Making Your Mark: Easy and Expressive Mark-making Techniques with Pen and Ink

1. Introduction: load your friends and welcome Teoh another class. And I'm so excited that you're here. We're gonna be looking at thinking techniques and we're going to also look at how different thinking tools can create different effects and how you can use this to adapt a style of thinking that really suits you and really makes you happy, because style shouldn't just be about what you can do well, but also about what makes you feel well, So we're gonna look at brash pans and their strengths and weaknesses, and the strengths and weaknesses are fine Liners and ball point pins were also going to create new patterns and talk about how to create different effects using these pens and do a little compare and contrast between them. We're also going to work out how to use thes as warm up exercises or inspiration exercises so that you can be creative even if you're not feeling particularly creative, and then we're going to get fruity, and we're going to use all the techniques that we've looked at previously and try and use the strengths off the different tools to create very expressive free and stylistic projects . Andi. Then we're going to see how we can really play with the properties off thes tools and how we can exploit them so that they suit our personal tastes a lot better, such as in the painting off the skewed little back where we use the brush pin more as a paintbrush. So I'm excited to see you guys, and I am very excited to see what we create together with this class. 2. Supplies: again. So this video is going to show you a whole bunch of tools that you can use like a medical dropper. Andi, Normal pens. The so far Mana? Yeah, world used to violence. So we're gonna show you things that range from were really wacky from, like a medical dropper to a fine liner. And I'm basically just going to mention things that you can use to ink. And the point of this video is not to overwhelm anyone. The point is to show how many different tools exist and also the dangers of ink speakers, Incas a dangerous tool, especially for hands like mine, Um which are we have simple ballpoint pans. We have brush pans we have Why? To gel pans. And I feel like when you watch YouTube and you see what's going on, you you see things like these beautiful, beautiful fountain pens as well as these amazing calligraphy pains, which I'm putting one together right now. And I feel like it's just really, really overwhelming because you're like, am I supposed to use normal ink Amma supposed to use fancying what is supposed to go on and most of the time, it's what I find about INC is that I'm making a maze and yeah, you can see they that teen up was required. You don't actually need water for this video. But what is always good to have a hand when you're in kig, especially when you're thinking with Stevie And, um, basically, this video just shows that there are so many ways that you can use ink and there are so many supplies that you can use, and I really don't want you to feel overwhelmed. I'm putting these are day because you can use any of them in this video. Like I don't have any problem with you using any tools that you wish, because the points of the class is about exploration. But the point of this video and the point of the class if you are feeling overwhelmed, is that you can take away most of these tools and just use what you have at hand. So we're gonna be looking mostly at fine liners, ballpoint pens and brush pins. And if you want to try any of the techniques with a phantom pain or any other supply, feel free 3. Understanding Your Tools: Hello again, dear friends, and now we are going to look at three different tools that we mentioned in the Supplies video. We're going to look at a brush pin micro, no final on a pen and a ballpoint pen. You can split your page into three different panels, and this way you can see a direct comparison between the three different techniques. So the first thing we're gonna do is with any just draw straight lines downwards. There's not really a technique going on here. You don't have to make them perfect lines. It's just to compare the three different tools. It's just to show how difficult it is to control each pin. So, for example, the brush pain is quite difficult to control. The line with the final will always give you the same line with no matter what you do. And the ball point pain will give you like a sort of variable between the two, but it's much closer to the final honor. The next technique is literally just tapping the paper with the tip of your pin, which is called stumbling and stippling, is a really fun technique, and it's often used for shading and you'll see that in a later video. Right now, we're not really trying to make any forms or shapes were literally just trying to get used to our supplies. So again, if you're using something other than these three supplies or tools, make us many columns as you like. Make as few as you like and just get your tools out and try the different techniques just to see how you're coping with them and to get a feel for them. So, for example, again, control becomes a thing here because you can see that the brush pain has very little control, with a lot of variation between the individual dots, The fine line again gives really, really uniform dots. It is an amazing stippling tool, and the ballpoint pen gives you. So now we get to see the brush pin shine, so the best way to use a brush pin is to embrace the fact that it is a brush, and will behavior such so when you put light pressure on it, the lines will be very thin and where you put a lot of pressure on it, the lines will be very thick. Now if we contrast this to a fine liner. The lines are pretty regular, even if I lift and push my hand up and down. So the only way to really get variation with fine liners is to buy many final hardness. So that is a very