Transcripts
1. Lesson 1 Introduction: Hello and welcome to this class on shading in pen and ink. In this class, we're
going to be looking at three techniques that I use all the time in order to
create depth in my drawings. We're only going
to be focusing on fine liners and we're only going to be using
some basic paper. So it's very accessible. In the class project,
you're going to be creating different value scales. And those values scales
are gonna help you to understand how you can
get different levels of depth in different levels of essentially color or
value in your drawings. So grab a pen, grab some paper, and I'm really looking forward
to working with you today.
2. Lesson 2 Materials: Let's talk about some
materials now, pen and ink, the best thing about it is
it's very, very accessible. You need a fine liner. A ballpoint pen will do. But the reason I'm recommending a fine liner is because it's going to help you to work
with even finer lines. I find ballpoint pens aren't really as fine as I
like to work with him. And they come in a
variety of sizes. So I have here brush, pin, and you'll see that
it has a little brush tip. And this is something that is a little bit more
advanced to use. But if you do use a brush tip, which you're going to
find is that you can make very thin lines and
very thick lines. The benefit is it's
as though you have an entire kit of pins
in your one little pen. You can bring it with you
wherever you want to go. The downside is that you have to learn how to
control the line. And it's generally
difficult to do, especially for a beginner. And if you want extremely
fine lines that it takes an extreme amount of control to make the
brush pen and work. Personally, if you're just
starting out in pen and ink, I don't recommend
using a brush pen. I'm going to put minus sign
and we'll use a fine liners. And then we have
different sizes. Now here I have an one. Now this isn't actually a
size and millimeters and different companies say
different things in their sizes. But generally speaking,
the smaller the number, the smaller the brush tip where it started,
the smaller the tip. I use Pigma Micron from Saqqara. But really there's no difference in brands for the most part, this one is one from Le Pen. There is no big
difference between the brands I personally found. I have found that some
pens that are cheaper, they'll break the tips a little bit easier, but that's about it. This way you'll
see is an O three, so it's even smaller
than the one. And again, if you're
just starting out and 03 is probably a
little bit too small. The reason for that is
because the tip is very fragile and creative uses
a very, very thin line. So typically if you're
just starting out, if you're a little bit
harder on your pins, this one will not
last very long. In fact, as an example, this pen here is almost completely done and it
barely makes a mark now, barely ever makes any lines. And that's because I
actually was a little bit hard in it and my last drawing and I just destroyed the tip. I don't recommend
something quite so small. In this class, I'll be
working with an O one. And this one here is an O five. This is a newer O5 as well, just in case one
of them runs out. So I have several pins. I typically use the same brand. Again, the brand
really doesn't matter. Talking about paper. This is just very
cheap cartridge paper. And I actually went to the
art store, I bought it, it was 18 by 24 inch sheets. I got 40 of them for about $4. It's fantastic paper
for pen and ink. It's essentially a very
large printer paper. If you're just doing practice, then basic cheap
cartridge paper is great. If you're doing more important drawing
something where you really want it to be, maybe on a frame or you want it to give
it away to someone. This paper, it's not acid free. It doesn't say it's archival
or anything like that. So I wouldn't
recommend cheap stuff going any cheaper than this. So you basically would
be into newsprint. And I found that with
newsprint dependent, actually either
rips it or it just absorbs all the ink and
it starts to bloom out. And it's not very good. If you're in a pinch, a big pad of printer paper is gonna be really good for you
because printer paper is literally designed
to take ink. If you take it through
an inkjet printer, for example, it's supposed
to have ink on it. I found that especially
for learning purposes, printer paper is great. If you're doing
more finished work, you might want something like a hot press, watercolor paper. And I say hot press
because that means is it's typically
smoother as opposed to a cold press which typically has a lot
more tooth and it's harder to draw on with
a fine liner pen. But for today, go get
some printer paper, going at some basic
cartridge paper. If all you have this
newsprint, that's fine too. We're going to work with it. So get your stuff and let's
head to the next lesson.
