Starting with Pen Drawings in 5 easy steps

1. Introduction: When I say, pen drawings can be pretty impressing, I think most people will agree. I admire them for a long time. When I say it, it can be quite challenging to get into pen drawings to, I think most people will agree that if you look at that end result, those beautiful drawings, they can be quite intimidating. You could say, oh man, I never can discover how to do that. Well, I had that same admire those drawings for so long and I think I want to discover how to do that. Now it took me awhile to discover how to do that. And I just figured out some easy to use step to get going with this. And these steps I want to share with you. In this class, we're going to look at five easy steps to get drawing with a pen. You see me holding a pen here. And once you pick up those five easy steps, you're going to have so much fun drawing with a pen. I'm going to take you through all the steps that are needed. I'm going to first deal with the materials. Materials and this can be so overwhelming. There's so much choice. I'm going to show you what to pick and how to get started easily. I'm also going to show you how to use that pen, because most of us know how to write with a pen. Drawing with a pen is totally different than when you look at those beautiful drawings. One thing you notice right away is how you can play with light and shadows with a pen. Now most people have really problems discovering how to do that and just get stuck in that. Well, I want to get you going there to get you unstuck if you're stuck. Or just show you some simple techniques to get going with light and shadow to I don't want to show you the basics now. I want to show you something nice tricks to create some nice texture and enhance a beautiful drawing even more. Then I want to also reveal to you a secret. Yes, there's a secret in this class called the power of free. Now that sounds intriguing, doesn't it? I'm not going to share, of course, in this intro, what's the power of three is you need to go through the art class to discover that. Tell you, once you discover the power of free ink drawings with a pen will start to soar and become really impressive. I ready to discover those five easy steps and they're really easy to do. Once you've got them. You can create beautiful things. I'm not going to bore you down with all technical things and theory, or there's a lot of theory, a lot of techniques behind pen drawings. But I just want to get you started and set you up quickly so that you don't have to spend lots of time discovering all these techniques. I'll show you them. You can just follow me along. And while you do that, you pick up some great skills along the way. All right, well, let me guide you through this process. Making pen drawings easy. 2. Dealing with Material overwhelm: The first step we're going to take is dealing with the material overwhelm. Now, if you go to Amazon and just type in pen and search for that, you're going to get over 10,000 results. If you go for a fine line, you still get over 4000 results. And if you just type in fountain pen, if you want to draw the fountain pen over 2000 results, it's overwhelming. And I thought that I was clever and just type in art pen and I got over 8000 results. Where do you start? Where do you begin? And even if you go to specific pen stores, we've got a great one here in the Netherlands. They've got over 10,000 points in their collection. Too much. It's overwhelming. So in this first step, what are we going to do? I'm going to break them down and show you what materials you can use to make it a lot easier to get started with pen drawings. And I'm going to reveal a secret to you right away. You probably don't even need to go to a store or to Amazon or whatever to. Buy supplies. Probably what you need is already in your house. Now, granted, if you want to enhance your experience, you may need to purchase something. But even then, you can keep it to a minimum. You don't have to spend a lot of money. You don't need 2000 pens. You don't need tons of paper. No. Well, I'm not going to just keep on talking. We're going to just dive in this lesson together. I've titled this lesson Dealing with Material Overwhelm. Now, you see a lot of stuff laying here, which you could use to make drawings with pens, with ink, with fine lines, anything that has ink in it. And I'm going to say probably this is only 1% of what you can get on the market, that there is so much stuff you can get. And I understand that can be very overwhelming. So what I'm going to do, I'm going to push this all the way and we're going to make this very simple and take away that overwhelm and making sure you can start out with drawing in ink in just a simple, effective way. The first thing we're going to look at is paper. What do you need for this? Art class is just regular paper, nothing else. Now in the last video, I will do some recommendations, give you some tips, some other papers. But for this class, you're going to need regular paper. And while we're on paper, on that paper, you need to print two designs, and one is with a sheet with apples, and the other one is a sheet with a drawing, even with an apple on it, but some other things on it. And you can't see that well on the camera. So I've got a different sheet that will show you that on camera, these two sheets you need to print and we're going to use them throughout the class. So print the sheets and then we're going to use that to work from. So that is the paper simple. The next thing you're going to need is we're going to use a pencil and now I've got to find my pencils in this stack. Here's a pencil. I think this might be a pencil, too, just a regular pencil. And you may need an eraser to erase some stuff. And this is just a clutched pencil I'm using. You can use any pencil you have laying around. Use that. Need. We're not going to draw with a lot more just to add some little things, just to mark some things on the paper so we can make our inking a little bit easier. Go for pens. What you need is actually you could do this with one pen only, and I have to find a pen. There it is. I'm doing it with just one pen. A