Masterclass of cultural Clothing Design and Drawing from Around the World

1. Masterclass of cultural clothing design and drawing from around the world: When you look at traditional clothing styles from around the world, you can't help but feel the rich history and culture behind each piece. Each culture has a unique and distinct clothing style that tells a story of its people and traditions. Have you ever wanted to learn how to recreate these traditional clothing styles in the easiest possible way. Look no further than our masterclass of cultural clothing's design and drawing from around the world course. In this comprehensive course, you will explore and analyze traditional clothing styles from 15 different cultures worldwide, including Armenia, Korea, Japan, China, Africa, Netherlands, Saudi Arabia, America, chile, Scotland, Britain, Thailand, India, and Persia. You will have the opportunity to work on the same subject with various mediums, including pencil, fine liner, markers, colored pencils, and watercolor. Enhancing your skills with every lesson, you will learn the importance of color and culturally related clothing and how to create different material textures, patterns, and details. You will master figure painting and how to draw male and female figure physics, but realistically, and imagining. This course is designed for both beginners and experienced art lovers who enjoyed delving into new realms of art, experienced new and traditional designs. Every country has unique details that make its clothing styles distinguishable and unique. In this course, you will learn how to observe and analyze male and female clothing styles for different countries and cultures through time. The course is accompanied by carefully designed assignments to help you practice your newly learned techniques, including observing, simplifying and analyzing clothing styles, mustering different tools and materials, creating different material textures, patterns, and details, and using negative space. In this course, you will learn how to paint the intricate patterns and details, fluoro decorative patterns, detailed line, and doodle art. With each lesson, you will broaden your horizons by learning how to recreate traditional clothing styles from different cultures were derived in the easiest possible way. Join us today and gain access to an immersive learning experience that caters to beginners and experienced art lovers alike. 2. Clothing Analysis and Movement in Art: Hi there. Welcome to today's tutorial. As you can see, we've gathered some samples here and we're going to talk about different styles and different clothing within art history. So we're gonna go through the different movements here. First, we go through the Renaissance Period, which was in the 15th and 16th century. This period we can see a lot of religious and holy Mary images. As you can tell from this image, the cloth that covers their body is like a robe or a cloak. More like the painter showed the form of the cloth and the shading layers very delicately with a lot of layering. These paintings have lots of dimensions as well. So there are different elements to focus on, but these combinations are repetitive, so you can see them in different paintings from that era. Now, the paintings are classic and all parts have standard sizes. Take a moment to take a look at the details. Enjoy them, observe them. The shading layers, cloth creases, and the other elements like curtains. They have lots and lots of details. You also have the clouds, the curtains appear that different tonalities. The cloth creases, they're drawn quite realistically, which is quite beautiful to observe as well. The painters drew exactly what they saw and clothes without applying any changes are exaggerations. But the paintings were more colorful with more details. So maybe some details were accentuated via brighter color or maybe an extra crease, but that's how it is. Now, the next period after the Renaissance is mannerism. As you can see from the image, the figures are longer, so they're a bit taller. And with a little bit more deformity, it means that the painter went beyond the classic form and change the body of the figures just a little bit. The bodies, clothes and robes are longer, elongated in the image here. So the proportion of the body is long. In El Greco is artworks, the apostles and Christ robes. They were sketched simply and also extended in a longer vertical perspective. The paintings from the Renaissance Period have more details, but in mannerism period, the paintings are simpler, they're more simplified and don't have a lot of details. They're more focused on just the clothing or the figure, but not the surrounding. We can see more brushstrokes in the Renaissance paintings as well. Sometimes we may see that the cloth of the crisis completely read in accordance with the composition. And it makes the painting more attractive or puppy. So the main difference between those two paintings is the size of the clothes. So the robes of mannerisms period are elongated longer. The next one is the Baroque period. The paintings of this period have details the same as the classic paintings, but the quality of the colors is better. In this painting here we can see lots of color and light separations. So you have the highlights of these tonalities are lot clear. Look how the painter showed this slide part very specially. You can take that Brown at it almost becomes an orange. That's how much highlighter has this period. There are lots of paintings from the Netherlands and Italy. And as you can see, the model of the hats with their feathers, the robes, the model of the puffy sleeves. They were very common in their own region and geography. Therefore, they're depicted in, at that time, as it was mentioned before, the technique of this period is classic, but the quality of the colors is definitely better. The next period is a Rococo. This period started in France. Look at the way that the cloth is depicted here. The details, the frills, the paintings of the period have lots of exaggeration and dislike. Central aesthetic here. This is a very famous painting from the Rococo period, which has a lot of detail. So take your time to take a look at it, explore it. We can see lots of the cloth greases that are exaggerated and multiplied as well. And you can see more highlights and decreases. Although we can see cloth creases in the classic period too. But in Rococo period, the colors are lighter. They are not lighter, softer, they're softer and lighter. There's, there's this sense of a dreamy, dreamy aesthetic to them. The material of the cloth is shiny satin and the color is pink. Here. You can see delicacies and lots of details in the paintings of this period. The clouds or the women have lots of details. The sleeves and skirts are puffy as well. So take your time to take a look at the different periods here and the details in each one of them. The artists showed the material of the cloth by tapping the brush on the paper. The next period we're going to look at is romanticism. The paintings of this period have a sad, almost like a somber and romantic atmosphere at the same time. It's through the choice of colors really. As you can see, this is the painting of a woman who's been killed. And you can see that the detail is really about the body, about this cloth that's wrapped around it, the scene. But the body takes the highlight reel in the party of the woman as well as exaggerated. It's like elongated or spread across the painting. The clouds of this period have a lot of detail. So e.g. look at this image. The clothes have lots of creases and delicate, delicate details. We can see the feeling of sadness and sympathy in their clothes and creases. Especially, especially the women's clothing like where the painter might take advantage of creating more of those details here. Now, the next period is realism. There are lots of rural clothes in this period. But in the Romanticism period, there are lots of clothes from prominent and important people. The clothes have lots of creases and a delicate details as well. It's really nice to be able to see the differences or just noticed how one period is different from the next. But here in the Realism period, the paintings are related to poor people. The paintings show the social situation, the economic situation, and the livelihood of different people here. The clouds of these paintings are related to the poor and your typical everyday person. Now we go through the modern period. The next period is impressionism. As you can see in this image, this is the clothes of a French noblewoman. This is an event which occurred in France. You, the important thing is the brushstrokes of the artist. Look at how the painter created the clothes with these brushstrokes that are quite curved and delicate and layered. The clothes are related to the 18th and early 19th century. And we can see the clouds of typical and prominent people that were created with lots of creases and layers. The sky is also incorporated in this image here, which extends on these brush strokes. We can see net clothes, big bows, and skirts with lots of creases in these paintings. There is a sun umbrella as well, which is another form of cloth or a detail added here. The paintings of this period to have landscapes with natural light. So as you can see, the light shines on the creases which create beautiful visual effects and shadows and so on. We can say the clouds are special in that sense or standing out actually they are related to the 19th century, just to be specific. The artworks of the painters were different in accordance with their countries or a geography or what's available. So e.g. this painting is from a French artist called a Monet. The artists drew the Clouds according to their country. And the painters drew the clouds based on that period. So it helps to differentiate and to make these realizations because then we understand where they fall in history. This period deals with the pain and suffering of war. And we can see close of the poor, which are very simple in this period. The Cubism period, we deal with forms and shapes instead of clothes. We make these differences here. Clothes are meaningless in this periods, simple shapes and forms are used during this time. In the surrealism period. The clothes vary based on the subject of the paintings. So sometimes you can see that the way that it clothing has been painted as inspired by the landscape or the skies, and so on. In the contemporary period, the artists create a variety of paintings based on their own style and region and geography. Personal style means that the artists create their artworks based on their perspective and their geography, their country, they're the past, the present, the style, history. So all of these play a role. They also create a variety of clothes based on their own personal styles. Although the painters use the same principles as the classic period. Nowadays the artists have their own styles in order to create different characters. Remember to make use of your downloadable resources which have all the information that we go through. And in every tutorial, you'll have this information available to you. It's there to help you assist you and to learn from. Well, that's it for today. I hope that you've enjoyed this tutorial. Don't forget to use this knowledge and explanations in order to increase your creativity. Try it again, lots of visual images by studying the history and the different cultures and then use them in order to make your own style see what inspires you and take it from there as a starting point. But it's an exercise to simply push us forward and to learn a lot, a lot more. Thank you for watching. 3. Introduction to Clothing in Different Cultures: Hi there. Welcome to the tutorial. In this course, we want to learn how to create different characters. The character of every country and region has special clothing elements, colors, and motifs. So we need to use that element in order to create a character. Generally, every artist has its own special ways and techniques for creating character. We want to use the visual elements of each country of our characters. Actually, we want to use these elements as materials in order to create new characters by using our creativeness. So it's an exercise of creativity or something to trigger us to create more details. If you are referencing a certain culture or a certain geography, it's best to reference it and then study it really well and then apply it in that sense. We're going to see different images and become familiar with different techniques and practice with different materials such as brush and ink. Here, we use different fine liners for sketching. We also use colored pencil, watercolor, markers. And we can even use the collage of the images. It's really up to us. Anyway. We need to be creative and see lots of images in order to create different characters, you need to be able to make those differences and observations and study a little bit more about them. We should be open-minded and see lots of images in order to combine and use them in our art work and be inspired by them and reference them. In this way, we can be more and more creative. We need to see and become familiar with elements of different countries in order to create a variety of attractive characters and to do them justice. Take your time to look at the different images. Make use of your downloadable resources. There'll be available there for you. In this course, we're going to become familiar with different countries and cultures in order to consider their special elements and motifs, we want to learn how to use these elements in order to be more creative for creating characters, but also to learn a lot more about them. To look at how the clothing represented the culture they economy, the work, the artist's, the time period and so on. We want to consider all the visual elements and the motifs from Iran and other countries. We're going to consider the elements of images and sketches from books. We want to consider the elements of architecture as well. All of these sources and elements help us to create new and a variety of characters and to represent them as truly as possible, but also be inspired by them to work on something new. They are like raw materials that help us to create new art work from which we're learning. Thanks for watching and see you in the next tutorial. 4. Female Clothing Study Drawing: Armenia: Hello everyone. Welcome to today's tutorial. Today we're going to be drawing our median women's costumes and jewelry or accessories. Take your time to set yourself up. Remember to make use of your downloadable resources either before or after you follow the tutorial. It has all the information necessary on every class that you follow. Here are some samples of the women's clothing. Take your time to observe them. In this photo, you can see an example of men's costumes as well. Their books, Bible or even architecture. We can see some samples of their costumes. We want to use some of them as basic elements to create a new composition. So care be inspired by these details because it's in these details that we can reflect the culture, the style, the politics, economy may be, the colors that were available. We recommend you pay attention to all the details of these motifs. They are inspiring. And you can memorize some of them and use them in your works. You can study and learn a lot about the architecture of old buildings and churches of Armenia as well. And you can also include illustrations of their books and the Bible. And you can see how do these intersect in these different elements. You can learn about their relationship with angels, women and animals, and men and landscape. These motifs in the margins here, which are inspired by plants and animals, do look at how they, they show up in different, different illustrations or paintings. We can use them to draw our own characters and different techniques like watercolor, colored pencil, ink or other techniques. We can also simplify them in our own characters or exaggerate them considering a different light and shade. It's all about practice and getting comfortable with our medium, but it's mainly about these motifs and elements and details. We want to start drawing with this fine liner here or any other simple tool to simplify these costumes. So make use of what's available to you. So if you have something different than what I have, don't let that hold you back, use what you've got and let's start together. We want to draw the women wearing the Armenian clothing here with a hat and scarf and long skirts. But in a brief look as well, we're simplifying it. We take a look at the outfit, we look at the proportion. By simplifying it is that we are taking a drawing that has a lot of information in terms of color and shading and details. And we are reiterating it and drawing it using lines. Okay? So we chose our media for this tutorial, the Armenian clothing. The outfits and their details. Before drawing very carefully, analyze them. You choose one, okay, So we've chosen one here. We pay attention to their hairstyles. You want to incorporate as many details as you can with your fine liner or any tool that you are using. At first, we try to draw them. We tried to draw them exactly based on what we see. We will get to the exaggeration part and addition parts and multiplication of certain details later. Because later on that's when we can make our desirable changes to them depending on how it inspires you, and so on. Feel free to send me any questions you might have along the way. I'm here to help. Here we've exaggerated the size of the scarf on her head. Make sure your model images in front of you placed in such a way that it's comfortable for you to keep looking at. It's your best reference. It's giving you the information you need in order to draw your lines. We use her sleeves here to draw the hands as well. We draw her hand out of her cuffs. Remember that when adding the details exactly as you see them, what we mean is draw in your simplest lines. Your lines are really unique to you. So they can be simple. They might not be even in terms of color across the line. It's really, it's really different from one person to the next, but the point is that it's unique, so don't let that hold you back or you think, oh, it's not the same as what is on the tutorial or not the same as you had imagined. Just keep drawing. We've added a little bit more layer into the clothing here as you can see. And by looking at them, you see these basic geometrical shapes, that triangular shapes. And you have other forms such as rectangles that extend. But it's nice to be able to look at these geometrical forms and use them as a way to simplify drawings. And look. The details are in harmony. Now I've remained consistent and my lines and my use of the shapes. So we used simple geometrical forms to create our own character here. And you can add as many details as you want. The point is to be consistent. Keep observing your model. Look at the details and whether there's something else you want to maybe add. But we're starting step-by-step. Now we want to draw this woman with simple shapes here to make some changes to it later on and to create our own additions to it. We draw her face with simple forms. Now we draw her scarf or shawl, of course, with a little bit of exaggeration. But we keep the original form. It would be like this. We use our model image here and we follow the details, but we simplify the forms. So don't feel like you have to fill in the texture, e.g. or the patterns. We're going after the general form first, but we're adding to it and we're trying to mimic the proportion. So we have it looking similar and harmonious in terms of sizing. If my pace is too quick, pause the video, take your time, and then play again when you're ready to continue together. So far we've been drawing the outlines now we add the details of her dress. So in comparison to our first sample here, we're adding a little bit more detail still using lines. Alright? We even simplify the details. It means that we only show their general form. We draw them with simple dots. Our lines without adding too much. In removing the extra information that we see from our modal image, we are creating a different style of drawing. Her skirt is playing and there's no detail on it, so I'm focusing on the other parts. We even add her face as details with simple lines and forms. Now we add the patterns over her scarf. Let's add the fringes of her shawl to. This is also done in the simplified form or in a way of simplifying our model. Now, if we want to make changes to this character which we drew based on our model, we can add or lessen the details. It's really up to you. But you want to go through the different stages of adding or removing things just to practice. We can exaggerate some parts or we can create our own character. Take a moment to look at your model image. Also from drawing these two samples, how do you feel? Do you feel inspired to add more removed? E.g. we draw her head and top part of the body is smaller. And let's say her lower part of the body, like her skirt or lags will make them a little bit longer. So that's the exaggerated part. When you exaggerate a certain part, Let's say you select the hat or the top of the clothing or the bottom part and you choose to make it smaller or bigger, like to exaggerate it in such a way. You're bringing high, you're highlighting it, you're bringing attention to it. And playing around with the medium a little bit more. While drawing, we can have our own technique. This technique is drawing with free lines right here. That's why I was saying, no matter what the result is, draw the lines as you see them. So look at your model. You find that this leaves has this textured pattern that can be done in lines. Just apply your lines exactly as you visually understand them and see them. If at any point in time you're unsure of what to do on a certain part. Just follow my lead. Here, as you can see in our drawing, we've lessened the size of her shoulders. We drew the orange shorter. We want to see what the result would be in a trial and error. So we tried different ways to see which makes an attractive character. In the end, we added the shawl around her waist and then we exaggerate the size of her lower the lower part of her clothing. Look how far I'm going in these exaggerations is just a way to discover, to discover our own style, see what we're attracted to, what we're good at. We're more comfortable with. And also of course, practice more using the fine liner, using the tool that you're using. Because the more confident you are, the better it gets. We did it here in free hand because we are free and character drawing and we can add changes to the model image that we have, which is what we're referencing as our basic starting character. By making it shorter or longer here, fatter or thinner, we can make a new character and make it different from the reality and actually make it unique to us. I'm adding some facial details here. As you can see as a result of doing these techniques, you gain a new perspective. More unique drawing. And it stands out. It kind of sticks in one's mind. Again, we want to draw one more, this time, much shorter than reality, just to create another character. But making choices that are on the other end. So instead of a taller bottom, we're going to make it much shorter. We use our model to draw and test different new, unreal or surreal characters. This way we can enhance our creativity or just test how we can be triggered or what triggers us to create more creative details. You know that an exaggeration, the proportions are not real or standard, although you're still referencing your model image. Different costumes and clothing and cultures help us to add those details and we need to practice drawing these exaggerated proportions. This kind of Schaller, this sleeve, the model of her skirt and other details of her costumes are in fact our basic elements to creativity and making new characters. If we want to do it using only genes are T-Shirt then will be limited to do so at most, we can change their sizes. But we have these varieties in the elements of traditional clothing. And then we can create numerous types of characters. Adding these details. Redraw her arms here longer than the standard, as you can see in this character. On her body should be shorter. As we are drawing. Remember that we want to be careful and not try to draw caricatures. This is a practicing act to exercise, to draw new characters and be inspired by how creative we can get. But it's not about creating character tours are funny figures. It's a practice to become more creative and to practice using the tool, but also finding our own style and sketching like this. The lines are free so it doesn't matter if we cross the lines. We don't want to draw realistic work. There's an aesthetic to the drawing style itself. So don't worry too much if your lines cross each other. We can already see here that we have a shorter character. Feel free to send me your drawings at any stage, really, I'm more than happy to give you some feedback, maybe some guiding pointers. I'm here to help. Now we've used the striped patterns here and we've crossed the lines to create visual effects. We can also draw her shawl like this. We've also added the fringes to her Shaw, this simple dashes. And it would look like that. Now we want to do the same with other real characters and create new characters out of them. E.g. a male character like this with this outfit, which even in reality it has lots of details in it. We want to use these details and characteristics in order to practice. First we draw his clothes in very simple forms. Again, if you're unsure what to do on a certain part or what's the next step. Just follow my lead. As you can see here, we didn't draw the outline of our outfit here, the meal outfit, or we're completing it only by drawing the motifs are the details. These motifs, alongside the details of his clothing give us strong visual attractions. It also teaches us a lot about seeing different possible ways to draw. As you can see, we're drawing the whole figure using these motifs and I'm keeping my lines consistent in terms of thickness. Take your time. If you feel like you want to practice this technique on a separate piece of paper, you can just to give it more space. Because it could be really inspiring, like to try and create a drawing without the outline. Now, as you can see, the motifs are drawn mostly using these straight lines. And we have an outline that we're still able to get addressed and a gesture of the clothing here that there's a person as well standing. This is an attractive technique. And of course, all of these techniques that we've used are attractive, They're good. First we practice in these sizes and then we can draw them in bigger sizes and add more details as we move along. Remember, keep practicing. Thank you for joining me today in this tutorial. Hope you've enjoyed it and see you in the next one. 5. Male Clothing Study Drawing: Armenia: Hi there. Welcome to a new tutorial. In today's tutorial, we're going to draw an Armenian character on this part here. Take your time to set yourself up. Now, first we're going to sketch his beard. We can also draw the general form of the body at first and then add his head. It's really up to you. Now to put it another way we can draw the initial sketch with pencil at first. And then we're going to work more on it using a fine liner. Look at how we've simplified the character. So e.g. we can draw the moustache, but not really determined the lips, or we can draw one eye, but not both of them. We've simplified the characters in our sketches here. The shoulders of the character are wide. Remember to make use of your downloadable resources. They have all the information you need on every tutorial that you follow, listing everything that we go through. And you have your model image and so on. So do make use of them. They're there to help you practice. And they have the base sketches in case you want to sketch with a pencil before a fine liner. There's a cloth around the stomach, which is like a belt and we're going to draw it like this. We draw the legs short in this way. We need to add some patterns and motifs on his trousers as well. Now we're going to draw his arms and hands. We're sketching in a very geometrical way. So if you observe the way that I'm drawing, I'm basing it most that's more geometrical. The important thing is that we know the anatomy and then we simplify the body into our sketch. If we are beginners and we want to draw the figure correctly, we draw it's real figure once in order to learn and become familiar with its anatomy, or a few times, as many times as you want. Then you move on to exaggeration. It is, suppose that we knew and learned how to sketch and draw a character. If there's a problem in sketching, we need to draw the real form of our figure a few times, get used to that, then are exaggerations become more proportionate. After that, we can simplify it and add special details. We can exaggerate and make the figure longer or shorter. And we wouldn't have that much challenge. So e.g. we draw this figure shorter than his standard form in this course, it's suppose that we know and learn the real anatomy of the figures. We decided to draw. This meant shorter according to the feeling that we got from the model here, It's what inspired me as well. We drew the shoulders wider. We use the triangular shape for the body and short rectangles for the legs. Although our model has standard body shape, but we use more geometrical shapes and our sketch. And it's a way to show more of the clothing really to give it more space and to bring highlight. And although the shoulders are wide, we exaggerated them and made them wider. And even though we have, we can use curved lines, but we decided to use geometrical shapes and have these more straight lines. Anyway, it depends on ourselves in order to make decisions for our figures. So it's just about playing around really. But in the beginning we should know the standard anatomy of the figure very well. Then we go on to add these exaggerations. And now we're going to draw some more of these figures in the next lessons. Thank you for watching. Hope you've enjoyed this, keep practicing and see you in the next one. 6. Armenia Clothing Pattern with Organised Doodle Technique: Hi there, Welcome back. Today we're going to draw this figure here in a bigger size and completed a little bit more. So we're going to add more details and give it more space. We start with a basic drawing of our figure. We start drawing our model. This is our photo, which we want to sketch only the motifs without outlines. So take your time to observe it. Take a look at the details and what we need to add. If you're a beginner, you can draw it first and have the outlines. Then add the motifs and practice until you get the mastery to draw without the outlines where you can gauge the proportions and add the details like and using freehand. So you can also do it in pencil if that makes it easier. Now, this technique here that we're going to use, It's different from the realistic drawing. Of course, we can create special works using this technique. It can inspire us by simply focusing on the details and not the outlines. We start from the color of her dress. We pay attention to the patterns and the motifs and we draw them as we see them. Take your time. Remember to make use of your downloadable resources. They have all the base sketches and grids to create your drawings. As you can see here, we're drawing her arms so we change the direction of our lines and the details to indicate the shape of the arm. We need to lessen the sizes of the lines here as the form becomes narrower. And most important practice here is to observe your model and observe the details and add them. In order to draw like this, we need to be familiar with the anatomy of the body that we're drawing here. So we haven't had exaggeration on our drawing so far, but we can add it little by little. But practicing the anatomy is very important. So if you need to do that a few times, go ahead and do that in pencil or pen. Pay attention as beginners, we don't draw or exaggerate or add the motif simultaneously. Don't do them at the same time. You need to do one and practice one. And then once you've gotten down the anatomy and the proportions, then you can move on to create it again, but then exaggerate them. Otherwise, it'll, your final result will look a bit confused. It's much better to add the details in different phases of our drawing and how we're moving forward and practicing and getting more confident and familiar with our tool. We've left a blank space on the color under the chest for the hand. It's a little bit of a blank space for where the hand would be. This is the shawl around her waist. We can only add vertical or horizontal lines. But here we added motifs to which depending on the forums we create by some broken cut or curved lines. Again, add them as you see them. It's not necessary to draw the lines or motifs exactly like the model. By analyzing our model, we simplify the lines and we draw them because in the exercise of simplifying, you choose an easier line or a short-term line or a cleaner line. In fact, we summarize the motifs as they have a lot of details. And if we want to show them in such a sketch or drawing, they wouldn't necessarily be eye-catching on their own. It's about the combination of them together. So if you need to take some of the motifs and on a separate paper, just draw them on their own just to practice and then multiply them and see the effect. Feel free to send me any questions you might have along the way. I'm here to help. If at any point in time you're not sure what to do on a certain part. Just follow my lead. Mimic the way that I'm drawing. And what it is that I'm drawing. We are looking at the details of every part. We were analyzing them visually by looking at them. We're going over the details and then we're care for the adding them. Remember to draw in your most basic simplest way, like the simplest way that comes to you. The primary way, the way that you would naturally draw. Don't try to, don't be pressured by having to have your drawing look different or maybe it's not what you have in mind. Because our lines are most basic lines are very unique to us, like you're drawing style and the way that your drawing is unique to you. Now as you can see here, we have geometrical shapes like rectangles, square, triangle. There are lots of other details which we don't include. We're only using lines in geometrical forms to develop our work. Pay attention that we're not drawing a flat surface. We must consider the general form of the body and if necessary draw them considering the curvatures of the body. So we take those straight lines and we curve them dressed a little bit just to indicate a little bit of volume or a curved area. Here the body is wider so we give it its curvature while adding the motifs. We show that gesture of her body at the same time. Feel free to share with me your drawings at any stage. I'm more than happy to take a look, give you some feedback, maybe some guiding pointers. I'm here to help. Now, while we're sketching here are drawing, we're not we're not trying to be obsessive to add every single detail, but just want to be consistent. Have symmetry, show the curvature. It's those kinds of details that we're trying to practice. Of course you can, you can do this drawing. I'm using different exercise is really just to see how you do like you can do it on a timer. You can do this drawing by repeating it several times and seeing how much detail you'd achieve or how much different year details look across different ones. You can also use digital programs or apps to draw it. The most important thing is how innovative and creative you can be while drawing like this. Is it inspiring you? What does it inspire you to do? What kind of details does it lend itself to you? To create more? Take your time. Keep observing your model. Now as you can see here. The squares, they are so practical and showing the motifs because they are contained space and then you add some more detail inside of it. Now we can add this, these diamond shapes here. We add some dots at the bottom of her skirt. Her skirt is almost complete. This is actually a kind of a print which she's wearing. Now we want to add her skirt, which she's wearing under this apron. Her skirt. And this part is in three parts of which the middle one is darker. The pattern of the middle part is striped like this. We show the light parts untouched. We use the whiteness of our paper. So it's important to make sure that you're not drawing on parts that you want to keep white or clear. We showed the light parts untouched. The third part here has more creases on it. And for the upper light parts, we don't draw any lines and we keep them untouched, as we said before. Imagine we color this drawing, it becomes so attractive by these simple vertical lines, we show them a increases. It depends on you if you want to draw short or long lines are exactly the same size lines. Now we're going to work on the color. And this is her necklace. Look at my hand movement and see how I'm working on this part. Redraw her head and face to try to consider all the details one by one. Make sure you're including all of them. It doesn't matter to change your technique a little and draw lines which aren't in harmony to the whole work because we're practicing really, there's no wrong way of doing it. It's about gaining confidence with our medium and the technique and seeing where it takes us. So that's her head. We had to and darken the bottom of her skirt. Now, we do it like this. Follow my application. Observe how I'm drawing these lines and follow my hand movement. What is important here is that the hatchlings mustn't be different from the lines we used on the whole work. We need to achieve visual harmony like they need to look like they belong as part of the work and not very different in terms of shape or size or technique. Or hatchlings must be in harmony with the rest of the work. We're using, organized crosshatching for the bottom of her skirt. So pay attention if we use this organized lines for such a work that has so much geometry would be spoiled and unattractive and may be separated from the rest of the drawing. So you want to take a moment, pull your head back, maybe look away, look back at your drawing and you'll have a chance to look at it with a bit of fresh eyes and you'll notice like what's missing, what can be added? Whether visually, everything looks harmonious, like it belongs together. We continue adding these details. Now her feet. For the left foot, we drew an outline while the right one is the same as the other parts without an outline, it's better not to draw outlines for such works you want to avoid that. This is an Armenian woman with this attractive, attractive piece of clothing with lots of motifs here. Now we add the details of her face. Again, we're using simple lines for completing her face. You want to complete her arm and hand. We want to make sure we show the curvature on the shoulder, the breast here, and the motifs on her dress, whether they're curving in those details. And the convex lines on both sides of the bottom of the skirt. Also, we created some texture here. Take your time to go over the details. Keep practicing. Thank you for joining me today. I hope you've enjoyed this and see you in the next tutorial. 7. Armenian Clothing Patterns with Fast Sketch Technique: Hello everyone. Welcome back to New lesson. Today's tutorial, we're going to draw another Armenian character, but we want to use more irregular lines. We're going to draw this figure again, but with irregular lines. Observed my hand movements. Take your time to set yourself up. And the quickest way to practice is to mimic my application. Just copy what I'm doing. Then the more you practice, the easier it will come to you. We can exaggerate as well in this technique a little bit more easily. We don't add lots of details on it. We apply the lines as we see them. Sometimes I feel in order to overcome our fear of drawing, we just need to go a little bit faster. And it helps you make decisions in the moment. Now we're drawing the skirt like this. The square root of this character is puffier. Now remember all the outlines and the grids. They are done and ready for you in order to practice your drawing. They're available in your downloadable resources. They're there to help you practice. Take your time. Keep your wrist loose. You don't have to put so much pressure on your pen or your fist on the page. Irregular lines means lines of any kind, but they are just looser. They're made quicker. Look at how we draw the motifs of this character in this very simplified way. The lines can also cross each other like this. Feel free to send me your drawings no matter what the result is or at any stage, I'm more than happy to take a look, have a chat about it, and give you some feedback if you want to. Now if a line crosses from the main lines like these parts, we can repeat it on the other parts as well. So the idea is it's more important to be consistent. If you've done a line that looks a little bit different or off just Miracle, on the other side. Balance it out. We need to add some lines on the skirt. We should not use a lot of lines in order to not get out of the standard form of the skirt. But we wanted to add the lines necessary. If we use lots of exaggerations, we may change the clones of that culture or country. So we should use exaggeration properly and not go beyond like a standard form which deforms those details that we've been focusing on. We showed the color of this part with hatching lines. We draw the shoes, and now we can add some lines to draw the head. Look at how we draw one figure, but in different ways. We can add some lines on this part in order to make the skirt a little bit puffier here on the right. If we look at this character, we understand that her skirt is puffy, but for the other one, we need to show the skirt with different lines. Actually depends on ourselves whether to have regular lines are not like regular heartstrings or not. If we wanted to have a character with irregular lines, we should draw it like this on the right, like the character on the right here. But if we want to sketch easier or draw variety of characters or just have this aesthetic of sketching aesthetic we should draw like the character on the left. Pay attention that we should keep the standard form of the character as well. We should draw and show the main lines generally, and don't add the lines on the right places. As you see, we should not add regular lines on this character here. We used broken lines instead of straight lines on this part because the form of these lines is different from the other character. We're trying to practice showing the same character but indifferent drawing styles. It's another exercise to get creative and practice drawing from top to bottom. So we draw the head, the body, the skirt, and the motifs according to the form that we choose for the lines. We need to pay attention to these points in order to create harmony in our sketch. Really. Always take a moment to pull your head back and look at your drawing. It doesn't make sense if we use straight lines and rectangular shapes for this character, e.g. on the left, the head of the character should have harmony with the other parts as well. So make sure that the style of it, the quality of the line is the same. We exaggerated this part a little bit, which is the skirt part. We can make this character more complete and special by adding more details onto it. The one on the right here, because it lends itself to have that much detail onto it. Now coloring the character can make it even more beautiful as well. So we're going to add color on these characters with color pencils. As you can see, we draw the lines of this part straight, but we don't do it for the other character. We should keep practicing and practicing practice a lot these different techniques in order to be able to use the lines properly according to what you want. This figure is regular, but we sketch this character with irregular lines. We're going to add color on them in the next lesson. So continue to practice drawing and sketching and making those differences. Thank you for joining me. Hope you've enjoyed this. See you in the next one. 8. Armenian Clothing Patterns: Adding Color: Hello everyone. What continued tutorial? In today's tutorial, we're going to add warm colors on these characters which we have drawn and sketched. Red and warm colors are used more in Armenian clothing. We're going to color this part with a scarlet colored pencil. It's number 70. Coloring can make our work different and change our technique completely. And of course, the final result. To have harmony in our work, we need to add color in the direction of the lines and forms. Because in the final result, the direction with which you color in terms of lines, vertical, horizontal, or curved. These will show through I'm coloring alternating, alternating lines here. You can make some parts of the lines darker or lighter. That's really up to you and how you see the shadows. We're using this color for all parts. Feel free to use different colors than the ones we're using here. Or if you have different colors or access to different colors than the ones we're using in the tutorials. Just use what's available to you and don't let it hold you back. Take your time, apply your color. Now, the next color that we're going to use is anthro coin, Carmine colored pencil, that's number 580. We bring in this also warm color, It's more brown. And we start adding it to the details. Remember to make use of your downloadable resources. They will list all the colors that we use in a tutorial and everything that you go through for every tutorial that you follow. It's there to help you practice. The next color we're gonna be using is the orange colored pencil that's number three is zero. Now remember using these different tonalities of like using tonalities of different colors. But the tonalities are close to each other. They're all warm and harmonious in a sense, it adds a lot of richness to your artwork. Remember, we need to keep some parts untouched so you don't add any color on them. They need to be the white of the page. If you're unsure which parts these are, just follow my lead. Apply the color where I'm applying it. The more you practice, the more seeing the highlights and the shadows gets easier and more instinctive for you. Now we're going to add the middle where the gray color on these parts here. That's pencil colored pencil number 713. Now we need to use the orange colored pencil. Again, that's number 30. We need to use it on this triangular shape as well. Right here. Now, we need to work on creating that harmony between the colors and it gets better and better. The more you bring these tonalities that are talking to each other together. It depends on ourselves whether to color the figures are not for this character. We can add the colors more irregularly. So our application is looser. Let's color the character on the left. We need to use a Cornelia and colored pencil that's 850. Pay attention that we don't fill these parts with color completely. We used this way of coloring because our work is irregular or using irregular lines. Now remember all the materials and colors and grids for sketching. They're all available for you. Everything that we're using on this course is available, available for you on the downloadable resources. And feel free to send me your questions at any point in time. Now, look at how we've used a variety of colors according to the lines. And in our, in our character on the left, we don't color very regularly either like our hand. Our application is looser or hand is lighter. Here we're coloring these parts of the Scarlett pencil, That's number 70. Next, we're going to add color on these parts here with the green ocher. That's number 25. It's like a very olive green. Actually, we want to be more free and not choose the colors exactly based on the, the modal image or the culture and the clothing in front of us. You can divert from that if you have different preferences, really. I always find it helpful and beneficial to go with the original for my primary practices and then sort of take it from there. Now in this tutorial, we just wanted to use colored pencils a little. We need to add color on these parts as well. We can add more details on this character and increase the contrast of our work. But take a moment to pull your head back. Move away from the drawings and the coloring and notice what you might need to add or remove and how this has accentuated your artwork as well. Combining different mediums to create an artwork is something very attractive and it needs practice depending on the combination of mediums you're choosing. But that's about it for today's tutorial, don't forget to practice and hope you've enjoyed this one and see you in the next tutorial. 9. Clothing Patterns with Advanced Line Drawing: Hello, Welcome back to new lesson. In today's tutorial, we're going to draw an Armenian men on this part here. We've colored in R to Armenian females here in the last tutorial. We're going to draw the face of the character like this. We're starting off with sad, the eyebrows, the eye. There's a turbine on his head. Now, remember to make use of your downloadable resources. They have the grids for you to create your basic sketch, which if you choose to do in pencil, you can. But I do encourage you to just use your fine liner. Enjoy the process and the matter, the result. Now here on our character, the shoulders are wide. I'm adding details as I'm moving along. This part of his clothes has some first, I'm trying to show that texture. And also in your downloadable resources, there's all the information that you need in order to practice. So it's there to help you practice on your own or anytime you want really to inform you. Because it lists the colors that we use, the grids, that information, and so on. Now keep observing your model image, makes sure it's sitting in front of you in such a way that you can comfortably look at it constantly, because that's what we're doing. Now here, notice how we're using both regular and irregular lines. So some of them are really straight and geometric and others are curved. So it's a combination of both techniques that we've used for the other two characters. We want to use more hatching lines for his clothes here. Observed my application. Now remember if you're unsure at any point in time what to do on a certain part, how to draw on a certain section. Just follow my lead. Keep your wrist light. We use different hatching lines for this character. We're sketching our figure and his clothes right now. So it's both, It's not just the anatomy of the body, but it's also the clouds and how they're curving showing the body underneath. Don't worry too much. If your drawing is not looking as you had in mind, it would look or maybe different than your model drawing model image, which is completely normal because we are, we are developing a drawing aesthetic. We are not developing a realistic image here. We are using these realistic indications and references from our model image and we're drawing them in order to transfer it into this medium. So of course it's going to look different. The idea is to practice and get better and get more confident. We need to draw the legs bigger. So even the clothing is a bit bigger here. Then we're going to add some hatching lines on the pans in this way. Also some details. Some of the pattern, those are the motifs that we talked about. So they're not as exact as you would with a regular lines are very geometric lines, but they are indicated. Now, the idea of sketching or using irregular lines or even just drawing in general. Use any line you will need to use in order to create your drawing v at irregular line, irregular line, hatching, crosshatching, curved ideas to get the proportion right. That's really what we're practicing. And yes, that differs in terms of how it looks in the end depending on the tool you're using. But practice does make perfect. Because you can see here we've used different lines and hatching lines for our character. We've mixed them up. We've used lots of lines and we've achieved this aesthetic. And no matter what you choose, in terms of aesthetic and lines, just be consistent. Do it all across your drawing. So it looks harmonious. Now we're going to add some hatching lines on his face like this. Because of the model of his clothes, like the style of his clothes. And it's fors, we use a lot of hatching lines for this character to achieve these, these details, these characteristics that make it look the way it needs to look or as closely as I can see it from my modal image. We have used hatching lines for all parts in order to create harmony in our sketch. That's what we mean by visual logic. Visually harmonious, everything looks like it belongs in the same drawing. Really enjoy sketching with lots of hatching lines. There's so much to learn. So we've sketched this character very simply. We've simplified the lines. We draw this one with irregular lines. And then we drew the last character by using different hatching lines. Choose the technique that you like, you prefer. You find yourself inspired by and practice. Keep practicing. The important thing is to use the motifs and elements of the character like the country, the region of the clothing that we are drawing. And to make sure that it's there, that you can see it. You know, that's the point of this course, is to draw clothing and characters wearing those clothing's from different parts of the world. And here I'm just making these lines a little bit bolder is just a way to finalize our drawing here. Because you can go back with your pen even after you've used your color pencils. But that's about it for today's tutorial. I really hope you've enjoyed it and you've got to practice another drying technique. Keep practicing and see you in the next tutorial. 