Krampus: The Winter Demon in Ink — Fineliners & Brush Pen Illustrations

1. Welcome and introduction: Hi, and welcome to my new class Krampus, the Winter demon in Ink. In this class, we'll be illustrating three dark, chilling and highly detailed crampus artwork using fine liner and brass pants. Our projects in Kun crampus the WinterFest Barden. Next, we have Crampus burden, and lastly, we have the silent stalker of you. So these are the three illustration that we'll be completing step by step. Before we begin our main project, we will start with some essential basics. I will walk you through the supplies. We'll be using fine liners dust pins and how each tool can enhance our final artwork. After that, we will practice few important in techniques such as hatching, cross hatching, scrabbling, seeding, and stippling. This technique will help us create texture, depth, and dramatic shadows throughout our illustration. Next, we will explore how to draw the various elements that appear in our crampa scenes like creating detailed leaves, drawing the rough burlac sac that campus carries, sketching robes, chains and iconic horns, developing expressive crampaps and rendering beads class and other airy features. Before we move into the project, let's talk about the Krampus a little bit. Krampus, the half goat, half demon figure from Central European legends who appears tuning winter season to Panis misbehaving children. The myth, rich in symbolism and dramatic imaginery is perfect for creating bold and striking in illustration. So that's why I choose to create this class. Once we have covered the basic, we will dive straight into our three full project, most of which are in real time, so you can easily follow along at your own piece. This class is perfect for beginner to intermediate or anyone who loves folk lore, creature, and ink illustration. Hi, I'm Sal an artist from India, and this is my skill set profile. You can also find more of my work on YouTube and Instagram. So let's begin and bring the winter Damon to life one line at a time. 2. Class project: Your class project, you can create three campus illustration using the technique we learned throughout the lesson. You can follow along with me in real time and recreate them artwork or you are welcome to design your own version of the campus using elements and techniques we practice. Once you finish your artwork, please upload your project in the project gallery. I would love to see your campus designs, your practice seats, and even any experiments you try along the way, whether it's different horns, texture, poses or background. Feel free to also see your thoughts, your process, and any challenges you faced. Your feedback and reviews help me improve future classes, and I'm always excited to celebrate your progress. I can't wait to see the terrifying winter demon you create. 3. List of supplies: This class, you will need very basic supplies, pencil and eraser to do the basic sketching, basking tip to secure the paper, fine liner or bras pin to do the outlining and adding the detail. Mostly, I'll be using the bras pin, this Tambo bras pain. Then if you want, you can use the colored fine liner ora pin to do the coloring. I'll only be using the red, but if you want, you can use the greens for the leaves and blues for the other details. Apart from this, if you have any other kind of paints that you want to use, you can use that gel pin, normal wallpoint paint. Et cetera. I'll also be using a little bit of green colour for some of the section. If you have a sparkle pin, you can use that to greet a little bit of highlights. You can use the white gelpin to add highlights. I'll also be using this normal red gelpin for some of the section. You can also use ink to color ler section. And in here, I'm using this 200 DSM paper. So these are the basic supplies that you will need for this class. Mostly, I'll only be using the Tombo breast pin, a little bit of red gelpin and other things are optional. If you want, you can use them, but I won't be using them. So you just need a breast pin, a fine liner, and you are ready for this class. 4. Different pens : Welcome to the first part of the demonstration venue. We will start with testing out the different supplies that we have. In here, I've got lots of paint, but mostly I'll only using these tube as paints from the tombo. You can use whatever supply you have. In here, I'll just be sewing a different kind of line that I can create with a different spin that I have. With this breast pain, the tumble breastpin I can create uniform and consistent lines like this. Mostly, I'll be using this. Apart from this, you can also use the fine liner Sakura micron fine line. It will do the same thing. Just ensure that you are using a bit thicker knee for it. In here, I have got this 0.2 MM. And with this, I can create bit smaller lines. Even if you have got thin micron pen, you can just go with the lines to make it a bit mold, make it a bit more bolden. I also have this steel MM micron pen. So if you want, you can use the micron pink. If you want, you can use micron pain too to do all the sketches. Then you can also use gelpin. This is normal gel pen that I have. You can also use normal wallpoint paint. In here, I have got manaca paint from Jikpurataki. With this, I can create very thin lines like this. I won't be using it, but if you want to create some minute details, you can use thinner ns to do that. You can also use Brs pins. With the brush pens, the main advantage is that you can create dynamic lines, why dynamic diamonds lines with art thickness. Just by wearing the freezer and the angle, we can create different kind of lines. Here I've got another one, black one, so if you want, you can use it to do the hatching and cross-hatching, it will make the process bit more faster and you can create more dynamic lines with it. I also get this dust pain with less ink, and I'll be using this to create this kind of texture if required. I also have got this gray paint from ZikuratakeF one of the project, I'll be using it. So in the earlier demonstration video, I also recorded for more pins. So you can check out all the pints and supplies you have to create different kind of live and different varieties in different kind of line. Apart from that, you can also use colored fine liners. Here I have got red, blue and green ones. You can use green one to create leave.Thise are optional. I won't be using the greens or the blue ones. I'll only be using the red ones to create the red erries and a little bit of red for the eyes and the butlaps for the Krampus. You can also use blue to add a little bit of detailing or do a little bit of coloring with it. These are our optional. These are all optional. You only need a single fine Landon bras pen, and you can create all the illustrations in this class. Now I'll be showing you some of the techniques that we'll be using. Mostly we'll be using hatching and sading. So let's start with the hatching. So in here, I'll be showing you hatching, cross-hatching, stippling and scribbling. So mostly I'll be using hatching, hatching is a technique made by drawing parallel lines close to each other. The closer the lines, the darker the area appears. It's commonly used to create form, light, and shadows. Here I've shown you two examples one with more space in between and another one with less space. Apart from the normal hatching lines, I'll also be creating this kind of bit broken hatching lines. This kind of skin hatching line for some of the section. I'll also be creating a little bit curved hatching lines like this. As see lines and for some of the regions, I'll also be folding the lines a little bit. So we'll be using varieties of hatching line. So we'll be using varieties of hatching lines in our project. Apart from that, I'll also be using this kind of circular hatching line, a combination of both broken and parallel hatching lines in this form, a concentric circle form. Now, we have got sdingH we can use the hatching to create seeding. So as I just mentoned just by adding the lines bit more closer to each other, we can create a little bit of sing. So to do this, I'll be starting with all the lines equally distant. And then for the region that I want to make it a bit darker, I'll be adding more lines just like this, another way in which I'll be using it. So I'll be creating lines like this parallel to each other, rows of lines like this, and to create a little bit of sading, I'll just be adding another row with more lines to it. So these are the two kind of sdings that we'll be using along with the hatching. Next we have cross-hatching. This technique, the cross-hatching melts upon hatching by adding another layer of lines that crosses over the first set. More layers create darker tones and stronger depth. You can create this kind of hatching lines, and then we have this one vertical and horizontal intersecting lines to do the hatching. You can also use this kind of broken lines to do the hatching. Here's one more example using this wet curve line to do the hatching. With the hatching, you can add more depth and a bit more volume to the painting. With cross-hatching, you can add more depth and more volume. Mostly, I'll be using hatching to give the projects bit simpler. But if you want, you can use cross-hatching too. Let me show you how we can incorporate siding along with the cross-hatching, starting with a simple cross-hatching, and then to make this region a little bit darker, the top left side, I'll be adding more lines and doing a bit more cross-hatching on the upper side of this region to make it a bit more darker, more vertical and horizontal lines to make the region bit more darker. Next we have stippling. Next, we have a stippling. With a stippling, you can create very fine detailing. It takes a little bit of time, so I won't be using it. Basically, stippling uses small dots to create sading and texture. Areas with more dots appear darker while few dots look lighter. This is just a normal stippling example. Now let me show you how we can create a little bit of darker regions, also a gradient with it. Starting with simple and uniform stippling. And for this side, the right side, I'll be adding more dots to make it a little bit more darker. This stippling is great for soft texture and gradual sealing, and it creates very fine artwork. This takes a lot of time. That's why I won't be using them, but if you want to add. But if you want to incorporate this in your project, you can do that. And lastly, we have got scrubbing. It's also called scumbling. It's another technique that if you want to use, you can use it for the heads and a little bit of texture for some of the section of the cramps. Scribbling is a loose method using random overlapping lines or marks. This kind of random lines With this, we can do a lot of seeding just by adding a lot of lines, a lot of scribble line on some of the regions to make that pillon bit more darker. This is quite faster as compared to all the techniques hatching, cross-hatching, stippling, and seeding. But for this, the problem is you cannot create crisp and detailed outlines. Now let me show you how I'll be creating hairs using hatching techniques, hatching and a little bit of seeding. I'll be starting with creating this kind of outline, put the strips of the hairs, and then we'll be filling it with the hatching lines. I will be starting with uniform hatching lines and they will be concentrating at the end. And to do a little bit of seeding, we'll be adding more rows of hatching lines on top of each other to make it a bit more darker. We'll be using this for this project. Apart from this will also using this kind of hatching lines to create small here like texture for some of the project. So using this kind of lines to do a little bit of hatching, Now, let me show you how we creating how we using the hatching lines to create texture and bit of more volume to the horns and the antlers of the campus. So here's an example of a straight horn. We'll be using this kind of bit broken and bit curved hatching lines to add a little bit of texture and detail for our horn. Here's another one. I decided to make it a little bit more defined. So we have got two sides of the horn that is visible for both sides, we'll be doing the same thing, a bit of broken a bit of broken and curved hatching line. I'll be making one region a bit more darker by adding more lines on that sign. Here's another one, a bit long and a bit more curved. The two sides of the horns are visible. For the lower regions, we'll be adding more lines, doing a bit of more sading with the hatching lines to make that region bit more darker and for the remaining section, we'll be starting with doing this kind of bit rough outlining to create a bit of rougher texture for. Just like the earlier two, we'll be using this kind of bit broken hatching lines and filling the entire regions with it. To make any region a bit more dark, you just have to add more hatching lines and do a little bit of seating. And you can also use other techniques like cross-hatching, stippling, or scribbling. So you can experiment in here. You can experiment in here with different kind of techniques and see what you are more comfortable with and that you can use Non project. So for the edges, I added a bit more dark lines to make that region bit more darker in here too in the upper part, I added more lines to make it a bit more thicker and bit more darker. Depending upon the regions where we want to sew shadows or draw attention to the outline region, we'll be adding more lines and doing a little bit of sading. And with this, we are done with the basics. Now. Here's some of the example simple example for the kind of leave that we'll be using for one of the project for the Krampus, the Warden of jungle, this kind of leave. We'll be making the leaves a bit more detail, a bit more larger, but here's our example of it. Here too, we'll be using a lot of hatching lines. For our mean project, as you can see it in here, we have created lots of leaves, and instead of making them a bit simpler like this, we'll be making them a bit more detailed bit more defined. Now, here I'm using the red el paint to create the red berries. Simple circular seep like this, doing a little bit of circular hatching lines to create this kind of simple berries, simple red berries. If you want to make it a little bit more detail and do a little bit of hatching, you can do it. So here's another example of leaf, starting with a simple seep Now adding the veins coming out of the mid drops. Filling the entire regions with these hatching lines. Now, to make it a little bit more detail, I'll be doing a little bit of sading just beside the mid drops. For the edges, I'll be adding a bit more sding and for the remaining section, we'll be doing a bit less sading. You can also make some of the means a little bit more darker. After that, we'll be also doing the outlining once again to make it a bit more distinct. In here, it turned out a little bit ugly, but for our main project, we'll be making it. But for our main project, we'll be making it a bit more better. You can also use the green fine liner sketch pen bras paint to create the leaves. I won't be doing it, but if you want, you can create this kind of simple leaves. For all the leaves we'll be using a lot of hatching lines. Make the outline and the mid