regular pen. Or if you have a pen like this, fountain pen. Fine, too. Or if you have a fine liner, that is fine too. You only need one of them. Well, that is the basics with just one pen and simple paper and these print out, you can just get through the whole class. But if you want to have a more in-house experience, let me show you what you need for that. Now what I would recommend is getting free of them. So if you want three fine lines. I've got some sets here. You can just buy a set of three fine lines. It has three different thicknesses, and that is the most important. You need to find one, a medium one, and a bold one. And this one has 0.3 millimetres 0.8 Mm. And 0.5 mm. And pick my sucker up to pick match calls at two, four and eight and on a wider call to foreign eight. That's their numbering. Or you can buy a set like this. There are six in them and they go from 000.052, 0.8. So there's plenty to choose from this set the same. There's plenty of thicknesses to choose from. So you could buy and set a fine line as like this. And just to be clear, this set is as expensive as this set, and this is a bit more expensive. Now, you don't need to go out there and buy this very expensive fine line as they don't work any better. My recommendation, get this stateless to settle and pick the pigment line. They last the longest and they look great. All right, now, if you want to keep on using your fountain pen, that is fine, too, because you can get fountain pens. I got free of them various fountain pens. And these don't cost that much. This is a really bold one. This is a medium one and this is a really fine one. And you can see the difference between. The nips to how fine that is and how bold the other one is. So and each are just their way around. These are just writing pens. Yeah. Not special fountain pen. Just simple fountain pen that cost hardly anything. Just get find, medium and bonus. And even with a pen, you can get nowadays. Fine, medium and bulls. And I've got to find that pen. Let's see. Where is it? Here it is. This is gel pen. Gel pens you can get. This is a one millimetre one. I think you can get one points, 4.7 and a point five, 4.4 or something like that. You can get different thicknesses in pens, too. Or if you have a pen like this one, there it is. Something like this, a simple partner. You can or you can get a pocket. Of course it's an original pocket. You can get different refills for it. And actually, this is a fine refill. This is a medium refill. And this is a bolt refill. Should be even under there. It is both 1.2, 1.7 and 1.5. So even with that. So you would need one pen, just swap out the refills and that is all you're going to need for this class. So either you go through it with one pen and you can go through it with one pen. Just skip one of the parts which we're going to go into free pens if you want to just use one pen. You're fine. If you want to enhance the experience a little bit more, I would say get free pens going from thin to thicker. And that's it. Now, at the end, there will be another video where I'm recommending some stuff, and you can watch that at the end, too. We're going to go into papers, but for this regular paper and a regular pen. And then you're ready to go. Well, that takes care of the material overwhelm. Now we're ready for step two. Were actually going to draw. We've got a pen. We've got some paper. You may want to have free filing if or perhaps you already have them. But for now, just stick to that pen, just paper, and move to the next lesson where we're going to start drawing together. 3. Sketching and Drawing with a Pen: We dealt with the material overwhelm in step one. So now it's time for step two. What are we going to do in this step? We're going to take a look at the bare basics. How do you draw or sketch with a pen? I'm going to show you the difference between sketching and drawing. And we're just going to do a little bit of practice with that and start drawing right away. We're going to make a nice drawing together and a drawing we're going to use throughout all the steps that still come to create something beautiful of it. Right now, the first thing I'm going to show you when you see me holding a pen already is how do you hold actually a pen. Now, most people, when they learn how to write, they're going to hold the pen like this at the tip and just often put a lot of pressure and go writing and this grip holding it just between your fingers like this that. Yeah. Just. Just naturally. Catch you to apply a lot of force, while on the other hand you can let gravity help you. Little bit of drawing and relax a little bit. So what we're going to do is we're not going to hold our pen at the end. We're going to move it over a little bit. Now, this depends on you where you want to hold it. Some people really like to hold it at the end. I'm holding it most of the time. Just of the end, sorry, of the beginning. A little bit. About a quarter a foot away from the beginning. And it helps you to stop pressing that hard. It's just gives you a natural relaxation. And I'm putting it on my middle finger and letting it dress like this, and then I'm gripping it like this. And I'm not going to cramp like that when I'm drawing. I'm just going to let it rest. And if you draw like this, it's just natural. And I'm holding it like this. Put my thumb over it or put my thumb right there. I'm going to show you that right there or put it over it like this. That is a relaxed grip and you can draw perfectly fine like that. This helps you to relax right away instead of holding it at the end. Then the pen is not really balanced nicely either, but most people just learn how to write like that. I'll move it up a little bit, let it rest on its own comfortably, and then just relax. All right. Well, that's the first tip in step two already. But this is, of course, more things. We're going to start now. Well, I'll have to move all that stuff aside. That is now on my desk. All right. What do you need for this lesson? Is those print out, and I got to find the right one on the there. All right. And just a pet. You need just a regular pen. Nothing fancy. I'm going to find that regular