Pen and Ink Drawing and Techniques for Beginners

1. Pen And Ink Introduction: So in this class, basically, we're going to learn techniques of pen and ink. We are going to impact any you're combining value in line. So first we're gonna do objects in some of the techniques. So we're gonna do wash with a brush. So here we're diluting with water to create different values of wash. And then we're putting, we're painting them on with a brush and creating values. You can use a technique of wet into wet or wet over dry. And here we're using the pen to create line different areas of value with lying. And this is contour hatching. Then we're gonna do combinations. So that first-line didn't turn out that well, so I did another one. So this one is with a thinner tip of the pen, has different tips. You can dip the pen and black or you can also dip it in lighter value washes. And then this is wash online. So you can combine wash and lines to create a really nice drawing. You have to let the areas dry. And then the other combinations are Washington charcoal. So this is just doing the wash, letting it dry and then using charcoal on top of it to enhance. And then this is white and colored pencil, the same thing. So doing a wash and using colored pencil on top of it for this, you can lighten areas that you got too dark. Then we're gonna do a series of ink drawings. So this is just using the techniques that we tried out. So this is just a wash. Dry Valleys actually take quite a bit of time. This is a wash and charcoal and colored pencil drawing. And when you do drawings like this, you want to let the Washoe through. And this is a wash and line drawing. This is a line drawing. And the last one is just kind of extra fun. It's kind of loose gestural line drawing because we haven't done that. And that's extra 2. Pen and Ink Techniques- Wash/ Line: Okay, So this is a little bit of a different medium. And there's pen and ink. There's a lot of different combinations to use pen and ink with. And the first one is washed. So I have this little watercolor palette and I filled it with water. The first thing I'm going to try to do is fill these four squares with four different values. For the darkest value. Here's my ink right here. For the darkest value, I'm dipping tiny brush into the ink and putting it in the darkest square. So now I want to make a light gray, a medium gray, a lighter gray, et cetera. So I'm going to again try to it. This is a little bit challenging. I put some black ink on the brush and I'm putting it in this water. And I want to see what value I get. I'm going to test it out up here first. So it's kind of a very light value. I'm going to try to make one that's a little bit darker over here. Putting a little bit more. And I'm going to test it out. Kind of looks the same. So the reason that this is hard is because they end up looking the same. So you're going to have to mess around with this to get different values before you start. Let's try it again. Now that's a little bit darker. So I'm gonna put that one in the middle. And I want to make one in-between. I'm going to put this lighter one right here. Maybe. That's too light, so that one should be right here. And then I'm going to try to make this a one that's a little bit in-between those two. And I'm testing it out up here. That looks kinda good. And then I want to make one in-between these two. So you might have to mess around with this for a couple of minutes to get it to look right. And let me test this one out. Needs to be a little bit darker. You can make more than five if you want. But I mean, at least five would be a good idea. Okay, So that one's gonna be right here. I am using watercolor paper. So as you see, it takes a little minute to drive. So the first ink drawing that I'm going to do this is not actually a drawing, it's just a shape to show you the different techniques. So I'm gonna do a wash, a shape and wash on a shape in line. In this video. Hold on. Let me just move this over. Okay. So I'm getting, I'm doing my sphere again. And this part is really dark. When you do this, you don't want to go really dark first. You want to start out light and then get darker because you can't, you can always dark and a light but you can't fix it if it's too dark, you can't erase it, but you just have to work with it. So you want to be careful on adding darks. And the bottom part is really dark, so I'm adding a medium right here, and then I'll make it darker. When you're doing this. Let me show you so wet into wet. So this is still wet. So if I put the bottom part is black. So if I put black, just I dipped it in the block and put it on there. It believes there's people that like to work in different ways. Some people like to bleed but you can't control it. So you're working with an accident or you're working with whatever happens right? Then some people like to let areas dry and then keep going in there. But if you do that, you're going to probably see a line. Like instead of blending But when you let it bleed, the blending is how can I say it? You can't control it. So you just have to figure out what you're good at or what you like. And it's very light at the top. I'm kinda trying to let this dry and I'm going to another area. This can be fast. I mean, it can take a short time or a long time. Now, I'm just dipping my brush into the water. Because when I dip my brush into the water, I want there to be a white highlight right here. It's going to dilute the value, right? So I'm trying to keep diluting the value so it gets lighter and lighter. And lighter. If you've ever done watercolor before, this is like watercolor, so it's like very, you're working with transparency, right? It's, it's it's kind of hard sometimes I use my fingers. You can also use Q-tips or paper towels to kind or cotton balls. Okay. And then the cast shadow is really dark, but I'm going to start it out light. That's not perfect by any means. I just wanted to do a quick demo for you. This is not the drawing, it's just a demo of a technique. Trying to find the darker value. I'm gonna be careful at this edge because I don't want this edge to bleed into the shadow, right? So like if you have time, you would let it dry and then you would do another layer. You know what I mean? Some people just sit and let layers dry. That's way too light for the cast shadow because the cast shadow is the darkest part of the drawing. So I'm gonna get some dark. Like right now, I'm just I guess the the technique I'm showing you right now is bleeding. So we're bleeding one wet layer into another. But I mean, if you don't like it, you can wait for it to dry. I actually do like it, but if you use this method, you may make a mistake that you can't fix. You should experiment with both. It's kind of lightening up over here. And that's the positive about the bleeding. You can kind of get some blending in there. But it's not as easy to control as like a pencil or a charcoal pencil. I'm trying to bring this up to the edge, but still let the edge of the ball show. And now the edge of the ball is dry. It dry. Oops, there at bled a little bit. It dries pretty quickly. There we go. So I'm pretty happy with that. I mean, It's not perfect. And then you have the pen. So you will have a pen that has different tips. These are really old, but you can pull the tips L and then you can put them in. So I'm going to start. This tip is very old. So it's basically like crosshatching. So like in the darkest one, you have a lot of crossing lines. This is kind of a fat tip. You want to try out all your different tips. I'm going to try out another one really quickly. That's not that one's too old, so I'm just going to work with this one even if it doesn't look perfect. So if you wanna get later, you're going to have less crossing lines, but you can also use I just dipped it in the lighter value. So you can use the lighter value as well with the pen. So like say for the first one you want to have like a series of lines this way. And then the next one you wanted to have two series of lines. The next one you want to have three series of lines. I'm going to move into the darker now. But you can change. What I'm trying to say is that you can change the value of the lines by dipping it into washes. Sorry, this is, this pen is really old. But I'm gonna try to do it anyway. And then you can even have another layer of lines here. So I'm going to attempt to do this cone with a line I'm going to start with an outline in black. This would be like if you're only using line, it would be like crosshatching or contour hatching, which is something that we looked at in pencil. And I'm going to the lighter value right now. And I'm using contour hatching lines to show the curve of the cone. I'm using a wash for this. So I'm not using the dark black ink. I'm using the ink. Dilute it with a little bit of water. Again, this will bleed too when the lines cross. So you want to let it dry? So I'm going to let that dry and I'm going to go to the other side. So I want to get these lines that are cross contour lines. So I'm showing the curve of the cone with line. And again, you can use, you can also use different tips in the same drawing, which would be like using different pencils. But right now I'm only having one tip that's kinda working. So just bear with me. This is a little bit more time-consuming than the wash. And then this is the cast shadow, which is gonna be done in line and it's very dark. So I'm going to do a series of lines like this. And then I might want to wait for these to dry to see how they're bleeding. So I'm gonna kinda put some water. I'm dipping the pen into the water as well to get the dark off of it. And I'm going to come up so I'm using cross contour lines in this direction two. So this is a cross contour in two directions. Going up and down. The surface is, the lines are gonna be straight, right? Because it's a straight surface. This pen is very limiting. I didn't really, I wasn't really, I haven't used it in a long time and I wasn't really paying that much attention before I started the drawing. So I should have tested it out. So it's a little bit darker at the bottom. So I'm going to have more lines and I don't want it to bleed. Now I'm going to go back to the kind of startup. So again, it's hard to control. You don't have the same control as you have with pencil or charcoal. You can erase, you can't fix mistakes. So you just have to kinda work with it. I'm gonna do another layer of lines right here. Lips. And then it'll drip and get dots on parts of the paper that you didn't want it to? Yeah. I mean, you can go that's kinda bleeding all over the place, but that's okay. That can be a part of the drawing as well. Then I'm going back up here. This isn't quite looking how I want it to look. It's supposed to look like crosshatching. So I'm gonna get some more dark and it's darker on this surface right here, on this side. But what's the positive of this? You get like a really deep, dark, amazing wine that you can't really get with pencil, right? So it's different, but it can get a little out of control and messy. So that's the bed side to it. Again, this is a piece of watercolor paper. So you wouldn't wanna do this on a piece of newsprint because the water soaks through the watercolor paper is built to hold the pen and ink. I mean, now, I don't think that this isn't really turning out really well, but I'm just trying to show you the technique. Now I'm I'm laughing at it because it kind of looks really bad. I'm using a lighter value here. So an ink with washing it. And this is still wet. So you want to consider do you want to let this area dry first? Or just let it kinda let the layers of Lyon kind of bleed into each other. It's up to you. I would practice a lot to see what you like and don't like. And you know what? That looks really bad. Hopefully I'll be able to do a better demonstration for you on the drawing. That looks horrible, but I'm going to stop it there. 