drops a little bit more darker by going over the lines twice or thrice. Here's another simple kind of leaf that if you want to incorporate in your project, you can add them. Here, too, we are doing simple hatching lines, simple circular hatching lines. And yeah, these are some of the simple things, simple techniques that we'll be using in our main project. In the earlier demonstration video, I also included this. But in this one, we have got a little bit more explanation and a little bit more examples. And yeah, I'll be seeing you in the next part. 5. Burlap sack: Welcome to the second part of the tutorial. In here, we'll be creating two different kind of burlap saps, two different kinds of robes, two different kinds of chains, and a simple sketch for the head of the campus. Starting with a simple same like this for the burlap sap. In here, I'll be using the red colour and blue colour to create the burlap saps. And these are a little bit easier version of the burlap saps that I'll be creating in here for our main project, we'll be making it a little bit more detailed and adding more folds for it. Let's create the outline for the second Mrlepsap. So this one is lying on this side and is a little bit slanted. You don't have to stick with the outlines that you have created, feel free to make changes and adjustment. And with these, we are done with the basic pencil sketching for the two Blap saps. Going with the gel pen to do the outlining. In just creating simple rope for it. Mostly, we'll be using the broken hatching to create this butlpsap For the region near the roof, make it a little bit more denser by adding more lines and doing a little bit of seeding. Going over the outline for the entire section, the remaining section of this burlap sap. Try to create little folds for it for this upper part and a little bit for the lower section for the folds, make that region a little bit more darker, a bit more wilder with more lines here too, for the bottom region, two or three folds present in this burlap sap. And now, we'll be feeling most of the region, the upper part and the lower part of this burlap with this kind of broken hatching lines. And for both the regions, the upper and the lower part will be doing a little bit of sading particularly near the folded regions. We'll be making that regions bit more darker with more hatching lines and a bit of more sading. Create this kind of simple hatching lines, bit broken and a bit ragged. I'll be making the lines a little bit more longer near the folded region as well as near the outline regions. And apart from that, for all the remaining regions, I'll be keeping it a little bit uniform. Making the folded region a bit more darker with more lines. This is a very simple demonstration for the burlap sap that you can create. With these, we are done with the first one. Let's create one more. And here this time, I'm using blue. So mostly, I'll be using red to create the Blapsp instead of this. If you want you can use other colors, you can use blue. You can use greens or other color that you have. We'll be doing the same thing in here, too. For this region just above the rope we have created, creating this kind of hatching lines, make this region a little bit more defined. Make the folded region a little bit more darker, bit more denser. And let's feel the upper section with broken hatching lines and doing a little bit of sading doing a little bit of sdingnear the rope, creating this kind of a little bit of outline for the folded region of this burlap sap. Now, let's do the hatching a bit of curved broken hatching with the remaining section in here, the same kind of hatching lines that we did for the first one. For the regions near the folded region, add more lines and a bit longer lines and for the remaining section, keep the lines a bit uniform. If you want to experiment with it, you can use cross hatching to create the Blaps up, you can use scribbling or stepping to. Make the outlines a bit more darker by going over the lines twice or thrice. And with these, we are done with a very simple Blap saps. Now, let's create simple rope. In here, I'm using sacora micron pen to create the rope. We'll be dividing the ropes into different sections like this. The ropes that we'll be creating for the project will be quite simpler. Make the outlines a little bit more darker and do a little bit of sading near the edges. Two or three lines for the outlines and a little bit of sading for some of the edges. And this is how we'll be creating a very simple verson for the rope. Mostly, I'll be using red color for the rope. Now here's another one. It's a little bit detailed one. So in here, we have this kind of alternative pattern like this. Here, too, we'll be making the outlines a bit more darker, adding a bit more lines for the edges, as well as do a little bit of hatching for both sides for both the sides of the robe that we have created like this. A little bit of hatching on both sides. So these are the two simple ways that I'll be creating the rope for the one lap sap for our project. This is how I'll be adding a little bit of sading if required. Here's another one, a little bit of sading on both sides of this elliptical see of the rope. And yeah, with this, we are done with the rope. If you want to create other kind of rope feel free to do that. Let me show you how I'll be creating the chain. I'll be using the chains for one of the project, starting with the simple C S Make the C sap a little bit more defined. And lastly, connect the remaining section of the C saps that we have created to create this kind of simple linked chain. I'll be doing a little bit of seeding on two sides of the chains. For the other side, we'll be making the other side a little bit darker by doing these kind of lines and doing a little bit of seeding. This is one of the simple ways that we can create chain. Here's another one. This is kind of a bit rectangular and sap. Here, a little bit of seeding on one side. Let's create another one linked with it. These are the simple way you can create simple chain for the projects. And let's create a very simple grotesque illustration for the Krampus head. Starting with the simple intersecting lines, and now creating this kind of outline. Seems the seep of a mask. This will leave me the two thirds of its space. Below it, I'll be creating the mouth and adding the horns on the two sides like this. Simple kind of horn or antler. So now let's do the outlining for the eye socket, just below the intersecting lines, vertical, the horizontal lines, creating the eye socket. I'll be adding the nose just above the triangular same. Make the nose. You can make the nose bit more large, a bit more crooked, bit long. So any kind of nose you prefer, in here, I'm just making it quite simple. The remaining section of its face, its face will be a little bit like the goat's head, so like this, so I'll be creating open mouth what do of the illustration, and I'll be sewing long teeth that is visible inside the mouth. So this is just a simple sketch for the Grampas. We'll be making adjustments and changes depending upon the project, creating this kind of large droopy ears. So this is how you can create the Crampa head using the reference line, the intersecting lines and the mask like scene. Let's do the outlining and adding a little bit of detailing to it. In here, I've increased speed, since for all the illustration that we'll be creating the three projects, we'll be creating different kind of pieces for the cramps head. Only the way that will be creating the hatching lines and doing the seeding will remain the same. But most of the things the kind of eyes, the nose and the mouth will be making changes and adjustment. Since this was going to take a little bit of time, I decided to make this process a bit faster, bit quicker. If you want to follow along with me in here, you can pause the video or you can just reduce the spin. But you have got the rough idea how I'm creating a simple piece. I'll be trying to make the chicks a little bit sunken and a little bit more grotesque looking. And to do that for the fees, as well as the checks, I'll be adding more lines, a little bit of cross, a little bit of hatching along with the sting. We'll be trying to create wrinkle like appearance as well as leathery appearance for its face by adding more lines to it. If you want to add a tongue that is optional, you can do that. Mostly, I'll be using red for the eyes as well as for the mouth and the tongue if you're going to add. The ears, I did not addit any kind of accessories, but if you want, you can add accessories like this. And here I added three earrings. To create a hair like texture, I'll be creating this kind of simple line for the face. I'll also be creating this kind of this kind of bit large beard for its phase. Depending upon the project, we'll be making some changes to the kind of here and the beard and the moustache if required, we'll be making the changes as we go. And basically, you have got the rough idea how you can create the different kind of pieces for the campus, and I'll be seeing you in the first project. 6. Basic sketching: Welcome to yet another scary and terrifying illustration of the Krampus. Here we have got another full body illustration. As usual, I am starting with simple saps. A combination of simple saves to sketch out the guideline for the scrampus phase. I have divided into two sections for the upper part. I'll be adding the horns later on. Sketching out the guideline for two large ears. When we'll be going over with the fine or the ink pink to add the detail, we'll be making a little bit of adjustment and changes. This is just a simple basic pencil sketch. So feel free to make changes and adjustment as you go. I'll be adding the horns, a bit larger and bit curvier horns. Let's do the outlining rough outlining for the rest of the Krampus body, somewhat of this kind of circular C, a combination of circular and triangular. This will be the main portion of its body, the chest in the back. Now for the remaining section. This rampus has got a very thin stoma. For the lower section of the crampus ling, just simple sep like this. I'll be dividing the crampus ling into three different sections. This is the second, and now let's do the third one. Outlining for the second ling, this leg. Some portion of this leg won't be visible. We'll be creating hoof like foot later on campus for the Krampus now. Let's do the rough outlining for the Krampus horns. For this rampus, I'll also be adding the tail as well as staff, a large wooden staff he will be holding. For this crampus both arms will be visible, and he has got some very wicked, thin and long arm. Feel free to make changes and adjustments to the seaps and the sizes of the arm and the rest of the body. For his forearm, as you can see, I decided to make it a bit larger. The palms and the finger will be larger, too. In here, I'll be creating the staff Oden stuff with a little bit of decorations and detailing. Now let's do the outlining for second hand. Upper part of the hand will be covered by the chest. Only a small portion of its upper arm will be visible, long thin fore arm, long pointed palm and fingers. I'll be making its finger more scaring and more righting. I'll be adding nails later on, adding this kind of men, adding this kind of beard like mean on both side of Krampus face. Now let's do the outlining for the burlex sac that this Crampus will be carrying a bit larger. Upper part of it will be a bit smaller than the lower section, as you can see, I have made it a bit larger, and I'll only be using the d to do the coloring. Here we have got the tail for the Krampus. Let's do the remaining section of this burlap sap. This is the rough outlining that we have come up with. If you want to add more aliment, feel free to do that. If you want, you can create a small children. If you want, you can add one or two small children in here. In here, I'm just making a rough outlining. If you want, you can add it. But it's going to be a little bit difficult for me to do it since I'll be creating a bit more detail stuff that the scrampus will be holding. But if you are going to keep but if you are going to make small stuff or normal stuff, you can create one or two small kit that is following the Krampus that will make the whole painting a bit more scary. You can make the children holding one of the finger of the Krampus. That will make the whole illustration look a bit more scarier. And with these we add and with a rough pencil sketching, I'll be seeing in the next media doing the outlining and adding the details. 7. Outlining with fineliners: Let's continue where we left off in this video, we'll be doing the outlining and adding fine details. So for the Crampus face in here, I'm starting with the crampus nostril, two small dots like this. And now let's encircle it to make a nasty and frightening nose. Feel free to make changes and adjustments as you see fit. If you want, you can make the nose a bit more pointed, or you can also make the nostrils a bit more larger. Campus mouth, I'll be sewing large canine teeth that are visible, and for the insights, I'll be using red to color it. But for now, just create simple canine for its teeth. If you're not that comfortable with directly using the breast pain to do the outlining, you can start with the pencil sketch and then do the outlining. But since these are simple facial feature that I'm adding, I believe that you can do it quite easily. To make the cramps face look a bit more scary, I'll be adding wrinkles and a lot of lines to give it a little bit tired and exhausted look as well as making it look more frightening and scary. Creating the outline for the eyebrows, large eye sockets. For the eyes, I'll be using red. The entire section will be covered in the red. Below the eyes, adding these random lines. Now let's make the eyebrows a little bit curvier for the top. For the entire forehead, I'll be filling it with the curvy lines, a little bit of hatching. Make the outlines a bit more ragged so that you can so that they are some kind of texture and patterns. For now for the campus chin, a little bit of ragged lines, a bit sour feature for its chin so the chin is a little bit hollow, just add few lines and make that region a bit darker. Now let's do the outlining for its ear. Elf like ear bit larger and crooked. In here, if you want, you can add earrings, or you can see that some section of the ear has been torn off or is missing. Following the contour of the ear and adding few lines in here and doing a little bit of seeding to create a little bit more realistic look for the ear. The other side of the crampus chin and make the lines bit bolder to sew a clear distinction on the other side. And as I was mentioning, a bit of hatching lines for the entire section of the campus forehead. In the middle, I'm leaving a little bit of space, later on, I'll be adding few lines. But for now, following the contour of the eyebrow, at curvier hatching lines, making the lines a little bit longer and bit curvier for the middle section. With these, we are done with the ear. Now, let's do the second ear. A small section of the ear will be visible. A little bit of seeding on the side to sew a little bit of chatter. In here, we have got large beard or you can say mean. Simple, small bruss strokes to make it look a bit