Sketchbook Doodle: Great Horned Owls

1. INTRODUCTION: Hi everyone, my name is near and I'll be your teacher for today's class. Today I'll be sharing with you a four themed class where I'll be drawing out owls, both in pencil and in ink or a liner pen. I will take you through all the steps one by one. So hopefully it is a little bit easier to follow along. It does look quite detailed and complicated. But once you get the features down, it's actually quite simple. So hopefully you found this class useful. This class is actually a suggestion from one of my students who saw an old painting that I did in one of my old sketch book tours. And I decided to turn this into a two-part class. This first part will be focused more on the features and proportions, whereas the second will be more on the execution of the loose painting itself using the features that I used from this cause. In this class, I'll be drawing fairly loosely, more like a sketchbook doodle. And I'm going to focus more on the facial features and not so much on the body proportion. However, if you would like to take this further, you can also study more and create different poses for your final drawing as well. I'll be sharing with you two versions of the during one and pencil and the other one with a liner pen. You can also try this out with other mediums like brush pens or dip ink pens if you would like to. I just decided to include the ink in case you want to use this as inspiration for October. Before we begin, let me go over the short outline so you know what to expect of this class. After this introduction, I will share the supplies and brand that I use. But of course you can use any pencil and paper you have on hand. Next, I'll quickly scroll over all photos to study the subject and figure out what to look for when we're looking at references. You are free to also do this on your own to study further on the anatomy of the house. Then we are ready to start tackling the facial features, which I will be simplifying using pencil outlines. Then moving further to add simple textures with loose pencil markings. Then to redefine and enhance those features by adding shadows. After we go over those facial features, I will show you how I put it all together with the body and the rough proportion. And finally on to my final drawing and the bonus ink pen drawing. Like usual, i'll be speeding or skipping through parts of the drawing where my hands as either inactive or off the camera just to get the class going. And I understand that everyone works at a different pace. So I always suggest for students to watch each lesson or the class prior to drawing along ends. When you are ready to draw along, you can pause in between each step so you can work at your own pace. And start the video again when you're ready to move on to the next step, the string might look a bit detailed and intimidating, but I assure you once you have the features down, it's actually quite simple. And I hope you guys enjoy this class. Let's begin. 2. LIST OF SUPPLIES: Before we begin, I'm going to go over the list of supplies really quickly. And since it's only you doodle, its a very shortlist, I'm also going to share with you the brand of supplies that I'll be using in case you're curious, but of course you can use anything that you have on hand. So firstly, I have my trusty razor which is sucker foam eraser. Then here I have two pencils. These are both buy pencils sharp lit with a standard size of 0.5. The green one here is filled with each B, while the blue has to be for a software graphite, which means it also has the darker tone. You can use. One type. I just happened to have both really close to me. And since this is a doodle, it really doesn't matter too much. But at the same time, if you have easy access to something even darker like a 4B are 6B a think that it would be able to bring up more depth. So it's really up to you what you want to include for the class project. Since it's going to be October soon and within October coming, I thought I would also throw in a bonus of doodling with ink street without pencil, complete with the imperfections of the illustration. For this, I'm using the snowman brand with the size 0.01. There's happened to also be water proof. So you can actually do lose washes on top of this. I'm just going to keep it as an integral or an enduring further sketch book. I'll be using this punctate artist sketchbook. I personally like the size and paper, but again, you can use anything you have on hand. This is what I usually use when I practice during certain things because it has a good amount of space and each page. As for the final doodle, I am going to use my usual mini sketchbook that I use for my YouTube paintings. I made this sketch book for one of my Scotia classes. And I'll just leave the class and the information page if you're interested in. So the sketchbook basically has different papers that I included and the one that I'll be using to draw the hours is by canceling. And this is what the original cover looks like. And that's pretty much everything that I'm going to use for this whole class. 