, I add more lines to the lines that I already used to create this kind of window, a little bit of pattern and textured window. Let's give a little bit of depth to the windows. So this part is visible and continue on with the bricks that we are creating somewhat same kind of bricks that we practice in the first part. So completely filling both the sides with this kind of bricks. Slowly and gradually, let's completely fill the entire section, both sides of this building with the bricks. Instead of creating bricks for the valve, you can use brass paints or watercolor paint to create textured pattern or designs for the valve. You can use different kind of strokes, scribbling marks or stippling to create various pattern designs and different outlook for the building. So feel free to experiment and create different kind of valve or pattern for this building. And with these we are done with this side. Let's add a little bit more lines for this side of the window to make it a bit more darker. And for the outlines of the sides of the building, I'll be adding a little bit more lines to make it a bit more darker to create a bit distinction in between both the sides. Let's add the window pans. I'll be dividing this window into six different sections. Here, too, I'm creating organic lines. Let's divide the windows into further two more sections. And with these, we are done with our first outlines for the window, making the window panes a little bit more curvier. And yeah, we are done with outlining for the windows. Let's add hatching lines to make it a bit more darker. So for the windows, I'll be using the hatching line in this manner. So if you prefer you can use cross hatching, scribbling or even stippling. And with these, we are done with the left side. I'll be adding the line for the right side later on. But before doing that, let's add lines and details for the rest of the section of this side. So adding more lines to make the regions bit darker since it lies beneath the upper sections, adding a bit more lines to so the bricks, a little bit more detailed bricks in here. Let's create more detailed bricks or brickwork in here. Let's move on to the other side, doing the same bit more detailed bricks in here and for the lower sections, adding fine lines to create a bit of darker regions. And for this upper section, creating bricks like we did for the rest of the building. Yeah, we are done with this left sign. Oh, I forgot to add the lines for the windows. So for this side, I'll be making it a bit lighter instead. So as we move from the left to right, I'll be making it a bit lighter. So less lines, increasing the spacing in between the so less lines and increasing the spacing in between the lines. So the left side is a bit more darker as compared to the right side. We are done with the left side, let's do the same for the right side, starting with the bricks. Before doing the bricks, I decided to do the windows, adding more lines to the window to give it a three dimensional s. And yeah, we are done with the organic lines. Let's add the window panes. Let's add the window pans. So dividing the whole window into six different sections. And we are done with the four section. We have got two more sections to add another straight line. And with this, we are done with the outlines for our windows. So this is a speed up part. So let's add the bricks for the rest of the tower and you can pause the video and do it on your own. So since it takes a lot of time, so I decided why not let's speed this process. Completely filling the entire section with this brickwork If you want, you can make the brickwork uniform, but I decided to create this kind of natural texture for the brickwork since all the bricks are not that much clearly visible and we are done with the brickwors. Let's do the seating or the hatching for the windows. Same kind of hatching that we did for the first windows. So for the left side, I'll be using more hatching lines and the s piecing will be less and for the right side, I'll be increasing the s piecing and decreasing the intensity. The distinction between the outlines of the window and the hatching lines were not that clear, so I decided to add a little bit of more lines to make the window panes a little bit more darker. And with these, we add them with the windows, add more lines wherever you think it's required. In here, I decided to add few more dark lines for the tall grasses that are in front of the ghost. So yeah, adding a few more lines for the tall grasses. And with these, we are almost done with the project. Add more lines where you think it's required, increase the intensity of some of the portion where you think it should be much darker, like in here, adding more lines in here to make it a bit more darker. And yeah, we are done with our second project. I'll see you in the next one. 11. Ghastly sea: Welcome to the third and the final project of the part one. So for this one, we have got a C of ghost. I named it a C of ghost since I'll be creating a lot of wavelike pattern. So that's why I name this third project as C of ghost. What of the distinction between this ghost and the rest of the ghosts is that I'll be creating this ghost in somewhat amoeba or bacteria like C, so not defined C. Not that beats ghost like C, but somewhat similar to random Cs of amoebas. So yeah, and we'll have lots of ghosts for this one. I think the most number of ghost for this one, and then the last project, the 12 project, Let's create outlines, pencil sketch outlines for as many as ghosts you prefer. Also, for this ghost, I'll also adding simple and small hands. Most of the ghosts will have smiling face. Let's add few more ghosts. And then we will create the wave pattern and more texture, just like we practice in the first part. I think I am satisfied with the number of ghost. If you prefer, you can add few more. Going with this micron pen to go over the outlines of the pencil sketch. For this one, I'll be using a little bit of the breast pen to create the outlines and to create the distinction in between the different layers. I'll be using the bras pen as it will create a bit broader line, and that will help me create distinction in between the different layer and avoid confusion. In the beginning of this part one, I said, I'll mostly be using the micron pen. So only a little bit of breast pain to do the outlining for some of the sections. The rest will be the micron pen. Also, this project will take a lot of time. It took me around 40 to 50 minutes, I think, since we'll have to create a lot of wavy pattern. So for some of the section, I have increased their speed, and some of the section I have escaped completely as just we have to do the repeated thing, creating the pattern, the wave like pattern and the texture. So for those time, you can pause the video or you can decrease their speed so that you can follow along with me. So let's continue with adding more ghost, outlining more ghosts. Some of the things that you can do to make this project more interesting, you can use other color red ink, and instead of this simple ghost, you can create other kind of ghosts that we practice. Instead of this white ghost, you can create the black ghost. And instead of this kind of pattern, instead of this circular wave pattern, you can create something completely different. So we have outlined half of the ghost. Here I have increased the speed of the video, as you can see. So let's completely go over all the outlines, and, yeah, we have got seven or eight more ghosts. Also, to make it a little bit quirky and fun, you can add accessories like cap, sunglasses, necklaces, earpieces, headphones and other things. So feel free to add accessories element and make the ghost more quirky and make the ghost more quirky and cartoonist. So we have got only two more got. No, we have got only three more goes, and then we will move on to adding the wave like pattern and doing the outlines. For that I'll be starting with the brass paints. And here, we are done with the outlining of all the ghost. So this is in real time. Let's slightly erase all the pencil marks. Okay. Before erasing the pencil mark, ensure that the ink has dried. Otherwise, you will risk smudging. So lightly erasing all the pencil mark, and now I'm going with the Jig kurataki bras pin, creating this kind of outlines to divide this ghost into different sections. As I mentioned earlier, I am using this bras pen to create a bit broader lines that will help me in avoiding confusion while creating the wave black patterns. So I'll be creating these kind of lines throughout the whole page and dividing the ghost in different sections. To make it a bit more interesting, you can make the hands of the ghost on top of the lines or below it. Feel free to do that. I'll be doing it for some of the ghosts. And let's continue with adding these lines and dividing the ghost into various different sections. Instead of the way blight lines, you can also create straight lines, and we are almost done with the half of the page. Let's increase their speed and complete this whole page. To follow along with me, you can just decrease their speed to half. Now here, I have increased their speed and quickly complete this whole page. You can also experiment with hatching and cross-hatching. I'll be using the hatching technique. So with the hatching technique, you can also use the cross-hatching technique to make a bit darker tones for the separating lines. And for the center, I'll be creating somewhat ellipse or random saves. Instead of that, you can create different or specific pattern designs, et cetera. I did not outline this, so outlining it. And with these we are done with the outlining. Let's add the wave like patterns and hatching lines to create distinction. So before that, I'll be showing you some of the example how we'll be proceeding to create the wave like pattern, random seeps inside the different sections. So these are also amoeba like seep or you can say bacteria like seep, small random seeps and let's add few more random seeps. And then we'll be adding more lines inside it and making it a bit darker for the inside as well as for the outlines too. So this would be enough now let's go inside the curvy seeps and add random lines. As I mentioned earlier, making it a bit darker, the outlines as well as the outsides. I'll be creating this kind of lines. These are somewhat uniformly spaced. Also, instead of the straight line, I'm also creating some dots and this kind of pattern. Feel free to experiment with various kinds of line. Also for some of the insights, I'm using hatching technique to completely fill it some section, not on the section, this kind of line and encircling the circles as well as following the contour of the outlines too. You get the rough idea, but I mean to say, and we have also practiced in the beginning of the part one. So we'll be completely filling the entire sections of it with this. For the top, I used hatching technique, and now let's continue with inserting more of the random shapes in here. As you can clearly see, I'm not only creating the curve lines, but I'm also creating a little bit of small and tiny lines that are not connected properly. I'll also be going over the outlines of the eyes, making it a bit darker. For some of the ghosts, I'll be creating this black eyes and for some of them. And for the rest of them, I'll be creating another kind of eyes eyes with a little bit of white for the insides. For this kind of lines, I'll be using hatching to divide different sections. For this, I'll be using two or three rows of hatching lines. I'll be keeping the spacing scene and I'll not be playing with the thickness. Since this whole process was so repetitive, I skip some of the part, not some of the part, but most of the upper part of it. And as you can see, I used hatching technique for the separating lines and fill the rest of the section with curvy lines. And for the center, we have got a little bit rough and darker sides. Now we have got about half of the piece to fill. So yeah, let's do as I mentioned earlier, if you want to follow along with me, you can just decrease the speed of the video or you can pause the video. This is one of the longest projects since we have a lot of details in here, so it takes a lot of time. So this is the normal speed of mean creating the wave like pattern and the other where it seems that I'm creating the lines very fast that speed up versions. Slowly, slowly and gradually filling the entire section with it. So part of this project is just like doodling, so you don't have to apply your mind or create consciously, just follow the contour of the outlines as well as the inside seat and create it. So you can do it while talking to someone on the phone or while listening to their music or when you are feeling bored. Oh So after completing this one, we will move on to the Part two. That two consists of the three project. And for the part two, we'll be using the micron pain, but we'll also be increasing the use of the bras paints. And instead of only using this black paints, I'll be also using the gray paints Grey bras paints or you can use grey watercolor to create or add shadows or use different color to create a bit of contrasting image with shadows, more depth and more complexities. A bit more complex than the ones, and they will be very fun to paint. Here, too, I have increased the speed to complete this whole section. A let's completely fill the rest of the sections. So we have here, we have got one, two, three, four, five, six, seven, eight, nine, ten or 11 sections to fill. So as I was mentioning, you can play with a different color. Instead of this white ghost, you can create the black ghost that we practice. And also, you can use red colour for the eyes or you can create red colored ghost. You can also use red colour or red ink for the weave like pattern. Some of the patterns would have red colour or the distinct lines in which we use the hatching, you can colour those with red ink. And what else we can do with this? As I mentioned earlier, you can use accessories. Also, you can add crown on top of the cost. And I'm not getting any ideas if you have got and more ideas, let me know. So let me know that in the feedback and suggestion section, adding the hatching line to create the distinction between these two sections. As I was mentioning, for the next project for the next section two, we'll have one or two project with this many weave not wave like pattern, but street patterns, stree lines like pattern, and that to will take a bit more times. So this project took around the most time it took me to complete a projectoss around 65 minutes, and the least time it took me was around 26 minutes. So the whole project, the 12 project ranged 30-60 minutes on it might even take 70 minutes. Not sure about that. Let's be patient and completely fill this entire section. We have got only three more sections, and some of the outlines that I created with the bras pin is not that clear, so I decided to make the outlines a bit more bolder by going over it with the fine liner that I have got in here. If you are satisfied with the kind of outlines that you have got, you don't have to go over it. And if you are not, then just go over with the outlines or you can use the darker sides of the brass pen to make the lines much more bolder to increase its thickness. As after finishing this one, I decided to go over the outlines with a black ink, black brass pen and made the grey outlines a bit bolder and use the Kura thai brush pen to make the outlines bolder. As you will see after I finish this project, Now, let's go over the eyes, making the eyes bit darker, and we'll be doing the same for the mouth, making the mouth bit darker going over the outlines, making it more crisp and more defined. So let's see how many ghosts we have got here. So we have got one, two, three, four, five, six, seven, eight, 19, 11, 12, 13, 14, 15, 16, seveteen 19, 20, 21, three, 24. I have got 24 ghosts in here. Let me know how many ghosts you drew. We have got six more goos to add ice to. So going over the outlines of the eyes, making it bit bolder, more darker, doing the same for the mouth, too, and the hands too. And yeah, we are done with this project. I was not satisfied with it, so I decided to go over the outlines of the ghost, make it a bit more bolder and more darker to create a clear distinction to make a distinction in between wave like pattern of the background and the ghost. So using this breast pain to create a clear distinction in between the ghost and the rest of the background. Carefully going over all the ghost outlined with this brrapen making it bolder, darker and clear distinction in between the background and the ghost. Instead of doing this at the very last, I should have done it in the beginning, but I was not sure how it will turn out since I used a lot of micron pin and the intensity of the ghosts and the background it somewhat same consistency. That's why make it a little bit more muddier. To cure it, I'm just going over all the outlines with the black. I'll also be doing the same for the outlines in which I added the hatching lines, the gray outlines that divide the goes into different sections. I'll also be going overdose with the bras panes to make it much more bolder and darker to create a distinction in between the And we have got only five more got to do the outlining for. If you want, you can add the black for the insides of the mouth. Outlining for the hand of this ghost. And yeah, we are done with the outlining for our ghosts. Now, going back with the micron pen to make the mouth a bit more bolder and more darker, you can use the breast pin, but I was not sure I was not sure to use the breast pin as it does not give me that much accuracy, and the seep of the mouth is much more small and more detail. So I choose to use the micron pen. We are almost done with this third and the final project of the part one. Feel free to make changes, make adjustments, and add more lines wherever you think it's required. So let's go over the outline of the last ghost mouth, and we are done with the third project. I was not able to record one part in which I went over the outlines that I created with the grieves ping and made it a little bit more black. So here's the picture of that. And I'll see you in the next project, happy painting. 12. Part 2: Welcome to the second part for this too. We have got three projects. This is the first one that goes in front of the farm yard, then we have ghost at the windows and lastly, we have ghost in the forest. For this part, I'll be showing you eight toteen examples of different things that I'll be using in our main project. For the first one, that goes in front of the farm yard. For this, I'll be showing you the examples of how you can create the wooden planks, the kind of texture and pattern that we'll be creating for it, dark windows and then different kind of grass and the ground. These are the outline for both vertical and horizontal wooden planks that I'll be using for our fourth project. Now, let's go over the outlines to make it a bit more darker. So here, going over the outlines to make it a bit more darker and a little bit more molder. And to create the texture, I'll be adding this spire like pattern, one or two for each plank, depending upon the length and the size. And then using this kind of lines, lines of varied length and maintaining the spacing in between them. So that's how I'll be creating the wooden planks for our next project. Feel free to use other kind of texture or strokes to create various kind of the wooden blanks, but I'll be using this kind. Now, let me show you another example. So let's go over the outlines. So when I use this kind of line, I prefer to call it like organic lines since I had three or four lines. I call it organic lines. So let's add the spirals and Once again, lines of varied length and maintaining the same spacing in between them. Let's do another one. The goal here is to create the outlines distinct and then lines to create the texture or pattern for the wooden planks. Later on, I'll be using the brush paint gray brush paint to add it on the outlines to make it a bit more darker. Now, let me show you the dark windows that I'll be creating for this, I'll be using the hatching technique and create a uniform kind of background like this. Here you can see the side is small and the spacing makes it much more darker. So adding one layer on top of the other till we completely fill this entire section for the window. So I'll be using this for some of the sections of the windows for our next project, the fourth one. Feel free to use other techniques, too, like cross hatching, scribbling, or even stippling. But I'll be using this one. Next, we have got grounds and grass. So I'll be creating this kind of mounts on the ground and making it a bit more darker and bolder to create to create distinction in between each mold and adding more lines till we are satisfied with the intensity of it. Yet, too, I'm using adding the organic lines and this kind of grass. All the lines coming out from a fixed center. So these are the kind of grass that I'll be adding for the ground. You are free to use other kind of the grass or you can make it a bit more detail or even or you can even add leaves like we did in our first part. To create a bit more distinction in between each mound, I'll be adding or using hatching to add seeding on one side. Generally, I'll be adding the seedings on the right side to make that side a bit darker. These are the things that I'll be using for our fourth project. And now let's do the practicing for our fifth project, the ghosts at the window. So this will be very fun to do. And I have divided this project into two parts since the video was a bit long. Now, for the windows and the valve here, I'll be showing you how I'll be creating the texture for the wall and the coloring for the windows. The window will be comparatively longer as compared to the one we did in the last project. So instead of six panels here, I decided to go with eight panels. The upper section of the window will be a bit larger and the other six will be of same length. Yeah, let's add the dividing lines to create the eight different panels for this long window. So this is the simple window, and as for the background or as for the wall, I'll be using the same kind of the lines that I used for the window up here. So for the wall, I'll be using the same kind of the lines that I use for the window in the upper part. But instead of making it a bit darker, I'll be playing with the spacing, making it a bit far apart and creating this kind of lighter sides. Instead of this, you are free to create other patterns, use scribblings or create grades and seats for the val. Also, instead of this, you can go or add the texture for the bricks that we did in the last project, so feel free to experiment. And for the windows, I'll be making the windows a bit more darker. In our project, I'll be making it complete black, but in here, let me show you darker windows, and as we move towards right, I'll be making it a bit lighter. Et's fill this entire section this side with the black and on the other side, I'll be using the hashing technique and increasing the intensity as I move from up to down. In the main project, I'll be using the blacking to completely fill the regions of the window as it will be a bit faster compared to using the fine liner. Let's add this kind of hatching lines. For the upper section of each panel, I am adding less lines to decrease the intensity. This are the kind of windows and the all that I'll be using for the fifth project. Now, let me show you a simple demonstration for the portrait. So simple designs like this if you prefer, you can even create more extravagant designs for the portraits or the picture frames on the wall, but I'll be keeping it simple few lines in here and there to create this kind of picture frame. And inside this picture frames, I'll be adding black ghost. Let's create the inside frame for this picture frame. So four petal flower like inside. And now let's do the outlining for the Black ghost. Completely filling the entire section of the black ghost here with the fine