Introduction To Technical Pens For Beginners: Sketching With Steel Nib Technical Pens | Imran Mughal | Skillshare
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Introduction To Technical Pens For Beginners: Sketching With Steel Nib Technical Pens

teacher avatar Imran Mughal, Graphic Designer & Illustrator

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      3:25

    • 2.

      Technicalities of Technical Pens

      7:14

    • 3.

      Hatching

      11:40

    • 4.

      Cross Hatching

      10:25

    • 5.

      Stippling & Scribbling

      9:12

    • 6.

      Building Textures

      10:53

    • 7.

      Creating Depth

      11:00

    • 8.

      Interaction with Mediums

      10:53

    • 9.

      Sketching Inspiration

      7:02

    • 10.

      Sketch & Outline

      6:39

    • 11.

      Starting Point

      11:45

    • 12.

      Intense Texture

      12:01

    • 13.

      Lighter Texture

      8:55

    • 14.

      Background Lines

      8:24

    • 15.

      Darkest Lines & Patterns

      10:58

    • 16.

      Class Project

      1:56

    • 17.

      Final Thoughts

      3:22

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About This Class

Introduction To Technical Pens For Beginners: Sketching With Steel Nib Technical Pens

Have you heard about technical pens? What are they? Are they just fancy fineliners? Can you sketch with them? Why do they exist? If you have any of these burning questions then get ready, because this class will answer them all!!

So let me introduce you to steel nib technical pens! My name is Imran and I’m obsessed with all things art and design and love trying different art materials and tools to explore the wonderful world of expression & creativity!

I’ve been sketching with technical pens for a few years now and initially I wasn’t too keen on using the steel-nib variations for my specific style of sketching but I gradually became accustomed to these little tools and now use them quite often in my more detailed sketches.

If you’ve always been curious about technical pens, or just want to feed that pen addiction, or if you just want to try a new art tool then your in the right place!

In this class we will:           

  1. Delve into the technicalities of technical pens: steel nib technical pens
  2. Discuss inking options, brands and their constructs
  3. Analyse the surfaces they work best on
  4. Look at their maintenance and general features

We will then complete some simple exercises using the worksheet provided (download from class resources) to get our memory muscles accustomed to these fantastic little tools by creating mini drawings using:

  1. Hatching
  2. Cross Hatching
  3. Scribbling
  4. And Stippling

We will then observe how these pens interact with other mediums before the exciting part of the step-by-step full sketch!

And finally, we will then complete a full sketch using just our technical pens and a combination of the techniques from the mini-exercises to produce a gorgeous little artwork, which will be a step-by-step process in real-time.

On completing the exercises and the full sketch, you will be ready for your class project and be super excited to express yourself using these wonderful tools for us all to see!

This class will give you the direction, inspiration, and motivation for you to quickly get started in using your technical pens for sketching and doodling using beautiful cross hatching textures.

This class is aimed at all levels of skill from beginners to seasoned professionals and we will mostly work in real-time at a nice and steady pace for you to follow along (the step-by-step drawing produced in the class will be available as images that you can follow in the resource sheet if required).

Please note that currently the resource sheet & worksheets can only be downloaded via a desktop or laptop computer and not on the Skillshare mobile app (correct as of March 2023)

So what you waiting for? Get your technical pens ready, grab yourself a nice drink, get yourself a gorgeous cake, sit back, relax, and let’s get started with the class!

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Meet Your Teacher

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Imran Mughal

Graphic Designer & Illustrator

Teacher

I'm Imran - graphic designer & illustrator based in the UK. I have over 10 years experience in the field of graphic design and illustration in both traditional and digital output and absolutely love all things to do with art!

In addition to my full-time graphic designer role, I am also the art wellbeing lead for my organisation where I deliver wellbeing classes and advocate mindful colouring to relax and de-stress - check out my published colouring books for adults.

In addition to my design & illustration life, I am an active father of 3, oh and I'm naturally addicted to coffee! My illustration classes are all about getting back to basics mainly with traditional mediums and escaping away to relax with art!