valid option, but multiple tools are acquired, so there I used a 0.8 and a point to, and the ballpoint pain is, I don't know. I feel like it's more expressive, but it's also very, very similar to the final Aina, So the brush panel so reacts differently to speed. So here I'm doing very, very quickly lines so that you can see how the different tools will react to difference. But so what I just did now shows that you get like a really nice dry brush effect from the brush pin whilst you get a very reliable line from the fine line. A. Even if you are flicking very fast on a ballpoint pen, will sort of give you that almost like a blob of ink at the top of the line and then will taper off very much like a pencil line where you get the most pressure at the top, and then it can do that like it slightly lift and give a slight texture, which is quite nice if I try to make a solid block from these tools. It is super easy with a brush pin because you just pushed on really hard and it gives you a beautiful flat color with minimal, minimal effort, which again is a really, really nice benefits off a brush pin. If you are a person who enjoys working with high contrast with lice in dark shadows, however, the fine liner gives a nice sort of texture. The only problem is that you have to literally color in the block that you want darkened, and you can do this with different techniques. But if you do it just by coloring in, you can lift the paper and start getting the paper peddling, which means that the paper makes little balls off fluff, and then it actually weakens the paper and you can actually go through the paper depending on how thick or how good quality. Um, your paper is, and the ballpoint pen again sort of does something in the middle. Sir, the ballpoint pen won't caused the paper to pull as quickly because it actually pushes the paper down rather than just waiting the paper because the little ball apparatus actually like, drives the ink into the page. But you'll get a lot of texture that you may or may not be able to see here based on the fact that you are pushing into the page so you will get a very, very weird, very, very scratchy texture. But again, this might be something that you want, so you just need to consider what you actually want for the illustration or fine art piece that you're doing here. I'm just doing hatching because I thought I would show another technique of shading because you might not want to do a solid block. You might want to just show shading through slight variation in shade. And here again, we can see that are fine. Liner is the champion off the uniform line and is probably the most helpful in terms off hatching because the line variation that you get with the brush pain, which you can actually see right now where I push and left and push and left, is a lot, and that's very difficult to control for something that only looks really good. If it's uniform like hatching with a fine liner, you can see that there is very, very minimal effect for pushing light and dark by pushing softly on, basically lifting off the paper. And that's what's creating the lighter shade rather than the nub actually changing shape. And the same happens for the ballpoint pen. So for hatching the ballpoint pain and find Lina, I feel apart personally are better options. Now I'm going to do one of my favorite tricks. I swear this is like a magical party trick, and I still like. I mean, you can use it for so many things, like the roofs of houses, jerseys or sweaters, depending on what you are in the world, that what you call them, um, baskets. I mean, it is called basket weave, and this is so simple and look so good. It's a really simple technique where you just go three lines down, three lands across, three lines down, three lines across and on the following line. You just do three lines across and three Lansdowne, so you just like alternate, whether it's across or down, and it's really nice and simple, and it leads us on to the next part of the course, which is looking at how to use very simple shapes to make complex patterns. 4. Mark-making: Okay, so I hope that you already for the excitement that is going to happen. I mean, it's not that exciting, but I find practicing with new tools, even old tools to be really fun, because the really exciting way to see how you can make things more interesting. And the first tipping trick that I'm gonna give you for this is to use what you love. So if you are a co pick, mark a person, try drawing little co pick Marcus shapes. And if you are a colored pencil kind of pencil, might not work very well because it has a wax space, which might affect the pins. But you could maybe draw little shapes that you want to pink inside. I love watercolor. So basically what I'm doing here is just making little watercolor shapes just to keep myself entertained, because I feel like having some color in this makes it feel less like a droll and more like an artwork. More like an exploration. I mean, can you tell that I have the attention span of a squirrel? I mean, it's true and just embrace it. Just embrace who you are. That's what that's about. If you are a person who would prefer more minimalist approach and wants to make a little blocks or a chart. Feel free to do that as well. Do whatever helps you to enjoy this process the most. So basically, we're just gonna let these guys dry and I will be back. Hooley, You're OK. So we're going to use the same format as the previous video, which was doing the brush pain at the very beginning, the fine line in the middle and the ballpoint pen at the end just that you can see the comparison. So here I am, literally during little see shapes, and it's making for scales all moment scales or roof tiles. It is up to you. It's how you interpreted. And it's all about having fun while learning new things. So the fine liner, because it is very uniform and is not very responsive to pressure it makes