Introduction to Ink Shading Techniques

1. Introduction: Hi there. My name is Hattie Linton and I'm a digital artist and Ink illustrator based in England. I studied is at school, but it's only been in the last ten or so years that I've been really getting into my Art again. And I've been spending the last few years working as a professional artist, both taking on custom pieces and commissions for people all over the country, as well as selling my Art on sites such as Redbubble and societies sex. I really loved drawing and I draw in lots of different kinds of medium. But my absolute favorite to draw with has always been working with inks. I understand that for some people, inks can be quite an intimidating subject, and that's why I'm so passionate about teaching inks here on Skillshare. There's something about the permanent of ink that I actually find more of a challenge rather than something to be afraid of. And I would love to help you get to that same place if you're feeling the same way. Over the course of this class, we're going to be looking at different ink shading techniques to add a little extra depth and light and dark and shadow to ink illustrations. We're gonna be looking at techniques such as hatching and stippling, as well as contouring around shapes and some more creative and interesting and Techniques such as scribbling and one of my all-time favorites, tiling and Weaving. Whether you've been picking up pens in the past before and you're just looking to try something new or you're brand new to Ink Illustration. I welcome all of you to my class. I really hope you enjoy it. Each class is going to be structured where we talk about the ink technique that we're going to be looking at. I will be demonstrating it and I'm going to be encouraging you to keep a sketchbook with all of your illustrations and oil your Ink Techniques with one technique per page. That way, by the end of this class, you're going to have a sketchbook that's going to act as a reference for all of your future illustrations. I personally use this all the time. I have sketchbooks that are just full of techniques or they've gotten them is pages of different marks and mark making and testing out different pens and some sketchbooks just don't have any actual illustrations in them at all. At the end of this class, I'm going to be inviting you to post a project which is gonna be either an illustration featuring one or more of the techniques in this class, or just a photo of the page from your new reference sketchbook. I really hope you enjoy taking my class. If you follow my profile here on Skillshare, you'll be among the first to hear about any new classes and giveaways that I do here on Skillshare. And I look forward to seeing you in this class. Let's die then 2. The Class Project: Before we dive into the actual lessons of this class, I just wanted to talk about what the class project is going to be. I'm going to be encouraging you through every lesson this class to Follow along with me and put all of your new Ink Techniques into sketchbook, ideally with one page dedicated to each technique. By the end of the class, you're going to have a sketchbook full of all these different reference techniques that you can refer back to it anytime when you're creating ink illustrations. The end of the class, I'm going to invite you to either sharing illustration that you have drawn using these new techniques, or take a photo of one of the pages from your new sketchbook. Upload that as a project to the gallery. I love to see the work that my students create and I really encourage you to post the project along with everyone else. I can't wait to see what you create. Let's dive into the first lesson, looking at paper materials 3. What You Need to Get Started: In this first lesson, we're going to be talking about what you need to get started in this class. So the materials needed to follow along is actually not too long at all. And if you need to just check in the downloadable resources section of this class where I've got a whole little guide to the different materials I'm going to cover in this lesson. So first up, what we need is a sketchbook. So this is the sketchbook that I use for these kinds of practices all the time. It is an A5 spiral bound hardback sketchbook by see white. The GSM on this sketchbook is 150, which means that it is very thick without being too thick like cardboard. And it means it's great for working with inks. A lot of ink work that I do also includes bottled ink and color marker pens. So you could probably get away with something a little ice than this. If you couldn't find one for 150, maybe 100100-20 would work well for Fine Liner work as well. But I really love this brand. Their sketchbooks are not too expensive at all. They're really good quality. And I've got rather more than I'd care to admit in my collection. So that's what I'd recommend. If you don't have a sketchbook or you'd rather just work off paper. The main thing that I can recommend is looking at that GSM. So just make sure that the paper is thick enough so that when you put ink to paper, it's not gonna bleed through. The other thing that I would recommend when looking for sketchbooks, for creating references is the size of the book. So this is an A5 sketchbook. It's the most common size that I use all the time. I've a couple that are A6, which is about half the size of this, and I have a few that are a four. Personally, I find when I'm practicing techniques and references, A6 is too small, I can't get enough on the page and I have to use several pages per technique, which is fine. But I like having one technique on a page. And then I find that a for, even for me is actually quite intimidating. If you'd like to challenge. Absolutely. Get an a for sketchbook. And I would love to see pictures in the project gallery of people using A4 pages and just filling them with these techniques because I think that'll be really, really special. But especially if you're starting out, I don't want you to feel overwhelmed by the blank page, which definitely happened to me when I was starting as an artist. So absolutely A5 for the recommendation and 150 GSM or thereabouts, 100 plus for the weight of the paper. Now that we've talked about paper, I wanted to talk about pens. So all you really need to get started in this class is a simple set of different sized fine liner pens, preferably in a black ink. But there are some other pens that we're gonna be talking about in a little minute as well. So the to Penn brands that I personally recommend, but there are loads of great pen brands out there are Staedtler pigment liners, which I use really regularly. There are very versatile pen and quite possibly my favorite pen, which is microns securer Pigma pens. These are beautiful to work with. They are a little more expensive than the settlers. The settlers are great. I use these all the time for my drawings. I did try a micron once and I loved it. So I do have a fairly good collection of these as well. I'd say to get started if you're just looking to get a few pens to follow along, you probably need maybe for different nib sizes to get a full range of the effects that we're trying to convey. But me personally, I collect stationary and pens and Art Materials. And I have more pens than I'm ever going to admit on camera. So I'd say to start off with maybe begin with a 0.1, 0.3, 0.5, and a 0.8 as a minimum, then you've got a very, very thin nib for the very, very tiny detail work. And then the 0.8 is quite thick. It's not the thickest size pen you can get, but it's a really good size pen for illustrating with. It's completely optional, but along with blacking fine liners, we are also going to be experimenting a little bit with color. So I will recommend one brand for this. There are, again, there were loads of brands out there. But personally, I love it Staedtler again, these are Staedtler, try plus fine liners. You can get these everywhere, at least over here in England. You can there in stationery shops and all sorts. And you can get them in so many colors. They're really versatile. They last for ages, and I just love drawing with them. They're really FUN, they're really great shades. And importantly, actually, one thing I do find with color pens is sometimes when you use them, the cap doesn't always match the ink inside. It's always a little bit off. Generally speaking, I find these are actually very color accurate. So that's always really nice as well when you're illustrating not to get a surprise. Blue when you think drawing with a green. So that's my recommendation for fine liner color pens. If you did want to do some experimenting with marker pens, I'm not going to stop you. I'm not gonna be using mock-up pens much in this class anyway. But as a recommendation, there are two brands that I love for color marker pens. One is Winsor and Newton pro markers, which is probably the, the brand that I use the most. The other pens that I have, which I love, our Copic Ciao markers, which are really, really nice to work, work with, particularly for bigger illustrations. As I mentioned before, there is a guide in the downloadable resources section of this class, which contains my pen recommendations, my paper recommendations, my sketchbook recommendations, and a handy guide to different people weights so that you know what to look for when you're buying your sketchbook. I hope this has been really helpful. And now we can finally dive into the first drawing lesson in this class, hatching 4. Hatching: Our first ink shading technique, we're going to be looking at hatching. Hatching from the French word how shirt is a Shading Technique made of closely spaced parallel lines. So they literally go up and down to each other, or diagonally, or side-to-side anywhere on the page. But they're closely spaced, parallel to each other so they don't cross over. That's cross hatching, which will be covering in the next lesson. So what we're going to be doing in our reference sketchbook is we're going to be writing hatching at the top. Then we're going to just start filling the page with these hatching