10. Fast Figure Drawing Sketches: Hi there. Hope you're all well. We'll continue tutorial. In today's tutorial, we're going to sketch an Armenian woman on this part of our page here. Take your time to create your sketch. Make use of your downloadable resources. In this catch, we're going to use a variety of hatching lines in order to create our character. If at any point in time you're not sure how to do a certain part or what to do next, just follow my lead. Notice my lines. Here we are going to exaggerate her skirt. As you can see, my lines are pretty loose. They're irregular. They're not very straight. Which is why they're called irregular. Redraw the motifs and the elements in this very simple, simple way. Take your time. We need to draw all the details patiently. Just because we are drawing something loosely doesn't mean that it's inaccurate or that it doesn't have the details. These are the elements of this country here, the motifs of Armenia that you find on the clothing and its culture. And we've used it on different, different types of clothing here on different figures. We can also sketch the phase of the characters with these motifs as well. Like if it's on a head piece or a necklace. We've used elements of Christianity for the, for the cloth creases as well in this one here. If you look at the early Christianity images, the cloth creases are like this. They're quite numerous, they're multiplied. Since they are this special elements of this region, we use them for our character. Feel free to send me any questions you might have along the way. I'm here to help. The combination of colors and lines is a big challenge for the artists in order to use the best of them. So it's a balancing act really. And practicing. Also feel free to share with me your drawings, whether you've used regular lines are irregular. Maybe it's an unfinished drawings or completed drawings. You can share with me your drawings at any stage. I'm more than happy to just have a chat about it. Give you some feedback if you want. And of course, address your questions. Keep observing your model and apply your lines as you see them. Now every art work, it's really depending on you and what's inspired you. Sometimes we use more colors than lines, so our drawing is pretty clean in terms of the fine liner or the outlines. And then the colors are, they come in and they populate the entire artwork. Sometimes we don't use that many colors or any colors at all, and just rely on the line drawing, which is also a challenge. We can create better harmony if we just work with hatching lines. It's something that requires practice and a lot of observation. We're going to add some more motifs. As we move down the dress. If we want, we can add more exaggeration on the characters as well. Now these motives are in standard form, but we can, we can exaggerate them in the next drawings. Or if you repeat the same drawing and you want to choose a certain part to exaggerate. But look at the differences between all the figures that we've drawn, the clothing, also the technique. Are your lines consistent across every figure? We can also draw the legs are smaller or longer or shorter. We need to search and see different images from a certain region in order to become familiar with a variety of elements, motifs, different clothing. So the more information you have, the better. Because then we're going to sketch different characters in accordance with their motifs, elements and cloth and culture and colors of course. So take your time, practice, and especially practice simplifying the drawing. So you're creating a line drawing from a modal image, which is a photograph or a painting. And finally, we use our techniques in order to have our own characters because we don't want to copy exactly the same models we're trying to be inspired to create our own style, right? That's the whole, that's the whole purpose behind such an exercise. So once you've drawn the character in front of you as you see it, then you try to exaggerate a certain part. Then you use it as a point of inspiration, something that it has inspired you are triggered you to realize, I like to use dots more than hatching lines, maybe crosshatching, more than just hatching. So we've used the elements of Christianity, as you can see here from this period. We've used regular lines for this character here we've used the motifs on this character here on the man reviews lots of hatching lines. We've showed shading layers with the hatching lines as well. And as you can see from the previous sketches, we've used simple lines and geometric elements. We have tried them out here. We've used some irregular lines on this character over here. While here they're more regular the more straight. So it's really about a combination of them and what you're more comfortable with and practicing. We've used all these elements and techniques in order to create our own characters. Thanks for watching. See you in the next one. 11. edit this video voice: Hello everyone. Welcome back to this tutorial. In today's tutorial, we want to use the elements of the Armenian architecture for the character we are gonna be working on. Actually, we want to use the models and forms of the church domes and combine them with the figure. Learning how it can be done as accurately as possible. So let's observe our model image. Use your downloadable resources to gain access to these images and the grids as well in order to draw your base sketch, this work needs a lot of creativity in order to use the architecture of some of the buildings as a source of inspiration for the form of the body and also the dress. So we need to practice a lot and we're going to go through it step-by-step. We start our work with and olive brown color pencil. It's number 39. That's 39. First of all, we're going to draw the dome of the church. Try to be accurate and follow my head movements as closely as you can. A good observation of our modal image is the first step in drawing. Of course, you can draw it freehand from observation or you can follow my application like my hand movement and the way that I'm drawing. Take your time. Keep your wrist light. Hold your pencil in a comfortable way. Because sometimes we can be overwhelmed. We might be holding our pencil too strongly. Now, this can be the crown of our figure which is placed on the shoulders. Look closely and see how I'm working on it step-by-step. If you need to rewind certain parts in order to practice together, just go ahead and do that. If my pace is a bit too quick, maybe you can pause the video, create your sketch, and then continue together when you're ready. As you can see, we combine the crown with the church dome. Look closely and see how all these elements are coming together and creating a new character with different dress styles and characteristics. Now the idea here of taking inspiration from the buildings. So we're still inspired from the Armenian culture, but we're taking inspiration from the buildings just like you would take inspiration from any element in the world to create a new clothing piece. It could be nature, it could be a cartoon, cartoon character. It could be the skies and could be really anything. So this is the same idea in order to trigger our creativity. We also analyze the trial and errors in order to see what our sketch looks like if we draw it like this. So don't limit yourself in any way. Just experiment and draw. It gives you a chance to use your tool, get more comfortable with it and be familiar and create even better drawings. The hands are thin and facing downwards. This is exactly how we need to work on them. Now we're going to add some columns on this part, which is between the hair and shoulder. Take your time. Go over the details patiently. We're going to complete our sketch. Look closely and follow my hand movements. It is good that we go through these different steps together. It's always beneficial to practice at the same time as the tutorial. We try to create harmony between different parts of our sketch. And this harmony comes not only from a good observation, but also from practicing and not being afraid to be creative. Or try something that you might not be too comfortable to try, experienced the world around you and try to combine different elements in the best way as possible while drawing. Now, remember to make use of your downloadable resources. They will have all the information you need for every tutorial that you follow, listing all the steps that we go through, the materials, the grids you need to draw, the base sketch and so on. It's there to help you observe the drawing that I'm creating. Now, we've done our sketch with lots of imagination and creativity here, so you can pause the video if you still need time to sketch this drawing. We used elements of the building motif, native elements and even clothes and combine these all together to create this figure right here. So that's an a way, an exercise to trigger our creativity. So now we're going to add hatching lines on our work using a black fine liner. First we're going to work on the cross. We use different short hatching lines, tried to look closely and follow my application. Look at the way that I'm drawing. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage. Maybe just if you want to share and that you've used different techniques to create the drawing. Or if you want any feedback, I'm more than happy to give you some guiding pointers. Notice how I'm crossing my lines here, where they're not all going in one direction, they are creating a texture, but also shadows where some of them are darker than other lines. We add the hatching lines like this. If you mimic my application the exact way that I'm drawing. And then take a moment and stop drawing. Pull your head back, look at what you're creating and you'll notice what kind of texture you've been creating. Because sometimes we need encouragement or that we're not convinced that what we're doing is giving us the effect that we want. Density and the distance between the hatching lines or less on the lighter parts as we see here on the right. And see how I maintain the gaps in between these hatching lines because we're not trying to fill in all the space completely. There's still the white of the page, the highlights that we need to show and so on. Now again, feel free to message me at any point in time if you have questions. I'm here to help keep observing the model image. This is the dome of the church, which we worked on with different hatching lines. We've tried to mimic that texture. We continue. Now we go through the hair of the model here. I'm always really curious how, how each one of us, or how each one of you gets creative or ends up creating the artwork. So that's why I would be more than happy to receive your drawings at the end of your practices. I'm always online and available to check your assignments and answer any questions. What's mainly important is to enjoy the process. Don't worry too much about what the final result is going to be, or maybe a line is wrong or not, how you wanted it to be. Just enjoy it, practice, get familiar with your tool. And the more you practice, the more confident you become in this medium. We continue adding hatching lines here on the lower parts. This is like the column of a building. We go through these curved parts. We add hatching lines on the hair, shoulder and the curved parts that we drew while being inspired from architecture and the different characteristics of buildings. There is something, a little bit of a surreal approach here that I'm going for. It's just a way to trigger our creativity. See what comes to mind are what we feel like drawing more of as we try it. We go through the ear here and then we're going to draw this braided hair. We tried to show the phase of the model using hatching lines as well. One hatching lines are added in the accurate directions and angles. They can be really complimentary to the form. And this is exactly what we're doing here, even though we're using the same pen, the one pen to create different hatching lines. It's the way we apply these lines that creates differentiation between the face, the texture there of the shadows, the hair, the hat, the top part. So the clothing really just takes a bit of practice. The more you practice, the instinctively you'll be able to decide what kind of lines you want to apply to show the difference between the face and the braid, e.g. or the hair and the top part of the clothing. As you can see, we combine the face and head of our model with architectural elements. And we've built up our layers step-by-step. We draw the details and design elements of the crown like this. Every few minutes as you are drawing, make it a habit to stop. Pull your head back, look away, look at your, look back at your drawing with a little bit of fresh eyes just to see whether you're achieving what you want to achieve in your drawing. And to notice in this quick little exercise like how to, what might be missing? Is it more shadows on some parts as a more highlights? The highlights or the important part because they are the white of the page, right? So we want to make either visual notes or make a marker like on the side to point that this part needs to stay white and take it from there. Now we're adding some shading layers on the clothes. We combine the form of the dome with a form and details of the clouds in order to create harmony. So we stopped to check to see whether there's also visual harmony there. There are lots of triangular shapes on our sketch which we add like this. Take your time. Now we're going to add hatching lines on this part. We draw these triangles exactly the same as the triangular shapes of this part on top here. We want to create a visual balance. So the drawing, all elements of the drawing look like they belong to the same drawing. That nothing sharply stands out as if it's a different style. Of course, you can combine different styles. So if you want half of your figure to be very geometrical and the other half, not very like using irregular lines, you could do that, but for now we will need to practice creating a full figure, full drawing using consistent technique across the entire drawing. Once you've practiced and you feel that said you are confident to go ahead and mix different different styles. Then you go ahead and do that. We've gone through this part here and we've created a texture with hatching lines down the arms. The important thing is to create harmony. It means that when we sketch a character, we should have, we should have consistency between different parts of our artwork. And they should be in the same direction as well. In terms of lines on different parts. We draw the necklace of the character like this. Well, actually, we've used our imagination and creativity in order to add all these parts. And that's the real exercise. We used our imagination, our creativity in accordance with the motifs and the colors and the clothes, shapes from the Armenian figures and architecture. In order to get inspired and to see how else do we want to expand on these elements. That's why it's important to observe the content. We used all of these things as raw materials in order to grow our imagination and create different and new sketches. We tried to use all these elements for our character. I decided to work on our sketch with hatching lines, but we can use color pencils as well. And again, what remains important is, is to draw an ad What's on your mind onto the paper. And it's an exercise to inspire us to get towards our own styles. So whatever you're inspired by is to go for trial. We need to work with love and passion. We should practice a lot and learn from our mistakes. These are the key steps that help us improve in our work. We should continue and never give up and practice a lot in order to become better and gain experience and confidence. Look carefully that how we draw the hatching lines to complement the form. So we direct our lines in accordance to the body part that we're working or the shape of the cloth. For these parts of the clouds right at the edge here. We got inspiration from the form of the gable in architecture. Notice how I take a moment between drawing several hatching lines. I stop. Then I go back and I continue. It's just a moment for me to look at my drawing and see what I've achieved. What can I add? We use triangular shapes here and lines in order to add more harmony and more detail to our sketch. We draw the accessories based on our search and models. It's important to reference what we're inspired by. It's something really good to be able to say This is what I'm inspired by this era, this cloth, this culture. And to take it from there and show why the inspiration came. Now we change the direction of the hatching lines and we draw them in this way. Remember to not fill in all the spaces. You want some whitespaces and some of the lines to have bigger gaps between them. As you are going towards the highlights. We go through the skirt. Here. We continue this part of the skirt and we create the texture of this part like this. Observed my application. As you can see, we've used different lines and a variety of hatching lines in the directions that they need to be. In order to build our character and not just give it a texture and highlights and shadows, but to give it some patterns as well. So our lines define what it is that we are drawing. So we have straighter and short lines for the top part, the hat on top of the head, which is very geometrical. Although you have very straight lines as well on the skirt, you still have a little bit of curvature at the bottom. Also, the detailing on the neck and the shoulders. We forget to keep this part of the hand White, same as the right hand, but it doesn't matter. It's okay. We can draw these kinds of sketches several times and practice this part of the building which is placed on the head and shoulder of the figure, is resting on the back. Actually, this can be an interesting combination between the face and the building on the clothes here. Moving on, we go through this part, moving down to the back. Let me connect these lines to the body. All these things are just points for us to practice more or build our sense of drawing and grow and expand our creativity in how we're imagining what we want to draw, and how we can create a special character with a combination of the facial expression, the pose, the clothing, and the elements that architectural elements that play a role. The play a role here if we want, we can work more on these kinds of artworks and add more details on them. We want to add more of the details on our sketch in accordance with these Armenian miniature samples. Look, we can use the angels, birds, the plants on the building and add all of them on our work. Of these are elements that inspire you and lend themselves to you to be more creative. Just incorporate them. We should research, consider these details and elements in order to use them for our sketch correctly. And see where they can take us. You can place your model image right next to you as I had it right now. And simply have it right next to you just to continuously look at or be inspired by an add extra elements that you might have thought of on the spot. Right now we're working more on this part of the clothes. We use the architecture for different parts of our models. I'm taking a moment. Every time I add something, I'd take a moment to take a look at my art work. I want to make sure that all the elements are visible in their own right. And at the same time check on the harmony. So based on our imagination, we drew this figure with a combination of buildings, clothing and accessories such as the necklace and the head piece and the hairstyle. And this crown there is this crown element to it and also a bit of super real. But we studied the motifs and the Armenian elements before deciding to create our own figure here, inspired by these elements. Just so we can have different variety of forms and geometrical shapes and models for our Median clothing and figure drawing here. We should not limit ourselves, we should study it, researchers and keep the elements in our mind. Then we use our creativeness in order to create new sketches and artworks and find out more about our own style and what we find inspiring. And as you can see, we got inspiration from architecture for the shoulders. The clothes as well have architectural elements. And the hair and the crown combination. There is a net above the head that have been continued until this part. Down here. We can add this to our work or not. It's really up to you. Well actually there is a net on this part here. We're going to draw it like this. If you feel worried about doing this, just do it with a pencil first and then go in with your pen liner. But don't be scared to go for it. I always encourage all of you to just not worry too much. The only way to learn is by making these mistakes. These mistakes that are related to proportions and how to draw and where to draw the lines. Just take your time. Be patient. Keep your wrists really light. See how we've used these hatching lines in different forms. They have different distances so they indicate different shadows and highlights. We also use different textures onto our work and it shows that how much we've used our creativeness and practice these different applications of the hatching lines, it's really important to practice that. Because if you're using one pen and you're using the hatching lines technique, but it's in the differentiation of application. That's where the magic happens. We complete the model of the clouds here. We want to make sure this veil has all the details that needs. It is quite a big piece and it has, it's delicate and has the most light in it. So that's why I was taking my time. Just adding some shadow here. The more I look at this head p is, the more I realize it needs a little bit more shadow just to indicate that it's sitting on top of the hair here. It gives it presence and contrast and a bit of weight. So once you've done your sketch, again, I repeat, take your time to look at your drawing. It gives you a chance to just notice what might be missing. Now, we were to add more shading layers on these parts in order to add more dimension on our character, we want to give it that depth of perception, right? There's more to look at and the contrast, just like the highlights which are the white parts. They're really important. They really make the work pop. All of these trial and errors. Because we are drawing what is on our mind and we've added the details step-by-step based on our experience. So this is really a great, great exercise. You can repeat this drawing several times and try to do it with different shading techniques. Crosshatching, dots, irregular lines. I advise you to just enjoy the process, learn from it, make the mistakes. We add some shading layers on these parts for the contrast of our work here. Gave a bit of attention to every part c, what it needs. Our work is nearly done. We've created a character in accordance with the combination of the Armenian Architecture, jewelries, clothes. And we've also built this character. This figure is female figure with all these elements based entirely on our imagination. Really hope you've enjoyed this tutorial. Keep practicing and see you in the next one. 12. Advanced Style Clothing Design with Architectural Elements : Hello everyone. Welcome back to this tutorial. In today's tutorial, we want to use the elements of the Armenian architecture for the character we are gonna be working on. Actually, we want to use the models and forms of the church domes and combine them with the figure. Learning how it can be done as accurately as possible. So let's observe our model image. Use your downloadable resources to gain access to these images and the grids as well in order to draw your base sketch, this work needs a lot of creativity in order to use the architecture of some of the buildings as a source of inspiration for the form of the body and also the dress. So we need to practice a lot and we're going to go through it step-by-step. We start our work with an olive brown color pencil. It's number 39. That's 39. First of all, we're going to draw the dome of the church. Try to be accurate and follow my head movements as closely as you can. A good observation of our model image is the first step in drawing. Of course, you can draw it freehand from observation or you can follow my application like my hand movement and the way that I'm drawing. Take your time. Keep your wrist light. Hold your pencil in a comfortable way. Just because sometimes we can be overwhelmed. We might be holding our pencil too strongly. Now, this can be the crown of our figure which is placed on the shoulders. Look closely and see how I'm working on it step-by-step. If you need to rewind certain parts in order to practice together, just go ahead and do that. If my pace is a bit too quick, maybe you can pause the video, create your sketch, and then continue together when you're ready. As you can see, we combine the crown with the church dome. Look closely and see how all these elements are coming together and creating a new character with different dress styles and characteristics. Now, the idea here of taking inspiration from the buildings. So we're still inspired from the Armenian culture, but we're taking inspiration from the buildings just like you would take inspiration from any element in the world to create a new clothing piece. It could be nature, it could be a cartoon, cartoon character. It could be the skies and could be really anything. So this is the same idea in order to trigger our creativity. We also analyze the trial and errors in order to see what our sketch looks like if we draw it like this. So don't limit yourself in any way. Just experiment and draw. It gives you a chance to use your tool, get more comfortable with it and be familiar and create even better drawings. The hands are thin and facing downwards. This is exactly how we need to work on them. Now we're going to add some columns on this part, which is between the hair and shoulder. Take your time. Go over the details patiently. We're going to complete our sketch, look closely and follow my hand movements. It is good that we go through these different steps together. It's always beneficial to practice at the same time as the tutorial. We tried to create harmony between different parts of our sketch. And this harmony comes not only from a good observation, but also from practicing and not being afraid to be creative or try something that you might not be too comfortable to try. Experienced the world around you and try to combine different elements and the best way as possible while drawing. Now, remember to make use of your downloadable resources. They will have all the information you need for every tutorial that you follow, listing all the steps that we go through, the materials, the grids you need to draw, the base sketch and so on. It's there to help you observe the drawing that I'm creating. Now, we've done our sketch with lots of imagination and creativity here, so you can pause the video if you still need time to sketch this drawing. We use the elements of the building motif, native elements and even clothes, and combine these all together to create this figure right here. So that's in a way, an exercise to trigger our creativity. So now we're going to add hatching lines on our work using a black fine liner. First, we're going to work on the cross. We use different short hatching lines, tried to look closely and follow my application. Look at the way that I'm drawing. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage. Maybe just if you want to share and that you've used different techniques to create the drawing. Or if you want any feedback, I'm more than happy to give you some guiding pointers. Notice how I'm crossing my lines here, where they're not all going in one direction, they're creating a texture, but also shadows where some of them are darker than other lines. We add the hatching lines like this. If you mimic my application the exact way that I'm drawing. And then take a moment and stop drawing. Pull your head back, look at what you're creating and you'll notice what kind of texture you've been creating. Because sometimes we need encouragement or that we're not convinced that what we're doing is giving us the effect that we want. Density and the distance between the hatching lines or less on the lighter parts as we see here on the right. And see how I maintain the gaps in-between these hatching lines because we're not trying to fill in all the space completely. There's still the white of the page, the highlights that we need to show and so on. Now again, feel free to message me at any point in time if you have questions. I'm here to help keep observing the model image. This is the dome of the church which we worked on with different hatching lines. We've tried to mimic that texture. We continue. Now we go through the hair of the model here. I'm always really curious how, how each one of us, or how each one of you gets creative or ends up creating the artwork. So that's why I would be more than happy to receive your drawings at the end of your practices. I'm always online and available to check your assignments and answer any questions. What's mainly important is to enjoy the process. Don't worry too much about what the final result is going to be, or maybe a line is wrong or not, how you wanted it to be. Just enjoy it, practice, get familiar with your tool. The more you practice, the more confident you become in this medium. We continue adding hatching lines here on the lower parts. This is like the column of a building. We go through these curved parts. We add hatching lines on the hair, shoulder and the curved parts that we drew while being inspired from architecture and the different characteristics of buildings. There is something, a little bit of a surreal approach here that I'm going for. It's just a way to trigger our creativity. See what comes to mind are what we feel like drawing more of as we try it. We go through the ear here and then we're going to draw this braided hair. We tried to show the face of the model using hatching lines as well. One hatching lines are added in the accurate directions and angles. They can be really complimentary to the form. And this is exactly what we're doing here, even though we're using the same pen, the one pen to create different hatching lines. It's the way we apply these lines that creates differentiation between the face, the texture there of the shadows, the hair, the hat, the top part. So the clothing really just takes a bit of practice. The more you practice, the more instinctively you'll be able to decide what kind of lines you want to apply to show the difference between the face and the braid, e.g. or the hair and the top part of the clothing. As you can see, we combine the face and head of our model with architectural elements. And we've built up our layers step-by-step. We draw the details and design elements of the crown like this. Every few minutes as you are drawing, make it a habit to stop. Pull your head back, look away, look at your, look back at your drawing with a little bit of fresh eyes just to see whether you're achieving what you want to achieve in your drawing. And to notice in this quick little exercise like how to, what might be missing? Is it more shadows on some parts is a more highlights. The highlights or the important part because they are the white of the page, right? So we want to make either visual notes or make a marker on the side to point that this part needs to stay white and take it from there. Now we're adding some shading layers on the clothes. We combine the form of the dome with the form and details of the clouds in order to create harmony. So we stopped to check to see whether there's also visual harmony there. There are lots of triangular shapes on our sketch which we add like this. Take your time. Now we're going to add hatching lines on this part. We draw these triangles exactly the same as the triangular shapes of this part on top here. We want to create a visual balance. So the drawing, all elements of the drawing look like they belong to the same drawing. That nothing sharply stands out as if it's a different style. Of course, you can combine different styles. So if you want half of your figure to be very geometrical, the other half, not very like using irregular lines, you could do that, but for now we will need to practice creating a full figure, full drawing using consistent technique across the entire drawing. Once you've practiced and you feel that said you are confident to go ahead and mix different different styles. Then you go ahead and do that. We've gone through this part here and we've created a texture with hatching lines down the arms. The important thing is to create harmony. It means that when we sketch a character, we should have, we should have consistency between different parts of our hard work. And they should be in the same direction as well. In terms of lines on different parts. We draw the necklace of the character like this. Well, actually, we've used our imagination and creativity in order to add all these parts. And that's the real exercise. We used our imagination, our creativity in accordance with the motifs and the colors and the clothes, the shapes from the Armenian figures and architecture. In order to get inspired and to see how else do we want to expand on these elements. That's why it's important to observe the content. We used all of these things as raw materials in order to grow our imagination and create different and new sketches. We tried to use all these elements for our character. I decided to work on our sketch with hatching lines, but we can use colored pencils as well. Again, what remains important is to draw an ad What's on your mind onto the paper, and it's an exercise to inspire us to get towards our own styles. So whatever you're inspired by is to go for trial. We need to work with love and passion. We should practice a lot and learn from our mistakes. These are the key steps that help us improve in our work. We should continue and never give up and practice of law and order to become better and gain experience and confidence. Look carefully that how we draw the hatching lines to complement the form. We direct our lines in accordance to the body part that we're working or the shape of the cloth. For these parts of the clouds right at the edge here. We got inspiration from the form of the gable in architecture. Notice how I take a moment between drawing several hatching lines. I stop. Then I go back and I continue. Just a moment for me to look at my drawing and see what I've achieved. What can I add? We use triangular shapes here and lines in order to add more harmony and more detail to our sketch. We draw the accessories based on our search on models. It's important to reference what we're inspired by. It's something really good to be able to say This is what I'm inspired by this era, this claw, this culture. And to take it from there and show why the inspiration came. Now we change the direction of the hatching lines and we draw them in this way. Remember to not fill in all the spaces. You want some whitespaces and some of the lines to have bigger gaps between them. As you are going towards a highlight. We go through the skirt. Here. We continue this part of the skirt and we create the texture of this part like this. Observed my application. As you can see, we've used different lines and a variety of hatching lines in the directions that they need to be. In order to build our character. And not just give it a texture, highlights and shadows, but to give it some patterns as well. So our lines define what it is that we are drawing. So we have straighter and short lines for the top part, the hat on top of the head, which is very geometrical. Although you have very straight lines as well on the skirt, you still have a little bit of curvature at the bottom. Also, the detailing on the neck and the shoulders. We forget to keep this part of the hand White, same as the right hand, but it doesn't matter. It's okay. We can draw these kinds of sketches several times and practice this part of the building which is placed on the head and shoulder, the figure, the resting on the back. Actually this can be an interesting combination between the face and the building and the clothes here. Moving on, we go through this part, moving down to the back. We connect these lines to the body. All these things are just points for us to practice more or build our sense of drawing and grow and expand our creativity in how we're imagining what we want to draw, and how we can create a special character with a combination of the facial expression, the pose, the clothing, and the elements, architectural elements that play a role. The play a role here if we want, we can work more on these kinds of artworks and add more details on them. We want to add more of the details on our sketch in accordance with these Armenian miniature samples. Look, we can use the angels, birds, the plants on the building and add all of them on our work. Of these are elements that inspire you and lend themselves to you to be more creative. Just to incorporate them, we should research. Consider these details and elements in order to use them for our sketch correctly. And see where they can take us. You can place your model image right next to you as I had it right now. Simply have it right next to you just to continuously look at or be inspired by an add extra elements that you might have thought of on the spot. Right? Now we're working more on this part of the clothes. We use the architecture for different parts of our models. I'm taking a moment. Every time I add something, I'd take a moment to take a look at my artwork. I want to make sure that all the elements are visible in their own right. And at the same time check on the harmony. So based on our imagination, we drew this figure with a combination of buildings, clothing and accessories such as the necklace and the head piece, and the hairstyle. And this crown, there's this crown element to it and also a bit of super real. But we studied the motifs and the Armenian elements before deciding to create our own figure here, inspired by these elements. Just so we can have different variety of forms and geometrical shapes and models for our Median clothing and figure drawing here. We should not limit ourselves, we should study it, researchers and keep the elements in our mind. Then we use our creativeness in order to create new sketches and artworks and find out more about our own style and what we find inspiring. And as you can see, we got inspiration from architecture for the shoulders. The clothes as well have architectural elements. And the hair and the crown combination. There's a net above the head that have been continued until this part. Down here. We can add this net to our work or not. It's really up to you. Well actually there is a net on this part here. We're going to draw it like this. If you feel worried about doing this, just do it with a pencil first and then go in with your pen liner. But don't be scared to go for it. I always encourage all of you to just not worry too much. The only way to learn is by making these mistakes. These mistakes that are related to proportions and how to draw and where to draw the lines. Just take your time. Be patient. Keep your wrists really light. See how we've used these hatching lines in different forms. They have different distances so they indicate different shadows and highlights. We also use different textures onto our work and it shows that how much we've used our creativeness and practice, these different applications of the hatching lines, it's really, really important to practice that. Because if you're using one pen and you're using the hatching lines technique, but it's in the differentiation of application. That's where the magic happens. We complete the model of the clouds here. We want to make sure this veil has all the details that needs. It is quite a big piece and it has, it's delicate and has the most light in it. So that's why I was taking my time. Just adding some shadow here. The more I look at this head p is, the more I realized that needs a little bit more shadow just to indicate that it's sitting on top of the hair here. It gives it presence and contrast and a bit of weight. So once you've done your sketch, again, I repeat, take your time to look at your drawing. It gives you a chance to just notice what might be missing. Now, we were to add more shading layers on these parts in order to add more dimension on our character, we want to give it that depth of perception, right? Is more to look at and the contrast, just like the highlights which are the white parts. They're really important. They really make the work pop. All of these trial and errors. Because we are drawing what is on our mind and we've added the detailed step-by-step based on our experience. So this is really a great, great exercise. You can repeat this drawing several times and try to do it with different shading techniques. Crosshatching, dots, irregular lines. I advise you to just enjoy the process, learn from it, make the mistakes. We add some shading layers on these parts for the contrast of our work here. Give a bit of attention to every part c, what it needs. Our work is nearly done. We've created a character in accordance with the combination of the Armenian Architecture, jewelries, clothes. And we've also built this character. This figure is female figure with all these elements based entirely on our imagination. Really hope you've enjoyed this tutorial. Keep practicing and see you in the next one. 13. Female Clothing Study with Color Pencil: India: Hello everybody, welcome back to another tutorial. Now, the next country that we're gonna go through and work on their dress style is India. Indian culture has a lot of patterns and colors. There are lots of God's elements and symbols in India. Let's take a look at their special clothing here. These are stories that women wear. If we look at the history, we will see the variety of clothing for inspired from the different gods and Indian men as well wear them. We can also see local clothing in different regions. Like this. We should just research and understand these Indian elements and then we're going to get inspiration from them and use them for our sketches. All these elements and combination can be a way to create a new figure with a new style that is inspiring to different regions, e.g. or certain elements that are exaggerated and so on. In today's tutorial, we're going to use colored pencils so we don't have black hatching lines with fine liner. Now we're going to sketch this figure as simply as we can. The one right here. We use the permanent red color pencil, That's number 61. And then we're going to draw the initial sketch of our work. We draw the initial sketch with our colored pencil. You don't need to use a graphite pencil. Then we're going to personalize it. We try to draw it with simple lines. So remember that your lines, your simple primary lines, they are unique to you. So don't be disheartened if it's not looking the way you want it to look, or maybe the way it is on your model image. It's not meant to look the same, it's meant to look more unique to you. So the first step, we're going to add the color parts. We're going to add some color parts on the color. Remember to make use of your downloadable resources. They will have all the information necessary for every tutorial that you follow, listing everything that we go through, including the materials and the tools. Now on our drawing here we also add some red parts on the vest and the trousers. Try to follow the way that I'm applying my color heel here while you are working on your own sample. So practicing together as a very, very good way to practice. It just tests your, your speed. It allows you to make decisions just a little bit faster, although it's not, it's not really necessary. You can pause the video and complete your drawing at your own pace. Now we are going to add an orange color, like the carnelian color pencil. That's number 850. Since the Indian clothing, characters and the other things are quite colorful, we use colorful pencils in. Instead of adding black lines. We want to inspire colors from everywhere and refrain from having that black outline. It doesn't mean that we won't have outlines. We'll, we'll just have them in different colors. So let's see what will happen if we use just colored pencils. Feel free to send me any questions you might have along the way. Or even if you want to share with me extra information, I'm happy to receive what you want to share and address your questions. Now, we don't show the dimension of the clouds and we sketch it in a very simple, basic way because we are using simple geometric shapes here. This is one of the most efficient ways in some, simplifying a complicated form or to take reference from a something still-life or realistic image and then try to create a drawing out of it. That's what simplifying means. Taking an image that is realistic or has a lot of information and then you try to recreate it in. A drawing. So the aesthetic is different, The approach is different. The final result is going to be different. It's not going to be as realistic. And all of this is intended to be that way. Feel free to share with me your drawings as well. At any stage, bid complete or incomplete. I'm more than happy to give you some feedback if you wanted to. Maybe some guiding pointers. After every part that you color in, you can take just a moment to take a look at your drawing in comparison to your model image and see if you're achieving what you want to achieve with it. Now, the next color we're going to use is called rosette. It's a rosette color pencil, That's number 605065. We draw the hair of the character. We're using circular motions like this just to give it its characteristic. We grow through the arms and recolor them. Observe your modal image and notice where else you need to add this color. It's a darker tone, which is very beautiful with the other tones as well. Although these are different colors, but they share that warm tonality. It's always nice to practice combining different colors are placing them right next to each other. So the more you practice, the more experienced you'll have with color combinations as well. As you can see, we've separated the colors from each other simply by leaving a tiny small distance between them or changing the direction or the density. The skin color of this character is not visible, but the Indian people have slightly more brown skin tonality. So maybe we can use that color. We're using an exaggerated the skin tone here, maybe a little bit darker than intended. We're using a raw umber that's colored pencil 548. We're going to add some lines on these parts just to show the form of the clothing. Better. Observed my application. And if you're not sure where to place the lines or what to do in a certain part. Just follow my lead. Mimic the way that I'm coloring in these parts. Mimicking what I'm doing is the best way to practice. To start off if you're feeling like you're not sure what to do. And then we take it from there. The more you practice, the more easily it will come to you. Look at the simplicity of the lines that we're using in order to show the cloth. We can test and draw this pattern on other parts such as pants or the necklace as well. Mean in terms of technique or style. Again, if you're inspired by others, other ways of using the color pencils, you should go ahead and do that because the whole point of this exercise is to get inspired and to work towards our own style. Then we go through the Bangles here. We add some lines on these parts as well. Look at my hand movement, my application really well. I'm using this color pencil as a way to give some outlines, some contrast. And observe how we drew this figure in this very simple, basic way. And it's abstract and it's colorful as well. So we've created an abstract colorful character wearing quite beautiful clothing. Now we go through the same steps and we draw another figure on this part. Let's start by using the permanent red color pencil. That's number 61. And then we're going to draw the initial sketch with light lines, not, not bold lines. Now remember, your downloadable resources have the grids and the sketches you need in order to create your base drawing like this. When a combination our sketches attractive to us, we can use it for another character as well. So if you feel like there's an element that really stands out to you that you feel it has given you confidence or inspired you. Use it. Keep practicing using that. Now we're going to add color on the skirt like this. Also, if you prefer that your pencils are more sharpened, you could do that as well. Regardless of whether you using the top part, the tip of your pencil or the side of it. A sharpened pencil is really a preference. Now remember, if you don't have the exact materials that are listed on your downloadable resources are the ones that I'm using here in the tutorial. We can work with anything that's available to you. Anything that you have, anything that's easier for you or more or you prefer better, just go ahead, don't let anything hold you back and stop you from drawing and learning and practicing. We start with the smallest of details, the most straightforward details that we see. Now we're going to add the orange color. That's pencil number 30 on these parts. Take your time. The next color is going to be a green ocher color. That's pencil number 25 to five. The colors are separated from each other. We're leaving this tiny, tiny space between them just to accentuate them. The form of our sketches, very geometrical. You have this triangular scourge, you have these straight lines. It's quite beautiful. Now we're going to add carnelian color pencil number 850 on this part. Same as we did on our first figure. Every time you add a new element or color in a new part in a different direction, or adding some shading ticket. Take a few seconds just to just to stop. Look, look at what you've created. Is it looking the way you want it to look or you've intended for it to look. Very good practice just gives you a sense of what can be addressed it or added or highlighted and so on. Next, we're going to add color on the skin with the raw umber. That's colored pencil number 548. These illustrations are used a lot for children's illustrations as well, because they're quite simplistic and they show each, each form this nice separated way. Simple colorful surface and simple geometric shapes are more understandable visually. But they can also be used to simplify the complicated forms and develop a style for drawing in itself. Take