I love to sketch, draw and illustrate on a daily basis so fo... See full profile

Level: Beginner

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Transcripts

1. Introduction: Have you heard about technical pens? What are they? Are they just fancy, fine liners. What can they be used for? Can they only make straight lines? Can you sketch with them? Is there any point to them at all? If you have any of these burning questions that you need answering, like keeping you up at night, then you're in the right place. If you've always been curious about technical pens or if you want to just try out a new art medium and two, or if you just want to feed that pen addiction, then you've come to the right place. So let me introduce you to the wonderful world of technical pens. In this class, we're going to delve into the technicalities of technical pens. We're going to look at how to use these pens. We're going to look at how to maintain them, clean them, ink them, and use them for sketching purposes. We will also look at the different surfaces that we can use these pens on. Then we will move on to the exciting part of actually going ahead and using the amazing worksheet that is specifically designed for this class that you can download. In the resources section, we will look at practicing how to create hatching lines in vertical, horizontal, diagonal directions. We will then move on to looking at how we use these lines to produce wonderful textures, but creating crosshatching at different levels using the different points that we have available. We will also look at how to use stippling and scribbling effects. She's gorgeous tonal areas of our illustrations. And then we will do a short little exercise to bring together all of these lovely textures that we've practiced to produce a simple little elements of an illustration to compare and contrast and be surprised by the results that we can achieve. And then we're going to do a full sketch and step-by-step on all of the techniques that we've learned and put it all together in a beautiful small, mini, easy to follow design that you can practice once you've completed the worksheet and on the step-by-step for sketch, you will be ready. Go ahead and unleash your creativity on your class projects by producing a gorgeous illustration using all of the techniques that you've learned and practiced. And once you've done your class project to make sure that you leave a beautiful review on the class so that other students can find the class and learned from your personal experience using these pens. And we can all learn together in this lovely world of technical pens. Are you excited as I am? Can't wait to get started. Then what are you waiting for? Grab yourself a nice drink, get yourself a nice little treat. Sit back. Relax, get your technical pens ready. And let's get started with this class. 2. Technicalities of Technical Pens: Okay, welcome back. Let's now talk about the technicalities of technical pens. What our technical pens, technical pens, or specialized instruments used by engineers, architects are drafters to make lines of constant width for architectural engineering or technical drawings. Technical pens available today fall into three main categories. Number one, the classic steel nib pen, which is what we're gonna be talking about and demonstrating throughout this class. Number two, disposable pens, which can also be referred to as fine liners. And refillable pens, where you have the ink that can be refilled and used. Again. Steel nib technical pens generally work best when they're held at a steeper angle, like 90 degrees to the surface of the paper, and therefore can be a bit difficult to sketch with when you're sketching faster or if you're used to doodling at a faster rate. The plastic nib variety can be used much more like a normal pen in terms of holding position and speed of use and are generally easier to use for sketching. However, I personally use steel Nick versions myself to produce highly detailed sketches. I also use them very similar to how I hold normal plastic nib disposable pens in this class, we will therefore be focusing on the steel nib technical pens and demonstrates how we can sketch with them by creating wonderful lines and textures. These pens give you the most predictable, fixed width lines and can be filled with pigment, drawing ink either from a bottle or by using a cartridge. The nib sizes of these pens are usually quoted in millimeters and they represent the linewidth that you can expect. Unlike the relatively arbitrary numbering of disposable fiber nib drawing pens, they are generally cheap to run as the bottled ink is cheaper than buying refills, but the pens are more expensive to buy in the first place. And they can be rather expensive depending on what brand you buy and whereabouts in the world you are geographically located. They also need more careful maintenance than other types. If the ink is allowed to dry out inside the pen, it can be very difficult or even sometimes impossible to clean out the nib unit again. And therefore, you may have to buy a replacement you nib unit, which can cost usually a similar price of the entire pen itself. However, if you properly care for your lovely steel nib pen, these pens can last for many years rotating have two options for their steel nib pens. Number one, the ISO graph, which has replaceable nibs and we can use bottled ink in the reservoir holder number to the repeater graph. This also has replacing nibs. However, you cannot use bottled ink with these. You've got to use the replaceable cartridges for the standard Lamar's metallic pens. These also have replaceable nibs and these have a unique sprung seal in their mechanism to eliminate the problem drying ink in the nib. And for these ones, you can use bottled ink. For both brands. They have their own sized cartridges, whether you're gonna be using the refillable cartridges or the permanent cartridges that you can replace. So you cannot really use cartridges that are available from other brands or other types of pens because they are specifically designed to fit that particular brand. Both Rob drink and Staedtler have a wide range of NIB and point sizes, and they can be purchased as a single pens or units. Or they can be bought in lovely fancy sets where you have a range of different points, sizes. As mentioned earlier, each pen has its own replaceable nibs that you can buy if you break them or lose them. However, the cost of these are usually quite high. Let's now look at the inking, cleaning, and maintenance of our lovely pens. As mentioned earlier, you can use bottled ink for both the rotary ISO graph and the Staedtler Mars metallic. This works out much cheaper in the long run and is better for the environment due to less plastic cartridges being used and thrown away. Rotating and Staedtler both have their own ink to use for their technical pens. However, you can also use any other good-quality ink using the rotary Inc would be the easiest option as the bottle is specifically designed to fit into the reservoir holder of the pen, and therefore you'll have minimum leakage. Here's when you go ahead and refill that reservoir. However, I personally prefer using my waterproof fountain pen ink, which is less thicker inconsistency and flows better in my personal opinion for my personal style of sketching, refilling using other ring can be tricky. However, it can be easily done using a syringe and this is how I do it myself. A nice step-by-step illustration on how to ink and clean your altering and Staedtler pens can be found on the instructions in the box that each pen comes in. It may be a laborious task, but I would highly recommend cleaning out your pens regularly, especially if you don't use them for awhile and follow the instructions that specifically come with each pen. The Staedtler has a lovely little mechanism where you can remove the nib by using the back of the cup of the pen. Whereas with a rotating, the mechanism, again is similar in opening up the pen and the components easily come out and you can actually go ahead and literally clean every part of your pen. And finally, let's now talk about the surfaces that we're going to use. Our steel need depends on the angle and position you hold your steel nib technical pens will depend on the nib size and the texture of the surface that you use. From my experience, I have found that the thinnest nib will tend to work more like an ordinary plastic nib, fine liner. But the more wider nib can require a steeper angle for the ink to flow. The more textured your surface is, the more skipping you will generally get from the nib. So I would advise using a smooth surface like a bristle board paper or a smooth cartridge paper for sketching. I personally use Bristol board paper when using these pens, a list of my recommended surfaces and other supplies can be viewed in the resource pack. So do check that out when you get a chance. And that's about it for the basic technicalities of the technical bands. Let's now move on to the exciting part and start creating some gorgeous lines with our steel nibs. 3. Hatching: Welcome back. Let's now have a look at our worksheets. So what I want you to do is print off the worksheet that's attached to the class resource sheets. And once you've done that, let's now focus on the exercises. So on the table over here I've got the worksheet printed off and you can see that we have four different sections. We have hatching, crosshatching, then we have stippling and scribbling. And then we finally have these four little boxes that have these circular shapes in them. So I've done for the purpose of this class is to go ahead and cut these four sections out so that it makes it easier for me to do the exercises for you to save, but you don't need to do this at all. Keep your sheet intact as it is. You don't need to cut anything else. So I'm just going to bring on the screen my cutout middle versions of this shifts. And just like that, we have four nice little rectangles of the four sections of the worksheet. So let's now focus on the first one, which is the hatching. So I can just move these other ones out of the way. Get them out of the way so that we can have a nice zoom in, zoom in on this and we're just going to get a quick Zoom is zoom in on this. That's looking fantastic so that you don't miss anything on the screen. Beautiful stuff and we want to get a nice focus on this. So it looks nice, crisp and sharp, just like this morning's. Let's now have a look at our technical pens. So with our technical pens now, as I mentioned before in the previous lessons, I have my three lovely technical pens over here with my different widths. So what I'm gonna do is I'm going to use all three of them in this exercise worksheet now, you may not have or three or four different line width, you may just have one. So just go ahead and use the one that you have and just maybe practice doing different shapes and patterns as you go along in these four elements of this worksheet and exercises. So I'm going to start off with my finished points which I currently have as the naught 0.10. So I'm going to open this up and it should be nicely lubricated with ink. So let's go in and do this exercise. This exercise is just really simple. It's just to get you warmed up to really get yourself ready to start doing drawing and sketching with these wonderful pen. So before I start, I'm actually going to go ahead and we're going to put a piece of paper underneath here because I don't want to go ahead and press too hard and then damage my paper and damage my pencil if you're using a thin paper, Here's another tip. Always use maybe a couple of sheets of paper underneath that paper that you're drawing on. So what I'm gonna do is I'm going to grab hold of a, just a plain sheet of paper now. And just like that, I'm just going to place that underneath that we have a nice cushioned effect, our lovely sheets of hatching paper. So what I'm gonna do now is I'm going to hold my pen in the normal position that I usually hold my opinion when I'm using fine liners. So just like this, I'm going to hold it in that normal position at an angled slope. And then I'm going to start off by going on this first box on the left where we have vertical lines. Now the second box, it says horizontal, third and fourth, say diagonal lines and we'll move on to them next. So vertical lines, all I'm gonna do now here is with my pen, just normal pressure. I'm just going to draw in some lovely vertical lines like this just to get the ink flowing and to really get the mood going in this technical pen class. So just like that, quickly filling this in. And what this will do is this will give you an idea of how far your pen can go, depending on the width of the pen that you have, the tip size. So let's just continue. And just like that, I've got some nice vertical lines. So what you can do is you can go ahead and do the next box underneath this. So if you don't have another tip size, then just go ahead and do another one underneath this. I'm going to leave that for the next point that I've got. So after I've left pretty much a nice equal gap in-between these vertical lines. If you want to make them a bit tighter, go ahead and do that. I can actually demonstrate that. So just in-between each one of these gaps, maybe just have a couple of more lines, just like this. So you can vary it to create that tonal effect. And that's what we're trying to do. We're just trying to create this gradient of tonal effects, going from dark to light with our beautiful technical pens. So let's move on now to the horizontal lines and I'm just going to tilt my paper to the side because you know what I'm like. I always like to work on angles that are comfortable for me and I suggest you do this as well. So just tilting it the other way so that it can easily bring the lines in down like this. Let's just make sure that you can see on the screen. So we've got horizontal line, so exactly the same. I'm just gonna go from top to bottom. And I'm going to use a nice slow motion to just create these lines. I'm not gonna go fast. We're going to leave the fast movements to the next part of the class. So let's just keep it nice and slow and steady. And that's gonna be great. So just like that, I'm just going to go in and I'm gonna go and continue doing these lovely lines, and that one is done. So let's just tilt this back to make sure that we're all on the same page or should I say on the same sheet? So let's now move on to the diagonal lines. Now, for these diagonal lines, I've got these two boxes over here. All I'm gonna do is I'm going to go diagonal in one direction, in one of them. And then on the other one, I'm gonna go in the other direction. And this will just create that variance and give you a couple of options to practice on. So with the diagonal on the first box, I'm gonna go in, maybe starting off in this direction. So just going from right to left, I'm just going to create that similar line coming across. And it's looking fantastic. Now you'll notice I'm not sure if you can hear this on the sound of the microphone, but because this is the thinnest tip, as we mentioned before, it creates that real nice. Or maybe if you don't like that noise, that kind of like textured feedback noise, you can sometimes call it a scratchy noise. You like I said before. So you can hear more of that with the thinner tip. And again, that's just the physics of how physics works in our wonderful world. So let's just continue doing that again. Keeping it nice and neat, not doing anything too complicated. So from right to left, that box is done. Now let's just go ahead and do the next one. And for the next one I'm going to go from left to right. So again, I'm maybe start at the bottom here for me. It's just more comfortable for me to do it this way. Again, you don't need to start in any specific order like I am. You can maybe start off just doing diagonal lines at first and then go to the vertical and horizontal, it's entirely up to you. It's super flexible, just like me. So let's just continue with this one. Just like that. Nice and easy, lovely stuff. So couple more there. And we don't. How good was that so easy and simple to do? And now you've got yourself a nice little effective swatch of lovely lines and tones that you've created with your technical pens. So what I'm gonna do now is I'm gonna go ahead and repeat that now in all these other boxes for my other pen sizes. So I'm just going to give this one a dance, close it close, and let's move on to the next one. So for the next one, again, I've got my nought 0.35 tips. So I'm just going to open that up and I'm going to repeat that process going across. So I'll start off doing the vertical line again. So just like this, with a vertical line, and you can see we have a really nice thicker line point on this one compared to the first one. And it just looks fantastic, doesn't it? So you've got this beautiful uniform line. And again, this one flows a lot quicker because it's a thicker tip. So what we're doing here is we're just continuing that movement. And it's looking fun plastics. So again, I'm just going to repeat that same thing going across the next three boxes and I'll see you once I've done that. Okay, so there it is. We've done the nought 0.35, the medium-size tip that I have. And we've done it across here and it's looking fantastic, isn't it? So you can see there's a clear visual difference between the thickness of the point and you can use this for your sketches. Absolutely fine. So what I'm gonna do now is I'm going to finish this off now by using my nought 0.8. So I'm just going to quickly give that to a close and close and let's open up the nought 0.8 tip, the thickest tip that I have with the stylus pen. And again, I'm just gonna make sure that I have a bit of an enclosed giving a shaky shake just to make sure there's no blockages in there. And then let's just start off over here. So I'll just bring this a little bit higher on the screen so that you can see this a little bit better. Then again, with that tip, all I'm going to do is create the vertical line and look at that, look at the size of that tip. It's huge, that isn't it? It looks like a felt tip marker pen doesn't say absolutely fantastic. Oh, look at that gorgeous stuff right now. All I'm doing is I'm just going to go ahead and do this like that. And we are nearly done on the vertical, the vertical stuff. So just like that, don't worry if you don't create perfectly straight lines, it makes absolutely no difference. The whole point of this worksheet is