3. Pen and Ink Techniques- Wash and Line: Okay, So I'm going to do washing line and I'm gonna do line again because I got a smaller tip. So for washing line, I'll start with that one. I'm going to dip the pen into the black ink. And I'm kind of making an outline. If that tip, if I have a smaller tip as well, but it may be too small. And then I'm gonna do lines right here. So this is basically, you can add as much or as little wine as you want. You can use hatching, crosshatching, contour, cross contour. So I'm trying to use crosshatching for the cast shadow. You can dip the pen into different values of ink. I'm just coming down in. I'm trying to eliminate that white area right there. Okay. You can do as much or as little as you want. I'm going to bring in some cross contour or contour hatching lines that are traveling with the curve of the sphere. I don't want to drown it in line, but you can do as much or as little as you want. If I want to make a line going over the top, I am going to get my pen in one of the washes so I don't oh, that's got that was too dark. So I dipped it in the wash. But it still had its still has the ink on it. So I probably should have tried it on a piece of paper. But Bellamy, my drawing right now, however weird it looks. I'm gonna do a little bit more line on the shadow. And then I'm going to go into one that's just line for the one that's fine. I'm going to change the tip to us, even smaller tips. So I'm taking this out and I'm getting the finest tip that I have, which is just a point. And I'm putting it in the pen. And I'm going to start out by outlining. You can change tips in a drawing. So if you change tips and a drawing, you have some fat lines and some skinny lines. That would be equivalent to different pencils. Right? So you want some variety in your lines. I'm gonna do this one. In crosshatching. You can get some really nice deep dark line work with this. It takes a longer time. When you're using a pen with a finer tip That's really dark. I'm gonna do some lighter lines. So again, if you want it just like crosshatching, if you want it to be lighter, like this shadow gets lighter over here. You can have less lines. The lines can be farther apart. You can have less lines crossing each other. Yeah, and you can go fast or slow? You can use line for contour, cross contour or also for shading. I'm gonna dip the line. I'm sorry, I'm going to dip the pen into a lighter value. So this is the wash on the pen, so it's lighter. If I wanted to have the line show the curve of this sphere, I would have to make them cross contour lines, which I did here, which I went with the curve of the sphere. But here I just made them hatching or cross hatching lines. You could spend a long time doing this. I'm gonna do a little bit more. So in the darker areas, you can put another series of crossing lines. And you get something that you really can't get with a pencil. You may like it, you may not like it. And then I'm gonna go lighter again. That's still dark, but I'm going to go around the edge. It's turning into light. So like if you put if you just dip your pen into the wash, it may still have the black from the value or you were using before. So you may have to get like a scratch paper and just make marks until all the dark gets out. I want some more light lines here. So I'm here a little bit more dark just to enhance the contrast. Then I'm gonna go back into the light because I think this needs a little bit more of a transition. Back into the shadow. The cast shadow in a little bit more. And I'm going to go back into the light and add a little bit more lines in wash here. So there you have a giant drawing with dynamic mark-making that you can't get with a pencil. I'm going to stop it here. 4. Pen And Ink Techniques- Wash and Charcoal or Colored Pencil: Okay, so we're going to learn some different pen and ink techniques here. These are techniques you can use in your pen and ink drawings. You saw line, you saw washing line, but you can also do wash and charcoal. In this technique, you're able to correct some of your mistakes. So I'm using the black charcoal pencil and I'm putting in some of the areas that are darker. I'm just enhancing the wash. I don't want to totally erase it or drown it out. But I can get some things that I wasn't able to get with just the brush. You can also do all three or all four wash line in charcoal, wash line charcoal in colored pencil. You can also put in some oil pastel or if you want. And you can do any of the combinations that you like. So I'm just enhancing some of the dark areas with the black charcoal pencil. Again, I want to leave some of the wash showing. And then I'm also going to use a gray. So I'm testing this out. I want to make some correction to this. So I'm actually going to get a white piece of chalk. So see here how it bled up here. I'm getting the white piece of chalk. And I'm kinda correcting that with the chalk. And that's why I like this combination a lot. You can kind of fix things that you wouldn't be able to fix with just the brush or the pen. And then I'm gonna get the charcoal pencil white for this area. And I'm just trying to enhance the highlight and how that bleed out a little bit more. And then I'm going to get a gray. I'm going to try to go along this edge. This would be great if this was a charcoal pencil, but I don't have a great charcoal pencil. I'm just fixing some of the things that I really couldn't control with the wash. And I'm going to get the Q tip for blending. Maybe a little bit more gray over here. So you can do a lot of correcting with this. Do I want to bring this chart up along this edge a little bit. Maybe. Neither bring it a little farther up here. I want this part to be a little bit more blended. So you could work on this for a long time. I'm just going to go back into the highlight And try to really enhance that way and have it come out or blend out a little bit more. And then I'm going to bring the Q-tip into here. So that just really there's like a patch of gray there that looks a little weird hold on. Which I can't seem to fix. Hold on a second. So you can really refine your wash that way and make it look like a lot nicer than it looked before. You can also use the black, white, and gray colored pencils, which I'm going to use. Hold on 1 s. I'm just I'm just trying to find the black. I can't find it, but these will be fine. So I'm going to start with a dark gray and I'm going to enhance some of these areas again, same thing I was doing and blend into the wash. I'm going to bring this gray up here a little bit. You can also well, I'll tell you later. Now I'm going to get the white colored pencil. And I'm going to go here. It's harder, like in see how easy it wants to lighten with the white charcoal. It's a little bit harder with the white colored pencil. You couldn't do it. You can also combine charcoal pencil and colored pencil in different parts of a drawing. Give me 1 s. I'm just looking for my black pencil. Okay. So I'm using the black colored pencils. This is actually kind of a charcoal pencil, but at least you get the idea. So again, I just wanted to show you that you can enhance with colored pencil or charcoal pencil. And you can also combine. This is actually a regular pencil right here. That charcoal was a little too extreme. So this is a regular graphite pencil. You can use this just as you used it when you were combining it with the colored pencil. Give me 1 s. Here's my black colored pencil. Sorry about that. So I'm just enhancing the areas of dark and trying to blend it into the wash. You can go over the graphite. And I'm going to put some of it in the shadow. I was going to say if you also, if you want to use the pencil as a line over the warm she can. So you can do like some crosshatching work or you can just use it as a regular blending. Just a different technique you can use. And then I'm gonna get a lighter gray and work in up here. And just try to make this look more blended and circular or spherical. Again, I want to leave some of the wash showing. I don't want to drown it out. Okay, So just wanted to show you those two techniques and I'll do another one for Washington line 5. Ink Wash Drawing- Part 1: For the wash drawing, I'm going to do two peppers and maybe a cup. But I'm going to draw it in pencil first. Some people that are very advanced, dry, just in ink. But if you draw it just in pencil, first, you can kind of get everything in the right place. I'm kinda blocking it in because if I if I just start out with a brush, if I make a mistake, I won't be able to fix it. And then I will have gone dark on a part of a kind of white area that I won't be able to lighten up again. So I'm going to start blocking it in with a pencil. And then I'm going to add wash to it. And behind it. One-half like a cup. Actually maybe more like a flower pot. So I'm just kidding my drawing kinda ready before I put a wash on it. And you can barely see that. I don't want to press hard with the pencil until I'm ready to put in a contour. Or maybe I don't want to press hard with the pencil at all and put in the contour with the ink. That composition is kind of boring. So maybe I'll have kind of like another piece of fruit down here just to balance it out. So there's a big shape right here and maybe shaped down here. Now I'm going to try to kind of draw in the shape of the bell pepper shapes. Here's the stem right here. The drawing part will take me awhile. I almost do it in and didn't video the drawing part, but I just wanted you to see this drawing from start to finish. I'm making this smaller. That's not exactly perfect. And I'm going to kinda block in until I feel like it's I would be okay to start working with a brush. And I'm not gonna be able to see that like right away. I'm gonna be able to see that wall I'm drawing I'm just thinking to myself, like another thing I'm thinking, do I want to have something in here? Should make it more interesting? Probably leave it as it is. And I'm putting a piece of fruit down here. I'm just I think that's good to start. So I'm just getting my brush and I'm looking for areas like I want to leave some of the paper really light, but I'm looking for areas that are darker. And I'm just testing out this value on this side, this is just a scrap paper. Okay. So I'm going to block in areas that are darker or medium. Maybe I would call it medium. And remember if you go too dark, you're not gonna be able to fix it. So that's the the bad or the downside of doing a wash drawing. Now if you do wash and charcoal or wash and colored pencil, you will be able to fix it. Or you tried to go around the drawing and just look for areas that are light and dark. And then I'll try to you later on, I'll try to like kind of what's the word for? It may get all merge together. Now, for this, I'm gonna wanna do use blending, but I'm just getting some basic values in. First, I'm going to want to go, so I want it, I'm going to have the table kind of light or white so you can see the cast shadows and I'm going to want the background to be dark. So I'm gonna go in right now and start putting in the background right around the objects. I'm going to have it black, so the object's stand out. The nice thing about the watercolor paper is that it dries pretty quickly. So it's not going to stay wet for a long time. It absorbs it and it'll dry. I'm just going right around this pot. I'm going I'm probably going to have a Black getting a little bit lighter as it goes out. So like I put some water in that just for some variety in the background. And the dark again is so that the objects stand out. I'm going to dip my brush in the block again, it had water on it and just kinda let that bleed into the lighter value. Then I'm coming back over here with water. I'm trying to do wet into wet. So the value change doesn't look like a bunch of lines that I have to blend later. And that seems like it might need a little bit more dark. I'm trying to kinda have it bleed into the water. You don't want to have too much water, but this is kind of a nice technique to use. You can get a nice effect with it. But that was a lot of water I just put on there. And then I'm going to dip my brush into the black and come around to this side. And I'm just darkening this background again so that the objects can stand out. If I'm not sure if something I'm leaving a little space, I can put some black in there later. I think it might need to be a little bit higher. Just making an outline. Now I'm going to pull some more black into that area. I'm going, I'm just kind of getting onto the edge right here. Now see how here I let it dry and it's creating a line that I didn't want. So be careful of that. And then I'm putting some water in here and trying to bring the black out so it gets lighter. Just trying to create something interesting as a background instead of just pure black. Pulling some black into the water. Again, I mean, you can't, you can't control this or what happens. That's goals, the good and the bad part of it, right? Can get some really nice, amazing bleeds. But then you can, you might get things that you don't necessarily want and you won't be able to fix them. I like it like that. I think that looks pretty nice. So I'm going to leave that. Okay. So now since that's really what I'm going to come down to, I may enhance the edges. Actually, I, I see something I economist. So I'm gonna come over here for a minute. I left some space there in case I need to pull that pepper out a little bit more. Okay. So now I'm going to since this is all wet and kind of I mean, I just don't feel like putting my hand on it. I'm gonna come down to this piece of fruit. And I'm just putting in a kind of medium to light value. So I know I'm going all over the place, but the way that the shape is defined is by the background. It's done. It's not really like outlined by a contour line, the background just making it stand out. Okay? And I'm gonna go even lighter. And it kinda looks the same. I want to leave some white paper showing, but I want to be able to have this blend into the white paper. So I'm getting this little tiny piece of paper towel and blending. And then I'm going to get my dark. And whoops, that was a little dark. And I'm trying to put it in the cache shadow of these objects. The peppers also have cast shadows. We probably should have done the objects first, but this is kinda drying out. So I'm gonna go back up to the top. And I'm going to go in here So this is basically a loan of layering and looking for values and blending of areas of wash or values of wash. I'm going to darken this area a little bit. Before I do anymore, I'm probably going to go into the pepper. Sorry, I'm moving around. All right. I'm going to try to get these kinda taking care of. Two. I want to is that too dark? I'm just talking. I'm asking myself a question. Do I want to wait for this to dry or let it bleed? So I let it bleed. I'm still not sure if that was a great choice. We'll see. If it's really, if I feel like it's bleeding too much, I'm going to blot with the paper towel. See how much I got off right there. You can use a cotton ball or Q-Tip. There we go. Putting in this dark on this side