your time coloring in the different parts. I find coloring to be really meditative. And of course, if other color tonalities inspire you or you prefer using other colors other than the ones that we're using here in the tutorial. Go ahead and do that because that's the whole point of this exercise is to be triggered to an inspired to be, to create more and be more creative and add different parts. Are figures. Moving on? We're going to draw some lines on the clothes in order to show their model better. We are using the same technique we used in the first figure. Just want to give some movement here using these lines. Since these white parts don't seem attractive, we're going to fill some of them with them. Carnelian colored pencil, that's 850. Again, if you prefer a different color combination, you can use that such that these white lines in between are a different shade of red or orange or brown or anything you prefer. See how the simplified version of, of drawing where you're using color pencils has achieved us this beautiful simple drawing of our figure. We're essentially just showing the form of the clouds with some lines and some shading, of course, with our color pencils. These kinds of characters are very practical for children or illustrations or basic illustrations. They're attractive, they're easy to understand, and so on. We're now going to go through the skirt and add some darker lines, like some black lines with a black color pencil, that's number nine. If you're unsure where to place these lines or how to apply them, just follow my lead. Then we're going to add some lines on these parts. And you don't have to mimic or be loyal to your model image or the sample in front of you so much. If there's something you feel you really want to add, just go for it. You need to enjoy the process and find ways to be inspired to practice and redo drawings and enjoy it, and learn. Now we're going to draw another figure on this part in order to see whether the combination of these simplified characters become attractive or not. Okay? So we're going to use the olive brown colored pencil that's number 39. Feel free to send me any questions you might have along the way. I'm here to help we observe our model in order to, in order to get the information from it in terms of the highlights, the shadows, the look of the clothing and so on. But as we are applying it, you can add as much or as little detail as you want. We're going through these tutorials and achieving those different aesthetics in order to practice them. And from there, then you can gain your confidence and be able to develop your own style. One drawing at a time. First, we have started with a simple color surface like this. Then we're going to add details. When a character is simplified, or a drawing or a figure is simplified, we understand it better and that way we can deal with different parts one at a time. It's better to simplify and then add the details later or exaggerations or motifs and then combine it with other elements because that way you're taking it step-by-step and you're able to appreciate and practice each step on its own. Then make decisions as to what you want to add. We do it with different techniques in order to become familiar with these techniques and their differences. Of course, we grow our creativeness as well and we become familiar with different techniques. We also get to understand which technique is suitable for us, for our style of drawing, for the way we hold our pencils, the way we want to achieve certain things. In this tutorial, we just do a trial and error in order to discover a lot of things and then we work on them in order to strengthen them or improve them. The next color that's going to be added is a lemon yellow that's colored pencil number 240. Take a moment to look at your artwork, your drawing. Just to keep visual note of what to add. Next, we're going to use the scarlet colored pencil, that's number 70. On this part here. We are coloring the blouse which is underneath the Sadie. Again, sharpen your pencils to your liking and to the texture you want to achieve and shading. Now, moving on, we're using an olive brown that's colored pencil number 39. As you can see, we are drawing this figure of our sample, the one right here. Look how we've simplified it. So look at that comparison. How we've taken the major lines and put them down. We just used one color which is raw umber, that's colored pencil number 548 for the skin color of all three figures. If you have any questions about the materials that we're using or the color combinations, or how to work on your color combinations. Just feel free to message me at anytime. I'm here to help. You can share with me your drawings, your artworks. It's not necessarily about feedback. You might not need it. Maybe just to share. I'm here to help. Next we're going to add the scarlet color, That's pencil number 70. We're using it again on this part. You can add your details step-by-step. You're creating a base color and so on. Then you can go on with your details. The next color that's going to be added as raw amber colored pencil 548. Keep observing your model image, your sample. Here we add an olive brown that's colored pencil number 39 on these parts. Again. Notice the density on some parts it's more concentrated or more solid. Now we're going to color the hair with a black colored pencil, that's number 009. Some of these simple details make our work attractive like the model of the back of the hair. The other example is that we added earrings instead of the ear for this figure. The one on the left and we made our work more attractive, are complimentary to the outfit. Now we're going to add some lines on these parts in order to show the form of the cloth. So we're being consistent as well in the steps. And again, we're doing this to practice. Practice, looking at our sample practice creating those proportions, coloring, creating these shapes, simplifying more complicated imagery into a drawing. All of these things need practice. The more you practice and confident you get, the more instinctively these decisions will come to you. Now, we've added these lines in the direction upward of the cloth creases. Since Indian salaries and skirts have lots of creases, we need to add some lines on them. First we added the simple colored surfaces without any extra lines. And then we added some lines in order to make them more attractive and bring more detail and more, more texture to our flat drawings here. Actually, these are the lines of the clock. The clothes creases, the creases in them. So we show the geometric forms of the clothes better and some lines and we give them some movement as well. So these lines are important. We need to practice them because they are singular lines, right? And don't worry, don't be overwhelmed. We use a variety of forms of the lines as well. Some of them are lighter or darker depending on what we're drawing. We can also add some details on the figures. E.g. we add an earring for this figure using an orange colored pencil, That's pencil number 30. So we're giving her an earring here. We can see quite a lot of accessories that are prominent in Indian outfits, which is quite beautiful. And we draw them in this very simple way. Any detail you want to add, you can try and simplify it and added. Work more on the geometric forms of the hair. Here. We'll leave some light part in the middle where the hair parts. Take a moment to look at your drawings, make these comparisons. We're adding a hair clip here. For this figure. We just want to give some details in our work here, something to accentuate these, these characteristics. These three dots on top of the hair clip, they just make our drawing even more beautiful and more complete. We show some lines, some creases. These little details really catch the eye. Observe your sample and you can pick any detail really and decide to add it. You decide to simplify it and added. We show the lines in the creases of the cloth like this. And of course it's a little bit more abstract, but it gives you the general gesture of the cloth here it's very important to be able to show these characteristics in this simple way. Now we're going to add some shading layers on these parts. The part underneath the figures feet. Just to give them a little bit more presence on the page here, that they have a shadow and they are grounded as well. These shading layers add more dimension and make it more beautiful. In my opinion. We don't fade the shading layers in order to have harmony between the other parts. So if we add some details on one part, we should do it for the other parts in order to create harmony between them because you want your image to visually look logical. And that all parts belong to each other and nothing looks like it's a different technique or different style. So you want to look at your drawing and make sure that everything visually is harmonious. Look at all the details. We should not make a part different from the other parts. Although we are shading in different directions like the shadows in the circular motions. And, um, but generally speaking, the application, the technique is the same everywhere. Now we're going to add some details on the hair of this figure here. We're finishing up really our work. This work and tutorial is different from the other works which we had where we have used the hatching lines. But here we've used our color pencils to achieve the details that we have. In this lesson, we've used the clouds of Indian women are from the Indian culture to create these characters. We make, we also made the skin tone of the figures darker. So we use sharp colors and included Indian elements. So if a person sees the work, they will understand that these, these characters at the, that's the body parts, the skin tones and then the rest are the clothing or to let the clothing standout. So that Sam, I hope you've enjoyed today's tutorial and we're able to practice different techniques. Thanks for watching. See you in the next one. 14. Female Clothing Study with Color Pencil: Thailand: Hello everybody. Welcome back to another tutorial. And today's tutorial, we're going to draw a Thai woman with the techniques that we've learned so far. This is our sample. Look at the special elements of her hat and clothes. So we're going to use these elements in order to create our own character, own drawing. We're doing this exercise in order to learn more about the clothing and the culture and how, how certain motifs play a role in displaying that cultures clothing. And to be inspired by this exercise into getting creative, we need to use our orange colored pencil here. That's number 30. Remember to make use of your downloadable resources. They will list all the materials that we were using. They will have all the information for every tutorial that you follow. It's there to help you practice. Now, we've simplified the head piece here and we drew it like this. Now we're going to color her lips. So we're going to draw the lips and we're going to use a scarlet color, That's pencil number 70. We can draw the initial sketch before coloring, so that's an option and you can use a colored pencil if you wanted to avoid having any graphite or that dark color. Again, we need to use the orange, That's number 30. We continue adding the details. Keep observing your model. Redraw the armbands of the character like this. You're looking at the basic shape and you're drawing it as you see it. Now. The next color that we're going to use is a purplish red that's colored pencil number 350. Now keep in mind if the materials you have and the color palette you have is different than the one I'm using here, different than the one in your downloadable resources. Don't let that hold you back or make you feel discouraged. Just make use of anything that you have available, anything that's easier or more, or that you prefer more. Just enjoy drawing, coloring, learning. Next, we need to use a scarlet color, That's pencil number 70. And then we're going to draw the details of this part. We add some bracelets on her hands. This character has lots of smaller elements or details that can be incorporated which are quite beautiful. We're going to work on this part with an anthrax crinoid pink color, excuse my pronunciation. That's pencil number 571. It's a very special color. It's neither pink nor is it orange. It's more like salmon. We need to choose and use appropriate colors for our characters. Like colors can play a role in representing some parts of the culture or the design of the clothing. Now although the model has white or really light skin here, we're going to darken the skin of the character and we're going to use a raw amber colored pencil 548. Take your time. Feel free to send me any questions you might have along the way. I'm more than happy to give you some feedback. I'm here to help. Now, we've exaggerated the body of the figure here. We have elongated the body parts. So you see that the arms, that top of the arms are quite longer. You have a long-neck, long top body. We need to add more of the purplish red color, That's pencil number 350. You need to use it on these parts here. The hands are very long. There's a shadow between them. The beauty of this work is its simplicity really. We're going to add some motifs on this part here now. So being able to simplify a more complex form means that you would use regular lines and geometric shapes and apply the details as you see them. We're going to draw the hip of the character a little bit wider than our sample. One to have my diamonds in the right place, I've created a little curved grid. Notice how my geometrical shapes are curving according to the shape of the hips. As you can see, we've used the motif, this, this pattern here in order to show the shape of the legs without using any outlines around them. So this is very important to practice, which is how to create patterns and place them in a shape that gives the gist of the shape of the body part without using outlines. The blue that we've used is a light cobalt blue. That's pencil number is 661. And here, as mentioned earlier, we've exaggerated the body of our figure here. Although we are simplifying the different elements of the, of the model, we're also exaggerating by making the hips wider. I go back to my blue here. We draw and color this part in this way. We didn't copy our model. In fact, we just got inspired from our models sample and its colors. So we just used the elements of the model for our sketch. So we use those details and we've applied them to our own drawing. And it's just a way for us to really dressed, move or invigorate our creativity and see what triggers us and makes us one to draw more. We color this part with a very light green color, That's a spring green that's colored pencil number 470. Then we're going to complete her belt with the anthro crinoid pink color, That's pencil number of 571. We also use a spring green color pencil again, the 470 for the earrings. The figure that we're drawing in the character that we're drawing is quite special and very beautiful. Now we're going to add some lines on our character using the raw umber that's colored pencil number 548. Take a moment to observe your drawing and look at the details that you're adding. And just to check if something is missing and what can be added. It doesn't need to add the lines exactly on the outlines here. There's a little distance between the lines and the outlines of each part. So pay attention to the way that you're adding the lines. You also have highlights to look out for. If at any point in time you're not sure what to do on a certain part or what to do next. Just follow my lead. Observing my application and the way that I'm drawing and mimicking it or copying it is the first step to practice. Then once you do it without following my lead and you do it free hand, you get closer to getting comfortable with your medium. And you find out more about your own style. Take a moment in-between adding details just to look at your drawing and see what you've added. How does it look? Does it achieving you what you want? Now we're going to add some shading layers and dimension on our sketch. Now remember, practicing makes us more confident and more familiar with our material, with our medium and our tools. So try to practice every technique that you've learned. The drawn out lines will help you to practice your drawing and also help you to get better outlines at the beginning of your art journey to apply these techniques that you have learned. So don't feel like it's a step backwards if you use outlines, not at all, or a base sketch, It's very important. Even for advanced artists. It's something that is necessary. It's our guide in order to create an artwork. As you can see, we drew a time woman in accordance with the elements of that country. We added shading layers, dimensions, and motifs on it. So we've taken as well the motifs and consideration of the shape and the form of the hips. So we try to use the elements and motifs of this country and its culture and get inspired from them or use them as our point of inspiration. Although we become familiar with these elements, we also learn how to use the elements in our techniques. It's also a chance to learn more about that history or the clothing and its details. It's a very important part to focus on these details and how to apply them in these techniques. We need to see a variety of images in order to have a good visual information. This way, it helps us learn how to use our visual elements and techniques properly because we want to apply them the correct manner. We want to apply them in a sense that does justice to the culture, shows that we are inspired by it and that we've created a drawing and inspiration from it and so on. So it also helps us to strengthen our weaknesses and increase our sensitivity in motifs and elements, colors and forms in order to use them in the best way. It also helps us to have visual solutions and visual harmony in order to achieve better artworks. In the end. That's it for today's tutorial. Thanks for joining me. 15. Male Clothing with Pen, Color Pencil and Hatching style: Thailand: Hello everyone. Welcome back to another tutorial. In this course, we want to draw a variety of characters based on different countries. In today's lesson, we're going to work on the clothing. Thai men are from the Thai culture and the male outfits. As we know, we need some special elements in order to make the character unique and reflective of the details of the clothing, we reach these elements from the culture, the clothes and the motifs of a country beat architecturally or from the landscape, or the culture or the economy and so on. In this course, we practice looking and finding these special elements. So research is very much part of it. We want to find the elements and learn how to use them for our character and how we can incorporate them in clothing once we get to a part where we are getting creative and we want to exaggerate some parts in the drawing. Sometimes we need to exaggerate or combine or simplify the elements, and then we use different colors, symbols, and motifs. So take your time to take a look at your downloadable resources, which will have all of the imagery that we're looking at. It will list everything that we go through, all the materials as well and the grids you need in order to create the base sketches. So do take advantage of your downloadable resources. Now, this practice here of looking in combining and simplifying our image or our drawing. It helps us to look very well at our figure. Change what we saw to the thing that we want and go beyond the reality and create something of a character that's more unique to our style of drawing. Creating a character doesn't mean a copy of the character exactly from the sample. We are using it as our point of inspiration. So although this character exists, but we want to use the elements in the outfit or anything else and change them in order to create our own character. This character helps us find the special elements look better and understand these motifs and details better. Now let's analyze this figure here. The close of this time n is special and unique. His trousers or almost like a skirt or a cloak. Look at the robe which he's wearing. There's creases coming down. Look at the color, look at the details on it. And these are the special clothes and details that we see over here. Also the way they're being worn as something. Now, to draw this figure here, we can use exaggeration in order to show the contrast of the work and make it special with the model of the clothing that he's wearing over here. And the point of the exercise is to be inspired by these details. Still reference the Thai culture, but somehow be creative and try to create an outfit that you come up with in terms of creativity. So the exercise is to trigger us and see whether we feel creative or something lends itself to us for us to take it further. So first of all, we're going to draw the initial sketch using a pencil, the pencil I'm holding here. And we draw it in a simple way. So simple lines, so your lines, your most basic lines are unique to you. So don't be disappointed or disheartened if it's not looking the way you want it to look or if it's not looking like our modal image. Of course it's not meant to look like our sample, but it's meant to be unique to you and be simple. So we're simplifying it. We're using basic lines. And of course, then we take some elements and we exaggerate them. After that, we will work more on it with a black fine liner and color pencils. We draw the upper part of the body a little bit thinner here. We just draw a simple sketch and we don't involve ourselves with the proportions just yet. So don't worry too much. Just jumpin. Draw, enjoy the process. Keep looking at your sample or modal image. Draw the lines and the details as you see them. The time and here. Whereas a lot of accessories. So we want to make the character prominent and exaggerated with the Ty elements and the details of the accessories. Keep the pressure on your pencil light. We're just trying to create a base sketch that will be our guide. Now here the lower part of the body is bigger. Feel free to send me any questions you might have along the way. Or maybe your drawings, you can share with me your sketches at any stage or your, your drawings at any stage we'd finished or not. I'm here to help. We continue to draw the clothing all the way until the bottom here, we extend it further to the right. We can use our imagination for drawing the character. So if you feel like you want to make it even bigger or more, that's really up to you. Don't be afraid if the work comes across as not really real or maybe surreal ideas to practice and to get confident and to try out drawing these details, we need to use a black fine liner. Now. Then we're going to make the lines of the sketch folder. We're going to add hatching lines on this part. We should pay attention to the shading layers and creases of the clothes. Tried to look closely at my hand movements and mimic what I'm doing. Copy the way that I'm drawing. In your sketch, you can add as much information as you want. Remember when I said that it's your guide. So you could have these creases and the places where you want to cross hatch. Just as your guide as to where to apply your fine liner. Some people prefer drawing the general outline of their finger but not add the shading. And then they would go in with a fine liner and do that. But it's really up to you. Take your time. Now, keep in mind that we are adding the shading layers and accordance with the direction of the creases. So they're not straight lines. They curve and they break up into the shape of what it is that we are drawing. The best way to achieve this or test it out is to practice using hatching lines. So keeping the distances between the lines larger or smaller. Having some parts a bit darker and more dense than others. Where you need to do right now is simply draw the hatching lines slowly and patiently. Look at your sample, reference. It, it, it gives you information in terms of the highlights and the shadows. After we make the lines bolder, we're going to add color on our character with color pencils. Also, don't worry too much about making mistakes. It's really the best way that you'll learn by making those mistakes. You get to see why it's not proportionate. You get to see how you can do it better than next time. But practice does help us with our confidence with the tool that we're using, the pen liner or confidence with the medium itself and drawing with it. Actually, we don't learn anything if we think that our first sketch is done on successful without any mistakes, we need to keep practicing the mistakes which happened while sketching and help us learn. So e.g. if we have irregular and not beautiful hatching lines, we will understand that what, what is, what is suitable for our drawing? What is the more correct hatching lines for our drawing? When we see good hatching lines, sketches and artworks, we understand the mistakes of our work better and we get to improve it better. We should look while in order to find out where we have made some mistakes and work on them. Control the pressure of your hand on your pen because you can create delicate lines, are lighter lines, just like I'm doing here. They are relatively lighter than the first lines that we drew. So don't think and be sure that your first sketch, if this is your first sketch of this, that there's going to be some disproportions, some mistakes, and that's completely fine. These are happy mistakes. Good. It's not really about talent, it's about practice. Somewhere you practice. The more control you have over your, your technique. Now to show the form of the clouds in this part we draw the hatching lines like this. So look how they're crossing, but they're also curving. To show us the way that the cloth looks in this part. We draw the hatching lines in this way in order to show the creases, we can draw the lines smoother as well. Take a moment to look at your drawing and make visual, a visual decision as to how you would like to create your hatching lines as well. We practice the form of the clouds before. And by this tutorial, it might be a little bit easier to maybe draw some details of the cloth, but not necessarily every time it can be a new challenge or something new to learn. We need to practice several times in order to draw the form and the creases of the codes more easily or more instinctively. The direction of the hatching lines differs from section to section, from drawing to drawing and so on. They shouldn't be in one direction even on a flat drawing or a 2D drawing, we're going to add some hatching lines on this part in different directions in order to achieve the details that we want. These decisions and these things are very important in order to have a beautiful artwork. You not only add hatching lines in the direction of the form, but you also make it bolder. Wherever necessary. Of course. Feel free to send me any questions you might have along the way. If you want some feedback on anything, I'm here to help. This part is lighter. We increase the contrast of the work step-by-step. We add the general hatching lines first, and then we're going to add shading layers and bring more contrast and work on these different parts. As we move along. Observed my application. If at any point in time you're not sure what to do in a certain part or what's the next step, just follow my lead. We can use hatching lines for exaggeration. It means that we can use the hatching lines as texture as well. It's not just about highlights and shadows, but you can create textures with it is just about creating different lines. And we'll work more on that and I'll show you a bit more on that in the next step. First we add the real hatching lines. The more you build on your image, then you make decisions as you move along. My God, how delicate these lines are. This part of the clothes is folded so we change the direction of the hatching lines like this. And also the length of them changes. For the light parts, we lower the density of the hatching lines. And remember, you need to keep the white parts, which are meant to be the white of the paper. You want to make sure you don't color them in and leave them. Now remember, if you don't have, the materials, are exactly the materials that are one that we're using here. They're listed in your downloadable resources. Or sometimes we are missing some materials. Don't worry about that. Don't let it hold you back. Work with whatever is available to you, anything that you are more comfortable in using. Don't let the difference in materials stop you from drawing and practicing and learning. This step here it takes a lot of time because we are drawing the form of the codes precisely like we want to show the shape, the creases and so on. And the best ways to practice is to practice together as the video is playing. Because then you have a sense of comparison and you have timeframe as well, which encourages you to go for it. Take your time. Keep observing your sample. Just to get those, um, the information on the creases and the shadows and the highlights. And again, feel free to share with me your drawings. If you want feedback on them, I'm more than happy to give you feedback or maybe some guiding pointers. This volume has cloth it, I mean, it looks very feminine as well and with a lot of creases, but in fact, it's the clothes of a man. So that's why it's important to learn and research and understand more about the different cultures and the history as well and what used to be worn. But it does look quite beautiful and feminine as well. That gender is not what we're focused on here. The important thing is to focus on our work and draw the clothing carefully and to practice drawing cloth. This is why it's important to keep our base sketch really light. Because you don't want it to come through your pen liner. But there you have it. We've added the hatching lines generally and we've shown the creases as well. We can draw the hatching lines regular and uniform if, if we wanted. And it gives us a regular and beautiful texture as well. It's just a matter of choice. It's just two different approaches to creating hatching lines. We can also use curved lines, but we used broken lines here for this drawing. So it depends on ourselves whether we want to draw irregular, irregular line or lighter style, aesthetic drawing with lots of details and dots. To increase the contrast of our work, we're going to add shading layers on this part here. Now we're going to add lighter hatching lines on some other parts as well. You want it to be really, really light. So you're keeping your wrist very light. We're just trying to work with the shape and the volume. We add these hatching lines in different directions in order to create the texture of this part like this. Take a few moments, every, every few minutes just to pull your head back, look at your drawing just to get a quicker sense of what might be missing or what you want to add. Now we continue to add hatching lines on this part. First, we add the initial hatching lines varies in a very simple straight forward way. In order to show the creases of the clause. Then we're going to add very delicate and lighter lines on all parts. So follow my application, observe the way that I'm doing it. My wrist is light. Almost no pressure on my, on my pen. This is another way of cloth sketching. You should pay attention to the light and shading layers. Pay attention that we should not add the shading layers on the corners and edges. So we try to add medium shading layers on these parts, not the edges. In order to have better dimension. We should use medium shading layers for every sketch and drawing. It gives you a chance to make corrections and changes and achieve curvatures and catch the high light and the shadow in the right places. It's very important to take a moment every few minutes and dressed. Take a look at your drawing. The shading layers should be nearer to the edges and not exactly on the edges of your drawing by the way, just to achieve that shape because it fits right at the edge, it'll become more like an outline. As we see this part, we dark in the middle of this part, not the edges. If we don't do it, our sketch will lose its curvature or this little bit of highlight and shadow that we're trying to, we're trying to add in order to make it less flat. So we need to pay attention to these things. We should draw the hatching lines quickly like this and lightly. Although we worked on Indian characters in this very simple, different approach, but we are adding lots of details on this drawing here. For the Indian clothing, we use our color pencils and our drawing technique was different. We try to use a technique, a different technique for each character from each country in this course. Now we're going to add some hatching lines next to this dark line. We should pay attention to all details because we're sketching very delicately. Sketching the clothes creases is very attractive at the beginning and middle of the Renaissance period. When we compare the artworks of this period, we will understand the growth of the painters and the artists from one timeframe to the next. We see that GO TO art works. That was an Italian painter. Then we go through the Renaissance artworks like Leonardo da Vinci. And we understand that the sketches and paintings become more delicate and there's more technique to show these details. So it's good to make these comparisons of the artworks and learn from them. It's not that one is better than the other. It's just the progression and the change that happens really. Now we're going to darken this part carefully. Here we should add the shading layers slowly and not all at once. So take your time. We darken this part all at once in order to make our sketch a bit better. But we need to do it patiently. We should add the shading layers slowly and carefully. Especially with this aesthetic, with this style of drawing. Don't forget to make use of your downloadable resources. All the information is available there for you to read through and make these comparisons and look at the different images. It's there to help you practice, but also look a little bit more at the history of the content that we are referencing and taking inspiration from in this course. We need to increase the contrast of the work. So we're going to add darker shading layers on these parts here. Our work is almost done. Contrast and highlights brings so much dimension to the work. So the lighter parts are just as important as these contrasting darker parts. When we practice a lot, we will understand that we are at which step of the work. We also understand whether we need to work more or maybe it's time to finish it and that it's done. Sometimes our work will not finished. So we need to decide based on our experience in order to finish it at which step and how to do it. So also, completing our work takes time. Feel free to message me and send me any questions you might have along the way. I'm here to help. Now in case you're going to practice this drawing. Again, remember that the outline's there in your downloadable resources. And the outlines are really help you in drawing and recreating this sketch and taking it further really. So having the right outlines will help you throughout this improving of technique and approach and how to create your art work with a lot more confidence. We're going to add some lighter hatching lines on this part like this. We should add the hatching lines in different directions. If they're all in one direction, are scheduled change. To a completely different aesthetic. That's a decision that you would make in the beginning of a drawing. So let's say the next time you practice this drawing, you decide from the beginning you're going to have hatching lines in one direction. So it's just a matter of being consistent that if once you've made that decision to continue using that same technique throughout the whole until the end of the completion of your artwork. If we add hatching lines in one direction, it becomes very difficult to make it look like it belongs to this drawing here. You have to decide it in the beginning and then continue using the same technique throughout. It's very good to try and analyze different techniques. And it isn't supposed to be like mastered every single time. It's a process, it's a growing process, it's a practicing process and developing and gaining confidence. We need to do lots of trial and error and try different techniques in order to achieve the thing that we want, the drawing that we want. Now we're adding some hatching lines on this white part here. Sometimes we need to continue our work with a brush and ink instead of a fine liner, if you feel like it's going to give you that, that shadow, that dark, dark parts. And also the combination of fine liner and ink is quite attractive as well. They compliment each other very nicely. Anyways, but in this tutorial, we are working on a sketch with hatching lines using a pen liner here. Well, this is the black and white sketch of the character. Now we're going to use colored pencils in order to make it more attractive, to add color to it. So we're going to add this light blue color here, that's pencil number 161 on this part with minimum hand pressure. Notice the way that I'm holding my pencil. The colored pencil takes, takes away some of the fine liner effect because you're layering, you're adding a second layer on top, but you want to keep it really light so that you still see your, your pen work. The next color that's going to be added is a lemon yellow color pencil, that's number 240. Then we're going to use an orange colored pencil, that's number 30. Again, we need to use the lemon yellow that's two number 240. And it's a combination of the orange colored pencil and the yellow colored pencil in order to create these blending tonalities. Now while using color pencils make our sketch just, they just add a lot of color to our, to our artwork. If you like color, then it's making your drawing even more beautiful. They make the creases of the clothes more present like they give them a little bit more presence and contrast in the artwork. They're also more attractive. Now we're going to color this part with a red color, like an anthrax Kino and carmine color. That's number 580. We always see the red and gold colors in and royal clothing. I'm adding this color over here as well because I see it. Now we are going to work on the upper part of the body with a fine liner, which has a thinner tip. We draw these lines very delicately. We never outline our work and sketching your sketching, you're not creating this solid line that goes around as a contour. You're sketching your lines. So instead of going around the figure, we're going to sketch inside of it with small lines to show the details. If you're unsure what to do on certain parts or where to draw your sketching lines. Just follow my lead. We're using different hatching lines in different directions. Now, remember, all of the materials that we've used, they are listed on your resources. So don't worry about memorizing or her or wondering which tools we've used. They're all listed there for you. The pen liner with the thinner, with a thinner tip just helps to achieve these very delicate details or lines that you barely want them to show. But what we need them to gesture like the facial features, e.g. for showing the eyebrows here and the eyes just like that. You can shade with this, with this pen as well, but you just want to be very delicate. Next we are going to cover the entire body with the hatching lines. So the torso, just like that. We're doing this instead of in order to create a skin tone or give a tonality to the skin. Follow my application. We need to make the part underneath the chin just a little bit darker just to create that contrast, to show the neck and to show that there's a shadow there. Going over the arm here. Take a moment to look at your drawing and what you've achieved so far. We need to add some shading layers on the body. So just to define the different parts here. So observe, observe the way that I'm drawing it. But again, you don't want to add the shading layers on the edges. You want to avoid creating that sharp outline on the edge. We're adding our hatching lines inside the body parts. There are some shading layers on the arm, so we're going to add those. There works aesthetic here is it has a little bit of a realistic element to it. So it's almost like a realistic sketch. Now we're going to add some hatching lines. The phase, we've added some on the hands. Now once you're happy with your hatching lines, Let's go back to using our color pencils. Here we're going to add the lemon yellow that's colored pencil number 240. And again we alternate with the orange. That's pencil number 30. I'm gonna go over these parts with them. Observe the way that there's this impressive and exaggeration of the figure at the bottom. You have these elements with the volume and the creases. We were able to achieve that with our hatching lines and adding color to our artwork. Now we're going to draw this character simpler on this part of the paper one more time. We noticed some details when we draw it once. So when we draw it again, we can use some of the details and strengthen, and we can strengthen them really. Finally, we need to work more on these parts here and strengthen them because the effect of these parts was covered by color pencils. I hope you've enjoyed today's tutorial. Thanks for watching and following. Do keep practicing. The more you practice, the easier it will be. See you in the next one. 16. Male Clothing Study with Pen and Marker Block Style: Thailand: Hello everybody. Welcome back to new tutorial. In today's lesson, we're going to draw this time and again, but we're going to work on it with a marker. Our marker pen here has a thinner tip. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. Listing all the materials and all the steps that we go through, it's there to help you practice. Now, we're going to draw this character like this. It's a simplified version of this drawing which we've created in the last lesson. We've exaggerated the bottom part in the sketch on the left. We're using a different type of line here to create the sketch. It's just another way of drawing. Lines are simple and irregular and some are curved. It's also, it's better to draw the initial sketch of our work with a pencil in order to have the correct proportions or to make some corrections of our sketch. But it's also okay to just use this thin, fine liner and to go for it. We need to gain confidence with our medium and our tool. And the only way to do that is to use it and to enjoy the process and make these myths, proportions or mistakes in drawing. There you have it. We've drawn the lines of our character in this very simple, quick way. Just want to add any remaining lines. It's very sketchy and very loose. It's not a very tight drawing where you have all more hatching lines. It's more about deciding what lines show the right gesture. That's why it's very important to practice this proportion drawing. Once we're done with our sketch, now we can color our sketch with a marker or watercolor. We start off by darkening the body of our character with a black marker that's number one to zero. We add flat colors on our sketch. Now we color the close of this time men like this. If you're unsure at any point in time what to do next, what to color on a certain part? Just follow my lead. Mimic what I'm doing. Then practice it again on your own. And it's in the repetition and in the practice that we get to understand the proportions better and get used to the materials and the combination of two different mediums. Look at how we've shown the contrast of our work with very simple gestures of the marker. You need to repeat the video several times in order to practice together. You could do that as well. Now remember this catch, the grids for sketching our base sketch are available in your downloadable resources, so make use of them. It's there to help you. Now, here, since we didn't have a blue marker, we're going to color these parts with a cool gray. That's Margaret number eight. Markers can be quite dominant as a medium, especially when you're using them on top of a delicate, thin, fine line drawing. But that doesn't mean that it will take away the fine line drawing at the bottom. It's there. You can see through if you choose to choose to use a lighter marker colors, that's also an option. Now we're going to use a scarlet marker, That's number 13. Instead of a yellow marker for these parts. I've made those decisions based on medium that I'm using. So for the meeting that I'm using, I feel like a red works better here. That's what I want in terms of the to complement the shading that I'm doing. Recreate our character in this very simple way, very straightforward, using simple lines and colors things. If you need a separate piece of paper on the side just to test out every marker before you, before you apply it onto your artwork or onto your drawing. You could also do that. Well, we've done here is that we've simplified our sketch and we've shown the cloth creases with some lines. And we've accentuated some of our lines using our marker here. Since I want it to work faster, I didn't draw the initial sketch with pencil, but we can sketch our character with a pencil and simplifying the cloth creases even more. But I did want to create a quicker sketch so you get to practice it. But to to get a chance to create something with a lot of details in a shorter amount of time. Don't be afraid of complicated sketches. As you can see, we use very simple triangular shapes for our character and we've applied them with our marker to show these different creases and shapes in our cloth here. So don't be afraid and practice a lot. And that's the only way to gain experience and confidence. And it's the only way to make mistakes that will lead to you discovering your own style, your own sense of drawing. We're going to add some patterns on his clothes here. We color the skin and we add contrast on his body and cloth. The lines are simple, basic. We show the general form of our work with some contrast and both thin and thicker lines using pen liner and marker. Now we're going to color the arm bends like this with our color pencil. That's the lemon yellow number 240. And then we're going to add some shading layers on the face, as you can see. Now we need to add some dots on the clothing here. Because it is a gold embroidered clothing. Look, look how we've shown the details of this part with very simple dots. We can use the techniques of this tutorial in order to create a variety of drawings, a variety of artworks, really the comparison between them. We drew the real form of this character with lots of hatching lines here on the left where we simplified the character on the right with sharp and broken lines and showed the contrast and shading layers of the cloth using geometrical shapes. We did the same steps for his body and clothes. We did it a little bit quicker and with some little details here and there. We added red stains on these parts in order to create harmony. As you can see, the red stain. So this part helps the harmony of our sketch all together, just brings it together from the bottom to the top. We use the elements of this model in order to create this, this character here. This is the model that we're referencing that we are using. It depends really on our creativeness. In order to understand and decide how to use these elements. For our sketches, we should use the elements from different cultures and countries in order to create a variety and attractive drawings and figures and reference them correctly. Get to know their history. But that's about it for today's tutorial. Thanks for joining me and see you in the next one. 17. Male Clothing Line Drawing with Marker: Thailand: Hello everybody. Welcome back to another tutorial. Today we're going to draw a tie character with irregular hatching lines. And we need to use a cool gray marker. That's number seven. Redraw regular hatching lines like this. They should be in the direction of the form of each part. Make use of your downloadable resources. They will list all the materials that we're using and the colors. It's there to help you practice. Now over here, if we use different and varying hatching lines, we can have a good visual image or a lot of visual information to work with. And we can use those for our artwork. You want to just make these decisions as you're starting your, your drawing. And let's practice doing it this way today. Now we're sketching this character with the regular hatching lines, meaning straight hatching lines. And developing the details. Regular hatching lines are dressed as attractive. They're just different. That's all. We add hatching minds in different directions in order to make our work more beautiful. We also keep some parts white. And that's the white of the paper or the color of the paper in order to show the light like the highlight and the shading layers in comparison to the highlights. So other than leaving bigger distances in-between hatching lines to show a lighter parts. You can leave some parts completely white. And that's the light coming through. Now, it may need your drawing, may need to have it the hatching lines drawn several times. You may need to draw your hatching lines several times. But that's okay. It's really a process of building those layers. If you choose to use an even lighter marker, that's also an option. Now we're going to color this part of the cloth with a Scarlett marker, That's number 13. We need to add some regular hatching lines on this part so we're remaining consistent with our style of hatching lines. We simplified our sketch as well. Now remember if the videos too fast, my pace is too fast and sketching, always stop the video. Take your time to complete your sketch or rewind so we can practice together and then play again. And we continue. Just don't want you to feel overwhelmed. Just enjoy the process, go for it and practice. We're going to add some red hatching lines on this part here, dressed like the middle character that we've drawn. And it's about creating visual balance and our drawing. Now we're going to color the body of the character with a powder pink marker. That's number 27. This marker is an example of what I meant by using a much lighter marker in order to create different parts. Pay attention that we should use our technique for all parts in order to have our drawing look harmonious and balanced and consistent. All the colors in the materials that we're using, they're listed in your sources. So if you have any questions about them or just want to reference them, they're there to help. Also feel free to send me any questions you might have along the way or share with me your drawings at any stage, I'm more than happy to give you some feedback. Take a look at them. I'm here to help. Now we're going to color these parts with a raw umber. That's number 10. To putting the armband here, we need to add some hatching lines on these parts here. Now keep in mind if you don't have the materials, exact materials that we're using here, or you lack some materials. You can work with anything that's available to you or anything that you are more comfortable working in. Don't let the difference in materials stop you from drawing and practicing and getting to learn from other tutorials. As you can see, we're adding some darker shading layers as well. We can add flat colors on our work, but I prefer to use hatching lines, like colorful hatching lines. The important things to keep an eye out for is to simplify our sketch. And any approach or technique you decide to use or combination of techniques, just be consistent, do it across the entire drawing. One of the ways of simplification is to draw the real form of the character like we did on the left here. One time you do it once, and then simplify it. Create other drawings to simplify based on that primary, based on the primary drying. We want to simplify character using geometrical shapes as well. That's the technique. We can have three-dimensional characters by adding shading layers or just using hatching lines in order to have two-dimensional characters. We added some dimensions on our character here using our regular lines and the different directions. We were not going to draw the head of the