3. REFERENCE STUDY: Before I paint subjects that are not overly familiar with. Or even if I am familiar with the certain subject, I always like to look at references to study them. For this case, I like to see the variations, like the patterns and colors and their feathers and facial features. But most importantly, I like to look at their proportions. I like to start by looking at the body proportions. Even though we're going to mostly focus on the face, it's always important to know the subject as a whole. Not the head might look a little bit disjointed if you approach them separately. This is a common mistake made by beginners, especially when they're caught up or excited. By placing a lot of details. The details itself might look great by itself, but once you put them together, it might feel a bit wonky and disjointed. So firstly here I'm going to start by looking at the ratio between the body and the head. Owls are known to have very flexible head or neck. So they can really extend them up or down. In this case, when I'm looking at the facial features itself and looks quite condensed, but the portion of the neck and head is actually a bit larger. So I like to always approximate the body to be around two to three heads Tom. Now let's have a look at a photo where the owl is not quite upright. And as you can see here, the body now looks a little bit shorter. Here is also another photo by my craft. By the way, I don't own any of these photos. These photos are uploaded from Pinterest and I like to use them to study. So just be mindful if you were going to take it as for reference. But here as you can see, it's around two heads tall. Of course, there's also a bit of foreshortening, so it condensed the body even more. The portion would be more or less the same. Also if they're facing sideways. So there's a lot of space to create different portions. But as you can see, the body is a little bit wider as we get to see the wing on one part of the body. To forget that if you're painting them on a rather thin branch that you're also able to see parts of the teal as well which extends downwards, especially when they're facing sideways. Now let's look at the facial features. Great horned owls are known for those beautiful bulging yellow eyes with their mask and feathery ears. But let's look at it in further detail and look at where the direction of growth of those free feathers are and how it follows the curvature of the body and the intricate face. It might be a little bit overwhelming at the moment, but I'll try to break these down in further lessons. But for now let's just look at the triangular part of the head. When they're facing front on, it might look quite flat. But when we are looking at it from the side for you, we can now tell that that part is slightly protruding out. And this is something that we will take into consideration as b applied the shadows later on. 4. FACIAL PROPORTION: I know that I mentioned in the previous lesson that it's important to understand the whole body proportion. But here I'm going to show you how I portion, not the face first. So when you are comfortable with the features, you can easily apply it to the whole hour as we go over the body proportion. For me as I practiced and doodle these owls. I found that the tricky thing for me was to get the, i's, since they determined the character and is most likely going to be the focal point. The placement of the eyes and the distance between the two is very important. So here I've drawn a couple of examples. As you can see here, the both look a little bit off. The first one, the eyes are a bit too close together while the other is a bit too far apart. So we want something in between. A good way of determining the distance I found as by adding an eye distance in between. So we want three equal parts. And you can draw this by drawing three circles representing the left and the right eye and the space in between. Or you can also indicate them using lines with equal distance, whichever is more comfortable for you. From here on, I like to mark the middle, so gauge of where the middle of the face will be, which also means the placement of the beak. And I place it under the circle in the middle. Or you can also pleased that a tiny bit higher or lower depending on the angle you're going for. And as further triangle, i'd like to mark the tip roughly in the middle of the circle at the center than extending it down towards the beak. For me, I like to add a bit of movement to the lines of the triangle. So I actually like to meet the line slightly curved like S shapes. But this is optional. I just find that it looks more organic that way. Then I'm just going to continue down to where the forehead of the owl is connecting to the beak. And I just create free lines and keep the texture with simple outlines. So here we've established some good positions of the facial features. Then I'm going to add little eyebrows on each of the eye. And you can draw this on top of the eye or a little bit lower if you want the eyes to be slightly sharper instead of rounded. I know when I was outlining this, the left eye is a little bit too far compared to the right. So do try to get it as even as possible, but you can still do tricks on this with the texture and shading leader to make it a little bit more even. But it is always better to get things well measured. And the beginning here, I add some fairy parts next to the beak. And I'm only doing outlines again because I don't want to get into too much detail at the moment. So those