shades. So the idea is that you're going to practice this technique of drawing these lines evenly spaced, closely together. So you've got absolute control over the pen so that every line you draw is the exact same distance apart. If you would prefer, you can always draw a grid. I quite like going completely free hand on the page. You can also experiment by trying out different sizes of pens. So these marks were made with a nought 0.5. This is now a nought 0.2. So this is quite a bit thinner. And you can see the lines, the ink lines are quite a lot thinner. You can also have a go at keeping them parallel, but then maybe changing the direction of them as they follow around a shape. Obviously they're not parallel at one end when you are turning it. And you can make the lines shorter as well. So this is one way to use hatching to fill in certain spaces rather than just loads of squares. Another technique is actually creating the element of shadow and dark using the same area. So you can start by drawing the lines very closely spaced together. Then as you move away from that area, the space gets a little bigger and bigger until the lines are quite far apart. I've also picked out some of my try plus colour fine liners to have a go. So sometimes it's quite FUN as well to experiment these techniques using color. You can also mix in different colors together. I find that when I want to do that, the easiest thing is actually to start out with one color and then add the other color to it rather than continually alternating between pens. You can also experiment by trying out a different pen size. So this is actually one of my larger fine liner pens. This is a one-point to pen. And as you'll see when I draw with it, the line is very thick compared to any of my other pens. So sometimes it's quite FUN when you're practicing to try and get these very thick lines as close as possible without them touching. Because then you're creating really interesting shades in your illustrations without the effect of seemingly coloring in something. And take your time while you're practicing. It took me years to gain absolute control over the pen. Another thing you can consider is the speed at which you're applying the ink to the page. So if you're drawing very, very slowly and deliberately, which is absolutely fine. But particularly while you're practicing, you will probably notice that the ink goes on quite a bit thicker and darker compared to with the exact same pattern doing quick strokes because the ink has less time to collect on the page. So that's another really interesting way to experiment with your ink application. And as you practice and you get more control over the pattern, this will become easier so that we have it that is hatching. In the next video, we are going to be looking at a very similar technique called cross Hatching 5. Cross Hatching: Our second technique, we're going to be looking at cross hatching. So following on from hatching, crosshatching involves drawing parallel lines, but they cross over each other to create a hatch defects. So we're basically creating two sets of Hatching, one on top of the other to create a hatched effect. Again, I'm just going to start by writing cross Hatching at the top of my page. The cross Hatching effects can achieve very, very results depending on how you cross your hatch marks and in what direction and with what pressure. And that's what we're going to be experimenting and practicing with on the page. Now, generally speaking, cross Hatching implies that the lines you draw. So this is us just hatching some lines. The cross of the hatching of the Lines implies that they should be perpendicular. So you're creating this almost checkerboard effect. This doesn't have to be the case. You can create cross hatching where maybe you're just going at an angle across or even just very, very close together so that it's almost barely discernible. The difference in the angle for the Hatching, the point of the cross hatching is that they, they intersect somewhere. It doesn't have to be perfectly square, like this first example on the left. I encourage you to be as creative as you like. And there's loads of different ways that we can be creative using crosshatching. So one is that obviously same as before. We can try it with, try with different size pens. So if I try with a nought 0.1 pen, which is very thin, obviously the cross hatching effect, we've got these very thin lines to begin with. When they crossover. It's still very, very light if we do the same thing with very thick pen. So again, this is my 1.2 huge pen from Staedtler. So that's obviously one way that you can do things differently. You can also combine the two pens together to create interesting effects. So if we had one set of Hatching is going in one direction with the very thin pen. And then we had another set of hatches going in an opposite direction, but with a thick pen. It's an interesting way to combine the effects together. Similarly, you can do this with color. And I actually loved doing this with, with color because if you take something like I've got this light and middling pink pen here. If I just do a hatch effect, that looks fine. And if I do the same thing with a slightly darker, more purpley pen. But if I combine the two of them together, so if I do one set of hatches in the purple going in one direction. And then I take the pink pen and I go in the opposite direction. You're actually creating. There is a third color in the middle from the optical illusion of these two pens come combined. So you're actually able to create really interesting effects using color by Hatching them together rather than sticking to one color each. Another way to experiment with cross hatching is by changing the size of the space between the hatches. So if we were to draw hatches of this size and then cross them, That's one way to do it. Obviously, if you do hatches much closer together, you'll create a much darker effect. And unsurprisingly, very far apart hatches create a very wide effect. But you can also then mix these together. So we could have very tightly spaced lines going in one direction. But then maybe, maybe we don't want it to be as dark as this. We then only do a few going in the other direction. So there's lots of, there's lots of different ways for you to mix up your pens. And I really encourage you to have a practice now at creating different effects and just seeing what it is that you can do with, with your inks. Looking at different angles, different nib sizes, combining the nib sizes together, combining the colors together. In fact, another color, one that I didn't touch on before is you can actually alternate the colors within the same grid. So if I were to start with this lighter pink and just do them with a little gap in-between. And then same going in this direction. We can then do is you can layer on top another color. So we could then actually put these in-between. There's no wrong or right way to use inks. In my opinion, I find that it's all about creativity and what effect you want to make on the page, and how you go about doing that. So up next we're going to be looking at a technique similar to both of these called random Lines 6. Random Lines: For our third ink shading technique, we're going to be looking at a technique that I referred to as random Lines. So random Lines is a very loose application of randomly placed Lines on the page. It serves like hatching and crosshatching, but it's much less precise. So again, I'm just going to start by naming the page. And we're going to start by creating these lines. But I want you to remember this isn't hatching, this isn't cross hatching. This is much more freeing. Again, I'm starting with a 0.5 pen and we're just going to start creating lines like this in a row. This is a much more freeing technique. And for some people they actually liked the structure of hatching and crosshatching. Because obviously with Hatching, you've got that very deliberate lines straight down. But there's actually something that's really FUN about just going over all of it. Like, yeah, we're doing this. And it's just lines and lines. And you can still, you can still create hatches like this. But I encourage you to keep it really, really messy. So as you can see from my two examples here, these are both with the same pen. There's not a lot of variation going on. So I'm just going to show you what happens when you try this with other pens. So we'll do this again, but with a 0.1. So as we're creating our messy lines, even though I'm putting them pretty much as closely spaced together as I was with the 05. This is still coming out much, much lighter. And it's literally just because of the size of the nib. So just a really hammer this point home. I'm gonna do it again with my, my monster fine liner, my 1.2. So again, messy lines, random Lines. There we go. So we've got application in the exact same way. You can see actually, I mean, I was doing this very friendly. I wasn't really thinking about the marks I was making. But you can see a lot of my lines are actually still going straight down in this Hatching application and that's absolutely fine. There's no, there's no rule for how this technique should work is just meant to be more messy and relaxed and more freeing than doing something in, in hatching. So we can also, we can also alter how this works by creating more space between our random Lines. So if I go back to my 0.5, so we can compare with this style over here. If I start creating the lines. But I leave more gap between one doing it's the same pen, but there's now more, more light in it. Similarly, if I do the same thing by try and keep the random Lines very close together, we're going to end up with a much darker Technique. All using the same pen. And feel, feel free to go over gaps where you feel like I haven't quite got that the way that I want to. You don't have to do it all in a straight line. So both of these three demonstrations have been done using the exact same pattern, but the way that we've applied it has created the same effect almost that we got by using a