3. Lesson 3 Getting to know your pens: Alright, so let's get
to know our pens. To show you a couple of things, I'm going to actually
use the brush pen because it's a lot easier to demonstrate
the effects on camera with such a large tip. But what you should really be doing is picking
your favorite pen. Now if you've gone
out and you've got an only one pen
vote, there you go. You can go ahead
and use that one. If on the other hand
you have several pens, I recommend something around an O one size if you have it, or whichever size is closest. Uh, using something quite
so small to begin with is going to be a little bit
harder for you to really see the difference between
the techniques I'm about to show you. But if you have,
it's what you have. So let's work on the
brush pen first, and then I'll bring in
the other pens as well. So the first thing I
want to talk about is something called flow, Inc. is a liquid and it flows out of your tip as you draw. The problem is that the
ink can only flow so fast. Maybe that's not a problem. You can actually take
advantage of that fact to create some really
interesting techniques. So here's an example. I'll take the brush
pen and I will very slowly go across my paper. What you'll see
is that basically no more ink can flow out of this pen even if I wanted it to, It's going very slow. And it is fully
saturating the paper, all the incus flowing
out that I want. On the other hand,
if I go faster, then you'll see that that
did not actually happen. We get only some of the ink is coming off and in
fact at, towards the end, the ink is flowing
so little that it's essentially not
even coming out in the morning to get
this gradient. This is a fantastic way of taking advantage of your pen
to get different shades. If you can move it
quickly enough, then you end up getting
a great type color. And that's going to be very, very useful when you're shading. Now, the downside to that is
you have to move it quickly. If you're doing a very fine
little tiny bit of shading, say I'm only going to shape
between these two lines here. And it's very hard to control the pen because you
have to go quicker. The next thing I want
to talk about is angle. So if I have the
nib on its side, then I get this giant line. If I have the nib on an angle, I can barely get aligned at all. When I'm working
with a fine liner, the situation is
actually reversed. If I write like this, so I have my pen is directly
touching the entire thing. My angle is almost
perpendicular to the page. I get the biggest
line I can make. But if I then take
this 01 and I go on the very edge of it and
I practice a little bit, then you'll see what
I can end up with is this other very fine
line coming through. You can barely see it. And it gives a really
interesting broken texture. Now the benefit of doing
that is that again, like with the brush pen and the high flow and
low flow situation, this also lets me get a very
finer gradation of shading. So rather than having
this deep line, I have this nice broken line. That's really good
when you're doing say, a large region of flat
color that allows you to work with different levels of shading only
with a single pin. So it's almost like when many people work with pen
and ink because the oval, once you've put in Markdown, it's currently that's true. But if you can work with the
angle and with the flow, then you can actually get
some really nice shading going on almost like
you're using a pencil. Ballpoint pens are particularly
good at this and you can actually have a
pressure sensitivity as well with a ballpoint pen. But like I said today,
we're only going to be focusing on fine liners. Finally, let's talk a
little bit about nib size. Now, generally speaking, if you have a number
of different pens, you're only really going
to notice a difference in nib size when there's
a significant difference. So an O one and O five, you'd might sound as
though these two are half, but that's not actually truly, these aren't in any units
that are reasonable. This one here is a 0.25
millimeter line for the L1, but the O5 is a 0.2
millimeter lens. It's actually only
a quarter or so, maybe a fifth smaller. That's why these two pins
are essentially the same. And I'll put a line
next to this one. Remember this is the old one.
And if I do a line here, you can tell the
difference if you're coming in and really closely. But for the most
part, these two pens are essentially interchangeable. The only reason I would
use such a small paint is what I'm really
doing some fine detail. Now if we had a much
larger pen saying, Oh, three-year and 05
compared to an O five, you would really notice
a big difference. Those are the three
things I wanted to get you to know
about your pants. The first is flow. And keep in mind that these
ones also have a flow. And you can move
them quickly and get some different stuff
coming out of them. I'm gonna be showing you that technique in towards
the end of the course. Then we talked about the angle. And if you're using a brush pen, the angles are reversed
compared to using a fine liner. So if I go flat,
I get a big line. If I go vertical, I get a small line
with a brush pen, whereas with a fine
liner, it's the opposite. If I go vertical, I get the
biggest line I can make. And if I go flat, I get
this nice gradations, little tiny thin lines that I can use for some
really good shading. Finally, the smaller
the nip size, the smaller the line
you're gonna get. And you're going to see
different shading based on that. But really that effect
is only noticeable when you have a huge
difference in Nim size. If you're doing some
very detailed work, start with a smaller
nib, maybe an old one. If you're doing this drawing or maybe cartooning and you want some depth of your line work, then a larger name is important
because then you can get those very big lines and
by manipulating the angle, you can also get
the small lines. If you're really brave,
you'll get a brush pen. Brush pens are great. They do take a lot of effort
to control and that's going to give you all the
effort that you want. And you can take all of the
different ways of using shading and the pins and the brush pen is really
fantastic for that range. The other hand, if you're
just starting out, and even for myself, I like to work in pen and ink, but I really prefer fine liners. It's just a preference. I don't love the brush pen. I find it more difficult to control. I have
to think more. So I use fine
liners quite a bit.