so that you can just practice, that you have something to do with your technical pens just to get yourself warmed up before you start doing your sketching. And again, it's just a fun little relaxing exercise now, isn't it? So what I'm gonna do now is I'm just gonna go ahead and I'm going to continue with the rest of those boxes and then I'll speak to you once that's done. Okay, fantastic stuff. Now, we have completed our hatching section of the worksheet. And if we just analyze, you can see we've created these gorgeous hatching lines, beautiful straight lines with three different pen size variations. And it just looks fantastic, doesn't it? Now if you noticed, I worked quite slow with this pen because purely because it's a really thick tip. And again with the other ones, just working slow will give you a nice uniform line so that we don't have any slippages, as we mentioned earlier in the other parts of the class. So just ensure that you're working at a nice, slow and steady pace to complete these exercises so that you don't get frustrated. So we've done the first section of the worksheet. Let's now move on to the next one. 4. Cross Hatching: Okay, welcome back. Let's now continue and do the second section of the worksheet. So what we're going to concentrate on now is the cross hatching. So this is basically just an additional exercise to the hatching exercise where we produce lines that create that intersection cross pattern. So therefore it's crosshatching. So what I've got here now on the screen is I've got three columns. Now, where it's labeled vertical and horizontal lines, then I've got diagonal lines, and then I've got vertical, horizontal, and diagonal lines. So it's a nice mixture of the three different lines like we did in the previous one. So let's start off my finished tip with my nought 0.10. And what I'm gonna do is I'm just gonna go ahead and I'm going to start doing them straight vertical lines, just like this, like I did before. And let's just quickly put these in now. Okay, so the vertical ones I've put in, now, let's just tilt this page over now and make sure that you can see what I'm doing. And then all I'm gonna do is I'm going to create the horizontal lines on top of these vertical lines in the same distance or similar distance. That will create our lovely crosshatching. So let's do that. So we just starting off from this side, bringing it down and look how nice that looks. Look at that gorgeous cross hatch pattern. I absolutely love crosshatching. And if you've watched any of my previous classes or if you've watched any of my artworks that I produce, then you'll know that I absolutely love crosshatching and I feature this type of technique in my art work all the time. It just looks so great. And it's a very old school style of art. I'm just applying any medium, really not just ink. You can do this with a pencil, you can do it with watercolor brushes as well. Yes, you can. You can do it with literally anything that makes a mark. You can go ahead and create a beautiful crosshatched pattern that looks so good. So let's just get this one back the right way round and look at that. It looks fantastic. So what I'm gonna do is I'm gonna go ahead and do the diagonal one. Now, where the diagonal again, all it is is a case of going in one direction. So I might start off here by going from left to right in this motion, movement that I'm doing, whatever position that you find comfortable with your lines or your worth to apply marks, just move yourself into that position I'm always advocating. Don't put yourself in a difficult position when you're doing art. Because art is not about being stressed, it's about being relaxed. So the only way you're gonna be relaxed is if you're in a relaxed position, so get yourself nice and relaxed and do whatever works for you best. So just continuing to do that and that one is done. I'm going to do now is I'm just going to tilt this a little bit to this angle that I've got here so that I can easily do the cross hatching lines, that diagonal motion. So I'm going in from this angle now, just like I did in the previous box, going in creating these lines. And again, don't worry if your lines are not straight. Mine and never straight. They're always nice, raw and organic. So that's absolutely great. We're not here creating architectural drawings that are perfectly symmetrical or in perfect perspective. That's not what this class is about. This class is all about enjoying yourself with these wonderful technical pens and just having a great time. I can tell I'm having a great time, you yeah. Hi. I'm indeed. So Let's just continue with that. So just like that, I've got the crosshatching done. And if we just tell this to the side, you can see, you can see now we have two different cross hatches. Effectively, we've done the same lines in different angles and it produces a different results. So it looks fantastic. So let's now move on to the final one. For this one, we've got vertical and horizontal lines, also got diagonal lines on top. So it's effectively a three-way crosshatch, or I might even do it to a four ways. So let's do this one now. I'm just going to drop in those vertical lines first. Okay? And now I'm going to put in those horizontal lines just like we did before. So let's do that now. Okay, now the basic cross hatches, Dawn, Let's now add in the diagonal lines on top. So I'm gonna go in, in one direction first. So just like this, I'm gonna go in this direction. You can see what effectively doing It's creating a third layer of that beautiful texture that we've got. And you'll notice that because I'm using a very thin point, you can get a really crisp, clean line when it overlaps across this entire section to create a beautiful, wonderful texture. Now, it'll be a bit more difficult to create a clean texture with a thicker point where we will come to see when we do the next ones. But that's just something that you need to bear in mind. The size of your tip that you have on your technical pens will determine what type of result you're going to get with crosshatching. And it's really a case of thinking about how far you want to keep these lines. The thinner the point, the closer you can get your texture lines to be. And the thicker the point, the more further apart you'll have to do them. Otherwise they're just going to merge into each other. And we will come to see this when we do the nought 0.8 tips. So you can see that created a beautiful, lovely web like texture. It's like a net, so that isn't it. And we can use this so well in our sketches. Absolutely fantastic. Well, we can go ahead and do is we can actually go ahead and do a nother diagonal line on the opposite side, just to give you an idea of what that's gonna look like. So that's what I'm gonna do. I'm just going to go ahead on the other side now. And I'm just going to go and start adding that texture all the way across. Just like that. And you can see it's intensified that patterning again. But again, you don't need to do this if you don't want. So if you want to just use one diagonal line, and if you think that's enough, then absolutely, but do try it out again. Like I said, print as many of these worksheets as you want and practice doing different shapes and sizes. If you have more than one line tip, then just use that one. If you've just got the same one individual line tip like I'm using here. Just if you've just got to say e.g. a. Nought 0.1, then just use that to produce different lines and just see how it goes. Just experiment and enjoy the process. So on the screen now we've completed all three of these and you can see that it's produced such a nice pattern with the same pen. So remember, we're creating beautiful patterns with the same pen width. So what I'm gonna do now is I'm gonna go ahead as I did before. I'm going to use the nought 0.35 that I've got over here. So they're not buying 35 and I'm going to use my nought 0.8 Staedtler. And once I'm done with that, then we'll sit down and we'll have a nice coffee and discuss the results. So let's do that next. Okay, so the nought 0.35 tip one has been done. And again, you can see there's a huge difference in the thickness and the contrast compared to the naught 0.1. So I'm just going to continue with the nought 0.8 and then we'll have our final discussion on this section. So let's continue with that one next. Okay, fantastic stuff. Now we've completed our cross hatching section, and you can see that we've got some wonderful results. So let's have a quick look at these. I can see my papers or curling up position say that because it's a small paper and it's fairly thin. Okay, so what we've got here is we've gotten the vertical and horizontal lines. You can see with the thin point, it was nice, crisp and clear. And then we went to the nought 0.35, a thickened up a little bit and the lines have to be slightly more further apart. And then we have that wonderful nought, 0.8 where we've had keep the lines really far apart before they start merging into each other. So just be mindful of that. If you have a thick and thin tip size. And then what we did was we did the same with the diagonal lines. It just looks like a gorgeous net of beautiful crosshatched lines now doesn't taste. Finally, we did that monstrous crosshatch app, the end where we did the kind of matrix style of horizontal and vertical lines meshed up with diagonal lines. And you can see that you have this beautiful gradual increase in thickness. And towards the end where we've got the nought, 0.8 just becomes really, really nice and thick. You can use this at your advantage, especially when you want to start creating darker areas in your ink sketches with these technical plans, it just works fantastic. So that's it for that second section of the worksheet. Try it out, prints out a couple of copies. See how you go and start experimenting. So what we're gonna do now is we're going to move on to the next part, and that one is the lovely stippling part. So let's move on to that next. 5. Stippling & Scribbling: Okay, welcome back. Now let's move on to the third section of our worksheet. And this time we're looking at stippling and scribbling. So let's have a look on the screen. We've got this divided into four parts. The first one is even stippling. Second one is random stippling. Third is tight scribbles, and the last one is wide scribbles. So what we're gonna do now is we're gonna do the same process again. I'm going to use my nought 0.1 and then 0.35, then the nought 0.8 to complete this section. So let's get started. So let's now open up the thin one, the naught 0.10 tip, and it should get this on the screen. And what I mean by stippling is just done. So you can see over here in this first box, all I'm gonna do is I'm just going to place nice little dotty dots in this box. And I'm just going to try keeping them as even and uniform as I can. It doesn't matter if you have them randomly stippled all over the place. It's just a case of just putting these dots down within that box. Now, do remember with these pairs, you don't want to be pressing too hard with them, especially if you're doing a stippling. So what you don't want to do once you get the pen and start doing this really, really hard on your paper because that's just going to damage the tip. Now you can see that I've just done that little shaky, shaky movement on the camera. And you can see if you can see this properly on the screen, but let me just see if I can bring that closer. You can see now a little bit of an ink droplet has formed at the end. So do be aware of that. If you are going to shake your pen, then you are going to get a little bit of an ink droplets. So to remove that, what I'm going to do is just on a scrap bits of paper. I'm just going to go ahead and I'm just going to tap that away just like this. And again, what that'll do is it'll just give me that nice clean points. So that's a nice little tip just in case you shake your pen for whatever reason, you will have a little drip, drip at the tip of the ink and that can ruin your artwork if that's not the desired effect that you want. So let's just continue with the stipple. So again, I'm just creating this lovely even style stipple. But again, it's kind of go in a bit all over the place, but it doesn't matter. So it's nice and semi uniform, Let's call it. So it's basically an idea of filling in the gaps and not leaving too much of a gap. And you can see, it looks really nice. We're going to move on to the random stippling. So for this one, all I'm gonna do is I'm just going to add the dots in randomly to fill that area of that box. And you can see that that looks really nice as well. Don't want to keep it uniform. I am not really bothered about filling in all the gaps. Some of the gaps are empty overhear, some are more filled in. That's what I mean with the random stippling. So just like that random stippled, just to fill it in, then let's move on to that scribbling. Scribbling. This is the fun part, isn't it? So we're just going to scribble away all our worries on a piece of paper. So what we want to do is we just want to use a kind of random scribbly movement. Just fill in this box. So again, tie scribble. And what I mean by tight scribbles is that we just want the scribbles to be close together. We don't want them to be too widely spread. And you can see all I'm doing is I'm just overlapping the scribbles. So it effectively creates this kind of rough texture. And again, it's just using this round circular motion going back and forth randomly just to fill in the area. And again, just using maybe some little wobbly lines going across. And that's what I'm talking about. So with the wider scribbles, what we're gonna do is we're going to do exactly the same like we did for the tight ones. Or we're gonna do is we're gonna go in and create a bigger scribbles. So it's just creating biggest scribbles that are more widely placed instead of having them all close together. So just like that, we've got this lovely wide scribble so you can see that it's produced a variance in texture. So with that one out of the way, let's now move on to the next pencil. I've gotten the nought 0.35 that I've been using. So again, I'm going to do is I'm going to just do some nice tight Even staples like this. And you can see the thicker the point, the more prominent your stipple will be. And it's always nice to use stippled in your ink drawings. It just adds that beautiful texture. And when we come on to using this in our worksheets in the last section, you'll see that you can use a mixture of these techniques to produce a really wonderful, wonderful texture and look. And again, what I'm gonna do now is just go in and do these random staples and have them dispersed all the way across this box, just in a random fashion. And you can see we have a nice concentrated look here. And then we have a nice. Wide, more diluted look over here. So moving on to the scribbles, scribbles. So I'm just going to move that a little bit higher on my screen so you can see it's a bit better. So again, tighty, tight scribbled over here, nice and close. Look at that beautiful line, a gorgeous stuff. I get so excited about my art materials. So that's what's happening right now, is just fantastic stuff. This is such a relaxing exercise. I mean, just think about it. If you just stressed and you just want to wind down, just grab yourself a nice bits of coffee and just go ahead and do this worksheet with your technical pens. And even if you don't have technical pens, you can do this worksheet with any other pen. It's just a great way to just relax your mind where you don't really have to even think about anything and just unleash that gorgeous ink on a bit of paper while this upon some lovely, lovely drinks. So let's do the wide scribble over here. So wide scribbly we believe all the way on this side, nice and easy, nice and relaxed. No stress, just chill out and enjoy that experience. Lovely stuff. And now for the phone one where we've got Mr. nought, 0.8. So let's just close this one and we've got our nice, lovely thick point over here. Now the staples on this one are going to look fantastic because it's a nice thick points that let me just get that right on the screen. So again, let's draw pin them staples, look at that. Say they look like little blobs of chocolates. Gorgeous. You can feel this kind of like contrast, especially if you're using a thin point and then you move on to a thicker point. It just feels great. So look at that Gorgeous to a lovely little dotty dots in a box with a beautiful thick points. So let's now just do the random ones that are more widely spaced apart, just like that fantastic stuff. And then let's have a bit of fun with the scribbling Weebly. And again, because we have a thick point, we can easily fill this areas so quickly. That's another advantage of using these techniques. It's effectively just about filling the areas with different techniques, rather than just using it completely to fill a solid color. Just very it with some beautiful textures. That's how it makes your art work a bit more interesting. So finally, let's just do the widest scribbles that are more spaced out like this. Really nice and easy and quick. Look at that. Just took a few seconds and we're done. So let's just give that pen close. You don't want the tip to dry out? We don't. So let's just do that. And let's just have a look at the screen now so you can see we went ahead and did the stippling exercise with a three point sizes. And you can see it produces beautiful varied results. And again, then we have some fun doing the scribbling, we believe stuff, but with some type of scribbles and some wide scribbles. And you can see there's a huge contrast in the tip size. So what we've finished now is we've finished the first three sections of the worksheet. Let's just get a zoom in. Zoom back on this. Okay, so now we've completed all three exercises from the worksheets and we just add one more to do. We've done the hatching, crosshatching and we've done the stippling and scribbling. And we finally just got this last one to do where we have these beautiful, funny-looking shapes. And what we're gonna do now is a practice, all three of these lovely techniques and use them in this little drawing here. So let's now move on to that one next. 6. Building Textures: Okey-dokey, welcome back. Let's now do the final exercise on this worksheet. And we're going to look at these wonderful shapes. So what I'm gonna do for this exercises, I'm gonna go ahead and use my nought 0.35 tip for mainly these first three parts. And then