of the stem. So right now, since I don't like to change my brush a lot, I'm just going around the pepper looking for areas of dark. Since I have a dark value on my brush. And I'm just putting in these dark creases which need blending, but I'm just kind of blocking in them in for right now. Okay, and now I'm calling for kind of a more medium value, which looks a bit dark. But I want it to be dark gray, darker right here. In between there I want to go a little bit lighter. So I'm kind of trying to get some of the dark off my brush and I'm putting in some just lighter value and I'm letting it bleed or a blend. I'm going later right here, but I want a little bit of the white paper showing right there. And as you can tell, this takes quite a bit of time. I'm trying to find something in between to kind of blend this dark into the lighter area. Not not wonderful, but it's getting there. So I'm going to let that dry and move on to this pepper and see what I need to do. You can't always control it. So you just do your best. So I'm going to try to go darker in this area. A little too dark. That may be a little too dark. I'm trying to lighten it. There we go. You can do line work with the tip of the brush. It's just sometimes it's not that easy to control. Then I'm gonna go lighter in this area and around the edge here. It's not perfect, but then I'm gonna go a little bit darker in here because there's a crease or a then whoops, that went way too dark. Okay, So before it dries, I'm going to blot with the paper towel. And I'm probably going to let that dry before I go back in there. Okay. I'm gonna leave. I'm going to let it dry. Whoops, that is way too dark. I'm going around it with a darker value, so it will stand out. I'm going to look at the pot for a minute. Just blocking it in over here, getting lighter as it goes in this direction. But I want to have something slightly darker right under this edge. Kind of a small cast shadow from this edge. And since this part was dry, I'm looking and I'm trying to say to myself, do I like it wet on wet or wet on dry? Which one do I think is a better technique for this drawing? Trying to blend here. To explain this a little bit. Looks kinda messed it up. Then I'm going to just test it out over here just so I don't get totally surprised by the value. I'm going to put in a light over here. I want to go lighter towards the edge, so I'm just going to get some water on my brush. I don't know if I want to leave this white and have this blend into the now, it's still needs a bit of a darker value right here. I'm actually going to wait till it dries. I think it's going to get a little too messy with wet on wet. So I'm going to take a small little detour from this for a second and come back over here and put in a dark around this pepper. And do I wanna go black? I'm putting a little bit of really dark on my brush and letting it bleed. It's not quite black and it just bled into the pepper, which is not what I wanted. But I'm trying to get this edge defined. I'm going to come back into the the edge here and just darken it. And as you can see, you're just letting layer after layer dry. I'm going to actually do these videos can't be too long, so I'm gonna stop this and then restart it. So that's my first layer. I'm also going to let it dry for a couple of minutes. 6. Ink Wash Drawing- Part 2: Okay, so now I'm going to keep going. So I need to I'm going to put in a light up here and then I may adjust it. I wanted a little bit. I don't want so that's excuse me. I'm talking all over the place. I don't like this line here, right. I want it to blend. And that's when you like the wet into wet when you want to blend something. Kevin, I'll let that dry because before I start messing with this, but I'm just going to fill in these little white areas. So you just want to make when you mess with something, you wanna kinda let it, the area around it dry for a little bit. And then like I wanted to put in a dark right on the edge, but I'm going to let the whole thing dry off. Before I do that. I'm going to go dark right here. That may be too dark. I'm just getting some water on my brush as a cast shadow. And I want to I'm talking to myself. I'm thinking to myself, do I want to leave the table white or the white is a little extreme. So I'm gonna come in with a very light wash. And some areas of it may be darker, but I'll worry about that later. That's weird because not bled but I did not quite a bit quite a long time ago. I thought it was totally dry. This might lead yeah, because I just did it. So I don't want it all that messy. So I'm just getting the paper towel on gliding it. That bled as well even though I did it for a long time ago. So you need to I mean, if you want it to be truly dry, you need to, I guess, let it dry for a long time. Alright, so one thing I notice is that this seems really good light. So I may want to go, I may want to make the table a little bit darker, so this stands out in this area. And you darken slowly. You don't want to get really dark really fast because you can't fix it. So now this is really wet, so I'm actually going to turn it upside down. Let me move the arrow. Sorry about that. And I'm going to Try to block in this. I'm going to work over here for awhile while that area dries. I'm just putting in kind of a light wash on this. And then I want to like I wanted to say red ink, Sorry, I'm gonna get my paper towel. That's like ink residue. It's like little pieces of dried ink. Okay. So I want it to be a little bit darker right here, but not too dark. And I probably should have waited for that to dry but actually didn't bleed. And then I want to enhance this like there's a white little spot right here. So I'm going over that with the black. And I'm just getting rid of that white area. But I'm not what I wanted to happen. That's when you get your mistake that you don't want. But actually the paper towel kinda help does block pretty well. Let me just get a piece of paper towel. So if you make a mistake that starts bleeding, then use the paper towel. You can also use a cotton ball. And I know I already said that before. I'm just bringing this black out, just making it stand out a little bit more. And I'm going to go up this edge with the black and bring it out. And I'm going to define this edge a little bit more. Try to make it a little bit more straight. And I'm gonna come right up here again. Hopefully it doesn't bleed. And then I'm going to do the same on either side of hard to see on the screen, but I'm just bringing a block around and I'm going to bring it around the pepper. Do I want to bring it over here? And then I'm going to bring this dark up a little bit. Okay. I'm turning it around now because that's all kind of way righty. So now I'm going to look back into this shape. And I'm kind of trying to define it with a dark value or darker value, excuse me, instead of dark value. And I can leave it like that or I can just put some well, I don't like that. Really muddy. Putting some water there and then blending it Bringing the cast shadow out a little bit more. And I'm probably going to let me go under a little bit. And I want to make again the area around it a little bit darker. And I mean, I'm slowly making it darker so it doesn't look really, really weird. Doesn't get too dark, too fast. Rwanda. I mean, I don't want it to just look like I wanted to blend into the lighter area of the table, right? You don't want it to just look like it doesn't make sense. Okay. That looks kinda weird with the white around it, but I was trying to go for reflected light. But let me move on to some other areas of the drawing. I'm gonna go back into the peppers. And I'm just redefining some of the areas. I'm looking for darks right now. That's still needs a lot of work. Does this I can indentation, right? That's darker, but I want it to blend in. Instead of looking like a big, like weird chunk or dark shape. I wanted to kind of blend in to the lighter areas, but I feel like I'm going to have a lot of problems doing that. So I'm just trying to really define different areas that I think are darker right now. I don't know. It's definitely not perfect. Okay, so now I'm going to look at this pepper and this area is a lot darker compared to that area. I'm trying not to touch so it doesn't bleed. This is quite challenging. I mean, it's much more challenging than using a pencil. I'm going light right here. But I wanted to leave some of the white showing on that pepper. I should have left more showing on this pepper. And I'm going to come back in with a black for the cache shadow or close to black. Okay. I need to come, I don't know. It's definitely not perfect. I need to come back up into this area. So I want this again to be darker and move to a lighter value as it travels to the other side. And then I'm gonna come back in with a little bit of a darker value under this and then bring it down. That's gonna make this pop out. It's okay. I mean, if you like like here you can see some little watercolor over water, I mean ink over ink marks. I call it watercolor because it's washed, but it's, it's very similar to watercolor. And if you'd like those, you can leave them. I want to make it a little bit darker around this shape. So this shape stands out. The light in this shape stands out. So looking at values as they relate to each other, do that too much. I think that looks okay. Sorry about that. And then I'm gonna go back in up here with a little bit of a darker value. I'm going to leave that alone for a minute. I'm just looking at I'm just hitting him looking at and thinking about what I may need to change. It is definitely not perfect by any means, but I'm gonna come back here and go darker, trying to blend that up. Mr. probably that is definitely not. I'm going to go around this this weight is a little too much for me. It's definitely not perfect by any means, but it's getting more and more a still-life. And this is something that takes a lot of practice. I do like the one thing I really do like how the background just bled and created that really nice watercolor or ink wash area. Sorry, I'm calling it watercolor, but it's similar to watercolors. So I think I'm going to stop it here. Could use another couple of layers, but I feel like I'm going to mess it up if I keep working on it. 7. Wash and Line Drawing- Blocking in Wash: Okay, so for the washing line, I decided to do something different. So I decided to try to do a flower. And I drew it in pencil first. I just didn't, I didn't want to make the videos too long, so I just did that before I made the videos and now I'm going to try to put in some areas of wash and then I'm going to let it dry. So I'm just looking for areas of light and dark. For this. You have to be more you can't correct as much as you can with the charcoal. Right. So you can't make dark areas lighter with the line with just the pen in line. So you have to be a little bit more careful when you are starting. I'm trying to use the bleeding here. It's like but I may have just gone too far. So maybe I won't use the bleeding. So there's areas of light and dark. So I'm blotting with a paper towel trying to lighten that up. So the bleeding is hard to control and especially on something like this that's very delicate. I mean, you can try it, but it might mess it up. So I'm just looking for areas of light and dark. So it's darker on the edge and it gets lighter. And I'm trying not to make the mess. Okay. So I got kind of dark on the edges and lighter and I'm gonna go darker the edges. Hopefully it doesn't get really messy. I'm gonna go in, it's pretty dark, so I'm going to go in with some black ink. I tried to water it down a little bit. And my paper towel because I want it to kind of blend, can also use a Q-tip. Okay. I'm going to blot it. So I'm trying to make it dark, but I don't want it to look like a line like that one looks just like a line, right? But it's not blended. It already dried before I plotted it. So that makes it harder to mix, but I'm just putting some water on the brush and trying to blend the dark into the lighter area. That was too much. I got too much on there. And I'm going to put some water on the brush and try to make that look less like a line, right? Because that looks too. There are some correcting that you can do with the pen in line, but the value kind of have to have down. So I'm gonna go down here and also put the dark on the bottom. Because these little things that are hanging over the petals are going to be light. So to make them stand out, you want them to be surrounded by dark Okay, Now, that's not perfect. That may need adjusting, but I'm gonna leave it alone for now. So I'm gonna go down to this thing right here. And I'm just going to start by blocking in a value and then I'm gonna make some of the areas darker. Okay, so now I'm going to get since it's still wet, I'm gonna get my dark. It might bleed, so I mean, I'm just ready for any but I want it to blend and so that's why I'm kind of trying to let it bleed into the wet. So you're either using wet on wet, wet on dry, and you're going to have to experiment a lot to see what you like and which one works for you, or what you can get out of each one? Getting my paper towel. Okay. And then now I'm going to the stem. The night I made that too dark. Let's see if I can block some of it up with the paper towel. I want it to be lighter than that. Well, again, I feel like I'm getting too dark on this already. There are certain areas, right? Okay, so now I'm gonna go here to this little area. I'm trying to put in kind of a