4. Lesson 4 Hatching: Now it's time to
talk about hatching. Hatching is a very basic
pen and ink technique. Now, just so you know, there are some other techniques that a lot of people use to
shade with pen and ink. I'm primarily going
to be working with a straight
line type shading. That is to say where
you're drawing straight lines in
order to create value. Sometimes there are
other ones, for example, stippling where you make a
lot of dots and scumbling, where you do also a
lot of scribbling. I'm not going to use those
because first of all, I typically don't use
it in my own practice. And second, because it's really a difficult thing to learn
only one type of shading, which in this case
is going to be straight line shading,
stippling, and scumbling. It can be its own
course on its own. So we're just going
to focus today. Straight line shading using hatching is something where you add more lines to
create darker values. And the way you create more lines, if you
take a look here, I have a five boxes and I'm
going to be shading them. What I'm really looking
for is line density. So more lines for
the given area. And these boxes are
approximately the same size. And so there's going to work out fairly well for us when
we try to work on this. Now, this one here, I'm going to leave white. I'm not gonna do anything to it. This one here, I'm going to start adding some shading
and I'm going to be very careful to
put the spacing of my lines because when we
were just doing hatching, which is to say finds
going in one direction. And then we're going to get to a point where the density of lines is the only thing that matters for the value
that we're creating. So what I'm gonna do
then, take my pen like I'm writing and you
can use your wrist as well. But for this part,
I want to be very, very careful and
very consistent. I want to make sure I
stay within my boxes. So I'm gonna keep
my pen holding it like almost like I'm
writing with it. Then I'm just going to
start creating some lines. You'll notice that I'm being
very loose in my line, so I'm allowing a lot of
whitespace to show through. And this is our first
step in the value scale. Now, this the problem with it, if you're thinking about
how you might draw it, very detailed drawing
when you're working with hatching and you have
extremely large spacing, it tends to look like
there's a lot of gaps in it. It doesn't really look like it's well shaded and well blended
or anything like that. So what I'm going to recommend you do is just create
the value scale. But usually what you're
going to do then, and we'll talk about this
in the next lecture, is crosshatching
and blending it. So that's where you actually
go the other way to hatch and go over it and you do multiple
layers and everything else. But for now we're just
focusing on lines going in one direction and varying the density so that we can understand what
that looks like. So now I'm going to
try to make it so that the density is a double. So basically the line
spacing is half. Let's go ahead and do that. And you'll notice
that now I have to move a little bit slower
and be a little more careful because I
don't want my lines to intersect and I don't have as
much space as I did before. And that one was a little
bit too much space, so I'll go back and put it in. Maybe a little too
much space there. You'll see first of all, that it's not as easy to control things is they're
very close now on the upside, normally you don't just
do a large area of flat color either you're
doing something like, I don't know, a face
or whatever it is. And you won't have such
large lines to draw. But hopefully you can see that we're getting this illusion of darker. I'm gonna
do it one more time. Now I have to go probably a little bit faster
is to make sure that my wrist is
working with it. And you'll see that
I'm becoming less precise as I do that. I'm not hitting all of
the, all of the lines. And so if you want to
be very, very careful, then you'd have to go
and you'd have to be very slow when you're
doing your hatching. Now the one downside
with pen and ink is it is a very slow medium. And so normally what
you're going to do is go a little bit faster and just
sort of clean up at the end. But if you really,
really want it to be extremely precise than you have to go very,
very, very carefully. And you'll see here, I
actually missed the mark. But hopefully you're
seeing we go from white, darker, darker, darker. Now I'm not saying things like gray because we're
not going to create, we're going to black
and white still. Think of a pen and ink
because you're creating the illusion of shading. But in reality everything
is black or white. Even these lines here when I did the edge shading here and I use the angle
to create effect. What I still have
is black and white. I just have very small black and white lines
and they're showing up to the eye almost like
gray to the cameras, great. But they are still
black and white. And when you really
zoom in there, you're still going to see him. Defining thing now is I'm
just going to fill this with as deep of color as I can, but I'm not going to make it a completely block if