pen. There it is. Just a regular, simple pen and. This sheet of paper. Let's see. Yeah. You need them both. All right, I'm going to put the finger on the side, so we're going to start with these apples. All right. Now, if you don't want to use a regular pen, by the way. Yeah, a fine line there. Fountain pen. What if you want to use it, of course. Fine. We're going to stop. Okay. Now, you've seen the title of this class is that the title is. Sketching versus drawing. I'm going to just demonstrate you some things and I'm going to show you some things that. Sketching and drawing. I'm going to take a regular piece of paper first to demonstrate something. Now, the simple difference is to make it really simple. If I will draw, I'm going to draw a circle. Now, that is very scary, to draw a circle because you need to have it nice and round. And if I draw a circle, what I will do out of one points go around and at one point and get my circle. Now, that is basically simple drawing and the same with a line. I would start at point A and point B and stop there A to B and just go that way. Now, if you have a fountain pen, I'm going to show you that right away. And I have to find my fountain pen. There you go. If you are right handed with a fountain pen, always work from the right. Sorry. From the left to the right, from A to B. And if you go up and down, then I would say go from up to down always. Now, if you are left or left handed, now you start at the right. And you work your way to the left. And why you do that is very simple. So then this would be a and this would be or be is to make sure you don't smudge your work because ink in a fountain pen and an iPad and all those pens need some time to draw. All right. Got to put that aside, then. You signed it. So that is drawing going from A to B in one go of sketching is slightly different. You're not going well. You're still going from A to B, A to B. But not in one go. You make your smaller strokes like this and that you get. There too. You still get at the same point, but as you can see, it looks a lot different. The advantage of this is if I'm going to draw that circle again now with the drawing, I have one shot. And if I mess up to bet, if I to draw a circle sketching, I'm starting at one point. And if I mess up noticed, it doesn't go right. I'm just going to start at another point. And I can change direction, however I like. And there you go, sketching. And that is the simple difference between drawing and sketching. Now, drawing, you see a lot in comic books, and I've got to find something for that, of course. So this would be the first one. This would be a drawing. What does nice continuous lines looks nice. And this would be a sketch. So as you can see right away, quite different because you have all these loose lines. And I just prefer personally, I prefer this, but other people prefer that. Now we're going to practice both of them, of course, although down to basics, we're going to practice them some more. And for that, we need a sheet with the apples on it. We're going to practice on that sheet, these techniques, a little bit more so that you get familiar with them. Well, let's do that. If we take our practice paper. So I'm going to put this one away. What we're going to do is very simply. Take the pen and trace what? We're going to work. I don't know your level of expertise. Of course. I don't know if you can draw. And often people just take a pencil, make the drawing. And we think that is very handy to do. Create your drawing with pencil and and trace it. And would you simple. Do you start at one point and you add in one point? So that would be the first. Very simple is drawing. And there you go. And if you've never done this before, you get a feeling of how that goes. Right. And then you do this. Start at one point and add one point here to. That didn't go too well that it's I can't see. Well, normally I would. Be a lot closer than this. But if I go closer and you see my head and you don't see what I'm doing anymore, so that would be the first scientists get my idea of just tracing and drawing it. And a lot of times what people also do with inking is they create a design very loosely, take something like. Let's panel. LightBox It used to be cool, but nowadays you've got a left panel and put the designs on it and trace it that way. The next one is stuff we're going to practice then is of course, that's catching. Now, it doesn't matter where you start. If I start here again now the best thing is to work from the right to the left, even with regular ink. If, but if you know your pen, it dries quickly. Then it's not a problem. But what I'm going to do, I'm going to start here. Her making all of these loose lines. And I'm starting there again. And this one I can see a little bit better. Because I don't need to drill in one go in my hand doesn't obstruct my view. And. There you go. And that would be then sketched and easy like that. Now, if you use a fountain pen, it's pretty much the same. I'm not going to demonstrate the drawing. I think everyone got that. That is easy. But for sketching, make sure you're going. In such a way. That you will not need to go over the point where you've been. So now I need to go down. Going to connect this. There are I need to wait a little bit or just go from an angle and I'm going from a top to the bottom, working from the right to the left. So if I do this middle one, I should be okay. And there you go. And that is done. The sketch. So drawing versus sketching. So get a bit of a feeling for both of them. Well, I do think we've got the idea how this works. But there's more. You've seen this drawing I made of the tree and the apple and the flower. We're going to start working with that now. We're going to use that throughout the other lessons, too. So don't just finish it. Throw it away. Keep it because you're going to going to need it in the next lesson, too. Right. But there's nothing on it now. Well, except for what I've done. So we need to draw a little bit on that. Suit up now. Okay. The next thing you need is this drawing. This little drawing here. There's two on them, but ignore the bottom one. This one just need