basic shapes are a bit more clear to see. Then I also continued to draw out the pupils, along with the highlights. Different hours have different designs on their feathers, just like how dogs are Rutherford. And some hours have this white marks to accentuate the lines off the triangle next to the eyes. And I find that this makes such a nice accents, but of course this is just additional feature you can customize. So I'm just going to indicate it here. Then I'm also going to continue down to draw out the mask for both of the eyes. I'd like to place the mask roughly a little bit less than an ion length. And I'm also going to darken this part because they usually have an outline around this pipe off the facial feature. Next I'm going to draw it there. Feathery ears. These are such cute features. They look like little tiny wings on their heads. But if you look at references, sometimes they can droop down more than others. But I like the look off the full feathered ones because I like the texture and interests and gives to the owl. But of course he can't search more this desc and pick the type that you like to include in your final drawing. And I'm just going to continue to draw the outline of the head along with some lines to indicate a little bit of texture for the feathers. 5. PENCIL MARKINGS FOR TEXTURE AND SHADOWS: I'm going to start here by shading the beak of the owl. I'm going to seed them with my pencil along the side while leaving a line in the middle as highlight. And then I'm going to choose that by adding a couple of black ovals on each side of the top-right of the beak. Now I'm going to work around the beak as well. And I'm going to try to create fine for with light pencil marks to cover parts of the beak at the top and also around the sides. Next I'm going to add the texture or on the mask. And for this I'm directing my pencil marks to go around the eyes, switching the angles ever so slightly to follow the round curvature. I also like to leave out a little bit of whitespace just around the eyes. And I like to sometimes indicate that just by using a very thin line with barely any pressures, so I don't accidentally go past the indicated area. The feathers here doesn't have to be straight, but I want the texture to be a little bit wispy. And I'm also going to alternate the directions very slightly, but don't overdo the directions because it can become a little bit too distracting and they're all facing completely different directions in all different angles. And it's really up to you whether you want to build this using shorter lines or longer lines for the texture. I personally like to mix a little bit of both, but just try it out and see what you prefer. Outside of the mosque. I also like to add an outline, but while doing this, I'm still following the same direction of the Mosque itself. So the fine feathers are following the curvature of the eyes. Once again, with this outline, I tried to make the tip at the top and the bottom slightly thinner so there's a range of weight to create interest. Towards the bottom of the mosque, going down to the body and around the Mosque itself is where you can get creative and start to add your own markings and design. So whenever I think of something, I just sketch it out. I personally like to enhance the shape of the fees self. So I like sketching angles, feathers under the beak and around the neck area. Going back to one of the main features now, which is the forehead of the owl. This in itself is also open to your own design. But for this, I like to follow a certain method to create the illusion that the surface is rounded on the head. I like to indicate the middle of the forehead as this is the peak of the curvature where I feel like the pattern would be a bit wider. And to create the markings, I like to do squiggly lines ranging from short to long lines and then alternating the placement. So it's like a brick placement where you create the pattern in-between off each ones that you've drawn up previously. I'm also going to curve the pattern slightly to follow the roundness of the head. So while I'm placing the pattern, I always tried to create slight curvature with the middle area being the peak of the curve. Around the middle part of the forehead is where I would create the markings, the widest or the largest. And as I get towards the top of the head, I'm going to make the markings more flat and a bit more condensed. As we see that the surface is slowly curving and is no longer flat from the front view. And as you can see here, the foreshortened pattern on the head is creating the illusion that the head is not a flat surface. Next thing going to work on the pattern on the side of a mask, because this owl is quite large and I can fit a bit of detail. I decided to create smaller marks randomly around the mosque. But he can create bigger squiggles if you want to create different patterns also for the ears. So I'm going to create a feathery pattern with my pencil, since this is just a doodle, I'm just going to add this very loosely. I'm creating one main line in the middle of each of the feathers drawn. Then I do rough etching on both sides, secrete a feathery look inside those indicated areas. Sometimes they don't even draw the initial middle mark with my pencil. I just do the scratches on both sides slightly