liner. In the main project, I'll be using the ink paint or the watercolor brush to make the process bit much faster. And as for the eyes, you can leave a little bit of white spiece from the paper or you can go in or you can go in with a white ink or white acrylic or gauze. X. And yeah, we are done with this simple portrait or picture frame with a black ghost. Apart from this for the fifth project, we have a little bit different kind of ghost like this, finger like projections for the ghost. For this ghost, I'll be adding seeds of the green for some of them, and the other will remain completely white. So these are wavy finger like projections, and yeah so these are the kind of ghosts that I'll be adding outside the windows for our fifth project. A simple beads like eyes. Feel free to add mouth or other details to it, but I'll be keeping it as simple as it is. And now for the next one tree jungle, for that, I'll be showing you three different ways in which you can create the trees. Before that, let's go in with a brass paint to add grey for some of the ghosts. Instead of using the bras pain, you can just mix more water with the ink or the water color to get this gradient or this sad of the green for the ghost. Also, instead of this gray, you can use black, red or other colors for the ghost too. So the choice is for the walls and the wooden plank, as I mentioned earlier, I'll be adding a little bit of different shades of the green on the outsides or near the outlines, like here, to create more distinction in between different planks. And for the mounts on the ground, I'll also adding the gray on the left side, the regions where the regions where I have used the hatching lines to make that part a bit more darker. Now, lastly, we have got this. For this, as I mentioned earlier, I'll be showing you three examples in which you can create the different texture and pattern for the trees. So this is the first one, the type of tree that I'll be creating for our main project. Apart from this, I'll be showing you two more one with a straight or a bit curvier lines for the texture and the pattern. And this one will be a combination of hatching lines to create this kind of tree. Feel free to use any of these trees or you are more than welcome to create trees on your own. As for the outline, I'll be making it a bit more darker, going over the lines to make it a bit more darker. So for that trees of our main project, I'll be adding this kind of circular somewhat circular line for the horizontal and then using this small lines of varied length to add it on the sides on both the sides. So I'll be keeping the spacing somewhat seam, but just playing with the sides, making it a bit smaller and a bit larger. Also, the lines are not completely straight. I am using a little bit of broken lines tune. Let me show you another example. Here, instead of the horizontal spiral like pattern, I use the vertical ones and seam for the pattern and the texture, vertical lines of varied length. So this is the second type of tree that you can add. Now, let's do a third one. So here, I'll be using somewhat of hatching technique. A lot of vertical lines of varied length. And then horizontal lines. And the regions that you want to make a bit darker, adding more lines in that region especially near the edges of the tree. So near the outlined section, I'll be making them a bit more darker. To do that, you will just have to add more vertical and horizontal lines for those sections. Like in here, I am adding a bit more line for the lower regions and near the trees branches. So yeah, these are the simple trees that you can use for our six project. And here's another kind of grass that I'll be covering the entire section, the ground section for our sixth project. So I'm using this little bit different kind of hatching lines to create the grass like pattern for our main project. Feel free to use any other kind of grass like the tall grass weed or the trees in the background for our third project. And with these, we are done with this second part. I'll I'll see you with the fourth project. 13. Farmland ghosts : Welcome to the fourth project, two Ghost on the farmland. This will take a bit more time since we have got lots of lines to add for our background, the wooden planks in the background, and we'll have two ghosts in front that will be our main focus. Let's sketch out the outlines for our two ghost. So very simple saves for the ghost. I'll not be creating many details for the drips or the bed set for this ghost. If you prefer you can add wavel pattern for the lower section of the ghost, but I'll be keeping it simple this kind of simple C for our two ghost. Now let's do the outlines, put the wooden planks at the background. So I decided to create two doors in the background. So two wooden doors, one on the left side, and one on the right side. The the right side one will be a bit larger and the left side one is a bit smaller. So for the background, I'll be using the combination of both vertical, horizontal and two or three slanted wooden planks like this one. And let's add the wooden planks for the entire section. H Some of the process are repetitive. So for those section, I have increased the speed. So for the repetitive processes, I have increased the speed. If you want to join or follow along with me, you can just pause the video or you can decrease the Video. Let's continue with adding the outlines for the wooden planks. Instead of this kind of wooden planks, you are free to use other kind of texture as I was mentioning in our second part that instead of the wooden plank, you can add the bricks or instead of the bricks, you can use other different kind of texture or patterns. Let's add a little bit of different wooden planks for some of the cliques for the background. Here's another horizontal plan. Now, let's add more straight line for the wooden planks. We'll be adding details later on, but let me show you the beaks for our wooden planks. So this will be the beaks, and for the front, I'll be adding the mounts on the ground like this, the one we practice in the part one, the one we practice in the part two. So this is very simpler version of the sketch. You are free to make adjustment and changes. Using the fine liner to go over the outlines. Here, too, I'll be using the organic lines to go over the outlines, making the lines a bit more bolder and more darker. But before that, here this I'm going over some of the main sections, the horizontal wooden planks. And now let's do the outlining for our ghost. We simplified see for our ghost, and for the mix of the ghost, I'll be adding more lines and making it a bit darker. Also, for this ghost, I'll be adding a bit of black for their legs, I think. So yeah. A lot of black lines in here for the legs of the two ghosts. And for the mound, just simple seats for the mound. A lot many mounds on the ground, and on the sides, I'll be adding grasses. And on the left side, I'll be using the hatching technique to create one side a bit more darker. And also we'll be using the Greek colour sketch paint. You can use watercolor or ink to make the outlines a bit more bolder and darker. So I'll be adding it over the sides of the plank, the outlines section, and we'll be doing the same for this mound in the front. Now let's move to the back and make the outlines a bit bolder and darker. Here I have increased the speed of the video, so you can just slow down the speed or you can pause the video and yeah, let's go over all the outlines, making it a bit more darker and more bolder, creating clear distinction in between each separate plank. And I'll be adding plaques for this window, and Let's add more organic lanes for lang. For this section, I decided to add another And with these, we are done with the wooden planks. Let's add the ice for our ghost. A bit different kind of ice, a little bit of white for the reflection for both the ghost. You can use other kind of the eyes. And with these, we are done with the ice for our two ghosts. Now let's lightly remove the pencil sketch. Ensure that the ink has dried from your paper and the revile you will get smudgins I now here I'm going with a gray brass pin or marker. So it's both marker and the bras pain combined in one. So using the broader end to go over the outlines on one side, here I'm using a darker side of the gray. You can use the watercolor or ink just diluting it to get this kind of consistency. You don't have to even use exactly same kind of consistency for the wooden planks. Feel free to use other consistency or you don't have to even add this kind of relines you can do with the fine liner and just making the outlines of each plank bit more darker to create a clear distinction between different wooden planks. The lines are not that much uniform or straight. Yeah, let's add this kind of line with a bit more thickness, and for the vertical and for the horizontal ones, I'll be adding a bit more lines in here, too. And for this one, let's add a bit curvier lines. And let's define the ground with it. So this will be the best for our wooden planks. Now here, I'm going in with another sad, a lighter side of the gray to completely fill the wooden planks. Once again, you can use the ink or watercolor, the black from the watercolor, just diluting it to get this consistency of the grey color. Also, as I mentioned earlier, you don't have to even use this. You can just make do with the fine liner, you will have to add a lot of fine liner to make different section bit more darker. For this larger section of the wooden plank, I'll be adding another vertical plank and adding blacks for the insides. Also, ensure that the ink is dried, then add another layer, white, you will get smudges all over the paper. Also adding the lighter side of the ground for the front, so entirely covering the mounts that are present in the front with this gray. Adding the same gray for this ghost. Instead of using the broader end, I used the thinner end to create a little bit of thinner lines for our ghosts. Once again, using the thinner tip of the brush panes. Let's go over the outlines for the mount. Here, too. As you can see, I'm using the organic lines to create the outlines, making it a bit more bolder to create clear distinction in between each individual mount in the front. And we are done with the brush pins. Let's add spirals for our wooden planks, and then we will completely fill the wooden planks for the straight lines. I'll be completely filling each wooden plank with this kind of lines, spiral pattern and then lines of varied length. To make it bit more darker, you can add more lines, but I'll be keeping the consistency of the wooden planks like this. Depending upon the length of the wooden plank, I'll be adding more spirals if the wooden plank is long, and for the smaller one, one or two will do the work. So this is somewhat seemed like the third project. Instead of creating wave like pattern here we'll be creating straight patterns. So let's completely fill the entire wooden plank with this kind of lines to get this texture and the pattern. Here I have increased the speed to completely fill each individual wooden plank that we have got in here. And since we use varieties of and since we use darker shades of the gray to create the outlines or go over the uglier outline, the distinction between each individual wooden plank is clear. Now for the small window in here, using hatching line to completely fill this entire region, if you want to make it a bit more darker, add more lines, but I'll be keeping it as it is. Yeah, let's continue with adding more lines, spirals, and then straight lines of varied length for our wooden planks. To make this background a bit more darker and more intense, instead of using the fine liner, you can go in with the breast paints, preferably using breast pains of dark intensity like Jikuratak to make that outlines bit more distinct as well as the plank more detailed and clear. Also with the breast pain, you will get to create dynamic lines that will be interesting too. But for this part, too, I'll be mostly using the fine liner and a little bit more bras paints and the sketch pins or the highlighter that I used for the next three project, primarily using the fine linen and a little bit of the crease to create the three project. And with these, we are done with this side. Let's continue with the other side. The same straight line of warn length and spiral pattern throughout the wooden planks. First add all the spiral patterns, and then we will be filling the entire section with it. Since it was repetitive, I covered this whole wooden plank on my own, and now we have got only a little bit of the wooden plank slab. So let's do it. We have got one, two, three, four, five, six, seven, around seven wooden planks. M. And as I was mentioning for the other window, I added somewhat slanted plank for it. So for that to, I'll be using vertical line. If you prefer, you can use slanted line, but I decided why not. Adding the spiral pattern for this one. And yeah, let's add the lines for this plank. And for the ghost, as I was mentioning earlier, I'll be adding more lines for the mix, making it a bit more darker and carefully adding it near the ghost. Let's make the outline of the ghost a bit more bolder and more clear to get a clear distinction between the background and the foreground. You can use the bras paint to do that. But I'll be coming back to the ghost to add the outlines later on. For now, let's do this horizontal wooden planks. As I was mentioning, you can use the slanted lines for this slanted wooden plank, but I decided why not let's add the straight lines. So this will be another window. So I'll be keeping these three circles white, and yeah, let's completely fill this entire region with hatching lines, the same kind of hatching lines that we use for another window on the left side. So small hatching strokes to completely fill this region with a bit darker color. And with these we are done with the black windows. Let's continue with the vertical wooden planks. Let's continue with the horizontal wooden planks. And apart from this, we have got one, two, three, and four, four more wooden planks to go. And then we will move on to the front, the mounts on the ground and the grass. The grass will be very simple. The one we practice in the second part. So yeah, let's add more lines for the four wooden planks. You can add more elements to it like strups with the leaves that we did for our first and second project. Then you can add big boulders or big stone in front of it. Apart from this, you can add accessories to your ghost. And as for the ground, instead of the sod grass, you can create the tall ones like we did for the second project and you can add more elements. So feel free to experiment and come up with your own unique creations for this fourth project. With these, we are almost done with our last wooden plank. And yeah, let's add a few more line for this one. Et's make it a bit darker near this region. And with these we done with olden planks for our background. Let's move to our ghost. And as I was mentioning, making the lower region of the ghost a bit more darker, so adding more lines. Adding lines of varied length for our ghosts. So let's do the same for this first one for the lower regions, add more lines to make it a bit more darker. And now let's add the legs for it. So using hatching lines to create resemblance for the legs for both the ghost. Let's do the same for the second ghost, using hatching lines to create this kind of resemblance of the leg for this second ghost. And yeah, we are done with the And with these, we are done with the ghost. So I was not satisfied with some of the sections of the wooden planks, so I decided to add a bit more lines in here. Now, let's do the mounds adding grass on one side. Adding the grass for each individual mound. Also, I'm going over the outlines that we did with the gray. So making the outlines a bit more darker and more organic. Instead of this small grasses for the corner regions, you can add or completely cover this whole region with the grasses. O. And, let's continue with adding more lines over the outline and adding more grasses for the mound or the ground in the front. And apart from this grass, I'll also be adding the hatching lines on one side. For this project, I'll be adding it on the right side. Adding the hatching lines. I'm not making the sides more darker. If you prefer you can make it more darker, increase the number of the lines and decrease the piecing. And with these, we are almost done with the ground. Add more lines or more detail wherever you think it's required. But I think we are done with the outlines, the hatching lines and the grass, moving back to the ghost to make the outlines bit more clear and more crisper. So to create a clear distinction between the background, the foreground, and the ghosts. Making the lower regions a bit more darker. And with these, we are almost done with this fourth project. Feel free to add more lines or create more dark texture wherever you think it's required. Let's add some final touches wherever you think it's required. So I decided to add a little bit more lines for some of the wooden planks. Let's make the windows a bit more darker as it was not that much darker as compared to the other window that we have got in the left. So using cross hatching, so adding the horizontal lines on top of the vertical lines to make it a bit more darker. Let's make this blank a bit darker, too. And with these, we are done with the fourth project. I'll see you in the next project. 14. Ghosts at the window a: Welcome to the fifth project. So this project is a bit longer, so I divided this into two sections. For the first section, we'll be doing about three fourths of the project, and then for the next one, we'll be completing it. Let's start with drawing out the outline for the window, a very large window. So there will be two windows for this project. And apart from that, well having a big clock and three picture frames. A lot of ghosts will be peeking inside the window from the outside. There will be eight panels for both the windows, and, we are done with the outlines for the windows. Feel free to change the seats sides and the placement of the windows. Instead of making the windows this big, you can make it bit smaller or instead of this two window, you can only create a single window. Let's do the outlining for the three picture frames that we have gotten here. The three picture frames will be below this upper window. Instead of this kind of picture frame, you are free to use or create different kinds of them, different different positions, feel free to experiment with varieties of picture frame or instead of this picture frame, you can add the mirror and you can experiment with different kind of monster or goes inside the mirror, too. This two will be the smaller picture frame and the one let's draw oval C, a circle C for the big clock and here. So this is the basic pencil sketch for it. We'll be adding more details with the outline here too, I'll be mostly using the fine liner to do most of the detailing work, and then we'll be using the Bs pin or you can see the grey highlighted that I have got to add the colors, the green seeds. Let's define the windows a little bit more, so this will be the lower regions of the window. A little bit of a smaller plate fan for both the window. For this, I'll be using somewhat of cross hatching pattern for the sections. We are almost done with this pencil sketch. So feel free to make some adjustment as you see fit. Now, let's go in with the fine liner. Here, I'm using the sakura micron, fine liner to go over the outlines that we just created with the pencil. For the ends of this window, I decided to create this small saps, which we'll be adding more details to later on. Let's continue with the outlining. So you'll have to be a bit careful in here. Here I'm not creating the organic lines, precise lines for the outlining of the windows, the clock and that three picture frames that we have got in here. If you are not that confident, you can use the ruler to create if you're not confident, you can use the ruler to create the straight lines. Now, let's do the outlining for the picture frame. Here I decided to ship the picture frames a little bit up, and, yeah, we are done with the basic outlines. Let's add a bit more details to it, starting with a larger window at the top. For both the windows, I'll be adding the eight panels. Feel to change the number. And yeah, let's Let's do the outlining for this big clock. For this big clock, I'll be adding a lot of designs to make it look vintage and old. Let's revide the clock into four section that will help us do the outlining for the designs that we want to create. Feel free to create any designs of your preference, or you can just follow along with me and create the kind of design that I am doing. So just simple lines and simple curve seeps for this clock. After finishing this, I'll be going in with the fine liner to do the outlining. And 4:00, I'll be using lots of green, a bit darker sets of the grey. Let's continue with adding a little bit more designs to it. So this is the basic design later on I'll be making it more detail. Let's do the outlining for the intersection of this cloak, and then we will go over. Then we will go over the designs. So for the center, I decided to create this square like pattern. Let's go over the designs. Here, too, I'll be adding lots of grade to make it a bit more darker and create distinction between and to create distinction in between the wall and the clock. Let's create more designs to it, a bit of square see. Let's create heart like seep using this triangular Sp. But. You can keep it as it is, or you can continue with me to add more designs to this clock. And we are almost done with this. Let's add a few more curved lines for this clock. And the last one. And for the insides tool, let's create this kind of pattern instead of the numerals. Half moon like saves for the inside too. Now let's add the numerals. So we have got one, two, and three and four. So a bit of cryptic old clock that we have got in here, and let's create the hands for the clock. Simple hands for our clock. You can play with it and create other kinds of hands for the clock. So yeah, we are done with the basic outlining and the designing for our old clock on the val. Feel free to make adjustment, and yeah, we are done with it. Okay, I forgot to do the outlining for this one. Let's do the outlining for this one. Adding a little bit more design to this bottom part. And yeah, we are done with this old clock. Let's do the outlining for our frames, adding designs to it. So here I have increased the speed. So I'll be creating some much simpler design for our picture frame, much more simpler than the one we did for our clock. So very simple seats for our picture frames in here. We are done with the first picture frame. Let's do the same for the other two at the bottom. Feel free to use or create different designs for the picture frame. And, we are done with the three picture frames. So we have got the clock, the three picture frames. Now, let's slide in the pencil marks before proceeding further. Instead that the ink has dried up. Now let's complete our window. So going in with the pencil to divide the windows into eight different sections. The upper section will be a bit larger and the remaining will be of somewhat same length. So I'll be dividing the windows into eight different pans, vertical line to divide it. Vertical lines to divide it into two sections, and yeah, we are done with the pencil sketch. Let's go with the pin. Once again, if you're not comfortable with directly using the pin, use ruler to create straight lines. For most of the outlining in here for this project, I use the fine linen. If you want to have dynamic lines, you can use the brass panes, or you can use the watercolor brasses. Let's do the outlining for this second window, the horizontal lines for the window pans. And yeah, we are done with the horizontal lines. Let's do the vertical ones. Instead of creating this vertical line in one go, I just divide it into different sections to make it bit more