the final part, I'm going to probably use a mixture of the points that I have. But again, just use whichever size tip that you have for this exercise. So what we're gonna do now is let's get a Zoom meeting. Zoom in on this. I want this to be nice and close up so you can see what we're doing. So let's just make sure that we have a lovely focus on that fantastic stuff. So what we're gonna do is we're going to concentrate on this first one here. And let's open up our pen, keep that to the side. And what I'm gonna do here is I'm gonna go ahead and I'm going to use the hatching lines for this first part of this exercise to fill in these three shapes. Now I'm imagining that these three shapes adjust. Maybe some rocks on a scene in a landscape sketch that I've done. And what I'm going to think about is where the light source is. So the light source, I'm going to say it's probably coming in from the top over here. So if I just draw a little line over here, I'm just going to think that the light source is coming in From here on this actual three made-up object thing that I've got. So with that in mind, I can start thinking about where I'm going to place those hatching lines. So again, I'm just going to use hatching lines to the first one that we did not cross hatching yet. This just gives me a bit of a guide onset thinking about the bigger picture. So let's now maybe start off by using our pen and just creating some hatching lines in this distance, just like this. And when gonna do these vertical hatching lines over here. Now remember I'm thinking that the light sources coming in from the top. So these top sections, I'm going to be the lightest in terms tone and the bottom area is going to be more darker. So that'll give me an idea where I wanted to place these. So again, I'm gonna do here is I'm just going to create these hatching lines, nice and simple, just on the lower part of this shape. And then I'm going to repeat the same thing on this next shape. So I'm going to maybe start at this point here. And I'm just gonna go ahead and create these hatching lines. Just by that. Maybe make them a bit more bigger as they tail off towards the end of that middle shape. Just like that, fantastic. And then maybe just adding some more hatching lines On this last one over here. And again, just thinking about where the light source is coming from. And in this example, I'm imagining light's coming in from the top. So just like this, throwing in those lovely hatching lines and keeping the distance similar in-between them on. I can see by just adding in those hatching lines, we've already created some elements of depth and understanding that these are 3D objects with the lightest part on top. And then we've got nice bit too dark at the bottom. Now this is just a simple example with hatching lines. What we're gonna do now is we're going to move on to the next one. So let's just move the sheet across like this so that we have exactly the same point. And this time I'm going to start doing a little bit of cross hatching. So again, I'm just going to go ahead and repeat that pattern on this one again. So let's quickly do this. I'm just going to throw in these hatching lines just like this, trying to keep them the same distance apart. But again, if you go a little bit bigger or smaller in terms of the distance, That's absolutely no problem. Just practice. Because the more you practice this technique, the better you will get a tip. And it really is a case of taking your time, obviously teaching his class. And I'm recording it as I teach, so I've got to work at a certain speed. But what I want you to do is I want you to really take your time, relax and do this exercise and just build up that understanding and experience as you go along. And then when you come to start sketching with these pens, you won't even need to think about this. This just eventually becomes second nature. So now we've got pretty much the same hatching lines that we did in the first one. So just like that, it's very similar and I'll just move this back. What we're gonna do is I'm gonna go ahead and make some lines that go the other way. So the bottom parts of these objects are going to be at the most darkest points. So let's make them dark. So all I'm going to do is go ahead and just do some lines in the opposite direction, just like this. And I'm not gonna do it all the way to the top. I'm just going to keep them halfway. So if you have a look, all I'm doing here is just creating these crosshatching lines. In that first shape over here, you can see that's the shape of that first semicircle thing. And just like that, now you can see that's created that lovely cross hatch at the bottom. So again, I'm gonna do the same now for the next one and continue it. And I'm just going to keep it half the size of the previous ones that go in the other direction. Just trying to follow the pattern and shape of that original thing that we've got there. And then again, we just wanted to go ahead and just keep doing this. On the last one. Take it all the way to the edge. And let's look back and look at that. It looks fantastic, doesn't it? So if we just compare and contrast both of them, these were just with standard normal hatching lines that just went in one direction. Then we went ahead and we added in some lines to create some crosshatching. So what this does is it just creates that depth and that extra level of texture onto just a simple shape. And you can see all of a sudden it starts emerging as something a bit more 3D like. So that's it for that one. Let's now maybe move on to the next one over here. So if we just move on the bottom left hand side, and for this one now, Let's start introducing stump steeply with police and also we can add in some extra layers of crosshatching. So let's now go ahead and maybe just do exactly that same pattern that we had on the one above. So let's just go ahead and just add in those hatching lines. So just like that, I'm going in with those hatching lines and I'm going to do these a little bit quicker so that I'm not thinking too much about them. Again, work at a pace that you're comfortable with. So just like that, hatching lines going in one direction, nice little diagonal. You can use vertical or horizontal ones for these as well, just to practice and see what textures you come up with. But again, this demonstration, I'm just going to use the diagonal ones. Because for me, it worked out really nice and it's a lot more comfortable for me with my hands. So just like that, what I'm gonna do is I'm gonna go ahead and I'm going to do the crosshatch now. Again, that's similar cross hatch that we did in the previous one. So I'm going to do that really quickly over here to fill that first shape and then fill the second shape, not taking it all the way to the top. And then fill in that third shape over there, looking fantastic. Now what I'm gonna do is add some beautiful stipple. So let's maybe add in some stippled. In this top section, we're just going to add in some nice concentrated stippled above those hatching lines, not all the way to the top. We just want to keep it above those hatching lines. Just like that. Some beautiful staples and you can see it's added another layer of texture. So we're going to just completely do that for all of these lovely semi-circles. It could be these beautiful rocks on a beautiful little islands somewhere where you have a gorgeous, whimsical, lovely house or even a coffee shop, and they're beautiful bit of mid ground elements. And then again, just like that with my lovely pen, just adding those deeply staples and you can see what this does is it effectively creates a lovely tonal variance. I crosshatch texture all the way to a lovely stipple. And then that just blends away into the lovely white of the highlights. So that looks fantastic. What we can also do is we can go ahead and darken up the basis of each of these shapes. I'm just going to slightly turn this just to make it easy for myself. And then what I'm gonna do is I'm going to add in some horizontal lines. So just like that, adding some lovely horizontal lines. Then where these edges are, I'm just going to add in some smaller ones that go all the way where that cross hatch is. And then from this section I'm just going to bring some in just like that and then maybe throw in a broken one over there. So you can see what that's done is that added a little bit more depth and I'm going to continue and do that for the other ones as well. So just like this, maybe a couple more here, just adding a bit of interests and then just take them to the top and leave a little bit of a gap in the middle. Looking great. So again, on this last one that I've got down here, just go ahead and throw in those horizontal lines and then throw in half lines that go just towards the edge and maybe a few over here. Let's turn this back around and let's concentrate on it and look at that gorgeous bit of texture. So let's just bring this back so you can see all four of them maybe do a zoom back so it's a bit more clearer. That's looking great. So over here we've just got standard hatching lines. It gives it a nice effect instead of having them just plain. Then we've added a bit more depth by going in with some crosshatching lines. Then on this one we've added crosshatching lines, Staples, and then we've also added another layer of hatching lines. So we've effectively got three lines crisscrossing over to create that beautiful tonal gradient, just using one pen. 7. Creating Depth: Absolutely fantastic. So what we're gonna do now is we're just going to move on to this last one over here. So let's get back to a Zoom is zoom on that one. So nicely me zoom on that one. And for this one, I'm going to use my other pens as well to really intensify the texture. So again, But this one, what I might do is I might go ahead and start with doing some vertical lines first. So I want this one to be really nice and highly textured. So for this one, I'm just going to go in with vertical lines like this. If you're following step-by-step and then just go ahead and follow the similar style of pattern that I'm creating here. Yours might not be exactly the same as mine and that's absolutely fine. Just follow along the best you can. Create your own textures and patterns. Just experiment. And that's how you will gain that beautiful first-hand experience of using these technical pens in a way that you may never have used them before. So it's all good. So again, I'm just going to throw in these vertical lines going upwards to create that first level of hatching. And just going up like that. Very nice and smooth. Then what I'm gonna do is I'm going to tilt this to the side just to make it easier for myself. Keep it nice and easy. So this one, Let's maybe throw in some lines going in like this, all the way to the edge there. And then maybe from this edge just going into the side of that semicircle. And then I'm going to repeat the same on this one. Just going in like this. And then from that, I'm just going to bring them in like that, varying my lines just to keep it nice and organic so it doesn't look too mechanical. And then just go on this side over here. Just very loose and relaxed. And then on this side again, just bringing that in, looking fantastic, let's just turn that around. And I think we shall add in some stippling with police. So just adding in some nice thin stippled on this section over here. Just like that, fantastic. And then again, quickly adding in some stippled on this section. Just to fill in that area to produce that gorgeous tonal gradient. And that's about it for the nought 0.35 tips. So what I'm gonna do now is I'm going to move on semi lovely, no points eight now. So I'm gonna get that nought 0.8 tip out. Now, let's get intense now with our ink. So let's just tilt this to the side over here. And what I'm gonna do now is I'm going to go ahead and actually add in some more staples. But because we have a thicker point, we're going to get a more heavier mark that we make. So let's do that now. So with this one, maybe I'll just keep this like this on the screen. Don't want you to get all dizzy by looking at this page, turning around. So let's just do that. And what I'm gonna do is I'm going to overlap these tuples that have already done. Then I'm just going to throw in that was beautiful, intense dots. Look at that gorgeous stuff. That isn't a beautiful stuff. And I'm going to bring them down now all the way to where the cross hatching is happening. And what that does is it adds that further level of texture over cross hatching. So it's effectively crosshatched, stick on. So it looks fantastic. Look at that. I mean, this could effectively be some sweet kind of branches coming and growing on top of these rocks that we have in our wonderful whimsical seen. Just look at the half fantastic stuff, isn't it? So let's just continue and do that for this next one here. So just adding in these nice thick dots all the way to the staples that we had previously, just to fill in this space. And then just filling it up with that lovely, intense, gorgeous intense ink. Hadn't, That's looking great. So just for the final one, doing exactly the same, just filling in that gap and really enhancing the texture. I mean, these were just three simple little semicircle shapes where they are. Now look at them. They've become a beautiful mark on a page that represent something special. So just like adding that in and that's looking great. So what I'm gonna do now is I'm going to maybe throw in a couple of lines just to intensify it furthers. I'm an ally. I'm going to tilt it. So I'm going to tilt it because it just makes it easier for me as you know. Then what I'm gonna do is I'm gonna go in and just do a nice straight line like this. And then just lightly and loosely. So in a couple of lines on that side. And then I'm gonna do exactly the same overhead, nice lines going in just like this. Then maybe a couple of adults here. So again, on the last one, nice thick line going in from this edge. And then a couple of dots there. So what that's done is that intensified the darkness and the overlap. What I really want to do is I want to really make this area that all these are overlapping each other. I want to make them very dark. So let's maybe adding a couple more stiff boards and to really block out that color. So you can see it and maybe add in a line at the bottom. Maybe you could just add in a line on the edge, really going in, really dark onto that one, then really dark on to that one. And what that does is it makes that previous shape pop out and that's creating contrast. So just like that going in really dark on this. And again, I'm doing this in a very random fashion. I'm trying not to block it out completely with black. I'm trying to leave some gaps because that just makes it look a lot more organic. And we don't want to just ferritin because we're not coloring in a coloring book now away with just adding in texture. And that's what it's all about. Just maintaining a nice balance of texture and filling in those areas with some beautiful, lovely, lovely, lovely ink. Now look at that. That looks really good. Now I'm going to move away from my thick point before I just go ahead and fill the whole thing in gorgeous egg. And I'm gonna go into the thin one. So I've got the naught 0.1 here with the nought 0.1, the thinness tip that I'm just going to hold the paper down and I'm just going to effectively soften up this area so it transitions into the lighter part of the shape rather than have that really sharp contrast from dark to light. So just be the thin point. All I'm gonna do now is I'm going to fill in the gaps that we have over here from the previous marks that we've made. And you can see what that's doing is it's just filling in that tonal variance and it's just creating a beautiful, beautiful gradients. So just like that, dropping in some really nice thin stippled just to cross here. Just to effectively merge the more harsh lines from the lighter areas, just like that. Again, from the front, I'm just going to add in the stippling, stippled, just overlap it a little bit. And that's looking great. So finally what I'm gonna do is I'm gonna go ahead and I'm going to do some scribbles. So I'm gonna do it with the thin point here and just some light wide scribbles over here again, just to marry up that texture so that it looks a bit more tonally balanced. So again, just like that, some scribble, like scribbles on top and this can see just adding in those lights scribbles just makes it look so nice. So again, with this area here, just very, very lightly scribble, just circular motions here. Not too much, just keeping it nice and clean. Maybe finishing off with some staples. Now if you find that when you'd add scribbles or add some texture and it's just too much. Just add in a couple of staples just to dilute it out so that it looks really nice and balanced. So again, I'm just going to add in some stippled over that scribble area. And then on this first one here, just a couple of scribbles, very light scribbled over here just to create beautiful texture. And then that's it. Then all we're doing is just adding in some stippling, stippled. And look at bats greater than six and you're going to put my pen away. Then what we can do is we can have a look at this whole sheets. There is Zoom is zoom back on that. That looking fantastical. If I do say so myself. So let's just get a zoom in. Zoom, you don't want to live Zoom. So on the screen now we have completed our worksheet. This was the final section. It was just bringing together all those techniques that we learned, the hatching, crosshatching, stippling, and scribbling and to really produce that kind of buildup of texture in the four boxes that we have to get an idea of how we can use these pens in our sketching. So you can see if you just want light bit of hatching, a bit of tonal work, just stick to the normal hatching if you want to intensify it a little bit and make it a bit more interesting, start adding in lines the opposite direction to create that beautiful cross hatch. And then if you want to add in something special, then just go ahead and add in some stippling with please on top of the cross hatching that you've already done. And then maybe add in some more cross hatching from different angles to add an extra depth of layer. Then if you want to go all out hardcore texture, then go ahead and create beautiful texture work and build it up with crosshatching, hatching, stippling, scribbling, and then merge it all up with beautiful light little stippling