more hairy and a bit more frightening. Mostly I'll be using this rust paint to do the outlining as well as detailing and coloring. If you want, you can use the fine liner hail pain or normal wallpoint pain. You'll have to just work a little bit harder to make the lines a little bit more darker. Otherwise, you can easily create this kind of illustration with the normal Ballpoint pen, jail pin or fine liner. Moving on to doing the outlining for the horns, start with broken lines, and then we'll be adding details. We'll be adding details, a little bit of seeding for some of the regions. In here, we are trying to so that there are a lot of curve lines and a lot of texture in here. There are different section in the horns. To so that there are different section and partisans in this horn creating this kind of lines. And for one of the sides, I'll be making them a little bit darker and the other side will remain a bit lighter. Just above its head, add a lot of lines. As you can see on the right side I'm adding a bit more lines so that this region is a little bit darker. Start with creating a little bit of hatching line and on top of it, do another layer of hatching line to create a little bit of sading to add a little bit of mount texture and volume too so that the horn is three dimensional and it's cylindrical. Doing the same thing for this second one, starting with the broken lines. The end portion of this horn won't be visible. It will be covered by the back of this cramps. The same thing, starting with this kind of mid car hatching lines. We are creating this kind of curve hatching lines so that this is cylindrical and s the regions where I want to so that there is a little bit sados add more lines in those regions. I'm also trying to depict a little bit of different section in this horn to show a clear distinction for those different section. I'll be adding a bit more lines for those regions. And with these we had two horns for our campus. Now, let's do the soldier. We have got a little bit of hairy solu, the middle portion, the top of the middle portion, I'll be keeping it a little bit plain. And for the remaining section, I'll be adding lots of here, small strokes with the breast to create here like projection. And just below the soldier, I'll be adding more lines below the soldier, we'll be adding more lines to sew a little bit of shadows and use this to create a little bit of clear distinction in between the soldier blade and the remaining section of its body. This is our first laying for the here. On top of this, I'll be doing one or two more layerings to create a little bit of sating. Et's do the outlining for its hand, and then we'll be adding more here on some of the sections. I won't be covering the entire section of its hand with a here, but for some of the section, like the upper part of its hand and a little bit for the lower part, just around its elbow I'll be adding here's there. Outlining for its pam and the finger. Let's do the outlining for its taste on another hand, and then we'll be adding the more texture in the form of hairs. I'll be moving from one portion to another portion so that I can keep the whole thing in proportion. Doing the outlining for its finger. This is not clear in here, but I just did simple outlining for its fore finger that are visible in here. For the upper part of its palm, I'll be adding he later on. Let's do the outlining for its back. For the upper portion just below just behind its head, I'll be adding more lines to make that region bit more hairy and to create a clear distinction between its head, its back, as well as the suldier plate, as well as the shouldier blade of its hand. Rough outline for the rope or the burlcac that I'll be carrying, I'll be using a later on. Doing the outlining for the remaining section of its back. A small brush stroke with this to create a rough outline for its leg. If you want to make the upper part of the leg a bit larger, the thigh, a bit larger, you can do that. Outlining the remaining section of its leg. It's got a very small torso. If you want to make it a bit more broader, you can do that in here as I was mentioning, I'll be adding here, outlining its second leg. The lower portion is not that visible in here. But you can clearly see in how I did the second lay, creating its tail. If you want to make it a little bit spiky and a bit more edgy, you can create small horns and small spikes through the entire section of its tail. Later on, I'll be covering the entire section of its tail with the he Simple outlining for its second hand. Three fingers are visible and one of its thumb. In here, I'm doing the outlining for the staff that is carrying. As you can see in here, I'm starting with a straight line for the staff, and then I'll be adding a little bit of curb lines a little bit of detailing. For the upper section. I was not able to record the whole section, but the upper part of the stuff, I created this kind of design, feel free to create any kind of design pattern. You can also add spikes to the staff. This part of its pam, I'll be covering it with a here, small brussel strokes, layers and layers of brussel stroke to create here like taxi for the entire section. For the upper part of its forearm, I'll be adding the hair, and for the remaining section, I'll be leaving it plain and simple. Let me use this small bustoke to do the outlining so you can see what I mean. For this entire section, I'll be completely feeling it with a small burustroke to create hair like texture. I don't want to make this region hairy, only a small resemblance of the hair in here. And for its elbow to, a little bit of the elbow in the lower region, small brush strokes in here. I don't want to make this region hairy, only a small resemblance of the hair in here. But for the elbow, I'll be adding more brush strokes to make it a little bit more hairier and to create a bit of distinction between the elbow and its torso. And with these we are done with our first hand for this crampus let's do the same thing for the second one, starting with the lower section of its hand. And for the elbow, I'll be adding more strokes later on, moving on to the upper part, making the upper part bit hairier using this small brush stroke to act as a outline for this upper part. A little bit more lines for the elbow, covering the entire section of the elbow with these kind of lines. And now let's feel the remaining section of this hand here. I'm just doing small hatching lines. I'm just creating small brush stroke with a little bit of hatching and a little bit of seeding and a bit of hatching, making the outlines of this hand a little bit more darker with more lines. Let's extend the hairs a little bit. As I was mentioning, I'll be making the soleal a little bit more darker with more shading later on to create clear distinction. For now, let's add the class for our Krampus and on the upper part of its finger, create small lines so that it's hairy too. He has got hairy fingers. I'll be adding red for the class later on. For now, just create simple lines. Covering it in the hair. You'll have to vary the size of the brush stroke depending upon where you are adding the hair. For its back, we'll be creating a bit more larger bro stoke as for its height to a bit larger stoke, but for smaller regions, we'll be adding creating small brush strokes. Adding a few more lines for its soldier. And now let's make its tail a little bit hairy. In here, I'm making it still a little bit more broader. Later on, I'll be adding more texture. I'll be only covering up to this in this video, and I'll be seeing in the next video we'll be adding more detailings. 8. Final details: Et's continue where you left of for the silent stalk of fuel. In here, I'm starting with the red to do the coloring for the Burlac sap that this cramps is carrying, creating the kind of rope that I showed you in the demonstration we knew. Instead of this, you can create other kind of rope. In here, I'm creating the different kind of rope. Simple scribbling to make it a little bit more darker a bit more distinct. The knots for this rope and let's do the remaining section. In here, if you want to make the Blap sap a bit more larger, a bit more smaller, you can do that. Feel free to make changes and adjustment. Now let's do the remaining section of the Black sap. I'm starting with a broken line. So if I have to make adjustment, I can do it easily. I'll be using hatching, a lot of hatching and a lot of sealing to make the upper region as well as the lower region, the sides of the lower regions a bit more darker. Hatching and the seeding, I'll be wearing the length of the strokes that I'll be creating in here. For the upper part, I'll be creating a bit smaller stroke, but for the lower part, I'll be making the strokes a bit larger. Here, I'm just creating simple folds of the Mrlax sap to make it a little bit more realistic. Now for the upper part, small hatching lines to make it a little bit more darker. For the bottom region, too, cutting this kind of lines too so that to create the folds for this Merlapsap Let's make the outline a bit more bolder and darker. For the entire region, we'll be filling it with this kind of small hatching lines. I'll also be following their contours. So for some of the regions, I'll be making the lines a bit curvier. Mostly, I'll be using this broken hatching lines for the entire section. This is our first layering of the hatching lines. On top of it, we'll be adding more hatching lines. And as you can see, I'm wearing the len. For the upper part, we created bit smaller lines, and as we move away, I'm making the lines a bit more larger here, the bottom section. Once again, bit smaller lines. I'll be coming back to the burlap sa later on. For now, let's do the coloring for the remaining section of this crampus body, the upper part. In this region, I'll be making a little bit more darker to create a clear distinction between its shoulder blade and the remaining portion of its hand and its chest. For now, let's create only this small hatching lines, a bit curvier wherever required. We'll be completely feeling the entire upper part of its body with the hatching lines. So this region, as I was mentioning, making this region bit darker, a little bit of seeding in here. With this sading I'm creating a clear distinction. Beside its face two, I'll be doing a little bit of sading. For now, let's add the lines. Insure that the lines that you are adding near its face is facing in a different direction, not in the same direction of its beard, the man or the ear. Otherwise, it will become a little bit confusing. Since this is a repetitive process and it's going to take a little bit of time, in here, I've increased the speed to create the here. If you want to follow along with me, you can pause the D or you can reduce the speed. As I was mentioning for the region behind its neck, I added more lines, a little bit of shading to make that region bit more darker so that the cado cast it by the horn and its head is making that region bit darker. For the torso, I'll be keeping it a little bit like this. But for the upper region, I'll be adding more lines to make it a little bit more darker. Now for its thigh and the leg, in here, this is in normal spin. The upper part of its thigh, I'll be making it a little bit darker. So I'll be adding lines close to each other and doing a little bit of sading too. And you can clearly see the difference, the upper part, the torso is quite lighter and in here, as you can see, I'm adding lines more closer to each other, and it's becoming bit more darker. For the upper region of its thigh, I'll be making it darker like this. And as we move away from it, I'll be decreasing intensity a little bit and making it lighter. Once again, in here, I've increased the speed. Since this is a repetitive process and it's going to take a little bit of time, doing the same thing for the other leg, the other thigh, I left a little bit of a space in between the two thigh, a little bit of small white line to act as a distinction in between its two thighs. Now, let's do the remaining portion of its leg, the lower portion. Just plain simple hatching to add hair like texture and as I'm moving away from the upper part, I'm adding the lines a little bit more farther apart to make them a little bit lighter. Like it said, I'm not covering the entire section, but only a small portion of it. The upper part of its foot. Above its hoof. So in here, I created this kind of hoof goat like hoof for the foot and doing normal scribbling to fill the region with this black. If you want, you can cover the entire region with the black, but I left a little bit of a space in between the different scribbling lines are used. And with these, we are done with the primary layering for the hair, for the entire body of this crampus. Now we'll be adding detailing, making some regions bit more darker, doing the coloring for the burlaxac that this campus is carrying, as well as adding more tiny and minute details wherever required. In here, for this region, for its chest on the other hand, creating a clear distinction by adding more lines to make this region bit more darker. For the staff, it's carrying. You can create any kind of design or pattern. In here, I'm just keeping things simple. For some of the section, I'll be adding more thicker lines and making them a little bit more darker. You can create other kind of designs pattern I'll also be adding a few ornaments hanging from the simple circular beads or circular ball like seams. For now, I'll be creating this kind of line. For now, I'll just be doing this kind of random seeps. If you've created other kind of stuff or added more designs and pattern, please hear your artwork in the project section, making some of the regions a bit more bolder, a bit more darker. Still, if you want, you can do the outlining for the child that is in the background. It will be a little bit challenging, but it will make the whole painting a bit more scaring and bit more frightening. Let's make this region a bit more point in. Making the sides a bit more thicker. And these are the kind of ornament I'm talking about. Simple circular bead like same. These are optional. If you don't want, you can just leave it as it is. I'll be adding a few more. Let's add one more in here. I'll be using a rate to do a little bit of coloring later on for the upper and the lower side of the circular beads we have created. I decided to add two or three in here too. For the lower region of the staff, if you want, you can create this kind of ornaments hanging from it. I'll be creating the same kind of design pattern that I did for the upper part, a bit of curved lines. So this kind of simple pattern or design. And for some of the section, I'll be completely filling it with a black. I'm using this black to feel the region to sew a clear distinction between its foot and the staff. For some of the regions, I'll be completely leaving it with the white and for the other like in here, where there is overlapping, I decided to fill this region with the black to so that leg the leg of this crampus lies behind this staff. Let's add a little bit more black for this region, too. If you want to do a little bit of coloring for the stuff, you can do that. You can use the watercolor, gelpin or acrylic that will make it a little bit more interesting. In