light value. I don't know if I'm going to do wet on wet anymore because these areas are so small. If they were bigger, I would try but I'm probably going to let them dry. And I want something really light for this. There we go. So I'm blocking in areas of value and then I'm going to correct them. I'm gonna go here. Okay, and then here, I'm just getting some values on here, and then I'm going to adjust. Whoops. Here. There's still some, I mean, I feel like there's still some pencil marks underneath that and maybe I could have erased a little bit more, but I just decided to start. Okay. I'm just getting kinda light values on everything and then I'm gonna go in and correct. There's no like there's not really whites on it. So there's kind of a light value is the lightest colored. So I'm putting that in as a base. I don't know. Like I may so remember how I said you could do wash than line, then wash again. So you remember keep that in mind. Especially for the Washington line, not so much for the Washington charcoal. That got a little too dark. Again, paper towel. Okay. Now, I'm just getting a little messy over there. I'm looking here at this part I want to go in here with a light value. So that's a starting point, right? And then I'm gonna go in with some dark. So this little thing is darker. It's like an outer part of a pedal that's flipping over, that's darker. And I'm actually going to change this line. So I'm always changing, like I'm changing that pencil line in the outline of part of the pedal. You're always making changes. You're always moving stuff around. I'm gonna go back in here with a darker, dark on this outline. And then I'm gonna get some water on the brush because I don't want that to look like a line, right? I want it to blend. And then I'm going to blot and come back down here with the dark. Use a paper towel, took a lot again. Okay, so it's very time-consuming. I'm gonna do same thing here, so it's dark right here. This whole thing is kind of a little bit darker. So I'm starting out with a little bit of a darker value. And then I'm looking in here, I'm going, I need to let that dry. So that's why I'm moving around. So right here it's dark. Okay. It needs more work, but I'm just, I want to make kind of a lighter value. And I want to leave this part really light right here. So I'm getting the paper towel blotting. Then I'm looking at this. And I'm gonna go a little bit darker, maybe a little bit darker than that. On the bottom, maybe I should have waited because that's what in this as well. So I probably should have waited for it to dry so I didn't have to wet areas next to each other. If you want to be like a really careful about areas bleeding. I'm blotting with the paper towel. And then I'm looking at this thing and here it's pretty dark. And it needs to be darker than that, but it also needs to dry. So I'm gonna come up here. Just darkening this as a whole. That's too much today. I'm too close to areas of wet, so that's why I moved away from that. This inner part of the leaf or it's folding is dark. So I'm putting in the dark This area, this little areas darker. So again, this is very time-consuming. And then the line will also be time-consuming. And I haven't even started looking at the background or the stems. I'm just trying to get the flower first. All right. That needs to dry. So everything It's like everything you do, you do it and then you let the area dry, you do it and then you let the area dry. I'm gonna go in here with a kind of a darker value. You're looking for the same thing, the lights, the mediums, and darker as you would in a regular value drawing. And then I'm going to come around here and just darken this a little bit and trying to blend it in with some water and a paper towel. And that doesn't look that great. So I'm going to take a look at this petal. I'm just moving around. I'm trying to kinda go fast. I should actually probably be spending more time on each part, but I'm trying to do it as quick as I can. Okay. I'm just kinda letting the flower dry for a minute. Now. Needs a lot more work. I'm going to take a look at the leaves which are as a whole, a lot lighter than parts of the flower. So I'm going to use a light wash for different parts of the leaves. So here, there's some areas of the leaves that are actually left white. Remember that? I do like since this is, I'm gonna come in to this rose with the pen later. I can still add areas of wash after I come in with the pen and maybe I'll do that on this one just so you can see an example of that, right? So you can go wash line and then wash again and then line again if you want. Or you can go line and wash. Right? So I'm sort of very beginning phase of this. Oops. A little too dark. So I'm getting the paper towel. Blotting it does. So this is something that takes a lot of practice, practice, practice, practice. And it takes time as you see, like I would give each one of these drawings about a couple of hours to work on. I'm going to get the paper towel because I feel like that got a little too dark. I'm just this is a general I mean, it's not detail. I'm just generalizing looking for areas that are darker and lighter and kinda blocking those in. So that's just a start for that. Actually, I wanted to look at this and I'm looking for areas that are darker That needs the blot it with a paper towel was probably too late that that doesn't look right. That needs work. Okay. So I'm going into I'm going to work with some darks right now because there's a lot of dark, really dark areas, especially on the edges. And that's pure black, that may have been a little too dark for that. And again, you have to be really precise and careful when you're doing this because one slip of your hand, and then you've messed up the whole thing, right? And that looks too extreme, right? So I'm gonna get some water and I'm gonna go around it and try to let it kinda lead into it and then get the paper towel. You can also use a Q-tip and try. This is a form of blending. If you're having trouble blending with the brush, I'm getting some more water. Okay. And then I'm going to I don't want to go like what, like near a wet area, so I'm trying to move my way around. So I'm just, you know, not getting wet into wet and I'm gonna come over here. And I want to go a little bit darker than that on the edges. So I'm gonna dip the brush straight into the black ink. That's how you get your real dark. I almost never do that because it gets very dark. But if you want something very dark, you just dip the brush into the ink. All right. I'm going to blot. Okay, so now I'm going to look at this little tiny thing. This is a dark as well. And it gets lighter, but I'm probably going to miss it up and make the whole thing dark. And blot. Be careful when you're blotting because it can bleed like the water on what your blotting widths can get into other areas of the drawing. I'm just getting some black on the brush. See how much darker than that is then my darkest area. Okay. And then I'm going to go here, but I want it to blend again. So I'm getting some water on the brush and going right next to it. And then I'm gonna get the paper towel and try to absorb some of it. So it doesn't look like a big black area. It looks like it's blending into the lighter or seeing how it does right there, which I wanted to leave white. That's what I meant that the paper towel can also make miss like it can have droplets on it. They get into other areas and then you've messed up, like I missed that area up. Okay. So I'm gonna go darker right here. Not it's not the black, it's just a dark value, a dark wash value. Okay, I wanna get now some black over in this area. And it needs to be darker down here. I'm just checking for the time because I don't want the videos I don't like to make them longer than about 40 min because then they have trouble around here. Then I'm going to mix with some water and use the paper towel. The paper towel might not be a good idea in really delicate areas because you can really mess up areas of detail. But for areas where it's really broad and there's open space than the, I think it's a great idea. Okay. So it's gonna be darker right here. So when you put a dark next to a light, the light areas stands out. This could use a lot more refining. And I need to put water next to it and block. Okay. So it doesn't it still needs a lot of work. So I'm going to go right here. I'm going to actually put some black on here. Where this leaf is or this petal is folding. And I'm flooding. And I'm coming over here. Now. See that got messed up right there. That was from the paper towel. I'm gonna put some water but I want it to be darker on the outside and later on the inside, but I don't want it to look like a line like it does now. But I messed it up. So this has shading on it as well, but it's lighter in value. And here these have shading on them as well, but they're light in value. I need the paper towel. Now it looks horrible. I'm feel that I am kind of I'm going too fast because I'm sure it's trying to rush. Like showing it to you that is way too dark. Whereas like where I'm trying to say like, Oh, this is a dark, this needs a dark. It's like if I if I had all the time in the world, I would just be really taking my time with this. So what I'm gonna do now is I'm actually going to stop this video. It needs more wash, but I'm going to come in with the pen and I'm going to do some line work and then I'm going to let it dry for at least half an hour. Then I'm gonna make another video just with a pen. And then once I get the pen and I'm going to come back in and refine areas of the wash to really like make it pop out even more. And that's gonna be some detail work that probably takes a bit of time. 1 s 8. Wash and Line Drawing- Adding Line: Okay, so now I'm gonna do some line on this. I'm using a slightly bigger than pointed tip just to emphasize some areas of it. I'm gonna do line and then I may come back in and do some wash. I let it dry for quite some time. Right now I'm just outlining. And it is very dry. I'm using the black ink to outline. And then I may add some line work within it. And I'm glad I let this dry for awhile so there's no bleeding in this line comes out nice and clear. You could use a really thin tip line, but I wanted it to. I feel like you wouldn't be able to see that at all over the wash and it wouldn't be as defined. So I use something a little bit thicker. Notice that when I put it on, it's really dark black. But when it dries, it kind of lightens a little bit because the paper is absorbing it. So it's like a dark gray when it's fully dry. This petal needs more wash on it. But I'm just gonna do the line and then I'm going to let that dry for awhile as well until it's completely dry. And then I would come back in and enhance the wash. I'm just outlining it to define it and make it kinda emphasized. I'm just going to move this over. That got a little too big right there. Let me try to move that with the Pen. Tool is too much ink on it. I'm just going to leave it. I mean, it's an imperfection. Imperfections and drawing sometimes makes them really nice. And it just depends on what kind of artist you are. If you're a perfectionist, it's gonna be harder. If you're a perfectionist dependent, Inc will be a bit hard, but it's more permanent than the drawing, than the charcoal or the pencil. So that's the nice thing about it. So I'm outlining slowly just to try, you know, so I don't make too many mistakes. And I might put line work inside it as well. I think we already said that, but I'm just going to get this outline out of the way. So far. We're just doing like basic skills in these classes. And then later on, we may do creativity, but there's a lot of skills you have to get under your belt first before you focus on creativity. So I do like doing things that are more creative, but I'm trying to do the skills lessons first And again, I'm not I'm really working on where I'm putting my hand. I don't want my hand to be in anything wet. That bled, right. They're probably just because there was a lot of ink on it. Well, that line is too thick. I won I was I wanted to use a thicker tip, but I was scared it would get a little too thick like that, but I think it still looks better than a really thin tip. So it will take you a while experimenting with this before you figure out kind of what kind of tips you like and what kind of tips you're good at working with. And again, you can use more than one tip in a drawing. I usually use only like, well, if it's something combined, I usually use only one tip because I like to keep it like the line uniform. So now I'm gonna do this, just outlining these. And then once I've finished these, I'm going to figure out if I want to put line work within the rows. And then I'm going to let it dry. After I do that. If I do that, and then I'm going to come back and then wash and figure out what I'm gonna do with the background. So I'm taking this very slowly. Sorry, sometimes I talk a lot and sometimes they don't. When I'm focusing, sometimes I stopped talking. I'm putting this middle line in and I'm doing some right here. Okay. So I'm just sitting and thinking to myself, do I want to put line work in? Because once I do it, I can't take it back, right. So if I mess up, then that's kinda it, you know. So I think I'm gonna put a bit of line work in Some cross contour lines that are just emphasizing areas of dar. Those could be in more than one direction. But I'm going to stop here and see, like, do I I mean, I could have done that and thought it looked really