to create this wonderful texture, to really bring some basic shapes into a wonderful whimsical world of hatching with ink. So that's it Now for the worksheets. So that's most of the class nearly done and we can get on now the exciting part of doing our sketch. So I think I'm gonna go get myself a nice coffee. I need a nice bits of coffee and maybe I might get myself a doughnut as well. So let's have a break then. I'll see you once that's done. So see you on the next one. 8. Interaction with Mediums: Okay, welcome back. Let's now do a quick little exercise and look at how some different mediums or react and interact with our technical pens. On the screen. I've got a lovely little piece of Bristol board paper cut into a gorgeous tiny size. And I've got my nought 0.35 tip pen, which I'm going to use to demonstrate this exercise. Let's just open our pen up. And I'm going to reveal my lovely little setup over here. As you can see, I've got this divided into some fine columns and rows. So over here on the left, Let's start off by looking at graphite. So I'm just going to use normal HB graphite pencil. Then I'm gonna go to the colored pencil and the one that I'm going to use is an oil-based polychrome most pencil. And then number three, I'm going to be using a standard marker that is water-based. And then number four, and when I look at a marker that is alcohol-based, and then finally, I'm going to do number five, which is just using normal watercolor paint. So what I'm gonna do here is on this first row, I'm going to look at the actual medium first. So I'm just going to create a little swatch of each medium. Then in this second row over here, I'm going to just go ahead and draw in some lines with my pen first. And then we're going to apply the medium on top of that. I'm going to quickly go ahead and do that as you sit back and sip on your lovely tea, coffee, or cold drinks. So I'll see you once that's done. Okay, Now we're done with our lovely little swatch examples. So you can see on this first row over here, I've got my swatches of my five different mediums. Then on this second row, I've just created some hatching lines for each one of these examples so that we can compare and contrast. Now, if you're using wet mediums with this pen, then it's absolutely fine. However, just bear in mind that your medium needs to completely dry before you go ahead and apply it. So you can see over here with my watercolor swatch, It's a little bit moist now, so I'm not going to apply that immediately. I'm going to wait until it completely dries out. And another thing that we need to be mindful of is the ink that we use inside our lovely technical pens. Now if you remember in the earlier lessons we discussed what types of inks you can use in this, I personally use my document Inc., which is waterproof after it's dry in my lovely technical pens. So it's entirely up to you which enqueue use you might use the one that actually is recommended by rotating the little funny little bottle that I've got over here. I'll show you quickly again. So we've got that funny little bottle over here, but I tend not to use this again, like I said before, this one for me is a little bit too thick and I like being to flow a little bit quicker. But again, depending on the ink that you use, test out the mediums that you have them and you might not have all of these mediums to hand. Just give it a go and experiment doing this exercise. So I think now that watercolor swatch should be pretty much dry because I've got quite a lot of nice bright lights over here, so it should have dried. It was only a little. But what we'll do is because it's the last one, we can start doing the exercise from the graphite on number one. So I'm just going to get my pen and all I'm gonna do is I'm gonna go in and I'm going to basically just draw in some hatching lines over that graphite. And you can see now that that's so easy to do, the graphite doesn't interrupt interfere with the ink and the flow of ink is absolutely Great. I'll see if we can get a bit more of a zoom in, zoom in on that so you can see that lovely stuff, right? I don't want to lose the focus, the focus because then you won't be able to see properly. So let's get that band on. Lovely stuff. Again with the graphite. I've gone in with the lovely lines that I've created them standard hatching lines, if you remember from the previous exercises, just normal hatching lines. Just try this out with graphite. You're most likely to have a pencil lying around. So just keep that little experiment and see what type of results you get. So moving onto the colored pencil. And for this one, I'm using my polychrome most oil-based colored pencil use whichever color pen. So you have lying around and test it out. So we're gonna do the same again. So just few lines coming down. I can see my pen is a little bit dried out because I think I may have to refill it because I've been enjoying myself so much. So you can see just like that, the pen glide really nicely onto that pigment of that pencil. So using colored pencils with these pens is absolutely fine. Then let's move on to the market. And now this is just my water-based marker. This is the Crayola. Can see over here the ink flow is absolutely beautiful. I mean, look at that gorgeous bit of ink flows there. Now I don't know if you've noticed this on the camera, but the actual ink flow on the colored pencil is a little bit more stretchy if that's the right word to describe it and you get a thinner line. And the reason for that is that because the colored pencil that I've got here, so I'll just show you on the screen, this is the colored pencil. This is my polychrome as fabric pastel color pencil, absolutely great colored pencil by the way, this one is an oil-based pencil because the surface area of oil is a little bit thicker once it's applied, effectively get a coating on the paper, but you've got to apply your pen on so you can see with that, it does have a slightly different results compared to the graphite and the marker. So let's now move on to the market which is the alcohol based one, and see if we have any different results. So again, I'm just going to go over that just like this and look at that absolutely fantastic stuff. So you can see that the ink glides and is released really well. There's no blockages, There's no interference from that mediums. So alcohol markers work absolutely great with this. And let's just see if our watercolor swatch has dried. Yeah, I think that's dry to the touch. I'm gonna go ahead and do this. So let's just draw in our lines. And as expected, with watercolor paints, these pens work absolutely fine if you'd going on top of the medium. So just looking back at these results, you can see our lovely five mediums. We've used the pen on top of the medium once it's completely dry and it works absolutely fine. So you're flexible as you are with normal fine liners or fountain pens or any other type of ink pen in technical pens where you can use them with other mediums. Let's now use the medium over the lines that we did with our technical pens. Let's move on to that one now. Okay, So what I'm gonna do now is I'm just going to use my graphite pencil to do a little swatch over that ink. And again, my ink is completely dried out. Do bear in mind that your ink really needs to be dried out if you're going to go ahead and use this technique of using your medium over your ink. And you can see it's absolutely fantastic. There's no smearing of the ink. It's not making a mess. It looks absolutely great. The graphite looks fine. So you can see that the difference is very minimal with the order in which you apply the medium and the ink from the technical pen, you get very similar results. Let's now move on to the colored pencil. So we're just going to add in our polychrome most over here like this. And you can see that I'm just giving it a nice medium pressure push on the pencil. And it's working fantastic. So just like that. Looking great. So moving on to the marker, the Crayola water-based marker. And you got to remember when you're using wet mediums, they can interact differently with the ink, especially if you're not using a water-based ink that's waterproof. So depending on which one you're using, you may get different results. So you may get a horrible smear and moodiness of color once you've applied your marker on top. So just be aware of that. So let's just say we're gonna get any muddy lines over here. No, we're not looking at that beautiful stuff. So if you want to do your sketch first and then maybe color with markers on top. You can absolutely do that with watercolor markers. So moving on to the alcohol markers. Now, alcohol markers can be a little bit funny when they interact with other mediums. And let's see what results we get. So again, I'm just going to apply my alcohol marker on top really slowly and look at that. We've got a gorgeous, clean result That's fantastic, that isn't it. So you can use this pen, this technical pen, and the ink that you use, and you can use an alcohol marker on top. Fantastic stuff. So finally, let's move on to the lovely watercolor. So I'm just going to add a little bit of water to my brush and just pick up that same color that I had before for consistency. And let's just drop this over. And you can see, because we're using waterproof ink, we've got a gorgeous bits of color, skip bit more pigment on there. And it works really nice with watercolor. So again, my pigment is a little bit weak on that one because I've not picked up enough color, just like that. Let that dry and see what results you get. But just generally it works absolutely fine. So let's just take a look at the entire thing over here. So you can see that we've got five beautiful mediums interacting and being created with the ink from our technical pens. So in summary, you can use other mediums with your technical pens to produce gorgeous art. You're not restricted at all. Just make sure that you do a test like I've done over here. If you want to follow along, try other mediums, maybe come up with some crosshatching on top or underneath the medium and see what results you get. It's all about experimenting and enjoying yourself. So that's it for the exercise part of the class. Now we can move on. So the font stuff and have a look at some of the sketches that I've done to inspire you to start the full sketch. So let's move on to that one next. 9. Sketching Inspiration: Okay, welcome back. Let's now start with the exciting stuff and look at doing a complete sketch by incorporating all the techniques that we learned in the previous lessons. So if I bring your attention to the table over here and you can see that I've got a little work that I've created, all using my three technical pens, the naught 0.10, 0.35, and the nought 0.8. And I've created this kind of panoramic design using Bristol board paper, sticking to just technical pen only. I have not used any other mediums. I've just used maybe just a graphite pencil to sketch out the design initially. And then I've just gone over and created outlines and created these really deep and intense crosshatching textures to bring out a lovely contrast and just create this really funky little designs. So if we just concentrate on some of these areas over here, I know they seem quite complex, but I promise you they're not. Once you get started, you'll be able to produce beautiful, lovely artwork like this with some gorgeous textures and crosshatching using your technical pens. We concentrate over here on the left-hand side, you can see on this house, I've got some nice little crosshatching going on over here. So this is just the diagonal cross hatching. Let's see if we can get a Zoom. Is zoom in on this a bit better if you can see this on the screen. So just here, I've got some lovely crosshatching using diagonals. And then on this other house, roof area, I've just got the horizontal cross hatching going there across. And then if you look on the side area over here of the house, on the areas where we have a lot of crosshatching work and sexual work. You can see I've got a mixture stippling and I've got crosshatching, normal hatching and what that does it it just builds up that intensity. So you've got a lot of dark at the bottom and it's going up towards the lighter areas of the illustration. And then on this background area where we've got these triangular peaks, you can see I've just kept it to just a simple cross hatching. And what that does is we create contrast and variation. If you use the same crosshatching techniques on every little element that you have in your illustration, then you won't be able to get much contrast. It just becomes a bit difficult to see. So leaving areas white and concentrating on the darkest part where you think the shadows are going to be. And then using the background as the lightest area of your texture work. It just works great to add depth and layers within your beautiful illustration. So you can see over here again, if we move across this section, this middle panel area, I've got a lot of y t, and then I've got some stippling work, just some plain stippled going on at the top area. And then over here I've just got the details of the bricks are no texture work over here at all just to maintain some contrast and some visual interests. And then in these little round ball thing shapes that I've got here, I've got that similar technique that I used up, if you remember, we used this lovely technique that we have over here where we're just building up using the different textures, but we've got dark going onto light. You can see that, that's actually happening over here. So you can see we've got that dark building up at the bottom right-hand side where the light source is coming from the left. And it's just using a mixture of those textures to produce something really nice. So you can see when I moved that you thought, Hey, has a broken, Here's a picture. Well, let's give you a little peak. There you go. This is a triple peace picture, what I call a triple B's. I don't know what the official term for that is, but it's one of these jigsaw style drawings. So I tend to just do a little sketch and then I just add another one in the middle and another one at the end. And it just makes it a bit more fun, doesn't say, you don't have to do this is just me and my wonderful mind going crazy in the world of art. So let's just put that picture back together so it doesn't cause any distortion on the camera. And you can see again, I've got some nice dark areas on this foreground where I've got this big shape over here with a lot of lovely, lovely cross hatching going on, really dark and intense. And then I've got this little kind of like brick area down here where there's not much, there's just a bit of stippling. Then again, I've just got this wonderful curvy type of shape, kind of jailing the entire picture together. So just practice doing these techniques. And the best practice you can do is doing a quick little doodle sketch and then building this up. And now you may have noticed that I've gotten just pure black on the top part of this actual picture and all of them. And that one is, I've just used my nought 0.8 pen and just gone in and I've just slowly, slowly added in lines. And if you think that that takes too long, then you can just go ahead and use your ink with a brush and just fill in the areas you want to block out in black. It's absolutely fine to do that. There's no hard and fast rule that you have to just use technical pens. This class is just an introduction to technical pens, but use other mediums like we did in the exercise previously where we see how they interact use graphite, use maybe a fountain pen or use watercolor, or even just plain ink with a brush just to experiment and add a bit of depth to your drawing. So that was the three-part picture that I had. Let's just move this one to this side now and break it up and puts it on the side. And I've got another one over here. So this one is just a single one. So again, just a nice little scene, simple and easy shapes gone in with the dark where there's water area is to create a bit of a contrast. And then I've got a lighter sky area with just a bit of stippled, some simple hatching lines on the roofs, and then just leaving the front part of the house just plain as it tastes with the details. And then again, just using some hatching lines and the similar techniques that we used in the exercises. So that's another example and maybe show you a third example over here. So let's just bring this one. You can see this is just a single illustration. Again, we're just doing the same technique using our textures, crosshatching with our technical pens to produce a nice little sketch That's really easy to do. So I think that's it for now for me showing you some of the things that I've done. Hopefully this has inspired you and got you all geared up and ready and you've got your nice warm drink next to you, and we can start doing a full sketch. So let's move on to that one next. 10. Sketch & Outline: Okay, welcome back. Now, it's time to get excited and do our full sketch and incorporate all of the techniques that we've learned in the previous lessons. So what I'm going to start off with is doing a quick little pencil sketch. So let's bring our attention back to the screen. So over here I've got a nice little rectangle of bristle board paper, one of my favorite papers. So I've just cut this out into a nice, manageable size that I can do a quick little illustration on that you can find out step-by-step. So I'm going to start off by doing a quick little pencil sketch just using a standard HB pencil. So let's just maybe throw in a nice curvy curve at the bottom like this, a nice little curvy design. And then we might have a few little bumpy bumps in this area like this. And then maybe another one in this area and then closing it off with a another round, the round over there. So you can see, I'm just creating these nice little basic shapes that we can use to start filling in with our technical pen. And don't worry if you can't follow this exactly as it says, once I've done the pencil sketch, I will make that available as an image in the resource pack. So you can just go ahead, just copy it and then you don't have to worry about producing this particular sketch. Remember, this is just an illustration of using the techniques that we did in the previous lessons in a nice, concise little drawing. So you can have a look and be amazed at your wonderful skill that you've learned in this class. So I'm just going to quickly continue with