here, I decided to cover the section with the black. Let's make this region a bit more darker. Now I'm just overdoing it. But yeah, with these, we are done with the stuff that this Crampus is carrying. Me lines to make some of the wegians look a bit more hairier, like in here, too, adding more lines so that this side is hairy, too. Small brush is too since only a small portion of this is visible. Making the lower portion of itself a bit more darker. With this, we are done with the lower part of the cramps body. Let's move on to the upper part. We have to still do the coloring for the burlap sap that he is carrying. Before that, let's add the coloring for the ornaments in here, as I was mentioning for the upper and the lower part, a little bit of red. If you want, you can do the coloring for the entire region with the red. You can also use this red for the staff. You can create bit of pattern designs with it. I decided to do a little bit of coloring for the staff with the end. Just filling some of the random section with this red. And with this, we are done with the coloring for the stuff. Let's do the coloring for its nail. Covering the entire section of its nail with the red. For inside of its mouth, too, I'll be going in with the red. With this, we are done with its lower section. Let's do the upper part for its mouth. Here filling filling this red in between the different canine as well as for the inside of its mouth. Instead of using this red to do the coloring, you can also use the black. And with this, we are done with the red for the mouth, the eye. If you want you can also do a little bit of coloring for its soldier, but it won't be looking that good. I was going to do it, but then I decided no. Only for the burlap sap and some of the small section, I'll be using the red. Let's do the burlap sap. This two is going to be a bit repetitive and going to take a little bit of time in here. Once again, I have increased their speed, and as useful, if you want to follow along with me, you can reduce their speed or you can just pause the video. This is the second layer of hatching that I'm doing on top of it. I'll be doing another layer of hatching to make the regions a little bit more darker. I'll be doing another layer of hatching later on to make the region a little bit more darker. Let's make the tail look a bit more hairy. So on both the sides of this tail, I'll be creating this kind of hair like texture, small bras stroke for the entire region. Let's cover the entire region of its tail with this small bras stroke. And The lower part of it still, if you want, you can add a little bit of red that will be interesting too. Making the lower part a little bit more hairier. And yeah, with these, we are done with that t. For this region, let's do a little bit of sading. For this side, making this region a little bit more darker so that the ado casted by the burlap sap is making this region a little bit darker. This region, too. Another layer of hatching on top of this. Using this to do a little bit of outlining. Adding more line for its chest to show a clear distinction between both hands. Now, just beside its face, making the region a little bit more darker, small brass strokes. On this side too, for the upper part of its here to small brass strokes to sow that a little bit of hair. If you want, you can use a little bit of white to do the coloring for the eyeballs. Now I'll be adding more hatching lines wherever I think it's required to make that region a bit more darker or to create a clear distinction between different sections. Let's make the elbow a little bit more broader in here. I decided to make the horn a little bit more darker, so I'm creating another layer of outline for the lower region of the horns. Doing the same thing for this horn, too, making the lower region a bit more darker. Making the outline a bit more distinct to show a clear distinction between its horn and the remaining portion of its back. And yeah, adding a few more lines for the upper part too. Now, add more lines wherever you think it's required to create a bit of seeding a bit more darker regions. And with this, we are done with the silent stalker of the erasing the pencil sketches. Later on, I add this kind of spiral pattern just below its hoof. I also did a little bit of mod siding for the Mlvsap that is carrying. And this is how it turned out the silent stalker of the I'll be seeing you in the next project. 9. Krampus's burden sketch: Welcome to this project Krampus Burden. Let's start with simple saps to create a rough outline for the seep of this Krampus starting with the feas. In here I'm starting with this kind of rectangular see for the feas. Now, let's divide into two different sections. In this circular part, I'll be adding the eyes and nose and for the remaining section, I'll be adding the mouth. Let's do the remaining section. This campus is facing towards us and a bit tilted. So a large section of its back is visible. For the back in here, I'm creating this kind of bit large circular sep, a little bit tilted circular seep like this. This will be the upper part of it body. Now for the remaining section, it's abdomen, back, and that torso, dividing this into further different section, rectangular seep like this and this kind of and then this kind of cylindrical shape, a bit conical cylindrical shape. This will be the hip for our campus. He will have long and strong leg, so this will be the thigh. A bit of elliptical se for its thigh. Feel free to make changes and adjustment to the saves in the side. In here, I decide to make this crampus a bit more muscular and a bit more stronger. I'll be dividing its leg into four different sections. This is the second one. For this section, I created this conical s. Now for the remaining section of foot, this will be divided into two sections. This will be the upper foot. We'll be making this region a little bit hairy. In here, I'll be creating a bit large and monster like foot. Instead of this, if you want, you can add the hoof for the foot, like the traditional depiction, goats hoof for the Krampus foot. But in here, I created this kind of fit and I'll be adding details later on. For now, let's do the second leg, starting with the thigh. Most of the thigh of the second leg is hidden. A bit of conical and bit cylindrical shapes for the remaining section of its foot. So this is how we'll be creating its foot. If you want to make changes adjustment, if you want to make it a bit easier and simpler, you can do that. Now for it's arm So we have got the Krampus left hand. So let's do the outlining for the Krampus hand. This arm is visible in here. I'll be making this arm a bit more muscular. This will be his elbow and the remaining section of its hand, creating this kind of conical same. We'll be adding the details later on. In here on this upper part, I'll be creating its soldier. And if you want, you can create another hand in here. Only a small portion of its hand will be visible. The soldier will be lying behind this chest. Or otherwise, you can create it sand on the other side like this. This vds elbow and the remaining section of Pizzar. So he is carrying or holding the bag, the burlap sack on the back. If you want, you can create a staff. He is holding a larger staff. Instead of the staff in here, I'll be adding the burlap sap. Let's do the outlining for the burlap sap on its back. So instead of the burlap sap, if you want, you can create a basket like this, and initially, I was going to create basket like this and burlap sap on its hand. But then I decided to create burlap sap. So if you want, you can follow along with this and create this kind of basket. Otherwise, you can just follow along with me and later on we'll be converting this into large burlap sap. In here, I'll be creating two children. He's carrying two children. I'll be making the both children sleepy. Instead of this, if you want, you can add another things inside the lap sap or the basket. Making it seem a bit more thicker. Let's do the detailing for its head. So horn creating its ears, this kind of pointed ear and for the horns. Are we making the feas a little bit larger? This is just rough This is just a rough sep that I have created. Extending the feas a little bit more. Making the horn a bit more broader. With these with the basic shapes for the Krampus body. This is just as simple a sketch. We'll be adding more details later on, and I'll be seeing you in the next video where we'll be doing the outlining. 10. Outlining with black and red: Welcome to the second part. In here, we'll be doing the outlining, and I'm using the breast paint to do the outlining, Tombos breast pain. Instead of this, if you want, you can use the normal ballpoint pen, gel pen or fine liner. Instead of that you'll be creating a bit thicker and bit darker lines to create a little bit of contrast in here. Right now, I'm starting with doing the outline for the horn, and I'm creating this kind of bit broken lines to do the outlining. We'll be using this kind of broken lines to create a little bit of rough taxia for the entire section of its horn. I'll be trying to create a little bit of three dimensional C for the horn. I'll be dividing into two different sections, and for those section, the lower parts and the upper parts, I'll be dividing into different sections. I'm not able to really convey what I meant to say, but you will see what I mean to see when we'll be adding more details. This is just a outlining. This is just a normal outlining, defining the seeps and giving it a little bit more volume. When we will erase this pencil sketch, then we'll be adding bit more details using bits of sading a bit of hatching and adding texture and patterns. Let's do the outlining for its face, making this region a little bit more curvier. In here, I'll be creating its eyebrows, extending this below it will be creating its eye socket. In here, I'm creating a bit smaller eyes. If you want, you can make them eyes. If you want, you can make the eyes bit. You can make the eyes bit more larger. Now, let's do the nose, starting with the VC for the nose and now making the nostrils. So he has got big nose. And to make it a little bit more sinister, I'll be adding more detailing in the form of a little bit of shedding and hatching later on. And to create a bit of rough texture for the entire face and to so that there are hairs covered in here, as well as it's looking a little bit leather like and rough. To do that, we'll be adding lots of lines, small and large lines to create that kind of exhausted, tired and scary look. Creating its cheek and the mouth. This is the mouth. And here I'm swing that its mouth is open, and inside the mouth, will be filling it with the large canine teeth. If you want, you can also create a large tongue coming out from its mouth. This will be his beard. Now let's do the outlining for its mouth. On both sides of its mouth, as well as just beside its chin and the hid. I'll be adding lots of hair later on. For the section where we want to draw a tension, use a little bit of thicker line to make that region a bit more bolder and to create a distinction in between different section. In here, I'm creating this kind of canine teeth. For the inside in here, I'll be filling it with the black. Instead of the black, if you want, you can go in with the red. So completely filling the entire region with the black. If you want, as I was mentioning, you can still add the large tongue coming out from its mouth. Adding few lines on both sides of the checks to make it a little bit hairy. Adding a bit more lines for the upper part of its skull, the head. Now for its hot, as I was mentioning, I'll be dividing into two different section so that this is a little bit three dimensonal dividing into two different section. Adding this kind of hatching lines to so that there are different section in this horn. For the entire region, we'll be creating this kind of line for the horn. Earlier, we used a bit of broken lines to create the outlines, make those lines a little bit curvier so that they are different section of the horn. And for some of the sections we'll be adding a little bit of shading. With this, we are done with the outlining for the first horn. Adding a little bit of seeding in this side, just below the second horn. Now, doing the same thing in here too, dividing this into different section, a little bit of broken lines, a bit of hatching lines, following the conto the curve sweep of the horn and adding the lines in that way. If you want to do the coloring in here, you can use a little bit of gray for the sides of the horns. So for both the sides, you can do a little bit of shading with the gray, a small streak of the breast paint to do the coloring for the gray if you want. Making the sides a bit more curvier. So with these we are done with the basic outlining for the face of this campus. We'll be adding here later on. For now, let's move to its rest of the body. We'll be creating this kind of here. So this is a soldier. Per part. Now, in here, I'm defining the outline for that soldier. For the upper part, we'll be adding a bit more lines to make that region a bit more harrier. And for the remaining section, we'll be following the we'll be following the seep of its body and adding the here in that way to create the hairy texture for its entire body. Adding a little bit of tiny strokes, creating a bit of tiny strokes for the sides of its face to sew a little bit of hair. This is the first layering for its hair. We'll be adding a bit more layers of the hair later on. Just besides this horn, doing a little bit of seeding. To make this project a bit more vibrant and a bit contrasting, in here, I'm using the red for the burlap sac, creating the outline for the burlap sac. In here, we'll be creating the rope like texture that I saw during the demonstration video making the rope a little bit more thicker and a bit more detailed. Instead of using the red if you want, you can only use the black to do the coloring and outlining for the entire section. Erasing the rough skies that we did for the children. I'll be making a little bit of adjustment. Insert that the ink has dried and then lightly erase the pencil marks. Ink is going to create the basket, but later on decided to create large burlap sap. In here, I'll be creating a bit of different kind of outline for the children's, and I'll also be changing a s for the burlap sap. If you want to continue with this kind of basket set for the burlap app, you can proceed with that. Create the outline for the children once again. I creating children is a little bit trickier, you can create other things inside it's Blap sap. This is going to be a little bit trickier. I'll be trying to fit two children in here. The plan was to create three or more children, but then I gave up on that idea since it was going to be a little bit difficult. I'll be creating the outline for two sleepy children in here. The both children will be a little bit sleepy. This one is wearing a cap. Second one. For the second one in here, I started to create a little bit of droopy head. Then later on, I made a little bit side view of the face. If you are going to create the children inside the Map saps, you can create any kind of children facing in any way as C fit or otherwise, you can just simply follow along with me and create this kind of