thinner pen, a thicker pen, and R nought 0.5 pen. We can also use random Lines with our color pens. So again, if I start with this middle E pink that we used in the cross Hatching demonstration. I can just create some random Lines. And then same with our purple. I'll just do this again as well. One thing that I am noticing as I'm doing this in this demonstration is that a lot of what I start with, because my name is Hattie, I'm actually doing this, which is really funny. So I'm actually accidentally sneaking my signature almost into my random Lines. So I'd actually love to see other people's version of random Lines to see a you accidentally sneaking your signature into it, or is it just me? So we've got several different ones here. If we start again, if I do the light one, that I've done it again. If I do the light one. But then we layer the purple over the top. We can then create similar to how we did with the hatching and the cross hatching. We can then create actually this blending of the two colors together to make a more unusual color. That is the random Lines Technique. In a nutshell. I hope you enjoyed playing with that as much as I did. I would love to hear what sorts of shapes you are noticing in your random Lines. The more I'm looking at it now I can definitely see little h's appearing in all of my demonstrations. So yes, that was completely unknown to me until this point in time. So I'd love to see your random Lines page. So if you want you to post this one is your Project that would be really exciting for me. But in the meantime, we're going to move on to our next lesson, which is contouring 7. Contouring: Okay, so here we aren't for our Contouring lesson. Contouring is very similar to hatching and crosshatching, with the difference being that instead of your straight parallel lines, we're actually going to be curving the lines to follow the contour of whatever shape or effect it is that we are trying to draw. So I'm going to start as I have with every page. I'm just gonna put Contouring at the top. And we're going to start by creating our parallel lines. But instead of drawing them in straight lines, we're actually going to be curving them. So this takes a lot of practice and don't worry if it's quite difficult at the beginning, but following that same shape without your lines crossing over or changing too much shape. It does take an awful lot of practice. I can see here even that the curve I've got going at the very top here is just a little bit deeper than the shallower one going on at the bottom. But we can also follow shapes and then change the gap at one end. To create very interesting, interesting effects. We're not gonna be layering these on top of each other because that's actually a technique called cross Contouring, which is gonna be the next video. Bye, I'm going to show you some ways to make Contouring a little bit varied. So one technique you can do if you want to practice contouring is I'm doing this with a very thin pen just because I'm drawing a shape is you can actually just draw a circle. That one is more like an oval, but it doesn't really matter. But you can practice following the contouring of the circle. You can just practice going around the edge of the circle to create your Contouring Lines. And you can even do this with a more abstract meandering shape. So we could actually just practice going around the contours. So another way to play with contouring is we can actually, these are called flowing lines and you can actually have broken lines, which can create a really interesting effect. So if I take my nought 0.5 again, this was our flowing contour. You can actually follow contour, but you break the lineup. So you're actually in this example, the brakes are lining up with each other. You're still creating that rounded effect because the I is telling you that these are, these are single lines, they're just broken up with. We're still creating that contour defect around the shape. Even more so if we create some shapes here, just make this route bit more roundy. But if we actually sort of layer them almost like brickwork, where one line intersects with the middle of the line above. This can also create interesting contour defects. And then this third line within line up with the first line, and so on and so forth. So again, this is just, this is just another example of just being creative with what it is your drawing. So you can see even though this is broken up and then not in line with each other, we can still get that effect or something flowing through the illustration. So same as, same as ever. You can practice contouring with very, very thin pens all the way up to our very, very thick pens. I recommend even if even if you feel like yeah, I get it. I know what a thin line looks like versus a thick line. I still recommend you to practice with all of them on each technique page because the point of this sketchbook is we are creating a reference for every style, for every Shading Technique. So even though, yes, it's obvious that a thin pen is now going to make a lighter technique than a thick pen. It's still great to have it right there on that particular page to then see the difference. We can also alternate between our pens. So if I take two that are fairly differently spaced, so we've got different sizes. I've got a zero point, 4.0, 0.8 right here. So I could do some contour lines with leaving a bit of a gap. Then with my thicker pen, I can then go in-between. Sort of filling the gap. Just to create a whole different kind of effect. I recommend just having a play with contouring. You can also practice with color pens as well to see what sorts of colour techniques you can, You can use. We can also increase the spaces of our contours. So having very wide contours and then having contours that are very, very close together. And just seeing the difference in our pages. So up next we're going to be looking at this technique again, but crossing them over, which is, as you'd probably expect, called cross Contouring. 8. Cross Contouring: Now we're going to take a look at cross Contouring. Cross Contouring is to contouring, what cross hatching is to hatching. So we're gonna be looking at the exact same technique we did in the previous lesson with the Contouring Lines. Except this time we're going to layer them up. And I'm going to show you some different techniques to create different effects for cross Contouring. Same as ever reference sketchbook. We're going to write a little title in the top. Cross Contouring. We're going to get started. So for cross Contouring, obviously as contouring, we did some lines following a flowy shape. But for this one, what we want to do is we actually want to then go over in a perpendicular or angled way to create a hatched effects, but we're still following a contour. So there's a number of different ways we can do this. You can do it like a hatch where it's just a straight line. But following the flow of the contour. You can also, if you've got a contour shape, you can also cross contour it by following a similar shape in the other direction. So if I add some additional shapes here, if this then went the other way, we could actually create another shape. Crossing over. This method in particular is one that I use in my abstract ink illustrations all the time. In fact, one of my favourite things do it this is to create this kind of shape. And then I actually fill in shading in the alternate squares like a checkerboard. It's just one of my favorite patterns to draw. But there's even more ways that we can play with this. So this has all been done with my 05 pen. If we have a look at thinner pens, obviously we can see the difference in the effect. So I'm just going to do this again. A few lines going as a contour and then as straight lines. And then we'll do another little square one down here. For all of these examples, I am following the rule of keeping them evenly spaced because we want to look at different spaces later on as well. So same as we have with our previous videos and lessons, you can change the space of the contours to create different effects. So if I go back to my 05 for a second, if I create shape like this, then some lines close together. But then we start to increase the space between them. And in fact up here I'm gonna put some that are even closer together at the top. And then we'll really close together. Can then create this effect where it's actually coming out. And then similarly, we can cut a cross with a contour, but doing the exact same thing. So we can start one end. There, someone just kinda go round for this one. Then. You can do it this way where it's very close at one end and then you're slowly getting this gap here is what is getting wider. This side is still being very close together. Then as it comes to the end. And that creates a very interesting effect. So it's do it again, make the gap even bigger. And then do it again and make the gap even bigger. Then you can see that the squares at this end remain very small and narrow. But then as they go along, the width changes. So that's an interesting way to, to combine them together. We can also similar to the Contouring class, we can also draw a circle and then actually practice contouring around it like it's a sphere. So for this, you can actually I this. And it then creates the illusion of a sphere. Same as ever. We can experiment with different color pens. So again, I'll just do a little wavy in pink. We can do the exact same techniques, but in colour to see the difference. So that's a contour with, with Hatching over the top. We do it again with some roundy shapes. Then we can even, we can even share this space here by doing a bit of color experimentation. So this end, I'm going to add some additional hatches in, in the purple. Then if we slowly start to increase the space of the purples, we can create a sort of a gradient effect. So you've got the much darker color at this end, and you could even put in even more additional ones at this end. Like so. So that in a nutshell is cross Contouring. So we've got different size pens, you've got different sizes, shapes