Pen and Ink - The basics

1. To begin: I'm Steve on. Welcome to my skill share course part a very complete guide to panic illustration that I'm gonna break down into a number of different parts and release over the next couple of months. Going from the initial sketch to the front of product as well was confidence is an artist on telling a story Different section Something go through includes mark making line waits, shadow as well as the equipment I use on a daily basis on I'm gonna leave work sheets at the end of this video, which I would love to see. Use your responses in the comments. By the end of the short course, I hope that you have a basic knowledge of the different elements that go into a panic illustration puts you have to take into your own black. If no, I hope to least inspire you to guard and create your own piece of artwork using panic. So, without further ado, enjoy the course 2. The toolkit: I think that there's too many choices of pens out now, but the ones that you stick with our pigment microns on UNIP in, you could get them in packs of about 5 to 7. To be honest, I only ever really use the point north 5.1 on maybe the 0.3 if I am wanting to spice things up a little bit. Otherwise, I just use a very thick version like the 0.8 to fill in large areas of black. They're all useful in their own right, especially when you're building up different lines, and it's like the opposite of the haircut. You can always adds more on. But it's difficult. Teoh. Take it off. Example. Going from Avery Thick line to Avery Finn line doesn't happen. That's why I always start off illustration to appoint one or a point north five simply because you have a basis to build off. You can then thick and light as you want to on also keep lines thin where you want to as well. Once you find a set pens that works for you, stick with it and don't bother changing them. You will be very wary of pencil smudge because it's the worst feeling on the planet when you're drawing and you're really satisfied with a particular line that you've done on Duron brushes over it on your budget, afford those on stick with a pen that works. Here's an example for shape, but this is just to emphasize the point that you can start with kind of messy lines with a thick pen before using much smaller pen to go over them and make them a lot smoother metric circles. Template. I only thought using this recently great for drawing planets on. I usually use it in combination with a compass metal ruler. Great for drawing some lines, this one slightly bent. I don't know why, but keep this is clean as possible. Otherwise, you get grubby marks on the paper, which I started noticing. As I said, Compass are used in use, and with the template, it just makes it easier for me. I prefer using this because I got a lot more freedom with it. This is thes squidgy rubber that I use a lot better than the solid like rectangular rubber you get because you can twist it picks up or the pencil marks off of the paper without leaving any of the small numbers of rubber on the page. The pencil that I use 0.3 only to one of them and keep topping them up with bits of graphite you get in there small boxes. Avoiding is the paper that I use. It's smooth enough but has a little bit of grain to it, which makes it so easy for the in cottages collide across the page. It also makes smudging less likely to happen. But I just want to emphasize 135 GSM is perfect for me, and I imagine it work for you, too. 3. A quick tip on pencil drawing and rubbing out: make sure the your line work is as clear as possible, which is gonna give you a solid foundation for the ink you're gonna put over the top because as long as it's clean as it possibly can be is just gonna make your job so much easier way when you're robbing anything out, put your thumb and index finger into a V shape spread across the page and robin between like I'm doing here. It stops the paper from crumbling when you rub it out essentially and it just gives you a lot more control over what you're doing. 4. Shading techniques: through three techniques. First of all, what I'm doing now is solid back with sort of black. You want to really early on? Define where your lights coming from. So you know exactly where the white areas are gonna be. Whether likes hitting the object, and then when the very dark areas are gonna be next, we're gonna move on across actually, so here I'm defining whether darkest area is on cross hatching is a little difficult because it requires a little bit of pre planning graying lines that are for enough apart that your set up Teoh add lays and lays on top, as I'm doing here to go from the very light area in the top, right to the very, very dark area in the bottom left where no light is hitting the objects. Stepping finally takes a long time. Very effective. I tend to use it in very small areas, would only really recommend using two of these techniques time, for example, using started black with cross hatching or using solid black with stippling, I found that for me, using the combination of cross hatching on stippling doesn't really look the best. It looks more like you can't make your mind up about whether