bit simpler and create this kind of bit simpler faces for the kids. Let's do the outlining for the faces of the kids. For the second one, I created a bit of conical hand and a bit of whimsical face. If you want, you can do the outlining for that, instead of that. But instead of that, I'll be turning into the side view of the face. Creating a little bit of pattern for the lower part of the cap. Oh You can create any kind of texture pattern as you see fit. You can also use the red to do the coloring. This kind of simple hatching lines to create the pattern for the top of the cap enough for the remaining section of its body. Only a small portion of its back is visible in here. The other will be inside the Blap sap. Uh doing a little bit of hatching for its back. So this is our first kid. Now, let's do the second one. So he's wearing a jacket. A small portion of its hand will be visible too. Instead of creating two children, if you want, you can only create one children too. In here, I made a little bit of changes, as I was mentioning, I'll be sewing the side view of the children, and I won't be adding the cap on top of its head. Feel free to make adjustment to your sketch and do the outlining as you see fit. Only a side view of its face is visible and he's a little bit slippy. So both the children are a bit slippy for the entire region of its head, covering it with scribbling lines. The second child does not come out the way I want it, but it's okay. Now let's do the remaining section for the burlap sap. I'll be adding the eyes, nose, and the mouth later on. For now in here, I'm just doing the outlining for the Burlac sac. A A large burlap sap that is scaring the two children. If you want, you can continue with the basket. But in here I created this large burlap sap. The other side of the burlap sap. And we'll be using the hatching lines, but curvier and broken hatching lines for the entire section. The rope tied around this burlap sap. Let's create the rope like texture for this one, using the hatching lines for this entire region. So for the both side of this burlap sap, on its back, the Krampus back, I'll be creating this kind of hatching lines. I see that the ink that you are using is dried up, and then you rease the pencil marks. I'll be doing the outlining of this project in different sections. We started with a peace, then did a little bit of outlining for that soldier. And in here, we did the outlining for the two children and the Mur lap sap. And now, I'll be adding a little bit of detailing for the Mur lap saps and the ropes, doing another row of hatching in here. Simple straight lines close to each other. And now for the outlining, making the outlines a bit more darker. Making the outlines a bit more darker, doing the same thing on this other side. Making the outlines a bit more darker and bolder. Now for the rope in here. In here, we are creating a bit more detailed kind of rope. Instead of this, if you want to create the same kind of rope that we created for the back. Inside this we'll be using a little bit of hatching lines to add the detailings. Well now, let's continue with the entire section with this. In here, instead of using the red, you can also use the black for the ropes. And instead of this single rope, you can create multi pelmls too. And for the insides, we are doing a little bit of sading and a bit of hatching. Using this hatching lines to the sating for this rope, the outside region as well as the outlines are a bit more darker, doing a little bit, adding a little bit more red for those regions. And with these, we are done with this rope. Now let's do the remaining section, starting with the upper part of this Mrlapsap in here. We'll also be creating the texture for the robe. Right now we are doing the outlining. Later on, I'll be coming back to add the texture for the robe. We now, let's create the texture for the remaining section of the burlap sap, creating this kind of bit darker and bit bolder outlines to sew the folds for the Mrlapsap adding a little bit of small lines for this region, too. In here, creating this kind of bit more broken lines following the carp sweep of this upper part of the row. Yeah, we'll be adding this kind of line for Ola lines we created to sew the folds for the Mr lap sap. And for the remaining section, we'll be using the hatching lines to fill the bulla sap. Using this kind of bit broken hatching lines. For the regions near the rope, we are creating a bit smaller lines. And as we move away from it, we are increasing the sizes of the hatching lines. Let's do the texture for the rope in here. Simple rope in here, simple kind of rope. Instead of this, if you want, you can treat the other two kinds of rope that we have created. Move to the second rope in here. Adding few more hatching lines in here. Make the sides and the folding regions a little bit more darker for the remaining section of this Mr lap sap. For the remaining section of this burlap sp, we'll also be creating this kind of lines to sew the fold for both the region, the lower side, as well as the region just below the robe. And then we'll be using a lot of broken hatching, as well as sending to do the coloring, a little bit of coloring for the burlap saps, as well as we'll also be making the outlines of the burlap subs a bit more darker. And since this is going to take a little bit of time, and this is a repetitive process in here, I've increased their speed. If you want to follow along with me, you can reduce the speed or you can just pause the video. For the region just below the rope as well as for the bottom section, we are starting with a bit smaller hatching lines, and as we move away from it, we are making the sides of the hatching lines a bit more larger. As for the lower regions and the outlines, as I was mentioning, we are adding more lines to make the regen a bit more darker to act as the outlines with these we are done with the outlining for our Blaps up as well as the hatching and the seeding. Moving to the remaining section of this campus, doing the outlining for the soldier and filling the rest of this region with the hair using this kind of small hatching lines to create a texture for the here. The region behind its horn as well as its head should be a little bit more darker. So do a little bit of seeding on those regions to make that pigeon bit more darker and a bit more distinct. Now moving on to the solar, doing a lot of hatching to create the hair like texture for the entire region of the solder. Following the same the conical C put soldier and adding the lines in that manner to make the form a little bit more three dimensional to give it a little bit more volume. This is our first layer of siding. This is our first layer for the here. We'll be adding one more layer on top of it to make the upper part of the soldier a little bit more darker. Now for its back, we'll be adding the here in two different sections. One will be facing on the right, other will be on the left, like this. We'll be leaving a little bit of space in between. Doing a little bit of seeding in here, two or three layers of hatching lines to make the region a bit more darker. Adding the lines a bit more carefully near the face for the children. And I'll be covering up to here in this video, and I'll be seeing in the next video, we'll be doing more outlining and completing this project. 11. Adding hairs: Let's continue where we laptop. In this video, mostly we'll be doing outlining and creating hairy texture for the entire body of the campus. We'll be starting with small strokes and then we'll be increasing the size of the strokes. Mostly we'll be doing the hatching lines, a bit curved hatching lines. And for the regions near the outlines section, we'll be adding a bit more lines to sew the sados also for the different parts of its body to sew a clear distinction, like for the soldier in here, the stomach, the torso for all those regions, we'll be doing two or three layers of the hatching to create a little bit of sados L in here, just below its soldier, I added a few more lines to sew a clear distinction between its soldier blade and the remaining section, the chiste We'll be doing the same thing for the entire section. We'll be wearing the intensity for some of the sections, otherwise, covering the entire section, the upper part of its body, and most part of it with a hair like texture. Here I created this kind of small hatching lines to add a little bit more detailing for its torso and the stomach. Now let's do the outlining for the cloth. He's wearing this torn and ragged cloth around its waist. I'll also be creating two chains linked to it. Doing the outlining. I'm making the outline of this cloth a little bit larger. Feel free to make changes and adjustments as you see fit. Here too, we'll be creating this kind of line to add a little bit of texture to sew the folds in the cloth. And these are the two chains hanging from its hips. At the bottom, I'll also be creating simple handcuffs attached to it. These are optional. If you don't want, you can just leave it as it is. With this, we are done with this. If you want, you can use the green colour to do the coloring for this one. Very simple and basic seats for the handcuff. For both the upper and the lower part of the handcuff, do a little bit of hatching and a bit of seating to sew shadows but present in the top and the bottom of the handcuff. And now for the entire section of its cloth, we'll be doing a little bit of hatching, wet of card, hatching lines, a little bit of seeding. Before doing that, let's do the remaining section, the upper part of its body, the torso. In here, I'll be decreasing the intensity of the lines a little bit. The upper part will be a bit more darker. The lower button here is a bit lighter. Make the outline of the clothe tied around it's a bit more distinct. Creating folds for the clothe, a darker and a bit more broken lines to create the folds. In here, apart from the hatching lines, I'll also be creating this kind of small dots like pattern. These are optional. If you don't want, you can just only do the hatching lines. We'll be wearing the length of the hatching lines, a bit curvy hatching lines. For the upper and the lower part will be adding a bit more lines and for the middle section, a bit less lines, fewer lines for the middle section. Simple dot like pattern. Now let's do the hatching. More lines for the bottom section. I'm also wearing the sizes of the lines for the lower part and the upper part, I'm starting with the smaller lines, and as we move towards the middle, I'll be increasing the size of the hatching lines a little bit. If you want to make this a little bit more detailed, a bit more darker, you can also do the cross-hatching for some of the sections. Is that the ink that you are using has dried up and then do the erasing. Otherwise, there are chances that the ink might smudge. Now let's do the outlining for its thigh. I'll be coming back to it later on to add a little bit more detailing, small section of its cloth on top of its thigh. Now, let's add more lines to make it a little bit more darker. Create the kind of lines and a little bit of clothes that is hanging from the remaining part, making the side a little bit more broader. In here, I'm using a little bit of grade to create somewhat of distinction between the handcuff and the rest of its cloth. This is Optional. If you don't want, you can just leave it as it is. Doing a little bit of seating for the regions near the handcuff and the chains. We will move on to doing the outlining for the remaining section of its foot. For its thigh, I won't be doing the hatching or adding hair. If you want, you can cover the entire body with the hair, but I'll be keeping the thigh and the upper part of its in bits clear and bit lighter. I'll be doing a little bit of hatching in here to sow the different muscles present in the foot. Here we have got a muscular campus. Now, let's do the remaining section of its foot. Make this region a little bit broader. Mostly in here, I'm doing a bit of broken lines. Later on, we'll be covering most of the lower section of this here. With these, we are done with the outlining for the first foot, a bit rough outlining. Sorry, the lower portion of the foot is not visible, but you've got the rough idea how you can create it. Make this region a little bit more darker for its knee, a little bit of hatching. I'll be adding the hair, starting from here. For the upper part of the in, make the hairs a bit smaller, and as we move away, we'll be increasing the size of the lines as well as doing somewhat of uniform hatching for the entire section of its remaining foot. For the outline section to add a little bit of more defined strokes so that the hairs are sticking out from both the sides. And yeah, we'll be covering the entire section of its foot, the remaining section with this. If you want, you can also cover the upper part, the thigh, the knee, and the upper part of its in. So this is the kind of foot that I created. Only three finger of the foots are visible, and I also created claw coming out of it. Instead of this, if you want, you can create the hoof goats hoof, the traditional kind of food for the Krampus. For the foot in here, I'll only be adding the lines for this section. Only a small portion of the foot will be covered with the hair. In here, I'm creating bit smaller strokes for the hair texture. A little bit more hair to make the outline regions a bit darker, a bit more distinct and so more hairs. With these we are done with the first foot for the camps. For the second one, I'll be using a bit of hatching lines for the upper part of the thigh in here. Since this is covered in Sadows, I'm just doing simple hatching lines to cover this entire section. Instead of this, if you want, you can fill the entire section with a hair, but I decided to make this region bit darker and do simple hatching lines to do a little bit of sading we'll be creating the same hair like texture for the entire section of its foot. In here, I'm just doing simple hatching lines for the middle section, and mostly for the edges and the sides and near the outline regions, we'll be creating hair black texture, making the lines a little bit curvier. Since this is also in the sados upper part of its foot, that's why I did a little bit of hatching lines. Make this region a little bit darker. And just below its first thigh to make the region bit darker to sow a clear distinction. The two different thighs, as well as the shadows cast by the first thigh and the upper part of its body, doing the outline for the remaining section of its foot. The lower part of its foot is a little bit bent. Creating very simple food for it, adding the claw, only one claw is visible in here. Only one finger of the foot is visible in here. Defining the outlined section for the higher texture. And yeah, we will be filling the entire section with this small brass stroke to create a higher texture. Since this is your repetitive process and it's going to take a little bit of time in here, I've increased the speed. If you want to follow along, you can pause the PD or you can or you can reduce the speed. So with this, we are done with the upper part. For the fingers in the foot, I'll be creating these kind of small lines and doing a little bit more outlining to create a bit more molder