and distances between the lines. We've looked at colours and we've, we've looked at applying it to actual shapes. So up next we're going to use one of my other favorite techniques called stippling 9. Stippling: For our sixth ink shading technique, we're going to be looking at stippling. So stippling is actually one of my favorite ways to add shades to a drawing. It's definitely a little more time-consuming than other shading techniques, but I find it really relaxing to do. And it can create some really lovely, much more subtle effects in ink compared to some of the harder drawings. So stippling is a drawing technique in which areas of light and shadow are created using nothing but dots. So I've already added the title to our page here. I'm just going to start creating some evenly spaced dots in a circle. One tip for trying this out, if you're following along is I'm actually just going round in a spiral shape that helps me to maintain the space between the dots. It doesn't matter if they're not completely even because things happen, it's never gonna be an exact science. But we can say here that for all intents and purposes, these, these dots are evenly spaced together. Now using the same 05 pen, I'm going to actually do a similar amount of dots, but I'm going to have them much more closely spaced. And what you will see here from having them more closely spaced together is that using the same ink, the same pen, we can create a much darker shading effect. Then if we go smaller again, again with the same pen, this time really tightly packed together. One tip, when you are going really quite tightly packed together, it does reach a point where actually if the dots touch each other, That's just adding to the effect. So don't stress out too much about having them actually start to overlap. Because then when you get even closer and closer and closer and closer, eventually what happens is they're getting so close that inevitably they do touch. And it's just so long as you're being very controlled with how little space you're putting around rather than how much. That's how you then create your effect. You can see here, we've, we've created three very, for very different shades using the same pen just by increasing the space between our dots. So one technique that I love to practice is to actually starting in the middle, you start with those very, very tightly, closely spaced dots. And then if that's the very center, then as we work out from the edge, we slowly start to increase the gap in our dots. And then remember you can always add more dots in later if you feel like you need to. And then on the next layer we get a little bit further apart, and then a bit further apart again until eventually you've created this sort of gradient effect in a spiral all around that central darker dot. So that's a great technique to practice. And you can do this. It doesn't have to just be from a central point out. You can practice this in like blocks or Lines. So here I've got more of a sort of a Squarespace. Then if we add more closely packed dots at one end. So they're really tightly packed in together there. Then we start increasing the distance at the other end. You can see we then creating this lovely subtle gradient effect on, with stippling, you can get really quite far out. But still maintain this. If you imagine this was something where we were trying to invoke a trail. Even though this, this, at this point, this is one dot on its own with about a half a centimeter before the next dart. You can see it's still part of that pattern. So it really, it really can create some very interesting effects. Another tip when stippling, if you're not sure exactly how much space to leave, is to actually start with one end and another end and then slowly bring them in together. What I mean by this is let's imagine we're gonna do this in a square shape. So I'm just going to start by putting in my four corners of the square. So this is just my incredibly rough guide. You can do this with a pencil as well if you'd rather. I love working just in ink, but that's just me. Then what I'm going to do is I'm going to create a gradient starting at one end here and then branching out so that this side of the square is much, much lighter. So I'm almost, I'm not drawing a line because everything has to be in dots. These dots are so closely packed together that it's creating the illusion of a line. It's very, very tightly packed. There's very little white going on on that line to the left of the square. I'm just straightening out because there we go. Then if we think about it, we want to get to this side, which is gonna be very, very light and sparsely spaced. So I'm just going to, there, we've got the illusion here of the edge of a square. We can start just filling in this square area. Then we can slowly all over. Just start adding dots. But we're gonna be favoring the left-hand side of the square. So as we're filling in these dots and bearing in mind so far for all of these practices were still using the exact same pen. This is the 05 pen. And as we go, we're still putting in the ahd dot on the right-hand side. But we are really focusing on adding more and more dots to the left. We keep going, we keep going. We take a second stop. We can see that we're starting to create this gradient effect. Now, my left hand Line is still very, very dark here. So I really need to start thinking about how to blend that out. So I'm going to start by going in and up and down motion. So in a similar way to how we were increasing our dots going around the circle. In this exercise, I'm just adding dots going up the square and down the square and just increasing the space as we go and then back to the beginning. And then doing it again. Then we have it That's pretty well blended in. And what we've got here is we have the illusion of a square without having drawn any Lines. And it's just been created using dots. You can see this is a really versatile Ink Shading Technique, and that's one of the reasons why absolutely love it. It doesn't have to be done using tiny dots. You could do stippling with much bigger dots. Here it comes again, the one-point to Penn. We can actually draw stippling effects using big dots. You can still get the same effects. Obviously it's on a much larger scale. I'm not going to pretend that I could create this size of an effect using this size pen. But we can still create stippling with bigger pens. What's interesting about that is if you're creating something, say you've done an illustration and it's an A3 Illustration, and you want to create shade. You're not going to want to do the whole thing using a tiny, tiny pen. I mean, maybe you are no judgment in that at all. But you might find that some areas of your shading actually benefit from a larger pen. Because you're gonna get a very similar effect from using a bigger pen. That's another thing I recommend when you're doing stippling is to just take a break, look at what you've got and then go in and add some more. Because it's so easy to just, it's such a calming, repetitive motion, just stamping the dots on over and over again that you can almost forget what it is that you're trying to achieve with your effect. So every now and again, just taking a break, seeing where it's uneven or it's not quite doing what is meant to then just having another go. So we can also mix up the pen sizes. So if I take two that are quite far apart, so for these Micron pens, I've got a one and an eight. So these are very different sizes. We can actually create a combination of these two effects. So I'm going to start with the eight. And again, I'm just going to make a little closely packed circle in the middle and then start to do a loose around the edge there. So obviously this is not a finished effect. But if I then take out my one pen, we can start to fill in much smaller dots around it. This creates a very interesting textured, more varied effect. Because what we've got here now is we've got our bigger dots in the center and we can keep adding, we can keep alternating between the two. So if I add some more in here, then I switched back to my one. But again, I'm trying to make this same closely packed style. So I'm just adding in, adding in over and over. With these marks. You can see we're now starting to get a similar effect. But by adding these, these tiny dots alongside the bigger dots, you can actually create quite an interesting, more dabbled effect. So another thing that we can look at as we have with our previous examples is stippling in colour. So again, I'm going to use these two pink and purple pens. And we can have a practice out what stippling looks like. We've got very closely packed in pink. Then we can do slightly further apart in pink. Then I was super tight in pink. Similarly, we can then look at what the same effect is in another color. So I'll just go the other way. We've got wider pack, then our medium pack and then are very, very tightly packed. But then we can also stipple with these colors together. So these are obviously the purple colors, a little darker naturally than the pink color anyway. So in the same effect that we did here, where we have a mixture of the thicker pen and the thinner pen together, we can create something similar using two colors. So we can stipple very close together in the center with the purple and then start to add around the edge just very loosely to begin with. Then we can add the pink in. The pink does here. If I just do it in the center for now, you can't really differentiate between the pink dots and the purple dots. So by adding them very carefully and very deliberately, we can actually create a color gradient effect where they blend together really well. So they obviously still have dots that are out on their own. And we can always come back in and add more purple dots to the center. But we're actually creating this illusion of a third color where we've got the dark purple. We've got the, the light pink. And then we've got this lovely blended pinky purple in the middle. There we have it several different exercises for practicing stippling. I