I were going to do that, Let's go 21 more. And I want it to be a
completely flat black. What I would use honestly as a brush pen, I'll do
that in a minute. Let's go and let
us try to shade. And you'll see now
I have to move very quickly just to make
sure the faster I move to the more able I am to
get line spacing the works. And then here you'll see
that I missed a lot. I'm gonna come back in. I'm just gonna go do that again. It's almost like we
have different patches of hatching coming in. And I'm being careful
as careful as I can to avoid overlapping
my hatching patches. Because once they overlap, you actually get essentially
as almost like a line. And I'll show you
what that looks like. If I were to very
commonly if I'm doing that and then I come back in and you'll see how
I'm overlapping it. What you end up
with is this here, which is a big patch of black because those two hatching marks overlap sometimes what you want, but really normally
you don't and you need to be a little bit
careful in what you're doing. All right, so now let's
compare this to pure black using the
brush pen because there's basically no easy way to do it using
just a fine liner. I mean, you could do it. It just takes a long time. I'm going to fill in the
entirety of the square. And again, usually you
don't really have this, especially if you're
drawing from life, things aren't
typically just black. And sometimes you can get some really fantastic
effects like if you do say very contrasty thing, almost like the comic Sin City, wherever it's basically black
and white and that's it. There's really dark and really lightened and it's
the only two values. But for the most part, I'm very sparing with how I
use my brush pen like this. And that's just because
of my personal style. While I draw, I liked doing a lot of still lifes and
landscapes, that sort of thing. I don't really have
these dark, dark colors. Hopefully you can see
that we do in fact have a nice value scale in
this case of six steps, all the way from white to black. And then as we increase, we end up getting
darker and darker. Even though we actually
haven't done that, we've just added more lines. In the next lesson, what
we're going to talk about is crosshatching and blending. And that's really going to
let our creativity flight.
5. Lesson 5 Cross Hatching: All right, so now
let's talk about crosshatching n blending. If hatching was straight
lines all in one direction, then crosshatching
as just making lines in multiple directions. And it's not just two, so it's not like you're
just making x's, for example, you can do crosshatching in many
different orientations. The benefit of doing a
crosshatch is first of all, it makes your drawings look
a little bit more like they were drawn maybe
with a pencil or wisdom, nice gradation in your shading. And second, you don't suffer from this problem
here where you have very large gaps in your lines because you've
crossed attached to them. And so those gaps starts
to become less important. Now the downside to that is if you want it to be
very, very light, you might have to
be careful because if I start crosshatching, in fact, why don't I just
crosshatch over this for now. If I go in and I
start crosshatching, then it gets darker because there's simply
are more lines. We need to be careful. But let's work on doing a gradient here. Because that's always
something that people loved to do with every Archimedean they want
because they wanted to look almost like
they're using a pencil. Now, one thing to keep in mind, the pen has a very
distinct flavor. You can almost say very
distinct look to it. If you want it to look like pencil drawings
and some people have done that and it's
an astonishing what you can do with a pen. But if you wanted to
look at pencil drawing and you're a beginner,
go get a pencil. That's really what
I want to tell you, is the pen does a number
of things very well, a number of things poorly. And if you want
to spend a lot of time getting a
fantastic gradient, then maybe the pen is
not the best medium. But let's take a look at making a gradient and
how you might do that. The first thing I'm going to
notice is that I wanted to go from dark to light. What I want to do is create a gradation between
those things. How I'm gonna do that
is by crosshatching, but I'm going to
begin by hatching. And I'm not going to start hatching as dark
as I possibly can. Because what I'm
gonna do is come in again and then
crosshatch into that. So if I make this as
dark as I possibly can, Then there's nowhere for
it to go and it just gets darker or saturated. It's
not going to work for us. I'm going to begin
with somewhere between these two things here. And I'm not gonna
do the whole thing. I'm just going to allow
a little patch of it. And you'll also notice I'm
not gonna be too worried about where exactly
my lines end here. And the reason for that is
because I'm going to be coming in and adding another
layer on top of it. And I want that sort of soft edge to allow
it to blend in. Let's take a look. I'm going to take maybe some crosshatching like there's
some hatching like that. Sorry. Again, you'll notice
that I didn't really worry too much about
more lines were. Now when I'm doing