outlining. Now let's move on to the pace. For the face in here, we'll be adding more texture, more lines to make it a little bit more hairy. So for both the sides of its face, covering it with here, a bit smaller here, a bit smaller here and a bit curvier. Adding more smaller strokes, a bit curvier strokes for the here on both sides of its checks. Adding a little bit of this kind of line just beside the nose for its head, too, a little bit of hatching lines, a bit of scribbling to fill most of the region of its head with the lines extending this here for the upper part, too, doing the same for the skull, the upper part of its head. With this we are done with here for its face. Now, let's do the remaining section, it's arm. Here we have got a muscular arm. The lower part of its hand will be wrapped in cloth. But if you want, you can read the hairy texture. Starting rough outlining and I won't be adding the here for this section, the middle section. In here, I'll be sewing that the hand is wrapped in the cloth. We'll be creating these kind of lines, a little bit of carb hatching lines. Make the outlines a little bit ragged. Now let's do a little bit of seating using the hatching lines. Some of the lines are a bit larger, others are a bit smaller. With this we are done with the spot for the remaining section in here. In here, if you have a spice, you can create the wooden staff. You can create any kind of design or pattern for the wooden staff. Since I don't have that much spice in here, I won't be creating it. Instead of this. Instead of that, I'll be creating another large burlap sap. For this region in here, create the taxa for the here, the lower part of its hand is covered in here, but since it's wrapped inside the cloth, it's not visible. But for this region, ith be a little bit visible. Oh in here, once again, I'm going with the art to do the outlining for the burlap sap. You can design any kind of burlap sap. You can create a staff or any other thing it's holding, it's your choice. In here, I decided to make the bur laps up a bit larger and we'll be doing the same thing, making the outlines a bit bolder, creating fold by adding two or three lines to make the folds bit more distinct, bit more bolder. Then doing the hatching lines to do the seeding as well as being the entire section of the burlap sap with this kind of lines. Now for the lower region to create folds. This is just rough outlining, we'll be adding more lines for the outlines as well as the folds that we have created. But this two is going to be a repetitive process. So in here too, I have increased their speed. As you can see, I outlined the regions a little bit more to make it more distinct. And now for the remaining section, we'll be doing the hatching lines, bit curb hatching lines, curved broken hatching lines to feel the entire region first and then we'll be doing a little bit of seeding for the lower regions. I'm also wearing the sizes of the lines. For the middle section, we have got somewhat uniform lines, and for the lower section, we have got bit larger than a small one or indeed a little bit of seating for the lower region to make it a bit more darker. And with this, we are done with burlap sap. Adding the red for the remaining section of its eye. If you want, you can also use a little bit of red for its horns. For the clothes tied around its hip, I'm using the red. If you don't want, you can just keep it as it is. With this, we are done with the red. If you want, you can add more red anywhere you want. For this section, as I was mentioning, making it a bit more bolder, adding more lines in here to so that it's a little bit more hairy as well as to create a clear distinction in between its back, its chest and the soldier. Also be adding more lines just behind this burlap sap to make it a bit more clear. A section of its abdomen and the back is covered by this MrLpsap. That's why this ports, the torso in here is looking quite small and quite thin. And if you want you can do a little bit of more shading for some of the regions to make them a bit more bolder, a bit more darker. In here, I decided to do a little bit of mod sading a bit more curved line for the beard and the hair like texture. Now for its mouth, creating this kind of small broken lines to add a little bit more texture for it, a bit of ragged and a bit of ragged mouth. And with these, we add with the mouth now for the kits in here. I'll be creating very simple facial feature, both the kits are being sleepy. If you want, you can create another kind of facial feature for the feces. Also, if you want, you can do the coloring for their clothes. Now let's do the outlining. Very simple outlining, eyebrows and closed eyes. Simple s for the nose and very simple mouth. Doing the same thing for the second one, starting with the eyebrows, closed eyes, and very simple mouth. A bit more detailing for the ear, simple dot. Adding a little bit more detailing for the clothes for the second kid. Creating this kind of baton Ts are optional. If you don't want, you can just keep it simple. You can also do a little bit of sading for one side. We are done with the outlining for the kids, add more details wherever you think it's required, lightly erasing the pencil skit, Insure that the ink that you use has dried up. Now, we'll be adding more detail for the regions wherever it's required. If you want, you can treat it second hand. Per part of its hand won't be visible. It will be lying behind its chest, but the lower section will be visible. If you want, you can create lower section of its hand and its palm and in his palm, he is holding the staff or anything else. This is optional. If you don't want, you don't have to do this. This is how you can proceed with creating the outline for it. You can also create a staff in here. It will be a bit trickier to adjust it, but if you want, you can proceed with it. I'm just showing you as an example. If you want, you can do that. I'll be keeping things a bit simpler, but if you want, you can proceed with it. In this way, you can create the staff. Instead of stuff, you can also add another Burp sap that is holding. Instead of creating its second hand in here, you can also create the second hand on the other side as I showed you in earlier sketch, the first video of this project. The staff, you can also so that it's holding a spear or something more weapon like. This is just a rough idea that if you want, you can proceed with it. I won't be doing this. And we are almost done with this project, Krampus Burden. If you want to add more highlights, more detailing, more sketching, more sading, you can do that. Making the eyes a little bit more darker. Small, a little bit of red for its nostril, too. For the upper part of its gum, upper part of its mouth, the gum, I decided to add a little bit of red. Yeah, we are done with it. I'll only be adding a little bit of highlights if required. I hope you enjoyed painting this campus. And I'll be seeing you in the next video. 12. Warden of the jungle sketch: Welcome to this project, Campus, the Warden of the jungle. Let's start with the sketching here I'm using this simple cross section line vertical and horizontal line to create the depth seat for the feats of our campus. The set that we are creating in here is similar to the seep of a mask. For the horizontal line, we'll be adding the eyes and and a little bit just below the intersecting lines. I'll be adding the nose and for the bottom section, I'll be adding the mouth. I'll be making the face a bit more larger later on. And in here, on both sides, I'll be creating large curvy horns. Let's create a rough outline for the horn. Later on, we'll be making it a little bit more detained, giving it making it a little bit more three dimensional. But I'll be creating this kind of large and curvous horn for our Gramps. Let's make it a little bit more detailed and defined. I'll be dividing the horn into two or three different sections so that it's three dimensional and to add a little bit more volume to it. So we'll be creating the horns like this so that the horn is a little bit bent and a little bit curved for some of the sections. Let's do the same thing in here, too. Instead of creating this kind of horn, you can create other kind of horn you can create long and straight horn or you can create bit large and bit more curvier horns, or you can get a little bit more curved and a little bit more bent horn or one of the horn is missing. So you've got lots of options to choose from. Feel free to create any other kind of horn as you see fit. I'll also be creating the ears just below the horn. Large ears, large pointed ears. And we'll be covering the entire grampuspece with large men. So large here, we'll be surrounding it with a large ear. This will be the upper part of its head until here until this section, we'll be creating the hairs, the mean. And now let's create the large pointed ears. The ears will be a little bit droopy along this side, creating this kind of bit curved triangular set for our ear for the ear of the campus. Instead of this, if you want, you can feed other kind of ears, bit large ear or bit droopy ears. Let's divide the face into different sections. This will be the upper portion of its head, the forehead, and in here, we'll be creating the nose. Define and bit detailed nose. In here, we'll be creating eye socket. Just below this one, we'll be creating the eye socket, and I'll be making the face a little bit more triangular in C. As I was mentioning that I'll be extending the side of the feast a little bit. This is going to be the mouth of the crampus. Here we have got sunken chicks. This will be the simple fees for our campus, the warden of jungle. In here, we'll be creating a bit more darker. In here, we'll be doing a lot of hatching lines to create a bit more darker theme for the hair, the hairs for the mean of the rampus create a rough outline for the entire body of the campus, the upper part of the body. I'll only be creating the crampus till it's chest. And if you want, you can extend it a little bit further. Both of its hands will be visible. On its right hand, he'll be holding a staff, a wooden staff, and on its left hand, he'll be holding a bag. And for the right hand and here, we have got a large wooden staff. Don't want to create the hand, you don't have to do this. You can only create up to it. You can only create up to its chest and the hands will be covered by the bearings and the plants that we'll be adding later on at the bottom of the pinch, adding the cloth for the thumb in here. Let's create the rough outline for the Crampus ooden stuff. Here I'm creating wooden stuff. Instead of this, you can create other kind of stuff with different kind of patterns and texture or designs. The bottom section of the stuff won't be visible. It will be covered by the leaves. Now, on this side, adding the hand a little bit lower than the right one. So only a small portion of its finger will be visible in here, too, since he'll be holding a large sack on its hand. I'll be covering most of the section with a here like texture so you don't have to worry. That's why I'm not creating the outline for its arm and the suldier. This is the simple rough sketch for our campus, the warden of the jungle. In here, we'll be creating lots of leaves and small berries at the bottom. And with this, we are almost done with pencil skit. If you want to make adjustment and the changes, you can do that. You can do that. You can make some of the things a bit more bigger, bit smaller and change the placements. So feel free to make changes as you see fit, creating the eye socket for our cramps, making the noes a little bit more detailed. We'll be adding lots of line for its face alongside its nose, eyes, and the mouth to make it look a bit more wrinkled, bit old and bit more lathering to give it that kind of bit grotesque texture to the face. And here, with these, we add with the basic pencil sketch for our grampus. And here I decided to do the outlining on the border, and I'll be seeing you in the next video. Oh 13. Outlining the face: Let's continue where we left off we have already sketched out the rough outline for our Grampa. Now in here, I'm using the Tombos bras being to do the outlining and adding the details. In here, I'll be doing the rough outlining, and then later on, I'll be adding more detailing. Mostly, we'll be using hatching lines, a bit curb hatching lines to create the texture. For now, let's do the outlining for the fees and the horns, and then we'll be adding the detailings for the body, the hands, and the remaining section. For most of the section, I'll be creating this kind of line a bit rough and textured line. So for the horn in here, create this kind of bit textured line. Doing the same thing for this one, too. Still, if you want to make changes to the sap and the sizes of the horn, you can do that. Just roughly going over the pencil and squish that we have created for the outline of the horns. I'll be making the bottom section of the horns a little bit more thicker later on. For now, just do the rough outlining for the horn. With this, we are done with one of the horn. For the second one, I did not did the outlining since I'll be doing the outlining for the staff first and then add the horn. I want to show that the horn is lying behind the staff. That's why I did not outline it. Going over the outline for the stuff that we have created. I decided to make this Oden stuff. Instead of this, if you want, you can create other kind of stuffs, bit more detailed pattern or a bit more textured stuff. I'm creating this kind of groove to add a little bit of texture to this Oden stuff. Instead of this, if you want, you can create a plain and simple staff, too. Making this person a little bit more thicker. And now let's do the outlining for the upper part. I'm dividing the upper part of the staff into few different sections. Now going back to the horns and let's do the outline for the remaining section. With these we are done with the horn and the wooden stuff. Now, let's go over the outline for its face. Creating the outline for its eyebrows and the eyes. If you want, you can create a bit more detail and bit larger eyes. Moving on to the nose, making it a little bit more darker. In here, I decided to make the nose a bit more broader, a bit more pointed and we'll be trying to make it a little bit more grotesque by adding more lines later on. Adding these kind of lines to make the nose appear a bit more thicker. For the mouth, we have got goat like mouth for our cramps, the sunken chicks on both the sides. Doing the outlining on this side. When we are done with the upper part of the fees of our campus. Now let's do the remaining section, the jaw and the remaining part of its mouth. So this is the outline section for the fees of our crampus. We'll be adding lots of lines and lots of detailing later on. Moving on to doing the outlining for the ears. You're going to start with broken lines and then later on add more details. Going over the outline for the second ear. Here, too, I'm using a bit of broken lines to do the outlining. Later on, as required, I'll be adding a little bit of texture and use a lot of hatching lines and do the sealing for the ear to make some of the regions a bit more darker. With these, we are done with the basic outlining for the ear, moving back to the