encourage you to really have a play with the different size of the pens and particularly these exercises where we were creating shape using our stippling Techniques. For our next ink shading technique, we're gonna be looking at Scribbling 10. Scribbling: So at this point in the class, we're about halfway through our lessons. And up till now we've been covering different variations of hatching, crosshatching, contouring, and stippling. And what I'm going to be sharing with you now is a few more creative and different ink shading techniques that I've personally used and developed over my career. So scribbling is very similar to our random Lines exercise from earlier in the class. But it's not just about creating random Lines in a certain shape. This is more, this is even more freeing, I would say, than the random Lines. So when we did random Lines, we were creating single Lines and just making them crossover in different ways. In this Scribbling is just trying to create that continuous flow as we draw. So same as ever. I'm starting with 05 pen and we're just going to scribble a lot of Lines and then layer these up over each other. So you can see there's a lot more freedom and organic movement within this compared to our random Lines technique. There are definitely different variants of Scribbling, which I'm gonna be covering in the next few lessons. But this is what I referred to in my mind is sort of generic scribbling. So we've got here, same as we did with the random Lines. This is a fairly flat thing. We can actually create gradients again with this. So sticking with our 05 pen, if I do the Scribbling all the way across. But then I focus on one end and maybe stop halfway and then add again and go maybe a quarter of the way. And then slowly, just, eventually, I'm only scribbling at the very end. What we've created really easily is this gradient effect. So we've started by drawing all the way out and then stopping about three-quarters and then stopping about half. And we're just layering, just adding up, adding up until at this end, we're only adding at this end. And it creates a much darker. And compared to our flatter version where for this, when we were just going over and over and over, same as before, we can experiment with different pen sizes. So taking out my 1.2, we can do the same thing again. So we're just Scribbling. And that's a very flat version, which we can then just add two if we want to. If we add one so far each time until we're only at the end, we've, we've created a similar effect. It's just, it's just with a thicker pen. We can do this with colour as well. So again, I just go all the way along Scribbling. That's our, that's our flat version. But I can do the same thing again. We go all the way to the end. And then I start at the beginning again. And this time I'm only going to go up to about three-quarters. And then I start again and I only go up to about half. Again. I go to a quarter until eventually we're only adding to one end and we've created a gradient again. You can also experiment with the space between your scribbles. So if I go back to my 05 pen, I'm just gonna do this one a little slower, just, just, just to demonstrate. So if I'm scribbling, I'm just making random shapes, like so. But this time if I make the gaps much further apart, and then one where they're much closer together. Still scribbling with our 05 Penn. We've created three very different shades. Depending on how much space there is between these lines. That's scribbling. In a nutshell, it's a very simple, very freeing technique. I really encourage you to play around with different versions of this. And we're going to be looking now at three different kinds of Scribbling, as well as this more generic Scribbling, which are circular Scribbling, scribbling with Words and single Line Scribbling. So first up we're going to look at circular Scribbling 11. Circular Scribbling: Okay, so I hope you're enjoying scribbling in your sketchbooks. Because now we're going to be looking at circular Scribbling. So circular Scribbling actually has its own name, which I only discovered recently, which is called scumbling. I've never used the name scumbling before. But you might see this in other techniques. And the purpose of circular Scribbling is to literally create circles or semi-circles, and that is the only kind of Scribbling you do. So as ever, we're going to start our demonstration with a 05. And the way that circular Scribbling works is you're just doing, It's almost like, like drawing little c's. You're just drawing little c's to create shade and texture. So same as we did before with the generic Scribbling. We can do the same effect again, where we're doing our seas. And you can change the angle of the seas as well. It doesn't have to be that you're just, you're just drawing, you're just writing the letter C. You can change the direction of the Maven so you can have C is going this way, C is going this way. Use even an upwards ones and you can create almost floral scumbling, circular Scribbling techniques. So if we just keep adding seas, and then if we same as we did before, if we go back to the beginning and we just add and go most of the way across. And then again back to the beginning. And then halfway. And then a quarter of the way. Then we've created our gradient effect again. Let's take a look at what this looks like with a thicker pen, using my 08 pen, I'm now going to be looking at these much thicker lines. So using just sees. We can see that this is, this isn't really the same technique as we have above hair at all, because all we've really done is just written the letter C over and over again. So if I chuck in some, going in other directions as well. Already straightaway, we can see that this has created a much more interesting effect. Then do the same again with a little bit further. And further. Again, the point of these gradients is end to end. I just want end where it's almost black. You're not, you don't want to end up where this is completely black with no white at all. You can see this very tiny bits of white here. Because as soon as you add something that's completely black at one end, if I just color this in completely black, you end up doing is, you end up losing some of that gradient effect. It can look good in some illustrations, but I think particularly when you're trying to add this sort of texture shading, you want to have as little solid black as possible. So we can do circular Scribbling with colours as well, same as before. I'm gonna pick two different colors this time just to mix it up a bet and to show a little more different. So we've got a really light purple here, which is more of a sort of a lavender color. And then our purple from, from before. So using a very light color, we're just making the seas and the backwards Cs and the use and the ends. Just to create our circular Scribbling. Then same again with our purple color. One thing you want to avoid with this technique is you want, You don't want to be just drawing circles. It's very, there is a technique coming up later in this class called looping, which is all about drawing circles, but what You don't want to be doing for, so circular Scribbling is just doing this. Because this is not the same effect at all. You want these gaps between your shapes. So this, for this one, Your pen isn't coming off of the page. For the seat, for the circular Scribbling your pen is, we want to be avoiding this style of technique at all costs. We can also see what happens when we change the size of our scribbles. So everything I've drawn up till this point, all the seeds have been roughly the same. So if we have a go at seeing what bigger circular scribbles look like. So create some really big ones here. So we'll do this in more of a shape rather than a line. So you definitely want to be sort of, this is in some way similar to our hatching technique. If we end up just drawing the same shape over and over in a direction, we're not getting that same circular Scribbling effect. So you want to make sure that some of your scribbles are crossing over. That's what creates this Scribbling effect. And of course, the other thing to say, which may seem obvious, but just, just make it clear. There should not be a straight line anywhere on this page other than maybe in your writing at the top. Every single Line created using circular Scribbling should be a round shape, whether it's a really big one or really tiny one, there shouldn't be a single straight line on here. So we can definitely combine bigger shapes and smaller shapes to create certain effects. Similar to our stippling technique, we can actually find ways to create gradients using this. My practices are starting to overlap, but that's okay. This is just a reference sketchbook. And sometimes it can actually be quite interesting to see how different effects interweave with each other. I'm going to add some more to the middle there because it's starting to lose some of its definition. So you can see here we've been able to create a gradient effect by very tight circular scribbles in the middle here. And then slowly as they come out and we can, even, if we just focus on this edge of the page here, we can even add a little more then more gaps. So that's circular Scribbling. Up. Next, we're actually going to be playing around with one of my favorite ways to scribble, but it's very unusual, which is scribbling with Words 12. Scribbling with Words: This is one of my favourite ink shading techniques because it's so unusual. I've always really enjoyed the act of writing and writing words, and I always wanted to write a book when I was younger and maybe I'll get to do that one day. But for now, I do enjoy putting words into my drawings. So the idea behind scribbling with Words, it's a bit, it's really a version of writing rather than scribbling with Words, but it definitely fits into this freeing Technique more so than with other shading techniques. The idea is literally that we will be writing and using words and letters to create our light and shade. So I'm going to start with my 05 pen as ever. And I'm