diagonally, so there's slight difference and the direction of the pencil marks. And I think as long as I follow those indicated parts are ice will be able to adjust to those pencil marks and adjusted the texture that we're trying to create. And here's just a larger version of the marks that are making for the ears. Below the neck. I'm going to add some patterns to follow the direction of the feathers on the neck. This part here can either be closer together or further apart depending on whether the Nike is extended upwards or whether the owl is shortening his neck. So here you can alternate the directions of your PESTLE marks as long as you follow the curvature and the movement of the body. I also like to darken the size of the next, separate the head and the body. And as for the torso, I like to create loose curved etchings, just like in the forehead. But this time I'm creating new shapes to indicate the layers of those fluffy feathers. Because I want the focal points b, the phase. I'm going to draw the pattern on the body a little bit more loosely. So it's not going to be as detailed as the face, so it doesn't clutter with a detail that I have pleased on the face. 6. SHADOWS: In this lesson, I'm going to accentuate and redefine the ice further by adding shadows. As I've mentioned before, when we looked at the references, the forehead area is protruding outwards, which means the light will be blocking the top part of the eyes slightly. So the top will be a little bit and shadow. And this is the feature which makes the owl's eyes fears or sharp look. So here my drawing, you can see that there are barely initiating at the moment. And I'm going to build it up by darkening certain areas to make the eyes pop even more. So, like I mentioned, I'm definitely going to touch up under the forehead, but I'm also going to go around the eyes and eyebrows to further enhance each of the features, especially around the eyes and the mosque. Shading also distracts from certain details. So I use it to hide the mistake I made with the ice previously. Ideally, if you catch a mistake early, it is always better to fix it. But this is this just a relaxing doodle. And to continue on and embraced and profession. Since this is just a doodle, I'm just using whatever pencil I had. This one happened to be my HB pencil, but I'm also going to use my 2B later and the final drawing. But if you have easy access to very soft pencil like a 6B, which would really help in creating those really, really dark tones. I think that this would work out even better to further dark in those areas. I want this to be as simple as possible, so I'm just using the most basic consoles and what is available for everyone though this class is aimed for you to be able to freehand and OWL drawing. To study the subject, I would definitely recommend for you to use references until you get a better understanding, at least, though I am sharing with you my method. You might be able to find different points that you personally found on top of what I've shown you today. So you can add this to your knowledge of the subjects. So when you do doodle yourself, you have more information to put into your drawing. This is just a simple example of how I tackle a subject that I might not be too familiar with and how I used references to study them. And of course, you can take this further by learning different angles or poses. On top of what I've shown you here, if that's what you wished to do, this is just a beginners or a basic way of drawing hours that I think is quite accessible to everyone and is doable for all levels. So if you're more of an advanced student or artists, feel free to take on the subject further. 7. ROUGH BODY PROPORTION: In this lesson, I'm going to go over the rough body proportion for the owl. I'm not going to go into too much detail, but I'm just going to draw out the main features focusing more on the overall proportion. You can start by either drawing outlines on the side or in the middle to help guide you or to draw circles to represent the head. Then from here I'm going to start to draw the features. Don't forget that the head height also includes the neck because the mask is a bit more condensed. So I like to please the triangular shape from the top of the head to mark where the eyes are going to be placed. Then the other features come after. I'm just going to do this roughly so I'm pleasing things like the Big Eyes, Mask and ears roughly, along with some of the free feathers next to the beak. And also the overall outline of the up. Don't worry about including too much detail at this point. This is just to make sure that the features nice and clear so the proportions are more visible. When you do include a lot of textures or a shading loses the purpose of this study and it would distract from the imperfections as your eyes will adjust the shapes a bit more. So this is the reason why I kept this as simple line drawing and on the including the main features. So if this is what the owl and lag with the height of three-halves. You can also play with the width of the body if you would like to make it a little bit lighter and happier. But next I'm going to show you what the taller proportion look like with the 3.5 head height. And again, you can play around with how chubby you want the output to be. This is