horn. As was mentioning, I'll be dividing this into two or three sections, adding this line in the middle of this horn. Adding this kind of bit broken lines to divide the horn into a different section, create this kind of bit broken and curved line to add a little bit of texture, doing the same thing in here too, creating this kind of bit broken and bit curved line to divide the horn into different sections. Let's move on to the finger. Doing the rough outline for its finger and the thumb. For the thumb, we have got a large claw in here. Now, let's do the rough outlining with this kind of broken lines for the entire seep of its body. We have got triangular seep for the upper part of its body. Another rough outline for the mean. Here we'll be creating the mean for our crampus Now, let's erase the upper part, and then we'll be adding a little bit more detailings in here, I have increased the speed, so that's why it seems that time is erasing it quite fast. Let's take a los look, and we'll be adding a little bit of detailing starting now. Adding the lines for its forehead. So we'll be creating mostly this kind of line to create here texture for the entire section. A bit of curve lines and doing the hatching following the contour of the following the contour of the curvy lines. Instead of doing uniform hatching, I am wearing the thickness of the lines a little bit as well as placing some lines a bit more closer and others bit more farther apart. And for the outline of its body, we'll be creating this kind of bit spiky hair for some of the sections. This kind of bit spiky hair. And for the regions where you want to draw attention, you can just add more lines to make that region a bit more darker and a bit more distinct. Like in here, for this side, on the right, I added a bit more lines to make that region a bit more darker. To source the caos casted by the horn is making that part of the here a bit more darker. Let's do a rough outline for the main of the campus. Rough outline like this, and then we'll be filling the entire section with this kind of lines. Do the rough outlining and then feel it and then peel the entire section with this kind of curve hatching lines. Now let's do the remaining section of its main. This kind of simple hatching lines, but curvy hatching lines. And for different here patches, just in the direction of the curvy lines a little bit and create a cluster of hatching lines, concentrating at a point. I'm not able to properly convey it, but you have got the idea of what I mean to say. I'm creating this kind of hatching lines to create the here texture for the mean of our campus. This is the first layer of the here, and after this, I'll be adding another layer of here. And after this, we'll be creating another layer of hair to make the mean a little bit more thicker and a bit more bossier. Moving onto the other side and doing the same thing. So this process is going to take a little bit of time since we have to create lots of lines. Pase and t. Yeah, just follow along with me and create this kind of line. You can vary the length of the line. If you want to make it a little bit curlier, you can do that, too. Instead of this kind of bit curve line, you can make the lines a bit more curvy or spiral light C and then add more hatching lines to make the mean of this grampus a bit more curlier. And with this, we are done with the first layer of the here. Now let's create second one. The same kind of hatching lines a bit curvier hatching lines and creating these kind of pointed spikes for the end of the hair. And to sew a clear distinction between different layer of the hair, you can make the earlier hair a little bit more darker. For the pointed edges of the hair, you can add few more lines to make it a little bit more distinct and apart, or you can do a little bit of seeding at the bottom section of those hairs. We are done with this left side, moving on to the right side and doing the same thing. Creating he just below the ear. For this layer, as you can see, I'm making the sizes of the here a little bit longer as compared to the first one that we just did beside the face. Feel free to experiment on your own and you can create different length of the here for the mean of our campus. Adding a little bit more lines to make the hair a little bit more thicker and bit more denser, doing the same thing in here too, making the hair a little bit more thicker and denser by adding more lines. Adding few more lines in here, just above the here to make it a bit more thicker. Now, just try to create a definite seed for the mean of our campus, add more lines wherever you think it's required. You can make the mean a little bit more denser by adding more lines, or you can add another layer of here just beside it. But I think it looks fine. I'll be adding more distinction in between the mean and the remaining section of its body later on. For now, let's at the texture for our horn. To create texture for our horn, we'll be using this kind of simple hatching lines and also be doing a little bit of seeding for some of the regions to make that region a little bit more darker or a bit more pronounced. Simply follow the curved sweep of the horn that we have created and create this kind of bit broken hatching lines. And in here on this side, I wanted to so that this is a little bit darker by the sido casted by the upper part of the horn. For the lower section, as you can see, add a bit more lines and a little bit of sading to make that region a little bit darker. Here, too, for the region that you want to make it bit more darker, you can just add a little bit more lines and do a little bit of sdingF the lower section and to create bit lighter section, you'll just have to add lines a little bit more farther apart. Make the middle sexion a little bit more darker. Do the outlining once again wherever it's required to make those region a bit more darker. A little bit of seeding on this side to make it a bit more distinct and a bit more darker. And with these, we are done with the first hot. Let's move on to the second horn. We'll be doing the same thing. Simple hatching lines following this curve and tour of the horn. If you want to make it a little bit more distinct and bit more darker, instead of using hatching lines, you can use the cross-hatching line for some of those section to make that region bit more darker. It will take a little bit more time, but that will make the horn a little bit more distinct, a bit more darker and a bit more pronounced. You can also use scribbling lines to create this kind of sading for the horn. But I'll be sticking with the simple hatching lines to create the sados and a little bit of sading for the entire section of the horn. Like in here for this curved section, I'm adding a little bit more lines to make it bit more darker. Now, moving on to this side, creating this kind of bit smaller broken lines to add a little bit of less texture on this side. Continuing on with adding more lines to add more texture for the remaining part of the horn we have gotten here. Add more lines to the outlined region to make it a little bit more distinct and a bit more darker. And with these, we are done with a half portion of our horn. Let's continue with more lines for the remaining section. For this region, making it a little bit more darker by adding a bit more lines. Here on this region, make it a little bit lighter. I'm adding few lines in here. Oh for the remaining small section, simple hatching lines following this card section, following the curved contour of the horn. And with these, we are done with both the horn. If you want, you can use a little bit more lines to make some of the regions a little bit more darker and a bit more distinct. Let's add a little bit of texture for the face. Simple hatching lines to create this kind of wrinkle and leathery appearance for the face of our cramps. We'll be covering most of the sections with this kind of simple lines in here, just beside its horn, dividing into two different section. And in here, I decided to create this kind of concentric circle like lines we get a little bit distinct from the here line. Instead of doing this, if you want to keep the fees clean and simple, you don't have to add this kind of line and you can keep the fees simple simple and clean with minimal lines. But I'll be creating this kind of leery and gots look for our cramp. So I'll be creating this kind of lines for most of the section of its face, making the eye socket a little bit more distinct by making the outlines a little bit more darker. When you are adding this kind of lines for its face, just ensure that you are not adding it in the same manner that you added it for the here. What I mean to say that the direction of the lines would be a little bit different from the direction of the lines we use for the here. Now for its nose, creating this kind of lines. Eatery appearance for one side of its nose. On the left side, add a bit more lines so that this region is a little bit more darker. And on this side, creating these kind of small lines to do a little bit of seeding for the upper part of its mouth. Let's let's cover it with this kind of hatching lines parallel hatching lines for this entire region. And yeah, these, we are done with the upper part of the piece of our Krampus decided to make the eyes a little bit more distinct, adding few more lines just below the eye. And now for the remaining section, the sunken part of the cheek of the crampus make these lines a little bit more darker and a bit more distinct, and then we'll be covering the entire section with the hatching lines. So parallel curved hatching lines. So with this, we are done with the check and the jaw line of our campus, dividing the mouth into two different section in here to creating these kind of small lines to make it a little bit more darker and a bit more distinct and following the contour of the jaw line and extending it to its face. And with these, we are done with the face for our campus. If you want to add more lines, add more details, you can do that. Yeah, I'm satisfied with how it turned out. Let's do the detailing for the ear. Here I've already started reading this kind of round and curvy lines to make the ears outline a little bit more distinct and a bit more textured. For this region, let's do a little bit of hatching to so that this region a little bit more rounder or a bit more curvier, creating this kind of bit slanted hatching lines. Now for the remaining section, making the outline a little bit more distinct by adding more lines in here. So the upper part of the ear, make it a little bit more distinct. And now for the remaining section, I'll be completely filling with this kind of curved hatching lines. And for the upper part, I'll be doing a little bit of shading by adding more lines. For now, just add the lines following this curve scene. Adding these lines in here too. And for this upper part, add another pair, a more lines in here to do a little bit of seating, simple parallel lines, simple parallel hatching lines to make this region a little bit more darker. For the remaining section, the upper part of the ear, adding more lines, following the curved seep of the here. Lower part of the ear a little bit more thicker and adding this kind of bit curvy lines to make it a little bit more texture. And with these we are done with this first ear, moving on to the second word, we'll be doing the same thing. Put the ear apart from this. If you want, you can add multiple or single earrings. You can also create torn and ragged ear or some part of the ear is missing. Continuing on with creating this kind of line following a sep of the ear. And with this, we are done with the upper part of the ear. Make the lower part a little bit more texture. Now on the same thing, are we hatching lines, filling the entire section with the lines, and then we'll be doing another layer of hatching lines to create a little bit of sading. Doing a little bit of sading on this side. For this ear, I decided to make it a little bit more darker to sow the cadocastd the staff and the horn is making the ear a little bit more darker. And with this, we are done with this second part of the video, and I'll be seeing you in the next video. 14. Creating hair and leaves : Welcome to the third part of the project. In here, I'll be. In here, we'll be creating most of the texture for the remaining section of it Swati. Here I've already started with creating the rough outline for the here like texture for the remaining sex bots body, this kind of random saves a bit pointed random seep for here for the entire sexanabots body, doing the same thing on the side too.This kind of sieves to so the here. We'll be doing the same kind of thing that we did for the mean of the Krampus phase. Just add random this kind of here for some of the section and later on we'll be making a little bit more defined following the seep of the here that we have just created. Create a rough outline for the hand of the Krampus. You don't need to create the entire section, only a small portion of its hand. We'll be covering the rest of it with a hair. We'll be creating this kind of hair? We'll be creating this kind of here and doing a little bit of seeding and hatching. And to create a clear distinction between the he of its body and the here that we created for the mean, we'll be doing a little bit of seeding like this for the region just below the man that we have created, we'll be adding lots of lines and doing a little bit of hatching and a little bit of sading like this to make those region a little bit more distinct and bit more clear. You've got the rough idea what a mean to see for the outlined section of the mean that we have created, simply adding more lines and making those regions a little bit more darker. You can just start going over the outline with the kind of small lines to do a little bit of siding to create a clear distinction between the mean and the mean of the crampuspece and the remaining section and the remaining here that we'll be creating for its bonning and after doing this, I'm just creating the same kind of hair that we did for the pace. Just create some random seed for the here and then following that small seed that you have created, just add more lines to make that here a little bit more thicker and a bit more detail defined. As you can see, I use a small seed and for the entire section, I just added more lines to create the hair like texture for the remaining section. And for the empty spaces in between, just add more lines, following the curb seep and just fill it entirely with it. We'll be doing the same thing for the entire surface. We'll be doing the same thing for the entire section. We'll be doing a little bit of seeding beside the man that we have created, and for the remaining section, we'll be creating the here like taxie. Start with creating this kind of small and large seeds for the here and then fill the entire section with the hatching lines. And as for the area near the mean, just do a little bit of seeding and create this kind of bit darker outline. For the Ear two, if you want, you can add a little bit more outlining to make the ear a little bit more darker. This process is a bit repetitive and it's going to take a little bit of time. Also change the direction of some of the hires to make it a little bit more