just going to start with the word hello. So you don't have to writing in cursive if you don't want to, You can do it with separate letters. The effects still stays, stays the same. In fact, you can even mix them up. But the idea is that as we layer the words on top of each other, we then actually almost hiding a message within our Art. So we can see creating a gradient hair. If I go way out for this one, so only the 0 and the ** overlapping, then we just keep, keep writing hello. Hello. Hello. Over and over again. Can actually create some interesting shading effects. So you can see it's much darker in the middle here and I'm just gonna keep adding to it because I just wanted to be a little bit. I'm just checking a few. He's just to really let me go. So we've created this gradient effect here using just the word Hello. We can do the same with individual letters. So we almost saw it actually during our random words lesson. When I noticed that I was actually accidentally putting my first letter of my name age into my scribbles so we can do the same thing again. And in fact, I'm actually going to do exactly that. So I'm going to do this again with the 05. I'm just going to do my first letter H. You can follow along with maybe the first letter of your name. I'd love to see different examples of these. It'd be really interesting to see how everyone interprets this. But if I just do an H, I just do a series of h's, maybe in a shape. Let's try and make that radial gradient effect that we have before. So I'm actually going to have some going in different directions as well, because we don't want everything to be in a straight line. This is quite amusing because it is taking an awful lot of my focus and attention not to, not to put an L at the end of each of these strokes. Just an H, just an H. Here we go. Do some further out ones as well. So there we go. We've now managed to create a gradient effect using just Hs. And in fact, I'm still not too happy with the center. I want it to be even darker. So H, H, H. So there's loads of different ways that you can experiment with this just, just as we have before. So you can do it with the, with the thinner, thinner pens. So if I just keep, keep going with the word hello. And then again with a thicker pen. Say, one thing, things be aware of. Here. I've just created the word hello in the same space. Obviously we are trying to create this more varied shape. So unless the thing that you're coloring is shaped like a hello, you are going to want to fill in other gaps. If, if, say, say this is actually just the space I'm trying to fill in. So hello, one really fits in once. That's fine. Just try and, try and fit parts of the wording elsewhere. So here I'm just going to put an H, which put a few Hs in. And then all LO L, L 0. Then we still get our scribble. So we can still layer up letters and shapes as well. And one interesting way to do this is actually to have a different letter for each color. So let's say I'm doing something on. I want to have both of my initials and I want to have H and L N. I'm just going to start by chucking it a load of Hs. And then in fact, I'm not going to use L. I'm going to use a more rounded letter because I've got some very sharp shapes happening here with the Hs. So let's do the letter P instead. So we then got some varied shape happening. There we go. So that is just a few examples of scribbling with Words and letters. Again, as I said, you can do this with numbers, you can do this with punctuation marks. It's really, it's just another way of just being a little more creative with how it is that we're applying ink to the page. So up next we're going to do something which is very different, which is single Line Scribbling 13. Single Line Scribbling: Okay, So for this technique, we're going to be looking at single Line Scribbling. Single Line Scribbling is, it's more of a challenge really than an actual technique of itself. But it is a great way to practice your pen skills and control over the pan and how you create Technique, create textures and ink shading techniques. So I'm just adding the title as we have been throughout the class, single Line Scribbling. And we're going to start by just drawing a single Line. But this isn't gonna be just a straight line across the page. We're going to scribble without our pen leaving the page. We're going to see how much we can do without our pen leaving the page. I'm just going to do a very simple, this is where my 05 pen again. I'm just gonna do a very simple scribble scribble. And it can be sharp lines and corners and more wavy things. And we're just going to create a single block without a pen. Leaving. That is a single Line Scribbling. So like I said, this isn't, this is more of a challenge. This is more for you to help practice your penmanship. Because what we're going to do is we're going to be creating shapes such as squares and things. And we're going to shade them in a gradient without our pen leaving the page. So I'm going to start with, I'm going to picture a square shape over here. And I'm just going to start scribbling all over to roughly create my square shape. So there we go. Now we'll see there's not a whole lot of shading going on in that. What I'm going to try for my next square, starting at one end is, this end is going to be heavier. And then I'm still, my pen is not leaving the page. But by using spacing, I'm going to actually give the illusion that this side of the square, just going to make it a little bit deeper. Actually, there we go. This side of the square is darker and it's slowly heading out over to the other side. So lots of scribbles pen not leaving the page. Now we have it. So it's still not great. So I'm gonna just going to practice one more time. This time what I'm going to do is I'm going to really think about how I'm applying this. So if we think about it, this has to be the lightest, this has to have the biggest gaps. So we need to do this side in as little ink as possible. And then this I gets the most. And then we've got to be super mindful of what goes in the middle. So let's just try this again. Scribbling away. That's one side. Now, let's get this side over and done with so we won't bake gaps. There we go. And now we're back safely in the area where we can add lots of ink. This section here, I'm not taking my pen off the page. This section here is our Safe Zone. So again, without the pen leaving the page, just put little more in the middle, not too much, and then back to the safe zone because we can add loads of ink here. Then how's it looking? I think maybe just one line here, back to the safe zone. Key in the ink. Keep the scribbling. And then we're just going to go crazy at the very end because that's how dark is. So we can see we've actually created quite an effective gradient here several times over. And this, this was just our practice where that's the idea behind single Line Scribbling. There's lots of different ways that you can really manipulate the ink. Obviously, the idea behind single Line Scribbling is that we're not going to be changing our pens throughout our drawing. But we could then layer some single lines on top of each, each other. So I'm going to start with my very, very thin pen. So this is my 01 pen. Rather than a square. I'm actually going to do a circle this, this time. So I'm just going to draw the shape of the circle. I'm being deliberately wobbly with this because I'm trying to get this sort of Scribble Effect. And then as we go in, it's almost like a spiral. Rarely. But me go. Then I'm just going to come out, Follow the spiral roughly in the same way. And then I'm just going to do one, just one on its own ran the very edge. That's one single Line. And then I'm just gonna go up a little bit back to my five. I'm going to start in the middle this, this time and just keep adding to the Scribbling the middle. And then slowly, slowly around the edge, just gonna be adding more. And again, think of that center as a safe zone. And then go out and just do a little bit more. There we go. But we don't wanna do too much because we're trying to make a gradient here. So we've actually got some whitespace here. We keep adding to it. We keep going round it. Back to the safe zone. And almost the dark you make that center zone, the easier it is to have everything else around it would be a little bit lighter. So here we go. And then maybe just one more. And I'm actually now applying the pen very lightly because I just, I just want to create the illusion that there's more space and It's much, much lighter. There we go. So technically that was with two separate pens, but that is a single Line Scribbling where the center is much, much darker going out. So bearing in mind with our mark-making, obviously remembering that using the same pen we can create very thin lines and more normal Lines and very, very thick lines. So depending on the pressure that we're using with the pen, that can also help us with our single Line Scribbling Techniques. Up next we're going to be looking at jagged Marks 14. Jagged Marks: Okay, We have now covered ten different ink shading techniques and we're now going to have a look at jagged marks. So jagged Marks is basically these pointy patterns that I love to put into my abstract ink illustrations. And there what I can only really describe as being like monster teeth. So we just add the title to our page here. And the idea of a jagged mark is literally a pointy squiggle. So we can have variations of these. By making the points higher up. We can have them be really, really tiny. We can have them be in layers together. Like so. We can actually lay them up. We can cross them over from each other. There's lots of different ways that we can use use jagged marks. So I'm going to start by just creating a few jagged marks together as a reference. So again, I'm doing this with my 05 pen. We can take a look at what this looks like with a thinner pen. I've got my zero to here. And then we'll look at are much bigger pen again. You can see the difference here in our pen sizes. Now, if we wanted to create a gradient using jagged Marks, There's