actually really nice scales. The only thing is, you can see that I started coming in from the right hand side where I was originally starting from the left hand side because my sales became kind of uneven. So just be aware of that, because patents can very easily become uneven. The ballpoint pain takes a little bit longer. It's not as quick as the fine line up, but it's really, really fun. This is quite a laborious little technique, sir. I've spit it up, but feel free to take your time and enjoy it and make it his uniform as possible. Try putting it offset. Try seeing what happens when it's not uniform. So the next thing we're gonna do is we're gonna make these exciting, little, very, very illustrative clouds, and they're super easy. So where we did little C is previously? Now you start with a big loop, and he either do like an M shape and then drag it around and swell the tail. Or, you know you can start with the swell on the bottom and then add the C shape to the top. The thing is, with these clouds, no one really knows what they look like because their imaginary and they're illustrative, so you could do them in any way that you like. And it's right, which is really, really fun, and you just can carry on doing them almost like Azzan doodle kind of vibe. If you once I mean, I could probably do a whole page of these things listening to some good music, and I would be so stoked, and then I would think it would have been going to do with it. But you know, you could also use it as part of an actual illustration or a pattern. Perhaps this is a bedroom or wallpaper. Perhaps it is the sky to a grand balloon adventure. Or perhaps it's just an abstract pattern that you put on, too. A different color, like a bright pink. And all of sudden there aren't clouds anymore. But now something different and much more abstract. It's very cool how very simple shapes can become so many different things. So now we're going to go with the brush pain. I kind of went all the way across and then all the way back and then all the way across, and we get it to the basket stitch that I showed you previously. So this basket weave stitch is actually the most simple thing, and it's really fun, and it works very well for all three pens. And I think that that's something that makes it quite special because you'd literally just go three down, three o'clock across, three down, three across and you alternate the lines, and all of a sudden you have something really fun and it can look like anything. It can look like straw on a roof, or it can look like a wall, like I know you could change it up and make them sort of bricks if you put them say, for example, all the right way instead of doing alternating up, down, up, down. But it's something that is so simple because it's so nice, because three lines, just three lines and switching them around can make something that looks so so complex. And I think that that is something that's really nice about pins and ink. So here I am, just doing literally just lifting up and down during squiggles with the brush pin, really embracing its power to give me some line variation. But no one tool is more correct to use than the other. It just depends on what you wish to convey. So, for example, during this with something that doesn't give a lot of land variation like the fine liner still creates a really interesting Patton and I have seen people do beautiful, beautiful things with hey, by using, you know, this beautiful squiggle technique with fine liners and it can look absolutely gorgeous. I mean, it could be something else as well. It could be a random patent. It could be the patent on a clamshell, and honestly, it just looks so nice. And with a ballpoint pen, you get that added level of control. I feel, because it still has that looseness off a brush pin in Terms of it glides very easily across the paper compared to the fine liner. But it also gives you the control off the fine liner, so I feel like you get, like, sort of the best of both worlds. But again, on the con aside, I guess, depending on what you want, pro or con, you don't get that line variation. And I think that that's why it's so cool to do this with different tools, because you can see that there's just so much subtlety that is added by using a different medium. And it's really interesting. If you know what sort of techniques you're going to use in an illustration on a on a not peace, then you can sort of test your tools to see what happens. Okay, so this one is quite fun. This one I thought was I know it was kind of it was inspired by another art exercise that I've seen, Which is where you kind of warm up by making random blobs of color and then making those into a picture. So I started by trying to show you guys how to make, um, a really cool for patent just by flicking the pin along in very short, very free strokes. And as I was doing it, I was like, Wow, this looks like a puppy year. So I thought, You know what? Let's do that. Let's make a puppy. Because why not? Why not? Um, you know, just enjoy the persists as much as possible. So with for the only rule that I really have for making it look good is making sure that you don't do perfect lines. So in terms of like the basket weave, you want to make sure that the lines are perfectly straight. In this case, you want to do the complete opposite. You want to make sure that they are as random as possible and a good way to do this is actually to work around in different areas rather than doing straight lines. So, for example, you'll see that I outline the ear first in this particular example, and then I'm moving on to the eye, and then I'm going to do the snout, and then after that, you'll see that I will come back in. And as I'm doing the for, although I go from top to bottom, I never go in perfectly straight lines because I feel like that is a really good way to make something look quite uniform. And nature is never, ever