distinct here too, for the upper part, making the outline of the mean a little bit more darker by just adding more lines. Basically, we are just filling the entire section with the black for the here near the main. With these, we are done with this section. For some of the section, make the outlines a bit more bolder to sow the different strands of here that we have created. Now in here too, is using the simple saves that we have created and creating large strands of here, following that curd sieve and using hatching lines and to create a bit more bolden and bit more dustin region just add more lines on those regions. This process is quite simple and easy to do. In here, I decided to do the outlining for the mean first and then we'll be covering the remaining section with the here like texture. Adding a lot of black near the mean, and then we'll be creating the here simply, just like this. And for the empty and the middle again just filling it with a curved line following the seep of the here strength that we just created. Now for the bottom section in here, adding more blacks to make it a little bit more darker. And with this, you can clearly see that we have created a clear distinction between the face and the remaining section of its body. The mean in here that we create is quite bold and quite different from the entire section. And now mostly I'll be creating this kind of here strands and just do the hatching lines to make it a little bit more darker, a bit more bolder. If you want to create a little bit more detailed here, you can use a bit more thicker paints. You can use a bit more thicker breast paints or more thicker fine liner. You can start with a thicker fine liners to do the outlining and for the insides, you can use a bit thinner or normal fine liner or the brass pin. In that way, you can add a little bit more variety to the hair of the Krampus. Adding it for the remaining sexon just above the ear. And with this, we are done with the upper part of the cramps. Now for the remaining sexan just below the ear and beside the staff that we have created, filling this region with simple hatching lines. Make the outline of the ear a little bit more darker. Adding more lines in this region, too. Create simple pointed edges for the here streaks and then add more lines following that curd sp. I decided to add a little bit of detailing Wood green textire for the wooden stuff. Let's do that, creating this kind of mid broken lines following the street, following the curd seep of the wooden stuff, and also make the outline a little bit more wolder and a bit more darker to create a clear distinction between the body of the Krampus and the wooden stuff he is holding. Moving on to the upper part. Create this kind of green texture for the bodun stuff that we have in here. For this region in here, I decided to create this kind of circular or spiral pattern. And for the remaining sexton I'll be doing this simple bit curvier and normal hatching lines. Make some of the regions a bit more bolder and a bit more darker by adding a few more lines, especially the regions near the horns and the here. Making this region a bit more darker beside the horn that we created. I was not able to record the upper part, but I added more lines for the remaining section of the stuff. You have got the rough idea and you can create with simple kind of pattern with the hatching line for the upper part too. And with this, we are done with the upper section of the wooden staff. Now, moving back to the here. Once again, we are going to do the same thing, following the curved set with the hatching lines and filling the entire section with the here strands. Divide the entire section of its body into different section. In that way, you can make this process a little bit more easier and you can create a little bit and you can add a little bit more variety to the different hair strengths that you are creating. In here, I decided to speed things up since it's going to take a lot of time and the processes are quite repetitive. For our hands too, I just did the same thing, same simple thing, adding this kind of bit broken and curvy line following the cylindrical sip of the finger. Let's add the here for the entire region. If you want to follow along with me, you can just pause the video or you can reduce the spin. Now, this is in normal spin. In here for this lower region of the wooden stuff, I decided to create simpler pattern. And for these lines, I decided to make it a little bit more thicker. So for some of the lines, I'll be adding two or three lines to make those regions a bit more darker. And this is in normal spin. I decided to do the outlining for the berries with this red hail pen. I decided to do the coloring for the berries in here to divert your attention so that you don't get bored with creating simple lines for the hair texture for the grampus body. You can vary the seeds and sizes of the berries that we have created here you can increase or decrease the number of the berries. For most of the section, the lower part of this illustration, we'll be creating this kind of holly leaves. So create as many leaves as you want. We'll be making the outlines a little bit bolder and bit darker later on. And here, too, we'll be using lots of hatching lines. We won't be doing the seeding, simple hatching lines for the entire section of the leaves. If you want you can leave this section a little bit clear and create the burlap sap that the Krampus will be holding. Or instead of that, you can just follow along with me and uncover these regions with lots of leaf. These leaves are optional. If you don't want to add this, you can simply create the hair for the entire section. A. I decided to do the outlining for the fingers so that I don't create hires or the leaf on top of it. Using the red paint to do the outlining for the burlap sap that he's holding. Only a small portion of this will be visible. Now, let's create the outline for more leaves. For the mid ups, I'll be adding thicker lines to a clear distinction between the two halves of the leaf. I'll also be wearing the sizes of the leaf a little bit for the larger areas, alvegrating bit larger leaves and for the smaller areas, alvegating bit smaller and alvegrating bit smaller leaves. You can start creating simple branches, and on top of it, you can add the leaves. Instead of creating this kind of leaf, if you want, you can create other kind of leaf. And you can also add berries among the leaves put other sects into. In here, I only added the berries at the middle portion. But as son if you want, you can add multiple berries at multiple different sections. Since this is going to be a repetitive process, in a, once again, I have increased their speed. If you want to follow along with me, you can pause the video or you can reduce their speed. Small and large leaf for most of the section. Basically, I'll be trying to create the entire bottom half of this illustration with this kind of leaf. But for the upper part, I'll be adding the leaves, but most of the leaves will be quite smaller and there will be a lot of spec in between different leaves. And with these, we are done with the outlines for the leaf. And now I have decreased the speed to the normal and we'll be creating this kind of simple hatching lines for the texture for the leaves. Simple hatching lines following the seep of the leaf. Instead of this, if you want to create other kind of texture or pattern, you can do that. You can divide the leaves into different section. You can add a bit more detail, define veins coming out from the mid ribs. This toe is going to take a little bit of time and this process is repetitive, so be present and just add kind of lines. If you want to make the outlines of the leaves a little bit more distinct, you can add more lines for the outer regions of the leaves that we have created to make the distinction bit more clear between the leaves and the hairs. Once again, in here, I have increased the speed since the process is repetitive and it's going to take a lot of time. If you want to follow along with me, you can pause the VD or you can just reduce the speed. I'll be adding the lines for all the leaves that we have in here, simple hatching lines following the seep of the leaf. If you want, you can also do a little bit of sading for some of the regions. I won't be doing it. I'll be keeping it quite simple. To add a little bit more characteristics to the leaves, you can add a little bit of sding and to make it a little bit more bolder a bit more darken, you can also use a little bit of cross-hatching. So you can do a little bit of cross-hatching for the lower part or on one side of the leaf. And as I was mentioning, if you want, you can add multiple berries or a few berries in between different leaves that we have in here. We have got only a few leaves remaining five or six. So yeah, let's continue with creating this kind of simple hatching line for the remaining leaves. And we have got only two leaves, and I have decreased the speed, so let's add the hatching line for the remaining two leaves we have in here. And with these, we are done with all the leaves. All that is left is to create the he like texture for the remaining section of the crampus body. By entire sexton, I mean, we'll have to add the lines in between the leaves that we have created. Let's be patient and read more lines following the seep of the strand here that we have created. I decided to feel the empty spaces in between different leaves with these kind of blinds and make a bit clear distinction between the leaves and leaves its stem and the rest of the section the heat from the Krampus body. So filling the entire region with this kind of bit curvy hatching lines and making some of the regions a bit more darker with sding to sow a little bit of cado casted by the leaf. Cadose casted the leaf has made this region, the lower part of the Krampus body a bit more darker then we'll be extending this sadose and the hatching lines that we have created and merging it with the hair line that we are creating for the remaining section of the crampus body. Once again, here, I decided to increase the speed since this is a repetitive process. So we'll be feeling the entire section for the cramps body with this kind of hatching lines. For the upper part, the process is quite simple, but for the remaining section, the section in between the leaves, we'll have to add a little bit more detailings to a little bit of seeding to so here distinction in between the leaves and the here and also to create a little bit of sados the cado casted by the leaves on the here to make those regions a bit more darker. Doing a little bit of seeding in between the berries that we have created. On this side, too, I did not add the hair, so creating some random strokes of the hair and then filling the entire region with the kind of hatching lines. This will start with creating random streaks of hair and then fill the remaining section with the hatching lines. You can clearly see by doing a little bit of sading for the regions in here in between the leaves, we have created a bit more clear distinction in the upper part in between the upper part of the Krampus body and the leaves that we have created in here. As we move towards the bottom, I'll be doing a little bit more sading and make the regions a bit more darker and a bit more bolder. And I'll only be covering up to here in this third part of this project. And I'll be seeing in the next start where we'll be using the red colour to do the coloring. 15. Using gray brush pen: Welcome to the last part of this project, Krampus, the Warden of the jingle. In here, we'll be adding the final detailings. In the last video, I was not able to add the detailing for this hand, so just simple adding this kind of simple hatching lines to add a little bit of wrinkles for the hands and the fingers of the Krampus. If you want to make this a little bit heir, you can create small texture for the here. Now, for the burlap sap is holding, simple hatching lines will do the work, following the sweep of the Blap sap and creating this kind of simple hatching lines, let's do the outlining for the upper part of this burlap sap. Make the outlines a bit more bolder and distinct. Now for the inside of this burlap sap, creating this kind of horizontal hatching lines. We are done with the upper part. Let's do the same thing in here, the remaining section. Simple hatching lines following the seep of the lap sap, as well as just encircling some of the leaves that we have in here, filling the remaining section with the hatching lines. And with these, we are done with the bulapsap. Now we have got the barriles in here. For the berry, just creating this kind of simple circular see following the seep of the berry. And for the outline region, make them a little bit more bolder, bit more darker with more lines. And for the remaining section, simple curvy lines like this and a little bit. For the upper part, add few more lines, make it a bit more distinct. Making the lower regions a little bit more darker with more lines. If you want, you can cover the entire section of the berries with the red, add more lines wherever you think it's required. So you can cover the entire section of the berries with the red like this and leave a little bit of white space for the highlight or a little bit of reflection, doing the same thing for the remaining two or three berries that we have in here. And with these, we are done with the red berries. Not to make the berries a little bit more distinct. I'm going in with the black br pin to do the outlining for the berries once again. Instead of this, if you want to only use the red, you can use the red to do the outlining and make it a bit more bolder with more lines. Now, adding more lines wherever I forgot to add the lines. Simple hatching lines for the wooden stuff in here. Now, for some of the section, I decided to make them a little bit more distinct a bit more darker. This is opsonal, so in here, I'm using gray color to make the leaves a little bit more distinct. If you don't want to do this, you can just leave it as it is, since this does not make that much of a difference. For the campus, I decided to completely cover it with the red. Instead of doing this, you can create is in the pupil or the inside of the eye using the grey for the campus hand. This is optial if you don't want to do this, you can just leave it as a desk, but I decided to make the hands a little bit more darker. Adding it for the horns of the campus. If you want, you can also add a little bit for its face and here now. I also decided to use it for the wooden stuff that we have in here. The reason I choose to use this grieve for some of the Saxon is to make those sexton somewhat of same color or same consistency as that of the hair that we have created. That's why I decided to use it. As I was messing using a little bit of green for the face too, mostly for the upper part of its face. Adding a little bit for its Eat. I decided to cover the entire section of its face with the grease covering the entire section with the gray. And with this, we are done with the Krampus Warden of the jungle. This took a lot of time. Let me know how much time it took you to create it. And yeah, with these we are done Krampus the Varden of the jungle, I'll be seeing you in the next video.