probably the best time to do a little bit of experimentation as we're going to put everything together in the next lesson. And here I'm just going to continue on by drawing out the same features as I did the first OWL to. So I have a better visualization of the overall look without adding too much detail. For its feet or the class, I'd like to include a little bit of movement. So at the position doesn't look. So sometimes I like to place the clause facing sideways or facing forwards. And also varying the length or height due to a little bit of foreshortening. The anatomy of this is basically similar to any type of birds. So they have three claws at the front and one behind to grab onto branches and things like that. But most of the time you're unable to see the one at the back. Also, sometimes he can only see two facing forwards. But the difference with these big hours are the size of the feet. I'm not a bird expert, but I am just referring to the references that I've seen and the specific hours seem to have very big and chunky feet compared to other species. This is flexible though you can draw it and so many different ways and so many different positions. So as an example here, I tried during the fleet from a higher angle as well as a lower viewpoints where the feeds are not as visible. And, but if you don't want to include this in your final doodle, it's also fine, but hopefully this sketch will give you a better understanding of the basic shapes. I decided to draw them sitting on a branch. And just like the reference that we looked at, I'm going to extend the bottom here. So a little bit of the teal is speaking through. Next, I'm going to show you another example where the owl is facing slightly sideways. So you're able to see a bit more off the wing from one side and the position of the body is also slightly different. But for this, I'm just keeping the angle completely from the front, just looking street on. So I'm not thinking about condensing the body with any foreshortening. I'm just keeping it the same proportion as the first owl with the three heads. And as for the face, I'm not going to change the view also. So we can keep this nice and simple. And it gets easier with exercise as we keep repeating the same features. In the next lesson, I'm going to use the techniques that I've mentioned in this lesson and the previous one to draw out the final doodle. I personally made mine a full body composition in my sketch book. But this is just an example. And it's also just to show you a little bit on how I've added the textures on the body, since I'm not going to focus too much on that. But it's completely optional and you can create your final Doodle to be the same half body composition. Or if you would like to include more of the facial features, you can draw the phase larger. You can't even redo what we practice in the previous lesson as your final Doodle. Or just keep repeating what you've learnt like what I did before. I made this class and create a full page of just our faces. For the fur on the body. I'll go into more depth in the next lesson where I'll be drawing out a full body composition and my small sketchbook. 8. PENCIL DRAWING: In this lesson, I'm going to make my final doodle on my small sketchbook. I'll just be showing you how I ended up joining up may find out owl, as I mentioned, yours doesn't have to look like mine. You can drop your final total to be another close up of the fees if you really enjoy drawing out the little details more, I want to show you a different options so I meet this full body composition would because the scale is now much smaller also due to the size of my sketchbook, which is an A6, I'm not going to be able to include as much detail to the feast compared to what I did in the previous lessons. So this is something to keep in mind if you want to draw something on a smaller scale and also a full body composition, unless you have a bigger page. Your final drawing can also be like a practice page or a different facial features or design of the feathers. Sometimes a double-page spread of just studies can bring so much life into your sketch book. In my opinion, I would just be so thrilled to see the different things you guys come up with. So here I'm just going to keep adding all of the main features of the great horned owl first. And then I'll get back to you when I'll be sketching out the body and explain a little bit more on how I added the additional textures since I did include that in the previous lessons. Ok. From here on I'm going to be jumping around from different parts of the ya'll, instead of focusing on one area to get a better balance. So here he starts to extend lower and added some of the designs. And for, for the body from the face. As he can see, the steps that I showed you and the previous lessons doesn't have to be taken completely step-by-step. But as long as you know what to do per section, you can always jump around to creat an even distribution of detail that you have in mind and just tackle it in your own comfort zone. Before we move further onto the drawing, I'm going to show you how I attach the texture of the belly. For this, I like to imagine the contour of the ALF are, so each part has a curvature. And this is where I'm going to follow the texture. So this area doesn't look completely flat. You