uniform. That's like the one rule of nature is that it's not uniform, and here we can see how the fine liner is actually a really nice tool for those. I often will use a fine liner in my illustrations to do for, because I feel like that level of control is really nice. And also these particular fine liners are pigment based. And if they're pigment base and waterproof, it means that you could have drawn your whole dog underneath and then added color on top of it. Once you were happy with your sketch, so it allows you to mix up your process with, for it's also really important to follow the form. So you'll see that previously I was doing straight down because that was the direction off the for. And then as I got to the Farid and at moving towards the nose, I changed it to that. I moved from the Faryd down. It seems like a really, really obvious thing to do. But even with something like a fine line A where the lines are uniform, it still has that sense of directionality. And you can still sort of CIA tapering off the line as you left the pin, even if it's much more minuscule in degree as compared to the brush pins. So, yeah, these are my dogs. You don't have to draw dogs If something else inspires you, let that be free and enjoy it. And I'm going to leave the last three shapes up to you. At the very end, you'll see what I did to them. But, uh, yeah, we're gonna move on after this to doing some stumbling, and after that I'm going to be very happy to let you take those bottom three shapes into your own hands and you see what you do with them. And if you would like to share the page in the project section, that would be super cool. Like again. I am so happy for you guys to share anything that she wants anything that you're proud off , because remember that you created something from nothing, and that is something that only a creative person can do because creators create. And you should be really proud of that, even if it's not safe. For example, what you feel your best work, ISS best work is very subjective. So now we're gonna move on to stippling. Stippling is ah, but of a night may in general. So you'll see that the video later on will speed up because I don't want you guys to die from boredom. And as it's very, I have mixed feelings about stippling. So when you're trying to step on the shape, you do need to keep the form in mind. And one of the ways that you can do this is by stippling the outer line off the shape beforehand. Which means that stippling fits right into my little safety zone off. I'm able to draw the picture beforehand and then add the shading Turks. So the pictures that I generally make with stumbling I'm quite proud off. And last year, during an October 1 of my favorite portrait's was actually a pet portrait that I did using stippling. But it also takes so long, and I'm so impatient. And I know that being impatient is not something that you should be when you're not ist. But it's also just part of who I am as a person, and I can't I can't escape it, Um, but it's fine. So what stippling you can see with the fine liner. It's over much easier. It's much slower, but much easier, and you can see that I drew the outside off the sort of spheres on really a sphere to skew . But it's basically a sphere, and what you do with stippling is you start off with a very, very light dot, dot, dot river and try and keep it as random as possible because you're trying to show lighten and dark rather than, um, an actual form at the stage. And then what you do is you add more and more dots in the areas that you want to be shaded . And what makes the playing look really really good is when you add the dots as randomly as possible. So like with for it's a really good idea to make sure that you move your hand around a lot and not do it in exact lines, like you can do this for technique if you want to do it, if you want it to look that way or if you're doing maybe like a man made object where lines and angles are really, really prominent, this could be very effective. But in general, when you're adding shading with stippling, the rule is add your first layer, then add more little staples to the area that you want to be your mid turn layer and then add even more to the areas that are you areas of shatter. And that's why it takes so long because you have to build it up so slowly. But it also makes it look really, really good on. It also is a nice safety net because it allows you to add stuff so gradually that it makes beautifully smooth transitions if you do it in a very patient manner. So with the last three little blocks I created appear, Ah, heart and some texture just using plus symbols, Formats, mathematical symbols and other symbols on the computer or from text are really, really helpful to create really interesting patterns. So go weld, make maths fund and enjoy yourself and share it below if you want to. It would be really fun to see what your creative minds created, and I will see you in the next lesson. 5. Class Project: Getting Fruity: Okay, so welcome to the class project section off the class. Um, so right now we're going to look at fruit on. I chose fruit because free to something that's very accessible. And it's something that isn't really linked to a stylistic choice. I guess there's many ways to paint a fruit. Let's Ah, let's do that. Um, some I'm sure there's some philosophical thing about, like there are many ways to peel an orange because there are many ways to skin a cat is just a very disturbing metaphor. So let's go with. There are many ways to peel an orange. So we started out with some water color because I felt that I had really enjoyed using the water colors as the backgrounds in the previous part of the lesson. And I thought, you know, let's let's carry on, you know? I mean, I literally I'm gonna tell you just now about the the warning off too much of a good thing . But for now, we're just gonna ignore that idiom, and