a number of different ways that we could do this. So we could start by just Drawing are jagged marks like this. Then we can layer them up the way that we did with our Scribbling going in opposite direction. We can then go about three-quarters of the way. And then again, about half the way. The trick here is to try and make sure that you're going into these gaps here. So you can see here we've actually got quite a nice sort of a lattice effect happening, but here we have a couple of gaps. So we're actually losing the gradient effect. So just on the next one, I'm just gonna be really slow and deliberate and just make sure I get into those gaps. There we go. And then little bit more and a little bit more. But there are other ways to create some light and shade with these. We can have very, very tall jagged marks, but very, very narrow by this, almost like a heart monitor. And we can have them where there's actually a gap between them a little more. So you can have them be much wider in gap if you layer them like so. We can do this and then actually change the space between them. So they get closer and closer together. One up here, which is quite a bit further apart. There we go. We can also think about the speed that we using our pen. So if I was to draw the jagged marks very, very slowly and deliberately, like say, if I just do about for that, That's a very, very strong deliberate line. Again, I'm still using the 05 PEN. But if I was to do this now very quickly with the exact same pattern, we get a much thinner line. So you can actually then create very interesting sort of middle ground effects with the same pen bearing in mind that you've still got to be precise with your points using applying different levels of pressure as well. So if I really slow down on this bottom one, I'm worried apply the pressure through the nib. Not so much that you want to damage the nib obviously, but you can then create interesting gradient effects like that. So that is our jagged Marks Ink Shading Technique. Up next we're going to be looking at a similar effect using circles called looping 15. Looping: For our penultimate ink shading technique, we're going to be looking at looping. Also known as circling. Looping, is a shading technique that uses small circles to create darker areas on a drawing. And it's done by placing a series of small circles close together on the page. So looping is basically a more intentional version of what we did in circular Scribbling. It might seem very similar, but instead of those bag loose freeing, see shapes and backwards, Cs and all, all of that. We're actually going to be creating very deliberate circles and then layering them up and building light and shade using that same as ever. I'm starting with my 05 pen and I'm just going to start creating circles on the page. So they don't have to be perfect circles. But I'm actually just going to put them fairly close together in this sort of size. And you could almost liken this to our stippling effect. It's just instead of a dot with drawing a circle. So looking at different versions, if we then made the circle smaller, but still close together so the circles aren't actually touching each other. There is actually a little gap between them which they can touch. But that's, that's gonna be a different style again, if we make them even smaller, we can then really start to see, because what this is doing is it's reducing the amount of white inside your pattern. The more ink, the more black you have in your pattern, the darker it's going to look overall. Then we could even get one that's so, so small that they actually do have to touch. There's no white in-between them whatsoever. We just lay them up like so. So there we haven't using the same pattern and we could even do it with even bigger circles, have here an even bigger gaps. Because the gaps don't have to be the same between them. Using the same pattern. We've actually created five very different shading variations. And to be honest, this, this technique is called looping, but you don't have to just do this with circles. You could be doing this with squares, triangles, any shape that comes to mind. But circles, circles is quite good for uniformity, at least in the illustrations that I enjoy drawing. So the other thing that we can do is we can actually look at the pen size again. If I take my 01 pen, we do similar thing again. So I'm gonna go for a middling. So circle. We can see that this has actually created the same, the same shading as our larger circles have, but the size of the circles is actually the same as what we did over here with our middle pen. So it just goes to show that by changing the size of your nib on your pen, you can create a much more varied range of shading styles. If we go super small, like we did before, then one where they're actually touching. Same thing can be said again for the, for those larger pens. So we can do our bigger circles. Of course, with these larger pens, you are then limited as to how close and house more you can get your dots. But we can absolutely try. So we'll go smaller circles again with less of a gap between them. And then smaller circles again. One thing to really try is to remember that you're not making a dot. So you do still want these very tiny gaps in the middle of your circles. Because otherwise if you're doing dots, you might as well just be doing stippling. I'm going to really see just how small I can get these circles without filling them in. Boy, is difficult, but you can imagine now, even with this very thick pen, we are able to create such a variety and shades between them. Could make some for some very, very interesting illustrations. So another thing we can do is we can actually layer these illustrations one on top of the other. So I'm going to use a to pen for this one. If I just go for a what I'm afraid who is a medium-size circle? I'm just going to create a bit of a bar of these Remember these circles do not have to be precise. So there's actually a few here where I'm drawing them in the coming out a bit overly or I'm not quite closing the circle at the other end. That's absolutely fine. So we've got that going along. And then same as we did with our scribbling exercises and our random Lines exercises. We can actually go back to the beginning and just start layering the same size circle over the top. I'm going to stop about three-quarters of the way. So there we go. Then again back to the beginning, more circles. It's about halfway. And then we'll do the same again to maybe a quarter of the way. And then back to the beginning for maybe an eighth. And then really adding it on, really piling it on some more circles at the very beginning. And then we have our nice gradient effect. Again. There's loads of other ways you can experiment with this technique. We could do layering, but where you're actually layering on different pen sizes. If I do another little shape here, we can actually take a thicker pen. So this is a two. If I take an eight, something that's very different and we can actually layer the same size circle over it, but just, just at one end. And straight away with starting to see a gradient happen. And then in the middle, if I use a five, again the same size, circles. Lo and behold, little more to the beginning as well. There's another gradient effect. So looking at colour, because we haven't done a little colour experiment and in awhile we can do the exact same effect. So I'm going to start with this pink again. If we just do some circles here we go, then we can add purple end to one end. And just thinking about the spacing of them. Then increase the spacing and then a little bit at that end, then have some more at the beginning. That goes another colorful gradient effect. So looping, looping is quite a fine way to combine the skills found in stippling and in circular Scribbling to create more effects. For our final ink shading technique, we're going to be looking at something called tiling and weaving 16. Tiling and Weaving: Okay, For our last ink shading technique, we're going to be looking at something called a tiling and weaving. So tiling and Weaving is great fund draw. I really enjoy this. And again, this is another technique that I'm often using in my abstract ink illustrations. So tiling and Weaving is basically taking Hatching style marks. So those closely spaced parallel lines, but then repeating them in another direction to create an interesting effect. We're going to start by just reminding ourselves what hatching is. Using my five pen. I'm just going to draw some small closest space marks like so. Now in a different direction. I'm then going to do the same closest space marks at marks like so. Then we'll add form or going in the initial direction. As you can see, this is creating a tiling or a Weaving style effect. You want to make sure that on each side of your marks Your then alternating in the opposite direction. And I'm just going to continue this on to the end of this line. So in this example, I've actually had them not deliberately not touching each other. You can have them touching each other. So we could do for Marks and then off the edge of this side of the form marks, we can then have our next for marks coming off. Then we can do it again, 234. And then when we go underneath Your then connecting them again. And then same on this side. This has to take a lot of precision because you're basically making sure that every line lines up with every other line. So it's a great one to practice. And then if you're at the end of your pattern, the easiest thing is to basically just round it off. Like so. So even more so here you can actually see that Weaving effects. You can almost imagine that this line here is going under these two incoming out on the other side. But from a shading perspective, there's a lot of things we can do here to add a little more light and dark. So first up, easiest one is gonna be about changing the space between the lines. So if we keep with this space between the sections for now, we can actually make these wider. Then we can do ones that are much closer together. So that's