horrible and messed up the whole drawing, right? I think it looks okay. So I think, um, you know, I might do a little bit more of that. I don't want it too much, but I want it to be congruent. I mean, like what am I trying to say? I want it I wouldn't just want to have lines in one area. So I wanted to have lines in more than one area. Right. Because if they were just in one area, that wouldn't make sense. Again, I'm starting to look every I mean, I don't know if I like that. You know what I mean? That looks a little weird, but I already started, so I'm going to just keep going, right. It may have just looked at the outline and that was what I was scared of. I don't know how much like I have to figure out how much I want to put in, right? Do I want it in like all the parts? I'm only having them go in one direction which is up and kind of around. Like those look a little too fat. But I still don't want to use the really thin tip because I feel like they're not going to show up against the wash. I don't know. Like I feel like I kind of messed this up but I'm going to keep going anyhow. I feel like it maybe took away from the drawing and flips. Now I've got it on my hand and it's like bleeding. I think these lines maybe are taking away from the drawing rather than adding to it where I think the outlines added to it. And I'm I'm keeping on going because I want to do the demo for you, right? So I think that's it for the lines on the rows. I'm just deciding if I want to put I may put some right here because that'll be some in a different direction. So I mean, every drawing you do, you're going to have to see, like am I adding to the drawing or taking away from it, right? So like what I'm saying is that some of these lines I feel like are taking away from the drawing. They're not really adding to it. But I still wanna do it just so you can kinda see what a washing line drawing would look like. But again, when you do your own work, you want to figure out if it's going to make it better or worse, right? And then like you don't need to add tons of stuff just to add stuff, right? Sometimes less is more in, sometimes keeping it simple gives you a better drawing. If that made sense. And you're going to find yourself in the process of drawing, throwing away a lot of drawings that you mess up, that's a part of it. Put it in sum right here. Okay? And now I'm going to leave this alone and I'm going to come back and I'm going to wash in the background 9. Wash and Line Drawing- Adding Another Layer of Wash: Okay, I'm going to come into this and try to finish it up and try to put something in the background. So I'm going to get my brush. And actually since this I want to put a background on it, then I might put more wash on the flower. But since this, since the bottom part is light, I'm gonna put the lack in this area. And I might lighten it up as I move up. But I think these will stand out if the bottom is dark. So I'm putting in a dark wash the bottom. Just letting the paper absorb. You can do many more things with this, but putting white dots. But I'm just before I get into all that, I wanted to just get basic skills down. So I'm putting this in. All right. It's really wet. So I'm going to want to let that dry. But that's kinda, you know, helping the bottom part stand out. And then I'm turning it around. Okay. So I'm going to work on this area. What I'm going to keep this part really dark, so I'm going to just finish putting this in right here. Okay. Do I want to do the whole thing but I'm thinking to myself, So like do I want to lighten it up as I move up? I'm still going to put some black around here. Or do I want to To it all really dark. That's my question for right now. Okay. And then let me see how it looks. If I lighten it up, I mean, I think the block actually looks kind of nice. Um, I'm kinda of lightening it, but keeping it kinda dark, it's not gonna be, this target's going to be lighter. But I do like the way that the black locus, so I'm lightening it up is I wash upwards. It's there still a lot of black on the brush. That's not yeah, I do. Okay. I'm just gonna go black right around it. And then possibly like let's let the wash lighten it up. I do like to black. I'm going to try to go a little bit lighter up here just for some variety. And then I'm going to come back in with the black and let it bleed into that lighter color. That's the nice part of wet on wet. You can get some really nice bleeding if you're working for if you're working with an open area, you know what? This is so wet that I'm going to leave it and let it dry. And then I may come in and watch some areas of the flower. Whoops, I'm just getting rid of these little tiny white pieces of paper. All right. So this is going to drive for another half an hour to an hour? 10. Wash and Line Drawing- Adding Another Layer of Line: Okay, So I was going to add more wash to this, but I I don t think that's a great idea, but I am going to add a little bit more line work. I really liked the way this is the leg up here. So I'm just, I'm using the thinner, I'm just kidding this ink off of it, the thinner pen to kinda enhance some of the line. This is totally dry. But I just didn't like the line work in one direction, I think gets to the lines are too big. So I'm using a thinner pen. I just, I'm not going to add that much, but I just wanted to enhance some of the line work. And I think this looks a lot better with the thinner lines. Just doing a little bit of, you know, extra work to kind of enhance this. And I like that. I think that looks a lot better than those big fat lines. I'm still I'm using crosshatching, but I'm trying to let some of the value show through underneath. All right. Oh, that's not what I wanted. So I just really thought up, you know what? I'm just going to leave it like that because if I try to blot it with the paper towel, it's going to spread. So that's what happens when you're drawing with a and it's just a part of it. Okay. Let's just going to be a part of the, I guess, artistic creation. You've got to work with the mistakes are the accidents that happen. I don't know if I'm making this better. I just thought I wanted to make a little bit of a change to it. I did it. I thought these lines were too large. You can also say you're doing something like this. You can also use lines like in a cross contour way, like so. If you wanted to do here like a couple of lines That did that like that. Like I'm using lines to enhance the shading, right? But you can also do them in that value and you could also combine, although I don't usually combined. So let's combine a little bit here. Right? I usually just use the lines in either cross contour or value. But here I'm combining just because I want to do a demo for you. And I kinda liked those. I think those really actually enhance it quite a bit. They give us the direction that these outer petals are going in. You can do as many or as few as you like. And again, whenever you're doing this, I mean, you're seeing what, how, like how you might mess up your drawing. I'm going to put in lines right here. I want to put that one right there and I'm gonna put one in here. And I'm going to put a little bit more of the cross contour here. I don't know. I mean, it kind of looks a little bit weird with both the cross contour and the shading lines, but it's actually for a demonstration. So my recommendation to you would be to pick one or the other, Right? I mean, probably not both. I think that can be a little too busy, but if you like it, go for it. And I'm gonna go right here. And that's kinda added variety to it. I'm gonna come back in here and put some more vertical lines right here to kind of take the attention away from those fat lines. I'm just I'm looking at I'm sorry, I stopped taking a look at it and I'm thinking to myself, do I need to add anything else or should I just leave it alone? Basically is what I'm thinking, you know, because you can just really go too far. Whoops, I got a big fat blob of ink right there. So that's a real big challenge with your drawing, is like you want to add to it to make it look better, but you want to also know when you should stop. I'm probably going to put a few here because, you know, you can really take it too far. I do like the effect of having both, but I probably like if I was doing a completed drawing, they probably wouldn't have both the cross contour and the hatching. I would probably choose one. I think it looks actually kinda okay here. Although I think some of the black crossing lines that I put in her own little excessive. Okay. I'm gonna stop it here 11. Wash and Charcoal Drawing- Blocking in Wash: Okay. So this is gonna be for the Washington charcoal, but I'm gonna do one video where undoing the wash and I'm gonna do one video. We're undoing the charcoal or colored pencil. I'm going to start out with wash. I drew it in pencil first. And I am just looking for areas of light and dark. So this is a still life and it's just some fruit and a cup. I'm moving my so I have my ink washes over here. And I'm just looking for areas of light and dark. Remember, I want to start out like, I don't wanna go too dark. That may be even a little too dark to start with because I'm making a very light area. But on this one I will be able to correct with the charcoal or colored pencil. I didn't want to make the video too long because it's going to take me a long time to put it in the wash and to put in the charcoal. So I did the drawing part just first. So that wouldn't be on video as well. So again, I'm just kinda blocking in areas of dark and light. And then I'll refine it later. I'm trying not to go too dark. And this is just ink and water. I made a couple of washes before I started. Okay. And I'm going to take a look at it's gonna be it's gonna take me a while to put in this wash, but I'm going to take a look at the grapes over here, which are half, half mixed areas, but they have some areas that are pretty dark. And I'm going to try to block those and that's not dark enough. That maybe a little too dark. I just put some ink on my brush and then dipped it into the water. Remember, I don't wanna go too dark because I am not gonna be able to fix it. In this case, I probably will be with when I do the overlay of the charcoal and the colored pencils. But still, even though I know I have the opportunity to correct it, I don't want to make it too dark. So I'm just kinda moving around from grape to grape, looking for the areas that are darkest and just trying to block those in. So this is a very time see that bled and maybe should have led that. I should've waited for that area to dry if I didn't want it to bleed I'm just looking for the darkest areas and putting in a dark there, and then I'm going to adjust. So again, this is a little bit harder than pencil. You're going to have to practice with this. It's hard to practice because you can't really erase. So once you make mistakes, you can't fix them. Okay, so that's my starting point. It needs more work, but I'm going to let that dry for a minute. And I'm going to move over here to the onion and start putting in some areas of dark. Remember this works in layers like some people will focus on one area and get it perfect. But I'm moving around the image and looking for areas of light and dark. I find that helps me blend later. Because if I'll be able to see the image as a whole instead of focusing on one little thing, but everyone does it differently. So it's kind of like going from blurry to focus. I'm just looking for, I'm just blocking in areas of light and dark again. And I want to get something in on the table and the background as well while I'm working, so I can see what value I'm working with. So for the table, I'm going to try to go light. Just for a starting point. There are some areas of cache shadow that are darker. That's why I'm making the table late. And I'm just blocking this in, hoping that I'm not going to get my paper too wet. Again, this is watercolor paper. I'm gonna make the background a little bit darker than the table, but let me just get this in first This dries pretty quickly. Maybe like 12, 3 min. I mean, for a late leg to get kinda dry. I probably let it dry for at least a half an hour before I put in the layer on the outside. But I'm going a little bit darker on the background. And I'm actually like just so it's easier for me, I'm going to turn it around because I'm just doing a wash on the background. Just get a basic value in the background. So right now I'm kind of just filling in areas, maybe blocking in areas of value as what I would call it, which is time-consuming. Okay, there we go. And then I'm gonna come back and try to refine and also put in more areas of value down here. I'm just going to fill in those little areas that I have, like white spots and noticing them now. And it's already warping the paper. Okay, so now I'm going to look at the cache shadows on the table. And they may be darker, but I'm just putting in kind of a medium dark right now. There's another one right here. These will be refined as well. I'm just getting kind of blocking them in. And I'm putting some right here under this grape which I haven't put anything on yet. All right, that's still needs a little bit of work. And then over here, there's a cast shadow from the onion kind of in the background. And what am I seeing that I feel like I well, I'll see if I want to adjust that later. So still needs a lot of work. I'm gonna go inside this. And there's a cast shadow from the grape right here. And right here. Righty. So I'm looking at these