can create different types of patterns by playing with the size. But for me I like to create my pattern this way, which is similar to the forehead of the owl. But this time I'm creating you sheeps. And I'm going to place them following the curvature of the belly. And then towards the middle of the belly, I like to mostly leave at White, but also add a little bit of free texture here and there without adding much pencil marks so as not to dark with texture doesn't have to be neatly drawn like what I showed you previously, because they're markings are usually different anyway. So I like to make smaller ones and larger ones together. And the pen drawing, I'm actually going to do something that is more similar to the example, but I just want to show you a couple of different ways of approaching this. And to show you that even if I use similar techniques, the outcome and the character of the fees will still very greatly because it only take slight changes and reshow or things like positioning to create different pieces and textures for the ELL. Here I started to add the shadows, even though I wasn't really done with the texture sketch. And it's completely fine to do as long as you balance it out in the end. This is also where I change to my other pencil, which is my slightly darker 2B pencil instead of the HB because I felt like I was pushing down too much with the HB and wasn't creating something as dark as I wanted. But as you can see, the dark tone is much easier to apply with the 2B. But again, if you don't have different pencils available, you can still do this with just one pencil, but it might just look a little bit lighter with a bit less contrast. Or if you have something darker, just be careful with your pre sketch. So it's not dark from the beginning because he might be a bit harder to race. I didn't mention this before, but near the feet, I also added a bunch of fared to separate this iss. This is very subtle though because the feed itself chunky. I just indicated it by creating a short thigh area for both legs using the free texture. And for this because I'm doing a full body composition, I decided to also add a bit more detail for the tree branch. And where the wing was slightly covering the branch. I decided to erase a little bit of that so I can place the wing behind the brunch and then I continue below it to add the tip of the wing as well as the tail. After adding the textures for the branches, I wanted to add a little background just to decorate around the owl slightly. And you can add different types of leaves or branches or even berries. But I'm just going to keep this one nice, easy by adding some pine leaves to slightly frame the owl. Once I have all of the elements that I want to include, I just looked over the drawing as a whole and just balances out the texture so the body doesn't look too empty or flats in comparison to the face. So I also added some shadows under the wings on the belly area to add a little bit more depth so it can be a bit more balanced with the higher contrast on these. 9. INK LINER PEN DRAWING: Welcome to the bonus lesson where I'll be drawing this out straight with an ink pen. I'm not really going to explain too much about what I'm doing here since the technicalities are exactly the same. But the difference is that I'm just going to go straight and with pen and I'm not going to draw out guidelines or outlandish because I don't want too many distracting lines. So for me personally, I like to work from the face down. And I'm sorry that my hair is a little bit crazy here. But if you find that during the body first before the face is easier than you can also do that. I just personally find that the head is a good way to adjust to the rest of the body proportion, which is why I'm doing it this way. There are a couple of ways that I would recommend if you would like to give this pen drawing ago. Firstly, is to draw the guides with pencil first and then try to do the rest of the details and things like that in pen. You can mix Andrew out whatever you feel you need to as guide. It can be just the body and the head. Then you draw out the rest of the features and things like that with pen. Or you can even go as far as drawing out the full body, including the features like the face, eyes, ears, then continuing all of the details and the outline with pen. And once you're done, you can erase the pencil marks. Whichever you feel that your levelers ads, I think, would be a good starting point. Another option that you can take if you want to give this a go is that whenever I dress traits with pen, which is not often, I always tried to sketch out the subject matter as much as I can first. So I get used to the proportions and details such as for's or feathers in this case. And I draw a few smaller versions as well as larger ones before tackling it with pen. And once I started to get used to it, then I start to try to draw it out with pencil but without guides and without erasing, which is just like how I would approach it if I were to draw it straight with pen. This is also a good warm up for your hands because sometimes your hands might be a little bit shaky if you haven't used that much. And on top of that, I find that the friction from using pencil first is much nicer and slower and it's much easier to control compared to using