easier and to keep the line straight. As you can see, both the windows are a little bit different. If you want to create exact same replica of the windows, you can use the ruler to create windows of same length and width. We are done with the outlining for the panels of the windows. Let's create the ghost finger like projection, a little bit curvy finger like projection for the ghost. You are free to add as many ghosts as you prefer. For this one, I added six ghost. For the next one, I added seven ghosts. And for some of the ghosts, I'll be using the grey color, and the remaining of them will be white colored ghosts. I'll not be adding the mouth or the hand. If you prefer, you can add the mouth, the hands, and other accessories to the ghost. But I'll be leaving it as it is, and I'll also not be adding details for the drapes or the clothes. And we are done with these simple outlines for the ghost. If you want, you can add a few more. Let's add the eyes for it. So simple circular seeps for the eyes. Later on, I'll be making the eyes a little bit more darker. But for now, let's do the simple seeps for. But for now, let's just do the simple seeps for the eyes. So we have got a total of 13 white and gray ghost for the windows and for the picture frame, I have created. And for the picture frame, I'll add five for the bigger one, and for the other remaining two, I'll be adding three and five. So a total of ten black ghost and hurting, white and gray is ghost. So a total of 23 ghosts. Let's add the eyes for the last ghost in here, and yeah, we are done with the outlining for the ghost and the eyes. Let's do the val. So using the hatching lines to create the val. So same kind of hatching line that we practiced in the part two. Here, as you can see, I'm not making it darker. The spacing is less and also the intensity. Feel free to use other lines or other techniques or strokes to create different kind of pattern or texture for the wall. You can even create the bricks or you can leave it as it is, or like the earlier one, you can add the wooden planks to it. Or you can entirely cover the wall with different accessories and other various elements. Or you can even create or add patterns and design as the wallpaper for the wall, a combination of black and white to create some beautiful pattern and texture for the background for the wallpaper. And this was a repetitive process, so I did the wall on my own. So here I have only got a little bit of section to complete this wall. So as you can see, I have maintained the scene spacing for it, and I have not made it dark. And with these are done with these we are done with a valve, let's move on to the window. For the lower section for the lower regions of the window, I'm making it a bit darker, so using the vertical, so using the horizontal lines to completely fill this entire section with it. I'm not making it a bit darker. If you want, you can make it a bit more darker. And for this region, let's create somewhat of cross hatching in here. A cross hatching with a lot of spacing. The lines are of varied length. Yeah, let's create this kind of square pattern for both the windows. Moving on to the second one, you don't have to stick with the same kind of pattern that I'm creating. You can create the appearance or resemblance of the brick or you can add different kind of pattern or texture. With this, we are done with this section of the windows. Let's move on to the rest of it. So with the background of the windows, I'll be completely covering it with the black. Here I'm using the Zig kuratake ink and watercolor brush to make this process much more quicker and faster. But with the bras pin or the watercolor brush, you'll have to be careful since you don't have that much precision and control as compared to the fine liner. Adding it carefully in between the ghost and windows panels. Slowly and carefully completely filling the entire section of each windows panel with this dark black Apart from this, to make it a bit more interesting, you can even add branches. So instead of using the black, you can create black branches that is visible from the window. So that is one of the suggestion that you can use. And apart from this, what else you can do? Let me know. And yeah, let's continue with adding the black for the remaining window panels. Here, as you can see, I have increased eye speed, since this is a bit slower process, so that's why I did it. So if you want to follow along with me, just pause the PD or you can just decrease eye speed. For all the project, I only use the black color. To make it a bit more sinister and more creepy, you can use sads of the red or greens or even the blue. So you can add sinister ice or fog with the green or with the red or even with the blue. So that will be a little bit more interesting and more fun to do. But I decided that I'll only be using the black color for all the projects. And with these, we are done with the first window. Let's move on to the second one, completely filling each individual window panels with this black ink. Also, for the other windows that we did in our earlier project, you can use cross hatching or hatching to create a darker regions of art thickness or create gradient for the windows. So I did the rest of the window panels on my own. And yeah, we are done with the windows. Let's create the black ghost. So once again, I'm using the watercolor brush to create very simple person or simple seats for the ghost. So here we have got the black ghost. If you are using the fin layer or the brush paint to create this Blackhost, you can leave a little bit of white for the eyes. But here since I am using the watercolor brush, I'll be adding the eyes later on using the white ink. For this picture frame, I'll be adding five black ghosts. If you prefer instead of this ghost, you can add any other pattern design or can even create landscape painting. Feel free to add any other thing inside this picture frames. And for the remaining two picture frames, I'll be adding three and two Black ghosts. We are done with the five ghosts for this one. Now let's move on to the other two picture frames. You don't have to add the ghost the way we did for the first one, so upside down ghost will do the work too. So in here, we have got one upside down ghost, and the remaining two will be the normal normal black ghost. Also for the colors of the picture frame, you can use right. In here, I'll be going with the darker shades of the gray for the background of the picture frame. Also for the walls too. I'll be adding a little bit of green for the upper section of the hatching line, that section that is a bit darker for those, I'll be adding the grey. Adding the black ghost carefully, and let's add last the last Black ghost for our picture frame. And with this, we add with a black Ghost. If you want, you can add few more black ghost. Let's add one more ghost in here. So that makes it a total of teen black ghosts. Since the Black ghosts are a bit smaller, you can use since the Black hosts are a bit smaller, you can use fine liner to create precise Black ghost. But since I was using the watercolor bus, so I decided why not let's create it with this. Earlier, I was seeing that I have added the five ghost for the upper frame, but it was only four, so adding one more black ghost. And with these, we are done with this section. In the next section, we'll be completing this project. 15. Ghosts at windows b: Welcome to the second part of the ghost at the window. So here's a quick recapitulation of what we did in the first section. Here I have increased the speed of the video. It's I think around 20 X. Feel free to make adjustment, and for this section, I will be mostly adding the gray color. I'll be using the breast pin that I have got the dual tip bras pin. I'll be using two or three sheds of the green for the valve, the clock, and some of the ghosts feel free to use watercolor or ink by diluting its consistency to get different sides of the green. Also, you don't have to use the green. You can just increase the intensity of the sum of the saxons that I'll be using the gray too. So feel free to skip this section, and for some of the saxan I won't be adding any greens or any lines like the outlines of the windows and the clock and for the ghosts. So we are almost done with this speed of worsen. Then we'll move on to our ink illustration. So Yeah, we are done with the recapitulation. Let's continue with where we left off. So here, I'm using the darker side of the grey. Let's completely fill this entire section with this darker side of the grey. I'll be adding this for the outline designs, too. Let's add it for the outline designs, too. Not for all the region, but for some of the regions, specifically in here. And if you want, you can add it for the semicircles that we have got, but I'll be leaving it. But I won't be adding it for that. And yeah, we are done with the coloring for our clock, and later on, I'll be using a little bit of white for the inside, but for now, let's add the colors for the picture frame. So instead that the ink has dried, otherwise, you will get a little bit of smudging, like it happened in here for this last ghost on the upper frame, carefully adding it for the second and the third frame. Instead of this darker set, I should have used a bit lighter set on the green for the picture frames, but okay, it's okay. And we are done with the clock and the picture frame. Let's add the color for the aw. So before doing that, let's make the outline for this picture frame a little bit darker and a bit more detail to create a clear distinction in between the all and the picture frame. So going over the outlines, making some of the Saxon a bit more darker. Here I'm using Zikkurataki bras pin. Let's do the same for the remaining two picture frames. Here, we don't have that many designs, so just simple square for the outlining of these two simple picture frames. And with these, we are done with the picture frames. So let's do the outlining for the eyes, making it a bit more bolder. I'm not comfortable with the brass pin, so I'll be going in with the file to make the eyes bit more darker. So using the fine to go with the outlines of the eyes, making it a bit more darker. For the eyes of the Black Ghost, I'll be using the white ink. And with these, we are done with this six ghost. Let's move on to the other seven ghosts that we have for this second window. I'm not adding the mouth to the ghost. If you prefer you can do that. And with this, we are done with the ice for the ghosts. Go in with the whiting to add tiny little yes for the black ghosts. Instead of using this whiting that I have got the zikuratake whiting, you can use the acrylic white or watercolor white of dark consistency or even you can use the gaze. You'll have to be careful. So since the spec is very small, so carefully adding the little tiny ice for the ghost, I'll have to go back once again to make it a bit more darker not darker, much more lighter since the intensity of this ink is not that high. So once it dries up, I'll be adding the white once again. Now, let's do the coloring for the wall. So for the upper section of the hatching line, the section that is of dark intensity, I'll be adding the grease for there. Here I am using here I'm using a lighter side of the grey as compared to the one that I use for the clock and for the picture frames. So this process is a bit faster. Also, I'll be adding the grey. For this section of the window. Let's continue with the valve. Now, moving on to the second window, adding a simple stroke of the grey. Now let's continue with the remaining section of the valve with this gray. Adding it a bit carefully around the clock. And with these, we are done with a valve. If you want, you can add a little bit more grey. Now, for some of the ghost, I'm going in with the lighter side of the green to add a little bit more. So only for a few of the ghost, I'll be using this side of the gray. Here the ink was not dried up, so a little bit of ink from the final liner got smrged with this brass pane. So ensure that the ink has dried and then add it. And to rectify it, I'll be going back with the white ink to add the highlight for the eyes, also covering the smooth section with it. Let's add Gray for one more goes, this one, and a adding it carefully near this reason and near the window pan. I decided to make one more ghost at grey, adding the gray for this ghost for this first window, adding it carefully near the ghost and near the intersection of the window pans. And we are done with the gray for the ghost. Now going back once again with the whiting to make the ice a little bit more brighter. So going over the ice that we added with the white to make it more lighter. So these are the final touches to add more lines wherever you think it's required to increase the intensity or to decrease the intensity, you can use a little bit of the white. And for this goes at the top, too, let's add a little bit of white to cover the smooth section as well as blend the smoothe section with the rest of the grays color. Carefully adding it to the smoothe section. Since the consistency of this white ink is not that high, I was easily able to cover the smudge section. We are almost done with this one. Just add fine details wherever you think it's required. Since I created this small seems for the windows in here, let's add black to cover it. I was going to add details and designs to it, but gave up on the idea because this VD was taking too long. And yeah, with this, we are done with our fifth project. I'll see you in the next project. 16. Ghosts jungle : A. Welcome to the sixth project, the final project of the second part. So this is going to be interesting one. We have got lots of textion and lots of pattern for this one. So yeah, let's start with sketching out the guidelines for the trees. A lot of trees, five ghost and a black river. So this is jungle of trees. For most of the section of this video, I have increased their speed for the repetitive process to follow along with me for this video. You'll have to decrease their speed for those sections. You can create as many as trees as you prefer, but don't make it over complicated or over saturated. As I move away, I'll be decreasing the size of the trees, and I'll not adding the trees for all the section, but for the center section. So the region where the river will be flowing, I'll be only adding it for that section. If you want, you can add more trees for the other sections too. But for those, I'll be covering it with the hashing lines to resemble grass. And with these, we are done with outlines for the pencil sketch outline for the trees, going in with the fine and to go over the outlines and adding a bit more details to it. Here, too, I'll be using the organic lines. If you want resides and accurate seeps for the tree, you can use the ruler, but here I'll be going over the sketched outline and using fine liner to make it bit bold and more darker. So this will be a simple C for our trees. I'll be doing it for the remaining trees. For dynamic lines, you can use the brush paints, but for this one, I'll mostly be using the fine line on it. I'll only be using the watercolor or the brush paint for the Black River. I have increased the speed of the video in here to go the outlines of the remaining trees. For the trees, I'll be using a simple variations of the tree that we practice in the second part. So if you want, you can create different kind of the trees, but I'll be sticking with a simple variation of the tree, the trees with simple vertical slices. So yeah, that kind of trees. And after doing the outlining for this, I'll be going back once again to make the outlines a bit more darker, adding more organic lines to it to create a bit more darker tones for our trees. Let's add the base for our trees. If you prefer you can add the roots for the trees. Let's add a few more trees in here, and if you want, you can add a few more tree in the empty spaces, but I think we are done with it. Now let's add the outlines for the ghost. If you prefer you can start with the basic pencil sketches. Here, I decided to just add it directly. A total of five ghosts I'll be adding. And as I move away, I'll be decreasing the size of the ghost. We have got three ghosts in here, and I'll be adding one more at the back and one at the front. The front ghost will be a bit more detail and defined others will be simple variations of the ghost. Here too, I won't be adding the nose or the hands for the ghost. If you prefer, you can add those two. And yeah, let's add a big ghost in here. For this, I'll be creating pattern and texture for the drapes of the cloth, and for the remaining, I'll not be adding that much details. If you prefer you can make all that goes detail. Now let's add tiny branches for all the trees that we have got in here. I'll not be adding the branches for all the trees, but for most of them, I don't want to make it over saturated and bit complex and confusing since we have got lots of trees and we'll be covering the entire background with the hatching technique. So specifically adding small tiny branches for some of the trees. Here, too, once again, I increase the speed a little bit. And yeah, let's continue with adding the tiny, small branches for some of the trees. And with these, I think we are done with the branches. Let's go over the outline for this whole illustration. A but after doing this, I'll add the ice for the simple eyes for the ghost at the front, I'll be making a bit detailed eyes for the ghost at the back. I'll not creating that much detail, just simple eyes. So going with the to ease it insure that the ink has dried, otherwise, we will get smudging on our paper. So let's continue with adding the eyes, a bit detailed eyes for the ghost in the front, and less detailed eyes for the ghost at the back. Let's add simple eyes for all the ghost, and later on, we'll be adding more details to the eyes for the ghost at the front. So another circle that will encircle this oval s for the eyes. But I'll be adding that for the later on. Add the drips for the other ghosts that are in front. For the two of the ghosts in the front, the drips is visible and for the remaining two at the back, the drips of the clothe is not that visible. And yeah, we are done with the simple eyes and drips for the ghost. Let's make the outlines a bit bolder. Okay, I'll do that later on, but before that, let's Let's do that trees because it will take a lot of time. Yeah, let's continue with that trees. Adding organic lines. By organic, I means adding four or five lines to make the lines bit bolder and more darker. So I call this kind of lines organic lines. So this section is in the real time. I'll be going over the outlines of some of the trees in real time, and for the other ones, I'll be increasing their speed since the process is repetitive. Feel free to make adjustments, change the sp and sizes of the small branches. And you can even add more branches to the tree, small branches. So yeah, let's continue with organic lines for the remaining of this large tree. So this is the largest tree that we have got in here, and this will be the most detailed tree. And as we move forward, and as we move away from the front, I'll be making the trees a bit less detailed. But yeah, that too will take time since we'll be having to create a lot of tiny lines in the form of hatching lines to make the trees detailed. Here I've increased sipeed, so going over the outlines of all the trees and making it bit bolder and more darker. Instead of this jungle of tree, you can set up a different kind of environment, and urban environment with lots of electric poles. Then we will got lots of electric wires, and you can add the ghost peeking out from behind the electric poles, the some of the ghosts sitting atop the electric poles and others hanging around it. Apart from this, you can add the bats and there silhouettes of the bats and the crews. You can use the silhouettes for both the project electric pol one that I am suggesting and for this one, too. Here, as I have not shown you how you can create the silhouette of the bats or the crews. That's why I'm not adding it. But if you want, you can proceed with that, too. Apart from this, you can even add dark mushrooms or dark scrubs or leaves that will make it more interesting. And with these, we are done with the outlining of the trees. Let's add the pattern and the texture for the trees. So this is in the real time zoom. Starting with creating somewhat of a spiral horizontal lines and encircling it to create this kind of texture for our trees. So for all the individual trees, I'll be adding this kind of horizontal lines, a little bit more dense and dark lines, and then I'll be using hatching technique to create lines on both the sides, the lines and the sizes of the line will be varying for the hatching technique. For one side, I'll be creating a bit larger lines and for the other one a bit smaller. We'll be creating the tree in the same manner that we practice in the part second. Feel free to create other kind of trees that we practice the other two, but I'll only be creating this kind of tree. Here. Once again, I have increased their speed since this process is repetitive to follow along with me, either you can pause the video or you can decrease the speed of the player. Adding this kind of lines. And as we move down, I'll be increasing the speed of this kind of horizontal lines. This is not completely horizontal, but somewhat of curved horizontal lines. As we move away, I'll be decreasing the sizes of the kind of lines. And yeah, let's continue with adding this kind of lines for each individual tree that I have got in here. So these trees are somewhat like birch trees. So yeah, a kind of resemblance like that. And instead of this kind of pattern or texture, you can create eyes for the trees, vertical lines. So the horizontal lines will be turned into the eyes and this and that will be haunting, too, and that will create a little bit more haunting trees of forest. And that will transfer this project into haunting trees. Enough with that, let's continue with adding this kind of pattern for the remaining three or four trees that we have got. No, not three or four, only two trees. After finishing this, I'll be using the hatching lines for the trees. And with these, we are done with the last tree. Here I have decreased the speed to the normal speed, and now I'll be using the hatching lines to green more texture for our trees. So lines of varied thickness. So lines of varied length, and for one side, I'll be adding more lines and for the other side, a bit smaller and less lines. Also, for some of the regions, I'll be even creating a bit of curvy lines. So yeah, let's continue with using this hatching line for the tree. This will take a little bit of time, since this is a time consuming process. And for the small branches that we have got in here, we'll be creating small lines, but yeah, we'll be adding the hatching lines for that, too. Here, as you can see, I use a little bit of curve lines for those regions. So the places where the spiral patterns are present for that region, so I'll be creating or adding a bit of a spiral lines of varied length. Let's continue with the remaining part of this tree. So for one or two of the trees, I'll be keeping their speed to normal, and for the remaining one, I'll be increasing their speed. Though this two is a bit time consuming process, and you don't have to use and mind while doing this, you can listen to the music or audiobook or you can do it while talking to someone on the phone. Adding the fine lines for the remaining of this tree. As I said earlier, for the ghost in the front, I'll be making the ice a little bit more detail. So to do that, I'll be adding another oval seep on top of the already created eyes. Now you are familiar with how to create the trees, how to add texture and add patterns to it. So I'll be skipping the so I'll be adding that pattern and the texture for all the trees. So I did it on my own. Now we have got only the last tree. So as you can see, I followed the same procedure for all the trees, the one I'd sodio for the first one and that I demonstrated