apples and I'm gonna go late. I'm just testing this out. Over here. Remember you can choose like when you combine wash or something, you can choose how much you want to be washed, how much you want to be line, how much you know, you want to be charcoal or you can also combine all three. I'm going to put some Light. Over here. It needs more work, but I'm just trying to block in areas. Okay. And then this apple, I feel like I need to lower it, but let me just come over here and work over here. I feel like this line needs to be lower. I'm going to figure that out. I don't know if you're going to see me figure that out on the video though. So I'm going to leave that blank for right now. So I'm gonna go back into the grapes with kind of a medium because there's no part of the grapes that's like really white except for the highlight. And I will make that later with the charcoal pencil. But as a whole, they're pretty dark. That they need a lot of work. By the way, that's just a starting point. And then I'm gonna look at this grape though because I didn't really do it. So the darker part is down here. And I'm gonna come in here with this dark right here. Okay? So this still means a lot of work. The Onion is dark up here and it has like kind of a highlight right here that I'm kind of leaving white and dark up here. I mean, like if I wanted to leave it like this and really enhanced with chalk, I could, but I'm gonna try to do a little bit more wash. There's no right or wrong way to do it. I'm just I'm looking at it for a second, trying to figure out what I need to change. I'm touching these to see if they're dry and I'm making a little bit more of a dark over here and I'm gonna go back into the grapes. We just hope they're not too wet. So these are, I guess purple grapes, so they're very dark. So it takes you a while to get values, correct? At first it's kind of like you're just seeing well, okay. This is a darker area and this is a lighter area. And once you have that n, then you're kind of looking at, well, how much darker is it? Do I need to make a part of it darker? Did I do the whole thing? Too dark? Kinda stuff like that. And you're gonna be adjusting and adjusting and adjusting and adjusting. The things that I'm showing you. I'm trying to do them as fast as I can, but they literally could take me a couple of hours to do them. If I really wanted to be a perfectionist. And I don't want that white in-between. I'm trying to darken this. Okay. So they still need more work because since I made that darker, I'm going to have to make the other part of it darker There's a great bright here. I kind of didn't put that one in before. Trying to go a little bit lighter with this one and then maybe darken it. But I need to let that dry. Then I'm gonna go back into my dark. I'm just darkening in certain areas and just looking for areas that are dark. It's very time-consuming as you can tell. And I'm trying to demonstrate to you like in that as much as I can without taking up like 1020, 30 h of time. You know. You're looking like when I'm doing this, I'm looking for the same things that I was looking at in a value or looking for in a value drawing. Meaning that I'm looking for highlight, shadow, cast shadow, core, shadow, reflected light. I'm just making the lights on the grapes a little bit darker, right? Because they're dark. So the areas that are light are not gonna be that light if that makes sense. Okay. That they need work. They need a lot of work, but i'm I'm gonna leave that for a second. I'm going to come into I'm working on the things that are darker first. So it's like the grapes and the onions are the darker parts of the drawing. The rest of it is kind of light, but I want them to stand out before I start messing with the light areas. So this is really, really dark here, partially because it has cast shadows of the objects that are around it. And this dark travels over here. And that's going to make the light of the apple pop out more. And that needs, they mean blending. But I'm going to leave that for a second. I really like to work around the drawing. There's a dark in here. This edges darker. Maybe that one a little too dark right there. And I want to blend it into the lighter area. I'm getting a little tiny piece of paper towel. And It's also darker on this edge, but I'm trying not to go too dark. You can blot with a paper towel or your finger. Okay. So now I'm just I'm looking at it and I'm actually getting my pencil because I feel like I need to make a change. And I know I should have kind of looked at that before, but I was not really. So I want this Apple, actually, I want it to be more over here. So sometimes you notice stuff when you're well into the drawing and that's, you know, it can be bad or good, but I wish I had noticed it before. But when you're paying attention to so many things, you know, sometimes you kind of miss something and then you have to change it. So I'm gonna put this in as a dark right here. There we go. That looks much better. And then that, I mean, I need to kind of get that line under control. But Let me see what I did now. So that means that this should also be lower, so that's going to have to be corrected with charcoal to make it lighter. Going back into this shadow on the wall with a dark and that needs to be fixed as well. And this apple is casting a shadow over here on this apple, but it's not very dark because the alphas are light in color. And I need to make more. Just let me go into the cache shadows for a second on the table. And I'm just making them darker. And then I'm gonna go right here. And I'm going to bring that down. I should have not made it as dark, but okay. There that's starting to look a little bit better, but you see how much time it takes to make something look better. It takes a lot of time and a lot of adjusting. I'm just seeing how far I want to go with the wash. Remember, if you do, I'm gonna do this one in Washington charcoal and a different one for Washington line, but you can go back in with a wash over it after you put in the line or the charcoal. I need to like, I'm darkening the top of the onion. It's not dark enough. And then I'm going here and darkening the shadow. I'm going to leave that side as it is. And I need to darken this area. And I'm looking at this and I'm just seeing what needs to be darkened. I kinda focused on the darker things, I guess because they have more wash on them. The lighter things, I don't want to get them too dark. I guess. That makes sense. And then here, oops. That was too dark, so I'm just plotting it with the paper towel. And A little bit of a darker value, right under here. Little bit of a darker value right here in the apple. I'm getting the paper towel to block that because they've got too much water on there. And the shadow is going to be all the way up here. But I mean, for each of these drawings, you should probably leave about a couple of hours of time. At least. I'm just looking at it, seeing if I need like where I want to stop are if I want to do more, I'm going to darken this shadow right here. So this shadow is really dark right here. So I put some more dark into the wash. And I'm darkening this area. And this area. So like this apple, I'm probably going to have it come down like right here. So I'm just making that line and that'll help me remind. I'm going to fix that with the chalk. I'm going to go right under here. So again, this takes up a lot of time. This is just my first layer. There's a cast shadow right here. And I'm just, so on the onion, I'm just seeing what, how long this video is. I'm going to do maybe a little bit more and then I'll stop on the onion. There's kind of like this is the lines of the onion skin. Or these are the lines of the onion skin. And I'm going to blot with a paper towel. Because I want them to blend. I don't want them to be too obvious. And then they're on the other side as well. The values for the onion are not totally correct. They need a little bit of reworking. Like over here, I'm gonna go darker on this edge. So see how you have to keep reworking your values to get it to look correct. It's not going to just happen on the first try, right? And then there's a dark spot right here. I'm using the paper towel to blot. I'm gonna go a lot darker right here. Now kind of merged into the shadow, which I didn't mean for it to do, but I'll try to differentiate that later with the chalk. The darker I go right here, the more of the apples are going to stand out. So you want to, I mean, you've really don't want to put a lot of dark wash on the light objects because again, you're not gonna be able to fix it. I know I already said that, but just repeating. And then if you have something dark around a light object, it's going to help it stand out much more and make it pop out. I'm gonna just go a little darker on this edge. And then the grapes are going to need quite a bit of work on them with the chalk. But I think I'm going to stop here and leave it. What did I get right? Therapies of dark that I can erase. I'm going to stop here. Of course I say that and then I see something else that needs fixing. And then do the rest and chalk, charcoal or colored pencil. And it's, the grapes are especially going to need a lot of work. Alright, that'll be a different video because I'm going to let it dry for about a half an hour just to make sure it's fully dry 12. Wash and Charcoal Drawing- Adding Charcoal and Colored Pencils: Okay, so now this one, I'm going to add charcoal, maybe some colored pencil and charcoal pencils. So I'm going to start out with, and this paper is, is bent, the water bent it even though it's a piece of watercolor paper. So I'm going to start out with a black charcoal pencil. And I'm going to define and correct. Okay. So I'm gonna come over here. No. When you bring it down a little bit. So I haven't eraser you can actually erase on top of the wash. Sorry, I'm not talking about much. I'm just trying to focus on what I'm figuring out where I need to enhance this. Again, when you're doing something like this, you don't want to drown it in charcoal, right? Because you like you don't want to have none of the wash showing because what would be the point of doing the wash? I want to leave some of the wash showing what I'm trying to say and have a really nice, you know, dialogue. If that's what you could call it between the charcoal, the colored pencil, and the wash. Making it a very dynamic drawing. So like on the grapes, There's actually highlights which I'm gonna put in with the white charcoal pencil. Sorry, I'm just kind of figuring out what I need to do. Actually, this grape is later on the outside. So they're all different. You want to be able to pick out stuff like that. Unless you're doing something that's stylized, which I'll probably talk about later. But you want to be able to pick out the differences in each shape, the differences in light, the differences and shading. So I mean, they do not look like grapes yet, but they're starting to look a little bit more like grapes. So I'm really trying to correct some of the things that I couldn't control with just the ink wash. But I'm trying to leave the EEG wash showing Doesn't look totally great, but it's getting better, right? I don't know if I like this one with the way outline, but I'm just going to keep flowing and see how the drawing kind of emerges from the changes that I'm making. So I wanted to try to emphasize the highlights where I wasn't able to get that kind of differentiation with the wash. And the white one looks pretty weird. So I'm going to come in and darken. It. Could stay white on the top, but I'm leaving it dark on the bottom. I'm just changing the shape a little bit. I mean, that could use a little bit more work, but I'm going to like soy. It's not only black and white, you can also use gray. So I would have come in here with the gray kind of blend some of the areas where I was kind of transitioning from dark gray to light gray, but it just got kind of like it just looks like the chunks of dark gray. Light gray. Okay. So now I'm staying with the gray and I'm looking at the cast shadows on this. So the light wash that I put on there was not dark enough, so I'm just darkening it with some gray chalk. And remember you could also do this with colored pencil. I just chose chalk. The colored pencil, It's kinda it's kinda hard to get something over a wash, so I picked the chalk so it comes on more easily. Okay, so now I'm gonna go back to my black charcoal pencil. And I'm going to so I'm just looking at some of the shadows up here. So this is not a grief, this is the shadow that the grape is casting. This is also a shadow. I'm just bringing some dark into it, but again, I want to leave some of the wash showing right? I'm gonna come down here. Define this line. And the cast shadow is much darker than I have it. And it gets lighter as it dried from where I was originally putting the wash onto it. So I'm putting this on. Okay, so now I'm going to outline this outer edge and the table. And these two are kinda like different values, but they kind of look the same now. Okay, so I need to I'm just thinking to myself, what do I need to do? Okay, so I need to look at this grape I'm darkening it on the bottom. I've been trying to have it worked into the wash. And then again, remember, I thought that this apple, I wanted to bring it down, so I'm just putting some white into there to correct it. Okay. So I'm bringing this, I'm defining the edge of the cast shadow with the charcoal pencil. Then. We've got some chocolate there. I'm just