one way to use tiling and weaving for Shading. Another is to change the size of the pens to taking a 01 pen. We can actually do the same style. But we can get even smaller than, even closer together. Because we've gotten much smaller nib size, we can actually create a much tighter effect. Then even tighter still. So I'm getting really small, I'm really tight with my Lines now. So there's still a gap between them. I'm creating incredibly tight weaving patterns here. So then we go across and down and across and down. A FUN way to play with Weaving is to play with the color of your pens. So if I take my pink pen and I do all of my downstrokes with my pink. Then I can do my across strikes with a, another color. So another thing I've done here is I've actually used for downstrokes, but I've used six across strokes. So that's another example where we can actually influence the shading because this is a darker pen and we've got more shades. There's actually a greater contrast between the two compared to normal. So we can use that concept to actually have different shades going on in a weaving pattern. So say we want to create a gradient using Weaving. I'm going to use my zero to pen for this. I'm going to start out by just creating for And then four. Then four. Then for what we wanna do here is we actually want this to be our lighter end of the gradient. We want this to be a darker end of the gradients. So at the moment It's very flat. We've got 4.4. So what we want to do is we actually want to have a little bit more shading happening here. And then a little bit more again in this section, and then a little bit more again in this section. So there's a number of different ways we can do this. So we can actually just simply add more lines. So we've got four happening here. If we increase this and just add a few more going in this way. And then on this one, we actually had two in each gap. Then in this one we add three in each gap. That's a way to create variations in light and dark. What's difficult in this example is we do still have these gaps in-between, so we're losing that effect. So let's try the same thing again. But this time we're going to close the gap like we did with our Weaving passing over here. So same, same pen. The zero to I'm going to start with four going down. But then my foregoing across are going to come out from my fourth downstroke. And then same again, 1234. Then finally, same again 1234. So you've always got three downstrokes. And then what looks like a flag, and then two downstrokes, and then what looks like an E with an extra line in the middle. So it looks very strange at this point. This doesn't even look flat like the one above days because we've got this illusion here on the sides where we've actually got more Ink and less space. So it actually looks, looks like it's going lighter and then darker and then lighter and then darker. But we are going, going to fix this. So same as above. For our cross strokes on the right-hand side, we're not going to add any more Ink by, I'm going to add one stroke in-between these here. So we'll just write down the middle, add one stroke between each of those. Now for this one same as above, we're going to add to, so I'm just going to add two strokes in here and two strokes in here, and two strokes in here. Now bear in mind if you're following along, you did this by I. So it's never going to be exact and perfect. So don't don't worry if like me, some of the lines are really close together. The point is we are creating an effect. It's almost an illusion. Then at this side, same as above, we're going to add three lines in-between each gap. So 123-12-3123. Then just to really round it off, I'm actually just going to add the lines at the top and the bottom. So we've got it in a straight thing. So that's a much smoother looking gradient than we have up here. But you're probably thinking it's still not ideal. So we're just going to try another go. This time. I'm actually going to be using tiling and weaving, but with crosshatching. So, so far all of these examples, inversions of hatching is just a single Line going in one direction and then single lines going in another direction. So we're now going to Thailand. We've But with cross hatching. So let's do this again. So we're going to, I'm gonna keep this effect where everything is tied together because I think straightway we can see the gradient effect is a lot smoother. So we've got 1234, 1234, 1234, 1234. So I've got a bit excited that this line has gone a bit longer. That doesn't matter. We can always, we can always just extend the other so that they match. Before we start, I'm actually just going to line up these other lines as well anyway, just so that they were all along. Another thing you can do if you wanted, you could actually just draw the rectangle at the beginning. But anyway, so same effect we're gonna, we're not gonna be adding anything to this one. We're gonna be adding one line to this one to lysis want a three-line system. So we're just going to start with that. One line in this section, two lines in this section, two, and then three lines in this section, 123-12-3123. Now we're going to do the same again, but we're gonna make it a hatch. So we didn't add anything to this, but this isn't hatch still, this is still this isn't crosshatch, this is still hatched. So we are going to add one here just so that we get that hatch effect 34. Now on this one, we added two. We added one of those already one, so we're adding two. So we're just gonna go across 12121212. This one was we added two. So we're going to make it 312, 312-312-3123 Then finally you can see what's coming here. This was, we added three, there was already one there, so we're actually going to be going four cross four times. So nice and thin. Want 2, 3, 4, 1 2 3 4, 1, 2, 3 4, 1, 2, 3 4. Then we have three different tiling and weaving techniques to create gradients. So you can play around with all of these, including the colours. You can hatch up the colors if we did another one of these, for example, where we actually drew the rectangle to begin with. Like so you could then split it up into your Weaving sections and then have a practice at drawing in each of your weavings. So, for example, here, if we were to redo this one, this would be three down and three across. And then this one would be six down and six across. And then this one would be nine down, nine across. Then this one would be 12 down and 12 across. And 12 across. Then we have it. So there's lots of opportunity with tiling and weaving. A lot of these so far have been very square in their nature. Another way to do tiling and Weaving is to actually have things on more of an angle. So if you remember back in cross hatching, I said that traditionally cross hatching is just like this, where the lines are perpendicular to each other. Same thing with Weaving. We don't have to do it per, perpendicular to each other. So if I just carry on with my zero to pen here, we can have Lines coming down like this. Instead of going across, we could actually have, I'm going more on an angle. So we can actually do it like, like this. So bearing in mind the shape that you're creating. Then back to several on the other side. And we don't even have to keep it going like this. You could actually mix and match these in completely different directions across the board. So we could start with some coming down and then we'll do a little diagonal here. And then we go diagonal in another direction. And then we go back to up. And then across. Then on this side we could do a really steep diagonal. And then using your hatching techniques. And now obviously you're cross hatching techniques as well. You could even add to this to then create more license shades within the shape itself. So you can then choose on this very dark one. We're just going to add a few hatches in here. And then maybe a few going this way. But then only a couple on this one, maybe one on this one. Then we can start to create more shades and difference throughout our drawings. So that is our tiling and Weaving Ink Shading Technique. We've now been through all 13 different techniques. And you can move on to uploading your class project 17. Your Project: Then we have it 13 ink shading techniques that I really hope you enjoyed learning about. I'm hoping by now your sketchbook has got 13 pages filled with these Ink Techniques. And I really hope you enjoyed taking this class. I would love to see what you've created in the project gallery of this class. So I'm going to invite you now to do one of two things. I'd love to see either an illustration that you have created using one or more of these techniques, or if you'd rather, I'd love to see the page of your reference sketchbook that contains your favourite technique that you learned on this class. Me personally, my favourite technique or out of all of these, is the tiling and Weaving. There's something that really appeals to me about how all the shapes fit together on the page. And I love doing it in different colors as well. So check out the project gallery because I'm going to post that page from my sketchbook as well. 18. Final Thoughts: Congratulations you completed this class. I'm so happy that you came along on this journey with me. I really hope that you took something away from this. Over the course of this class, we've covered 13 different ink shading techniques. And I have just enjoyed so much teaching them to you. And I really hope you've got something out of it as well. If you enjoyed this class, please consider posting a review because every review helps me to create more content for you guys here on Skillshare, if you like, also Follow my Skillshare teacher profile because you will then be notified anytime I do a giveaway or release a new class to the platform. Meantime, if you've got any questions on Ink Techniques or illustration or anything at all, please feel free to leave a comment in the Discussions tab. I read every message, I get every project that's posted, and I will get back to you as soon as I can. Thanks again for taking this class. Have a wonderful day.