character here just due to a lack of space really. Now, in today's tutorial, we became familiar with the combination of colors, the use of markers. Also clothing depicting clothing and a different technique and different styles. And we've exaggerated or less than the exaggeration. As we moved along. I hope you enjoyed using the markers and noticing the differences and tonalities. And of course, you can always go back in and add some more. The next lessons we will go through other countries motifs and details. We're going to add some gray hatching lines here. On these white parts. We can add flat colors as well. It's really up to you. We've used different colors today and they're not exactly the same as the model. The important thing is how we've used our surfaces of our sketch and how we've combined different mediums. We've also gone through the different stages. So thanks for watching and see you in the next one. 18. Female Monarch Style Drawing and Coloring: England: Hello everybody. Welcome back to new tutorial. Now, the next country that we want to draw a figure or a costume from England. Here we are looking at paintings of a queen and aristocrats in the, from the 1800s century England, the clouds, as you can see, we're exaggerated. You have the puffy sleeves, the smaller proportion of the head. And some details, lots of decorative little details here. So it's good to spend time observing them. Look at the proportions of the dress on her body. Notice the exaggerated skirts with lots of creases. Also the form of the color. In comparison to the delicate. These are the thinness of the body really. Because of this kind of exaggerated costuming our work as much easier now as we don't need to make much changes 3D because we've been simplifying drawings but exaggerating certain parts. Now today this is such a familiar characters so we can easily work on it. What we do is use our own technique for making a variety of characters. That's why we're doing this exercise. Now to start off with a fine liner, we start drawing our lines. Of course, if you're at the beginning of your drawing journey, it's better to start working on your base sketch with a pencil. It's also if it helps you gain your confidence or be more comfortable. Go ahead and do that. But we start off by drawing our sketch and we draw our main lines, the main outlines, and then we add the details in the motifs and the dots and the hatching lines or basic shapes later on. So as beginners, we were using our pencil to sketch it. We draw her head, the sleeves, the torso. We're using geometrical shapes. You have the oval for the face, other forms of oval and triangular edges for the sleeves. We've specified her hair. We added her neck and color. It's better to simplify the work by analyzing it and dry it out of basic shapes. It's just a technique to take something complicated in front of you and simplifying it. So our only, but over here we're only copying the painters work by some, by simply turning it from a picture into a drawing in pencil drawing here. Summarizing it. And as you see with some broken lines, you can give it an attractive and artistic look. Actually illustration as an old and strong art in England, the main reason is the storybooks which contain lots of illustrations of real or fictional or imaginary characters. Really. Remember to make use of your downloadable resources. They will list all the images that we looked at, the grids to create your base sketch and all other information. Now, now that we've drawn our base sketch with our pencil, and we've added some lines patterns. We're gonna go in with a fine liner in order to strengthen our lines and add a lot more detail. Feel free to send me any questions you might have along the way. Or if you want to share with me your drawings and you want some feedback, I'm more than happy to give you some guiding pointers. We're adding details of her dress here. Keep observing your sample or model image and apply the details as you see them. We might draw similar lines, dots and motif several times in order to achieve the, the general texture and the details that are referencing this culture or this history. And of course, what we see in our model image. Now we outline the arms. If at any point in time you're not sure what to do in a certain part or what to do next, just follow my lead. You can also rewind the video and observe how I'm drawing certain lines and certain details and practice together. In comparison to our sample we've exaggerated or we've exaggerated a little bit more. Some of those details like making them puffier. Just to, just to practice it a little bit more and make it a bit more special. The same time we're simplifying our sketch just like this by using simple lines, basic lines, basic gestures. My wrist is really light, so my pressure on my pen is really light. So keep that in mind. Now, in this technique, it doesn't matter if we cross the lines like the edge, the outline edge. It's actually how the aesthetic of this technique works. It's okay for it to cross the liner to have this like really loose aesthetic. That's completely fine. Going through the torso here. Feel free to share with me your drawings at any stage, really. If you want feedback, I can give you some feedback and some guiding pointers. And of course address your questions. We're starting to work on the bottom part of the dress here. We want to draw the main creases of her skirt. There's this back part here. The partying and the hair here is just like this. So both sides are in a triangular shape. So we want to mimic what we see. So over here, not only are you practicing creating these details on drawing them with a pen liner or simple, basic lines. But you're also looking for points that are interesting, that can be exaggerated and trigger your creativity. Now here There's jewelry and other details which we add just like this or starting from the head here. Just be patient at these delicately. In every few minutes. Take a moment. Stop. Just look at what you're drawing. Pull your head back just to create some distance and you'll get to see what's missing. What's out of proportion maybe are, where are the highlights that you need to watch out for? Don't worry about making mistakes. It's the only way to learn. The only way to see something that's out of proportion is to draw it wrong or out of proportion reading or adding her hands here, her arms or stretch to the front, like in front of her. Observed my application. Look at the way that I'm creating these lines. Let's add some hatching lines like this. Look at the way they changed curvature in direction. Now when it comes to adding layers of crosshatching on this part, we add texture to the work as well. So you're hatching lines are not just for highlights and shadows, but they're also to depict texture and details. The more you practice, the more you'll be able to create these lines instinctively. We see this cross line pattern on her dress, which I'm trying to achieve here. Then we add some delicate lines only by touching it and not by drawing dark lines are quite light, so my pressure is really low. This drawing is much simpler than the actual model on the lines of the patterns seem to have more gaps between them. Then you'd expect from the drawing. Now remember, you can create a simplified drawing like this where you've added the texture, right? These diagonal crossing lines. But then you can actually go back in with another layer of hatching lines. But these would be for the shadows and the highlights to apply the shadows or make some areas darker. Make sure you go over all the details like all parts. Look at every part and see what's missing. You can add things just like this. Next, we're going to erase the basic lines which we drew with our pencil. Just because there's a lot of detail here and we don't want any extra lines. Make sure you go easy on your paper. Remove any excess eraser residue. And now we use a black marker to create contrast and to darken some parts of it. It's a very quick way or a quicker way than pen liner to add some contrast and to increase the depth of perception of our work. Because you can create it with a pen liner would just need more layers. Whilst a marker, not only does it complement the medium of pen liner, but it achieves you that the density of color a lot quicker. And look at how beautifully this character is popping off of the page, becoming less flat. The character is standing out, that dress is standing out. Again. If at any point in time you're not sure what to do on a certain part, where to apply the marker. Just follow my lead. Send me any questions you might have along the way. I hope you're enjoying the process and using the marker. And adding those details here of the shadowed areas. We've shaded under the arms. You can also control the pressure on your marker, by the way, because the way it dries, it dries and a lighter tone as you can see from the other parts. We move on to shade and dark and more parts. She's holding this fan, her hand right here. We need to add it. Take your time on her long pearl necklace here. These details help us better show the character and the details that we see from these paintings that we are taking inspiration from taking reference from. That is why it's very important to pay attention to those details. And if you can go ahead and add them, just add detail and delicate menace to our work and richness. Next we draw her eyes. The eyebrows are quite faded and you can't really see them. Now we're going to apply a red color. You can decide how much of your work must be colored or needs to be colored. First, make sure you don't need to edit your drawing. And that your lines, your base sketch, your pen line, pen liner drawing, and your marker drawing is accurate, and then go in and color it with different colors. By coloring we're giving, we're giving it a more attractive final look. We're adding more to the details as well. We're adding some dots dressed too. It's not just on the top part. Feel free to share with me your drawings at any stage. I'm more than happy to give you some feedback on them. Now with the white tip of this marker. So make sure you using the wide tip. We're going to add some shade on her dress. Pay attention to my application. The way that I'm using the marker where I'm shading would look like this. Remember you can use lighter tones if you wanted to, if it makes you more comfortable, more confident. Because markers can be a little bit intimidating. These shades, they add perspective to our work. It also shows the exaggeration of the dress even better like this size of it, how big it is. It allowed for our character to look more developed and beautiful. No matter what technique or what you decide to add to your drawing or artwork, make sure you're consistent and you're creating a balanced across your entire drawing. You want all the elements to look like they belong in this drawing. Nothing looks out of place. So notice how I'm adding these little bits on the torso, keeping it consistent, so not leaving any part without the shade, even if it's very small. So it looks something like this. Take a moment to look at your own drawing and observe what you've created so far. And remember it's not meant to look exactly like your sample. We are using this exercise of simplifying and exaggeration and turning an image which is a painting or a picture into a drawing. So that process, as well as taking away a lot of information. We need to make these lines here a little bit bolder. So I'm going in with my marker with a finer tip. We need to color her hair in yellow with a brown shade. I'm going to use some colored pencils here. That's about it. I hope you've enjoyed today's tutorial. Keep practicing and see you in the next one. 19. Block Style Female Monarch Drawing with Marker: England: Hello everyone, Welcome back to another tutorial. Today we want to see what happens if we use this composition and other characters. We painted the screen with a little change. Now we want to see what other characters would be like if we make this change to them as well. Take your time to go over your downloadable resources which will list all the information for every tutorial that you follow, and also listing the techniques that we've gone through, the materials. Now, although over here, this is a freehand technique. We do it very delicately. How we want to draw another character with this fine liner. We simplify it and at the same time we exaggerated. Then we will hatch it with this technique. Make sure you use the grids and the outlines available to you and your resources in order to create your base sketch. Over here we see a tweet in the color of her dress, which we can show like this. Mimic my hand movement or imitate the way that I'm drawing these details here. It's the best way to start practicing or to maybe give something like irregular hatching or drawing techniques that try. Look at my hand movement and the lines that are created like this in order to show texture. The tool tool is this transparent material that's a bit rough, but it has a lot of texture. Really. Make sure your sample image or modal images placed in front of you in such a way that it's comfortable to look at often because we are taking reference from it. Not only for the shadows and the highlights, but all the details. These details in the clothing that are referencing some historical points, some motifs. Or drawing the body of our figure here, thinner than our model image. Her waist is thinner, her arms are longer. So there's this sense of elongation that's happening in our drawing. We draw the tool around her sleeves more obviously, so we make it a little bit more prominent. We draw her skirt like this. Notice how we can create a new character which isn't re-lend, doesn't exist, but it's developed purely based on our creativity. Are doing this exercise to trigger ourselves to be creative with certain details exaggerate, either smaller or bigger or more prominent. In several ways. We use the same texture here of the tool that we did on the shoulders, on the color and we do it on the sleeves. You can do all the process with color fine liner or like this. First draw it with a pencil or black fine liner. And then you go into add color. If you decide to add color, it would look something like this. The lines for the dress. We draw the feet much smaller here. Keep observing your model and adding your details. You can add more than what I'm adding. It's really up to you. If at any point you don't know what to do in a certain part or what to do next, just follow my lead. Right here. We're using hatchlings for the bottom of her skirt or the dress. We had two instead of the motifs on her dress as we're trying to simplify it. So we're trying to just give it the shading of the creases of the dress as opposed to adding the texture or a pattern. When we're simplifying, we can't add lots of details. That's why we're hatching like this. We use these hatchlings all over her dress as they're counted as the details of her dress. Take your time. Keep your wrist light and the pressure on your pen medium. Notice how little my hatching lines are here. Basically in this technique, the motifs start from one part like a central point, and are drawn towards the surroundings like that. And it goes all the way down the way we create a fine harmony and our work is to be consistent and to apply the same strategies of hatching or technique of hatching everywhere. Once we've added the details here and there next we want to consider this part of her head to the central part of the motifs. And we draw more of them downwards. And by reaching to the other parts, we less than the number of motifs were just trying to create a balance in our drawing here. We use this texture on the entire sleeve. Notice how my hatching lines are a little bit curved. Drawing hatching lines. And in accordance to the shape that we're we're drawing onto. You just need to be patient, observant and add the details as we move along. Now in order to show our figure better character you could add or darken the background. It's a technique just to make our character pop or more present on the page really are going to add the details on the head and the face in a very simple way using simple lines. We're going to draw small hands like this. Now we darken the background and around our figure. In fact, we're darkening the negative spaces here. I'm using my marker, observed my application. We use cultural or fashionable elements of that time like these huge puffy sleeves or the big skirt, the square skirt from the top and we exaggerate them and compared to other parts of their body, we draw such figures. Were the body looks smaller in comparison. We can use it for other characters with different outfits 3D that can have motifs from different cultures in terms of referencing the shape from here. But we can apply it to different characters. These are the visual tricks which we use in drawing or creative drawing like this, we can even make changes to an ordinary character with common clothes and decide to exaggerate any part. It's just an exercise to trigger our creativity and see what lends itself to inspire us to create our own. Our own characters, our own sense of a design and style. So we can draw other characters and other costumes were not only limiting this technique for English characters of the one-hundredth century, we can use it for other characters from different countries in different eras, even contemporary ones. After practicing lots of figure, like lots of figures, then it'll come more instinctively to you and you can easily apply the sense of creativity or point of inspirations to other drawings easily. Illustration requires a lot of attention to detail. Take your time to color in that background. Be specific, be detailed to it carefully around the details like the head piece here. And feel free to send me any questions you might have along the way. Or if you'd like to share your drawings at any stage, more than happy to take a look and give you feedback if you wanted to. We create contrast inside of our drawing, just like we're doing here. And we don't limit it only to the surroundings because as mentioned in the previous tutorials, you could use your marker in order to achieve that intensity of color or shade. But of course you need to. You're not filling in the entire space, you're being specific. We can make numerous changes to our figure here because we've combined two different mediums together. The changes we make are inspired by the model image itself. We take the information it gives us be it highlights or shadows or texture or motifs. And they would be a starting point for creativity. Then from there you can take it further and change it accordingly. And we combine it with our own methods in order to create, get closer to recognizing our own style of drawing. If you, for instance, practice for one year on different characters from different areas and their costumes, then you will be experienced and you can mass or such drawings perfectly with something that interests you as an exercise, then practice really does bring confidence, not just in the content or getting to learn more about the history and the culture. But drawing in itself and using the pen liner as a medium or the marker, or the colored pencils or the combination of them. The more confident you are with a medium, the better the results are. After finishing your drawing here, only then you can color it in. So make sure you're happy with your drawing before you go in with colors. Because sometimes it might be difficult to go back in and add more hatching lines in black. Try to go over all the parts, check all the details. We darken below her skirt here just to keep the harmony in the work. To create a balance between using our marker at the top of the drawing, on the hair and underneath the chin for the shadow. So applying some shadow underneath the skirt as well. We've colored in the shoes. If you need to pause the video and take a moment to stop drawing and look away and look back at your drawing just to notice and be able to see what might be missing in terms of shadows or highlights. Just completing the background here a little bit more and making it more uniform. There's a pearl ornament and a diagonal shaped like this here. Completing a drawing is always different from one artist to the next. So you might be done in a couple of minutes. You might decide you want to add so much more to it. It's really up to you. Because sometimes it's up to our preferences as well. If we'd like a more delicate aesthetics of the lines are not so dark and we decide that it's that it's done. Completing an artwork usually really different from one artist to the next. But now only once you're done your sketch, you can add color to your, to your drawing. You can use colored pencils for her dress and show these details, these laws, and just to complete its texture all the way up. You can also scan the image and apply the color using Photoshop or similar programs to show the stains of color on her dress, like the different shades over there. By coloring, we need to do a trial and error to get our desirable result. For me, the drawing in pen liner and marker and these hatching lines is so important before I go in and add any color to it. We're here, we're just adding these crossed lines down the middle of the dress. We see a symmetrical composition on this work. As our work is black and white and the aim was to complete it by simple lines and hatching. We were not going to color it today. You can color it on your own if you want to. Right now I'm concerned with the visual balance of the work. But that's about it for today's tutorial. I hope you've enjoyed it and you're able to practice your drawing skills further and use new techniques. See you in the next one. 20. The Queen Elizabeth I Drawing and Coloring: England: Hello everybody. Welcome back to another tutorial. In today's tutorial, we're going to draw another dress for a queen that is from the 16th century. We want to work on the form and the model of her clothes. Mainly. We draw the face of the queen. We use a pencil. We make a very simple, basic lines based drawing. And then we're going to determine her hairstyle and crown. Redraw the net which is around her neck like this. This leaves are quite puffy. We draw the net of the sleeves like this. We draw a small triangular, triangular shape on this part of the chest. Her waist is thin and there's a clock which is on the body. There's a mouse on our hand as well. The mouse is like a little pet, loyal pet. There you have it. That's our initial sketch, and now we're going to work on it with a color pencils. So we've created an outline with our pen, with our graphite pencil, our color palette here to color it in includes in the throne, blue color pencil, violet colored pencil, slate, gray, light colors, skin tone colors, carnelian colored pencil, like the 850, the lemon, yellow and gold colors. This is our color palette. We don't use a huge variety of colored pencils because we want to have a very simple work, a very straightforward simple work. Now we're going to color these parts with a violet color pencil that's number one to zero. Observed my application. And the way that I'm holding the pencil. Take a moment to address the way you're holding your pencil. Be comfortable because sometimes we might be overwhelmed and holding it a bit too tightly. The colors of this part ever separated or coloring in this very simple way and see how it will be very attractive. In the end, we're keeping it consistent and we're applying our colors uniformly. Then we're going to add details on them later. When we simplify and sketch and color, it becomes very attractive. It's almost like all the information is right there in front of you. It's very easy to look at and read. Now remember to make use of your downloadable resources. They will list all the colors that I just talked about. Also all the techniques that we go through. Your downloadable resources that are available for every tutorial that you follow. It will also give you information in terms of the drawings that we're going through. It's there to help you practice. After the tutorial. If you want it to repeat your drawings again. You can watch the tutorial again. Here we're drawing the net around the neck like this. Now we're going to specify some circle on this part. I'm adding the texture here. Starting to put details. Then we're going to add color around these circles with the Endo thrown blue color pencil, that's number 649. Now we're going to alternate with the slate gray that's colored pencil number 495. We add the colors and show the texture very delicately. And we will see that how, we will see how the work becomes a lot more attractive once we simplify it. The way we color the surfaces as well, the more clear they are in smooth they are achieves us a little bit further of that simplicity that we're trying to achieve. Remember we can add light hatching lines with color pencils. They are pencils after all. If you want a different result from your color pencils, you could sharpen them just to have a little bit of a sharper result. So it doesn't need to use, you don't need to use maximum head pressure, either. Whether your pencils are sharpened or not. We continue to go through the same steps. For the next part. If at any point in time you're not sure what to do on a certain part or what to do next. Just follow my lead. Copy. What I'm doing. Coloring is quite meditative. And sometimes I just really enjoy following a tutorial where I don't have to think too much and I just want to follow what's happening and create the drawing. Also, remember that if you are using different materials than the ones that I'm using in this tutorial or different than the ones in your downloadable resources. Just work with anything that's available to you, make use of anything that you're comfortable with and that's available. Don't let the lack of material hold you back from drawing and coloring and enjoying the process and learning from it. We can draw a simple hatching lines or curved hatching lines with color pencils. So before drawing them, we can also test them a side piece of paper just to get oriented or get to figure out whether we do want to use them or not on our art work. It's better to try different models and use different elements on our work such as dots and hatching lines, surfaces, or different tonalities onto our art work or the character that we're drawing just to get a good result at the end. Because once you multiply or add more tones in terms of colors or a variety of hatching lines, e.g. or comb combination of mediums and techniques, you get a richer artwork. It's good to try at least once, give it, give it a try. Now we're going to add some shading layers on these parts with a slate gray colored pencil, that's number 495, and the Indian thrown blue colored pencil, that's number 649. So we're going to add gray shading layers on these parts and create lighter shading layers as well. So you can control the pressure you're placing on your color pencil. You can shade lightly in comparison to the tonalities that you want to create. Now we're going to color this part of the sleeve with slate gray, that's colored pencil number 495. And the violet color pencil, which is one to zero. It's a balancing act really. Every few minutes, take a moment to look at your drawing the code that you've created so far. Just to see what might be missing or what you want to add more of, and so on. Once you are done with your art work or practices, please send them to me, share them with me so I can guide you and give you some feedback if you want. Because our practice runs show us as well. What's the, how we're developing the colors of the clouds here. They are very attractive on our drawing. So we don't want to ignore them or not do them justice. Let's try to color them as best as we can. We can simplify them, of course, and use them in order to have to create a variety of artworks. But we want to shade smoothly coloring. Create these tonalities. When we want to sketch the clothes of, let's say, our grandmother, we can use the model of the Queen sleeves for, for the grandmother with the, with the Layered, Layered cloth or the puffiness really, at least maybe that's just my reference. We can use the elements of this leaves here to depict different types of clothing. All these things and models and elements they help us to sketch more creatively or have more ideas. Really. See that this mouse here makes our work more attractive. The one that's on our hand, just trying to color around it. All these things in details. They help us to try them out in terms of coloring them in and drawing them in and create beautiful characters. So it's all really good practice. In the end, if you're only inspired by 23 elements, then focus on these 23 elements. Repeat, create artworks using only these 23 elements. Now here, the mouse on our drawing can be maybe the pattern on her clothing and not a real mouse. But anyways, this mouse shows a friendly relationship between the queen and her pet. So we think about these elements and we try to maybe select colors to show how we want to show these elements and depict the stories wafers to get imaginative. Now as we're coloring in these different parts, we need to be patient in order to finish our sketch. Remember, don't forget to make use of your downloadable resources. Have all the information, all the steps that we're going through, the list of colors and so on. Just in case you want to go back and recreate an artwork or this artwork again, you'll know which colors to have in your hand ready to use. Now we're going to make the part underneath the mouse a little bit darker. If you feel like this color is a bit too dark, you can opt for a lighter or a lighter tone. We add some triangular shapes here. In this order just to show the net cuff of the sleeves. When you're using really dark colors like this, be particular focus. Your marks have to be intentional because it's quite a dark color. Keep observing your sample and getting your information from it. Keep in mind that it's completely okay to practice from the available outlines and the grids in your resources. Even if you print out your sample image or the grids and you trace them, you draw on top of them. Especially if you're at the beginning of your art journey. Once you've practiced them and you've gained experience, you will slowly start to draw freehand. So you can freehand draw something that's in front of you like a still life or a model. But it's completely okay to use them. It's not a point to be discouraged by. Next, we're going to color the hair with a brown ocher color. That's pencil number 37. We divided the hair into two parts like this and we're coloring it in. This is a base color really. Make sure your fist is not sitting on top of any part of your drawing. You're keeping your wrist light. We want to keep our artwork as clean as possible. Take your time. Now we need to color this part with French gray ten per cent. That's colored pencil number 802. Now we erase the extra lines of the face and then we're going to color the face with a Naples occurred. That's colored pencil number eight to one. We also color in the hands using the same pencil. Next we're going to add some shading layers on the cheeks using the French gray 10% colored pencil. That's number 80 to keep observing your sample image. Now we make the hair darker with a raw, umber. I went over with a gray, but I think it needs a raw umber. That's number five for eight. Then we're going to add an orange color. That's pencil number 3030. Because the hair color is a light brown. But notice how we're building those tonalities. We have the raw, umber, the orange, and they've given us this rich color. That's a bit more complex. Again, we go back in and we add the raw amber colored pencil number five for eight on this part. Next, we're going to determine the eyes. If you need to sharpen your pencil or determined the eyes differently than how I'm doing it. Go ahead and do that. Sharpening our color pencils is really a preference. How you sharpen, how much you sharpen them. In order to achieve the detail that you want. Just creating some tonality around the eyes here. Now we add the Cornelia and color pencil That's number 850 on the cheeks. Since this work is not really done in the realistic style, we don't fade and blend the colors. We just do them lightly and IQ. Apply your colors where you want. We color the cheeks and the lips of our queen here. The nose as long we go over it with this color pencil. It's just a way to flatten those tonalities. We need to add some shading layers on this part. Right here on the side of the face because there's a shadow. Although our sketches simple, but we can use shading layers just to, just to bring a little bit more detail to it and to add a depth of perspective. Now we add a ring on her left hand. As you are building your image every few minutes, take a moment to take a look at your drawing and check what might be missing, what can be worked on just to observe what you've created so far. Now we add some colorful dots on this part here. These are some more of the details that we're adding. Now we're going to add lemon yellow, that's colored pencil number 240 on the circles on the sleeves. The combination of yellow and blue is green. So around the circles, at the edges of the circles, they become green because the yellow has intersected with the blue, which is quite beautiful. It was better to add the yellow and then the blue color after if we wanted the yellow to be really prominent. You could also sharpen your pencil very sharply and, and do it several times in order to make that yellow color pop even more in these circles. Another coloring technique is gouache. So we can work with gouache as well because we can add the colors layer by layer. So that's a technique that allows you to do that. Now we're going to add some dots on this part here in the middle. We're using an anarchy known Carmine colored pencil. That's number 580. We determined the jewels of the clothes was very simple, marks like this. Now, we want to add a little bit more detail here, just to give it that structure. Now for her skirt, the bottom part of the dress, we can use a warm gray or warm gray colors similar to that, like the slate gray that's colored pencil number 495. Now we're going to add the Indian thrown blue color pencil, that's number 649. We're doing it around the sleeves. Actually, it's more like a cloak. There are some creases on this part. I do want to show those details. Are those creases? Again, remember to just keep checking on your your hand pressure, how much pressure you are placing onto your pencil, because that translates into how much color your pencil is transferring onto your paper. We're showing the creases in this very simple shading where some lines are lighter than others or some parts of the sleeve or darker than others. Observe my application. Working on the other side. Now, I'm observing my sample and adding the tonalities be darker or lighter tonalities depending on what I'm seeing. So apply your tonalities as you see them. Now we're going to add some details on the cloak in order to show it's relevant material. You want to go over these details. Look at a variety of colors and patterns that we've used in order to make the character that we're working on. It's quite attractive. It has a lot of elements. It's soft and simple, but also complex. It's a drawing and drawing iteration of a painting from the 16th century. Although this course is about the clothing, but it's about being inspired by creating such details and working on cloth and clothing. Now we're going to add details of the crown. We try to add details as much as possible on the places such as the hair and the face and the crown, and all the other parts that have details which you can add. Go ahead and do it. It's good to try to practice a technique or an approach that you're not used to or comfortable with, or maybe you don't find as necessary, it's good to just do it once. And then from there you take from it what benefits you, what's good for your practice, and you, you go with it. And if we use an element in one aspect, we need to look at the rest of our drawing and whether it's used on other parts are not realized. We need to balance it out. Do we need to use this color maybe at the bottom of the drawing and not just on the top, e.g. now we're going to add an orange color, That's pencil number 30 on these parts here. We simplify all the parts, but if we want, we can add some patterns on some parts as an exaggeration, as something added that we have added based on our imagination and inspiration from any given culture that we're working on in a tutorial. And the combination of colors, we try to add the colors as closely as possible to the sample, but we can also create special combinations of colors that We are more attracted to or we'd like to try them together. It's really a trial and error. So e.g. the combination of orange and purple here, that's really beautiful. Now we're going to add violet around, around these areas here. That's colored pencil number one to zero. By the way, this part is like a metal which is hanging from the neck. Now we're going to determine the fingers using a raw umber that's colored pencil number 548, are working on the skirt now. We're going to color this part with a slate gray that's colored pencil number 495. The design of the skirt is striped, so it has stripes on it. We should keep these white parts in order to have harmony in our work because we have those white parts separating certain textures on the shoulders. Now we have them on the skirt. Take a moment to look at your drawing and visually make comparison or look at the whole thing from top to bottom and whether everything looks like it belongs in this drawing, is there something that's turns out that it looks odd, maybe that needs more work. Now we decide ourselves whether the white parts need to be regular and equal or not. That's also an aesthetic preference. We used colored pencil technique in order to show the details on the patterns of the Queen's clothes. In this texture and the color pencil texture. We can draw her castle with this technique as well in the background, it means that we will really simplify the castle. There will only be a gesture of what it looks like in the background. In terms of coloring strokes. Then we color it in very lightly. Make sure you go over every part. If you're working on the skirt or the metal, or the hands or the sleeves or the head are there, or the face. Just take a moment to take a look at your drawing and see what can be addressed it or edit it or added or removed. I mean, we could try to remove some. That's why we always say work lightly. The next thing we need to do is color the mouse. Now although we've built all these layers and we've added a lot of details. We shouldn't leave the final steps of the work. We shouldn't leave them out. Like we need to complete it. You need to look at your drawing and feel that it's finished, it's completed. So go over those details and draw all parts. But anyways, it depends on ourselves whether to continue or complete a work or not. Every artist is different when it comes to finishing an artwork. Just determining the edge of my drawing here, the bottom edge. We forgot to color the mouse. We need to color the mouse. It's better to color the mouse with a lemon yellow. That's pencil. Pencil number 240. We're going to darken around the mouse with a black color. That's pencil number nine. Just to give it a little bit more definition, we've added the eye. And your next practice. If you are going to practice this drawing again, you could opt to not have the mouse at all. And just coloring that part as the sleeve. We need to add some shading layers on this part here of the skirt. Observed my application. The colors are separated. Our work has two-dimensional aesthetic, but we can make it three-dimensional if we wanted to. We can add these shading by shading and mean that we're adding shadows to show that the top part of the skirt is darker and then it gets lighter. And it gives a bit of dimension to the work really depends on ourselves. But it is good if we try both dimensions and compare their visual qualities. That's also another thing you could do every time you repeat. Or practice a drawing. Again, you could apply something new, like try to add more shading or less shading or more highlights or a different technique and coloring and so on. It's just a way to discover a bit more and learn. We need to make these parts of the sleeves darker. Make sure you avoid the circles, the yellow dots because they are quite a nice texture. We should check the visual effects of our work regularly in order to see which part is attractive or not, we should study the history as much as possible, go through the images because we can learn a lot of things from it. Even if visually absorbing all these details, then you have them as a reference. This painting helps us to create special character and we learned lots of visual effects from, from it. And we can show the visual effects with the techniques that we know are that we've practiced or that we're going to develop our mind should have these like as a reference. We need to get lots of information and images and study the history just to do it justice and reference it. And keep it in our mind and use it as part of our elements to refer to, especially if it's a part that really interests you. So don't try to exactly copy from the contemporary painters because this is not the origin of the ideas, is not why we're doing this exercise. We want to be inspired by them and have them as a point of inspiration. These painters use and achieve their own techniques from the old images are from nature or from what's around them. So we should not copy their artworks and claim it to be our own. We are simply using it as a point of inspiration and learning. In order to develop ourselves and develop our own techniques. We should use the copy technique consciously. We use the copy technique just for learning. Unfortunately, there are lots of painters who copied from contemporary painter works instead of referencing them, giving them credit and put it as their own style, which is not a good thing to do. Do not do that. Because you wouldn't want someone to steal your work. And also you prevent yourself from growing as an artist like you prevent yourself from discovering more about you and increasing your practice and your expertise. Our growth is created when we develop our trial and error, we try things. We see how it goes. We take it from there and we developed. Do not stop at any level. You should always seek to do more different, better in your own work and try to draw a new works. Take inspiration from New York's. Take a moment to look at your drawing. Just to check on what might be missing. We're going to add a darker shading layer underneath the middle here. We need to make these parts darker as well. On the other side, feel free to send me any questions you might have along the way. You can even share with me your drawings or your artworks, or even your sketches if you wanted some feedback on them. More than happy to give you some guiding pointers and address your questions, of course. Now we are going to add small dots and details on the color in order to show its net. So our color, because it looks unfinished, so we need to add more details on it. Once you feel you've added some information there, you erase the lines on this part here because you don't want it to come through your coloring. We're not creating outline, an outline artwork we're coloring inside the shape, inside the form. We can keep this part why it or add lines on it, but it's better to to keep it white. I mean, it's pretty striking. Want to make the eyes a little bit darker. We add a little bit of pink using colored pencil number 581, that's pink white. On this part. We make the lips read with throw a quinone Carmine color that pencil number 580. As you are finishing up your art work, you try to make the decisions as to whether you want to make some parts lighter or darker. But that's an according to having harmony in your artwork that everything looks logical, visually logical, balanced, same style everywhere, nothing stands out as odd. This lighter part is surrounded by a lot of darker parts here. But who was vice versa, it would seem a little bit odd as well, but it's doable. Now we're going to add some details on the crown with the throne blue color. That's pencil number 649. We didn't copy the crown from the sample. We use our imagination really exaggerated or added more to it. Our data, our work is done. We can color this white part here with a medium color like a pink white color. And the creases of the cloth, the pink white color, that's pencil number 581. So this pencil is one of these colors like the really light gray that flattens areas. It harmonizes between different tonalities and it brings them together so you can go over other parts because it's light. Recolor these parts as well. So balance, you want to always be balanced. If you do something on one side, do it on the other. If you have the same cloth or texture. When we combine the colors, especially with a polychrome owes color pencils, our work becomes more complete, more harmonious. We can create attractive shading layers by adding lighter colors on top of the dark background. Observed my application. If you're worried about combining or placing a certain color on top of another, try it out on side piece of paper. Look at what it's giving me. It's quite beautiful. It's bringing in the highlight. Simplifying the colors doesn't mean that our work doesn't have dimension or detail, not at all. Well, there you have it. Our work is done. We drew a queen from the 16th century with a combination of simplified colors. We need to add some details on these parts. There you have it done. We've analyzed the clouds from England than its elements. And then we drew this queen character over here. Now in the previous lessons, we drew the character very simply just with lines with a different medium. We can analyze the clothes, combination of colors and accessories of this region in order to use their elements of our character. We can find very attractive elements that can be used, that can be useful for creating simple figures. So if you're interested in creating figures or cloths or clothing or closed figures, and you want to find inspiration. It's good to learn what's out there, what's the history, why you inspired by this time and whether it means something to you. We can use the elements of each country according to its history in order to use them for their presence stories right now. But we don't copy them and claim them to be ourselves. We're just taking inspiration from them. And we can say we've created this character inspired by these elements from this culture. We simplify the elements and we create our own character is really that's, that's what we're learning here. We're learning about the history. We're exposing ourselves to these details just to know more. We draw them. We've used pen liner and other techniques and we learn from them. Hope you've enjoyed this tutorial. See you in the next one. 21. Male and Female Traditional Clothing Design for Dance: Scotland: Hello everyone, welcome to another tutorial. Now, in today's tutorial, the next country we're going to work on and get to know more of its clothing style is Scotland, which is known for its unique patterns and colors. The skirts men usually where in Scotland is one of the typical features of clothing in this area. Right now we're going to start our work with more historic or the more historic picture. And we're going to start the sketch with a marker like this, using the brush tip of it. We start with the color black and also try to constantly check the sample picture and do the sketch. So have your sample in front of you is such that it's easy for you to comfortably keep looking at it. Keep the pressure on your marker light. We use exaggeration in our sketch. So please look at my hand movement closely. Mimic what I'm doing. Remember to make use of your downloadable resources. They have all the information for every tutorial that you follow. Now, there are pictorial references here that make a figure recognizable and we try to add them all. So add as many details as you can and as delicately as you can. Like these feathers here on the hat with their special colors which will come in. Your downloadable resources will list the materials that we're using, the steps that we're going to go through. Also the grids and the outlines necessary for you to create your base gets so you could, ideally, if you want to create the space catch and a pencil first, you could. Now at this stage we're only sketching. So look how freely I'm moving my hand. Try to mimic my application. There's no need to be overwhelmed because we're here to learn and improve. And the only way to do that is by making the mistakes because you get to see them. There's a long piece of fabric like a shawl. The shoulders of our character here which redrawn this way. The shell comes down underneath the hair that is tied to a knot at the back of the figure like this. This shawl continues down all the way. If you follow my sketch and how I'm drawing it. You can repeat this part of the video again and again if you want to practice together. We started working on the code of our character, the one he's wearing using a blank XB marker. If you're trying out a new way of using your marker or you're trying to create a gesture that's maybe a lighter or darker. You can have a separate piece of paper on the side to try it out before you apply it to your drawing. Here we need to draw the sword and then the skirt. This type of clothing is very typical to the men. To the men's outfits in Scotland. Another recognizable characteristic of the clothing in Scotland is the patterns of the fabrics. Observe my drawing. Mimic the application. We're adding as many details as possible in the sense that we want our drawing to be, to reference or look more realistic, to be less flat really. But we're also moving our hand freely and our wrist is relaxed, which can still achieve you a realistic final, final result, really. We are going to draw long and thin legs for our character here. Look at my hand movements. Because the color of the marker can easily transfer onto the page a bit too much. So you want to keep your application light, your pressure light. We have exaggerated on the legs by drawing them in this way, elongated, so they are quite longer in proportion to the rest of the body. The torso is short in comparison to how long his legs are. We've brought attention to the legs by choosing this element to exaggerate. Now we could have also drawn the initial sketch with a pencil, as I mentioned before, and then made it bolder with a marker. And that's really up to you. The figure has a trumpet in his hand here and he's blowing into it. We're working on this detail. These details that are easily added to the work, they give beauty and a depth of perception and a lot more to look at in your drawing. So if you're able to add a detail, go ahead and do it. It's the same thing goes with whether you start off with a pencil or start off with your marker. I want to encourage you to just use your marker, enjoy it, make the mistakes. Don't worry about it because it's the only way to learn and get comfortable and get confident with our material and our tools. We're now going to use the red marker, that's puppy. Are 5651 of the interesting characteristics of the clothing is the pattern of the socks. Look at how basic this pattern was created with these crossing lines. We add the red color for the sword as well. Then we continue working on the pattern with the shawl. If you're unsure at any point in time what to do on a certain part or what to do next. Just follow my lead. Mimic what I'm doing. So we've applied the clothes on the skirt, the scarf which was on the front part of the chest and now to the back. The patient observe your sample and apply the details on the lines as you see them. Using the initial marker again, the black. We're going to add more lines on our character, slightly moving it away from being realistic. Observe my application and all the different parts of the figure. We can add these lines and details. All we have to do is to make sure we're working in accordance with the form that it's logical