my crosshatch, would I need to be careful of
is to go beyond this area. So watch what happens. I'm going to add some
crosshatching or probably come in horizontally for
the first crosshatch. If I go over what I've done in, into the other area, I'm going to get an effect
where I get dark here, lighter here, and
finally lightest here. Let's do that. Now I come in and I'm
drawing some hatching. I'm not too worried about exactly what it's
going to look like. Towards the end, I'll
just come back up. Now. We have this used
some angle here. And I went superiorly quickly. And so now I have darker here and I'm doing another gradation. Now I'm gonna do that again. And this time I'm going to
come in like this over it. That's another way
of cross hatching. Then we're gonna
cross hatch again. Maybe like that. Hopefully what you
can see is that if I were to continue to do this, I get dark, sort
of a medium color. It gets lighter and lighter and lighter until eventually
get to the paper. As I crosshatch, the key
is to go over what I've already done into what
I'm still working on. Now if I want this
to be even darker, maybe I'll come in horizontally. And now I'm going to
increase my line spacing. Now I really have this gradient. And so this is the idea behind crosshatching is
you keep on adding layers and layers and layers until you end up with
a gradient you want. Now there is a downside to
the crosshatching method, which is that once
it's down, it's down. That's actually pen and
ink and a nutshell, Once you have it nailed
down, it's on your page. So if I wanted, for example, this part to be a
white highlight, I blown that because I've
already put my ink down. So usually what you're gonna
do is be very careful, maybe even draw it in
carefully with pencil. You can erase over pen
and ink very nicely. Here's another way to do it, rather than trying to shave
the entire area at once. Especially if you have
a very large area that typically is
quite difficult. What you're going to do
is create patches and this makes it really nice
and interesting texture. The downside being that you're not going
to be able to get as flat a gradient. And I'll
show you what this means. I'm going to begin
just like I did before with some hatching lines, but I'm not going anywhere near all the way
like I did here. I went actually
almost halfway here. I'm only doing a little bit. Then I'm actually
going to put in another set of hatching
lines and another set, and I'm going in random
directions as well. I'm not really too concerned about line density
at the moment, although now I'm starting
to become aware of it because I want to make
sure I get this gradient. Now when I come in with
my other hatching lines, we are gonna be a little
bit more careful to give myself More line spacing
and maybe one more. Now, it doesn't really look at the gradient yet
because we're not done. I'm gonna go over this and crosshatch in different places. I want this to be the densest. So I'm gonna go over this
probably multiple times. Maybe I go like that. Maybe here I do a
patch vertically. Maybe here it's a patch
horizontally all through. You'll notice I'm going over pieces that I've already done. And so I'm doing this randomly. Then here I'm just going
to go a little bit in, increase my line spacing. Then maybe I want to
cover up this part. So I'm going to do a
little bit more hatching. More hatching this way. I want this to be darker, so I'm going back and forth. Line spacing will increase. And now I want to maybe do
some patches here and there. And in this way,
this I find to be a really effective method for creating value scales
and gradations. Because I'm not worried so much about trying to
fill in the exact shape. I can do little tiny pieces. And as I add more layers, you'll see that I'm
actually getting quite close to black. And that is because while I am, what I'm doing is essentially
filling in that shape. And I'm not worried at all about whether I have perfectly filled everything in
or whatever it is, because if I miss
something, Let's say here, I've missed a little
bit here and I want it to be maybe darker. Well, go ahead, make a darker. I can add in a hash for
that particular patch. And maybe I want
to, I don't know, make this, make this part
here, this one corner. I want to make it really
dark, but I can do that because I don't
have this problem where I blow out my highlights by trying to
shave the entire thing. So if I want this
one-quarter to be extremely dark and maybe
I want it to come out. So I go here and I add a
little bit more of a gradient. And that's going to help
me to shade a complex, very large, flat piece of color. In fact, a piece that I just
worked on was a very large, it was on 18 by 24 and it was
essentially a black lizard. And so this entire
thing skin was very, very dark and so I had to shade large flat
swatches of color. And this method, it was
really the answer for me. It really helped me. All right, so this is how
we use basic marks to make our value scale. The next thing I want to
show you is how to take advantage of the
edge, the angle, and do some edge shading to get some really nice gradations
for certain applications.