we're just going to say, I love watercolor and let's go with it. You don't have to use this with watercolor base. You really, really can use. Like I said, you can use carpet markers or, if you're a person who would prefer this during very rough, very light pencil sketches underneath. Andan adding color using your ink, that's perfect. And if you would like to do the straight into ink, yeah, that's perfectly. This is all about practice, and it's all about having fun. So whatever you feel would be fun. That's what you should do, because this part is very stylistic, and it's very, very open and very, very free. And I feel that as a teacher, I always want to let you explore art in a way that makes art fund for you. And I feel that, you know, when I give comments on project sections as well, I really like seeing how somebody interpreted the skills that I learned to make, something that was uniquely they is rather than a copy of mine. But I'm more than happy to put my stuff out there for you to copy. If you feel about lost and you don't really know where to start says you can guess. We have some grapes, some blueberries, a very, very tiny pay and a very tiny doughnut, which is gonna become a coconut, and every time, the limits, the scale is not really a thing that it was playing a big role here. What I really was focusing on was looking at things that had different skin textures so that we could have a lot of fun, adding some ink to them and seeing how we could make thes Texas different. So high tech tool warning. The tool that is my favorite Doolittle watercolor is my hydra, which happens to be bright green not because it's my favorite color or anything, but just because it's a radio awesome hair dryer and I have really long hair, and it's very powerful, and it came in green, so under push, push yourself out of the comfort zone, uttered or have fun. Anyway, sir, I basically just dried the fruits, and now you'll see me touching it because you always need to caressed your fruit. But actually, one of what I was actually doing is feeling if the temperature is cool, because if the paper is cool to the touch, it means that even though the top layer of the watercolor is dry, the bottom layers are not. So I'm going to make a very pop art look to this pay. And that was because I was actually quite inspired by using the brush pin in the previous exercise when I was doing my last three shapes, and I really, really liked how that pay came out. And I'd never done a pay this way before because I felt that these lines were to stock and the contrast to high. But actually, I kind of like the stylistic field, So I thought I would try it again on a you know, Second Try and MAWR complete peace. Let's say, even though this isn't really a complete piece, it's kind of still part of exploration. But I definitely was able to refine it more. And I think that I really got the look that I was really going for, because I just left only the thick lines off the brush pain on it and just made it a very expressive pay. Um, so for the coconut, I wanted to also have thinner lines because I didn't want it to be as thick because it's white. So I really didn't want to take away the white off the paper and, you know, make the fruit not look like a Corgan at. So what I did there is I just drew a few lines to give the texture of the coconut when it's cut in half. And then I gave a contour line at the bottom of the coconuts, like deep inside the fruit to give it that rounded look and then also gave it a very nice fairy outside, because the outside of coconuts is very and that was really fun because that was really loose. It's just literally drawing squiggles. And I really enjoyed how free that felt. So then I thought, OK, you know what? Actually, I'm gonna go all out with us, and I am going to make the coconut inner as as free as possible as well. So then I just drew Ah whole bunch of connecting circles, and that was really fun. And then, like I said previously, I think that stippling is really fun and a really, really good way to create forms. So I thought, OK, it really does look like the skin of the lemon. And that is actually why it selected the lemon in particular because I wanted to use stippling on that lemon from the very beginning. So I basically took a ballpoint pen because I thought, you know, the fine line has had its moments, and also I've kind of bean preaching the amazing nous off the fine manner for stumbling. But to be fair, the ballpoint pen also adds a very interesting field to step ling because it adds a little bit less of a controlled mark, so you'll see that the marks that I make sometimes if I use very fost very hard stippling motions, it almost makes like a comma shape rather than an actual say full stop shape. And that can also make your your drawing a little bit more expressive. And, for example, on the bottom part off the tip of the lemon, you can actually see that using that technique allows it to be much darker, with much less actual like stippling. But also it gives you that feel of roundness because the lemon skin is quite shiny and quite round, and it does have a sort of it's not just dots. It's not just little Stupples like, for example, and apple is very, very smooth. So a smooth, beautiful stumbling would be ideal. But a lemon still has a bit of texture, so I wanted to really try and convey that as well. And I had a lot of fun. It was it was good, Um, and you can see that I then put a little bit more in because I felt that again. I was trying really hard to get that texture off the lemon, and I think that's something to consider as well when you're choosing what tool you want to use. So, for example, if I were using at Apple and I did want to make that perfect roundness, Ah probably would have used the fine line in stayed because that's that Free nous and on kind of little flick motion off ballpoint pen on the lemon skin might have been a bit