to the form of the element that we are adding it to. Feel free to send me any questions you might have along the way. Or you can share with me your samples if you wanted. I'm happy to give you some guiding pointers. As you can see, we added the color layers in the same way as well. We did not add them exactly in the shapes that we've marked and let this free feelings show itself throughout the work. Now using the black marker here again and its brush tip, we're going to sketch the female character with her clothing as well. Of course. Please pay attention to my application. See how I'm handling the brush and controlling my lines and try to mimic it. That's the best way to practice. Copy what I'm doing. You can pause and watch some of the parts of few times and practice together. And then we move on to the next step. So take your time and be patient while practicing. In case as well. Maybe my pieces. Two quick. Just don't want you to feel discouraged in any way or overwhelmed. It's all a learning process and a way for us to discover more, to make mistakes for us to learn more. So they're happy mistakes. Now the movement and the wave of the fabric of the woman's skirt do they can easily be drawn by simple shifting lines like these. So try to just mimic the swift in curved lines that are almost touching each other at the edges that are mimicking the cloth. It's as if the skirt has a rhythmic movement. We are actually exaggerating on our model at this point. Working on the sketches can happen by emphasizing on some points and changing how some parts of the skirt look. Really depends on us. Keep observing your sample. Add the details, keep the pressure on your marker light. You can exaggerate if you want to make the bottom of the dress even wider, you could do that. It's really this exercise is not only to get familiar with these histories and the clothing, but to practice and see what's, what's inspiring us in terms of our creativity. It's very important to constantly observe the sample picture. As I mentioned before, not only to be accurate, but to see which parts can be emphasized more on what can be changed and generally what are exaggeration point is while sketching, see the wave on the skirt that shows its movement, which is done by only adding the right lines in the right form. So we didn't fill the entire space. We easily showed how are other characters also dancing with these waves and small, using small touches, we can see the same feathers we had on the male characters had for the woman as well. We add them accordingly. Then we start adding the lines that show the hair of our character in this way, emphasizing on the fact that the figure is actually moving. We add these curved lines on the chest and hands as well to better show the movement and the curve of the body. And our characters. Pay attention to how all parts compliment one another so they have the same style or technique applied to them. We are now going to add the necessary shading layers on this side of the figure's body, just like the sample picture. It's very simple lines, but we need to be specific where we are replacing them. So take your time. We're essentially revisiting some of the parts and we're emphasizing on our lines by giving it that much color on it. We need to maintain balance in our work as well. If we have a darker layer on this part on the left, then we add this dark part on the right as well. Want to check if it's there. We did the same while working on the head of the character, the hat and the hair, and how they move, how they move in order to create balance in our work. Again, we're going to use the red marker and we start adding the colors for the pattern. Look at my hand movements and see how I'm adding these parts and accordance and actually complementing this sketch. So you're not putting it everywhere. Although we have a line that shows us where to add the red color, but We move it and dash the line according to the shape of the dress and the movement. Again, if you're unsure what to do in a certain part, just follow my lead. Also. It doesn't really matter if we go beyond, if we cross the lines a bit of the outline of our image, it can actually add to the beauty of the work in general because we are drawing and sketching manner. So having these fleeting lines are crossing lines is fine. When we feel like the patterns and details are too much, we can add a color layer on one part like this to create more balance in our work, just to make it seem like it's more included in the work. The third color we're going to use in our sketch is green. And we will add it with color pencils. As we move on. We can add these red dots on the cheeks of our female character to add to the beauty of it. These are little tips and hacks that can be used in illustration and in order to develop our characters. This work can be considered as a free sketch that has all the traditional elements that can be found in this cottage, Scottish clothing. But we have added our own touch to it as well by exaggerating on certain parts, simplifying some other parts, and maybe adding some color effects. We have added all these extra effects on our characters, but we have to keep in mind that they all come from the picture itself. We just shed more light on some parts and less to the others, as well as maintaining the balance. As you can see, we did not add all these details and elements from our image that we see on the original picture. We selected some of them and added them with our own personal touch to the characteristics. That's how you select the tails and you simplify them by so by removing some, that's what's simplifying means. Now we're going to use the green color here. That's the color pencil, cobalt green number one, A2. To complete the patterns. As you know in our Scottish color palette, the red and green can be considered as two of them immediately recognized and familiar colors. We start adding the green in this way. Observed my application. Move your hands freely on the sketch and don't be afraid of crossing the lines. We're combining two mediums together, the marker and the colored pencil. While you are practicing and sketching, try moving out of your comfort zone and experiment. So for instance, if you are usually a very tidy person, try not to be so tidy and vice versa. Just take your time and keep practicing. Because the more you practice, the more confident you become with your mediums. Now we add the green on the woman's dress as well. Work freely and tried to show the feeling of the whole sketch with the colors and the patterns. Feel free to send me any questions you might have along the way. Or if you feel like sharing with me your sketches or drawings at any stage, I'm more than happy to take a look and if you want feedback, I can give you some guiding pointers. And of course I'll address your questions. I'm here to help. Now, as you're coloring in your character here with the green, we need to keep in mind that the white color of the paper, we need to keep some parts of our drawing white, like the paper. We start adding colors to them at the very last stage. Here. The next thing that we're adding is a cadmium yellow That's five to zero. We need to add it on some of the patterns. We tried to create a balance between the white and the colored parts on the upper parts and the skirt here. We're just keeping in mind where the highlights are, where we need to leave it as white. That's what I meant. We're going to color the face here with the pink white. That's number 581. Simply like this. Just for a bit of skin tone. That's it for today's tutorial. Thank you for watching. Keep practicing and see you in the next one. 22. Modern Clothing Design for Dance Male and Female: Scotland : Hello everybody. Welcome back to another tutorial. As you know, we drew two old dancers from Scotland. In this tutorial, we're going to draw two modern characters. Take your time to set yourself up. Make sure to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. Now we start off by drawing the coat of this character like this. You are downloadable resources will have the grids and base sketched for you to create your drawing or your art work. So feel free to do them in pencil first before going in with a marker. Although I want to encourage you to just use your marker. And so the only way to get familiar with it and to not be worried about the tool that you're using. So do take your time. Note the white parts that we're keeping. Whites, such as the buttons on the jacket. That slit of space between the arm and the body. It's a short code. If at any point in time you're not sure what to do next or what to do on a certain part, just follow my lead. Now I'm drawing the bow tie on this part like there's there's there's something like a metal which is hanging on this part here. Try to control the amount of pressure you are placing onto your marker. It will dictate how much ink is being transferred onto your page. We're drawing the checkered texture or a pattern of the skirt here. We're drawing the shoes like this. If you need to rewind the video in order to watch a certain sketch again and again for us to practice together. Just go ahead and do that. As you can see, we are using a black marker that's number one to zero for the dark parts. We're going to add color on these parts later, but were majorly using the black color to show the, the, the more prominent points. Remember that the grids and the base sketch available for you on the downloadable resources, they're there for you to practice and don't feel discouraged because you're using them. Everybody needs to create a base sketch. Even artists who are who have been using their medium for years and years. So don't let that hold you back or make you feel like you're reliant on them. Just enjoy the process. Learn, keep practicing. Now we're going to color this part with a light cobalt blue colored pencil. That's colored pencil number 661. The next color that we're going to use is the Indian thrown blue colored pencil, that's number 649. Combining these two tonalities, the next layer is going to be the Andhra Kenan Carmine color pencil, excuse my pronunciation. Colored pencil on number 580. I observed my application. Keep in mind that we're not adding these colors everywhere. We're, we're adding them to the specific places they need to be added. We've given the blue some tonality. Now here we're going to need to add the lemon yellow color pencil, That's pencil to 40. Now we're using the prime rose color pencil, that's number two for two. The socks here are white, so we're not going to color them in, but we're using this pencil for the skin tone, so we need to do the hands as well. We did the face, the knees, the hands. Now we're going to draw a woman on this part with the same technique that we used for the men character. If you really want to test yourself on proportions, whether what you're seeing in your model image is what you can draw in the proportions that you see. You can put timer on the timer. So it forces us to go for the lines that we think are best and that helps as well in terms of improving our drawing skills. Remember that you are downloadable resources will also list all the materials that we're using, the colors. That tonality is an all the steps that we go through. But also keep in mind that if you have different materials, different colors you are, it's not, don't make it hold you back or discourage you from, from practicing and drawing and using your marker. Dress. Enjoy the process. Make use of anything that's available to you or any materials that you are more comfortable with. We're here to learn. Take your time. We drew the model here. But it's just the clothing. It's a lot of focus on the clothing like this. Then we add the other details to show the body, the face. Observe how we simply drew our character with these very simple and geometrical shapes. Now we're going to color the skirt and we go back to the answer, Aquino and carmine color pencil. That's number 580. Again, we're not applying the color everywhere. Pay attention to the way that I'm coloring in this technique, the color crosses the lines. We use this technique for all these characters as well, where it goes beyond the line and outside. There's no outline per se to our characters. The next color we're going to use is the light cobalt blue color pencil. That's number 661. And that's quite a light color. Depending on how intensely you want to use it, you could have started with it If you liked, then your next practice. Now the next color is the middle verdigris colored pencil, that's number 713. And I go all the way to the bottom and the sides. Now, we're going to color her blouse. We're going to use a brown olive that's colored pencil number 732. Then we need to color the skin with the prime rose colored pencil. That's number two. For two, we did the same thing with our male character. We're going to color her hair here with an orange color pencil, this number 30. And we're going to add some lemon yellow as well, that's 240. Actually, we show most of the details of these characters with some color stains. So we're not applying too much color, but we need to show these colors so we place them in the right places. E.g. we create the symbol with just some stains like that. So we use these techniques in order to simplify our characters that it doesn't have to be elaborate. That's the idea. We also draw the traditional clouds of this country as well. As you can see, we created our characters with curved and broken lines. We can use this checkered pattern for all parts of our sketch as well. E.g. we can use vertical and horizontal lines for the clothing, but also for the head and the legs to see what the character looks like. You can still refer to your geometrical shapes and lines in order to organize your sketch or your drawing. And to have it look nice and logical and that, that we've created harmony in our artwork as well. So there's a sense of balance all the way from the top to the bottom to the clothing. So the little details. So you've indicated everything that's necessary. We can use these visual elements in order to create more special characters. But that's it for today. I hope you've enjoyed this tutorial, keep practicing and see you in the next one. 23. Male Clothing Study, Drawing and Coloring: Chile: Hello everybody. Welcome back to new tutorial. Now, the next country that we're going to work on is Chile. She lays in South America. The traditional clothes are quite special and unique. As we're going to see here on the samples. These are the male figures that have special clothing, boots, hats, and neck scarves. So take your time to observe those details. There's quite a nice pattern as well. There also these nice writing clothes on the left. We should consider the colors of their traditional clothing in order to use them properly for our sketch, because you want to reference, you want to reference those details correctly. Now we're going to start our sketch. We're going to create our Chilean character on this part with hatching lines. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They will cover all the steps and also include the grids in order to create our base sketch as we are doing here. The grids and the base sketch are there for, are there to help you practice. So do make use of them. Now we're going to add some motifs on this clothing here, this piece of clothing like this. If you're unsure at any point in time what to do on a certain part or what to do next, just follow my lead. This type of clothing is what is referred to as Cowboy. Now we're going to draw the straw hat like this. Look how these simple lines have been used to create the hat. Pay attention to the way that we're using the hatching lines as well, that they're slightly curved. Feel free to create your base sketch with a pencil if that makes you more comfortable. Although I just want to encourage you to use your pens. Don't be afraid of it being perfect or if there are mistakes that are going to happen, it's the only way to learn. Now we're going to add some hatching lines here on this part. We should practice a lot and use different hatching lines in order to see which ones sued us better. Because your drawing technique or your most basic drawing scale is very unique to you. So practicing hatching lines is a very good exercise. Just helps you get a sense of what kind of hatching lines you're more attracted to your better at. And take it from there, develop your drawing skill from there. To pay attention to the way that we're drawing are hatching lines here. Make sure to go over those details no matter how small they are. Feel free to share with me your drawings at any stage. I'm more than happy to give you some feedback. If you have any questions I'm here to help. As you can see, we've used a variety of hatching lines for our character here. Every couple of minutes, take a moment to stop and look at your drawing. Look at what you've created just to take a moment and see what might be missing, what can be added and so on. Now we're going to use the black marker number one to zero. Then we're going to draw this character simpler on this part. Observed my application. You can rewind it several times if you want to watch it and then practice together. Also observe your model image really well. Like look at what are the most prominent lines, are important lines, and apply them because the marker is very different than the pen liner. It has bigger strokes. We need to draw simple lines like this. This is where you can make use of your outlines and grids that are on your downloadable resources. They're there to help you practice throughout the lessons. To kind of guide you into drawing these different drawings. Keep observing your model. It's easy to make a comparison with the first drawing, but you want to look at your model because it has more information for you. Follow my hand movement. We drew our character here with very simple lines and simple movements like this. They are gestures. That's what I mean by looking at your model image and picking the important lines, what is necessary in order to show that this is the shape of the legs. This is where the feet are. This is the shape of the hat. So it doesn't have to be too much information, it can be just enough. Take your time. The best way to practice is to practice at the same time with the tutorial. Now, we're going to draw this character again and work on it with color pencils. We need to use the lemon yellow here, that's colored pencil number 240. I'm applying good amount of pressure on my yellow pencil. The next color that we're going to use is the anarchy known Carmine color pencil. That's number 580. Remember to sharpen your pencils to the degree that you are comfortable with that you want. Because sometimes our color pencils can give us a little bit of a different effect or more delicate lines if we wanted to, we can sharpen them a bit more. What we're doing right now is we're adding the base colors of our sketch. We need to add the colors in this very simple way and very primary way. We should have a reason for everything that we do for our sketch. So you wanna be decisive where you're placing your colors, What's the shape that you're putting them in, and so on. E.g. if there is a geometrical shape on this part, we shouldn't change it and dry it as we see it. We've been using this technique. So if we create geometrical shapes on our part, we need to draw it on the other parts exactly the same. It means that we should not change the form of that geometrical shape. It's about reflection or creating balance and symmetry between the two sides. Now we're going to create some geometrical shapes on these parts with the anther coronoid pink color. That's number 571. We color these parts with a Prussian blue color, that's pencil number 159. Let's say darker blue, really. The next color that we're going to use is the end and thrown blue color. That's pencil number 649. Observed my application. This character is wearing navy blue jeans. Remember that you are downloadable resources will list all these colors that we've used. But don't let it hold you back if you have different colors or that you've used different colors, that's completely fine. Make use of anything that's available to you and that you're more comfortable with and confident with ideas to practice and enjoy learning and drawing. We need to add a primrose colored pencil, that's number two for two for the face. Adding the shoes here. We're also showing the cigarette smoke like this. After that, we're going to add some shading layers on the hat with the answer Kenan Carmine color, that's colored pencil number 580. Just want to add some details here. As you can see, we've sketched three models from one character. I'm noticing, I can add just a little bit more here. Take your time to observe your drawings and see what might be missing. We need to add some black layers on this part. These are the three forms of this character. We draw one of them with a irregular hatching lines. It's pretty light. We're using our pen liner. We worked on the next one with a black marker. And we drew the last one with color pencils here. Now we're going to draw this character with irregular lines. So let's see how that goes in comparison. Look at the simplicity of these lines. Because the simplicity of them might discourage us making it seem like that's not, that's not looking nicer, That's not enough information, but just be patient. Keep drawing and make the final result as basic as possible. That's the idea here. We can use elements such as the cloak and the next curve and the hat of the Chilean character. Still with these very simple lines showing the hat here. Because we want to add those details even though we're using less lines. Technically this drawing is more difficult than the other ones because I want to use less information. So the lines that we're applying need to be exact. As you can see, we are drawing this character with very simple lines like can be is there and back artworks. We use irregular lines and hatching lines for this character. We use black and white surfaces for this character here. And for this one we use colored surfaces. We can create another character and work on them with irregular colors and combine them and whatnot. So it's really up to you, but you just need to keep practicing and see what kind of effects you can get from creating these drawings. But there you have it. These are the four techniques that we've used for the Chilean character. I hope you've enjoyed this tutorial and see you in the next one. 24. Female Traditional Dress Evolution: America: Hello everybody. Welcome back to need tutorial. Today we're going to be drawing figures that are wearing American clothing. We know that America's original residents or the Native Americans, but we're going to draw early American settlers outfits of the 18th century and the 19th century. The outfits are those of Europeans which have changed a lot throughout time, of course. But we're going to try and convey as much of the detail as we can here. We want to start drawing the American outfit or the American clothing starting from the 1840s. We want to do is to show more effect and the development of the clothing across time. We're going to draw the figures in this diagonal axis line so we can compare them very easily. Remember to make use of your downloadable resources, which will give you the grids and the base sketches in order to create your drawing. This characterization we're not supposed to draw realistically were inspired by the models, but we make our own changes or add our own style to them in some way. So we start drawing them in diagonal forums here. Try to look closely at my hand movement and follow my application. This costume belongs to 18, 42 or the nineteenth-century. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They will list all the steps that we go through. All the materials that we use are the different colors. They will also have the grids for you to practice and create your base sketches. This one belongs to 18, 43 in which you have wide colors here and hats with the ribbons to be fastened under the neck. These were quite fashionable at that time, so you see them often. Tight wastes and puffy skirts were also very common. The second character looks more diagonal than the first one. Make sure your model image is placed in front of you comfortably such that you can look at it often, easily. Now, our next character, the next figure we're going to draw, their outfit belongs to the year 18, 44. There ribbon bows on her sleeves. If at any point in time you're not sure what to do in a certain part or what to do next, just follow my lead. There are some stripes on her skirt here, so we want to add that detail. By practicing these figures, we can simply draw any character from the 19th century. We need to study and observe these outfits which belong to that sensory because we don't have an idea about the kind of clothing or detailing they used to wear at that time. So take your time observing your model images and look at the material that we have. Just two. Sense of inspiration, but also information. Now the beauty in illustrating such costumes depends on how familiar we are with a specific, the specific details and how they look. So the more familiar you are, the easier it will come to you. We tried to simplify our drawing by using geometrical forms here. And as you can see, our fingers are a little bit diagonal or leaning to the right. The next character is one from 18, 45. Character has a hats on the head, short cape on her chest. For this kind of practice, old drawings are a great help. Before clothes used to have a lot more fabric and this Kurtz were puffier and huge. So there's more detail to add here. I want to add those details, those frills and lines. Now the next output we're going to draw is from the year 18, 46. Feel free to send me any questions you might have along the way. I'm here to help. You can also share with me your drawings at any stage really am more than happy to give you some feedback, maybe some guiding pointers. In our drawing. Today, we not only are looking at model images, drawings of that time where the figures were drawn in a diagonal direction. We're also drawing them in that diagonal direction just to mimic that style as well. Let's dial up drawing. So as you can see, they're leaning a little bit to the right. Little bit more elongated. Could have been the artist's style or maybe an American tradition and drawing. We can have available references of our drawing, our drawing details here, they're available on your downloadable resources. The next figure we're going to draw their clothing is from 18, 47. The dresses at that time are mostly they call tail like this. The sketches and the grids available to you, they're there for you to practice. So it looks something like this. We can show texture, styles and colors and our illustrations. Observe the drawings we've done so far. This point in time, if you need to rewind and practice together again and again, you can do that as well. We have illustrated the clothing here in this line-up, which is a little bit diagonal. Just to show the difference or how the dress has progressed over time, what details could have been added and so on. And what things could have changed in terms of the color or the dress itself from the bottom. There you have it. This is the progression of the female dresses in America and how they were like in the 19th century are part of the 19th century. Also the style of drawing or illustration here is inspired by American drawing of that time, which is a little bit diagonal, a little bit elongated in terms of the body. And you have the head or the top of the body a little bit smaller. Take a moment to observe your drawing and see what might be missing, what you might want to add or remove in your next practice. You can add as many details as you want your drawing. It's really up to you whether you want to add more hatching lines, more darker spots, or to show a little bit more of the shadowing or the highlights. I'm adding these diagonal lines on this dress here because our hatching lines can not only to show shadow and highlight, it can also be a pattern. So it would look something like this. Now remember, although materials are listed in the downloadable resources, but if you've chosen to use different materials, not use a pen liner, it's completely fine. Make use of anything that's available to you. You can color in your figures as well that you've illustrated. Feel free to share with me your drawings at any stage really am more than happy to give you some feedback. Now here we can draw our figure a little bit more diagonal if we wanted to in this direction like this. It's almost as if there's like a big gust of wind. There is very simple way. We've just made it more diagonal. Now we work on the upper part of the body, the head and the heart. And as you can see, we can draw a variety of models like this. And practicing There's no need to put too much focus. You can simply sketch fast and quickly and so on. You can decide which posture suits a certain figure while practicing. During such fast sketches like this exercise, it allows us to learn how to simplify a model because it forces you to choose your most basic line. You're the lines that are necessary. So it's very good exercise. Practice this a few times. Just enjoy the process and look at the progression. Look at how different your first sketches from your second and the third and so on. Now we want to go back to earlier years like the 1800s and draw some clothing from that period. Clothing is also interesting from that time it has its own details. You have a short coat and a long skirt here. I'm using a pen liner with a very fine tip, so it allows me to create those little details here. The skirt is long, but we drew it a little bit longer here. It's a pleated skirt which is layered or tiered at the bottom. I'm adding that detail here as you can see. We're giving her some heels here. Look at how long we drew her skirt and legs here. That's an exaggeration. Or adding some stripes. And it would look something like this. Upper half part of her body is shorter and the lower part is much longer. In comparison, in terms of proportions. The hats had brims and ribbons like that. Now we're going to draw another figure with a short upper body and long legs. The head here is a larger hat, a bit taller upwards. At that time, most other illustrations show that people are wearing hats. The skirt is up to the chest, as you can see here. I'm adding the detail of the arms. You can add as many details as you need to know. There's an umbrella in her hand. We're going to draw her arms a little bit longer. The body is diagonal like what we drew above. There's this slanted goodness about the figures are almost curved. Redraw the axis line in the diagonal form. If you research the drawings of that time, most of the drawings of the 18th and 19th century are drawn in this format, this diagonal curved format. This practice can help us a lot in illustrating characters or characterization as a way for us to be inspired. And somehow some detail might inspire you to create your own unique character. These kinds of drawings are useful if we study carefully all the details that they can offer or what, how cultural influence these details. And we can practice them in drawing. Having that information will help you draw better because you know how to show all the details and to do a certain style justice. Our figure here is diagonal from this side. It's leaning towards the left. When the above row of figures are all leaning towards the right. Now we want to add texture to her dress. If you're unsure at any point in time what to do in a certain part, just follow my lead. Adding details is really completely up to you. If you want to add this much detail, then go for it. It's good practice. And if you want to practice not adding detail but just adding the right lines, you can also do that. Look how attractive it is. Now, let's draw another figure. Amongst all the figures that we're drawing here. If you have a favorite one, you can just repeat that one again and again, just to see how much detail you can achieve or how little detail you can illustrate your drawing with. We add the back of her dress and their creases on it as well here. So this is the back of the dress. The back of her dress is also pleated, but there aren't any creases on the front part of her dress and it's not pleated. So the back is the one that has a lot more detail working on the hat here. Now sometimes we might not want to add the details for any given reason really, but I would encourage you to do so at least while you're practicing for the first time. A certain illustration of a certain culture and so on. Just because then you'll learn something from it. You would have tried it at least once, practiced it so you can portray it properly. Now we're going to draw another figure and the next dresses from 18, 17. The color is straight and upright like this. We exaggerate the form of her sleeves just a little bit. Again, this the skirt is right on the chest or starts from the chest. On to add the detail of the hat here. Take a moment to observe your drawing every couple of minutes to stop. Pull your head back, look away, look back at your drawing and see whether you're achieving what you are, what you are drawing. Now with some zigzag lines on the sleeves here we have shown a pattern on the sleeves and we also showed the texture. We add the motifs at the bottom of the skirt. Just going over all parts because you want to go over all the parts. Even if you decide not to add anything, but just go over it, take a look at it and make sure it's how you want it to be. Now puffy sleeves in the upper parts are what we're seeing here. And then they get tighter and around the elbows and the risks. That's our next figure. Pay attention to the model of the hats, which can help us a lot in characterization and illustration. They can be a point of inspiration in themselves. We can characterize a figure simply by drawing their hats because belong to a certain era. Or maybe our inspiration is around the hat or a specific detail and so on. Just adding these very fine stripes here on the skirts, you have these stripes that are consistent on the shoulder, puffy sleeves, the hat, the dress. I'm adding some shadowed areas, the shoes. So it looks something like this. Look at all of these figures right next to each other and the progression within them. These are different figures of the 1800s venture and you can see they were drawn diagonally like this. And you can see their dresses and the fashion of that time and how there were slight changes. You can learn a lot about the variety of hats and dresses and fabrics in general. We emphasize their skirts and we drew them longer just as a point of exaggeration. It doesn't look nice if we draw the upper part of the body longer as well. We've chosen one just to show a bit more. We drew the lower parts of the skirts longer to emphasize the model and the dress and the details on it. And to mimic the style of drawing of that time as well. So not only are they diagonal and curved around the belly, you see the details on the top part of the clothing, although it's a shorter part of the body. We exaggerated the puffs or size of the skirt or sleeves. Or if they're long way even drew them longer. So we took that exaggeration to our advantage in order to show more. So we drew the dresses here of a 120th all the way to 18, 48. That's it for today. Keep practicing and see you in the next tutorial. 25. Drawing and Coloring Male Figure: Native America : Hello everybody. Welcome back to new tutorial. Today we're going to look at older generations like American Indians. We see new and special elements and details in their clothing. Take a moment to set yourself up. Well, actually, native Americans used more special elements, feathers and sharp as well in their clothing. We are familiar with these elements which were, which was created by that people and their culture. So it's indicative of their culture. And at that time as well, the more information you have, the better in order for us to be able to illustrate these details correctly and to do the cultural justice. Now remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow, including the base sketch, the grids, and your model image, which is what we're referencing here. Now in today's tutorial, the figures that we are drawing, the clothing that we are drawing has feathers on the head. We are drawing a male figure here, the clothing of a male figure, a man of the tribe. They also have special details of makeup or colors on the face that are applied. All the materials that we're gonna be using and colors we're going to be applying. It will be listed in your downloadable resources. Now, for the face, in order to draw the face, they have a very square face. Just quite beautiful. And it's an, if you find it difficult to draw the shape of the face, you can refer to your geometrical shapes. Of course. We're drawing the feathers on the top here like this. Don't worry about your lines being very simple or very basic because those basic simple lines are unique to you. Each one of us has very unique basic lines. And they have their own aesthetic. Just keep drawing, keep practicing. If, if at any point in time you're not sure what to do on a certain part or what to do next. Just follow my lead. You can also rewind the video and watch certain parts again and again while you're practicing so we can practice together. That's the best way to practices to do it together. Because it gives you a time limit as well, which forces us to choose the right lines and make the mistakes that we need in order to learn. Now this character here, it's a very attractive character. There are lots of elements, lots of details that we can add or that we need to add an order to really illustrated and to show, show all these elements. So take your time, be patient. The work is going to be beautiful. Just add as much detail as you can. Even if it's not perfect or not how you imagined that it would look in the end. You want to keep practicing. Our work becomes difficult if we don't have any details for sketching. If the drawing is quite basic, like a basic t-shirt and a basic genes. Why not? Because it doesn't have those details, but because you have to create very specific lines, they're little lines, not a lot of details. So they have to be correct. You'd have to practice more, but here you're practicing both the proportions, the details, the texture. There's a lot going on, so it gives you some leeway to practice more things at the same time. There are a lot of elements to add. You want to use these elements to your advantage. So try to illustrate them as correctly as you can, exactly as you see them on your model image. Or paying attention to the code here and the creases and the details. Feel free to message me at any point in time. I'm here to help address your questions and give you some feedback. Feel free to send me your drawings as well at any stage, I'm more than happy to give you some guiding pointers. Are figures holding something in his hand here. Figure that also holding something else. And the other hand. We can deal with these elements abstractly. So if you don't want to add too much details, you could do that. Now we can use these elements and draw them in a more obvious way by adding more details, but it's really up to you. The important thing is to pay attention to the beauty and to show them in some way. And to illustrate the importance of these elements in order to reach the, the, in order to be able to show the local traditional, traditional clothing here. Take your time applying the details as you see them. So place your modal image in front of you in such a way that it's very easy to keep looking at it because it has all the information. It has the most information for you. Apply your lines as you see them. I've used a simple line here, but we've managed to draw the clouds in this very simple, basic way. My pen liner has quite a thin tip, so I'm able to add little details. Now, the next step we're going to make our character more prominent and we're going to use the black marker, that's number one to zero. The black marker helps you achieve those shadowed areas are more prominent areas with a little bit of a different aesthetic. But that works well with your pen liner. Let's start using our marker here. Observed my application. Mimic what I'm drawing with a marker here. It's the best way to practice. There's a shadow on the inner part of the arm at the bottom. I've added that little bit on the feathers on the shoulder. Another reason to use the markers that it brings contrast. It brings a much higher contrast to our drawing. We can add lots of detail and elements on the head of the character. We can use the elements that are from their local culture and just emphasize them a bit more. In terms of feathering here. Don't use one image for sketching. We need to look at lots of images in order to become familiar with the cultural clothing and the different symbols and elements and what they mean and then use them in our sketches. Then try to sketch them once you've researched them and read about them and looked at the images, then draw them. It'll help you a lot in terms of sketching because you will visually NO. And mentally know that there's more detail here. So you go back and you look at it more. Don't be afraid of sketching and being eager and just going for it on your page. These are black feathers going light on the tip of my marker in order to achieve that detail. Because the marker has quite a big brush stroke, right? So you want to keep your wrist light? Again, the best way to practice is to follow my hand movements. You can stop the video, watch a few times if you need to practice at the same time, and then resume. We want to add as many details as we can. But you wanna do it delicately and lightly. Take your time, go over all the details. The marker is quite a high amount of quite a high amount of contrast and it gives quite a lot of colors. So you want to be more specific. Keep observing your model. You can also just follow my lead, do exactly what I'm doing. We've drawn a variety of clothing up until this point in this course. And the practices to be able to be inspired and learn more about the cultures, but also draw clothing. If you're only interested in the clothing part, you get to learn about them, but also draw them and use different materials. It shows how much creativeness we have and how attractive older models can be of clothing, of course, and how we can draw the figures. It's all about looking, discovering, and using the elements and enjoy the process of drawing. And remember, we need to practice a lot and gain experience in order to create our own characters. It's not about you shouldn't be copying any other characters. You can be inspired by them. You can reference them. But this kind of exercise is what helps you be inspired to create your own unique character based on your imagination. We can create combined forms by using different elements from different cultures in the world. There has to be something that inspires you and why it inspires you. We can use these attractive elements for clothes sketching. So all these elements and details can be a good source of inspiration and a good point of learning. Take your time adding the details. Especially with a marker. You want to take your time and apply the lines exactly where you want them to be. We want to keep the pressure on your marker light. Take a moment to observe your artwork, your drawing. Look away, look back at your drawing and see you'll be able to notice what might be missing or what you might want to add. The final details of the sketch make it attractive. And sometimes it's difficult to finish an artwork, but it's, it's okay. Just keep trying. Now, we're going to color these parts with a deep red marker. Marker number ten. We're going to color our artwork now, but we continue using markers. Now remember, markers dry a little bit lighter than what you see. So if you want to test them out on a side piece of paper before applying them, you can do that. We make these feathers read as well. I'm going over the top part of the clothing here. As you can see, our character here, our figure is very special and the clothing includes a lot of feathers and details and creases and even the shape of the clothing matters. So there's quite a lot of elements and it's very attractive. That's why let's try and add as much detail as we can. Now we're adding the salmon pink marker to the face and the hands. That's marker number 25. Then we're going to color these parts. We don't need to color all parts. We're using the same marker to add some tonality. We need to make the face a little bit darker here. So we're coloring it in with a bit of orange colored pencil, that's number 30. We're doing the same for the hands. We're simply adding a little bit of an orange tonality to the skin tone. Then we're going to add the anthro cannon Carmine color pencil on these parts here. That's colored pencil number 580. Observed my application. We are combining two different mediums here. You need to color this object here as well. There you have it. This figure is done. If you need more time, just pause the video. Now the next character we're going to draw as an American character with its military clothes. Perhaps he's a Native American, but war military clouds observed my application. Look at how lightly I'm drawing. It's a very free drawing. Not being particular, I'm applying my lines, which are irregular lines. I'm drawing the details as I see them. So pay attention to my hand movements and mimic them. We're very, we barely take off our hand from the paper. If we practice a lot, we don't need to draw the initial sketch. It doesn't need to be very sensitive and drawing and we just review the elements. Now, the more you practice, the easier this primary sketch will come to you and you won't feel the need to do it in pencil because you're worried. That's why encouraged to just go for it with your pen liner and enjoy the process. It's the only way to learn. Now we're going to color the upper part of the body here. We're going to add the anther keynote and carmine colored pencil, that's number 580. And we're going to apply it on the sleeves. Again. If you need more time for your sketch, just rewind the video or pause, take your time. Finish your base sketch, and then we start coloring together. Going over this leaves here. Now we're going to color these parts with the Indian thrown blue color pencil. That's number 649. Now remember, although your downloadable resources. All the colors and the materials that we've used and the steps that we go through. But if you have different colors, you're using different colors or you prefer to use different materials. That's not a problem at all. Don't let it hold you back, just enjoy the process. It doesn't matter that we're using different colors, are slightly different pencils or pens. The ideas to learn and to enjoy the process, and to increase our confidence with drawing and coloring and illustrating. Here we've created this character with color pencils and a black fine liner. Now we're going to add some yellow on these parts here. That's the lemon yellow. Let's colored pencil number 240. We need to color the skin on the face with Naples occur. That color pencil number eight to one. The next color that we're going to add on the phases carnelian, that's colored pencil number 850. You can control the pressure you're placing on your pencil. You can also test the combination of different color pencils on the side on a different sheet of paper and see what kind of tonality it gives you. By testing them together. You don't necessarily need to apply so much pressure on your pencils. Having our pen liner as our base sketch allows us to still see the details. Even though we're coloring on top with a colored pencil. We want to do the same for the hands and the face of the character. Here I'm applying a lighter color on top, which automatically makes it a little bit lighter. Now we're going to determine the details of the face using a dark indigo that's colored pencil number 639. Take your time, keep observing your model. Apply the details as you see them. As we can see, we draw the hands in this very simple way and we don't use the sketching elements. We just want to indicate that the hands are there. Remember, we sketch freely and we allow for trial and error in order to see what will happen to our sketch. So especially if you're combining mediums or trying to create a sketch with color pencils, let's say, and not pen liner. You need to leave room for mistakes to happen, for you to play around, test things out, because that's the only way you'll learn and discover a bit more about the mediums and your own style, of course. Now we're adding some violet, as you can see on these parts. That's violet color pencil number one to zero. And finally, we're going to cover all parts with colored pencil number 802. That's the French gray, 10%. Feel free to send me your drawings at any stage bead completed or not, or in different mediums. I'm more than happy to give you some feedback. Maybe give you some guiding pointers. And of course, feel free to message me or get in touch at any point in time. I'm here to help. This character is faded here we've applied the gray to flatten and bring together as well harmonized between the tonalities, but we haven't lost some of the details. You can see the details of the clothing and the hands and so on. But now we're going to sketch on it using a black marker. That's number one to zero. And if you're worried about applying marker on top of your colored pencils, you can try it out on the side, on the side piece of paper just to get a feel for it. Because even though we might have used markers before, you might have used colored pencils often. But sometimes when we're too focused on one thing and then we want to switch to another, another medium. We just need a moment to reorient ourselves. In that moment of reorientation, just take a side piece of paper. Use your medium, use your marker and just apply it or draw with it just to get a hang of it. And then you can go into your art work and start applying it there. As you can see, we've combined color penciling in the background. Then we've applied the gray in such a way that it makes it flattened or harmonize and it's faded in the background. And then you go in with your marker in order to create those black stains and details and bring some contrast to the work. Make sure you go over all parts of your sketch so we're continuing the other parts of our sketch using the marker. We are not going to color the lower part of the body. Just like we've left some places in our figure on the left, uncolored. We're also going to leave the bottom part of this figure on the right. Uncolored. We sketch this character without any background. The attractive elements of this region help us to create our artworks here the idea is to learn about them and to try to recreate them and do them just as an apply all the details. I erased as light and not applying a lot of pressure on my marker. We're going to add some lines on these parts. It's almost just to show the details more than, more than shading really. First we draw the initial sketch and then we're going to add details and shading layers step-by-step. That's what we've done. We've colored in the upper part of the body and then we sketch the lower part of the body in continuation with the marker. We want to show all the details here and the comparison between not having color, but it also having color. It's better to say that we sketch our character and then we colored the upper part of the body and faded it. Using this technique, we increase the antiquity of our painting and recreated a new visual effect as well. So this is just an idea of what's, what can inspire you if you are more attracted to the top part. And you just want to cover that and you can do that. It's really a visual effect. We need to add some in-depth thrown blue colored pencils, 649 on these parts here. Because sometimes we are more inspired or were more attracted to a certain part and we just want to cover that part. And it's an aesthetic in itself by having one part uncolored and another part completely colored. Now we're going to fade it with a gray ten per cent color pencil, That's number 80380 to, sorry. Next we're going to color this part with anthro cannon Carmine color. That's pencil number 580. It's really up to you what you want to color in and leave. But it's definitely a technique that can inspire, inspires. I'm creativity. There you have it. Our work is finished In this tutorial we drew to Native Americans with different techniques and different outfits. Just remember to keep practicing. Make use of your downloadable resources. Everything we've gone through is listed in terms of colors and base grid. Thank you. See you in the next one. 26. Traditional Clothing Study: Saudi Arabia : Hello everybody, welcome to new tutorial. Today we're going to draw two characters and show their clothing and the details within them. So we're gonna become familiar with their clothing just a little bit more in this tutorial. Take your time to set yourself up. Make use of your downloadable resources which will have the grids and the basic sketch for you to create your artwork here. Now, to draw the characters, we need to know the different Arabic elements of the different cultures as well. In some parts of the Arab world, the Arab men wear a head dress which is called a Kavya. And the women have a hijab and their special clothes. First we're going to draw the initial sketch of an Arab man with a black fine liner. And we show his local elements as well. There are different countries in the Arab world. And the sketch that we're creating today seems to be from the Ottoman empires are quite awhile ago. But let's go over all the details. Make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They will include all the materials that we're using, the colors, and the steps that we go through. And as mentioned earlier, the grids and the sketches for you to create your base sketch here. We draw the mustache and the beard of the character like this. And the beard crosses the jaw line. Make sure your model images placed in front of you such that it's easy to constantly look at it because it has the most information. And it will help you draw all the details. The model of the Arab robe and its leaves is particular and it's different, different types of clothing from different cultures. Not only do they show the culture and the detail and reflect the nature and the design of the time, but also how clothing was created in such a way in response to the weather. This type of a robe, clothing is very common in the Arab world at that time as well. Has socks are showing to be read in our model image and the shoes are yellow. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage, I'm more than happy to give you some feedback. Or maybe some guiding pointers. Keep your wrist light and the pressure on European liner. Very light. Observe your model and apply your lines as you see them. We draw our lines freely like this. If you wish to create your base sketch with a pencil first and then complete it with a black fine liner. That's also an option in case you're worried about how the sketch is going to turn out to be and that's completely fine. Although I would encourage you to just go for it, enjoy the process, even if some mistakes will happen, it's the only way to learn. Now here, you can use a different line in order to portray the pattern. On certain clothing as we've done in different tutorials before. So like the checkered and stripes for creating attractive visual effects or to convey the pattern on the clothing. You have these visual elements that you want them to be more prominent and more attractive. So we show them a little bit more. During this course, we are sketching the clothing of different cultures specifically for this, for this specificity of the elements and the motifs and the details. So do your best to add as many of those details as possible just to enjoy drawing the clothing. And we learn a little bit more along the way about the culture, about the way to draw certain cloth, certain motifs and so on. If we look at the great painters artworks, we will see these motifs and elements that painters have used and referenced. Totally the patterns and motifs are very useful for adults or children clothing. The clothes with motifs and elements have a more beautiful visual element or more understanding of the culture and the time and so on. As a painter, we need to add the motifs on simple clothing. Because as we're using a pen liner, we're using the same pen to create these different effects, right? So using a pen liner is not only to use hatching lines to create shadow and highlights, but to also create pattern as I'm doing here on the clothing. On our model image here we can see lots of striped patterns on the clothing. So I want to show that pattern on the cloak that's hanging on the shoulders and onto the back. His coffee is also striped. Although coffee is differ from one country to the next in the Arab world, depending on what they represent, in which country they represent. You have patterns that will go along the cavea. More than one pattern that will go along the coffee. And it would be different from Iraq to Syria and so on. There's a distance between the lines because of the creases here as well. So this is an important point in order to draw the creases of the cloth. But there you have it. That's the initial sketch. And we want to determine the shadow of the man like this. Now we're going to sketch a woman on the right here on this part. She wears a scarf like this. I'm drawing freely. I'm applying my lines as I see them. Not too worried. Just drawing my lines in the direction they should be to indicate the shape of the cloth. If we pay attention to the details of each region, we will see lots of patterns and designs on the women's clothes. In some regions as well, you can see very simple tattoos on Arab women's faces pertaining to different tribes and they symbolize different things as well. So there's a lot to learn and research on this part. If you want to know more. If we search on the internet, we can see the tattoo since the face of the character small here we cannot show these details or add them. The women of Iran from the south cities have these tattoos as well. Women from different regions of the Arab world and grandmothers from older generations might have simple tattoos as well on their faces. Remember to make use of your downloadable resources in order to go over this information or a little bit more details in terms of the clothing and the region that we are referencing here. Also you are downloadable resources are there to help you practice drawing. They'll have all the information you need. Now that we've drawn the top part of our sketch here of her clothing. We draw her pants like this. Female figure here is not wearing any shoes, so she is barefoot. Our character is wearing a boot camp as well. Vertica is a, both a decorative piece and a covering piece on the face. And of course it's different from different parts of the world and the Arab world. We need to use these details and add more elements if we want to make our character more local and more specific to their culture, of course, and we want to do it justice. And we use more elements from the past because clothing from before they have, they have more motifs or more patterns. We want to add those details. And totally the people were lots of clouds in the past because depending on the weather or the culture or the economy and so on. But now the clouds might have been simplified, but yet still around and referencing that same history. If you want to have more motifs and patterns, we should get more inspiration from older representation of the clothing or clothing from that time. Now we're going to draw the patterns of the scarf like this. So look at those delicate lines I've created on the left and now on the right. By the combination of several images, we create a very special character here. You can use these motifs from two different times, e.g. and combine them on one figure and see how that will turn out. So we take a look here, and we can take two different motifs and elements as well from the same image, but combine them on the same character. So we can look at all these details here and make a visual decision as to what we're going to add. Now we're going to add a checkered pattern on this part here. To show the creases of the close, we're going to draw the lines like this. We interrupt a line and continue it from the other part in order to show the clothing creases. So this is a good technique. Can practice it a few times. We can also add the roots of the scarf in order to make the character we're special and that's like the ends. Like that. As you can see, the more details that we add to our character, the more we do it justice, the more unique it becomes an especial as well. Here we're going to add some tattoos under her eyes. We also want to show the hana on her feet. I do it with color. So this is the initial sketch of the characters. Now we're going to color them with colored pencils. These are colored pencils. First we call it the Arab man with a light cobalt blue color pencil, that's number 661. We want to add color beside these parts, not exactly on them. Follow my lead. If you're unsure what to do and any part, just mimic what I'm doing. We want the colors to be on specific parts but not everywhere. This is a technique of coloring that lots of painters use in this way, we can make the colors more attractive. When we look at the details of history images and then see the painters artworks, we will understand that they use history images in order to strengthen their weaknesses and create their own techniques are developed their own drawing or coloring style while drawing something from a culture that they are inspired from. Feel free to send me any questions you might have along the way. I'm here to help. So this is the way that we need to follow as well. We want to put the colors exactly where they need to be. But if we copy the artworks of good painters from Europe, France, and America, or anywhere really it means that the painter borrowed from the Art History. And we're borrowing from their art works just for inspiration and not to copy them off. Because if you just copy, it, really might end up having poor results or poor artworks because you want a reference and give credit to where you're inspired from. When we get inspiration from the images of history, we will learn how to be more creative and strengthen our sketching so we don't need to copy from the painters artwork. I eventually you want, you want to improve your drawing skill. And then you want to move towards you drawing anything that it is that you want to draw and develop your own style, especially if you're into developing your own sense of drawing. And so on. We need to find a way of being creative instead of just copying artworks. So K2 redraw the same image again and again. But if we're talking about creating your own drawings, your own style, you need to be creative and original. We should try to work on our own creativity. And of course be different from others. We should be different. Even all the people use a special way for creating a character and it remains unique to you and true to your art practice. We should have an open mind and do good sketching in order to create variety of variety of artworks. When we draw this figure correctly in a few minutes, we can simplify our exaggerated as well. So you could repeat this drawing in a more simplified way or with simple lines. But it's good to go over the details and add as much as you can just to try it out, you need to at least once add the details, try that aesthetic before simplifying it, we should take sketching seriously and use art history and the images of every region as well for drawing characters in order to learn and practice and be inspired and so on. Let's just important to refer to the original sources and reference them correctly, give them credit. Now we're going to color these parts with a scarlet colored pencil, that's number 70. When we follow this way step-by-step, we will find out that this way is endless, are creativeness and techniques will keep developing. Keep observing your model and applying your colors in the right places. Also on some parts, the red might be more intense than others. So you want to apply more pressure or less pressure. Take your time. Pay attention to the way that we are coloring. We add our colors underneath our patterns here like this. You have the black dot, but then you place the red next to it as if it's like a halo. Don't be afraid to experiment. You should let your hands and mind free and not limit yourself and color in whatever inspire, what inspires you more. The idea here is when you're working on an artwork, if we use a certain technique or approach on one part of the painting or your art work. You need to do it for the other parts as well in order to create visual harmony. So your art work altogether looks harmonious like everything belongs in this artwork. We colored the shoes here with lemon yellow, that's colored pencil number 240. Next we're going to use the light cobalt blue that's colored pencil number 661. And it's a lighter, lighter, colder, blue. And we're coloring this part here. We can keep the convex parts untouched and not add color onto them that curvature, just an order to maintain the highlight and the right places keeping in mind which parts need to remain the white of the page. It is good to analyze the contemporary painters art works in order to find out the techniques that the artist used at that time. So it's also nice to be able to see how certain illustrations were created at that time, what colors were available and so on. So it's something to learn from as well. We need to analyze the characters and ask ourselves some questions such as what techniques are used by the drawers are painters at that time? And does the painter copy from other painters or the culture around them? Or is it unique to them and their art practice? One of the good questions is the visual solution that the painter used as well in order to convey their work. It means that which techniques were used to avoid having repetitive work? Or maybe have it repetitive and where everything clearly is by a specific artist. We need to consider the visual techniques which were used in different periods and we can study them and be inspired by them. The important part here is to research. Research, learn about these different regions and cultures and clothing and do them justice. You want to be sensitive and looking at different artworks from different time periods and train your eyes to see those details and understand them really. I wanted to add a light color here for the skin tone. When I apply the color to the hands as well. It's key to try to understand the different styles and artworks that we're referencing. And learn from the drawing technique or painting technique, but not also. And also of course, from the culture that we're referencing, the details that are there and compare them to the next region or somewhere very different. Here again, we're colored or coloring the skin tone, the same tonality on our female figure. The feet, the hands, the face. The code, the color that we're using is a raw umber, That's pencil number 548. The skin color can have an attractive visual effect. And as we can see here, the clothes of both the male and female are quite light. So the female figures clothes as almost white here. So because of the warm weather as well, and in the desert you have more tan skin tone. Now we're just trying to make these aesthetic decisions really just to make the clothing stand out as that's what we're focusing on in this course. Now, because of the warm weather, the deserts, you see a lot of white or light clothing, white and black chapters that are illustrated in older paintings. The colors of the chapters were less, so we can add more colors ourselves. So they're quite light. We're going to add a chromium oxide green colored pencil. That's number 212 on these parts, as we know, we don't add the color exactly on the patterns. Colors like lilac or purple or new colors because we cannot see these colors in the older clothing. Now, depending on the reference image that you're looking at and how old it is. It might have, the colors might have been brighter a long time ago, but maybe more faded also, as mentioned earlier, the availability of certain colors might have affected the colors that we see. But here the colors such as pink and lilac and light blue, we're not very often seen. We need to add lemon yellow here, which is pencil number 240 on these parts, which is the cuffs. Next color that we're going to use as Scarlett, that's colored pencil numbers 70. I'm adding it to the burka. We want to make the feet a little redder in order to show the color of the henna. Maybe. If we look at the paintings and Qajar period and go this tan palace, we will understand the hands and feet of the women were orange because of the henna. It's a natural material, the dyes, the skin, and it's drawn in certain designs as well. And the artists showed that people had had on their hands and feet, depending on the occasion or adjust for health benefits as well. Or just because they wanted to. We can make the feed completely orange or reddish brown if we wanted. And that's completely okay. Since we've indicated the skin tone to be a bit darker here, the hana seems a bit less or less prominent. There you have it. Those are the two Arab figures that we've drawn wearing Arabic clothing. I hope you've enjoyed this tutorial. Keep practicing and see you in the next one. 27. Male and Female Clothing Design: Traditional Netherlands: Hello everybody, welcome to a new tutorial. Today's lesson, we're going to draw some characters from the Netherlands. As you see in this sample here. This is the image of an old man and a woman. The puffy skirt and the sleeves and the scarf of this woman can be good elements in order to create our drawing here. So they're good things to illustrate or to practice drawing. There are lots of creases and details to go over. Now we're going to draw three small characters here. We're going to draw the puffy sleeves like this. Remember to make use of your downloadable resources. They will have the grids and the sketches for you to create your base sketch. You'll also have all the information you need for every tutorial that you follow. They will list the tools that we're using, the colors. If we've added colors and some information. Here, we've drawn the color and the other sleeve. Now. Next we're going to draw our figure and her scarf. Make sure your model image is placed in front of you such that it's easy to constantly look at it. Look at the width of the skirt and the shape of it. The character has white apron or white apron. And we sketch the rest of her clothes which is under this current like this. We need to use our black marker that's number one to zero now. And then we're going to color the sleeves. If you're unsure at any point in time what to do next or what to do on a certain part. Just follow my lead. Copy what I'm doing. We exaggerate the sleeves just a little bit. Her hands are in front of her body like this. There should be a distance between the sleeves and the chest because we don't want to make this part completely black. You should leave that white line separating them. So we create two white lines on this part as well to show the middle color. You can also create white lines on the shoulders and wrists. Just like that. Now as you can see, we're not copying exactly what we see in our sample here, or inspired our samples there to give us the most information. But you're free to add as much or as little as you want from these elements in order to create your drawing. In the case where you are creating a completely new character, but you're inspired by, let's say, the skirt, e.g. then you are not copying at all. You're creating your own character entirely. You're just being inspired by it. So your image is not going to look anything like the model drawing, which is completely fine. Here we're showing the creases of the skirts with some line drawing the lines like this. Now we're going to draw the hands very small. Then we're going to add shoes. This character becomes dull looking. Now we're going to draw this character and another form. The sleeves are puffy. I'm still using my black marker. Now remember if you have different materials than what I'm using here, that's completely fine. Don't be discouraged. Make use of anything that's available to you. Anything that you are more confident and comfortable in using. Just enjoy drawing and learn from the process. Take your time. Just balancing out the sleeves here. We draw the skirt longer on this sample. Feel free to send me any questions you might have along the way. Now we're going to draw her hair and show the crown of the head as well. We can work more on the form of the shoulders in order to make them like butterfly wings. This way we can make our character even more unique by exaggerating a certain part. Now we're going to draw a Dutch man on this part here. Has had is quite long. The form of the hat brim is like the shoulders of the woman. Really. We exaggerate the hat the same as we did with the shoulders. So you can pick any one part and just exaggerated and pick your favorite part. Observed my application. Now remember if the video is too fast or my pace is too fast, you can always pause the video, take your time to complete your sketch and then play when you're ready to continue together. It's better to practice together and because it gives that time frame, but it's completely fine to go slower. Idea is not to be overwhelmed that you just want to enjoy the process and learn. Here we're adding some creases on his clothing. As part of the clothing is curved. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage finished or unfinished. I'm more than happy to give you some feedback or maybe some guiding pointers. I'm here to help. Now we're going to draw the shoes like this. Drawing as an artwork completely with a marker, just requires a bit of practice in order to alter your hand pressure on your marker, achieve different details. We simplified this character and we've added exaggeration on it. So our character becomes almost comical or a bit of a fantasy character here. If we want, we can make our character even more comic by exaggerating certain features. Drawing character doesn't mean it necessarily has to be a comical character. It can be more realistic as well. There are lots of techniques of creating fantasies, sketches. But this is as referencing our model image of the Dutch clothing and to Dutch figures wearing Dutch clothing. Here. We can color these characters or make the special elements of them a bit longer, like we've exaggerated the skirt. We can make them shorter or oblique or bigger on certain parts. So we can use these techniques in order to create a fantastical are more realistic characters. Something that inspires as are more unique to what we're attracted to. Now we're going to add some shading layers to our work here. Now remember we have colored markers as well. So the colors will be listed in your downloadable resources. And you have very light markers as well. Here we're using a cool gray, That's marker number five. We use the wide tip of the marker to fill a larger space. These are the shadows of our characters and they are upwards. That's why we're drawing them in that direction. Now remember, you need to practice with color markers, even the black marker in terms of application, because the way they dry, depending on the layering that you were creating or the pressure you've placed on your marker. The shadows here actually they should be like this because our work is fantastic. I mean, you can have them in any direction you want, but we're elongating them here because our characters are pretty tall. We're going to apply a shadow to our first sketch here. You want to be specific and apply your color in the right place. Now remember the outlines and the grids on your downloadable resources there to help you practice so you can print them out. Practice creating the sketch on top of them directly, or create a new sketch on the side. And so on. So you can either draw from them or print them in practice, it's really up to you. Now, the shadows can be strange as well. It doesn't need to be the same as the figures. As we all know our shadows are not exactly the way we look. But it can be a point of exaggeration if you wanted to. And here we're using the shadows to complete our work actually to have a placement or weight to our drawings. Maybe we haven't seen shadows in our artworks enough, but the shadow of a figure can make the work more attractive, more present, and it heightens the contrast. So we can use different forms of shadow for our figures in order to make our work even more fantastical, if that's the point that you want to go for. But that's it for today. I hope you are able to enjoy practicing drawing the Dutch figures and their clothing and the shadows. Just keep practicing, keep using your tools and see you in the next tutorial. 28. Advanced Line Drawing with Traditional Clothing Design: South Africa: Hello everybody, welcome back to another tutorial. Now in today's lesson, we're going to work on creating drawings of clothing from Africa. Region has lots of colors and a variety of tribes as well. There are different countries within Africa. Now, our model image is referencing the early 20th century. And based on our model image here, you could create a huge evolution and painting by accessing the sources and the local images of the clothing at that time. Picasso and Brock created cubism idea by looking at the African masks and they founded the movements, these movements within modern art. Now there are many variant elements and in terms of the African motifs and visual effects and colors, of course, that we can use in our work. But we want to do justice to our modal image here and try to recreate it. Now we're going to sketch an African woman and we're going to exaggerate the clothing just a little bit, just because this course is about the clothing. We're going to shore show more of what the motifs is being specified and the cloth, and the cloth creasing as well. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They will include the grids, the base sketch as well, which is necessary for you to create your base drawing here. Right now we're drawing our figures head dress. Our figure here has a short nose and nice beautiful lips. We want to illustrate these different elements of our character. So as you're looking at your model image, tried to add as many details as you can see. Apply them as you see them. We might be seeing a lot of accessories, maybe some makeup, different characteristics to the clothing in terms of not just creases in the cloth, but patterns and so on. And this combination between geometrical patterns, but also patterns that mimic animals can patterns and so on. And also these vary depending on which tribe our model image, clothing is from. There are some tribes that don't have a lot of pieces of clothing really. They cover their body with the colorful patterns. Instead. You can get to learn a little bit more by watching some documentaries. Over here, I'm using a pen liner. I want to add as much detail as possible. If you want, you can use a pen liner with a finer tip as well if you want to. If you want your details to look even more delicate, I'm trying to draw the necklace very carefully here. I want to add those details. It's very important to do it justice, to do the clothing justice. We draw her head scarf and it's almost like a not like this, that it comes together. We draw the pattern on this part like this. Then we're going to draw her arms, the chest area. If at any point in time during the lesson you're not sure what to do on a certain part or what to do next, just follow my lead, copy what I'm doing. And later on when you repeat your practice and you draw it again, you'll get to rely more and more on yourself and your model image. But the best ways to practice together, the best way to start. Take your time. I stop every few seconds because I'm looking at my model image. I'm looking at my own drawing. And I'm wondering if I'm achieving what I want, that I draw the line that I had in mind and that I see. We didn't exaggerate these parts. We just, we're just drawing the figure the same as they are as closely as we can to our modal image. Don't worry if your drawing is different than your model image. It's meant to be different. The only way to learn and to practice drawing proportions and free hand drawing is to practice and to make these mistakes. Because if we don't make mistakes, we can't improve. So we have to just enjoy the process, learn and keep drawing. There's a lot of cloth around the waist here, which is almost like the beginning of the skirt. We want to work more on this part. Feel free to message me at any point in time. If you have any questions or want some feedback, I'm here to help. We continue to work slowly and patiently in order to draw the details completely. So even if maybe you're feeling like some details are not necessary or you don't want to go over them. I would recommend trying to draw all the tails at least once. You will learn something from it. Now, drawing clothing and figures, wearing clothing from different regions around the world and different places as attractive. It's very good practice. It can give you some inspiration that allows you to learn more about a new culture. And discover a lot more. Here to learn about new things and become more familiar. In order to be able to draw better. You continue to add the details as we see them. So look at how irregular my lines are, but that's how I'm seeing as I'm seeing the lines as this form. So I'm applying it as I see it. Just by keeping at it and continuing to add those lines and the creases. Look at how we've, we drew the skirt of the character, the entire piece of clothing at the bottom here. Now we can add pattern either to the accessories or to the clothing. Really. Feel free to share with me your drawings at any stage B, it completed or not, or colored. I'm more than happy to take a look, maybe give you some feedback if you want. Some guiding pointers. I'm trying to add the pattern here. But along the curvature of the cloth. If you need to rewind some parts in order to watch them again and again and notice how I'm applying my lines. You can go ahead and do that. Let's try to add as much detail as we can. Now, the patterns that we see in our modal image, we can either research a little bit more to discover more about them and apply more of them. Or you could exaggerate some parts of it in order to make it more prominent and to show it differently, you just need to go along with the shape of the cloth and the way that. Cloth is creasing. Now we can add lots of motifs and patterns on the cloth here. Keep observing your model and add those details. Make sure you go over all parts. Because sometimes we might be really focused on one part and forget a certain part that's on the side. Take a moment every few seconds. Pull your head back, look at your own drawing and see what might be missing or can be added, and so on. It seems that the body is covered and lost between these cloth pieces are the creases really? Make sure you're keeping your wrist light. Your application consistent. I want to add these motifs patiently. Being patients is very important. We want to add as many details as we can in order to really convey the, the culture. And we see it in our model image, so we want to apply it here. The medium of drawing is obviously different than more simplified than an image. So if you feel like some motifs are not getting enough attention as a drawing or in your drawing, you can exaggerate them or make them a little bit bigger or wider in order to make them more prominent. We're using a variety of hatching lines here. As you can see, we have regular hatching lines. We have cross hatching lines, parallel ones, straight ones, and also irregular ones, betweens curved. The grids and sketches that are available in your downloadable resources for you to create your sketch of your drawing. They're there for you to download or print out and you can practice directly on them. You can draw freehand sketches, but they're there to help you. The idea is for you to be able to practice away from the tutorial or at the same time as the tutorial really. So don't feel discouraged if you think that using these grids is holding you back or it means that your drawing is not improving, Not at all. Even professional, advanced artists use grids and sketches in order to create their artworks. We've completed that bottom part of the cloth. We can add some shading layers as well. It depends on ourselves whether to continue like this or make it more realistic by adding shading layers and dimensions because you can use hatching lines to create patterns. But you can also use hatching lines to create shadows and highlights. You want to just look at all the details and see make that decision. You can maybe select some places, not everywhere to add some shadows, like add the shadows where you feel it's absolutely necessary, it needs, it makes it more beautiful. So we're adding some shading layers with hatching lines. We did it on the head piece, we're doing it down here. We show the lights and the shading layers with hatching lines. So the curvature of the cloth creates a shadow at the bottom here. So I'm trying to show that it's a bit shadowed. We can add hatching lines instead of color on the body in order to make the skin tone or show that this is skin color here, we just need to be consistent. Take your time. Take a moment every couple of minutes to look at your drawing and assess what might be missing, what needs to be added. As you're adding the hatching lines, you want to pay attention that you're placing them in accordance to the form. If it's on the cheek and it's a little bit curved or on the arm. And you need to change the direction of your hatching lines and so on. They can't just be straight lines. They need to have some shape to indicate the curvature of things and different body parts. We add the hatching lines according to the form of the face and the body. This technique of creating an entire drawing using the same pen, alternating between hatching lines that are creating pattern and the ones that are creating shadow and highlights does take practice. You need to practice, practice, practice again and again and again dressed to know your tool a lot better just to be able to use it and be more familiar with it. The more familiar you are, the more confident you are. And that's the way to grow. We're adding some shading layers, as you can see on the cloth creases. We can use real models for creating the shading layers, but if it is difficult, we add the shading, shading layers in accordance with the model of the cloth, a model image that we see in front of us. If you have any questions in terms of materials. And let's say creating this artwork using a different pen or a different marker and so on. Feel free to send me your questions. We can have that discussion and I'll give you some feedback or my opinion on it. We've added the lights and shading layers on this part here. If you need to pause the video and take your time to finish shading or add more shading, just do it. We can continue together when you're ready. What's important is that we should have consistency across our artwork and harmony between old parts. If you've used a certain techniques somewhere to also apply it in other parts. So visually your artwork looks more harmonious. The best way to keep practicing drawing using hatching lines is to, is to create is to create the right outlines. So if you have your base sketch and I would practice that. And once you are confident with creating your base sketch, then I would jump into practicing the hatching lines because then you're applying them on the right form or the form that you are happier with. As you can see here, we're adding hatching lines in the direction of the creases. Take your time. It's definitely challenging to use this technique, to use your pen liner to create both highlights, shadows, and patterns. But the more you practice, the better it gets can only get better because it's the only way to get more confident and comfortable with your medium and to understand your medium and how you can manipulate it, and what effect you can get from it. Keep in mind some hatching lines are more distanced from each other than others. So they're more dense and darker and closer to each other when there's a highlight or a very particular tight pattern. Some little parts are white there, the white of the page. But they're very few. Just working on the shadow here. There should be harmony between the lights and the dark, shading in different parts. You want to keep that balance. We could keep that white part untouched and finish our artwork really. Because although it's not white, but just mean like a lighter part of highlight. We continue our sketch in order to see what our character will look like. At the end, you want to add as much detail as you can learn from this process and see whether you've achieved those differentiations between the cloth and the skin tone and so on. And whether you've achieved the highlights and the shadows. We need to add darker shading layers on these parts in order to have a better sketch. Completing an artwork is really varies from one artist to the next, from one person to the next. You might want to keep working for another hour. And you're just adding details because you see them and you want to put them there. You might look at your drawing and feel that it's finished here, happy with it. So it's really up to you. There. You have it our sketches done. If we want, we can add color and make it even more special. Or we can add colors to some parts and not all parts. Let's, let's try to add a little bit of color so we need to use a chocolate marker, that's marker number 92. We're going to add some of it on the cloth part. Observed my application. If you're unsure where to apply your marker, just follow my lead. The marker in combination with the hatching lines, the pen liner, it does make these parts a little bit darker, but you can still see where there's a highlight, where there's a lighter part where the hatching lines are bigger distance away from each other. Now we're going to use a wine red marker that's number one. Redraw some red lines. We do it here as well. Colored markers are quite versatile. You can test them out on his side seat piece of paper before applying them to your art work. Just to see how you feel about them and where you would like to add them really. But that's about it for our drawing. Thanks for following this tutorial. I hope you've enjoyed it. Keep practicing and see you in the next one. 29. Traditional Clothing Design Examples: South Africa: Hello everybody, welcome to a new tutorial. In today's lesson, we're going to draw an African married woman on this part of our page here. We're going to start drawing her clothes like this. Now remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They include the grids and the sketches for you to create your base sketch as we're starting here. The sketches are there to help you practice. So do make use of them. Even if you prefer starting with a pencil and not with a pen liner as I'm doing here. And if you're more comfortable and confident in that way, just go for it, do it. I go for a pen liner because I don't know. I don't mind making those mistakes. Some drawings as well, some drawing style. It's okay for the lines to be overlapping or not 100%. It's only when we practice do we get better. But don't be scared. I'm trying to encourage you. Don't be scared of the pen liner. In our modal image here our figure has a longer body or muscular body as well. The body proportions of the women are like, they're very attractive and we can show these features as the long legs and the torso. So add as much details as you can. Feel free to send me any questions you might have along the way. I'm here to help. Just drawing in the feet here. I'm creating my base sketch with a pen liner. If you're creating it with a pencil, I would go over it with a pen liner before moving onto the next step. In creating a little bit of a pattern here. If you need to pause the video. At any point in time. If you feel like I'm going too quick or maybe you need a bit more time on a certain part. Just do it. Just pause the video and then continue when you're ready to continue together. Now I'm using a black marker here, and I'm going over the details. There are lots of details and textures on this part that we're going to show them with bolder lines. So the marker helps you achieve that higher contrast are more concentrated color with less strokes than when using a pen liner. Because with the pen liner, you can create hatching lines. You can do layering in order to achieve that aesthetic. But with a marker, it has its own aesthetic. It's quite sharp in terms of the shadow and the contrast. Take your time, keep your wrists light. Feel free to send me your drawings at any stage, really be complete or not. I'm more than happy to take a look, give you some feedback if you wanted, or maybe some guiding pointers. Now we're going to add some shading layers on this part with our marker. Notice the direction with which I'm applying my hatching lines. Keep observing your model image. It has the most information for you. And you can choose how much detail to add really. Because technically we're turning an image into a drawing, so we're already simplifying it. We're going to continue using markers, but a different color here. Here I'm using the fruit pink marker, That's number 28. If at any point you're not sure what to do in a certain part, just follow my lead. Mimic what I'm doing. Now we need to use a medium cadmium yellow that's colored pencil number five. Zero. And then we're going to color this part here. As you can see, we're combining two mediums, so our markers and our color pencils, which is completely fine. The contrast between the light colors and the skin color is very high. So we use these colors for the clothing. Most of the colors are sharp and light and beautiful and fresh. Here I'm using a red marker, that's number one. We're going to add it on these parts. So once you've decided to use two mediums, you can either test it on a side piece of paper, what a certain marker will do on top of another marker or colored pencil and so on. But it's nice to create a balance between them such that they compliment each other. Here we can use the motif separately and develop them in order to make our work more special or more detailed really. But again, the idea is to be consistent. You want to create harmony in your artwork like you want the top part to look like it's still belongs as part of the same artwork and coincides with the rest of the artwork. I'm adding more details here. Now we're going to color the skin tone with a raw amber colored pencil. That's number 548. This combination of colors is very special and interesting. We color the head scarf or the light blue color pencil, that's colored pencil number 161. The combination of light colors can be very useful for sketching different characters really brings out this kind of interesting parts, might accentuate the shape that you've drawn are ready. Within Africa, there are tribes that have less clothes or special makeup. So e.g. they have special face application coloring. And now we're going to draw one of them on this part here. We don't add any hatching lines on the face. I'm using the raw umber again. We add the first layer with a raw umber that's colored pencil 548. We color and draw the neck as well. Take your time. We need to use a scarlet color pencil number 70. And then we're going to add color on the lips. We add color on the nose and this makeup, which is like a V-shape. So we want to design the facial makeup here. Keep observing your model. You can also just copy what I'm doing. But the best way to practice is to practice together. Now we're going to combine the colors with white. That's colored pencil number 001. And we're going to fill the white parts of the paper. By filling the white parts, it just means that the raw umber, it has a texture when we colored onto the paper. And the white pencil goes in and it fills in. It fills in those those parts. So you don't you don't see. Don't see the white of the page. It's almost like it flattens that we make the cheeks and the nose a bit lighter. Next week color this part with a chromium oxide green, that's colored pencil number 212. This green-blue color makes it even more attractive. We add color on these parts as well. Observed my application. Although the colors are darker, but we use lighter colors because they make our work more attractive. So the contrast is just as important as the highlights. You can go back in with a lighter color and go over and look at how beautifully it's all coming together. You can tell the nose and the eyes and the makeup on the face as well. This is just an example, one example from many, there's so much information to find out and to learn more about different places around the world and different tribes and different villages from different countries. And why a certain, like, why a certain element exists in a certain culture. Because there's meaning behind it. There you have it. Now we're going to draw a face on this part here. And it's going to be in the side view. We add the first layer using our raw umber that's colored pencil number 548. After we've determined the head, we're going to add some branches on the head as a crown. If you have any questions about the art materials and using one over the other, maybe you're having some questions about using markers or pen liners or colored pencils, and so on. Feel free to message me anytime I'm here to help you and talk about it or just have a chat about it and share your drawings. Now we're going to add the anthro Canaan Carmine color. That's pencil number 580. If you want to achieve a little bit of a more delicate detail, let's say, because using color pencils, some people are more comfortable with a less sharpened pencil. Some people like a more sharpened pencil. So it's really up to you. So that's also an option. I'm just reminding. Now we're going to combine and fade the colors with a white color pencil. That's number 001. It's like a gray colored pencil that flattens or harmonizes between colors and tones. Between them. It gives us like faded aesthetic, which is quite beautiful. We can create attractive faces just with these brown, white, and red colors. The faces are quite fast, special and visible and they have lots of visual effects in terms of makeup and accessories and local and natural elements such as branches and crowns and so on. Look at how I didn't apply the white onto the crown, I only applied it onto the skin tone. So use that to your advantage. And that's what I mean by using your medium. Enough or so much like practice to the point where you know, how you can manipulate it, what effects you can get from it. The more we practice, the closer we get to developing our own sense of drawing and our own sense of style. Just going over the crown with my raw umber. Next, we're going to color the hair area with a chromium oxide green that's colored pencil number 212. We can change the colors according to the various elements that we have here and to the makeup design. So e.g. we change the color of the hair. Here. Here we can use a yellow tone or an orange tone or a red tone for the skin color. So you can go over it just to add a bit more tonality. Now we're going to add a lemon yellow. Lemon yellow is colored pencil number 240. We're going to apply it to the face. We're just trying to balance out that tone. There you have it. A simplified head drawing. If we go through the Pharaoh characters, we can see lots of attractive motifs or specific, specific details that are unique to them as well. So that's from the Egyptian era. We want to observe these different details and make these comparisons as well. And how do they affect each other, right, so there's a lot to learn. So as we can see, the artist used human and nature to create characters and the best way. And then the artists put the characters in geometrical shapes. The artists makes the crowns and the colors exaggerated and also simplified, e.g. the eye makeup of the women here. It's quite simple details, but they combine them together, like the flatness of the clothing here. All of these elements, they can be our sources for creativity or inspiration and learning. Most important needs to learn from them and how to use them and how did these artists apply these colors and so on. So it's important not to copy such artworks as your own. You need to give them credit and say where you've been inspired from and what you've learned from them, and so on. And this character, they are exaggerated as well. You can exaggerate the hair part, e.g. or the clothing if you want to give it more attention in your drawing. When we look at these characters, we will understand how the artists drew these Egyptian African characters. The artists simplified the characters and use geometrical shapes and extra makeup in some parts. But the idea is to study these, these things in elements were used for men as well. So there wasn't just for the women. And we get to understand a bit more about that history and why, why the clothing was as such at that time. These are Pharaoh character look at how the painter simplified the skirts and showed their form with a triangle. And we learn from the deformation that the painter used here. The painter simplified use geometrical shapes and flat colors and immortalize the characters in history. The model of makeup, the combination of front upper part of the body with side legs and legs are very beautiful and attractive, which is done by the painter. There's some strength in the position as well that they're standing in. And we cannot do anything if we want to sketch from it. We cannot exaggerate because the painter did it. The only thing that we can do is look at these images very well. And you can recreate the drawing. But you need to learn from the way that the artist drew them, the geometrical shapes. We can create sketches and be inspired by them and consciously learn from them and improve our drawing skills. Of course, we can change the characters into geometric shapes, exaggerate them more, maybe simplify them, even. Use different colors or more colors and make some motifs more prominent. But the idea is to learn from them. This exercise is great for drawing clothing from different parts of the world. But if it has inspired you in some way, it's just important to give it credit as to where your inspiration came from. Here we drew sketches from our model images. We made the close of this character longer, but we can go beyond it and maybe exaggerate the clothing if we wanted to give it even more attention. We can also deform it in order to get more elements and new sketches and then create a completely new iteration of it. That's it for today's tutorial. I hope you've enjoyed creating these two figures and working on the cloth. And I would recommend to keep practicing and combining two different mediums. And that's it. See you in the next tutorial. 