implants, which glides much faster with less friction. Which also becomes another thing to get used to on top of studying the subject. The difference between drawing with a pencil versus ink pen from me that I find most challenging. On top of the fact that you can't erase as the friction that it creates, and also the dark nature of the ink. With pencil you do feel more friction, which gives you more control as your pencil marks are able to glide slower on paper with ink pens, the ink glands out so quickly. And the only way to control this is by taking off pressure, which is also a little bit hard because your hands can get a bit shaky if you're not used to. On the, putting a little bit of pressure on the paper. And by doing that, the ink will still be very direct, but you just create a thinner line weight in comparison to pencil, where you can actually create lighter tones with less pressure and darker tones with more pressure. But seeing all this at the same time. This is also why I enjoy drawing street with pen. Because you get such a great definition and the dark colors that you can create, which defines every line that you draw. The final drawing might not look as perfect as you would like. But it is actually quite a satisfying exercise to try. Once in a while. I think embracing the mistake and accepting that it's not perfect is the way to go with this freehand pen drawings. This will help you to think outside of the box on how to fix her in things by adding instead of subtracting or erasing. And personally, I also use it as practice to let go of mistakes that I can't really fix. For my first attempt of this ink drawing when I was filming, I actually made quite a big mistake. And the proportion where I made the beak way too long and is positioned way too low. So it hasn't very weird, geek. And I only noticed after a sheeted it. So throughout I could have fixed it in a way or found a trick to fix it, but I didn't realize it was already overworked. But he just stayed with it and kept going for the sake of finishing because you can always try again. And I'll show you my big mistake at the end of this lesson. And now I'm just going to continue during the rest of those using the same method, but without the guidelines. You can draw along with this. It is slightly sped up because a lot of times I was just looking and thinking instead of drawing. So I skipped through certain parts, but you can use the option of slowing down this video and you can also pause in between so you can keep up and work at your own pace at the same time? No. Okay. Ok. Okay. Okay. Right. Okay. Yeah. It's the very end of all of my drawings or paintings. I'd like to double-check to balance everything out. And I can see that the mosque areas a bit too short in comparison to the rest of the body. And I think this messed up the proportion slightly. So to balance the weight and pull down the face, I added darker and heavier feather design, blow the mosque and the beak. And that's pretty much it. That's how I try to figure things out and balance things out at the end by adding. Sometimes if something looks a little bit heavy and you want to balance the lighter part, then you would have to add on to the lighter part instead of erasing the heavier part with pen drawings. One thing that I enjoy about these types of free hand drawings is the fact that even when you follow the same method or include the same features, depending on slight changes like the size, proportion, and positions, or even how you edge or shade your drawings. You can create different faces. So as you can see here, I have three different pieces that I've drawn out or whether it's because of a mistake or slight change, like my first ink drawing with a very long beak. And I think this is what makes it fun to attempt. 10. CLOSING AND CLASS PROJECT: Congratulations for completing this class, for the class projects, I would like you to draw your own interpretation of these hours using either pencil or a liner ink pen or any other mediums that you have in mind like a dip ink pen or even a brush pen. Your final drawing or composition does not have to look like mine. In fact, I'm really excited to see how you guys interpret this. And even just a doodle of studies would look really great as a spread on your sketchbook. Once you are done with your own drawings, I would like to see it posted in the project section so you can share it with me as your fellow students. And I'm really excited to see what you guys come up with if you enjoy seeing these types of classes, I do have sure. Your art tutorials where I post on my YouTube channel Yemeni, or if you're interested in seeing more art by me, you can also follow me on my Instagram at IHG underscore neon Yanni. So that's it for this class. I hope you enjoyed this as much as I enjoyed putting it together. Please don't forget to check out part two, which I'm currently working on right now where we'll be applying the features that we learned in this class for watercolor painting of these owls. Once I'm done with the cause, I'll make sure to link it in the first session of this class so you have easy access. So that's pretty much it if you guys are still here. Thank you so much for watching till the end. I hope you guys enjoyed this and learn something new. And hopefully I'll see you at part two by.