distracting on the apple and made the apple looked like it had more texture than it actually does. So again, it depends what you want to tell about your your subject, your fruit. So now we're moving on to the baton, and I think the banana came out as my favorite because I was able to use the black so freely and at the brash pain just kind of really went with the form because I knew that with the banana, you know you want him make that freedom of form really visible because you once that sweeping motion. So, for example, stippling on a banana is fine, but it still is a little bit too controlled. I feel like a banana is, and this might sound a bit strange, but again, I am an artist, so I'm allowed to have more in interpretation. But I feel like a banana is really smooth. So when you crack the banana open at the top and you pull down the skin, it's such a smooth motion. And I just felt like Stippling didn't fit with the feel off a banana skin. And then I went into the blueberries. Andi, the blueberries were really, really fun as well, because I knew that I wanted to try the sweeping look on a rounded object because in the previous example, and you stippling on the rounded objects and I thought, OK, I want to see what happens if we do like a more painterly, loose pop art kind of feel to these, and it worked really, really well. The brush pain is actually so versatile because you can get those tiny little thin lines that I used to make the little tips off the blueberry. And then I could use really nice thick lines to give the body of the blueberry some weights . So remember again that line weights is also associate it with the weight off what it's depicting. So, for example, if you want the shadow to be heavy, you'll use affect line weights or, if you want the fruit body to look heavy, whereas you want the little tips off the blueberries to look very soft again. And now we come to the groups. To be honest, I absolutely love the color that I used for these, and I know that I'm doing a black and white ink class. But color is just such a deep part of my life and my love for art that I just can't help but be happy and have heat like this color guys anyway, So for this I decided, OK, I'm gonna follow the form of the fruit with contour lines. So always remember that your contour lines need to add information you conscious. Add lines to a diagram toe, add lines. Why you doing it. What are you doing? What do you achieving by it? So, for example, if you look at the left grape, the bottom most grape, there's a contour line at the very bottom that shows a sort of shadow that goes around the edge of the grape. But then, on the top of that particular grape, there's almost like see shapes. And this depicts a different plane and you'll see again that those see shapes are then reflected again in the grape above it on the same plane, but not in the third rape, which doesn't show that plane. And then I just played around adding some other brush strokes to the coconuts. And then I was happy. So when you're happy with your fruit, little core posted below and I'll see you in the next video. 6. Class Project: Giving a Duck: cool, so welcome back and well done on making it so far. So we've played around with different textures and different techniques and made some fruits. And now we're just going to go and look at how we can expand on the different techniques that you've used and also how you can make it something that you are more comfortable with . So I am really comfortable with watercolor. But Inc can behave similarly if you apply water with it. So we're going to look at that in just a little bit. But for now, I thought I would expand on the idea that ah, ballpoint pain behaves very similarly to a pencil. So if you're very comfortable with pencil drawing, this might be a really good place to start. And regardless, if you're a person who likes to have a sketch before they start putting a permanent medium like ink straight onto the paper, pencils are an absolute option. Bats, I thought that I would show you how you can also use a ballpoint pen. So here I'm making the end a sketch. I have a reference photo. I'm not gonna follow a to strictly because you'll see just now how I add some texture to the fluffy, fair like feathers that they have when they're so cute. Andi, Right now, basically, I'm just going to person very, very, very lightly with my ballpoint pen to give myself an under drawing. The nice thing about a ballpoint pen is that awful. The pins that we used it is the lightest when you give it the lightest feather touch. Excuse the slightly awkward pun, but anyway, the whole point of this is that you can see that, for example, I made the head, but to narrower, and you can still see those lines. But by putting slightly more pressure on the lines that you want to keep, those become more of a texture rather than something that is detracting from Theo overall image. And you can see I did this again. You can see I use my hands to ensure that the proportions were correct and in the stuck ling, the head and the body about the same size. And when I drew, you could see that I actually drew the body a bit smaller, and that line is still there. But you'll see, by the end of those, you won't even notice it. And that's what's so nice about using different types of ink and different types of inking tools that have different benefits and using them in one drawing. Now there's absolutely no reason why you shouldn't go straight in. And if you're a person who's really good at seeing light and tone and using a brush pain, you go straight in and draw that and you do a quick, fast, expressive scratch. This absolutely nothing wrong with that. And actually, I am quite jealous if that's who you are, because I find those artwork so meaningful and so fun. And sir ah, just very exciting. Andi, I wish I was that supposed habeas and exciting in my life. But I had a person who needs a