30. Female Traditional Clothing Study with Watercolor: China: Hello, everybody will continue tutorial. Now in today's class we're going to draw some traditional dresses from China. China has very special and different cultures and traditional tips and detailing in the clothing. Their traditions and cultures are old and valuable and the Chinese people emphasize on their culture from the past up until now. So it isn't difficult to search and see their cultural elements and study them a little bit more. We can see their makeup, hairstyles, accessories, clothes. There's also inspiration from architecture and local elements which are accessible as well. Make use of your downloadable resources. They will have all the information necessary for every tutorial that we follow. So you can find some more information there. Now, in today's tutorial, we focus and work on their clothes as we are doing in this whole course with different countries and different regions. But if we want to work on the other aspects of Chinese paintings, we will understand that it has a quite a very big world as well. Since we are working on the clothing and accessories, we use these elements within our sketches. We can exaggerate them a little bit to give them more attention. We're going to start by drawing a traditional. We're going to draw a figure of a girl wearing traditional clothes. We want to use watercolor and ink because some of these materials are visible in the, our, our model images and in research. So we want to try and mimic that as well. Remember to make use of your downloadable resources which will have the grids and the sketches for you to create your base sketch here. So over here we're drawing the initial sketch. Take your time if you need to rewind the video or pause it until you're finished your sketch. You can do that as well. Now in China, using the inking brush is quite an old, I'm an old technique. And they use these materials for their paintings. So we're going to try and use these materials as well for our work today. But again, we start off by drawing our initial sketch. We need to use a round tip brush. And then we're going to add color on our, onto our character. We can use cadmium red, deep hue, watercolor, That's number 98. We determine the color of the clothes here. Take your time if you need to practice on a separate piece of paper before applying it to your artwork. You can do that if it helps you not be overwhelmed. We want to draw as delicately as we can because there are some details to cover. Redraw the main lines. First of our, of our sketch, we want to simplify the clothes really. We want to draw the clouds as straightforward as we can. Basic shapes. We want to have flat watercolor layers. Keep observing your model. Redraw her waist and the bow of the clothes like this. Now we go through this leaves. Feel free to send me any questions you might have along the way. And the inquiries, I'm here to help. What we're doing here is we're going through the edges of the clouds. We have drawn this part wrong, so we need to edit it. Don't worry too much about making mistakes. There's either a way to work around it or fix it and that's okay. It's the only way to learn. The skirt of the character is read as well. I've added a little bit more water so I can dilute the color. I've given a chance for the ribbon to dry. The ribbon on the the clothing. Just make sure your work lightly and delicately. It's better to work lightly and build those layers. Then work with more color and more dark. And it becomes more difficult to correct or make additions. We make this part wet here and then we add color to it. It's like pooling where you place the color and you leave it to take any shape it needs to take. But you control where it goes by only putting water exactly where you want to color. Then we continue to add red layers on this part. This technique is called wet on wet, which gives us a beautiful texture. It has this cloudy aesthetic. So you'll see as it dries, it becomes a little bit cloudy. And watercolor in itself has its own aesthetic. And it shows the dimension of the skirt as well. Here we have some lighter parts and darker parts, which is the shadows and the highlights. Now we wash the tip of the brush. Next we're going to make these parts wet. So you have to be specific which parts you are making wet or adding water too, because once you add color, it controls where the color goes. We don't add water on the margin of the work of the clouds. Next we're going to show the flower pattern of the cloth with some red dots like this. Observed my application. We don't want to add extra delicate details on our work. We just want to add enough information because watercolor, you don't want to. I can easily blend with each other the different layers so you want to just be careful. We add water on these parts. Again, here. Give a chance to other, for other layers to dry. We've added a couple of stains on this part here. Once you let another part dry and you go in with these little dots, it spreads less because the water has dried off. We make the red color a bit darker here with a brown tone. We're going to use a Van **** brown watercolor, that's number 676. Then we're going to add color on these parts. As you can see. We need to add some shading layers on this part in order to make it a bit darker and show that there's a shadow. If you want your color to spread a bit more, you can add water to it, but if you want to remove it, you use your tissue just like this. It doesn't matter if the colors combined together because the Chinese paintings are dressed like this. We tried to show the feeling of the elements from each country in our paintings because we are referencing older paintings of such clothing, right? Of different cultures clothing. And we want to mimic the way the artists at that time created these drawings for us and how they've sketched clothing. Now we can make a purple color like a mold, going to use watercolor, that's number 398. We can make it a watery in order to add some shading layers on the sleeves. So you don't want a very concentrated move. You can just make it quite diluted and add it. Don't worry about the dots or the flower pattern. You can go over it again. We shouldn't be afraid while we're working with watercolor trial and error and mistakes help us to learn better and understand the medium. So as mentioned before, the more you use a medium, the more you understand how, what effect it can give you, what aesthetic it can give you, how you can manipulate it, and how to use it and you gain confidence. We shouldn't be worried about making mistakes. Because it's the only way to grow and develop your own sense of drawing or sketching or coloring. In watercolor techniques, we see the result of our work very quickly. So it's very good for learning and taking risks because you can see a certain part dry off and then you can come back and work on it while one part is still wet. Again, we're going to add some stains on this part. Remember when I told you you can go back in and add those details. Remember to make use of your downloadable resources. They will list all the colors that we have used, all the materials, all the steps that we go through. And don't be discouraged if you, if you are using different materials than what I'm using, don't be discouraged, don't let anything stop you from enjoying the process and learning. Make use of anything that's available to you. Anything that you're more confident and comfortable with using. Here we're making these lines just a little bit bolder just to show our bot. Keep working on those details. Now we're going to determine the lips. Next, we're going to determine the hair of the character. Give it some shape. Again, remember with watercolor, you can go as light as you need to. So if you feel like that's too much color and that overwhelms you. You can put less color. There, you have it. Simple curved strokes. I'm adding the eyes here. We're drawing the moon lid, eyes of the character with ivory black. That's watercolor number 331. We add some details on her hair like this. Now we're going to determine her hands. Her fingers are long. We drew these Chinese character very simply as we know, watercolors, that traditional medium in terms of Chinese paintings. So that's why we've used it. We show her traditional clothes were the watercolor. Now we're going to add some shading layers on these parts in order to show the distance between them. So remember, if you want to add more specific details with watercolor, you need to have less water on your brush. And that makes your Inca bit more concentrated. And you have to be careful where you're applying your color. If you want to make some edits, Let's say you want to remove a certain detail, then you add clear water just to make the color move or be removed from the page. Now we can draw different Chinese are women with their special clothing such as imperial dresses and so on. It's really up to you if you do some research and get to learn a little bit more. And if you feel inspired by them, then you could try and create these drawings. Just to practice watercolor. Next, we're going to create another Chinese figure on this part on the right here. We're also going to use watercolor, but we're not going to create an initial sketch. The close of this character has lots of bird patterns. We can't draw all the details completely. We just keep their parts untouched like Swan feathers, which is the white of the page. Other birds, of course. So instead of adding them later on, like we've added dots on our figure on the left. Instead we're going to leave a negative spaces. So right now I'm using a almost, it's like a wet on dry. My brush is very it's wet but it's only very, very little dampness. And my page is dry and I'm adding those details. You can also do dry on dry where you're applying dry color onto dry page. Let the water helps move the color across the page. Make sure your model image is placed in front of you such that it's easy to keep looking at it constantly. We've drawn the sleeve on the left here. I'm using the tip of my brush to create those details, but I use the side of my brush to release more water and color. Observed my application. Look at the way that I'm creating this pattern. And we keep these spaces in-between the pattern, the white of the page. We keep them untouched. You don't touch them, you don't add water to them. Now remember all the material that we're using, the colors that we're using. They're all available in your downloadable resources so you don't have to memorize the colors that we've used. You also have your grids in your patterns to create your drawing. Again, if you feel more comfortable creating this, let's say we're working on this character here. If you're more comfortable to start it off with your pencil, you could do that. Go ahead. Do what is more comfortable for you. What helps you learn what is more, what is more beneficial? I've diluted or added more color here. We're using a wet on wet technique. So I've specified where the where I've placed some water and added some color. We're going to spread the clothing all the way up to this part here. I'm making this part wet as well. Make use of the reduced amount of color in your brush in order to kind of create a sketch or a guideline as to where you'll be applying your water and your colors and so on. We make this part completely wet and now we're adding color onto it. Observe my application. Look at the way that I'm applying that color. I'm being specific. I'm not only reliant on where I've applied water, but I'm also spreading the color according to how I want it to spread it. Use the aesthetic of your medium to your advantage. Here I'm using a darker color. Although the character here, the clothing, has a lot of patterns, but we choose to add the colors in this very simple, simple way to gain that nice solid color right next to the details. Keep observing your model. Your model image has the most information. It tells you where the shadows are, what the tonalities are. Since we're transforming it into a medium that is less information technically, you can decide how much detail to add. Take your time. Now we're going to draw some patterns on these parts, same as the other part. We draw irregular lines like this. When it comes to techniques and practicing them in any mediums, you need to do it at quite a few times before applying it to your main artwork like an R-group or artwork that you really want to develop. Because the more you practice, the more confident you are and the better the results are. Switching between two tonalities of the Red Dress in order to convey shadow and highlight. The red color on this pride is very bright. If you need to lift the color from any part, you need to add some water and then use your tissue and lift the color off. Here I'm being very careful because I'm applying only water. You need to leave your base layer dry very well. Before doing this. Now we're going to determine her lips. We let it all dry a little bit. Now we're going to work on her crown. Show the jewels and details of the crown like this. It's very simple gestures. They are dots or tear shaped dots, lines. My wrist is really light. Observe the way I'm holding my brush. My pressure is very little onto my brush. I'm using the tip of the brush and not the side. We color these parts where the red as well. We show the pearls of the crown by adding dots like this. It's very delicate little details, but the more details you add, the more beautiful it is. With watercolor, you have this contrast between the cloudy, solid colors and the details that you could incorporate. We can draw the main sketch of the characters same as this one with some brush movements. And then we're going to add the delicate details with our brush tip, just like we're doing here. But again, you need to practice the only way to achieve it and to, and to really get a sense of your medium. And what it can give you is to practice and use it and make all the mistakes. And also create all the drawings that you want because you might discover something, a certain aesthetic or a certain thing that is a happy accident, you end up getting closer to your own sense of style. Now we're working on the face. We're going to work on the face and the hair with ivory black. That's watercolor number 331. Again, diluted. If you feel like it's really dark. It can be intimidating to use a very dark color, especially when you're near the end of your artwork. You can also try it on a side piece of paper. Before applying it to your art work. Of course, we want to make the inside parts of the color black as well. Adding a bit more details on the crown. We're adding some shading layers on these parts very carefully. Observe the way that I'm doing it. We can work more on the shoulders. The square root as well could be longer or very long to the side. But here because we have a drawing on the left, we don't want to ruin it. But it's just an example of exaggerating one certain parts. Now we add some black detailing here, some patterns and some dots on this part. We go back to the chest area where we add some more details. And it's really a balance between those cloudy background colors that we've put, the details that we've added. You can go back in and add more details. You can go back in and add a bit more tonality or color, solid color tonality. I want to specify the address of the dress here. We add some black dots on the crown. There you have it. We drew our figure here by adding and removing some details and balancing solid colors with the detailing. Just keep practicing. I hope you've enjoyed this lesson and see you in the next one. 31. Female Traditional Clothing Design Variations: China: Hello everybody. Welcome back to another tutorial. This video, we're going to draw another Chinese character alongside these characters that we have already drawn. Take your time to set yourself up. We need to use a round tip brush and we're using the ivory black watercolor, that's number 331. And then we're going to start by determining the hair. We want to draw the character in a very simple way. Very basic design. We draw circle ensure hairstyle just like that. Then we go down the side. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial that you follow. They will list the colors that we're using, the mediums, the steps that we go through. They will also include the grids and the sketches in order to create your base sketch. They're there to help you practice. Now we're going to draw the edges of the clothes. We should pay attention to the distance between different parts. We draw the form of the color the same as the form of this part of the hair. You can see that there's a reflection here between the hair line and the color. Place your model image in front of you such that it's easy to look at it constantly because we're constantly looking at our model image to pick up the information and apply it on our page. Now we go through the skirt here. We draw the main lines of the skirt. It's a very beautiful skirt as well. Now the next step is to add some water onto the sleeves. So when you add water onto a specific area, you are controlling where the color is going to go. So you're drawing with your, with your brush, but you're applying the water exactly where you want to be applying color to the sleeves. We can exaggerate the form of the sleeves as well. If you want to exaggerate, the more we add cadmium yellow hue here it's watercolor number 109. We're adding it onto this leaves. Observed my application. I could the way I'm holding the brush, look at the way I'm applying the color onto the area I've made wet. You'll leave some of the color pool in some areas. If you've applied too much color, you can lift it with some tissue. When we draw this leaves like this, we need to make this part wet as well. We add our cadmium yellow as well here. I'm adding water just to alleviate the color and spread it as well. So I've made it less concentrated from the top and then I've dragged the color down. Next we're going to add a darker red color like an alizarin crimson hue. That's watercolor number 003. We blend these colors like this. Observe how I'm using the aesthetic of watercolor. And just placing the color in such a way, Pooling it in such a way that we're allowing it to blend with the cadmium yellow. Take your time, make your decisions. We want to add some red dots on these parts here. You don't have to copy exactly from your modal image. We color and draw the details ourselves. Like if you wanted to have stripes instead of the dots, if you wanted to add a certain detail that you think will bring out more of the cloth or your art work. I would just go ahead and do it. We shouldn't limit ourselves and we should just try to let our creativity flow. And just like this, we're able to create figures and artworks by combining different techniques. Now we let it dry. Feel free to send me any questions you might have along the way. I'm here to help you. I'm coloring the a print of our of our figure. I'm being particular and specific. Although all the materials are listed in your downloadable resources and the list of colors and the different mediums. Feel free to send me any questions you might have about the materials and what else you want to be using them for. Or maybe combine two different mediums. I'm here to help. Notice how I'm leaving that white line at the waist and then down at the knees. Now we're going to determine the lips of our character. Notice how closely I'm holding my brush here. To be specific. We've drawn the almond eyes. We show the nose as well. We can add red stains on the cheeks. We add lighter red stains on the cheeks of this character as well. Right here. This part is almost dry. Now we're going to add some lines on the skirt like this. We've initially created this pattern and then blended colors so it faded it. Remember that you are in control with watercolor. You can control where the color goes just by limiting the amount of moisture or liquid on your brush. Next, we added belt on her apron here. We need to add some yellow dots on these parts. We need to use cadmium yellow hue, That's watercolor number 109. And then we're going to add some small details on the cuffs and the lower part of the skirt like this. These are beautiful elements that add more beauty to our character. They bring more definition as well, especially while we are using the watercolor technique because you're able to add details. But sometimes some details are best at it as like using the dry on dry technique. Or wet on dry. But they are definitely details that bring more beauty and depth of perception to our work. Some parts are not dry completely, but we've gone back and added some stains at the bottom here. Interesting thing happens without knowing them sometimes just like we've added stains at the bottom. So it has created this combined shade or blending shade. We should try different things as we are working on our artworks. We may damage our work, but that's not, that's not a problem, That's okay. The only way to learn and discover more is to test things out and play around. The important thing is to do a trial and error Look at, look at how the texture of this part becomes more attractive just by leaving it dry, observing it, and then going into a more additions or maybe it's turned out to be great. I enjoy filling my page with different figures and different characters. Now we're going to draw the next figure here on this part. We go through her hair at first, as we did with our last figure. Observe your model image and create your artworks and your lines as you see them. We don't want to fuss around too much with watercolor because we will not have a great result in the end. You want to be specific way which area you're placing water onto your drawing with the water so that you can apply the color in the right places. We're going to color the clouds which are under the kimono with a cadmium orange hue, That's watercolor number 90. Observe the way I'm holding my brush. Observed my application. There's a very common position of the hands That's quite prominent in Chinese paintings. And that's when the hands go into each other, almost cutting each other. Maybe the figure holds her forearms with her palms. We draw her apron like this. Before drawing the character, we need to analyze the details of the clothing here and simplify them. Visually. Look at your model image and simplify them and see how you can draw them onto your page. Because in this course we're focusing on the clothing. We make this part more yellow with cadmium yellow hue, That's watercolor number 109. And then we're going to color this part of her clothes. We simplify the colors with simple shapes and then we're going to add them like a puzzle or construct them around each other. With watercolor, you want to put the different parts next to each other. You want to be particular in terms of what colors you're adding. So be specific. Choose your colors, look at your palette, and choose your color and apply it in the right place. We let it dry. And next we make this part wet. It doesn't matter if the colors blend with each other a little bit. Don't worry too much. With practice, you get to control more and more how to place colors right next to each other in watercolor. But we can work more carefully as we move along. So don't forget that we shouldn't be too worried about damaging the worker making mistakes. It's the only way to learn and progress. Next, we're going to add a dioxazine violet watercolor, that's number 231. We're adding it on this part here. Actually we're playing with the characters in terms of playing around with the medium and drawing them. And we're doing a trial and error in order to get creative or allow our creativity to flow. So just observe my hand movement, my application, and you can mimic exactly what I'm doing. You can also make different color selections really. You can apply your color differently. The idea is to just enjoy the process, learn from it. Take your time. Now we let it dry a little bit and then we're going to add water to the upper part here. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage are more than happy to give you some feedback, maybe some guiding pointers. Or if just, if you just want to share, I'm happy to take a look and have a chat about it. Now, we're going to add a cobalt blue hue on this part That's watercolor number 179. If you feel like you've applied too much color, you can lift it with a tissue paper. Just remember that I'm blending a little bit between the blue and the violet so we can create that transition. We need to color this part as well. Keep observing your model. Get your information from your model image. Technically, we're simplifying our forms because we're, we're taking our information from a photograph or a painting and then we're turning it into watercolor or drawings are line drawings and that's already simplifying it. So you get to choose how much information you want to add. Look how particular I'm being, I'm being careful and being patient. Be selective where you're placing your color. Use the tip of your brush or adding more color on different parts. Remember that even though the list of colors is in your downloadable resources and it's there for you if you're using different colors or if you have access only to a different material, don't let it discourage you from enjoying the process and learning. Just keep drawing, keep painting, and make use of anything available to you in anything you're more comfortable using. The details of the clouds here, they're very beautiful. Same as this yellow line across the side and these different edges that we have. So it's nice to incorporate as much of the details as possible. We should try to incorporate the details so we can at least give it a try or give it a go once adding everything that we can. We're adding some blue details. Down here. We also want to add some blue details on the hair. I'm adding this very delicate lines here. Her face is small, but her chemo and skirt, they're long and quite big. So they're taking most of the attention here, which is the focus of this course really. But there's accessories on the head part, like head pieces that are quite important as you can see on our character on the right. I want to incorporate as much as I can. But mainly the close of this figure here, the one we're working on is they're blue. We can see lots of elements and details on both the female and male figures here. These are wedding dresses, e.g. we can see a lot of dragon patterns on their clothes, different parts of the clothes and hairstyle and the head pieces and accessories. They're designed quite intricately and they are very attractive. We can use all these elements in our sketches. You can incorporate these elements just as a way to show inspiration and appreciation from this model image. We're going to add some details on the hair with a cadmium orange hue, That's watercolor number 90. These small details that I'm talking about, they make our work very special. They add so much more for you to look at. They do just a little bit more to the style that you are drawing in terms of clothing and accessories. It's also a very good exercise to try and draw them with the tip of your brush to go in and add these details. When we don't know what things we can add on our work, we can use these details that are there in your image. They are there available for us to be able to understand and learn about and draw. We add these details on the hair in these very simple lines, as you can see. Very simple gestures or dots and lines and circles. We can add a dragon pattern on this part with a darker color, but we need to wait until it dries. Or we keep this part simple without any pattern really. We're going to draw the lips here. We're also going to make the cheeks a little bit red. We need to determine the eyes. The head is, the phase is pretty small, so we just want to, adding any details to the face is very small dots. All the attention goes towards the, the outfit, the dress. Observe your artwork, look at your drawing. Look at what you've achieved so far. Take a moment to notice and make comparisons also with your model image. Of course, it's not meant to look the same, but if there are details that you want to add or incorporate your modal image will give you that information. Here we're going to add some patterns on this part. Observed my application. These patterns are inspired from a dragon design. We can search different patterns and use them as well. If they are relevant to this, to this style of clothing, to this time as well. We're going to show the creases of the skirt with black lines here. I diluted it so it's quite light. Going over them one more time. These lines help us make our work more complete. When we add these details onto our figure or our work becomes more detailed, it will have a bit more of depth perception, more beautiful as well, because you've added more details for the viewer to look at. Take a moment to look at what you've created so far. Look at your artwork and whether you're happy with it. Now we're going to draw shoes for this figure here. These are Chinese shoes which have a convex part on the front. We don't know that this character had shoes are nod, but we're adding them here. Just because I felt like it needs to be more complete. And there you have it. We've drawn the shoes for her. Take a moment to look at your artwork, observe it, maybe look away and then look back at your work. Pull your head back, make these observations. You'll get to notice whether something is missing, whether something can be added. I've added more of the head piece on our character on our left here. Please remember that if you have any questions about the medium that you're using, which is watercolor. Or if you want to combine it with other mediums. If you have questions about that, I'm here to help just message me. I'm just taking a moment looking at my model image, looking at my art work and seeing what else I can add. How can I complete each one of my fingers here? I'm adding a head piece here to this figure. This is the first figure that we worked on. You need to practice a lot and gain experience in order to create the characters. As we are doing here, you want to keep practicing and keep trying it out and enjoy the medium itself. You can also combine mediums if you're more comfortable with other mediums, but you still want to use watercolor. We're going to add some imaginary details on our character here as well. Just I feel inspired in that sense. There are elements that I can see in our model image. And that's what I mean. You can add different elements and somehow create something that can be more fantastical. It's up to you and your creativity and whether you want to exaggerate certain parts of the figures, we can make them more abstract or simple or add more detail or remove detail. You can combine different parts where some parts have more detailed than others are quite simple. Because adding some green here, I make sure I add it to the back of the outfit as well. And that's what we mean by visual harmony, that everything belongs to the same image. You want to be consistent. There you have it. Our work is almost completely done. I hope you've enjoyed this tutorial. I hope you were able to practice a little bit more using watercolor. It is a challenging medium, but definitely a rewarding one. Keep practicing and see you in the next lesson. 32. Male Traditional Clothing Design with Watercolor: Japan: Hello everybody, welcome back to another tutorial. In today's lesson, we're going to draw a character from Japan. Japan has some other Chinese culture motifs and also lots of beautiful motifs that are quite unique to Japan itself in relation to nature. We can see lots of attractive motifs and sketches and the Japanese art prints. You can see them on the clothing on the chemo nose. Also in the style of the artwork itself that's portraying the clothing. There are different crowns, makeup styles, hairstyles, also accessories for the hair such as clips. They are aerobes have quite delicate and attractive patterns as well. There's a lot to work with and it's quite exciting to tackle. So set yourself up, makes sure that you're nice and comfortable. We should look at these details and elements carefully before we start and then use them in order to create a beautiful figure wearing the clothing and maybe create the spaces around it. But the important thing is to understand these elements and use them correctly. After that, we can add more details. If we wanted to. Look how these figures are looking over here and look at primarily the beauty of them. They're elongated, they have all the details. Now we're going to draw a figure on this part here. So firstly, we're going to draw the initial sketch of the character. We want to add a little bit of exaggeration on it so we can make the clothing a little bit more prominent. Japanese paintings are very delicate. We can go through them to get inspired by their simplicity and beauty and to get to know a little bit more about the history of them as well. Another beautiful element of the Japanese clothing or the creases and the cloth. And how there's a delicate NAS or lightness to them that we're going to try and portray. Now remember to make use of your downloadable resources, especially for the grids and the sketches that are available for you to be able to sketch your base sketch here as I'm doing. They're there to help you practice and guide you. Here. A downloadable resources will also list all the information necessary for every tutorial that you follow, listing the colors and the materials and so on. Take your time to create your base sketch. It's your guide for when later on we'll be adding colors and really developing our artwork here. Also spend more time looking at those model images and the paintings and drawings, the Japanese paintings, just because you can tell the brush movements in them how smooth they are, how special, how particular the details are. It's quite delicate and quite beautiful. So it's nice to familiarize yourself because then the way we draw, we are more informed. Remember that there are a lot of European artists that God inspired from these Japanese paintings and use their motifs and elements to reference them and to show that there has been travel or trade or economy and so on. So there's a history to it as well. E.g. James Whistler was a painter that got inspired by Japanese paintings. Art nouveau use the Japanese elements as well. Also the sign of the whistler is based on the Japanese prints. There are all these little details that have stories behind them. In history. We sketch this character with a combination of different elements here. So we have exaggerated some part of the clothing so we can show it a bit more. I'm using my pencil just to jot down my drawing very lightly. And then we move on. Now we need to use a round tip brush. And then we're going to add color on this part. I'm using a cadmium red hue. That's watercolor number 908098. I've diluted my colors, so it's quite light. Observed my application. We are working with watercolor and blending the colors on our palette here like this. So you make these combinations ready for you to use by just adding water to them. So you combine them. Maybe you want your red tone to be more brown and you add a brown to it. Now, don't forget, your downloadable resources would list all the colors and the materials that we're using, of course, in the steps that we go through. But if you have any questions about the materials, or maybe you've, you prefer to have used different colors and so on and you want to talk about them or have questions. More than happy to address your questions. I'm here to help. Just take your time. There's no town holding my brush, how I'm applying my lines. These are the, these are the techniques you are observing in order to learn from and try to develop and take forward. First we drew the red, these red lines. We want to indicate some circles of the pattern here is just a reminder. So remember how your base catches your guide. So it's just a reminder for you that this is where you want to draw in the circles. Now we're going to wet the areas around the circles. So look, I'm being particular, I'm being specific. I'm not applying it everywhere because it does matter. It controls where your color is going to go. Be particular focus. We should involve ourselves with. The details are locked. We need to draw a general sketch of our work at first and then we start adding the details and working around them and building that up. We don't want to add color onto the circles for now, so we are coloring around them. Now after we make these parts wet, then we're going to add darker colors on this part. We blend a Van **** brown watercolor that's number 676, with a cadmium red deep hue. That's number 98. In order to make a darker red tonality. If you need to make note of these color combinations on the side on a separate sheet of paper. It can be your guidelines sometimes as you're working, It's really your preference. It's also there on your downloadable resources. If you feel like you've applied a bit too much color, remember to make use of your tissue paper just to dab gently onto your page to lift some color on. These circles, make our work more attractive. They are bringing out a pattern. Make sure your model image is placed in front of you in such a way that it's easy to constantly look at it. And pick up the information from there and apply it onto your artwork. Now we're going to add some patterns inside of the circle. Next we're going to work on the other sleeve here. We draw some circles on this part. Then we're going to blend the cadmium red hue, that's 98, with a Van **** brown, That's 676. We get that same color combination we used. On the other side. Just make sure your wrist is lifted, your palm is lifted so that the other side might not be completely dry. We don't want to damage our artwork. The circles are irregular. They are not a regular pattern where they're equivalent in spacing. They are more random. Now if you are using different materials or different colors than the ones listed in your downloadable resources and different than the ones that I'm using. Don't let that discourage you at all. You're free to use any color tonalities that you want or anything that's available to you that's more comfortable for you as well. Don't let it hold you back. Just enjoy the process. Use what's available and learn and practice, and keep improving. We add color onto the color as you can see, and then we add a different color under this part here. First, we need to make this part wet. Before we add color. Once we've made this part wet, then we're going to color it with a yellow ocher watercolor, That's number 744. Remember you're being specific where you're adding your water just because it's translucent, it doesn't mean that it's not that it can go anywhere. You're specifying where the color is going to go. Take your time. And now we add the ocher color on this part. Don't be afraid of the combination of colors, light colors. Making mistakes is completely normal. Making choices that we might end up not liking is also completely normal. But give your medium at chance, maybe it'll look a bit different once it dries. I'm also making mistakes is completely okay. It's the only way we learn and we get to improve. The next color we're going to use as a civilian blue. That's watercolor number 139. If you're unsure at any point in time what to do or what's the next step on a certain part, just follow my lead. Copy what I'm doing. It will make sense the more we build up our image. The colors might blend together in certain parts and that's completely fine. It happens if it really bothers you. You can take your tissue paper and carefully lifted off of that part just to control it a little bit more. But I would encourage you to just trust the process. Now we're adding ever read in hue watercolor, that's number 696 on the color. Writing it down here as well. Feel free to send me any questions you might have along the way. You can even share with me your drawings at any stage. I'm more than happy to give you some feedback if you wanted, or maybe some guiding pointers. I'm here to help. We extend the robe of the character until here. You can exaggerate it even more if you wanted really. Now we go through the same steps for this part. We don't use wet on wet technique for this part. It's either wet on dry or dry on dry. Just to achieve a little bit more of those details, those, those details that give us some contrast and some shape. Now we let it dry. You need to leave all these parts dry because some of them are quite wet. And we move on to draw the hair of our figure. We need to use ivory black, That's watercolor number 331. We use a dryer techniques. We have a very limited amount of moisture in your in your brush. Observed my application. Drawing hair is a little bit different because it has a, has its own aesthetic. We want to show a bit more of the nature of hair. If you need to practice on a side piece of paper, just do it and it's completely fine. Even if you've done it before. But with watercolor, you have these different tonalities. You have the pooling of the color in certain parts which makes it darker. Just keep practicing. We exaggerate the hair like this. Keep observing your model image and every few minutes take a moment. Pull your head back maybe Luca way, then look back at your artwork and you'll be able to look at it with a little bit of fresh eyes to get a sense of what's missing, what can be added? What's next? We're getting inspiration from the Japanese paintings for the hairstyle here. We're drawing it as we see it. These paintings were drawn in this simplified geometric and delicate way and there's this specificity about the brushstrokes. So that's why I'm saying be patient. And you can see this delicate brushstroke and quiet every part of the painting, It's the style, is the Japanese style of these artworks. I'm keeping my wrist light, my pressure is light onto my brush. I only add color when I need it because your brush holds that color. Use the tip of the brush to apply these very thin, delicate lines. And just pay attention to the form of the hair. The best way to practice is to mimic what I'm doing. Just follow my lead. Practice together with me. Notice how important your base sketch is at this point. It's giving you an indication where the faces, where the neck is, where the color is. The information you've applied in your base sketch is your guide. It helps you along the way. Take your time. We need to go over all parts. We want to complete the hair a little bit more here. We draw a delicate hair strand on this part. We can see it on our model image. The painter drew it very beautifully and we want to try and mimic it. Now we're going to draw his belt. This part here. We need to add some lines on these cards. And we need to do it using the ivory black watercolor. That's number 331. Make sure your wrist is nice and stable and light. We're going to add some patterns inside the circles like this. We only did it for one of them, but we need to be consistent. If my pace is a little bit too quick, you can pause the video, complete a certain part, and then play when you're ready to complete the To continue together. But my point is don't be overwhelmed. So you can pause the video, you can rewind certain parts again and again. Whether you're using watercolor in future practices or other mediums, you just need to keep practicing. You. The more you practice with a medium, the more confident you become because you get familiar with it. You get to understand it better. You get to know how to use it, how to manipulate it, and know what kind of aesthetic it can give you. So keep practicing. We're adding crosshatching lines on this part here. I'm doing it very delicately and carefully. Notice how we're building the layers. We started off with these background cloudy colors, and then we're going into add more details. The more you build on your artwork, the more beautiful it's going to become. It continues to add the details of the circles on the other side, on the other sleeve. And it doesn't have to be so particular the details that can be a bit more faded or less. Now notice how the textures of the clothes become more beautiful and attractive when the colors blend together. So even though e.g. there's a part that blended down here a little bit more than I needed it to. Its still looks very, very beautiful. Now. We need to use a sap green watercolor, that's number 599. Then we're going to add some dots on this part. We added cross lines on the color up here. And now we're adding dots in order to see which of them is more attractive and comparison. The thing with dots is it can make you impatient because it's dots, but then they end up being blended. But over here I want to try the different patterns. I wanted to see if they contrast each other or compliment each other. It isn't our last Japanese lesson or on Japanese clothing. We're going to practice more and draw another Japanese figure wearing Japanese clothing. But it's good to test ourselves. But we're going to try different forms, patterns, and movements on our work. During the lessons, here we're adding some flower patterns on the clouds. Again, if you're working on your art work and creativity strikes you to add a certain detail that you notice on maybe another part of the painting, but you want to add it onto the one you're working on right now, just go ahead and try it. There's no harm in doing that. It's the only way to find out. You could also try it on a separate sheet of paper if you don't want to. If you want to see what it looks like before you apply it to your artwork. Now we go through the same steps on this part here. Really enjoying the background blended color of the ocher yellow and the green. It's quite beautiful and it gives a depth TO YOU to our artwork. We drew the pattern on this part here. We need to use a smaller tip brush. And then we're going to add some details on the next parts using an ivory black, That's watercolor number 331. We continue using the ivory black, but we're changing our brush. This is a mechanical brush that releases water if you press on the side of it. And the tip is thinner, so it gives you a bit more control and a bit more detail. Observed my application. Go through your downloadable resources as well, just to look a little bit more at the images that we've shared in terms of the Japanese paintings. And just to get more informed, unfamiliar or in terms of that history and that imagery. I'm switching between my brushes according to what I feel I need. Take your time. Just focus on the details. Apply your lines and watercolor and apply the details as you see them. After every detail that I apply, take a moment, I look at it. I look at my drawing and I continue. It's just a way to check whether what we're applying is working out. We draw these lines here freely according to the Japanese paintings that were, that's the inspiration for us. It's important to pay attention to my hand movements and try to mimic them and copy them. Feel free to send me any questions you might have along the way. Whether it's about the mediums, whether it's about the drawing. I'm here to help. Now we're going to draw the eyes. I'm adding the eyebrows very delicately as well. The nose is a very thin line with a very small dot at the end of it. There's also a hair accessory here. Remember, you can exaggerate it if you really want that hair piece to stand out or be bigger. We color this part in order to determine the chin. And it looks like the hairs spread back there. So it gives it a background. Giving you a bit of definition to the ear. Redraw a bow on this part here. We need to add some details on these parts. Would that same color we determined the lips with a tip of our brush. It's barely a small gesture, almost like an oval with a bit of a point. When you have a color on your brush, look at your artwork in general and see where that color might be missing are needed. Because we want our artwork to visually look harmonious. You want it to look logical. So here we've added the black dots and then we've added some red dots and it's a nice transition, it softens that stripe. I continue adding the dots down here. We need to keep practicing in order to gain experience. In order to create. Our art works a little bit easier or with a little bit more and less, less fear from it in a sense. So don't be afraid to keep testing things, playing around with your media and making the mistakes, creating something unexpected. These are all very good things. We shouldn't worry about the result of the artwork either and think whether it's beautiful or not, we shouldn't be afraid of the mistakes and be disappointed by them. The idea is to learn and to discover and to look at something in a positive way and develop from there, learn from it. Now we're going to add some details on these parts. The distance between these details is a little bit more like it's it's I'm trying to bring them a bit closer. It means that the details are irregular in that sense. So I want to create something that brings them closer to each other and harmonizes between them. Next, we're going to add some details on the head. I'm going to use a cadmium yellow hue. That's watercolor number 109. Then we're going to color in the fan here, held in the hand. Our character is holding a fan. It's a beautiful addition and it can hold a lot of detail if you want. When we add more details to our character, it becomes more attractive. It has a sense of depth and richness to it. You can use your imagination. I mean, take inspiration from the model image in front of you. And you can use your imagination to either expand on those details, explore them a little bit more. We exaggerate this character a little bit in terms of the clothing and we drew it with a combination of reading inspiration from different paintings that I've been looking at. Our modal image, of course, we need to work more on this figure and change some elements. We can change the colors, we can simplify some parts are make them wider or shorter. We can add irregular brush strokes as opposed to regular brush strokes and separate them from the colors as well. We can draw this character several times and change it with different techniques that we've learned along the way. So really you can add and remove details as you like and work more on some parts and strain, strengthen them. So don't just copy the piece. You can get creative with it. I hope you've enjoyed this lesson. Keep practicing. 