taking a look at this alcohol. And this is the shadow that's being cast by this apple on the second apple. And I'm just putting a light gray in there. And then I didn't put anything kinda right here. So I'm going to put a little bit of ferrite here and try to blend it into the paper. If I want this to be more blended, I can add a white. Then I'm gonna look at the onion for a second. What do I need to do to the onion? I'm going to come in with the black chalk, charcoal pencil. Is that too much? I'm just I'm I'm I'm talking to myself and I'm trying to think. I'm telling you what I would be thinking when I was drawing. So are those lines on the onion to defined as basically what I'm thinking and trying to figure out. So like I'm figuring that out while I'm driving. I'm just putting There's like two pieces hanging out right there. So I was just putting their making the space in-between the pieces a little bit darker. Um, I actually, I didn't think it was going to look that great, but I'm quite happy with it. So I want to leave the white. I took out the way it. Now I'm putting it back in and I'm gonna put some in here. So there's kind of like a highlight going across. I'm rubbing it a little bit and maybe a little gray right down here, so it just doesn't look like white connecting to a dark gray. And then I want to take a look That doesn't look perfect, but you can kinda see the process. I want to look at the background. And I want the background to be darker than the table. And that's not really dark enough. I'm taking a look at my grades and I'm trying to find something a bit darker. That's kind of all I have for us. I want to add black to it. But I want this background to be dark red in the table. Okay. I could've used colored pencil as well and I want to leave some of the wash showing because I feel like I'm drying, drowning it out for fit too much. Okay. I am going to get the black charcoal pencil and just you find this line right here. And I'm going to come in with, I'm going to come into this apple for a second. I actually really liked the wash work on that, even though it's not a lot, actually, I probably should just leave it alone. I don't want to mess it up. I was going to add some shading, but I think even though it's simple, I'm going to leave it because I think it looks nice, but I'm going to look a little bit more at the grades. And I have a colored pencil now. I'm just trying to define detailed areas. So you're not supposed to mixed colored pencil with charcoal, but I'm trying to just put it on the wash areas where I just wanna do a little bit more blending. And I don't want my hand, like I should be watching where I put my hand because it has there's chalk on here. Yeah, I already got someone that Apple. So that's just something to pay attention to. I can also erase that later. Okay. So I'm gonna go to a pencil, I'm sorry, a colored pencil. That's a little bit of a darker gray. It looks the same. Let me see. I'm just trying to darken up some of these areas that I couldn't get with the wash, but I don't want to use a black because it's going to be way too dark. I'm going to stop and take a look at it. I'm just kinda looking for but what do I need to adjust? I'm gonna come in here. I didn't do this grape and bring this gray up a little bit. I could do some subtle shading on the app or I just don't want to mess it up. Where do you feel like I'm messing it up? So I'm trying to keep it really light. This. I want to put a kind of a dark right here. But I could have just left it with the wash and not messed with it. Like once you start messing with it, you know, you can make it a lot worse. So do it at your own discretion. And I think I don't want to mess it up anymore, so I'm going to stop here 13. Line Drawing- First Layer: Okay, so now I'm going to do just a line drive. So I'm using a pen. Whoops, that was way too much. I just messed up my drawing. Oh my gosh, I just messed it up. Okay. I'm gonna keep my gosh. Okay. So sorry about that. I'm going to use just the pen. So I have still washes out. So I'm just doing a couple of pieces of fruit and I'm using a thin tip. I may change tips in certain areas to peaches and a candle holder. So I want to do you can do hatching, crosshatching, contour, hatching, cross contour. I want to go darker than that. I put that pen in the wash. So I'm gonna probably do contour hatching. But I'm just getting some cross contour lines kinda showing me the direction of the surface of the pH. I'm going to go more dense than this. I'm just trying to get my direction lines for cross contour in here first to show me the curve. And I'm looking again for areas of light and dark. Oops, there's another mistake I made. It's just dripping too much. Sorry. So this is gonna be a bit time-consuming. You can do it fast. It doesn't have to be like, it can be sketchy and I'm probably gonna do another one with more sketchy lines just to show you more free handed lines. I'm thinking like I'm just I'm, I'm thinking to myself, do I want to use a bigger tip, a fatter tip rather than this really thin tip. I'm just getting started with my cross contour lines again, and I'm probably do that for each thing on here. And then go in and try to make areas of light and dark. That's a starting point. So I'm gonna come over to this peach and just ignore those black or dark wash areas for right now All right. And these cross contour lines on this are going to go this way. No one's starting to look a little bit more like the objects I want it to look like. Okay? Alright, that's a starting point. And these objects also have cache shadows. I'm gonna make a line for the table. And I'm going to start working on the cast shadows. Whoops. You just have to work with the mistakes here. Flips. There's another mistake that probably made it worse. But I'm gonna try to fix them later when they dry. Remember, you can use different washes to create the lines. But for this, this is a dark shadow, so I'm just using black. It's got a little leaked again, but I'm gonna just keep going. This can be very time-consuming, but you can get some really nice dynamic line work that can really make the drawing look very nice. And you can kinda, kinda more than you can get with a pencil. I mean, deep, dark lines, lighter lines. I'm just kinda making an outline there for how far I want to go with the shadow Hey, that's a starting point that may need to be adjusted. But I'm gonna come over here and put in line for dish. And then I'm going to, oops, I don't want my chip put my hands, so I just put my hand right there but it was wet. So just be careful that you don't want your hand on what things because you're going to smear it. Okay. Now I'm going to look into I'm just thinking to myself right now, like, what do I want to? I'm gonna kinda get my pen into a wash value so it's lighter, right? Because I don't want to. So I'm gonna come in here with yeah, there we go. It's not really showing up that wealth retry right here. Here we go. So I want the peaches to be lighter than the cast shadow. I'm putting it in the dark again. Let me try to I'm trying to mix because that's a little too my let's see how this looks. I may have to use. Well, let's see. It's just harder to get the pen to hold the wash. But it's it's actually kinda working. No. It's not really staying on the pan like the ink tones. It's gonna take you a bit of time to do this. I'm using hatching, crosshatching, but it's, it's width, cross contour. So it's contour hatching. And I like to use not because it's giving me the, the contour of the shape of the surface of the peach. It's getting there I'm gonna, I'm gonna come back to that. So I'm gonna come over to the 2/2. This I'm gonna go just for straight ink right now. So right now again, we're focusing on techniques and realism. But I will do more creative things later. It's getting there. I'm just looking at it, like kind of seeing what I need to change. So I'm using wind to create contour and value on the objects. I need to let that dry. I'm gonna go into this peach for awhile. Just creating some more contour lines. I know I'm trying to use a lighter value wash. I'm gonna get some black in there, then dip it into the wash because I can barely see these lines. If they are too dark, I'm going to have to work with it. So this is contour hatching. I mean, I could leave it like that, but I think it needs a little bit more work. I'm just I'm just looking at it Okay, so I'm gonna come up here and kind of goes this direction. And then I'm gonna go in this direction. All right. So now I'm just looking for what areas here are darker. I'm using the lighter lines. Whoops, see, that got a little too wet right there on to try to pull it through. Again, you just work with your mistakes here. So there's two ways to create areas that are lighter. You can either have less lines. The lines will be farther apart or you can use lines with that are lighter with wash. So dipping your pen into the wash. And the line is quite time-consuming, but it's also how you get a really nice result with it. Okay. Okay. I'm just trying to get that extra ink off so it doesn't drip. I'm gonna make it a little darker at the top. Okay. So now I need to I I I don't I need to let that dry. It's getting a little wet on a second. Just trying to focus it. Okay. So now I'm looking back over here and I'm going to try to find areas that are darker. I kind of gave up on using the lighter wash lines because they weren't really going well with this pen. But I'm just kind of emphasizing areas that may be a little bit darker. You can see this takes quite a bit of time. No, I know I drifted in the Washington. So like this area is coming out so it's a little bit lighter. I'm going to look at the other pH. It started up here. Right? I'm like these lines are like they're not perfect because I was doing them faster, kind of loose. But you'll see which kind of line work that you like. When you're working. Again, I'm looking for areas that are darker and lighter. Then I'm going to dip the pen into the wash. Still has some black ink on it. Fits getting kinda messy. So I need to figure out do I want to sorry about that. Do I want what do I wanna do about the table in the background? I don't want to leave the whole thing. Why? I'm dipping it into the watch. Just making some line work right here. It seems to be holding the wash. Okay. So this takes a long time. But you can get really nice results. I'm seeing if I wanted to go in the other direction, but let me do this direction first. Again, you can use different tips. I just chose to use a small tip for this one because for the other drugs, I used a large chip. And you can dip the pen in different washes. I'm just thinking, what do I wanna do in the background? Or do I just want to leave it white? Let me get this down first. Okay. So now I'm going to stop and start again because this video is getting a bit long. 14. Line Drawing- Second Layer: Okay, so now I'm going to keep going. And I mean, I think this needs another layer. Like it. I feel like it's kinda, you know, just needs a little bit more definition. I'm just looking for areas that are a little bit darker and trying to define them. I'm using the black ink. And I'm still using this in pen. That already looks a lot better just with that out of the dark. All right. I'm happy with that page. Okay. So let me take a look at the next page. So again, this is a repetitive thing that I've said, but a drawing is done in layers. Each layer is going to define more and make it look better. But sometimes you can go too far so you have to know where to stop. It's good to take breaks. And, you know, look at it again and again. And then see what if you feel like you I'm sorry. I got into my eye. I got into my drawing and then I stopped talking. So you want to look at it, like take a step back, look at it, see if you feel like you need to add something, things about where you might need to add stuff in, what you might need to add. You want to see like how much you want to add. Are you adding too much? Are you making a drawing like very overt, you know, having how are you making it to have too many lines, right? Or further too few lines. And a lot of that happens while you're working, right? Like and I want some light lines right here. Lines made out of wash. Okay. I'm just looking at it for a second. I don't want to get a few more wash lines in here. So that added a lot just by reframing that. And then I'm going to come back up here Yeah. Okay. I'm just seeing what else I need to do. And then I'm going to need to come in right here. But look at how rich sorry, I'm, I'm, I'm, I'm starting to think and then I'm drawing and then I was losing my train of thought. It looks the line work and this looks very rich. It's a really nice drawing. You couldn't get this effect with the pencil. Okay? If you do one of these, it's going to take you quite a bit of time. So you just have to be patient. Okay, So now I'm thinking to myself, do I want to leave the background white? I'm just I'm looking at it and I'm trying to figure that out. But while I'm doing that, I do want to get a thicker tip for the outline. So I'm gonna change my tip for a minute. Can, sometimes the tips gets stuck. This one is seeming to be stuck in this pen. What I was going to do was actually I can just do it with a tip. I was going to use this tip and I'm just dipping the tip in here because my pen is stuck. And maybe a little bit harder. No, I can't do it that way. So let me just try to take this out one more time budget. Okay? So what I'm gonna do now is I'm