compulsive under drawing to feel like I'm gonna be okay doing this and everything is gonna work out and yea, okay, so what we're gonna try and now is that I showed you a very, very dirty water container. But it's black ink, sir. Doesn't matter. It's not watercolor. It doesn't need that same freshness unless you want to do a wash way. The white and black contrast, but I'm actually just gonna use it to dilute the pen. So to do this method, you literally just dip the pain directly into water and then use it as you would use a brush because it's a brush pin. So that's really great. And it works really, really well. It's a little bit, uh, different perp in, so you'll have to test it out, which is what I'm doing here. That's why I opened up on a different page before I did it on my actual duckling, because you don't want to ruin your under sketch. Not that it took super long to do the sketch, and it would be really good practice for me to have to do it again. But I also just wanted to see the variation that I could get. So here you'll see that I'm really sorry. It's not on the supplies list, but I improvised little bits and I decided that it was very, very doc. So I wanted to try a different technique, which was using a paintbrush. So I got just normal synthetic paintbrush, cheap, cheap, happy days, and I just waited and with the paper and did a little bit bit of a weight on where technique where I took the paintbrush and put a coat a coat of water on the paper and then dipped to my brush pin into it. So this is where Inc behaves very much like what a color and a brush pin is quite an advantage because it literally just behaves like a wet on wet wash. And the inquiry move around and you can see there. As I changed the paper a little bit about putting my finger on it, the ink moved down and its magical and beautiful. And I love that effects so much. And now I'm just trying to see if I put the pen down first. What? Adding the water second will look like. So it's really fun to explore thers. And again, it fits with the whole theme of this class, which is exploring your tools and seeing how they work, because this will be very different to say. For example, if you have a barrel that is squishy because if you have a barrel that you can squish, then it's very easy to control how much ink is released and this technique works a lot better, but I don't have that right now, so I wanted to see how I could get a light awash with the tools that I had. It's also really important to check how your different tools will interact with each other . Sir, what I'm doing on the side here is I just used my tools and then let the ink dry completely and then then added a clear wash of what uttered. I mean, it was less clear than previously advertised because I'd already contaminated the water with black ink. But it's still showed me that they don't, uh, spread and that they are water resistant at least and probably waterproof in themselves. So I really liked the example where I had put a wash of water on and then used a weight on where technique by just dipping the tip of my pain into the wetland area. So I thought I'd use this for the ducklings for feather type, cute coach of acuteness, and I was really happy with how the results on the previous page had gone. So I thought, You know what? Let's roll with it, and I think that's something that's really fun is when you experiment and play in a sketchbook and then find something that you actually really like. So here I am basically just adding the ink directly to areas that I think would need a little bit of texture or a little bit of shadow. So I added a lot to the under part off the Boots Wing, and now I'm sort of adding a lot under its eye, and I want the top to be very, very bright and loose, so I'm adding more and more water. You obviously don't need to do this in any way. You can draw a feathery for like texture. You can do this with a ballpoint pen and do it in a very sketch type style, and you could also use a very painterly style by using the brush pin directly on the paper without waiting it. It all depends on what you like and what you feel comfortable with. So I feel very comfortable with using a little bit of water to make it look more like water color, because I feel like that fits in more with what I enjoy, and I think I would be very excited to see your additions off this little duckling done in something that you feel comfortable with. And I think that by sharing things like this in the project sections, you not only get to see the variety of ways that the same thing can be inked, you also get to see how other people have sort of interpreted it and what they think is most important. So for me, I really wanted to give it a loose, fluffy, cute texture, and I felt that by making the inking as loose as possible, this would kind of portrayed the style. But somebody else might want to convey something else like you might be really interested in, say, for example, sharing the shine on the beak and feet. Maybe because you know those parts are most associated with water, and you just really want to show that sort of weight shiny hardness and contrast that with the for um, I don't know. It depends on you and how you interpret your subject and what you want the viewer to feel or to see about the story that you are portraying because, yes, it's a duckling, and it doesn't seem like it has a deep story, But there's something that drew you to drawing this particular creature. I mean, obviously, in this particular class it was because I drew it. But in reality, you will be drawn to subjects that are interesting to you and that you find fascinating. And I think that by focusing on what drew you to the particular subject, you can start thinking about the story that you're trying to tell with your artwork. And it can be simple. It doesn't need to be a gigantic story that doesn't need to be a Lord of the Rings epic. It