this. Maybe I might drop in a house, the house over here. So I'm just going to drop in a line like this, keeping it nice and rough. Not worried about perspective or anything like that. Just having a nice time having some fun while we're just throwing in some marks. So again, if you've watched any of my classes before, you'll know that I just loved to do these whimsical style sketches. So let's continue with that. Maybe just drop in a little chimney, chimney down here. With a little chimney shoots up the top. Then maybe have a nice curly willy with some fancy stuff coming out of that chimney. So just like that, some nice kills over there looking great. And then maybe we might have a little mushroom here. So how about having a hidden has little machinery me house down here in the corner that's tucked away behind that house. There may be just bring in a shoot like that and then close off that circle from the top there. And then maybe just throw in a couple of these classical mushroom house roof top dots, of course can't leave out them dots. So maybe just throw in a little window to indicate that this is a mushroom house like that. And then possibly just have a window over here on the house itself. Just a simple little rectangular window and maybe just have a little door over here. How about around the door down here with a simple little design. And then until dawn up there. And then possibly just some lines of details going across over here. Again. Just keep it nice and simple. No need to over-complicate anything at this stage because we're just practicing, aren't we? So how about having some nice little design elements on top of this actual curly, curly type things that we've got the front hair. So maybe just add in a couple of curves there. Then we could possibly have a horizon line down here, this little horizon line over there, and then some bumpy bumps at the background. To just give this a bit more understanding. And then maybe just throw in some triangular elements out of the back just like this, very loose. I think that's about it. So I'm going to leave it as that. So again, this actual image itself There's drawing, this little pencil sketch will be available in the resource pack. So do check that out if you don't want to draw it out by hand yourself, just go ahead and have a look and just give it a little copy. So what I'm going to do next is move on to using my technical pen. So let's move on to that one next. Okay, welcome back. Now, I'm gonna be using my lovely three sizes of my technical pens. Do the filling area and the texture work onto our lovely little doodle, doodle with pencil. So remember, if you don't have more than one tip, if you just have, say maybe a nought 0.3 or a nought 0.5. Just go ahead and use that and produce the textures. It makes no difference whether you have a set of ten different sized pens or whether you just have one or two. It's all about just practicing these techniques on this little drawing. So what I'm gonna do now is I'm just gonna go ahead and use my medium tip, which is my nought 0.35 has, you know, and I'll just give that a nice little open. So just opening up the nought 0.35. And let's maybe get in a bit of zooming, zooming on this so that you can see this a bit better. You don't want to miss anything, not one little second. So let's just get that focus, right. So brilliant stuff. Okay, so all I'm gonna do now is I'm just gonna go ahead and just outline all those pencil marks so we don't want the pencil marks and merging into our lovely line. So I'm just going to quickly go ahead and do that with my nought, 0.35, and I'll see you once that's done. Okey-dokey. Now, I've just done the outline using my nought 0.35. And if you noticed, I did a quick little eraser robots of those pencil lines so that we have a nice clean outline. So try this out. Try doing the similar picture like myself. But if you don't want to follow this picture that I've drawn, then just go ahead and do your own doodle and then just follow the techniques as we go along. But again, it's available in the resource pack, the pencil sketch and this outline sketch. So let's now move on to the next stage. 11. Starting Point: Hello and welcome back. Let's now start off by adding in some of the darkest areas and mapping them out on our illustrations. So for this one, I'm going to stick to my nought 0.35 pen. So what I want to try doing is I want to try achieving this texture that I've got. If you can see on the screen, we've got that exercise that we did where we did that lovely mixture of the horizontal lines and vertical lines and the hard stop playing and the little scribbles in-between. This is the texture that I want to achieve on this initial stage to get out those darks and really bring them out and think about where my light source is going to be. So let's move that to the side and let's have a look at our drawing. So over here, I'm going to think that the actual light source is coming in from this side if I just put my pencil over here. So the light source I'm thinking is going to come in, in this direction where the pencil is facing. So effectively, we're going to have the darkest areas in the bottom right-hand corners of the object. So let's start doing that. Let's get our technical pen open. And I'm going to start off with maybe these elements here, these three little roundish elements over here. And all I'm gonna do is just go ahead and start dropping in some lines just like this, to just fill in those areas. And I'm going to have these all the way to the top because I want this area to be nice and dark. So just some vertical hatching lines just like that. And then I'm going to repeat that pattern on these three. So let's just quickly go ahead and do that. Okay, so we've got a nice little vertical fill of hatching lines across them, three elements. I'm not going to look at this base elements over here. I'm going to probably leave that towards the middle part because I wanted to establish where my darks and lights are on the image. So what I'm going to do now is I'm going to build that texture. I'm just gonna go ahead and do my tilted, tilt of my page to make this easier for me. So let's just again, continue with this one and add it in some horizontal lines just like this on the base. I'm just going to add in these really nice thin lines. So just like that, I'm just going to do these horizontal lines coming across here. Now notice I'm not filling in all the way to the edge, and that's the pattern that I'm going to repeat. So I'm just going to repeat that pattern halfway across with horizontal lines. And let's just do that now. Okay, now what I'm gonna do is I'm going to tilt that back so we can have a look in the right order. So you can see we've got light on this right hand side and then we've got this slightly darker texture on the left. Now I'm going to switch my pen. Let's go to our lovely thick nought 0.8. So let's just get that nought 0.8 pen ready over here. And with my nought 0.8 pen, I'm going to start doing the right-hand side of these elements. So again, we're just gonna go and do my tilted, tilt just like that. So it's easy for me. And then I'm going to add these lines in now. So let's do that. From the top. I'm going to bring in that line and you can see we've got that gorgeous, gorgeous thick ink in the middle over here in-between this area and this, I'm just going to add in some stippled dots just to blend it in and just let it cross over. So you can see now with that, I've just quickly added in a nice bits of dark on the right-hand side of this element. And it looks like we have some nice light going on top. So again, I'm just going to tilt this across the screen and then I'm going to repeat that pattern in the middle and the one on the end. So let's just quickly do that. Now you can see that what I've got here is I've got quite a lot of ink, and the ink is flowing pretty fast in this pen. And you've got to remember just to keep in mind that if you're working on a small illustration, if you're using a really thick tip like this, then sometimes if you get a little blob like I got over here, it can be a little bit too much. However, once you've got used to your pen and you can control the flow of ink on it, then it's absolutely fine. Just bear in mind that because in this class, I'm recording on a screen. I'm keeping the sizes of this illustration really small. Generally, I would say maybe work on an A5 size sheets when you're doing e.g. your class projects, rather than doing really, really tiny, tiny drawings like this. So you can actually follow this particularly drawing on an A5 sheet. You don't need to have a small mini little A7 size, things like that. I've got it. So just bear that in mind. So again, let's just turn this around and you can see we've quickly created that lovely little texture over there. So I'm gonna do now is I'm gonna go in with my thin point to really balanced this out. Now, I've got my nought 0.10. Let's open that. And this is now just a case of I ink the actual image itself and seeing where we need to add in maybe a little bit of texture just to get it nicely blended. Melted away from a one darkness to the lighter areas. So just with my thin point now, all I'm gonna do is I'm going to do diagonal little lines. So we've got a diagonal going there just to kind of lightly fill in the area just from the bottom. And then again, over here, I'm just going to do some diagonals just to give that lovely, lovely texture that we've been working on. Just like that. So again, in this area and maybe just throw in a couple more of them diagonals, just like and do bear in mind if you're using the thicker tips, then you're gonna be working with a lot more ink. So it is going to take a bit more time for it to dry. So just be careful not to smudge it with your hand while you're creating these textures. Now, I'm going to do is for the edges of the shapes. I'm just going to go ahead and I'm just going to fill in some horizontal lines here because I want it to really be nicely blocked out. And then I'm just going to scribble motions. If you remember, we did the scribbling technique, just some scribble motion over it just to give it a bit more form. So let's move on to this middle one over here. I don't like the way that blob is coming out on the sides. So to cover that, all I'm gonna do is I'm just going to draw a scribble around it and it disappeared. So what we've done is we've just improvised on our drawing to do these scribble motions just like this, to fix these happy little errors. So just like that, you may end up having a blob here, there or everywhere. Just don't worry about it. I don't want you to stress. This is not about creating perfect artwork. This is all about relaxing. Didn't just enjoying my journey with this wonderful medium. So let's just do some more roundy, round scribbles like this, just in circular motions, just to fill in those areas. And you can see now we have this lovely little division between the darkest area of this shape. And we've got the lightest part of that shape, so that's enough on that one. Then maybe just adding some more scribbles in the middle just to get it blended over. And maybe just add in a couple that scribbled lines over here. And that's the advantage of using a really thin point. You can add scribbled over the texture and you won't lose your details. So let's just finish that off with the one at the end that we've got here. So just a few little round these scribbles. Tight scribbled, if you remember, we had Thai scribbles and wide scribbles. These you just tie scribbles that we're doing to overlay on top of the texture. So just to bring it out, define it to create that lovely barrier and that edge of contrast. Look at that gorgeous stuff, right? Okay, so what I'm gonna do now is I'm just going to work on the tops of these, on the tops of these, I'm not going to make them as dark as the bottom. So I'm going to switch back to my nought 0.35. Now remember, as I said before, if you only have just one point, so you got, have no 0.35 or 0.5. Then just go ahead and just do the texture work with that, add more texture with that same point and just leave the lighter areas with more distance in between the lines that you put down for your hatching and crosshatching with the 0.35. What I'm gonna do here is I'm just going to go ahead. I'm just going to add in some diagonal lines like this, just like diagonal lines spaced out a little bit more. And I'm not going to go all the way to the top, so I'm just going to have it like this. And then again, what I'm gonna do is on the other way, I'm just going to go ahead and create that crosshatch just up to this point here. So we've pretty much got maybe just half of that circle area there. And that's about it for that one. And then I'm just gonna go ahead and repeat that pattern across the other ones. So let's quickly do that now. Okay, so now you can see we have this lovely buildup of a gradient tonal effect with our texture is going from dark on the bottom right-hand side, evolving into a nice, a lighter area on the top looking fantastic. So to finish this one off, all I'm gonna do is add in those lovely stippled. So let's do that from this side. So just with my nought, 0.35, I'm just going to overlay the crosshatched area with some stippled just on the right-hand side area and I'm going to leave this area white. So just with the right-hand side, just a bit distinctly stipple. And then again, on the middle one overhear some stippled just to cover that area and add a bit more texture and interest to just make it look fantastic. So just like that over here, lovely Staples and then finish this off, just adding some more stippled over here. So just like that, beautiful staples. And we're done on these first three elements. I'm going to leave it at that point. Another thing to remember is that don't go into too much detail in individual elements. Because what you want to do is you want to see whether your entire drawing is gonna be balanced out or not. If you put too much detail in one area, then sometimes it can get a bit too crowded and concentrates it. So do some details, leave a little bit of white and move on to the next element. And that way it'll give you some nice breathing space. And then right at the end, when you have a look at your overall drawing, you can just go in and start doing touch up work with your pens and then just bring it altogether. So I'm happy with that middle part. I'm going to leave it as it is. Maybe just do a thick line where we have that division from the top to the bottom. So if you want to do that, let's just quickly drop that in. I could do that with probably the bigger points. So let's just do that with the naught points. Eight couldn't do it with the same point, but it's just quicker doing with the naught point a, I'm gonna do is I'm just gonna make sure I don't have a blobby blobs. So I'm just going to get another piece of paper and make sure that there's no blobby blobs. So let's just make sure we've got a nice smooth line. Again, that's a good way to test out your pen before you go ahead and add it onto your artwork. So Let's just do a nice division line between this. So I'm going to take it from the top. I'm just going to bring it in like that and then just add some staples there. And then from this one, I'm just going to bring it in like that and adding some staples there. And then from that one, bring it in, follow that curve that we initially had. And I think that looks rather nice. So let's just go back, get it on the screen. Lovely stuff, so I'm happy with that. Let's now move on to the next part. 12. Intense Texture: Okay, welcome back. Let's now move on to the next step of filling in our lovely textures on our little sketch. So what I want to do now is bring your attention back to the screen. We have the house area over here, which is the main feature of this illustration. And what I'm thinking of doing here is having a nice little bits of texture on this side. And if you remember, in the crosshatching sheet exercise that we did, we produced the three different lovely textures that have the mixture of the vertical, horizontal, and diagonal lines going in all directions to produce this gorgeous texture that's really deep and intense. And that's what I want to do in this area over here. In this area over here, I'm thinking maybe this middle one which was the nought 0.35 tip that I use to produce. So that's what I'm going to go ahead and do. Let's start on that one. Let's move this one out of the way and let's get a nice zoom, zoom in on this so that we don't miss anything. I want it to be nice and sharp. So let's open up our pen. And all I'm gonna do here is I'm just gonna do a little tilt it tilt so that it's easier for me to work on. And then I'm just gonna go ahead and drop in these Lovely vertical lines, keeping them as tight as possible, not having too much distance in between. Because I really want this edge of the house to be incomplete, dark tone. And the best way to get that is just keep the lines as tight, as close together as you possibly can. And that way, when we do the hatching and crosshatching, the vertical lines and diagonal lines, you'll get a beautiful, beautiful uniform texture all the way through this shape. So we've just done that now. Now let's do the horizontal ones. For the horizontal ones, I'm just going to turn it the other way over here so that you can see this on the screen. And again, all I'm gonna do is I'm going to start off from here. I'm just going to bring it down and continue across the top part of that shape. And then I've got this little gap, a gap over here. So I'm just gonna go ahead and just do a few over there just to fill it up. Again. Just going to carry on just like this all the way to the top. So I'll do this and then I'll come back to you once it's done. Okey-dokey. Now we've done the standard crosshatching with our vertical and horizontal. Let's go in with the diagonal lines. So again, I'm just going to tilt this back to an angle that suits my comfort zone. So that angle works nice for me. And I'm going to start off in this bottom corner over here. So just going in with the pen, just keeping it nice and steady, creating the diagonal lines going across to create that gorgeous overlap of crisscross texture. And you can see it's looking fantastic. So I'm just going to continue doing this now. Okay? Uh, so what we've done now is we've completed the diagonal in one direction. And then what I'm gonna do is I'm going to turn this around again to suit my hand angle and make sure that you can