33. Male Traditional Clothing Style Study: Korea: Hello everybody. Welcome back to a new tutorial. In today's lesson, we're going to be drawing another figure from Korea using the artisanal watercolors technique. Our figure is a Korean man. Let's take a look at our image here just to see what our model images. Place it in front of you such that it's comfortable for you to look at it constantly. We're going to start by drawing his special attractive Korean hat. And we're using a brush with a scarlet color. That's a scarlet red. That's number a. 106. Observed my application the way that I'm holding my brush, using the tip of my brush. When you get the mastery of drawing, you can directly draw with a brush and watercolor without having to create the base sketching pencil. But that's really a preference as well. Sometimes we like to just start it off, but if you feel more comfortable creating the sketch, just go for it. You become experienced with time as you do a drawing several times, or maybe you're just more comfortable with watercolor. You also get more comfortable mixing colors and diluting them. And they can act as a form of base sketch if they're really light. Now I'm using an indigo watercolor. That's a two to six. We're using it to draw the phase and some other parts as well. Remember to make use of your downloadable resources. They will have the grids and the sketches for you to create your base sketch. They will also have all the colors and the, and the list of colors and the steps that we go through. So make use of it. We let the colors combine a little bit here. Although we might be intimidated to create an art work directly with watercolors as opposed to creating a base sketch and then water coloring. But I would like to encourage you to just go for it and practice and try it out. Now we see some big circles from the picture of the Dragon here on his garments. So I'm trying to recreate those spaces there, especially on the sleeves and the front part of the garment. Take your time to observe your model image. You can visually decide where you're going to apply your color. Which parts as well are you going to leave the white of the page where there's no color in them, those circles. Notice how I continued to use my brush, although the color has reduced, I take advantage of that light tonality and I continue to draw and sketch. But of course you can add more color if you wanted to. Here I'm making my page wet. In order to continue coloring. With watercolor, you must make the area you want to paint wet in order to control where the color is going to go. Take your time. Feel free to send me any questions you might have along the way. You can even share with me your drawings. At any stage bit finished or unfinished. I'm more than happy to give you some feedback or some guiding pointers. I'm here to help. I'm adding a bit more color now. We add another layer of watercolor in order to darken a certain part. So I want it to be a little bit darker, especially that it's dried a little bit more than the other parts were simply making our work layered and we're putting parts together as well. So first you want to analyze your model and divided into certain parts so you can work on them with a bit of clarity and not feel overwhelmed by it. Then you start working on the different parts. And in that way you leave some parts dry while you work on others. His garment is pleated, so I'm trying to show that detail as well in it. We draw vertical lines with the tip of our brush. I'm adding a little bit more color here, or darkening this area by applying another layer of color. Next, we want to draw the image of the dragon inside the white circle. Take your time. Make sure your wrist is light and lifted. You're using the absolute tip of your brush so you can achieve those details. Redraw it briefly and faded only touching the paper very gently using our brush. And it would look something like this. It's mainly a gesture and indication of it. Then you can go in with a bit more concentrated color like darker spots and add more details. Now we draw another dragon on the sleeve here. We're repeating the same process. If the materials that you are using are different than the ones that I'm using are different than the ones on your downloadable resources. Don't let that hold you back or discourage you from practicing and drawing and enjoying the lessons. Just make use of any materials that are available to you. Anything that you're more comfortable with and confident with. And just enjoy drawing and painting and coloring. The more you practice, the better you get. Now remember, as you're doing this here, you mustn't, your brush mustn't be soaked. In fact, you should get the extra wetness off on your tissue and then touch the paper very gently and add the details. It's a more concentrated, focused application of the design here. You can clean up the circle around. Some lines, remind us of the shape of dragons. But we can simply represent them with such lines, showing that there is some detailing happening here. Can add a bit of detail on the belt. Every few minutes stop and take a look at your own artwork. Look at your drawing, look at your painting and see what. Take a moment to just stop and notice what might be missing, what can be added and so on. Now I'm mixing a civilian blue, That's A123. We use it for this part of his hat. I'm pulling the color here, but we need to wait for it to dry to see the final effect. Now the next color we're going to use is a mint green. That's a E14 and recombine it with a bit of sepia. That's a two-sevenths three. When we want to use this color combination to draw the peacocks feather on the hat. Doing it freehand very lightly. If you want to watch this part several times before doing it yourself, you can rewind. I'm adding a bit of detailing on the top of the hat here. Next we're going to use a black color, That's a war. It's number 163. And we want to add some shade on his garment here. Take your time, keep your wrist light. Notice where I'm applying the black color. It's diluted, but it's another layer to be added here. You're being specific, even when you're applying a dark color on top of another darker shade, they still have different tonalities and you can see that. And you can make one more concentrated and more specific. Focus on where you're placing your color. As you can see, we're using some basic shapes are some geometrical forms in order to work on the garment. We're adding the eyes and the eyebrows here. Nice thicker eyebrows, the almond-shaped eyes, the nose. And of course we've exaggerated the proportions here. We contracted as hot and face. And then we stretched the body, making it a little bit elongated or bigger. In order to give focus to a certain part. Or if you want to show more of a certain part, you can just exaggerate and make it bigger, more prominent than other elements in your artwork. Now we'll let it dry. You're drawing a chance to dry. Next, we're going to use an apricot color, that's A21 to and we combine it with a yellow ocher, That's A11 three to make this sort of skin tonality. In these small spaces. If you feel like you've applied too much color, you can lift it with your brush or move it back into the right space, are lifted with your tissue paper. But notice how I'm leaving a little white line above the eyes. Now when it comes to skin tones or skin tonality, it can be a little bit challenging to create them. So do have a few trials. Test out some tonalities that are more brownish or pinkish or reddish. Just needs a little bit of practice that mixing of color. We use a tissue here to lift some of the color just to make it a bit lighter as well. Which might give you the effect that you need really, but it's nice to have some color on there so you can make your color mix a bit lighter. I'd keep in mind, even when you're using a tissue, you're not pressing really hard on your paper to remove, to remove some color you want to do it gently. Next, we're going to add a serenely in blue that's A123, just to work on the details of the peacocks feathers here. We're almost done with our Korean figure wearing the Korean outfit here. Keep practicing. I would recommend repeating this, this artwork or this drawing a few times. Just to work with using these tonalities that are close to each other. And that's it. Hope you've enjoyed this tutorial and see you in the next one. 34. Royal Imperial Male Clothing Design: Korea: Hello everybody. Welcome back to new tutorial. So far we've characterized and drawn some figures and their costumes and outfits with their motifs using their traditional clothing. Today we're going to draw another Korean figure here we choose a model and then make our desired changes onto our artwork here just to give our character a little bit more emphasis or to exaggerate a certain part to give it a bit more attention. So now in this older Korean men's clothes has had is something that is quite notable. Starting here with the pencil. Has eyebrows and eyes are even more notable and attractive. So as his mustache and beard, they give him a kind of like wise look. These elements which seem attractive or stand out are a good opening point-like or appoint to exaggerate on or focus on in order to build our character and draw them. We simplify and summarize what we want to draw and we exaggerate some parts of it in order to create something new. So by exaggerating, it means that if you're really attracted to the hat e.g. you make it a bit bigger. If you want to focus on the clothing, you make them bigger in proportion to the head or the body in a sense, we draw a bigger body comparison to our model here we can exaggerate the size of his hands on the garment as well. On the other hand, you could do the opposite where you draw his head much smaller. And so that the outfit looks a bit bigger here. And as you see, the color of his clothes is red and this leaves make his garments look even bigger actually, the way the folds are. Take your time to create your base sketch. You want to do it very lightly. In the middle of his garment here there's a picture of a dragon and there's a circular space for it. Generally, a dragon is an interesting element in costumes and designs. It has some detailing on it, so we'll try our best to achieve it. On the shoulders we see drawings of dragons as well. Since later on we want to draw the dragons with our brush and watercolor relieved these parts untouched in a sense like the white of the page. So later on we can add those details and have the option of having the brightness of the page come through here because also the garment has two colors. So we want to indicate which parts are the highlights. There are two slashes on both sides of his garment. So I'm indicating that, as we said, His garment is in two tones to colors outside of it is a read and the inside color is a blue. If you're not sure at any point what to do on a certain part or how to convey a certain section. Just follow my lead. We finished drawing the base sketch here. We, it's our guideline in order to apply our colors. Now we have our palette on the right. As you can see. Take your time to set yourself up. We start off by making this space wet with water. We're using our wet on wet technique to color the fabric. We're applying water onto the surface. So our surface is wet and then we're also applying wet color onto it that's wet on wet technique. Apply your water exactly what onto the places you'll want to color, not everywhere. We make the brush soaked and apply it on the part we want to color. We don't touch the middle circle. Use the tip of your brush to get specific and detailed as to where the water sits. We've made it completely soaked. Now. We've outlined our circle very neatly. If you need to pause the video, do it and then press Play when you're ready to continue together. Now, we're using a Scarlett that's a 106 with a little orange. So we're mixing that color mix, an orangey yellow, which is A11. For now we apply it onto the clouds. Observed my application. Look at the way I'm applying the color, I'm creating more mixture. And I go back in and they add my color carefully and onto the parts that I made wet. Take your time the patient. Remember to make use of your downloadable resources. Your downloadable resources have all the information necessary for every tutorial that you follow. They include the medium that we're using, the tools that we're using, the colors that we're going to be using, the list of steps that we go through. They will also include the grids and the sketches for you to create your base sketch, which are there for you to be able to practice. So do make use of your downloadable resources. They're there to help you throughout the entire course. Now, look at the texture that we've created so far. We make the lower part of his garments width two, and then we apply a little bit more red color. I didn't wash my brush completely because I'm applying the same color down here, so it's okay that it's diluted. I just wanted to make the area a little bit more wet before I apply my color here. Observe my technique. We are here to learn together so you can mimic what I'm doing. We're applying the color now onto this part even without any light and shade. So you're pulling the color a little bit in a place which is more concentrated in order to get a more shaded area, then you spread it out where it gets lighter. But you don't need to do so much for the lighter part because you have this background, this nice, lovely pink background. When you apply your color, you can let the water run with the color intake, the color to the other parts. And it naturally creates these light and shade along the way. We want to go over all parts. Now we have the base of our work. You check that a part is dry before we start working on it because then we can assess how much water to add. The part on top, go dry so we wash the brush very well. We make the circle in the middle wet because we want to avoid having any color transfer it into the red. Here I'm using a yellow pale color, that's A13 nine. And we apply this color on the circles. You can direct the color right to the edge. You just wanna do it carefully so it doesn't seep into anything that might still be wet. You can mix the yellow with a little bit more brown if you wanted to. Look at how beautiful it becomes. We're assembling the different parts together. We want to create this background tonality so that once we add our details and build the layers, you'll have this nice rich full art work. Now we let it dry. We let the yellow parts dry. And again, we wash and clean our brush. Before we move on to the next step. Here we're adding a Prussian blue, that's an a E116. We apply them on these parts, which is the inner part of the garment. Remember how we said the inner part is that now with a black noir, That's A16 three, we color the hat. We color this figures hat. We don't need to make the paper wet at this part since it is a bit smaller, you can just have enough moisture on your brush and just go in and color the hat. Feel free to send me any questions you might have along the way. Be it about the materials or the process or anything you want. I'm here to help. Here we're coloring his beard. His beard is long and under his chin, so we add it like this. We do a curve at the top of the beard in order to be able to show the chin as well. We then add the eyebrows. Notice the way that I'm holding my brush. Look how close my fingertips are to the tip of the brush. We add the eyebrows nice and carefully. You can control your moisture in your brush even more. Or adding the eyes as well. We have a top line and bottom line for the eye. If you find it a little bit challenging, you could do it in a pencil just to direct yourself a bit more, but it's it's good to just practice going over the mouth area, the nose, and his face would look something like this. Next I'm going to use a color that's called Bordeaux red. That's a two-sevenths six. With this darker red color. We can mix it with a bit of a brown tonality. We draw the dragons inside the circle so you need to give them a chance to dry. So if you need more time for them to dry the yellow areas, just pause the video and then go in and add the details when you're ready. Observe my application. We draw the pattern of the dragon, but we don't draw all of its details only a general shape. Let's see how it's going to look. And as mentioned earlier, if you need to use your pencil just to go over the sketch of the dragon, just to know where to apply your lines here. You can do that. The alternative is to simply keep looking at your model image that's in front of you or next year, you apply the lines as you see them as best as you can. Don't worry about mistakes. Just enjoy the process. Apply your focus, apply your lines. As you see we're completing this dragon with some curved lines. With these curved or wavy lines, we can create the general form of a dragon. Adding some dots. Feel free to send me any questions you might have along the way. You can also share with me your drawings at any stage. I'm here to help. I'm here to give you feedback, maybe some guiding pointers. Now, because we've darken some parts we need to dark and other parts to. And of course we need to leave some of the yellow background that has to come through. You're not you're not. We're not trying to cover everything. We just want to show some of that dragon drawing. So you need to have the dominant background as your yellow. The yellow is the dominant surface. It's the context where you're placing this dragon and composition of the yellow background. We're using your board door red and some black to create the dragon. So you have these dual tonalities here. As you can see, we've created the background within a general circular outline. It's not extremely precise, but it's a general circular outline and that's about enough. It's a yellow stain. Without a specified outline. The beauty of this border, border less part is that we can draw something straight and sharp lines within it and go over the edges and still have that nice, beautiful the yellow halo. Next we draw the lines here between his sleeves. Just like that. Take your time. Notice that with just some simple lines, simple touches that we've added the creases of the fabric. At the same time, we didn't have to go through a lot of detail. We just need to indicate where the creases in the fabric are. Every few minutes, take a moment to look at your art work. Stopped for a moment. Look away. Look back at your art work just to have a chance to look at it with fresh eyes. And you'll notice right away what might be missing, what can be added, what's next? It's good to generally just take a break because we can focus so much on our drawing. We might even forget to look at our model image. Again on the shoulders we're adding the figures of the dragon again, our colors a little bit lighter, were also drawing some clouds on the garment itself. It's okay if we cross the lines, that yellow halo, We've done that in the middle circular areas. So it's okay, just adds more detail and makes it more consistent and makes our work more beautiful anyways, with more details. Even at the shoulders. Notice how some lines are crossing the outline of the shoulder, which is fine. It's part of the aesthetic of watercolor. It's not necessarily seen as a mistake. Continue adding our details. You need to add the feet here. If you prefer to have your color a little bit lighter, you can dilute it. Next we're going to add some crosshatching, cross hatching lines to these parts of his garment. We don't want to add more details. It's just an indication that it's on the inside of the garment. You want to limit the amount of detail you want to put in this style or this aesthetic of artwork. The beauty of such work is in its simplicity. In fact, with the simplest touches, we could create this character several times while altering colors and other aspects. We add the final details. Here. We finish our artwork. Add your details. Make sure you go over all parts. But that's it for today's lesson. I hope you've enjoyed it and you're able to practice more. Keep practicing, gain your confidence and enjoy the process. See you in the next tutorial. 35. Female Traditional Clothing Design with Watercolor: Russia: Hello everybody. Welcome back to new tutorial. In today's tutorial, we're going to work on some Russian traditional clothing, same as China or red. The red color is used a lot in Russian clothing, especially local dresses. And it's a color that's also permanent and not just on fashion, but also in the cities and own buildings, such as you have the Red Square in Moscow. Now we're going to draw two Russian characters. We're going to simplify their clothes and color them with watercolor. Take your time to set yourself up. Remember to make use of your downloadable resources. They will have the grids and the sketches for you to create your base sketch. Here we're starting our initial sketch with watercolor. You're more than welcome to started with a pencil to create your base sketch and then go in with watercolor. That's completely fine. But remember, you can use your watercolor for your base sketch if you dilute your colors a bit more as well. Remember your downloadable resources, they have all the information necessary for every tutorial will include the list of colors that we use or color combinations, the materials and so on. Now we draw the outlines of the drugs. We're using a round tip brush. We're also using a cadmium red deep hue watercolor, That's number 9898, observed my application. After we determine the lines, we're going to add water on these parts here. I'm applying it to the other side as well. And then we're going to add a cadmium red deep hue watercolor again, that's number 98. And we add it to these parts because we've added water. So now we can add the color in. Take your time, clean up your lines. This is a red dress with colorful margins and white sleeves. Make sure your wrist is light. No, Tom holding my brush and how I'm applying the color here. Feel free to send me any questions you might have along the way. I am more than happy to assist. You can also share with me your drawings at any stage. I can give you some feedback if you want to, or some guiding pointers. Now we connect these two parts here. Now we go through the chest and draw this part of the clothes like this. Next we're going to determine the hair of the character with ivory black, That's watercolor number 331. Her hairstyle is very simple without any details nor accessories. This is considered traditional Russian clothing. Now we're adding the elements of our character without any extra details. If you have any questions about water coloring in general. And maybe ideas you might have about combining two different mediums like watercolor and maybe using a pen liner and so on. Just feel free to message me anytime I'm more than happy to chat about it and maybe give you some, some ideas or some pointers. Now, here we color this part with a cadmium yellow hue, That's watercolor number 109. Recolor. The bottom parts as well, the open spaces. Now we color this part of this leaves with cadmium red deep hue. Again, that's number 98. We make the cheeks of the character like this. Our character is blushing a little bit. We're going to add Alizarin crimson hue. Now, it's watercolor number three. And we're adding it onto this part. Take your time, be patient, and apply the color everywhere it needs to be. We're going to add shading layers on these parts as well here. We can also use the gouache technique in order to add separated colors on to our character. And it doesn't matter whether we use watercolor or gouache. It's really up to you. And up to us really whoever, whatever techniques suits you best. Next we show this leaves with some brush strokes like this. Very simple brushstrokes just enough to indicate that the sleeve is there. Observe my application. Look at the way I'm creating these lines very freely. The sleeves are puffy and we used watercolor in order to show the shading layers of the sleeves and in fading them as well. We use the watercolor techniques for this leaves because I can achieve that translucency with it. I can go very light and make the color diluted. So it looks transparent. Now the more you practice, the more the easier it will come to you and you'll be able to create those. Those techniques are those gestures and that transparency. It'll come to you easily. You just need to practice. Try to pull the color at places that have a shadow. So that way they dry off as a shadow. We're adding the lips of our character here. Character is wearing a necklace as well. Now remember if you don't have the same materials as the ones that I'm using are the ones on the downloadable resources. Just work with anything that's available to you. Anything that you are more comfortable working with, don't let the lack of materials stop you from drawing and water coloring and practicing. Now pay attention here that we keep the white parts, the light part that we want them to be the white of the page. We need to keep them white. You don't want to touch these, you want to leave these as they are. Now, we're going to add a viridian hue watercolor on this part here. The viridian, viridian hue watercolor is number 696. Our character looks like a doll here. Now we're going to draw another character on this part, same as, same as we did with this figure. We go through the same steps in order to build our figure here, the idea is to focus on the clothing really. First we're going to draw the main lines. We need to add some red lines on these parts here. You want to add your details carefully if there's too much color on your brush, just dab it off onto a tissue paper. This leaves are puffy sleeves. The cuffs are wide. Until this part gets dry. We're going to fade this part. On our other figure. We fade this part because we can make our work more attractive with lines and faded colors. Give it a try. Don't be too worried. The only way to know if different techniques or the combination of different medium works together is to try it out. You can observe my application and see how it turns out with me and then apply it onto your artwork. Don't be afraid of using the different techniques. It's the only way to learn and discover and play around and know more about your medium. Remember to make use of your downloadable resources because they have all the information that you need for every tutorial that you follow. It's there to help you practice and look at the material and get familiar. The more you practice, the better you get. Now, this fading technique that we've added to our figure here on the left, made it more beautiful, a little bit more faded on the edges. As if there's this transparent cloth or the round, which is quite nice. Now we're going to draw the shoes like this. Next, we're going to determine the head of the figure here on the right. I'm just separating the hair into sections so I can show the form better. We color this part with ivory black, That's watercolor number 331. Observe my application. We sketch the form of her dress like this. Of course, every dress and clothing has its own special model and design. So we want to keep looking at our modal image and replicate and redraw it onto our page as best as we can. We blended the color of some parts and kept the color of some parts without fading them. I'm just giving some detail to the bottom of the dress here. Tried to simplify your drawing or your artwork as much as possible. Don't worry about creating basic drawings, basic artworks because those basic lines that you create their unique to you. And that's the nice part. And you keep practicing and keep developing. And you can discover more and more about your own style of drawing or water coloring. These are the cuffs of the sleeve. And we determine the hands and the sleeves with the ivory black watercolor as well. Again, that's number 331. Next we use some red for the lips. The cheeks are red while, and we're going to show them like this. We sketch these figures almost like a mariachi codon, Matryoshka doll, excuse my pronunciation. And the cheeks of the matryoshka dolls are like this. They have these red circles on them for blushing. Take your time, Keep going over the details. Although the sketches are simple, we need to add some details on the figures. These little details are simple in themselves because they are dots are little lines. It's about placing them alongside these faded background colors, cloth creases and so on. So the details are important because they bring character and contrast our art work. And they give our artwork some richness because there's more to look at. The sketches should not have a lot of detail. So when you're sketching on the other hand, which is the base sketch, it doesn't necessarily have to have a lot of detail. Especially if you're creating an artwork where it's solid colors, big, flat areas, it can be in that aesthetic as well. So it's not a rule that you can't have details or you can add as many details as you want or as little as you want. We are drawing a red shoes for this character here. Sometimes, brushstrokes using a black watercolor can be a little bit messy. We're going to cover them with some hatching lines like this. So the dress of our figure on the right, the brushstrokes of the ivory black, which is grayish, can look a little bit messy. So I want to make it look more attractive by adding these hatching lines. You can also add some darker shades. As I'm doing here. You can go over it with another shade of color. I'm adding some details on the shoulders for the eyes. Pay attention to the direction of the hair here. It's almost swinging to the side. We need to edit this part here because it's better to add a darker shading layer on these parts instead of hatching lines. And it's more true too, the model image that we're referencing. So it's really up to you if you want to add hatching lines or a darker shade of color, a darker layer. Give it a try. Either way. I'm adding some more details here. I want our work to look attractive and the more details I can add or that I see in my model drawing model image and that I apply to my art work, the better. It's just good to practice at one. So at least to put all the details. Although details can make our work more attractive, you can choose to put less detail and apply a different aesthetic. Really. Take your time to complete your artwork and feel free to repeat it as many different, as many times as you want with different iterations, like adding different details in order to get inspired or to exaggerate certain parts of it. Keep in mind that you can go back to the lessons before in this course. And if you feel like a certain culture or two cultures, they compliment each other. And you'd like to create a figure that's wearing a piece of clothing that's inspired by both. You could do that. That's very good practice. We've looked at different cultures and it's good to have learned from it and to look at the material that is available to you and your downloadable resources to learn more about these cultures and the history of it really. Now, you have some history here as well, where some elements that we're looking at or images that we're looking at. Their photographs or paintings. Some of them are inspired by Chinese art, others are inspired by the Qajar period. And you can see the details either on the faces or the bodies and the details of their clothing and so on. But that's it for today's lesson. I hope you've enjoyed it. Keep practicing and see you in the next tutorial. 36. Traditional Female Clothing Design: Persia: Hello everybody. Welcome back to new tutorial. In today's lesson, we're going to draw an Iranian woman that has black hair, black eyes, and eyebrows. We use the Iranian motifs a lot in our works. We're going to explore it a little bit further. I'm using a pen liner here. Now, it might be a little bit more challenging to create a card or woman character here. But we're gonna do our best. Remember to make use of your downloadable resources. They will have all the information necessary for every tutorial that you follow. They will also include the grids and sketches for you to create your base sketch. They will list the colors that we'll be using, our color combinations and the steps that we go through. So do make use of your downloadable resources. They're there to help you practice and assist you throughout the course. Take your time to create your base sketch. I'm using my pen liner here to create my primary sketch. We're going to add some more details on the head. These elements help us to increase our creativeness. As we did in previous tutorials, you look at your model image, you look at the elements of the motifs and the details. And you can either exaggerate them to give them more attention or add some more of them on different elements. Although some elements might seem repetitive, there's still new and attractive and you can apply them in a unique way. Our figure here has a uni brow. We add lots of jewelry onto our character here. We're going to draw this leaves like this observed my drawing the way that I'm applying my lines. Place your model image next to you or in front of you in such a way that it's easy for you to constantly look at it. Your image has the most information for you. Our drawing, our artwork as a form of simplification of that image because you are creating it in a different medium that is using only lines or a different sorts of colors. So you can put as much or as little details as you want. Really, over here, we're adding as many details as we can because we should try it at least once. We use the elements of the characters here. And then we're going to create our own character like exaggerates some parts of it. To make it more unique to us, we should get inspiration from the older images in order to create and your iteration of them. We need to study some of the history and every culture that we have covered or region that we have covered in terms of clothing, it's better to know more about the history. And here it's the Iranian history in order to become more familiar with the elements that makes it easier to draw, because you are more aware that information. There you have it. That's the initial sketch of our figure or our character here. Now we're going to continue working with watercolor. First, we're going to cover the hair with a watercolor. That's number 8001. Redraw her hair all the way until her waist. And you can exaggerate the hair. You can make it big and volume as you can get creative. The cadre of period has lots of attractive artworks and they beautiful color palette and added some special visual effects on Iranian imagery in general. Just make sure you spend some time looking at that imagery, reading about the history so you get to know a little bit more about it. And so that when you use it, you do it justice. Now, as mentioned in other lessons and tutorials, we should not copy exactly the same, the same thing that we're seeing in our model image. There's no problem in trying to recreate the exact same image. But we want to use these special elements in order to bring them forward in some way, give them some more attention, exaggerate them. Just as an exercise for us to get more inspired. Some colors like brown with a red tonality and burnt sienna or used a lot in these images. So we color this part with burnt sienna watercolor. That's number 8303. There are lots of warm colors in your paintings or imagery. Follow my lead. You have any questions about the materials, the tools that we're using, the color combinations, or maybe some questions about some new color combinations are techniques that you've used. Feel free to message me at anytime. I'm here to help. I can give you some feedback, some guiding pointers. Just to assist you along the way. Now we need to color these parts with a chrome orange watercolor. That's number a, one-zero six. The next layer that's going to be added is scarlet red. That's watercolor number 8201. We choose the colors of our palette based on the imagery in front of us. Of course you can. You can make them brighter or different a little bit. That's up to you really. The cadaver imagery has lots of decorative elements, especially with the pearls here. There are details that let's try to incorporate. We color these parts here with a dark brown like a burnt umber watercolor. That would be number 8305. We make the hand orange in order to show the henna. The figures can have Hannah also on their souls are on their feet. We're creating this artwork on the Iranian character as a model, as a one-off. But you can also find out more details on the evolution of Iranian Iranian clothing as well across time. There's a lot to discover. But look at the detailing with these little lines at the bottom of the skirt and also the dots for the texture. Take a moment to observe your art work. Maybe look away and look back at your work. Give it a sense to look at it with a sense of fresh eyes and notice what might be missing or what can be added. We do this exercise just as a way to make sure that our work looks visually logical. Well, we drew this character and according to the Qajar elements, and we've changed them a little bit or made them a little bit larger and bigger just to show more of those details. Notice how I didn't give an outline for the skirt or the bottom of the dress. I just created it with my base color and the details and the different brushstrokes. When we analyze the end of the elements of different countries we become familiar with their culture is a bit more than we can work more on those elements in order to create special and unique characters and unique artworks. And it's nice, of course, to always give credit to where your inspiration has come from. And you should look at different images from different countries in the world in order to find the source as to where their colors have come from, where these elements come from, the details, the motifs, the symbols, the history. So it's always good to be informed and learn a bit more. So we should find these elements and learn how to use them, how to draw them, what's the best medium to show them just to create our own style of drawing or painting. And also discover why something inspires us. And in a sense, you'll understand more as to why you've created certain characters. So first we've copied the form from the images that we have, and then we've exaggerated some of the elements and develop them in our own techniques. We simplified our characters. We made some elements bigger. We've added jewelry onto our sketches. And we tried to create new characters based on our own understanding and creativity just as an exercise to get more creative. And then we've used different visual images and we got inspired from them for our sketches. I hope you are able to practice and try out different techniques throughout. As you know, you can create different characters with a variety of techniques. So you can combine techniques and you can also combine mediums. So that's always good practice. And don't be afraid, don't worry, It's all trial and error. You need to make the errors in order to improve, in order to see how to get better and to keep practicing. Always keep practicing. It's the only way to get familiar with your medium. To get more comfortable with your tools. Understand what kind of effect and aesthetic they can give you. And that way you become more confident and your application becomes more relaxed and free. So you should look for a variety of images just in order to have that information, that knowledge. So when you are drawing, when you're creating an artwork, you're more informed and, um, you know the source of your inspiration as well by practicing, we learn from our mistakes, so don't worry about mistakes. And there's always room to grow. We should look well and use original sources and reference them correctly. So that's it for today. Thanks for watching. I hope you've enjoyed this tutorial and use the techniques that you've learned in your works in order to increase your creativity. See you in the next tutorial. 37. Traditional Couple Clothing Design: Persia: Hello everybody. Welcome back to new tutorial. Today we're going to draw two uranium characters from the Safavid period. Let's take a look at our model image here. This is our sample. As you see, the form of the bodies is exaggerated and a little bit elongated. We can use the elements of this image in order to create a special and a bit of a fantastical figure character. Each surreal or unreal element can be unique and special. We can use these points for our sketches as a point of creativity and exaggeration. These elements were repetitive and used a lot, so they are quite common in Iranian paintings. Now we're going to simplify this sample and start by sketching it onto our paper. First, we're going to start by drawing the initial sketch of our work. Now, remember to make use of your downloadable resources. Not only do they have all the information necessary on every tutorial that you follow, but they include the grids and sketches for you to be able to create your base sketch. They will also list the colors that we're using, the color palette, the color combinations, the steps that we go through. And it will also have your model image on some extra information. So do make use of your downloadable resources. They're there to help you practice throughout the course. I'm creating my base sketch very lightly here. You can add as much information as you need in order for it to be your guide. So your base sketches, your guide as to where you'll be applying the colors. So if there are certain details you don't want to miss or a highlight that you want to keep the white of the paper. You want to indicate where it is, just so you don't miss them. First, we need to understand the elements and the features and then use them in order for them to, in order for us to be inspired by them or use them to create our own character. Take your time to create your base sketch. Remember that it's completely okay to practice from the available outlines. And you can even print them out and trace them at the beginning. When you have practiced a lot and gain that experience, you will slowly start to draw your base sketches freehand using freehand movements. And in this very light style, It's really about looking at your model images and being able to draw the lines as you see them. But we all need to use a kind of outline or a beginning place where it makes it easier to learn from. Once you've completed your initial sketch. Then we're going to color it with watercolors. As we've practiced before. What we first need to do with watercolor is wash your brush. You can have very little color in it. Then make the tip wet and add water to the surface you want to color. We're using the wet on wet technique here. First we've made these parts wet and then we're going to add color onto them by specifying the area you want to color your controlling where your color is going to go. The first color we're going to use is a scarlet red. That's watercolor number 8201. You can make your mixes onto your palette here. Observed my application. The way I add the color and let it take its direction and then I move it around. It's not attractive to use the texture of this Part a lot. So we're going to add this texture on the right places. So there's a certain aesthetic to watercolor, that cloudy, cloudy aesthetic. Now, this is the shading layer of the hand. We're going to color this part as well. We're just making a slight separation between the arm and the torso. Now remember if you don't have the materials or maybe are using different materials than the ones that we are using here are that are listed in your downloadable resources. Don't be discouraged. Don't let it hold you back or make you think that your work is not gonna be as nice, Not at all. Enjoy it. Use anything that's available to you. Don't let a lack of materials stop you from watercolor in drawing and practicing. Next, we need to add water on this part. You clean your brush as much as you can, but it's okay for it to have a little bit of color. It will act as a base watercolor sketch for you. And it will mark the area you are going to work on. I'm applying the red color again to this part here. You can drag your color into the corners and the detailed outlines of your art work. So use the tip of your brush to lead the color, spread it to the right spaces. Observe my application. We don't color this part here. We want to pay attention that we need to add the colors on the right places and accordance to our sketch. That's why we have our guideline as our base sketch. And it's okay if mistakes happen, you need to practice several times in order to gain that experience and that confidence to apply the water exactly where it needs to be and so on. Now we're going to draw the woman figure on this part. We need to watch the tip of the brush. Over here. I noticed that I forgot to mark the hand of our male figures, so I'm just adding it. And visually that reminds me to avoid this area. For now. There's also a goblet and the male figures hand. But now we're adding water on this part using the tip of my brush. We need to use our techniques for all parts in order to create harmony into our sketch so we keep our techniques consistent. We need to use now a spring green watercolor That's number a 600, so six zeros, zero. And then we're going to add the color onto the female character. Here. We move to work on different parts while working with watercolor because you need to leave the first parts to dry. Now remember if the videos are a bit too fast or my pace is too fast. Always pause the video. Take your time to complete any part of your art work that you were working on and then play again when you're ready to continue together, I do advise to work together at the same time with the lesson. It just gives us a sense of time and a little bit of speed and consideration for how our watercolor or watercolors are drying. But do pause the video when you need to. There's no need to feel overwhelmed. Now we're determining our sketch here, our artwork by adding colors on the parts that start to bring out the outlines or the general shape of our artwork here. Be patient. Take a moment. Every after everything that you add, take a moment to look at your artwork and assess what needs to be added. Now we're going to work on other parts with a dry technique. We've used the wet on wet technique so far in order to create the background shading layers onto our characters. Next, we're going to use a more derived techniques so there's less moisture. We need to use a Violet watercolor. That's number A4 zero too. The way that I'm holding my brush and applying my Violet watercolor. We add color on these parts. The combination of colors in Iranian paintings is very beautiful. I'm applying my violet to this part here. If you're worried about a certain color, maybe being a bit too dark next to other tones or other colors. You can dilute it a little bit and see how it dries and then build more, add another layer. If you feel like you want to make it darker. Using your tissue paper, we need to take off the extra water of some parts. Then we're going to add color on it again. But the difference is that you can add the color with less moisture, e.g. you can remove it in order to make some edits. So you don't want to press too hard with your paper towel or tissue onto your page. You wanna do it gently and lift the color off. I'm adding my red back in here. Just to re-emphasize the arm and the torso. I'm adding my darker shade of red here in parts were there can be a shaded area or more of a shadow. Next we're going to color the socks of the character with a Violet watercolor. That's number A4. Zero to. The more you practice, the more you'll, you'll, you'll know how much color to add to your brush, how much moisture to add to it, depending on what you want to achieve. All these decisions will start to come instinctively to you. That's why it's important to practice. Because the only way to know and feel those things is by using them yourself, trying them for yourself, and seeing what kind of effects they can give you. Redraw the socks like this, as you can see. Now we're going to add some patterns on these parts with the tip of our brush. It's almost like little stripes, but they are curved stripes. The secret to successfully creating drawings with clothing from different cultures is really to add the details. And we keep building those layers. And the more details you add, the more you're referencing that culture, that history. And there's more to look at and enjoy. I'm using very simple lines like dots or tear shaped dots, curved lines, and I'm adding the details. The details also allow for your artwork to be richer and have a higher depth of perception. So there's more to look at. We add some details on the clouds as you can see here. Just like this with a combination of three dots that almost look like it's a pattern or a flower. And these details as well, They bring your work together, they make it look more complete and they referenced the culture more appropriately or the modal image. Now I'm adding details to the clothing of the female character. We're going to work on the woman's socks with scarlet red. That's watercolor number a to 01. If you have any questions about the materials, the color combinations, or if you want to combine two different mediums together to create your art work, you can message me at any time, we can have a chat about it. Tell me what you have in mind. And maybe I can give you some guiding pointers with the same color. I'm going over the belt area. Take your time. You want to add the details step by step. I'm adding the lips here. Since our eyes can recognize the legs, we don't need to draw the outlines for the calf and the leg area there. So we don't draw all the lines because we want to simplify our sketch. We want our artwork to look a bit simpler. So there's a certain aesthetic with how the clothing, the outline of the clothing is already giving shape to the leg. So you leave it, just let it be and it looks very attractive or ready. Now we're going to work on the hair. We're using a watercolor that's number 8001. Observed my application. If you need to rewind while I'm working on a certain part again and again, just to look at it or look at what we're trying to achieve. Just watch it several times. You can practice on a side piece of paper before you apply it to your art work. But mainly just mimic what I'm doing, copy what I'm doing. We're here to learn together. And over here we've really simplified the hair. It's these curved lines, these curly lines just to indicate the hair. Uranium paintings have complicated sketches with lots of details. So if we simplify them, we can have new sketches. It's like a new aesthetic or more basic aesthetic, which is also beautiful. Again, I'm adding the mono brow here. In many cultures, a mono brown was a symbol of beauty. And there are many other aspects that are considered symbols of beauty, both for male and female in different cultures. Feel free to send me your artworks or your drawings or sketches at any stage B, it finished or not finished. I'm more than happy to give you some feedback. Maybe some guiding pointers if you need them. Just finishing up the hair of our male figure here. Then I'm adding also the facial features being very specific and particular. You want to focus. Now I'm applying some color to the hat. The hats of each figure are different. Now, for the next part, we color it with a burnt sienna watercolor, That's number 8305. Burnt sienna is one of those versatile colors. It harmonizes. It's a very warm tone as well. There's an instrument that she's holding in her hands. So I'm just trying to show that part. Adding the detail of the necklace here. We color the color of the man figure as well. When you have a color on your brush, before washing it out, look at your artwork and try to find if there's other areas that need that same color. Applying one more line here on the color area for the female figure. Next we add color to the crown of the woman's head. Next we are going to add a bright color for the hat. That's a sunburst yellow watercolor. Now remember if you want it to look brighter, you need to completely clean your brush or your water. But if you want that tonality, that little bit of brown tonality, just leave it in and let it dry and then you can build on that. I'm always curious to look at different, different results in different artworks by people following the lessons. So feel free to share them with me if you have questions about them as well. I'm happy to help. So we've added a bit more color to the instrument where we've completed the shape as you saw. Now we're going to color the skin tones of our characters. So here I've combined a magenta, That's a 400, and I've combined it with a sunburst yellow, which is a one-zero, one-two. I'm trying to do it very lightly. Just being careful from the other details on the face. We also need to color the hands as well. We've almost covered all parts we're getting there. If you feel like you've applied too much color, just use your tissue to gently remove excess color. We've almost covered all parts. We need to let our sketch dry. We need to keep some white parts, Y2, we don't want to touch the parts on the socks. Now we're going to add some details on this part. We create the texture of this part with some details. The next time you practice, if you are going to repeat this artwork again or this drawing again, take a look at your source images. Visually decide what details you want to add. Those patterns that I'm adding, they can be different. They can be stripes. They can be any element that is showing in your image and your model image. Now we should look at the original Safavid artworks and analyze their details and elements and see which parts we can be inspired by and learn from. Now we're going to determine the lips of our male character here. It doesn't really matter if the faces of our figures, they become a bit deformed or not looking the way you expected, that's completely fine. We've just determined them just to indicate that this is the head or the face. Now we need to draw the goblet or the cup, which is in the male figures hand. We're showing it with a triangular shape. You can also choose to play certain elements or color the menu using a different medium. So e.g. you can use a colored pencil technique in order to work on the couplets. Say, it's really up to you. We're going to add some details around the figures now. Now when you're looking at your model image or a source of images to learn from and get to know more. You can, you can look further and see what's in the background. What techniques have they use to illustrate such drawings from that period or that era or that timeframe. And you can kind of create a background for yourself here that you have developed yourself. What our work is mostly done. We've simplified and sketch two characters according to the figures from the Safavid period. And it's better to take a look at the original images and analyze the details and elements. After that, you can simplify them or exaggerate them in any way that you can. So the rule is get familiar, get informed, and inspired from the images, and then, and then proceed to practice and create your own character. That's it for today. Hope you've enjoyed practicing different techniques and see you in the next tutorial.