can literally just be like I saw this and it may be all. And then I thought I would draw that and see if I could portray that cute nous in my own style. And that's pretty much what my thought process was here is that it was something that I felt could really highlight how could be used in different ways. And it was also something that I felt that I could share in a way that allowed us to use all the thinking tools that we had learned to so far in this course on how we could see how they could work together harmoniously to create a beautiful little image. And apart from that it was cute, sir. It was a win win, and I was really happy with it. And I'm actually quite happy with how it comes out at the end. Because what I'm doing now is because I with the whole doc, I had to wait for it to dry. And it didn't take that long because it was a very loose, very soft, wet wash. Um, but basically, you just wait for the little duckling to dry, and then you can add its little feet and the webbing between the toes. I felt needed to have that sort of shine, but also in the reference further. It was very dark, but I also felt like it needed to have a different texture. So even if the reference what I had had had, like a duck that had yellow orange feet, I probably would have approached it in the same way. Because with I think it's slightly different to using color, the focus is on either creating texture or creating a contrast. So right now I'm working on the I and what is really, really nice about a brush pin is that while we were working on the feet. I could really use a lot of push pressure and push it right down into the paper and very, very easily full a large area with a solid color. And right now I'm using the lightest of touches because I want to use the very, very tip off the brush so that I can get those delicate, delicate lines. And of course, with us, I could have used the fine line as well. But I wanted to match the color off the feet and the eye so that there was a bit of balance . Right now, I'm going in with the fine line anyway because I wanted to have more control over line words. Andi. I wanted the little almost like scales. I guess it's not really scales. It's kind of skin that's in a scale like manner. I don't know, but either way, I once it's a draw, the little duck feet and the skin over the toes. And I thought that the best way to do this would be to use the nice uniform lines that you can get using a fine lighter. I really, really enjoyed the ability to make very neat very controlled lines, especially here where I really want to show a three D quality to the feet by using contour lines that are all in one direction. Sir, I always start from one side and moved to the other side, and also that can add a sort of shading to the little toes so you'll see that I only use about half of the toe. I only draw on about half the toe and thats so that you get this feeling of light and dark because in extreme light and extreme brightness. So, for example, if you have an app where you can change photographs that you take, say, for example, with your cell phone. If you put the brightness or exposure all the way up, you lose texture. And although we met, not consciously have been aware of this subconsciously, our eyes interpret light and dark like this without us even understanding how it happens. And I think that it's really important to remember those little tricks that your brain uses to understand light and dark to then add to your drawing. So, for example, the side off the little tour that the light is not directly on, We'll have much more texture than the side that the light is directly on. And now I want you to loosen up your wrist completely. If you are going to do this, you can do it in various ways. So perhaps in another lifetime, in another timeline, I've done this little duck and I've used little flicks which I used on the dogs in the earlier videos. But right now I saw this technique and I really thought, OK, I want to try this. It actually was used to do well on a sheeps back. But I thought, You know what? I'm going to try something new because that's the point of our try. It is you want to grow by trying new things, and if it doesn't work, that doesn't work. But in this case, I was really lucky because it did work and basically I just loosened Marist and you literally just sort of scribble. You just scribble and it's really, really fun and really, really free and kind of therapeutic. And I kind of was like I could do this all day. I was like, OK, wait, wait. You need to calm down. You need to not overwork it because the points of scribble that shows the little ducks for or fluffy feathers is the magic. Um, and if you add more scribbles to that and you make it less simple, you're totally gonna take away from that exciting moment because you can totally have too much of a good thing. And I think that professional artists do that really, really well. They know exactly when to stop. And when the novelty of their technique is about to wear off. Please, please share your little ducklings below because I want to see what techniques you used and what I can learn from you. 7. Conclusion: Hooray! You guys made it. You're at the end. I'm so proud of you. And I'm so happy to have spent this time with you and to have shared a little part of your creative journey with you. And I'm hoping that in this class you saw some of the pros and cons of the different tools we used and also got some inspiration for how you don't need to use the tools in traditional ways. You can use the tools in any way that benefits year and your style. And I hope that you have seen some exercises that we can use to warm up and to test new supplies and that you are ready and waiting to take thes to the next level with anything else that might inspire you. So I hope to see you soon. And I wish you the best of days. Weeks, months, years Haven't awesome time, guys. Five