in the second part. So yeah, let's continue with adding the line for the last tree. After this, we will move on to adding more details to our goes adding the black river and creating the grass for the whole background. This sexton is in real time, so you have got a rough idea how much time will it take you to cover all the trees around 30 minutes to do all the trees. And then put the grass to it will take around 20 minutes to And with these, we are done with the last tree. If you're not satisfied with it, you can add more lines for some of the regions that you are not satisfied with. Now, let's create the Black River. So a somewhat curvy see for the outline of this black river. You can consider this to be see of snake or a path, curving path. Now, let's add the hatching line for the grass. I'll be covering the entire section, adding it carefully near the ghost and the bottom of the trees, but using the hatching lines to create this kind of texture for the grass and covering the entire section with it. So for now, this is in real time. And after covering some of the section, I'll be increasing the speed. Instead of creating this kind of grass, you can even create the long tall grasses that we did for the second project that will be interesting too. Add it carefully near the branches to sew a little bit of distinction in between the branch and the grass at the background. Instead of feeling this entire section with this grass using hatching technique, you can completely cover this section with the black and for the path, the black river that I was mentioning, you can leave it with a white color and add some pattern and spirals to so that the river is flowing. Adding it carefully near the ghost. Let's make the ice a little bit more detail as I was mentioning, adding another ovals on top of the ice that we already did. Continuing with the hatching lines for the grass for the background. Also, you can play with the intensity of the color. For the upper regions, you can make it more darker. And as we come towards the ghost, you can decrease the intensity, or you can do the vie for some. Or instead of creating this kind of grass, you can feed the leaf like pattern that we use to create the rubs for our second and the first project. Once again, adding it carefully near the small branches of the tree. And instead of using this kind of pattern or taxion for the trees, if you have used vertical lines, then using this kind of hatching want wor for that you'll have to use the cross-hatching or different kind of grass for the background. We have only got a little bit of section in between these trees to fill with this grass. And if the branches of the trees are very small, you can just completely cover it with these hatching lines. And with these, we are almost done with this string. Let's add a little bit of the hatching lines on the corner. And yeah, you have got enough idea how to add the hatching lines for the grass. So here I've increased the speed and let's completely feel the entire section of this background to resemble the grass. As the name suggests, we have got the jungle of trees with ghosts. So yeah, let's continue with it. Also, if you are going to use the color, you can use the red colour to greet the river or for the trees, too, you can also use a little bit of red for the spiral patterns that we added in here. And for the eyes of the ghost, you can add a little bit of red. Apart from this, you can also create black ghost in the background, too. So that will be interesting, too. Yeah, let's continue with adding the grass for the entire attraction. To follow along with me, you can always pause the video or you can just decrease their speed to 0.5 X or 0.25 X. Let's cover this section two, and yeah, we have got only a little bit of the person to cover. So continue with adding the hatching lines for the remaining person. Instead of this kind of a smaller hatching line, you can increase the size a little bit to make it a bit more faster, or you can play with a different sizes of hatching lines. Some are big, some are small. And as I was mentioning, you can even play with the gradient, making the upper sexon a bit more darker and the lower saxon a bit lighter or doing the vice versa. Here I have decreased the speed, so this is somewhat normal speed. We have got only a little bit, only this cornon left, and then we will move on to adding the details to the drips of the ghost and creating the black river. With this, we are done with the background using hatching technique to create the grass. Now, let's clearly define the outlines of the ghost, as well as add the pattern as well as add drips and lines to create the fold for the ghosts. So for this one and the one at the front, I'll be adding a bit of details, and for the remaining ones, I'll not be adding that many details. For the front one, let's add more folds and more details to it. If you prefer, you can use the gray color to create a more distinction between the trees and the ghost. So feel free to use gray color if you want, but I won't be using that. So let's define the outline of the ghost a little bit more and making it a bit bolder. Let's make the eye a little bit more detailed and a bit different from the other ghosts. Other three ghosts at the back. And yeah, we are done with a ghost, the trees, the background. The only thing that is left is the black river. So here, I'm using the bras been Jiuratakiblacking. And let's completely fill this white pigon with black. Here, once again, I have also increased in speed. To make it even more interesting, you can go in with a white ink to add more details and wave like pattern on top of this black for this black river. Or you can create small white sieves to resemble small got that slice inside this Black River. So the choice is you. And we have only got a little bit of space to fill this black and will be done with this. And with this, we are done with this black river, feel free to add more colour wherever you think it's required. I decided to use a little bit of this brush paint for the base of the trees to make it a bit more darker and more distinct from the grasses. So adding a little bit of this bras paint at the base of the tree individual tree, you can also use it to create a little bit of distinction in between the branches of the tree and the remaining grass. And with these, we are done with our six project. I'll see you in the next video. 17. Part 3: Welcome. Welcome to the third part. From this part onward, we'll be using more breast paints and more ink. We'll be creating somewhat more detail and defined illustration with lots of ink and a bit of darker themes. So darker themes by darker themes, I mean darker backgrounds. And yeah, let me show you the three illustrations that we have for this third part. So here we have got the city ghost, and then we have got another 31. So this is snow covered mountain and the third one is cacti ghost. So a total of three illustrations. And here I'll be teaching you how you can draw the different kind of wall, different kinds of windows, square ones and pavement and a bit more detailed brick walls, a different kind of ghost, and then simple versions of the black trees, cactus and different kind of the leaves, strubs and stones and pebbles. A lot of things. So for first one, let me show you the walls that I created for the seventh project. So using the organic lines to draw out the simple seed for the wall, a section of the wall, not a seed. For the outer sections of the wall, I'll be using the darker sets of the green and for the intersection, I'll be using the lighter tones. Also for the outlines, I'll be making it more detailed and more darker to show a clear distinction in between different sections of the wall. And for the insights, I'll be using fine linen to create this kind of pattern or texture for the wall. So simple line, simple intersecting lines, and the lines are of varied length. So this is the simple kind of all that I'll be creating for our next project. We'll be making it a bit more detail, but here's a simple example of simple demonstration of the wall. Now, let's color it. So for the outer sections of the wall, I'll be using the darker sides of the green to sew a clear distinction in between the different section. And for the inner section, I'll be using the lighter side of the grey to completely cover it. Ensure that the ink has dried and only after that, add the colors. You can use the diluted version of the ink or the watercolor to use to create the seeds of the green or you can even use sketch pens or even the pencil will do the seeding with a pencil. Now, let me show you the different kind of window that I'll be using for the next project. So far, we have created a bit of curved windows, but for this one, we'll be creating for this one, we'll be creating this kind of square windows. And let me show you a few more example of the windows. And yeah, I'll be showing you three more example, a total of three examples. So two more examples. I'll and I'll also be showing you how you can create the terrace for the balcony. So a very simple demonstration for that. And for all the windows, I'll be completely filling it with ink, a total blackout. So if you want, you can use hatching or cross-hatching to create gradient for the windows, but I'll be completely covering it with the black. For the insides, you can add the white ghost, but I won't be adding it since our main theme for the next project will be the ghost at the front. So this is the third example of the windows that you can create for our project. Six panels for this one. And yeah, these are the simple examples of the windows. Now let me show you how you can create the terrace for the veranda or the balcony. So this is somewhat simple see for the terrace for the balcony. And now, let's go in with the rasmeO you can use the ink or watercolor to completely fill the insights with it. So here I have increased the speed since this process takes a bit more time since I'll have to be a bit cautious to completely cover the entire section. So yeah, let's peel the entire section with the blacks. And apart from this black, you can use the other colors. As I am seeing, the red will do the work too instead of this kind of simple and plain windows you can create cracked or broken windows too, or the windows covered with the wooden planks that will also make the things more scary and terrifying. And with this, we are done with black for the insides of the window. Since this terrace was not that well defined, so I am going back once again with the fine to make it more detailed and bit more defined. So this is the second one. Now let me show you how you can create the pavement and the brick wall. A bit more detailed pavement in the brick wall, both combined in here. So I'll be using this for both the sides of the road for our next project, the ghost at the setting. Yeah, let's continue with creating this see somewhat ALC somewhat reversed LLC for the pavement and the brick wall. So I'll be creating this kind of pattern to represent the bricks or the stone for the pavement. And yeah, let's add it for the other side too. Now I'm only using single lines. Later on, I'll be adding more lines to make it a bit more darker and a bit more defined like here. So another set of lines. And to make it a bit more detailed in our project, I'll be using a little bit of hatching too. Let's create the rest of the pavement. Here I decrease the intensity a bit. Let's create this kind of pattern for the pavement. So this is just a simple pavement. And as I was mentioning, reversed ASP. So let's do the wall brick wall, so a bit more detailed and defined. So each individual brick is somewhat clearly visible. So let's create a bit more defined brick wall for this project for this demonstration purpose. And this kind of pavement and the all I'll be using for our next project. You can use it for the other projects too, but mainly I'll be using for the next one. You can use hatching and cross-hatching or other techniques to make some of the saxony bit more darker. And instead of this uniform pavement in the walls, you can create somewhat broken or missing valves and the bricks, too, so feel free to experiment. And this is the kind of ghost that I'll be creating for our next project, so city ghost. So instead of adding the fold at the bottom, I'll be adding it from just below the eyes. Oh yeah, these are the type of ghosts that I'll be creating for our next project. And now, let me show you the second project that I'll be creating the eighth one. And for this, I'll be mostly using the ink. Hidden ghost hide and seek ghost in the snow. So for the trees simple saves for the trees, I'll not be creating a defined trees like we did for the earlier project, simple saves for the trees and completely covering the entire section of the trees with ink. You can add as many trees in here since I'll not be adding the branches for it, keeping it simple. So let's go over the outlines so make it more clear and visible. You can increase and decrease the number of the trees. The closer the trees are, the bigger at t be the farther away it is the smaller at wll be. And if you want, you can add very tiny or small branches. But if you add larger branches, it will become oversaturated and bit confusing. Simple trees that we have got in here. Let's create very small tiny branches for some of the trees. And like the earlier project, we'll be adding the ghost behind these trees. So these ghosts are playing hide and seek in the snow mountains, so something like that. So I'm trying to create somewhat this kind of atmosphere for the ads project. So let's create the mounds lightly erasing the pencil maths ensure that the ink has dried. Now let's go in with a brush paint to add color for the trees. For our main project, I'll be using the watercolor brushes, since the size of the trees will be a bit larger and we'll have to cover a lot of the sections. For the last project, we covered the entire section with the grasses, but in here, I'll only be creating a little bit of sados for some of the trees that are in the front, using the grades to create a bit of shadows. And this will be much simpler one as compared to the sixth one. And with these, we are done with inking the trees. So you can see the resemblance of the trees, the trees with no leaves. And yeah, we are done with the trees. Now let's add thes small tiny ghost peeking behind the trees. And for the bases of the trees, I'll be adding a little bit of lines like this to represent a bit of grasses or somewhat small sticks or branches. Let's make the outline a bit more clear and more defined. So these are the snow covered mountains or snow covered mounds that we have got in here. Creating very small ghosts in here for our main project, we'll be adding the hands. So this ghost will be a bit more defined. I won't be adding the mouth, but if you prefer you can add those too. Yeah, let's add few more ghosts in here and we will be done with this demonstration. As we move away, we will be creating smaller ghosts and you can add as many ghosts as you prefer. So with this, we had done with this demonstration for the trees. Now let me show you the last illustration from this part. So here, I'll be showing you how you can create the characters, different kind of plants and stones. So get another simple one. So let's start with the basic seeds for the characters, starting with the pencil to do the outline. You can start with a pencil to do the outline, but here, I'll be directly starting with the pain. So somewhat of this kind of line, not uniform on straight lines, a little bit of baby lines to create the outlines for the cactus. So very simple illustration of the cactus. I want me adding the needles for the ac, just simple one, using two sets of the gray for the coloring, so a lighter set and the darker set. So let's go in with the lighter set of the gray. Completely filling the entire section of the cactus with the lighter section, and then I'll be going with a darker set to add more details to it. And with this, we had done with the lighter set. Now, let's go in with a bit darker set. So using this darker set to create this kind of wavy line, using this darker set to create this kind of wavy pattern or lines. So for the main branches, I'll be adding three and for the periphery, I'll be adding two or three. So let's move on to the main branch. So let's move on to the main plant. In here, I have increased the width of the lines, and yeah, let's create the third and final lines a bit wavy lines. And this will be the simple type of characters that I'll be using for our ninth project. If you want, you can add a bit more details to it, create texture and patterns, or use hatching lines or cross-hatching lines or different strokes to make it more detail, but I'll be using this simple one. Now, let me show you the kind of plants that I'll be creating for the ninth project. So this kind of simple plant that I'll be adding six or seven or perhaps nine or ten, very simple one, and this is just a simple one. For the other ones, I'll be making it a bit more broader. I'll be increasing or decreasing the size of the plant, the leaves in it. And yeah, this is simple representation of fw. So this is a simple representation of the plants that I'll be creating. You can increase the thickness and play with the number of the leaves. So let's create one more. And So we'll be adding this plant beside the cactus, as well as beside the stones. So after this, I'll be showing you how you can create simple stones and the pebbles. Let's create a few more examples. Here I'll be creating it a bit smaller one. So to make it a bit more faster, you can use the bras paints or the watercolor brushes to make it a bit more faster and more clear. And with the brass pin you can even create dynamic lines. Now let me show you how you can create small stones. So just random seeds somewhat oval, not completely oval, but this kind of seams and spiral patterns or this kind of line for the inside, and then we'll be adding a bit of grease and hatching lines encircling this pattern to create somewhat resemblance of the rocks or stones, small rocks or the stones. So just simple demonstration, just simple rocks that we have got in here. For the basis of the skects and the plants, I'll be adding this kind of small rocks. I'll be adding this kind of small stones or the rocks, and to make it a bit more detail, I'll be adding a little bit of the grease for the inside. You don't have to do that. If you prefer you can use the fine line to add more details to it, making some regions a bit more darker. Let's make the outlines a bit more detail to sow a clear distinction between different stones. And now going with the darker side of the green, not covering the entire section, but some of the section with it and another side of the lighter gray to completely fill it. So these are the normal or simple demonstration of the stones that I'll be using our nine project. I'll be making it a bit more detail, changing the seeps and the sizes. And with this, we are done with the third part. I'll see you in the next project. 18. City ghosts a: Welcome to the seventh project. So this is a big one, and the whole video is in real time for this one. So I have divided this into two sections. For the first section, we will be mainly using the fine liner to do the outlining and adding details. And for the second part, we'll be inking it. Let's continue with the sketching. So this will be the pavement, the kind of pavement that we practice in the part three. On both the sides, there will be pavement and a small brick wall. The middle section will be the road. And yeah, let's do the outlining for the small brick walls. Beside these two brick walls, I'll be adding two different poles. One will be electric pole, another will be traffic poles. You are free to make adjustment to the length, seam and size of the pavement. You can make it cracked or some of the bricks are missing. You can increase the length of the valves, so feel free to experiment with that. Now, let's create the City ghost. So a bit different kind of ghost, the scam that we practiced in our third section, and we'll have multiple ghost. So this will be the biggest of them all and then we'll have small ghost surrounding it. I'll also be adding small ghosts in front of it and few ghosts that lies behind the other ghost. Multiple ghosts in here, and I won't be adding the mouth or hands. If you prefer, you can always add details eyes, mouth, hand, and other accessories or other extra element that you prefer. So feel free to create your own interpretation for the city ghost. Now, let's do the background. So this will be the large door, and let's divide this whole background into different section, and then we will create the windows and the balconies. So I'll be dividing this into three sections. And for those sections, I'll be adding six windows, and one will be the larger one, along with the balcony, along with the balcony and terrace on it. You can divide it into other ways, but I have decided but I have decided to do it in this way. Later on, I'll be adding later on, I'll be adding the outlines for the windows, doors, and let's continue with going over the outlines of the city ghosts that we have got in here. A bit of curvy lines to do the outlining for our city ghosts. Feel free to add more ghosts if you prefer. To give it a different kind of look, you can add the extra accessories that I was mentioning, you can add the goggles, eyeglasses, sunglasses, hats or you can even add the clothes to it. Then we have got chain, earphone, headphone. So since these are 60 goes, so you can add other urban elements to make it a bit more interesting and to add more arrected to this goes. And as I was mentioning, you can make it you can make the brick wall or the pavement a bit crooked or broken, or you can completely change its design and signs. One pole on each side, so a total of two pole. You see, I was going to create streetlight but then I gave up on that idea since we have a lot of things for the background, so I don't want to make it confusing. So here's another pole. So this will be traffic signal pole. Yeah, we are done with the outlining for the two electric pools, the silhouette for the ghost, the pavement, and the two small vals. Let's move to the background. Before doing that, let's add a few more ghosts smaller ones in here. And for the road in front, I'll be adding some puddles of water, not water, but some small this kind of seed to represent puddles of water or liquid or anything. I'll be mainly using black ink to completely fill that puddles that I just created. Now let's do the outlining for the background. So this will be the dough that I was mentioning So you can just follow along with me, and I'll be creating it in the same manner that we practiced in the third demonstration video. Also here, I'll be creating organic lines to make the lines bit broader to add more thickness to it. So this will be the balcony, the terrace. Let's create a garb rail for it. If you're not that seer, you can start with a pencil sketch and then overlay the ink on top of it. But here, I can do it since it's quite easy. Total of four or five guardrail for this. It's not evenly spaced. So if you use ruler, you will get more evenly spaced. And let's do that, the door for the terrace. And, I'll be dividing into six panels. The upper part will be a bit smaller. The upper panels will be a bit smaller and the lower will be a bit larger. Let's create another window on top of this door. The same we practiced in the demonstration video. For this windows and the doors that we have got in here, if you want to make it look old or rustic, you can add wooden planks to so that it's been blocked or you can make the windows pans a bit cracked or some of them are missing. Also, you can add ghost that's peeking from the inside of the room, white ghost or black ghost like we did in the window ghost terrace and the window, I'll be adding the details to it later on. For now, let's add another set of windows to very simple square set for the windows. The upper panel I'll be divided into two section and a total of four panels. We have got three