you want to use diplomat cross hatching. Whereas solid black is like having the foundation for your image. And then Step Ling is just like an extra piece of detail, which makes you think, Oh, yeah, this is, you know, this is nice to create a smooth transition. It's more of a solid illustration here. We're just going to start off by defining areas where I imagine light will be on won't be hitting the hand using similar techniques the wife use before with line variation. Just create a little bit with form or interesting illustration. From here, I'm going to define vory back areas. I either vory back areas for shadow. So I'm imagining Okay, the lights probably coming from the top of Roy. I'm gonna define shadows here, here and here, bearing in mind the contours of the hand that you could do this without their examples. But you want to bear in mind whatever object your adding shadow to it's going to have different contours that you want to take into account. And it's worth doing so because you can create much more dynamic shadows again giving you the foundation for cross hatching in this case or stippling. So now I'm just gonna go across actually cross hatching or stippling. I tend to keep it very minimal. It's like trying to chat up someone in a bar. You don't try too hard. Less is more on. The result is just magical. - So here I'm just going to use stippling to create a nice, smooth transition form the very black, smoky areas of the bottom of the illustration to the white areas of the body. As you can see, I'm just keep keeping a very minimal because, honestly, whatever you're doing you want, there is a very bright white still going stippling takes a very, very long time if you just only use deplane. 5. A guide to Line Variation: So I'm going to start off with just outlining subjects by pulling the pen towards me. This gives you a lot more control over what you're doing. Instead of pushing the pen away from you, which tends Teoh splay the lines, how at the end, all I'm gonna do is just continue this, not their entire figure. And all I'm gonna do here is just start using the different pens that I have to go through thick black areas to very thin areas of hair. In this case, I'm going to do next is stock rating, line, variation or line. Wait. Now this is very, very important because you couldn't define where the lights coming from as where was where the shadow is. It just also creates a lot more dimension in your piece. Instead of having a sordid line all the way around, it just makes a little bit more interesting to do from here. You can also add in stippling into particular areas when you go wanna go from a very black line, Andi, staple your way out to white areas 6. A guide to Mark Making: mark making I tend to use for animal textures as well as Texas of materials. But before we do anything with mark making, I'd recommend that you define any solid areas like I'm doing here. For example, I'm gonna do the knows. I'm gonna do the flat air of the snout as well as the tips of years. This is just again. You have a foundation? Yes, simply to work with when you start adding in the very black marks on the page, going towards the mid tones and then defining the lighter areas of the illustration. - So as you can see, I've already gone through and use smaller marks to show thievery edges of the illustration , for example, those smaller marks in the bomb of the illustration I can see. Okay, the phone is gonna end here. Therefore, the bottom of the illustration is gonna end here in terms of the head. In this case. Next, I'm going to go through and defined very, very black areas where I just build up a lot of marks on a page so that I know exactly where I'm gonna build out from by using mid tones, Andi, then from mid tones moving away into the brightest areas. - I'm just going around off by creating mid tones for that nice transition from the black areas toe areas. Mark making just requires a bit of forethought, because whatever you're drawing, you want a nice dynamic between different shadow and different areas of light. Same with line variation using stippling or cross hatching again applicable to anything when not making yeah. 7. Thank you for watching! (Caution Loud): Thank you for watching See you in the next tutorial where I cover a whole host of other subjects. But for now, take it easy and enjoy. You're not way, - you know, way watching about these hands around the clock with my eyes while trying to get the pain over And my whole world getting very to me. Answers get So I watch my that can keep it moving to the front. And remember that the world Shaw's doing you You wait here for too long. Biggest time for you to move on realizing, realizing these real time It was right before my eyes watching all this time now my whole life Every waking for my time to shine like a diamond They're like this rougher name With that funny stuff I use it all the motivation But it's hard to have the patience watching time might be the hardest thing I have to do in life Frustrated that I want to be yet But I know that I'm gonna make it If I chased that check Yes. Time No For too many years now When the stars were Tom go Yeah,