see this on the screen. And then I'm gonna go in the other way using the diagonal lines so that we have the final diagonal crisscross. So let's do that now. So I'm just going to go in and I'm going to go in from this corner. Now you can see sometimes you might not be able to see the line that you're actually doing while you're doing this because there's so much texture already there. But don't worry about that. Just keep moving forward with it. Once it's complete and you have a look when you stand back, you'll see that it looks fantastic. So just like this, I'm just going to follow it along and just keep moving my pen a little bit forward so we have a nice distance in-between those lines. And that texture just keeps getting more and more intense. So just carrying on like this, just dragging it along. Now, if you do a line that's not there or you skip a line, that's absolutely fine. Don't worry about being super precise in this. Just get that texture down the best that you can. Fill in the gaps and we're all good to go. So let's just turn this back around so we can have a look at the entire picture. Look at that. Let's get our zoom in, zoom back on this. So let's have a look, great stuff. Look at that. A gorgeous bit of texture over there on the right-hand side of the house where we've got the most shadow areas. So what I want to do now is I want to work on these roof tiles over here. And for that one, I'm gonna go ahead and use my finished point. And again, that one is the naught 0.1. So let's just give that an open. And for this one, I want to have. Nice dark area. However, I don't want it to be too intense. Otherwise those tile shapes, it just kinda get lost in the texture. So to maintain some shape and form, if you're doing a lot of cross hatching, what you need to really do is vary your line width. So having a thin point to do the texture work. And then over that, if you use a thicker point like the nought 0.8, which is what I'm gonna do, then that will create that contrast and you'll be able to see the visual difference. So what I'm gonna do now is I'm just going to tilt this to the side like this. Let's go back to a zooming. So I'm just gonna go in now with my nought 0.1. I'm just going to create these really thin lines that follow the direction of the tiles just like this. And that's basically as it just like that, 123 and maybe this fourth one over here. And that's enough. So just like that, I'm just going to go ahead and repeat those lines in between the gaps just to fill it in and create that initial light texture. So let's go ahead and do that. Okey-dokey, that's now done. So what I'm gonna do is I'm just going to tilt this a again on the other side so that I can follow the lines going in the other direction. I'm just going to do these horizontal and vertical lines to follow the flow of those tile shapes. So again, from this one maybe starts off at the bottom over here. I can probably fit in a nice little line, a line over there. And then just going to carry on just like this, dropping in three to four lines in between each one of those spaces. So just like that, I'm going to carry on with that. Okay, that's now done. Let's just turn this around so that we can see the whole thing again. Zoom in, zoom back, and look at that fantastic stuff. A, we've got a nice bit of dark there, and then we've got dark hair as well, but slightly more spaced out and thin, and it just creates a gorgeous, lovely variants. So what I'm gonna do now is I'm just gonna go ahead and close my pen. Don't forget to close the pens, otherwise you're going to have them dry, horrible tips and then you can not gonna be very happy now. Oh yeah, no, you're not. Let's do the nought 0.8 now. So we're nice thick tip now. And what I'm gonna do is just go ahead and outline the tiles I initially had, the pattern of this roof. So what I'm gonna do is let's get that zoom back in so you can see what I'm doing. They can see you might be a little bit difficult to see those initial lines because we've gone over them. However, on the camera, it's probably more difficult to see, but I can actually go ahead and see this the closer I get my eyes to the actual board itself. So what I'm gonna do is it's just going to tilt that so we can see it a bit better. And so the flow is great as you just get that in the center so that you can see. And then with my lovely 0.8. But before I go ahead and do the points eight, Let's just do a scribbly Whipple on this to make sure that we don't have any blobs coming out. We don't want them blobby blobs to a ruin our artwork and no, we don't. So let's just go ahead and start doing this outline. So just like this, look at that gorgeous stuff. Look at that, say love that thick line. So adding the thick line there. And then the next one was over here. And you can see we've got that separation now. So I'm just going to go ahead and carry on with this and maybe just do it from the top. Otherwise, my hand wheel slip and just do that again and maybe drop one in over there and then do a tilt it till t. And let's continue the other way. So let's just finish that one off at the end. We had one here and I can see one down here and then one more down there. And then the last one is around about here. And then we might as well just do a nice thick line on the top part of that roof. So let's turn it around and have a look, look at that beautiful stuff. So a bit of a zoom back. You can see it again all in It's a lovely form that looks fantastic. That doesn't say, yep, it does. So let's just close our pen. Now. You could have actually gone ahead and done the thicker line first and then gone in with a thin line. It's entirely up to you which way round you want to go ahead and do that, but do give it a go if you have these different points, if you have a really thick point and a thin point, then do it. If you say just have maybe a nought 0.35 and a nought 0.1. Then do it with that user nought 0.35 to do the outer lining. Once you've done the details with the thin point and you'll have lots of fun. So let's move on now to maybe the chimney areas. So let's just get a zoom zoom on the chimney area. Okay, for the chimney area, what I'm gonna do is I'm going to basically repeat this pattern that I had over here with my nought 0.35 in this section. So we've got this right-hand section which is going to be in the dark, so I'm just going to go ahead and do that now let's just do a quick zoom, zoom in. And basically it's just gonna be a case of dropping in them horizontal lines and vertical lines, just creating a quick little cruzi cross cross hatch. Looking fantastic, so quick and easy to do, isn't it? And then just throwing in a couple of diagonals all the way across just to mimic this beautiful texture that we have here, so that it looks a bit more nicer and it all gels together. So again, just do another diagonal this way and maybe add a couple more diagonal lines just to get it nice and dark. And then what I'm gonna do is I'm just gonna go ahead and just do a bit more on the outline there. Then I'm just going to move on to this section. So just move that a little bit down and then just do some vertical lines. And then on the shoot, just gonna go ahead and just do a couple of vertical lines there. And maybe just do some horizontal lines that go across and then just maybe one over there. And that's about it for that one, we don't need to do the diagonals on that because otherwise we don't want to lose the overall form and shape of that chimney shoots. So now what we can do is we can go ahead and work on the front panel of the house so that's where the light is hitting. So we've got this front area where we've gotten a little lighter area, and let's move on to that one next. 13. Lighter Texture: Okay, welcome back. Let's now move on to the details of the front part of the house. So I'm gonna be using my nought 0.354 this area. So I'm just gonna go ahead and do a tilted tilt to make this easier for me again. So just let's get a zoom, zoom in. Fantastic stuff. So with my nought 0.35, all I'm gonna do is I'm going to actually start off with a chimney so that we can move downwards. So for the chimney, or it is a case of just dropping in some horizontal lines just like this. Just to indicate that we have some type of brick laying going on over there. And then on this area on the top, just lightly just dropping some wiggly lines on the edge. And then for the shoot, again, for the shoot, just a couple of wiggly wiggly on uniform lines just to indicate that we have something going on. So that's basically the chimney done. And I'm going to repeat that same thing now for the house, but we're going to make it a little bit more detailed. So what we're gonna do is we're just gonna go in and we're going to throw in these lines like this. And if you notice what I'm doing is I'm doing this in a quick and fast movement where I've got a little bit of skipping. So that's the kind of effect I want to achieve. I'm just doing this kind of movement like this. I'll just quickly show you that movement on another separate piece of card. So it's effectively just pressing down onto your paper and then moving in a quick movement and then lifting up. So again, I'll do that a couple of times here. Pressing down, moving and lifting, moving and lifting. So we get this kind of broke combined effect over here. So you can see we've got this lovely broken line effect. And I think that looks really nice. Now, again, if you don't want to do this there, you don't have to go ahead and do this. But I'd just like to vary my line shape and my forms to just make the illustration a bit more interesting. So let's just get back to it now. Then what we're gonna do now is we're just gonna go ahead and continue and maybe do a few more from here doing that motion where we've just got that breakages of that line. And then again, I'm going to turn this around and I'm going to repeat the same from this side, going in from here. Just like that, keeping it really loose. Lifting it up. So we get a bit of a broken line. And that's about it. So let's just get this nicely set up on the screen. What I'm gonna do now is I'm just going to throw in some brick lines. So just like this, just throwing in some brake lines just to indicate that we have a nice brick top panel on the front part of this house, just randomly throwing them in, creating that pattern. And then again, just a little one over here. Just dropping it in where I feel I need to just indicate a little bit of detailed information and that's about it. So you can see how quickly we just created this lovely texture, hard texture on the right, a lighter texture at the front. And it just looks fantastic. So what I'm gonna do now is I'm going to just maybe darken up that window area over here so that we can see this a bit more. And it doesn't just get lost in the texture. Just with my nought, 0.35 again, I'm just going to go ahead and add a little bit more ink to the outer border of that window frame just to make it a bit more prominent. And we're gonna do the same for the door over here. So just like that, I'm just going to go in and just maybe just add in a little bit of a border with my ink. And this will just make these elements stick out a little bit more and then maybe add a little bit of texture on the door like this, just a couple of lines going up from the bottom and maybe a couple of lines going from the top. And then that middle part just go in with a darker line and the doorknob just like that. So you can see we've just quickly added nice bit of texture on the door. Let's now move on to this wonderful little side guy over here, the mushroom house. So for the mushroom house, what I'm gonna do is I'm going to again use my nought 0.352 and tilted, tilt. And then you can see this on the screen a bit better. Now again, most of that mushroom house is going to be facing towards the light, so we're not going to have too much dark going on there. So what we can actually do is we can use our thin point actually, let's just move to our thin point. You don't want it to be too overwhelming and dark. We want to have contrast. That's what it's all about. Contrast with my nought, 0.1. All I'm gonna do here is I'm going to start off at the base and I'm just going to go ahead. I'm just going to throw in a couple of hatching lines that follow the direction of that mushroom house stalk Harrier. So just like that, there are a couple of really light lines there. And then I'm going to turn it around. And then I'm gonna do the same for this side. So just a couple of light lines going in this direction. And then maybe a little bit of a cross hatch. So turn it around again, just going in like this from the bottom so that we have a little bit of contrast. With this white area of the foreground elements. So we've got a nice little bits of gradient going on there, so it's not completely white. Then this kind of underside of the actual top part of the mushroom head. I'm just gonna go in and just create some lines going in like that over there. A couple of more lines there just to make sure that we have something rather than nothing. Let's just continue. And then maybe with the dots, Let's just maybe have these dots a little bit more prominent. I'm going to create some more nice darker areas on the rims of those dots so that they look a little bit better. And I think that looking quite nice. Now what I want to do is go ahead and do some stippling. Stippled with minor 0.35 just to vary the texture. So let's go ahead and drop in some stippled. So from this side, we're going to have the most darkest point. I'm just going to go ahead and add in these nice concise, tight stippled that are close together. And then just keep moving that as we go towards the left hand side of that mushroom house, had the roof of that mushroom house. And just keep moving it forward. And as we go in this direction, I'm going to spread out those stippled more widely so that it looks like that we have light hitting it from here. And we've got a dark a bit of shadow on that side. And then just like that, I'm just going to work this in so that we have a nice eventual gradation of tone from dark to light. So again, just keeping it nice and simple. Or with the nought 0.35, we don't really need to go in with the naught point a or any thicker point because we just want this element to stand on its own and not really interfere with the background or the house. So just like that, having good, Nice keeping it nice and tight and just filling in that area. Just for this stippled. Don't want to do any hatching and crosshatching to make it too intense. Just like that, it will look really good. Just making sure that we have quite a lot of these stippled around the dot area and quite a lot where the edge is meeting the edge of the house. So just like this over here, carrying on, trying to fill in all those gaps on this right-hand side. And it's such a great exercises. And then just to go ahead and just fill in this lovely shape. But does so relaxing, such a great little exercise of mindfulness is carrying on with this. So there we go. And I think that's emerging into a beautiful little illustration elements on our drawing. So I think I'm going to leave it at that. And maybe we come back to it later once we've gone ahead and done the rest of the picture. So what we've got here now is we've got most of this right-hand side midground of our illustration done, we can now move on to some of these background elements and maybe add in some details where we've got this lovely wiggly, wiggly stuff coming out from the chimney. Shoot. So let's move on to that one next. 14. Background Lines: Okay, welcome back. Let's now focus on the background elements. Are we going to have minimal details and textures so you can quickly get them done now. So let's have a look. So over here we've got these round little bumps that we have at the back, but the triangle things on the top. And we have this lovely curly rarely stuff coming out of that chimney. So let's focus on these bits. So I'm just going to do a quick little zoom in, zoom on that. Now for this one, all I'm gonna do is I'm just going to use my nought 0.35 and I'm just going to go ahead. I'm just going to add in some just vertical lines, lighten this so you can see all I'm doing here is vertical lines, not all the way to the top. I'm just creating a quick little light texture with vertical lines. And that's all I'm gonna do for this element because the background doesn't need to have too much detail in it. We want the detail to mainly be in the midground and foreground of our illustration so that we can focus on those elements. The background area really is just to fill in this space so that it doesn't look too empty. And just like that, I've quickly added in that texture. Now, what I'm gonna do for the triangle areas isn't gonna do something similar. I'm just going to go ahead and do the kind of hatching lines going in a diagonal direction just following the shape, this shape of that triangle. So just like that, I really like doing that skipping movement with the pen to produce a lovely little texture. So again, from here, really fast and quick. Let that pen skip to use at your advantage to create really nice, lovely textures. And that's it for that. So I'm going to maybe add in a little bit more once the actual image is complete. So let's now focus on this area. So we've got this lovely smoky stuff coming out of the chimney. Just bring this down a little bit so we don't get dizzy. So what I'm going to do for this one is I'm going to create a bit of a variance. So I'm gonna go to my nought 0.8 tip, but so let's get that nought 0.8 tip out and just going to do a little tilt, tilt on this. And what I really do in all of my illustrations is I always have some type of smoky type of puffy area that goes up into these clouds of puffs of smoke. And it just looks really nice and different from the straight lines. So adding an element of a curved line or a bit of curvature, see your artwork just gives it that visual difference and just makes it look a bit more interesting and really a bit more whimsical. So let's just do this now with my thick point. What I'm going to do is I'm going to firstly just go ahead and outline. Well, I've already got there so that it makes it a little bit prominent. Then I'm just going to create another line that basically just follows that initial curve. So just like this, it's just going to follow that curve. And then I'm going to repeat this from here, going in, creating this lovely wavy pattern. And then I'm going to start at this