panels at the top, and this one is the bigger one. A total of six windows I'll be creating. Only the three of them will be complete visible. The other will be lying behind the city ghosts. So I'm adding this windows following the reference lines that I just created. If you're not that comfortable with directly drawing on the people, you can use the ruler to add the windows at same distance or inting the exact distance in windows and making it uniform and identical to each other. Another window. So these windows, the lines for this window are simple. I'm not creating that. Organic lines in here. This simple two lines to do the outlining for the windows, and I'll not be adding any colors for this part. I'll be leaving it as I'll be leaving the white of the paper for the windows. Then we are done with the four window. I'll be adding the other window later on. Let's divide the wall into different sections. Here, I'll be using organic lines to divide the wall. So before that, let's create just simple lines, and then we will create the organic lines to make it broader and a bit more darker. Here, I'll only be using the zikkurataki breastpin or watercolor breastpin for the insides of the vendor to make it darker and for a little bit for the water puddle that we have in the front and the breast pain or the highlighter that I have got the gray colour. I'll be using two sides of that, a bit darker and a bit lighter sides. Tend to create different sections for this wall, creating a bit of broader outlines, not broader outline, but those kind of lines to make the division more clear and more distinct. Other things that you can do for the background is create different kind of texture for it. Here, I be creating the same kind of a pattern that I practice that I showed you in the practice station for the third part, you are free to create other texture like the kind of break we created, or you can just leave it completely simple or even you can create graffiti or some pattern or designs. Feel free to experiment at various elements and We are done with the six windows. Here, I did not add the grills, so let's add the grills to divide into. Let's add the grills to divide this window into four different panels. With this, we are done with the basic outlining for the city ghost. If you want, you can make more adjustment to it. So now let's do the pavement. So for the pavement, let's make the corner or the edges a bit more pronounced. And let's erase the pencil ma and see that the ink has dried up to avoid smudging of the color. And for some of the ghosts, I'll be using the lighter sets of the grid, just like winded for the window ghost. If you want, you can experiment with black ghost or you can just completely or you can just completely keep all the ghost pure white. Now, let's proceed with the front gate or the front door that we have got in here, adding more lines and detail to divide it into different sections. So the front gate is also in glass, so that's why I read this kind of lines to sow different section that it's been divided. Let's create the organic lines. So going over the lines to make it a bit broader. So for the organic lines, I overlay over the top of the already created lines and the lines and the sizes of the lines are a bit different. So small and large lines just to create a bit of natural orV like pattern to make the lines more bolder and more darker. Also, you can create pipe or plumbing. That will be interesting. You can also saw the presence of AC or wenty lessons fan. Then for the terrace we can add flower pots, hanging flower pots. Apart from that, we can add lights on sides of the windows. You can add a lot of element if you prefer. It will make your project more interesting. The more element you will add, the more time it will take, choose wisely. And let's continue with doing the outlines for the dividing sections of the wall. The last dividing section, and we are done with this by adding this many lines, the background has become a bit more darker and a bit more contrasting. Yeah, let's do the lines here, first time, starting with the straight lines, this kind of line that we practice in the demonstration of the third part, later on, I'll be adding the horizontal lines to create the pattern or you can see the texture for the walls. So completely covering the entire section. So we have got one, two, three, four, five, six, and seven saxion to add this kind of lines. The whole video is in real time for this project, so you can always follow along with me. Also, if you are going to use other ink or watercolor, it will make it more interesting. We can use reds and blues and browns, so make it a bit more interesting. As you can use As you can use browns for the background for the walls, then we can use red for the ghost or the electric posts that we have got in here, or the railings or the outlines for the windows, and yellow so the light present in some of the windows, and other will be dark someone is present behind the doors or the windows, feel free to use color instead of using only the ink. Carefully creating the lines where the ghost are present, I did not add the line for this window, so let's add it. For the dividing sections of the wall, I'll not be adding these lines. And with these, we are done with the vertical lines. Let's go with the horizontal ones. Once again, I am wearing the length of the lines and I'm creating this kind of somewhat cross-hatching. Yeah, let's continue. Instead of this kind of pattern for the val, you can do the break, the hatching technique that we used, or you can even use scribblings. So there are many ways in which you can create the valves for this City ghost project. Or for each different section, you can experiment with different kind of strokes to create a totally unique or different kind of look for this project. But let's continue with the remaining four sections. Of the four sections, only a little bit is visible. The largest section was the one with the terrace, and we have only got a little bit of more to create. So for this two, let's continue with adding the vertical lines first and now and now adding the horizontal lines. And with these, we are done with creating the pattern for the valve. So let's make it a bit darkened to represent the shadowy region or the darker regions. And for in here, I decided to create brick like pattern. The one we use for the second project. Yeah, we are done with this terrace tube. If you want, you can create different pattern. So feel free to use other kind of texture or pattern for it. And with this, we are done with the background. Let's move on to the valves in front. So we have got two valves. As I showed you in the demonstration, window of the third part, I'll be creating the bricks, a bit detailed bricks. So let's create the bricks. Each individual bricks is somewhat more defined as compared to the bricks that we created for the other project. And for this section, I'll be only adding the hatching lines. Later on, I'll be making it a bit darker, but for now, let's add the simple hatching lines, moving on to the other side, doing the same. So let's create bricks for it. And as I was mentioning, you can make it into a broken all or even no valves at all. You can add grass or trees in here. So feel free to experiment. And also, you can increase the size of the valves that we have gotten here that will be interesting too. And, we are done with the walls. Let's do the pavement, starting with the corner edges of the pavement, two or three lines to create a bit more distinctive features for the pavement that we have gotten here. So just by increasing the number of line, you can make the project a bit more interesting. Now, let's add the hatching line to add more characteristic to the pavements in here. Also, you can add the manholes and the white lines to divide the road into two different sections, two or three manholes, or instead of covering the manholes, you can just let it be open and one or two goes are picking from inside that. You can do that, too. That will be interesting. And let's add the hatching lines for the second pavement. I'll be adding the hatching lines for the upper sections of the pavement, too. Before doing that, let's add the pattern or the texture for the pavement for this side. I'll be adding it just like the vals. I'll be creating the same kind of pattern that we did for the bricks, but will be a bit more defined and a bit broader. I just adding these lines to the corresponding division sections of the pavement that we did, and let's move on to the other side. I'll only be covering up to this section in this video, so we'll continue with the rest of it in the next video. Next part of this city goes, see you there. 19. City ghosts b: So we were doing the pavement. I added more retails and lines to it, and as for the road, I added a bit of hatching lines to make it a bit darker. So you have got the rough idea how you can do that. So let's continue with the ghost and the remaining element for this project. Starting with creating the eyes for our ghost, once again, let's darken the ice a little bit to make it a bit more bolder and more darker. For only these larger ghost, I'll be creating this kind of eyes for the others. The remaining ghost I'll only be adding the simpler versions of the eyes. Feel free to use the same version, or you can use other variations for the eyes. So for the road, you have got the idea what I did. So I was not able to record that Section two or 3 minutes. It took me two or 3 minutes to do that. Let's continue with adding the eyes for the ghost. We have got only two or three ghosts remaining. Since this ghost lies behind the pole, nothing is visible, so I can't add the eyes. Now, let's add the lines for the ghost for our city ghost. This kind of somewhat hatching lines. The lines in here will be smaller and I'll be maintaining a bit more spacing in between the lines. Also, I'll be going over the outlines of the ghost silhouettes to make it a bit darker and bolder to create a clear distinction between each individual ghost. You can use the bras pin to make it a bit faster, the outlining. But here, I'll only using the fine anon to do that. You have got two options, you can keep this project as it is only using the ink pen, only using this fine liner, or you can add the brass paints or ink pen to make it a bit more detail. So the choice is your leaving it as it is the ink illustration, leaving it as it is only with the fine liner and move on or continue with the brass paints or the ink paints to add a bit more contrasting values to the ghost the background and the remaining road and the pavement. Instead of this kind of line, you are free to create or use different kind of texture and the patterns that we have practiced. We have got only three or five. No, I think we have got one, two, three, four, five, six ghosts. And yeah let's proceed with adding more lines for this one. Would the lower regions add few more lines. And let's continue with adding the lines for the remaining ghosts. Apart from this ghost, you can also create some flying ghost or some of the upside down ghost. And with these, we are done with the lines to create fold or different texture for our ghost. Let's continue with going over the outlines to make the ghost bit bolder and create a clear distinction between each individual ghost. So this process will take a bit of time. As I was mentioning, you can use the breast paints to make it a bit more faster. You can use breast paints, watercolor, brushes, sketch paints, highlighter, ink paints. Any other thing or you can even use the fine liner with more thickness. It's 0.4 M in here that I'm using. So the choice of tools also matters a lot. I had other fine liner paints, but I was not able to find it when I was recording the video for this class. So let's continue with throwing the outlining for our largest ghost. And as I was mentioning for the road that you can create the white stripes in the middle, the manholes that you can create, two or three manholes. Some of them will be covered, the other will be open, and ghosts will be picking from them. That will be interesting. And what else we can add to make it a bit more interesting. Let me know that if you have got any ideas for that. Going over the outlines for the remaining ghost that we have got. Also, other thing that you can do with the pool, the pools are a bit simpler. You can add crows or bats. You can add crows sitting on the poles. You can have bats hanging from it. You don't have to create detailed version of the crows or the bat, silhouettes will do the work. And we have got only three more goes to do the outlining for. And this is the last cost that we have got in here. After doing this, we will move on to adding the colors for the window. I'll be using the watercolor, so here I'm using the watercolor brush and Zi Gura take ink. I have a lot of ink on my brush so add a little bit of ink for each individual window pan that we have got in here, and later on, I'll be coming back to spread this ink. So paying attention to the amount of water or amount of ink that your brass is carrying. If you have a lot, just decrease the amount. Otherwise, it will be a bit challenging and it might cause a lot of smudging. That's why I distributed this ink that I had on my brus to different window panels, and now carefully, adding it and completely filling the window pans with this black. For more precision, you can use the fine liner or brass paints, since the window pans are a bit smaller. So if you are not that confident using the watercolor brushes, in that case, use the brass paints or the fine liner or decrease the size of the brush that you are using. The smaller the brus the more precision and accuracy. The smaller the Brush, the more precision and accuracy you will get. It was a bit challenging for me to cover this section, so I decided why not? Let's continue with the brass pan to get a more crisper and precise feeling of the colors. That's why I decided to continue with this Zikurataki brass. These window pans are even more smaller compared to the other windows that we have got. And if I would have continued with the br the watercolor brush, I might have I might have ruined the windows a bit, so I decided My not let's continue with the bras pin instead of continuing with the watercolor brush. Carefully adding in between the white lines, the white lines from the terrace and the window pans. Now we are done with those. The largest one. No, this is not the largest one. The largest one will be the front door. Let's feel the color for the insights for this largest one. And after this, we'll be using the shades of the gray for the walls, two different seats, a bit darker set for the dividing section. And for the remaining walls, I'll be using the lighter section. I'll also be using the lighter set for the road and for the pavement, I'll be going in with the darker seats. And as for the corners of the walls, I'll be using the black to completely fill it, the region where we use the hatching lines, I'll be covering that with the black for the walls, the walls in the front, not the background walls, the wall alongside the pavement. If you're not confident, you can use the fine liner since this region is a bit smaller, so it won't take that much time, even if you are using the fine liner. So let's completely fill the sections with this black ink. Adding it carefully to avoid smudging or blending it with a ghost that we have got in here. So let's encircle the ghost first and then filling the remaining section. So this is the last section for this front gate. Only a little section of this window is visible. Same goes for this one. We'll be adding it the coloring for this one later on. So always start from the top and then move to the bottom, so as to avoid smudging of the color from your palm. Sure that the ink has dried if you are going to use the other layers or you are going to use the fine liners or the ink pans. Only two more windows to fill. So a total of one, two, three, four, five more panels. And we are done with this one. Let's move on to the last one. Oh, for the traffic signal, let's add the black. You can use the red for this traffic signal. That will be interesting too. And yeah, let's feel the ink for the last windows that we have gotten here. With these, we are done with the black ink for all the windows. As I was mentioning, I'll be using this black for the poodles that we have got in here. So let's completely cover all the four poodles that we have created with the black ink. And you can use a bit of whiting to create a little bit of reflections. Or you can add the finger like projection, the ghosts that we created for the window pans that will be interesting too. So those kind of ghosts are appearing from the black holes or the black poodles. And yeah, we are done with the black poodles. Let's make the outline a bit more clear in between the road and the ghosts. A bit of lines in here and there for some of the sections alongside the pavement. Let's add it on the other side, too. Yeah, we are done with it. Let's bet it a little bit so that our ink a drains and then we will proceed with the gray colour, the gray ink. Not the gray ink, the gray highlighter that I have got in here. I was mentioning earlier that I'll be adding the hatching lines for the upper section too. So continuing on adding the hatching lines for the upper sections of the pavement to make it a bit more detailed and a bit more darker. And for the upper section, as you can see, I'm adding the hatching lines on the different side. If you prefer, you can add it on the same side as that of the other side, but here I'll be adding it on the other sides. And, yeah, we are done with the hatching lines for the pavement. And the ink is dried up. Let's add graze for it. So as I was saying, I'll be making the pavement a bit darker and the walls, too. You can use the ink or watercolor dilute it consistency to get the seed of the green, different shades of the green, and use the darker sets of the green for the pavement in the walls and the lighter seats for the background as. So with this bigger tip, it is much quicker and faster to cover the large sections. Let's add another darker set of the gray for the edges of the pavement. And here we are done with this. Let's move on to the background, put the dividing section using this darker seat of the gray, and let's completely fill it. Adding it carefully in here, so you can see I did a bit of mistake. A little bit of the gray is overlaid on top of the ghost, adding it carefully in here, and here we are done with this darker seat of the gray. Let's go in with the lighter sad. So first, let's fill the entire suction of the roll. Sure that the ink has dried, otherwise you will get the smrging. Also, ensure that the ink is waterproof. Other white, once again, you will get a little bit of smirging. And with these, we are done with our ghosts. Later on, I decided to add a bit of more grease to some of the sections. So here's the final painting. As you can see, I added a little bit of light seed of the green for the walls of the background and see consistency of the green for some of the ghosts. I'll see you in the next video. 20. Black tree forest ghosts : Welcome to the eighth project, so black forest. So this is somewhat similar to the sixth project that we did with the birch trees. And instead of that, we have got black trees in here. This will be somewhat easier as compared to the sixth one. And yeah, let's continue with the outlines. So simple seats for our trees as we move towards as we move towards the right, I'll be increasing the sizes of the tree. And as we move further away, we'll be decreasing the sides. I'll be adding a lot of tree, so feel free to play with the number of trees, don't just but don't make it over saturated as it will make it a bit confusing. And it will be hard for you to color them. Add as many trees that can be easily colored. So using the ink, I'll be using the black ink to color it. More trees. So the further trees will be a bit smaller, the thickness will be less, and the trees that are closer will be having more thickness to it. I'll be creating very small branches for some of the trees, not for all of them. And the seep will not be straight a bit of curve lines, not that much curve but a bit of organic lines the kind of lines that I'm creating in here. And I'll be adding multiple ghosts. The ghost will be hiding behind the trees. And for this ghost, I'll be even adding the hands. And with these, we are done with the outlining the pencil outlining, let's go in with the fine liner to make it a bit bolder and more distinct. You don't have you don't have to just greet the same number of trees that you skitched. As you will see, I'll be adding more trees. Just going over the pencil sketched outline will make it clear how many more trees we can add. So this will provide us with a rough estimation that how many trees we can add. Or if you are confident, you can just directly start with the ink pane. So watercolor brush or the brush pane. So directly covering or directly creating the black trees. For this, I'll be using a bit of gray for the other section, for the outside sections, and some of the graze to create small shadows for the trees. So these are the kind of small branches that I'll be creating for some of the trees. And yeah, let's continue with going over the outlines. So this project is a bit simpler one. And if you want to make if you want to add more elements to it, you can do that. So you can even add more ghost on the upper section of the trees that goes flying or that hanging from the trees branch. That will make it a bit more interesting. And apart from that, instead of this kind of black trees, you can create a bit more detailed one. Let's do the outlining for the background. So this will be the snow mountain or snow mound that we have got in here. Let's continue with creating the trees. A bit smaller or thinner trees for the background. If you are going to use ink or other color inks, then I would suggest to you to use red ink for the background. For the background, I'll be using a bit of lighter shades of the gray and I'll be making it blend with the white of the paper. So decreasing intensity. Instead of that, you can use the red ink. That will create a somewhat eerie and sinister appearance for this Let's add a few more trees, bit smaller and thinner ones. Just don't oversaturate it. If you oversaturate it, it will become confusing while we'll be adding the ink on top of it. And with these, we are done with the outlining. Let's remove the pencil marks. Insert that the ink has dry. And, yeah, we are done with it. Now, let's add the outlines for the ghost. Very simple shapes for the ghost. For this, I'll be creating the hands to add only the eyes. If you prefer, you can add the mouth, add accessories or more elements to it. This will be the simple variations of the ghost. Not much detailed rapes or the clothes, so very simple ones. You can add as many got as you want. I have skipped some of the section, but most of the section are in real time, so you can pause the video or you can just slow it down. So here I have outlined some of the ghosts. So yeah, let's add a few more outlines for the ghost. Very simple saves with the hands too. So feel free to increase or decrease the number of the ghost. Also, if you are confident or if you want to make it a bit more interesting, you can create small bunnies with red eyes. Besides the tree root, you can even add a bit of shrubs or grass. Or like we did in the second project, you can create tall grasses. These are some of the suggestions that if you want, you can use, but I'll be keeping this project simple. And yeah I am satisfied with the number of the ghosts. Let's do the background. Here I'm using a lighter consistency of the gray. So I diluted the black ink to this consistency by adding a lot of water. And yeah, let's add water for the background to create a distinction in between the foreground, the background, and the remaining sky. Decrease the intensity of the ink as you move upward and blend it with the rest of the people. The lower sexan will darker and as we move up, will be