6. Lesson 6 Edge Shading: All right, so now let's talk about the last technique
of the course, which is edge shading. And you'll remember back when we started talking about
what angles did. We learned that if I
were to angle my pen in a certain way and move
it at a certain speed, then I end up getting a gray. Essentially, we're gonna be taking advantage of that effect. But I'm going to
warn you something. This technique I'm about
to show you is very, very hard on pins. If you remember back in the original videos
in this course, I've talked about my O3
and how it doesn't work anymore is because I use
it to edge shape too much. So I wanted that effect. I knew it would hurt my pen. But if you're just beginning,
you only have one pen. You don't really want to
go and get another one. This is really not
the technique for you because as you
learn how to do it, if you push too hard, you
will break your pens. So just be careful. And a really good way
to do this is go up to a craft store like
Michaels or whatever it is, and get yourself a cheap
pen or a cheap set of pens. And just play around with this technique so that if
you break something, it's not like you're
breaking your fantastic fine art pen. But just do be aware that when you're working
on this technique, it definitely is
hard on your pants. So the idea is to
take advantage of both the angle and the flow in order to get some
different shading. And it's almost like
you're coloring. So the first thing
that it shows, what if you do it wrong? And this is when you
have the angle too high, then you end up in your
home just going back and forth and I just
end up with black. That's not what I want. I want a nice gray. I'm going to go on an
angle as much as I can and it's better to
go on a bigger angle. And you'll see here I'm
going to extreme angle. My pen isn't even
touching the paper. Then to increase
your angle until you start to get those
lines showing up, which is here, then that's
going to be what you use. That's the angle you used to get a scrap paper maybe
to start shading. And so what I'm going
to show you is that this here can actually be
filled in quite nicely. And again, I'm just
going back and forth now I'm really shading it
almost like it's a pencil. And if I keep on
doing this and you'll see that the faster I go, the better I get, I get a really gray. And you'll also
notice that I do get these lines in there,
here and here. And I can't really get
around that if I'm going back and forth and back and forth because you always, unless you have extreme
control, will be hitting them. I found that this is
a fantastic technique for wood grain, for example. But I wouldn't do it if I'm just say shading something very, very flat like a ball. Now watch what happens. I go over it more and more. I'll just do this
one patch here. I'm starting to get some
really nice shade. I want it. Maybe it's gonna be a
part of a cylinder. We're gonna say, I go over
and over and over it. And I get some
really nice shading and some really easy
to make predations. Let's do it over here. Are sort of a reverse cylinder,
something really weird. Sort of pops out on two edges and goes to a
gradient the other way. Then we come back
and we shade again. Now we're really getting this amazing gradient
with the pen. The downsides, something
you do need to be aware of is that at some point, if you're gonna be doing such
a gradient that is going to look almost like a pencil
or a charcoal drawing. Go and get charcoal
go and get pencils. Independence, fantastic. But it's not really the tool
you're gonna be using to say shade and 18 by 24 inch piece of paper
all the way through. That's really what pencil or charcoal or some
other mediums for. But I've particularly found that when I have to do very
large flat things, maybe like a large
branch on the tree that is this curving
away and it's very, very large drawing that this technique has
fantastic river. The other thing is that
you can actually use this in conjunction with
crosshatching. And this is where if you
want a nice smooth gradient. Now let's say that I have
this gradient already down. And now I add my crosshatching. And that's just going to
give me that extra level of darkness in this one area. And it's going to
let it really stand out or pop or whatever it is
that I really wanted to do. This is a technique that you can use when you are
working with them.
7. Lesson 7 Class Project: Alright, you've
arrived at the end. The class project is to
make three value scales. First, draw some boxes. You're going to
want five of them. You're going to do one
value scale using only hatching all the way at the end and try to keep your steps as consistent
as you possibly can. The next value scale
you're going to draw, and again, draw five more boxes. He's using crosshatching. You're going to try to
keep as consistent as you can with your steps in value. But I only want you to do two layers because it's
something that is very, very worth practicing
only with two layers, you can always go back and you
can always make it darker. But I want you to see how
dark you can get it just by varying the direction
and the line spacing. Finally, what I want you
to do is another gradient, not a, not a value
scale anymore. I want you to do it using
an edge shading technique. Then if you want, if
you're having trouble with that, Let's keep in mind, you should be going over the pieces you've already
done and blending it up. That's the class project. When you're done,
please share it. I'd love to take
a look at it and have any discussions
with the U1. I think that learning
how to shade in the very beginning of
your pen and ink journey, or even if you're
an advanced user, is something that can help
you in all of your drawings. So I'd love to see
your projects. I'd love to see how well you
do with your value scales. And then I would love
to see what you draw. Thanks so much for watching and I'm glad you joined me today.
Michael Cooper-Stachowsky, Creative explorer