point over here to continue it. And just keep that pattern going so that it looks like we have this lovely, wonderful, swirly worthy of smokey smoke stuff just coming out of that chimney and just following it as it is. Now, you might not be able to produce the same type of curvatures on these lines that I'm producing. And that's fine. Just go along and see where it takes you that the formula at all. So from this point here, I might just go ahead and just shoots off in another direction. So just like this, I'm just going to vary it and adding some more curvy curves. Just like this. It looks a bit more varied, fantastic stuff. And then I tilt my page a little bit more than I'm just going to maybe go ahead and follow that curvy curve that I've put in over there. And then maybe I might just switch my pen to might not point a three-five to give it a little bit of variance. So just with my nought 0.35, I'm going to start adding in another curvy curve and following that line of the thicker point. So that way it looks like we have a nice little variation and it just makes it look a little bit more interesting. Visual maze lookout master. So just going to turn that again. I'm just going to follow along wherever I see a gap just to fill in that space to create this beautiful patterns. So just like that over there. And then maybe just start off on the edge over here to follow the initial line and then bring it in from here. And it's just a case of just filling it in wherever you see a gap and just follow the curves or the previous line or just adding another curved line. And that's about it. Look at that today. Let's get a zoom back on that so we can see this in a bit more perspective. Fantastic stuff so quickly, I just went ahead and just added in some normal hatching lines over here. Diagonal hatching lines at then some curly will ease with my thick point and then my median points. So give that a go with whichever pens you have. And it just adds that varied visual interests. So all we have now to do is fill in three more areas. We have the sky area over here. Then we've got this middle area, which is probably going to be the water area of the scene. And then we've got this base area that we could go ahead and start adding some funky little patterns on. But we'll leave that right at the end. So let's now concentrate on this guy area. And for the sky area, all I'm going to do is do some really light staples just to fill in this space. So let's do that now. Let's just get a zoom in. Zoom on this Okey-dokey. So I'm just going to stick to my nor 0.35. And all I'm going to do is just lightly start at this point here. Maybe have some concentrated stippled over here, just like that. And then as we go up on the page, I'm just going to let those stippled spread out a little bit more so that it looks like we have a nice movement of stippled going on in the background. They could effectively be little round suites that are just falling from the sky. Lovely little trees. Again, just continuing in that same style with a lot of concentrated bonds where we've got the triangle elements and then as we dealt up, spreading them out like that so that they don't all look the same. So again, on here, I'm just going to spread it out on the top part. And then I'm going to bring it in and have it more concentrated where it meets the elements of our drawing. And then moving on to this side, bit more concentrated over here, where we have the chimney. Bit more concentrated, where we have the edge of the roof on the house. Just like that, nicely concentrated so it fills it up. There's not too much space. And then as we go up into the air, to the wonderful air we fly. We just go ahead and spread out these nice little stiffly stippled dots. Let them fly in the air and enjoy themselves. So that's about it. How quick was that? We literally did that within a minute or two. So let's just move back and see how it looks. So you can see we've got a nice little texture fill all across this image. Now we can go ahead and concentrate on this area. So this area, this is where I'm imagining that we've got this kind of water area. We could possibly add another element to this. So maybe let's have a nice coffee and I should drink and have a bit of a break. And then think about what element we could add to this if we really want. So I'll see you on the next one. 15. Darkest Lines & Patterns: Oh, that was a really nice coffee that gorgeous stuff for. Okay, welcome back. Let's just put the coffee mug on the side before it interferes and everything. Let's move that to the side. That was a really nice coffee that okay. Now, while I was having my coffee, I had to think about what I'm going to add in this lovely water imaginary area. And you know what it's gonna be. It's gonna be about the boats. So let's just drop in a little bowtie boats. I'm gonna get my nought 0.35. And then let's just do a zoom in zoom so we can see all the wonderful details of my little bowtie belts. I'm just going to keep it really simple, just like this. Just going to create this little shape. Curl it up out there, and then maybe just do a little top area, throw in some sales little rectangle piece over there. And then another little rectangle. And then maybe a line coming in at the bottom. And that's about say, How easy was that little bowtie volts in our scene? So I'm gonna go ahead now and do the filling area of that water element. So with that, I'm going to use my nought 0.8. So let's get the nought 0.8 out and then maybe tilt this to the side. And all I'm gonna do for this is I'm just going to use my nought 0.8 pen. And I'm just gonna go ahead and just start adding winds across here, keeping them really nice and tight and close together. Just maybe leaving a few gaps. And that's looking great. So we want this nice dark area over here to really make those lighter details pop. And then just having that little bowtie bolts in that area, we'll just add a bit more interests. I just like this. I'm just going to add these lovely lines on the edge part of that mushroom and then just fill that gap up and it's looking superb. So just like this, quickly going to go ahead and do that. So I'll do that and then we'll have a look once it's done. Okay, Now you can see that I've got these wonderful lines that are creating this kind of movement, motion of maybe some water where this bolt is now, if you want to go ahead and maybe adding a couple of staples just to darken that up a bit more, you can go ahead and do that. And I've just noticed I've left a little gap, a gap over here. If you can see the gap in-between the mushroom and the background of that water. So let's just quickly fill that up just like that so that it's all looking nice and complete. Don't want to leave anything else. So maybe what we can do is let's just do another till it till on this, I can see that I've got quite a lot of white gaps over here. And I'm just gonna go ahead and just randomly fill them up with my pen so that we have a nice strong bits of dark contrast from the mushroom house. Just like that. It's going to drop in some broken lines in this area. So it looks great. Just get that finished up. So just from the edge, I'm just going to bring in some lines, nice big thick lines over here. And then from the edge of that boat where we've got the sale dropping in them lines. Now what you can do is you can just fill this entire thing in with your ink if you don't want to have these broken lines or if you don't want any texture here That's entirely up to you. Just go ahead and fill it in. Basically just color it in with your lovely pen. Or if you have some, I think it's just normal ink that you're using to fill these pens up. Then just go ahead and use that ink with a brush to fill in this area if you don't want it to be texturize, do if you don't want to spend too much time going ahead and doing this, they're just like that. We've got a nice little bit of design going there. I'm just going to go ahead and I'm just going to outline the edge of that boat so that it doesn't get lost in all that texture. Just go, go ahead and outline that. And then maybe outline this area of the mushroom house. And this little element here throwing in some outline lines. And then again over here, just creating a more prominent edge to where it meets. And then maybe a little one over here, just like that. And then maybe one where it meets this midground. Fantastic stuff. So again, I'm just going to just drop in a little bit of kind of inclines where I see that there's too much of those whites. But like I said before, you can do this however you want. You don't have to follow this exact step. And then ask just turn this again. I think that looks rather nice. So maybe get a zoom back to see what we've done so far. So we've got our lovely picture, which is nearly done now. And we've got all the elements done that we've designed. The only thing we've got left now is this lovely little base. So let's move on to that one next and maybe just add in a little design elements are just going to close my nought 0.8. I'm gonna go back to my nought 0.35. And for this and thinking maybe let's just create a border. So if we just get this on the screen again in a good angle. So just like this, what I'm gonna do is we're just going to drop in a border edge where it meets. The detailed work above. So just like that, I'm just going to follow this along and create a nice border edge. And then till that back again. Then what I might do is I might just throw in some lines like this. So effectively it looks like a brick fence that's in front of all our wonderful elements than lovely round rocks and the house. And it just creates a effective frame for the front part of your illustration. Now, you can drop in any pattern or design in this area. If you just want to do bricks, you can go ahead and do that. What I'm thinking of doing this just maybe let's just give a tilted tilt. I might just drop in some round circle elements here. So what I'm gonna do is I'm just going to create some little round circle elements like this, random and spread out. And then maybe have them tighter in this area. And all that is, is it's just creating another visual interest part for this illustration so it doesn't look the same. And then again, maybe have a couple more down here and then just spreading it out. It could effectively just be some kind of like stone fence with these round like broken stones like you see in these beautiful areas of the world. We get quite a lot in the UK where you get these lovely couple fences. They look absolutely gorgeous. So just like that, randomly spacing them out and then maybe just have a couple of lines that are coming down from here. So just throwing in some normal lines that just come in like that. Okey-dokey. So you can see we've just got this rough little pattern. What I'm gonna do now is switch to my nice nought 0.8. And let's add in a little bit of texture to make it more interesting. So I'm just going to tilt that to the side so that you can see and make it easy for myself. Then maybe where we've got these dots, Let's just drop in a couple of nice dark dots in-between those kind of circles that we created. And what this will do is this will create a nice random pattern that looks like we've got this beautiful cobbled style fence, is lovely stone fence right in front of our main elements, just like dash dropping them in randomly. You don't need to follow this exact step. There's create whatever pattern you like in this, if you want it to be Brixton, do bricks. And then I'm just going to add in some staples that kind of follow these lines up to this point over here. Again, just some staples that follow the line. Just design it as you go along, improvise, whatever you feel like, just dropped that type of a texture in it. Absolutely fine. So you can see this is just added a bit more visual interest to the entire design itself. And all I'm gonna do now is I'm just going to use that thick point. Go ahead and outline the edge of the brick part of this fence. So just a nice little outline there. And then I'm going to do the same for the top, just so that we have little bit of a prominent division that goes all the way across. And then let's just maybe turn this back down. And then we could possibly just add some more steeply with please follow the lines that we've done. So just like this, you can see what I'm doing. I'll just bring this up a little bit so it's a bit easier for you to just lovely. So just by that, I'm just adding in these lovely stippled that kind of form, a broken line that's going in and rising from the base all the way to the top. And I think that looks quite nice. It just makes it look so much more interesting than just having plain lines I just scattered on the base of this illustration. So just like this, adding in these wiggly dotted lines following the direction of those initial lines that we did. So that's looking good. Let's now just get a zoom back and let's have a look at our wonderful little drawing so that it now, so what I've basically done is I've just filled this entire illustration with some lovely textures that we did in the class. And that's looking great. So give that a go. It's really easy to do. Don't worry, if you don't have the same textures like me, that's absolutely fine. You can do your crosshatching in a different way. You can maybe have darker elements at the back or have more stippling on the top. It's absolutely fine. It's not about producing this exact image. It's about practicing those techniques that you've done in producing a complete sketch. So that's all I'm gonna do for the detail part. I may go in and adding some extra lines later on, but there's no need for it. We can go ahead and do all our fancy work in our class projects. So let's move on to that one. Next. 16. Class Project: Welcome back. It's that time now, it's time for you to do your class projects. So let's quickly go through what you need to do for your class. Project number one, we need to go through the worksheets, the technical pen worksheet where we had the four different exercises, print them off. If you have a printer, if you don't have a printed, remember, just go ahead and just copy the actual boxes that we've got. And that way you can do the follow along and practice, practice as much as you can. And once you've done that, go ahead and do the step-by-step, a full sketch. And once you've completed that, then what I want you to do is do a complete illustration or a quick sketch with your technical pens and try incorporating as many of those techniques that we learned, the hatching, crosshatching, stippling, and using different points if you have them available, a thicker point on the technical pen and a thin point to create a contrast of variants and texture. If you only have one point, then just go ahead and use that one point. Spread out the lines that you have in between you're hatching lines to create more of a lighter feel and a lighter tone, bring them closer together to have a darker tone. So whatever technical pen you have, just go ahead and use that. And that is all you need to do for your class project. But the most important part is to upload your class projects onto the class project gallery so that we can all have a look at your wonderful work and ask me any question that you want on technical pens or on any other mediums that you have any questions on that I have covered in any of my other classes. And that's all you got to do, simple stuff. So I'm going to let you get on that and then we can move on to the final thoughts and conclude the class. 17. Final Thoughts: Okay, welcome back. Just a couple of final thoughts on the conclusion of the class. So hopefully you learned how to create beautiful textures at the beginning when we went through the worksheet and it's increased your knowledge of technical pens when we went through how to maintain technical pens or what they used for. This would have just given you a nice little insights and first-hand experience practicing with these wonderful little tools. So you'll be more comfortable now going forward and producing gorgeous artwork and sketches and doodles with these pens, hopefully, you would have followed the step-by-step, a lovely little drawing that we did. And then that motivated you to do your class project. Do ensure that you post your class project onto the project gallery, and also ensure that you leave a lovely review on the class. This will help other students find the class and learn from your experience and be motivated by your beautiful artwork that you upload. And what that will do is that we'll have more lovely students like yourself producing gorgeous artwork and learning more about this wonderful technical pen. So hopefully, that wraps up the class and you enjoyed this lovely journey. I did and I'm excited as usual, I think I might have to have a cake to celebrate and you get yourself a nice treat to celebrate as well if you've reached this far. So do follow me on Skillshare and on social media. I post sketches every day. I'm quite active in the world of art and illustration as you already know. And I have a really busy lifestyle which you can watch and follow on my Instagram channel on YouTube. You can also follow me on Skillshare to learn more about what I'm doing. And I'm constantly producing classes for brilliant students like yourself. So do follow me on Skillshare and do check out my other classes. On Skillshare. I have 20 classes now after this one. And hopefully these will just enrich your experience and really give you that lovely window into the wonderful world of traditional art. And I also have a couple of classes on digital art if you're interested. So with that in mind, I hope you enjoyed the journey like I did. Keep doodling, keep sketching, and keep illustrating with technical pens. And if you have any questions, then drop me a question in the discussion area of the class, or you can email me or you can get in touch through social media, whatever way you are comfortable with. Do get in touch. I will respond to you as quickly as I can, and I will try helping you in the best way possible to really help you in this journey of getting back to sketching and art through the beautiful world of traditional mediums. So have a nice day. Carry on sketching. Look after yourself. Don't stress. We don't want to stress, we want to relax. Let's use art, Let's use traditional materials. So just relax and escape away from our daily grind. And hopefully I'll shall see you on the next one. So take care of yourself, look after yourself, and peace.