decreasing in intensity. Here's what I was saying. If you add too many lines, it will become oversaturated. So let's rectify the situation. The distinction between both the tree was not that clear, so I added one more line a distinction between the larger tree and the smaller one. Let's cover the remaining secon with this lighter gray. Extend the screen towards the upper section of the sky and decrease it intensity to blend it with the white of the sky. So in here, I was saying, you can use the red ink. That will be something interesting and bit more sinister. Feel free to use red ink if you want. And now I'm going in with only the water to blend this gray with the white of the sky, white of the background or you can see the white of the sky. And with these, we are done with a lighter side of the green for the background. Now, let's use the seam lighter side of the green for this foreground, and here too, I'll be decreasing in intensity entire regions with this lighter side of the gray and for some of the sexon I'll be keeping it a bit darker, but for most of the section, I will be having a very light intensity of the gray and later on, I'll be creating the shadows on top of it. Carefully adding it in between the trees and the ghost. And if you add it over the trees or the ghost, you don't have to worry about it since the intensity is very, very light. And with this, we are done with the foreground, too. Let's spread the ink a little bit more. So to get a somewhat of uniform consistency. Going to the background and diluting it a little bit more. So yeah, we have got a clear distinction between the background and the foreground. So here I'm going with a bit darker consistency of the grey and overlaying it on the wet gray that we just used. So here I'm using wet on wet technique to create somewhat of blurring effect for the sadosV tiny dots in front of the root or the base of the trees to create a bit of shadowy regions for trees. Since I'm using this wet on wet technique, the intensity of this dark gray will be reduced further on when it will dry up. If you want to create sharper and more, correct sados, you can wait for the ink to dry and then add it. Now let's move to the background. So I divided the background into two sections, so let's add a bit of gray for this to create a bit more clear distinction. And now let's blend this gray a little bit more to the rest of the people. With these, we are done with the foreground, the sados and the background. What we will do we will make the outlines of the ghost a little bit more sharper and more crisper later on. But for now, let's go in with the black ink to completely fill the trees. So I waited for the ink to dry. I waited the pipe to dry, and then I'm using it. So ensure that the watercolor or the ink that you use, the gray ink that you use has dried up and then proceed with it. Here I'm using the breast pain, go over all the trees and make it the dark forest. For some of the sections, I did not record the video since it will be a repetitive process, and you'll have to be patient and since it's going to take a lot of time. You'll have to be a bit cautious while adding the ink for the trees since some of the trees are thinner and if you're confident, you can use the watercolor brush that will make the process a bit more faster. But I decided, why not? Let's stick with the bras pain that I have got in here. So I'll be completely peeling or creating all the trees with this bras pane. Also, apart from these trees, if I'll find a lot of empty spaces in between the trees, I'll be adding more trees. I'll be adding more trees among them. Let's continue with filling the blacks for all the trees. After finishing this one, the other four projects that we have got one from the third section and three from the fourth section for most of them, we'll be covering most of the background with the black color. So that will be much interesting and more vibrant. The background will be the black and the main thing, the main ghost or the main compositions of the project or the illustration will be the white. So we'll have much more interesting and much more contrasting illustration. Here, as you can see, I have increased their speed. If you want to follow along with me, you can just pause it or decrease the speed. The speed in here is two X, so you'll have to just half the speed. Let's continue with adding the ink for all the trees. We have got lots of trees in here. Since I use weight and weight technique for the sados, the sados along with the lighter side of the green that we use has merged a little bit and has created a subtle seed for the sados for the trees. Creating tiny branches for our trees, very tiny branches. If you want, you can make it a bit larger, not that larger. Since the process was so repetitive, I added these trees on my own. So as you can see, I added a few more trees, smaller and thinner trees wherever there was a lot empty species. And yeah, let's continue with adding the trees. So this is the biggest tree that we have got for this project, and I mistakenly covered the hand of the ghost, but it will work out. So yeah, let's continue with filling this entire section for this large string. Let's create the base for it. And now let's feel the rest of the section for the string. Here, too, once again, I have increased the speed. So let's completely fill the rest of the remaining tree and add few more trees in between the empty species. I'll be cutting a bit smaller trees for the empty spaces. Let's create a small and thinner tree in here. It's too small. Let's make it a bit bigger. And now we have got only two or three. I think four trees in here. Let's feel the ink for it. And to make the trees a bit more detail, you can use the white ink to create a bit of taxion and pattern on top of this black ink. It will take a bit more time, but you can create some beautiful taxion and pattern or you can create the trees like the Buch trees that we did in our sixth project. So if you want, you can proceed with that using the white ink or white acraling or white gauze. Ensure that the intensity of the white is much brighter or you'll have to do two or three layers of the white. So this is the second largest tree that we have got. And yeah, let's completely fill this. So, we have got a little bit of a space in between this tree and the tree at the corner, so I'll be adding one or two more trees. How about adding one tree in here? Let's do the tree in here. So here, as you can see, I have decreased the speed to the normal one, and I'll be adding one more tree in here, a very small and not very small, but a very thin tree in between those two trees. Adding it carefully in between the ghost and don't I don't want to repeat the same mistake that I did with covering the hand of the ghost. Adding it carefully for the hand of the ghost and in between the two ghosts. And, yeah, we are done with this. Let's make it a bit more broader encircling this side of the ghost's head. And yeah, we are done with the trees. Now, all we have to do is to add details, make the outlines a bit bolder for the ghost and add the eyes for it. I see that the ink has dried, otherwise, you will smuge the ink on your paper. So very small and we'd like ice. Simpler version of the eyes. If you prefer you can add a bit detailed version of the eyes, but I'll be sticking with the simple ones since the ghosts are a bit smaller. So we have got a total of one, two, three, four, five, six, seven, eight, 910, 11, 12 ghosts. If you want and if there is more species in between the trees, you can add few more ghost or you can also experiment with the black ghost. So for that, you'll have to create a bit distinct outline in between the tree and the ghost by using the white ink. So feel free to add black ghost too. And let's add the ice for this smaller ghost. It's very tiny dot for two tiny eyes. And yeah, we are done with the eye for our ghost. Let's make the outlines a bit more crisper and molder for the ghost to get somewhat more distinct impression for the ghost. Also for the bids of the trees, you can add small grasses, like we did for our sixth project, but I won't be doing that. Add more details or final details wherever you think it's required. The sizes of this eyes were a bit smaller, so I added a little bit of more blats to it. And yeah, with this, we are done with our project. I'll see you in the next one. I was going to make the outlines of the ghost a bit more darker, but then I thought, Oh, it's okay, so I did not add it. If you want, you can add it. And with this, we are done with this project. I'll see you in the next project. 21. Desert ghosts : Welcome to the ninth project, the last project of this third part. So for this, we have got something interesting. So the main project of this illustration will be the ghost and the beautiful cactus. And for this one, we'll be using a lot of black ink. So the background and a little bit of the foreground to will be completely covered in the black. Only the cactus a ghost will be white or seeds of the gray. The other thing will be completely covered in the black. For this, I'll be creating five to seven characters and four small ghosts. One will be the big one. The other three will be somewhat smaller. So these are just the basic outlines for the cactus. Feel free to make adjustments, change the saps, and even the number of the characters. The center characters will be the largest one. We'll be adding two or three branches for each cactus. And, yeah, we are done with somewhat basic outlines for our characters. You can add a few more, but don't make it oversaturated, as it will become a bit harder for you to color it now. Let's create the ghost. So this will be somewhat easier persons of the ghost. Once again, I won't be adding much details for the drapes or the cloth so a total of five ghosts. For this ghost, I'll also be adding the hands. So feel free to use or create any other variations of the ghost here, we'll be going in with the simpler versions. And if you want, you can even add ghost that is lurking or behind the cactus on the upper sections. So the choice is yours, but I won't be doing that. So it's just an idea. Now, let's do the foreground, too. So for this patch, I'll be using the white. For the remaining horson, I'll be completely covering it with the black. For the bottom, I'll be having a lots of small stones and some small grasses, too. And with these, we are done with a pencil outline. Let's ink it. So go in with a fine liner to define the see for the ghost. And as I was mentioning, I'll be adding the hands too. Let's do the outlining for the third one. And we are done with the three goes. I'll be adding one more goes later on. For now, let's do the outlining for our cactus. So this kind of lines, a bit of rough edge for the cactus. And here, I'll be using two sets of the green for our cactus, a lighter set and a darker one. I won't be adding the needles or the thorn for the cactus. If you prefer, you can do that, but I won't be doing it. Here, as you can see, I have increased the speed. So for the repetitive sections, I'll be increasing the speed. If you want to follow along with me, you will just have to pause the video or decrease the speed. Let's do the outlining for this one. We have got one more cactus to do the outlining for. And let's do the outlining for this last one. If you want, you can create smaller characters too, like we did in the right side. Let's create one more cactus in here. The smaller cactus on the left and the right become a bit troublesome. So later on, I covered it with the black. So if you want, you can keep it, or I'll be covering it. Let's add a few more small characters in here. And yeah, we are done with the upper section. Let's do the outlining for the foreground. So this section will be in the black, and let's create small stones, the same kind of stones that we practice in the third demonstration video, and we'll be creating the same kind of grass or you can say fan. Let's create a outline for one more ghost, a small one. Let's add more stones and a bit of details for the insides of it, a bit of jig jag or somewhat rough lines for the insides of the stones. Let's create the outlines for the ferns and you can add as many fans as you prefer. Just don't oversaturate it. So let's create a few more fonts here and there. Instead of this kind of font, you can create the grass or tall grass too. Some of the portions of the ghost will be covered with the tall grass, a combination of small grass, tall grass, and this kind of fern. Let's continue with adding a few more fonts and then we will move on to inking. And Now, let's add the eyes, pretty simple eyes for our ghost. Let's create the outline for this section too. So this middle section will be in the white. The remaining will be covered in the black. Going back with the eyes to add tiny holes for it. And with these are done with our basic outlining with the fine liner, let's erase the pencil marks. And see what the ink has dried and then erase it. Otherwise, you will get smudging all over your paper. And now let's color it. Here I'm starting with the lighter side of the green for the characters. So a very light seed of the green. I have diluted the watercolor. I have diluted the ink with the water. So if you're using watercolor, you can do the same with it or you can use the sketch gray sketch pen or the green marker or anything of lighter consistency, even you can use the pencil. So a light seed of the pencil will do the work too. I'll completely covering the entire sections for the cactus, but this. Also, I'll be using it for the stones. Yeah, let's completely fill the entire regions of the cactus. If you want, you can create the needles or the thorns for our cactus. Using some simple hatching lines with a center, you can create the thorns or the needles for our cactus or you can even add a little bit more details to it. Apart from this, to make it a bit more interesting, you can use red ink and create small flowers on top of the cactus that will be interesting too. And as I was mentioning, you can also add some smaller ghost or black ghost that is peaking behind the cactus on the upper regions. So you can do that, too, and we have got only two more cactus to add color four. And with these, we are done with this one. Let's feel the grey for this last one. And with these, we are done with the characters. Now, let's add the gray. The same version of the green, put all the stones at the base. So and with this, we are done with this lighter consistency of the gray. If you want, you can add a little bit more wherever you think it's required. I added a bit of gray in here to sew the sados four tones now. Let's do the background. I see that the ink has dried and then proceed. So here, once again, I'm using the ikura take ink. I'll be completely covering the background and most of the foreground with this black. This is going to take time since we have to wet causes and careful while adding it in between the characters. So carefully adding it in between the characters. So this process is a bit time consuming. That's why I increase I speed in here. So I'll be completely covering the upper region, the foreground, and the background, too. You can leave it as it is. So white for the background, you can create the tone and or like pattern or different kind of clouds. So the choice is your if you don't want to do the background with the black. Other than that, you can use other sits the red for it, like as I was suggesting right for the flour for the characters. Instead of that, you can create red background, or you can create a gradient using the red, just like we did for the earlier project. We'll free to experiment with other colors and add more elements or make some changes. We causes while adding it in between the cactus plant. And let's continue with the remaining section. Also, on top of this background, you can go in with the whiting to create some flying ghosts or you can add some kind of pattern or texture for the background like moon, half moon or full moon. That will be interesting too. O. I'll be covering this cactus, the smaller one later on. So for now, let's do the outlining for it. And yeah, we are done with the background. Now, let's do the foreground. So I'll be completely covering this region too with the black. So only the middle section of this foreground will be in the white. The remaining part will be covered with the black. Carefully going over the outline. You don't have to exactly follow the outlines that you created with the pain, create this kind of wavy texture or wavy pattern for the foreground and completely fill it. Here, once again, I have increased their speed since all I have to do is to completely fill this entire region with the black. You'll have to bit courses around the corner and try to maintain the SAP edges for the outlines of this project. You can see a bit of the black ink has passed the outline. So if you want crisp and clear outlines, you can use masking tea. Now, let's add the black ink for in here. You'll have to admit causes while adding it near the stones. This was the same thing. I filled my entire region with the black on my own. Now here, I'm going in with a bit darker side of the green and creating this kind of weave lines. For the main branch of the aracus I'll be adding three lines and for the periphery or the additional brand, I'll be adding two or perhaps a darker consistency of the gray, and let's add the lines for all the cactuses. And you can use this to also create the thorns and the needle. It will be a bit challenging. Instead of creating this kind of lines for the cactus, you can even use hatching, crosshatching, or other techniques to create some kind of pattern or designs for our cactus. So feel free to experiment with that, too. And now let's continue with the lines. So here, I'll be moving from left to right to avoid smudging of the color. Instead of this lighter verson or somewhat darker version of the cree, you can use the black too. So that will be interesting too. You can also use this cree for the smaller ghost. So like we did for the city of ghost and for the windows ghost, some of the ghosts will be of white color, the others will be a bit grayer color. Instead of the grey colour, the ghost at the front, the smallest one, you can even use the black colored. So a black colored ghost. And with these, we are done with the largest cactus, and we are done with the first three cactuses. Let's move on to the remaining Here I've increased the speed, so let's completely fill all the cactus with this kind of curvy lines. So as you can see for the perifery branch of the cactuses, I'm only adding two lines. Now for the main one, let's create three lines. And with this, we are done with the final cactus. Here, as you can see for this one, I tried to create thorns using the fine end, but it did not turn out the way I hope, so I'll be covering it. And let's So let's go back once again with black ink to cover the mistake that I did. I'll be covering both the small cactuses it does not add that much value to the whole composition and that's why I'm going to cover it carefully covering it. So let's cover this section to the small font plant. It for the other side too, on the left side. If you want, you can keep your small cactuses, but since it was not adding that much character to the main illustration, I decided to cover it. And with these, we are done with it. If you want, you can continue with this to add the color for the fan plants. But I'll be going in with the breast paint since it will be much more since it will provide much more accuracy or instead of the breast pain, you can even use the fine liner. That will provide the most accuracy. Let's add the leaves for our fan plants. Apart from this, as I was mentioning, you can experiment with the different kinds of the grass or you can create leaves too. So the choice is yours. And we have got lots of for plan. I'll be increasing the speed a little bit later. For now, let's go over the outline with the bras pin. Also, I was not able to record the process in which I added the lines for the stone, but you have got the rough idea how I did it since I showed you in the demonstration video of the third part. So small lines, creating hatching lines for some of the intersection of the stones to create this kind of pattern. That's what I did. And yeah, let's continue with the remaining phone. You can add more phone if you prefer. So here I am adding a bit more font to cover the small characters that I created, the outlines for it that I did earlier. So for this region, I'll be adding a few more, one more fond to cover it. Since this is going to be a repetitive process, let's increase the speed a bit. Here I increase the speed to two X. So if you want to follow along with me, you'll just have to pause the video or decrease the speed, whatever you feel. So yeah, let's continue going over the outlines for the remaining fonts that we have got in here. You can use the fine line at two if you want more precision and more accuracy. And we have got two or three more, and then we will move back to the ghost. And then we will move back to the ghost, adding more details to the eyes and making the outlines a little bit more bolder. For some of the sections for the ghost, especially the hand. And yeah, with these we are done with the fonts for the front. And if you want, you can add few more. So now let's continue with the eyes. So here I have decreased the speed, and let's make the eyes more bolder and more darker. Here I'm using the file an to get a more precise and accurate colors for the eyes, not colours, but more precise and controlled strokes to create somewhat circular and seeped eyes for our four ghosts. And with these we are done with our second ghost, let's add the ice for the remaining two ghosts. Following the theme for this project, the dessert like surrounding, you can add hats for the ghost as well as you can add sunglasses. So it will appear that the ghosts are in dessert. Let's add the ice for the last one encircling the white section and then let's completely fill the first time. Then we will move on to the second one. And In the next video, I'll be showing you the example of the things that I'll be creating for the remaining three project, the 1011 and 12. And for now, let's go over the outlines of the hands to make it a bit more bolder and more darker. You can do the same with you can do the same with the outline of the ghost, but I think it's okay. So let's do the outlining for this one. And with these, we are done with our ninth project. I'll see you in the next project, the fourth part. 22. Part 4: To the fourth and final part of this class. So we have got three projects in here and for all the project, we'll be using lots of black ink. So the main focus for all this project will be the black backgrounds. So we'll be creating very high contrasting images like this one. So we have got forest Ghost, then the second one is ghost house is this JellyfisGhost, a total of three. So let's start with a demonstration that how you can create this kind of scenes. So I'll be showing you the somewhat of a small thumbnail for each different illustration. So I'll be creating the thumbnail for three illustration that we'll be doing. So for the first one, we'll be the black forest. So we'll have to use a lot of black ink. And for these three project, you will need white ink or anything else that can be applied on top of the black ink. So you can use white gauze or high consistency of the white watercolor or acrylic color or even the pencil color. So white oil pistal pencil will do the work too. So this will be our primary layer. But we'll be creating but when we'll be creating our main project, I'll be leaving the white spice for the ghost. But in here, I'll be adding the ghost on top of it. So using the whiting to do that. Let me show you what I mean that I'll be leaving the spice for the ghost. So this will be so this will be the thumbnail for the second one. So I have already sketched out the outline for the ghost. So the background will be the white, the ghost will be the white and inside this ghost, I'll be adding the house. So this is a very