probably just going to do some lines coming out. I'm not gonna do it over the whole background. This is not hold on. So these ones are dipped, didn't wash. Oops. I'm having trouble getting them to show up here. Okay. Let me try something for a second. About this one. This is just a different tiny tip, but it's really hard to get it to work. I found a bigger tip. So while I'm gonna, I'm gonna still going to finish that, but I'm going to dip this in the ink and I'm gonna kinda maybe messing it up again. That may be too much I was going to outline the shapes, but I feel like it may be a little too exaggerated, right? Changing the kind of line that I'm using. I'm just going to try it. I just wanted to have a little variation but not too much just in the outline, right? I don't know if I like it. I feel like that maybe a little too thick of a line for this drawing. It may have looked better just with the smaller lines. And again in pen and ink, once you do that, you can't fix it. But I started at so I'm just gonna go with it. I feel that that was a bad choice, right? But you learn by trying different stuff. And I don't want to leave it like half done because that would look kinda weird, right. So I'm just I'm also going to go for the line for the table. Okay? Now, I'm going to go back to my thinner tab and try to finish some of these lines here. Since these lines were wet, see what how like that dark line bled into those wet wash lines. I'm having trouble getting these lines on. I wanted to have them kind of in the background. I'm going to turn this around. So I'm not getting my hand in like that wet dark ink. Now. I'm not what I'm wanting not to go to the close to the edge until it dries because it is, you know, it's going to bleed. So anyway, it's going to take me a long time to do that and I need to wait for that to dry. But I also would maybe put lines in another direction here. This pen is getting really hard to use, right? Because that would make it, give it more of a dynamic cross hatching look on the table. Let me try the small one again. That's working better, a little bit better. Hold on. Some of it. Sometimes it's hard to use these. And as you can hear it scratching on the watercolor paper And that looks better for the table having the crossing lines. I think I liked that a lot better. It doesn't have to be everywhere, right? You can do it in parts. I liked that a lot better. So I'm going to turn it around over here. So I mean, this is a lot of repetitive, tedious work. So just set aside some time to do this. Again. I know you probably don't need to watch me do this, but I just I'm trying to make these drawings like complete as complete as I can. So I would tip is getting very strange. So again, I would probably do this and leave some of the background white. I would probably have some of these crossing lines over here just around the object to kind of help them stand out. And then half the background turned into a lighter area that we'll be showing shading on the wall. I just caught so that black is still wet so it's getting into so I'm trying not to touch the edge. I don't know why I'm having such a hard time with the tip with the wash on it. It actually worked okay with the regular ink on it. But when I'm putting the wash on it, it's not really gliding smoothly. Alright, so I could do a lot more, but I mean, I think, I mean, I don't know what I would do about that, but that's another thing that like I don't want that in the drawing here, a blended in, but I would have to do something to work with that and fix that. In the worst-case scenario. Like if you mess up a drawing like that, you could get like white out. Or you could get like white gouache or white acrylic paint over it and then redo your ink lines over it. But I am going to stop here 15. Loose Line Drawing: Okay, so I wanted to do one more demonstration because everything that we've done so far as like, you know, like very correct and perfect. So I wanted to try to use ink or line in a creative way and use the line in a more loose and gestural way. I did a portrait, but I don't want these lines to be perfect. I want them to be more creative and loose. I'm just getting some lines in here. I'm starting out being kind of, you know, what, it was, the word for it. Careful. But I mean, I want you to be creative in your drawing processes as well. So I'm just getting some major lines in there. And what I also wanted to show you is that I just caught out, like those are kind of big lines, but I just hide this out. This is just a regular like writing pen is not working. Hold on. I got out too though. Let's see if this one works. You can also use something like this for your ink work, right? It doesn't have to be the calligraphy pen and this actually might be a bit easier. But like I was using that one for the thick lines in this one for the thin. I might put some wash on this. I'm not sure yet. But I wanted to just for for the most part, I want to show you some loose gestural line work where you're not kinda trying to be perfect and that becomes the joy of the drawing, right? So it's like I was trying to put flowers in here, right. But I didn't want to make Sorry. Perfect flowers, right? I kinda making loose and gestural flowers. And sometimes, I mean, this also takes practice even though it looks kind of messy and fast. Like sometimes this kind of drawing is more fun and can give you better results than a type of drawing where you're trying to make each flower perfect and make each pedal perfect, right? It's a different kind of like handwriting, if you will. Okay. So that's that. And then I have a series of flowers. I'm just kind of getting the middle. Okay. Now I'm gonna move up here into her hair and kind of sketched out a butterfly right here. But again, like when you're doing this kind of loose and gestural drawing, like you're enjoying the mistakes that you're making. Those are a part of the drawing, right? You're not trying to get it perfect or it may be in some areas you are, in some areas you are, right? This would be really nice for some color in it, but we haven't done color yet. I put a moon right here trying to make kind of like maybe SLS deal type person. I'm probably going to change to the big pen again, but I want to put some flower. I'm going to probably turn it around for a second. I want to put some flowers and some spirals and her hair But again, I'm not trying too hard with this, right? You know, I'm trying to keep it loose. And some drawings have a combination of this and, you know, more detailed drawing. And I'm going to put a sun right here since I put a moon over there. But now I'm kind of just being creative and letting the creativity flow. Also letting the line flow, right? There's no, I'm not trying to make correct or perfect Lions, right? I'm just kind of being more loose and gestural and my drawing, I'm just putting one thing on top of another and see how it works. Okay? Now I'm gonna get the pen again and do some bigger fatter lines for a variety. And these I'm taking a little bit more time on because I don't want them kinda like dripping everywhere. Now probably want another flower right there. So I'm going to leave that area blank. So you would want to decide, I mean, when you're doing this, you get to decide like what you would want to be gestural or do you want the whole thing gestural. Okay. I'm trying to do varieties of line work. I could also come in and enhance some areas of the flowers with the thicker line, right? Just to give it some variety in the line work that I'm doing. This would look really nice with some watercolor washes and color. And I'll do a class on that later. So don't worry about that, but right now we're just working in black and white. And this could have hours of detail. I'm just doing a little demonstration for you just to give you an idea of different directions that you can go in, right? Okay. I'm gonna put this down and go back to the pen. And I'm going to turn it around because bottom part is a bit wet. So I'm doing some thinner lines over here. And I actually just got this out because I was having some trouble with my thinner tip. So I was like, why not just use this but you can by all means use something like this or even a ballpoint pen to do so of your ink work drawings. You can't even see what I'm doing. Sorry about that. Then. I'm just getting some thinner lines in the hair. Now probably want to put another flower over here. So you're just kind of letting your pencil or pen takeover and just be creative. Seeing where it goes. These flowers are loose and gestural. I mean, the hair is kind of, you know, pretty Controlled is the word I'm looking for. So you can have some of it really gestural and so of it controlled. Kind of turning it around and working around the drawing. This is a stylized drawing, meaning it's kind of taking off from realism. I mean, it's based in realism. We can see a face, but it's also based in fantasy. And this is something you're going to want to try when you're drawing. I mean, you don't want, unless you want everything to be realistic and perfect, I'm gonna go more in this direction later. I just want you to get your skills down first before you go in this direction, right? It's important to have your skills before you kinda do this. If you have really good skills, you can do this really well as well. And I do, I like it. So now I'm gonna go back to the bigger pen and just get some darker lines in there. Just wanted to see if you can see. You can even be gestural with this larger tip. But it's a different kind of drawing that expresses something different, right? When you're kind of not trying to be perfect and letting it flow wherever it flows, right? And again, of course you would, you would make mistakes that maybe you couldn't correct. But it's just something to practice as well. Instead of just drawing from objects and trying to be perfect, right? I'm going to come onto this side was a few dark lines. So I'm trying to have like a good ratio I guess, between some lines that are like thicker and some lines that are thinner. Okay. You can also enter it. So like if you go really thick and then hold like put holds it up and let some of the ink drip, then that would be dripping. So for example, let's say I wanted her eyes to drip or to look like she was crying. I'm just putting some ink in there. And I may need to put more in there. Hold on. I want to make kind of tears so it's not dripping. We need to help it. Okay. So I mean, I kinda had to help that, but if you're using a different piece of paper, it would be easier to do some dripping, right? And then maybe I want the butterfly to drip. Oops, no, I just said got a plot there that I didn't want. But maybe I want the butterfly to drip. I'm putting this on kinda thickly. And I'm letting it drip. And again, the watercolor paper absorbed so much of it, it's hard to drip, but if you use your regular piece of paper, it would drip much more. Just for some variety in there and then give me 1 s. Okay, so let's say I wanted to do like this is just a regular Sam wanted to, I'm not going to get into full-on color right now, but say it like this is just a regular ballpoint pen, so this is a blue. So what I'm saying is you could even use something like this in your creative work and combine it, right? So I'm just adding some blue lines in here. I know we're just doing black and white. I'm just trying to show you some variety. Kind of giving her like a feeling of being a part of the skies. And she has a moon on her forehead. Putting in some blue here. You know, just tick you. So you can have a series of ballpoint pens like red, blue. You can get them in a bunch of different colors. And that will be something else that you might want to add to your pen and ink drawings. I mean, this is using materials differently, which I will do a lot of later. Just wanted to give you an example for right now. Okay. This is gonna be well, as quick as it can be. Probably already taken up a lot of time doing this, but I just wanted to show you how to be loose and use wine creatively. Okay. What else does it need? I'm just I'm just taking a look at it and see what else I might want to add to this. I mean, this is a really quick practice. I think. I'm going to leave it alone. That was just something that I think you should. I'm sorry, I'm gonna go ride and here with Symbaloo. Something I think you should practice as well. And I'll do a lot more stuff like this. In being creative, that was just a quick little thing about doing something gesturally and letting it flow. But I would go further with this later. 16. Pen And Ink Outro: Okay, So for the projects, what I want you to do as a series of four drawings, you'll practice with the objects first. So one of the drawings for the projects is just a wash drawing. You can do anything you want. You can do still-life objects. That will be easiest if you're just starting out. Or you can use an image or you can do portrait. So this is just wash. This is wash and charcoal. Or colored pencil or this one has both charcoal and colored pencil. This is wash and line. These drawings actually take quite a bit of time because you have to wait for areas to dry. And this is just line, sorry, made some spills there. So just drawing only using line. And then this one is kind of an extra credit, one where you're using mine and gestural way, but that's not necessary for the assignments. I just wanted to show you something a little different because everything I've been showing you is like trying to make everything perfectly real