big ghost that encircle the whole house. Outlining the seep of the ghost and will be completely filling the entire section with the black ink. Here I'm using a thinner paper of 80 dSM. But for the main project, use any paper, preferably watercolor of at least 180 or 160 GSM. Otherwise, the ink will bleed since we'll be using a lot of ink and ensure that the ink is waterproof, or if it's not waterfoof then you will have to be a bit more causes. So these small regions will be the white, a little bit of reflections. So now let's feel the rest of the region with it. Okay. Let's create the house side, this ghost. So the house is completely encircled by the giant ghost, very simple C for the heart. For the main projective, I'll be creating a simpler version of the heart and a bit more detailed than this one. I'll add I'll be adding a few leaves, plants, and stones too. And let's create this kind of dots to resemble leaves flying or something that's in the sky. Tiny little eye for our ghost, simplified version of the eye. And this is just a rough thumbnail for our second project of this fourth section. Let's add the doors and the windows, and let's add the color for the top of the heart. You can make it more detail. So the choice is yours, and yeah, we are done with this second thumbnail. For the third one, we have doodles. So jelly like ghost I'll be creating somewhat jelly like ghost and it will be similar to the third project that we did. And this will be the jelly like ghost. So this will be the general shape of the ghost, and this will be completely different from all the ghosts that we have created so far. I'll be covering the entire page with this kind of ghost. So it will be divided into two parts, the upper body and the lower body. For that, we'll be creating lines for the rest of the and for the rest of the lower body, we'll be completely covering it with a black ink. Let's divide the body into two section, the head and the mouth, the head, and the rest of the body, creating this kind of curvy lines to differentiate in between the body and to differentiate between the head and the rest of the body. Simple round eyes and smiling face smiling mouth. Feel free to experiment with different seeps and expression for the face, but I'll be mostly using this simpler verson for the face. Now let's create some lines. Using this kind of hatching, adding this kind of lines of varied length. As we move away from the fees, I'll be increasing the sizes of the lines and instead of using the ballpoint paint or this final liner, I'll be using the breast pain to further increase the width or the thickness of the lines for the lower portion, I'll be using the ink. It is using this fine line to add a little bit more details to it, I was waiting for the ink to dry. Now let's go back with the ink to sew what I mean. So using this ink to create more lines like the earlier one, and as we move away from the up and as we move away from the fees, I'm just increasing the number of lines and completely filling the entire section with the black. So small lines. And as we move away, increasing the thickness of the lines, giving it more weight and after covering the half section of the body, just filling the entire section with the black. And for our main project, I'll be creating a bit crisper and defined outlines. I'll be leaving a little bit of the white of the paper or use ink to create clear distinction between all the ghosts. So you have got the rough idea how we'll be creating our final ink illustration. So this Dutton Jif is like ghosts. This two will be a bit time consuming. The other two, the first and the second, the tenth and the 11 will be much faster, but this will take time since we'll have to add lots of line. But it would not take that much time as the third one. The third one, the third one in which we created C of Ghost, so comparatively less time, but it will be much more bolder and more defined since we use a lot but it will be comp much more bolder and more distinct since I have used so much contrasting color, the complete white and darkest black it will be very fun to do the last project. It And with this, we are done with a rough thumbnail for the third project. Now let's go back to the second one, adding a little bit of more details surrounding the house. So instead of this kind of house, you can create any other kind of house you can create trees, plants, animals or humans. So the choice is yours, I'll be sticking with this kind of thumbnail and we'll creating just similar image, but more defined and more distinct. I think the ink has dried for the first one. Let's go and use the white ink to add the gs, the trees, and a little bit of syrups and some stones. Also, I'll be creating a little bit of highlights or reflection or you can say flying butterflies or moth. So yeah, using the white ink to overlay it on top of this black ink, you will have to use a thicker consistency of the white. First here, I'm starting with creating the seed for the trees. So not defined trees, but just some simple saves of the tree, main branch and a little bit of tiny branches coming out of it. If you prefer you can create detailed kind of trees. But for the tenth project, we'll be creating this simple variations of the tree. So after finishing this, I'll be showing you how after finishing this thumbnail, I'll be showing you how I'll be creating the trees and the different kind of leaves. Let's create some small plants in here. So very simpler version, very simple versions of the plant with few leaves, just like the pond that we created in the last project. And let's create this kind of tiny dots to represent something flying like butterfly or mouth or something, something of light intensity. Doing the same on the other side, little ferns and a bit defined plants. A bit defined plant with defined leaves and small and for the ground, I'll be adding some stones or rock, a bit defined one as compared to the last project within. You can add as many details as you prefer. Let's add another tree in here. Only the main trunk of the tree will be visible and few branches. Not much defined or detailed tree. A very simple version of the main trunk of the tree and few branches. Finally, let's create a very simple variation of the ghost. Very simple C. For our main project, we'll be leaving the white of the paper. We won't be using the white ink to create this just like we did for the second thumbnail. But here I'm just showing you that using higher consistency of the white ink or white gauze, white acrylic or white watercolor or white watercolor, you can add it on top of the blacking to create ghost and this kind of outlines for the trees and other elements. So with these, we are done with it. Here, the consistency of the ink was good. Otherwise, you will have to apply two or three layers. Now let me show you the kind of plants and the leaves that I'll be creating for our tenth illustration. So a defined plants and leaves like this, I'll be using white inks to create on top of the black ink. Feel free to use. Feel free to create any other variations of the plant or tree or shrubs. But I'll be creating something like this for our tenth illustration. Now, as for the stones, simple sees for the stones, these are a bit bigger than the last one. And also, I'll be creating small ferns with four or five or even six leaves. I'll be creating this kind of plant for our tenth illustration. And you can create even smaller plants like this curvier plants, or you can even create the cactus, using the whiting to create cactus in the background. Now, let me show you the kind of trees that I'll be creating. This will be the main trunk and small branches coming out of it. I won't be adding leaves or much more details to the trees. If you prefer, you can do that. But I'll be creating just simple variations or simple versions for the tree trunk and a few branches. So you have got the rough idea how you'll be creating the tenth, 11th, and the 12th project. Feel free to experiment with the C sides and add or subtract various element to make the project your own, add more characters and more drama to it. But these are done with our fourth demonstration video. Oh, I forgot to add the ice where goes, going back with a fine liner to add the ice on top of the white ink, and we are done with this demonstration video. I'll see you in the next video, the tenth one, the tenth project. Happy painting. 23. Night ghost : Welcome to the tenth project. So this one is the ninth at the Forest. I'll be creating the same kind of illustration that we practiced in the earlier part, the fourth part, the thumbnail that I created. For that, I used white ink to create the ghost. But in here, I'll be just drawing out the basic soup of the ghost and then filling the rest of the area with the black and leaving this white space empty. So this will be our very simplified version of the ghost. No hands or mouth. If you feel you can add those two. And this will be a small puddle of water in front or a small reflection in here. I'll be leaving this space white, too. Only these two sketches won't be covered by the black. The remaining will be covered by the black. I'm just showing you how I'll be creating the leaves and add more details alongside the branch, alongside the tree, few leaves, some small stones, and, yeah. The kind of font plant that we practiced and this kind of leaf and some stones. These are a bit bigger than the one we did for the ninth one. I'll not be making it overcomplicated. So only few plants and three or 4 stones. So I am sketching this to show you how I'll be using the white ink after applying the blank and how you can create the trees and the additional elements. Feel free to add any other element to make it more interesting, or you can even remove the things that you don't like. Also for the background, I'll be creating some hot like sap and a little bit of white dots to represent a sparkle or night butterfly or moth flying. If you want, you can add few more trees in the background too. Also, you can increase the number of the ghosts. Instead of a single one, you can create this one big. Instead of the single one, you can add few more two or three small ones. And, we are done with the basic outline. Now, let's go in and completely cover the background with a black. So this whole video is in real time, so you can always follow along with me. Here I'm using Zikkuratak black ink. If you prefer, you can use the watercolor. So I would advise you not to use the breast paints or the fine liner to fill this large area since it would take a lot of time and it would not be that feasible. The other thing that you can do is to use other colored ink like red or green or a combination of yellow and green to create fog like background. You can do the same with the combination of red and black. If you want, you can use the other colored ink to create different kind of atmosphere, a bit more dramatic and more scary. Besides that, if you don't want to use the black footer background, you can use hatching and cross hatching to create different kind of background. Carefully going over the outline section. In the last video, I made a bit of mistakes, and some of the ink was sprayed out from the outline. So you'll have to make causes while adding it near the outlines. Or if you want precise and crisp outlines, you can use masking tape on the four sides of the paper. Let's continue with covering the entire section with this black. So apart from the elements, what else you can add or strike to make it more interesting and fun? Let me know that. So here are some more suggestion that you can use. You can create large grass, the one that we created for our second project. So using white ink to create that kind of grass. And like our eight project, you can create characters in the background. That will be interesting too. And as we practice that as we practice in the demonstration video, the second thumbnail in which we had a house, you can create the silhouette of house using the white ink in the background. So yeah, these are some of the suggestions that you can use for this illustration. Carefully defining the sea food this goes and then I'll be covering the entire section with the black. Not the entire sexon. A small poodle will be left. The rest of it will be covered with the black. To make it a bit more faster, you can use large brass. The illustration for this last part, the fourth one is full of contrasting. So darkest dark for the background and lightest light like this for the goes very contrasting and completely different from all the projects that we have created so far. There will be no middle tones like the green that we used, only black and white. And I won't be using that much of fine liners for this project. A little bit will be used for the final 112, but for the remaining two, the tenth and 11th, I won't be using that much fine liner. You can use it to do the outlining or create a bit of tiny details, but mostly, I'll be using the ink and a little bit of breast pain. And with these we are almost done. Let's carefully define the outline for this puddle. Let's carefully define the outline for this puddle in the front. You don't have to follow the same. You don't have to follow the exact outline that you have created. Feel free to make adjustment and change the seat if you prefer. Also, one more thing you can do is to adjust the ghost a little bit up or you can create flying ghost, create a white river on the foreground and on top of that, you can create black ghost, so. That will be interesting. The kind of project that made it for the sixth one, we had Black River. So in here, we'll have White River and Black ghosts coming out of it. You can add stones and small grasses around the white river. So that will be interesting too. And the other thing that you can do is to create small flying ghost for the background. So instead of this single one, you can create multiple one, 12 or 13 or five or six flying ghosts. Also, you can create the finger like ghosts that we created for the ghost at the vendos. That will be funny, too. That will be interesting, too. So you have got lots of idea and variation that you can experiment on your own. And if you do that, please sar it in here. Let's fill the rest of the empty spaces with this black, and then we will move on to add details to our ghost and use the white ink to create the outlines for our trees, plants, and stones. For the folds of the cloth of this ghost, I won't be adding that much details, only three or four lines if you want to make it a bit more detail. You can add more lines, but I'm trying to create a simple illustration in here. I'll not be adding that much details our pattern for our flying ghost. And, we are done with the black for all the sections. Add more black wherever you think it's required or wherever the intensity of the black is not that uniform. Here I'm going in with the fine liner to add a little bit more details to the white puddles. So some small curvy lines to make it a bit more interesting. Now you'll have to wait till the ink dries. And in here, my ink has dried up. And as I was saying that I'll be adding some white dots in the background in the seep of small tiny dots or oval or seep of heart to resemble moth or butterfly in the background, like in here. So the number of dots and the butterfly depends upon you. You can add as much as you like, but don't oversaturate it. Now, let's do the outlining for our tree. So this will be the main trunk and two or three branches small branches coming out and two or three small branches coming out from the main trunk. I'll be creating very simple versions of the tree like we practice in the thumbnail of the fourth part. If you're not comfortable with directly using the white ink, you can use the pencil to draw out the sketch for the tree and then use the whiting to go over it. Here, I am using Zikuratake white ink. Ensure that the consistency of the white is high, and otherwise you will have to do two or three layers of white to get this kind of consistency. Also, if you don't have the white ink, you can use the white from the gauze or white acreleOeven you can use the watercolor. Just make it a bit saturated and you'll have to use two or three layers of the white if you are using watercolor. Or if you are confident enough, you can leave the white of the peper. So instead of completely filling the entire section with the black, you can leave the outlines for the trees untouched. So using the white of the peper to create the trees and the remaining plants and the stone. It will be a bit challenging, but if you want, you can do that, too. Let's add small plants in here, so a bit more defined and somewhat of ovals for our leaves. I'll only be adding the mid ribs. And for some of the leaves that are a bit more defined, I'll be adding the mid rips along with the veins. For this one, let's do this, the mid rib, and now the veins for the leaf. You can add more details for the plant instead of the two or three straight lines. You can use a combination of hatching or cars hatching along with a spiral pattern to create a bit of more defined trees. Et's add few more leaves and a little bit of different kind of plants that we practice, small curvy lines for this plant. So this kind of leave for some of the smaller plant. And here, too, I'll be adding some small dots. Let's make this poodle a little bit longer. Small, tiny dots or oval seep dots. Add more plants or leave if you prefer. And we are done with this side. I'll be coming back later on to add a bit more details in the form of white oval dots or butterflies. Let's add that tree for the other side. Seem like the one we did on the left side, a main trunk and two or three branches coming out of it. For the base of this tree, I'll be adding a few stones and the same kind of plant that we added for the left tree. You can add the fond once we practice in the demonstration video or the fourth part and that we used in the third part, too. Feel free to do that. You can also use this white ink to create some small ghost that are hiding behind this tree. Let's add a butterfly or this heart seed in here. Yeah, we are done with the outlining for it. Let's add a bit more details to it, some small straight lines. Make it a bit more detailed. For the lower sexon don't add that many lines since we'll be adding leaves and ferns and stones in here. Yeah, let's do the leaves. So once again, I would like to remind you that whole video this whole video is in real time. So you can follow along with me. These were the simple stones. Very simple and basics for the stones. You can add more stones. I'm not creating that much detailed stones like the one we did for our ninth project, the one with the cactus. If you want, you can create that kind of stones, too. Now, let's create fonts for it. Five or six leaves for the fern, and how about we create few more fonts. Let's add one more font in here, and I'll be adding one or two more. Instead of this phone, you can just use the same kind of leaf that we added. Adding a little bit of more defining characters to this puddle. Now, let's add tiny dots and tiny ovals or waterfly like C. Let's add the final touches, make adjustment and add more colors or more line wherever you think it's required. So I decided to add some veins for this leaf to make it a bit more to make it more defined. And one more leaf in here, peeking behind this. And yeah, we are almost done with the important thing. Let's add the small tiny butterflies and white dots, random dots in here and random dots in the foreground. You'll have to be a bit cautious not to smudge the ink with your palm since the ink won't dry this faster. And I was easily able to overlay this white ink on top of the black since the black ink is waterproof. And I added a few more dots in here and there to make it more interesting and add more arrected to this illustration. And I think we are done with this. So let's go back with the blacking to add the eyes and a little bit of and some fold to the cloth for this ghost. Before that, let's remove the pencil lines. Now, here I'm using the fine liner to add the eyes. You can use the brass pane, ink pen or the watercolor bus, but I decided to use the fine liner to create this precise and detailed So you can leave it as it is, or you can continue with me to add few folds. Two or three or around four folds, and we'll have to make it a bit more darker using the fine line to go over the created lines to make it a bit bolder and darker. Let's add one in here. One small in here, and you can leave it as it is, but I decided to add one more in here, so. And with this, we are done with our tenth project. If you want, you can add bit more detail or add more character to it. But I think I'm done with this one. So I'll see you in the 11th project. Happy painting. 24. Ghost Island : Welcome to the 11th project. This will be the scene like we practice in the demonstration video, the thumbnail we created, but we'll be making it a bit more detailed, more defined, and add more characteristics to it. So here I'm starting with a basic pencil sketch for our heart. So the main subject for this illustration will be the big giant ghost. Feel free to change the subject more. Instead of a single house, you can create two or three or instead of the houses, you can create any other thing, like you can add cactus or trees or multiple small Black ghost. So the choice is yours. But since I have shown you that, but since I have sewn the thumbnail and I'll be sticking to it, and I'll be creating simple house grasses surrounding it and a small puddle or you can consider that this house is on an island and surrounded by the black water. A little bit of white will be reflected on that water from the ghost. And you can add more details to it more. You can create a bit more detailed version of this house or this hut that we have in here. And this will be the island that this house is resting upon. I'll be creating small white petals in here. So I'll be leaving this a piece, white, not be adding the black on top of it. Now, let's create our giant ghosts that encircle or surround this entire house or entire island. I'll be creating this kind of skull sap for the background, and some of them will be a bit smaller. So for the smaller ones, I'll be using the white ink. Let's add a chimney. Yeah, we are done with the basic pencil sketch. Feel free to make adjustment and changes if you want. Once again, the whole VDO is in real time, so you can always join along with me. I decided to make this a bit more detail. Instead of this square one, let's create a circular one. And yeah, we are done with this pencil sketch. Now, let's go in with the fine liner to do the outlining for this house, too. For this house, too, I'll be using the black ink to cover most of the section. Only the windows, only the windows will be left white, and the rest of it will be covered with the black. I'll be adding a little bit of white lines to create a bit of highlights using the white ink. Now, let's do the outlining for the windows. You don't have to stick with the same outline that you have created with a pencil. Feel free to make some adjustment and completely override it. So instead of the one. So instead of the one door in this side, I decided to convert that into two large windows. You can stick with a sketched outline, a single door, but here I decided to create two large windows. So it's a cottage on an island. Let's do the outlining for the front. So this kind of grass for this too, I'll be covering it with the black and use a little and use a little bit of white ink to add bit more details and more characters to it. If you want, you can also greet a bit smaller versons of the trees. A few stones in here and there. And now let's define the see for this small island. So this will be small poodles that will be sewing the reflection in whites. And using a bit of curvy lines for the lower section of this coast, let's do the outlining for it. Oh this is once again a very simplified version of the ghost. You can make it a bit more detailed and more creepy. Or instead of the single one, you can create multiple ones. So this will be our floating skulls. A total of four, and apart from this, I'll be adding a few small dots later on using the white ink on top of the black. Simple ice for our ghost, and, yeah, we are done with this outlining. If you want, you can add few more details to it, but I think I am done with it. No. I see that the ink has dried and then let's completely erase the pencil outlines. This project is also going to be high in contrast, no seeds of the green, only black and white. Once again, here I'm using Zikurataki ink. If you want to paint the process a bit more faster, you can use larger size of the breast. And if you are going to do that, first encircle the ghost and the small flying skulls and then fill the remaining section with the ink. So in here, I am first using this ink to define the outlined section and then I'll be filling it with the black. Let's carefully encircle this flying skull. And now let's feel the area around it. If you're not that comfortable with it, you can use the breast paint to surround the ghost and the flying skulls and then use the ink to completely fill the rest of the area. But since the skulls and the ghosts are of easier saps, you can easily do it with the watercolor brush. Instead of this black background, you can use the red too, and that will be interesting or you can use a combination of red, or you can use a combination of yellows and the green to create somewhat of a foggy appearance for the background. Also, you can just reverse the color combination. You can create the ghost in black color. The house will be of white color. Then for the background, you can create more flying ghost in black color. So Now, let's define the outlines for our grass in here and the outlining for the ghost too. So we have outlined it now let's completely fill this lower region with it. You'll have to be bit courses around the corners and the small edges. So you don't have to stick with the same outline that you have created with a fine liner. Feel free to make adjustment, and if you overlay it on top of the outline, then too, you can just rectify it by changing the seep of the ghost. Let's encircle this small skull that we have got in here. So this is going to take a little bit of time. So we patent and fill the rest of this space with this black ink. Apart from this, if you have more ideas, let me know that and if you have created something completely different, please share it. Now, going over the top of the goes let's move on to the right side. Instead of the skulls, instead of this flying skull like shape, you can create some small tiny ghost, small tiny mite ghost that encircle this giant one. So this giant will be this giant one will be the mama ghost and small baby ghost encircles it. Also, you can add small tiny ghost inside the windows using the black ink. So black ghost inside the white windows. Beside that, you can create some small white ghost using the white ink on top of the house that this white ghosts are sitting on top of the roof of the house. On top of the chimney, too, you can add black ghost that is coming out of it. So you have got lots of ideas that you can put into use. We have got only a little bit of the porton to color, and then we will move on to the remaining section in the foreground. I'll be living a little bit of white poodles and covering the entire section with the black. So when you are using ink or watercolor, always start from top to bottom and move from left to right. So top to bottom and left to right. So this way you will avoid smudging of the colors, and we are done with the upper section. Let's do the front one. So this will be the island that we have got. And between the island and the rest of the foreground, I'll be leaving a little bit of white or if you covered it, then don't need to worry. Use whiting to create the distinction in between that. So this will be the white puddles that I'll be leaving white. And let's cover the rest of the section with the black. Carefully adding it near the corner. We don't want smudging of the ink in here. Carefully adding it in between the white puddles. If you don't want to if you don't want to do this, you can just cover the entire section with the black, and then when the ink dries up, come back with a white ink to create the puddles in front of it. Let's create one more in here. And now let's feel the entire section with the black So only a little bit of it is remaining. And then we will move on to adding details for our house, and you'll have to wait a little bit till the ink dries. And we are done with the ink. Let's wait for the ink to dry. Now I am going to add the color for the hurt in the middle. So this house all hurt Most of the section of this hurt will be covered in the black. Windows will be in white, and on top of it, I'll be using a little bit of white to add the highlights. And also, I'll be living a little bit of space in between the different sections of the hut to create a bit of outline using the white of the people. If you are not that confident with that, you can use the white later on to create the distinction in between different section of the hurt. This is what I meant to say, kind of outline using the black. A little bit of gap in between the roof and the remaining portion of this side. I'll be doing the scene for the other two sides besides the upper section of the roof and the remaining on the other side. And we are done with this side. Now, let's add the black for the grasses. If you want, you can use the same thing that I did. You can use a little bit of white from the paper to create a bit of separation in between the front of the house and the main house. I'll be doing that later on in here using the white ink to create a bit of separation. But if you want, you can do this in this manner. A bit of white piece in between the house and the grass. Add the black for the other side. Let's peel this side with the black, carefully encircling this circle. And if you're not confident with the bras, you can use the breast pin or fine liner in here since the detail is not since space is small, it won't take much time if you are even using the breast pin or the fine liner. Now, let's do the windows in here. For this side too, a bit of space in between the roof and the rest of the house. And let's do the chimney. Now, for the grass in the front. Let's completely cover it, and later on, I'll be going in with the white to add some more details to it. Or you can use the blacking to create a bit of separation in between different layers of the grass and use it to create a bit of outlines. Like in here, like in here, I'm trying to create a bit of boundary in between the island and the rest of the water. Since this outline is not that defined, later on, I'll be coming back with a whiting to make it more defined. Now, let's completely fill this entire section with the black. After doing this, we'll have to add the ice for the flying skulls and more details for our windows, some small stones on this island. And apart from this, I'll be adding some oval seeps for the background that around that fly or floats around the house. And with this, we are done with the front of the house. Now, let's add this flying dots, somewhat oval sap or somewhat of leaf saves. So you can consider this the leaves are flying in the background. So I'll be creating a lot of oval saves like this. If you prefer you can use the fine liner or the brass pain to create the saves. Insure that the ink is dried, otherwise you will get smudging from your palm. Create as many leaves like see as you prefer. Just don't oversaturate it. Let's add few in here. Now, let's add the lines for the windows. For these two windows, I'm dividing into three sections, and in here, let's make it a bit more detail one. Two more lines lines to make the windows a bit more detailed. And for the upper one, let's create intersecting lines to divide again into four sections. Now, let's do the eyes for our ghost black eyes. Here I'm using bras paint to have a bit more accuracy. Since the eyes for this ghost or the skull that I'm creating is a bit small. You can use the fine liner too. And now let's do the small eyes for this small skull. Big eyes for this giant skull, big eye for this giant ghost. Let's make the sip of the eyes a bit larger. Let's add few more flying leaves in here. I'll be adding it mostly for the lower section, not for the upper section. One more leaf in here. And let's add a few more in here. And I think we are done with it. Let's add the ice for this final small skull that we have got in here. And yeah, we are done with the ice for our skulls and the leaves. Now let's wait for the ink to dry and then we will use the white ink to add the details. Here, once again, I'm using the Zikuratagi whiting to add some fine lines and details for the art and I'll also be using it to add details for the grass. A few more lines in here to create a bit of clear distinction in between the roof and the remaining house. Now let's move on to the island. So small stones. Now, let's move to add some tiny dots in the background. So if you want, you can create. If you want, you can use this to create some more skulls. But instead of that, I decided to create this kind of somewhat circular small dots. So random dots in here and there and wearing the sides a bit. So in here for this side, I'll be making the sides a bit bigger. Feel free to add as many as you want. Instead of this, you can even add small white floating ghosts. Let's add a few more in here. And here, I think we are done with this. Now let's move on to the grass. So let's create a clear distinction between the house and the foreground adding this kind of tiny strokes to create a bit of distinction and add more details for our grass in the front of this house. Instead of this kind of line, you can use a bit of longer lines to create a resemblance of long grass, long or tall grasses and you can even create a path that leads from the base of the island to the house. I also use this whiting to create a clear distinction between the island and the rest of the foreground and the rest of the background and the foreground. With these we are done with our Duelth project. I'll see you in the next project, the duel and the final one, happy painting. 25. Jellyfish ghosts : Welcome to the tools and the final project of this class. So we have got JL ghost. So this project will be somewhat like doodling. And this is similar to the third project with it, the C of ghost. A lot of ghosts, JL is like ghost for this entire page. Feel free to make changes and do a little bit of adjustment to the seeps of the ghost, and you don't have to create the ghosts in the same manner that I am going to do. You can even use different kind of ghosts that we practiced in our earlier demonstrations video, and I'll be filling this entire page with this kind of jellyfish ghost, the one we practiced in the fourth section, the thumbnail video. Let's completely fill this entire section with this ghost. And most of the section of this video in real time, for the repetitive process, I have increased the speed or for some of that, I also escaped that. So you have got the rough idea how we'll be doing it. Let's add a few more for the top, and these we are done with it. Going in with the fine liner to do the outlining for it, you don't have to stick with the outlines that you created with the pencil. Feel free to make adjustments and changes. Let's go over the outlines of each individual Jelisgos that we have got in here. This will be another interesting one, a lot of contrasting color. For this one, I'll be using a bit of lightroct of the gray, and mostly we'll have black and white. If you want, you can add accessories to their ghost. So you'll have to use the same accessories for each ghost, and you can even add hands for them. So the choice is yours. Let's do the outlining for the remaining eight or ten ghosts that we have in here. The C on this ghosts are very simple and easy, and we have only got two more ghosts to do the outlining for. And now, here I have decreased the speed to the normal one, creating this kind of curvil lines to create a separation in between the head and the rest of the ghost's body. Instead of this kind of line, if you want, you can experiment with other kind of line, yeah, feel free to make adjustment and come up with your own unique interpretation or complete new and unique design. So we'll be adding it for every ghost in here. Apart from this, you can even add horns for each individual ghost. So that will be interesting, too. So each ghost will have two horns, and we'll be using the white colour to create the horns. A combination of both white and black. And instead of using the green colour in between the white and the black, you can use red. That will be interesting, too. Or if you're going to use the reading, and if you are going to use the reading, you can use it to create the eyes or red mouth. So you can experiment with other color ink, and if you are creating something completely different, please sear it, and now we are done with the separation in between the head and the rest of the bodies. Now, let's create very simple eyes and the mouth. So I'll be creating this kind of eyes and mouth for each individual ghost. Very simplified versonT tiny dots for eyes and a smiling mouth and a smiling face. If you want, you can play with different excretion, you can make it sad, angry, frustrated or no mouth at all. Or you can use a combination of all. So each individual ghost will have different kind of facial excretion. Here I have increased e speed to two X, and now let's remove the pencil skitch and then I'll be adding the ice and the mouth for the remaining ghosts. Insee that the ink has dried and then continue with it. Let's quickly add the ice and the mouth for the remaining ghosts. So we have got one, two, three, four, five, six, seven, eight, 19, 11 and 12 more ghosts. And instead of this generalized portion of the ghost, you can create human like eyes and add eye lasses to create female ghosts. It would be fun to experiment with that. And yeah, we are done with this. So eyes and mouth for all the ghost now. Now I'm going in with the grey, so I'll be completely filling the rest of the ghost body with this. Here I'm using the bras pin. And if you want to make this process a bit more faster, you can use the watercolor bras. You can just dilute the black watercolor or dilute the ink if you are using that. So I did a bit of mistake in here. Instead of only adding the gray for the upper section, I fill it for the entire section. Initially, I thought that I'll be experimenting a little bit with the ghost. So I decided to create another variation of the ghost as compared to the one that we created in the thumbnail of the fourth vino. But then I gave up on that idea. But anyway, I feel the entire section with the gray. So don't make this mistake. Just feel the upper section with the gray as I'll be covering the rest of the section with the black. The idea for me was to use a color combination of the black and this gray. And instead of creating and instead of creating the kind of lines that we added in the fourth videos demonstration, I thought that I'll be creating some kind of pattern and design using a combination of gray and black. So a little bit of black, then gray, then black once again. So a combination of adjacent clear of black and gray that I decided to do. But instead of that, but I gave up on that idea since it would take much more time, since it would have taken more time and stick with what I created in the demonstration video. So here, as you can see, I have increased high speed, and, yeah, let's completely fill the rest of the ghost with the green. You don't have to fill the entire section, only the upper part. I colored the rest of the ghost on my own, so here's the final. So here's the final result of it. Going back with the fine liner, now going back with the fine liner to make the outlines a bit more distinct and using the fine lines to create this kind of lines. So somewhat of hatching lines of varied length. And yeah, also use this to create a distinction between all the ghosts. So make the outlines a bit more bolder and more darker. And I'll be adding this kind of lines for each individual ghost. Also, use the fine liner to add more depth or more details to the eyes and the mouth if you are not satisfied with it. So once again, this process is going to take a bit of time since we have got a lot of ghosts. Let's count how many ghosts we have got in here. It's one, two, three, four, five, six, no. Let's do it once again. One, two, three, four, five, six, seven, eight, 19, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25. I have got 25 ghosts in here. Let me know how many ghosts you have created. If you are comfortable with the breast pain, you don't have to use the fine liner to create this kind of line in here. You can directly use the fine liner to create the lines, starting with smaller lines. And as we move away from the head, just increasing the size of the lines. And for the lower section, just completely filling the entire section with the blank. So if you are comfortable and confident, you can use the breast pain directly or the watercolor brush to do that. For this project, you can't add that many variations or details, only some simple changes if you are just following along with me. So if you have got any more ideas or if you have added different element to create it a bit differently, let me know and please share it and please share your project or the illustration that you are creating. Here, since the process was repetitive, I have increased the video speed into two x. So if you want to follow along with me, you can just pause the video or reduce the player's speed. Also, you don't have to use the fine liner to create the clear distinction in between each individual ghost. You can use the breast pin or the watercolor brush that I'll be using later on to create the remaining section of this ghost. So we have got only two more ghosts to add this kind of lines. And with this, we are done with this. Let's go in with the brass paint to add another set of lines, the same kind of lines, but just increasing the thickness of the lines as we move away from it. Also, try to create a bit of clear distinction in between the ghost. So leave a little bit of white space or the gray space in between the ghosts. Oh. For this one, the upper saxon is not visible. So let's create this kind of lines for the upper section, a bit of hatching, somewhat of hatching lines, not hatching, but this kind of lines since most of its body is not visible. Now, let's do for this one. First, encircle the ghost on both sides and then cover the rest of the area with lines and the lower section with the ink. So This kind of wine lines and as you move away, just increase its sides to create somewhat of dynamic lines, length, small thickness for the upper section, and as you move away, a bit broader and bigger, a bit broader and bigger. For the lower section, combine all the lines together and add the black for the remaining part. This too is going to take a lot of time. So yeah, be patient and let's completely fill the entire regions with the combinations of black hatching lines and ink. To make this process a bit faster, you can use both the bras pen and the watercolor brush. So use the bras pain to create the hatching lines. And then for the lower section, use the watercolor brush to make the process a bit more faster. Oh You can also use a little bit of white ink to create some kind of pattern and design for the black sections of the ghost. This ghost is a quiet mix, so I'll be creating a bit more detailed lines for this one. Yeah, let's feel the lower section with the black. And for the upper section, I'll be creating a bit more dynamic lines for it. First defining the outlines for it. And now let's create a bit more defined lines for this one. After doing three or four ghosts, I'll increase their speed since this is a repetitive process. And these, we are done with this one. Add more lines for the ghost you are not satisfied with. Now, let's increase their speed. So I have increased their speed two times. If you want to follow along with me, just decrease their speed or you can pause the Video. So I'll be filling the black for the rest of the ghost. So this is our final project. So if you have dowe any of the project, please share it. And yeah, let's continue with adding the color and the lines for the remaining ghosts. Since this was too repetitive, I added the ink and the color for all the ghost on my own, so here's how it turned out. We have only got four more ghosts to add colors too. So let's do that. And as I was saying, leaving a little bit of white or gray in this case, space in between the gosts create a clear distinction in between them. You can see I have left a bit of green from the paper. I carefully added the black ink or the black bras pin in between each individual ghost and left a little bit of and left a bit of gray of the pipe remain untouched. If you are not that comfortable with it, you can just go back with the white ink to create the separation in between each individual ghost. And with these, we are done with the fourth one. Now we have got only the three ghosts. Of the three, we'll have to add the lines for only the two because for the third one, most of it spot is hidden. I'm doing this in the normal speed in here. Sorry, because of the lights fluctuation, the project is appearing like this, but it is not like this. I'll be showing you a picture how it turned out. Just because of the fluctuation of the light, it turned out like this. It's appearing like this. So here you can see I'm leaving a little bit of white gray space to create a distinction between the two ghosts. Oh Adding fine lines for this. So I decided to add some lines for this one, too, a bit of black for the outlines and the last ghost. Second ghost, and now let's move on to the last one. So here you can see I'm leaving a little bit of white space gray space to create a distinction in between the two ghosts. Let's feel a corner with a black and then we'll move upward and fine lines. Let's create fine lines and mixing it with the fine lines that we created using the fine liner. And with these, we are almost done with this project. So if you're not satisfied with some section or some parts of it, you can use the fine liner or this brass paint to add more details to it. You can use it to add more details to it. You can add more fine lines to it, make it more darker or for some of the mistakes, you can use white ink to rectify that. And with these, we are done with our tool and the final project of this class. So I'll see you in the next and the last video. So happy painting. 26. Thanks and conclusion : Thank you. Congratulations on completing this class, Inqure goes to a simple and spooky illustrations. I leave that you have learned how to taste your paints, dresses, and ink to create a variety of expressive lines. Use techniques like hatching, cross hatching, stippling, and scribbling to add depth and texture to your painting and illustrations. Sketch and ink a whole series of spooky beds it goes illustration with each its own unique character and style. And lastly, experimenting with details like folds, floating saps, shadows, and even if you are doing experiment on your using red inks and other ink or watercolors. For your class project, don't forget to upload your Ghost illustration to the class project gallery. You can sa all to drawings or you can even just share your favorites. Feel free to include your practice seats, too. I'd love to see how you explore different textures and strokes. I'd also love to hear from you, leave a review if you enjoyed the class. It really helps me improve and also help other students discover this course, drop your feedback or suggestions for future classes in the discussion section. If you share your work on social media, feel free to tag me. I'd love to feature your ghost and celebrate your creativity. Thank you so much for joining me on this spooky creative journey. Keep practicing, keep drawing and most importantly, keep having fun with your art. Until next time, happy inking and happy Inter.