one of these drawings, and you need to make a choice. Where do you want to go? Drawing so continuous lines or whether you like to go sketching. And then you can guess what happens next. You're going to draw or sketch this drawing, and I'm going to do that and make sure once you're done that you keep it. Don't throw it away, because we're going to use it in the next lesson two again. So I'm going to be sketching. So what I'm going to do is just. More or trace this design. And then. Do. It's like, that's not what you could do if you want to do if you want to work on different paper. You could actually treat it on a different paper too, with either a light book or put it against a window with light behind it. That would work fine too. You could do that too. So basically. With whatever your choice of material is. And the choice of technique. You're just going to do the whole drawing. Now, I don't think you want to see me do the whole thing and wait for that. So your assignment is to the whole thing. I'm going to just keep on drawing and doing the whole thing, too. Of course. And then I'm going to speed it up. And then I will see you in the next lesson. Well, we've got step two down, then. It's time now for step three. What are we going to, of course, announce this a little bit? This is just a nice drawing, but we only have the outlines and there's a lot more we can do because we want to make this impressive. And we stopped making it impressive in the next lesson. What? We're going to dive into a whole nother subject. 4. Light & shadows, the easy way: When I say the word shading, a lot . Of people get nervous right away. Well, in step three, we're going to make this easy. I'm going to show you how to very easily. Apply a light and shadow and get what is called a nice shading in your drawing. Now, it's not that hard as it sounds. I'm going to show you the way how to develop. The light and shadow in your drawing room. Just getting complicated is all kinds of theory, all kinds of boring practice. No, we're just going to have some fun with this. All right. Let's get into step number three. So we've done our first. Drawing in ink. Actually, just trace the drawing. And that's basically how you work with ink. And once you get experience in drawing and inking, then you might not do this at all, this whole process, but do it in ink. One go. But starting out, we just going to make use of what is available and to just quickly get some steps done. And this is looking at our . Viewers is looking good, too. Doesn't need to be perfect. Just needs to look good. Now, there's one thing about this drawing. This is a drawing. But it looks pretty flat. At the moment, there is no dimension to it, although you pretty much can see. And I see now I forgot, actually. Two blades of grass kneel and there you can see what it is, but there's no. Dimension to it. We're thinking we're going to make this really nice working with a pen. You can make this really beautiful. So what we're going to do in this lesson. And you've seen it already in the title shading. The quick way to apply light and shadow in your drawings. We're going to add dimension and light and shadow to this drawing. How are we going to do that? For that, I'm going to go back to this piece. We need to . Apply for the first step. Now the apples have the same problem. The flats. And what I'm going to do is I'm going to just quickly do. This Apple because I'm going to need that. Let's imagine with this apple . That the sun. Shines on it or a light bulb or whatever. And let's say the light bulb. Is right there. Video . That means that this light is shining. There. There. And there and all this light is getting onto that apple. Now, the way the. Easiest thing to do . This is just. Think very simple through close to the light, nice and light far away from the light. It's getting dark now. Since we're not going to . Use paint or call us to . Do this, we need to find a way to get some dark and light. And the simplest way . For that is something that is called hatching. Now, I'm going to go back to that practice . Paper and I'm going to show you what that hatching is. Now, for that, I'm going to just simple start out. I'm going to draw. A simple box and you can do the same. Just the simple box that you go. Now with the books, what I'm going to do is I'm going to put light. On purpose on. The other sites. And what this means if there's light coming onto the box, that would mean and I'm going to take a. Pencil for this. So you might want to get just simple pencil, which you can erase later on. That would mean that the light comes in the box and light . Doesn't go just straight. In a bit of a curve there will mean that this part, let's see, this part would catch . All of the lights. Then we're going to see this part . Here would catch hardly any light when this part here would . Be medium. Now, the easiest way to do this with . A pen is. Something called. Hatching . Hatching. And hacking simply is making lines under an angle, if you can, the same distance . From each other. That might be tricky. That is all that hatching is. And what what that does. Is just creates automatically. Darker parts and lighter parts. So what we're going to do first on our books, I'm going to make patch lines. Going from here to there all the distance. Starting at that point. Going in here, going down and then ending their. And they don't need to be close. Close. And once you get further away. You may want to just sketch in the lines as I do here or try them in one go. There you go. If you have a fountain pen, you have to work that way. And there you go. That is hatching. Now, this part is still very much lighted. This part is getting dark. But I want . To make sure that that part there is really dark. So the next thing, what I would do, I would go in hatch again. And on this part, Ed, some more lines. Ago. And now if I take an eraser, get rid of those little lines here. Now I have brought in some light and shadow, see. And that is simply all there is to this hatching under an angle. And then. Go from light to dark. And that is the simple technique we're going to use for this. Now there is a second technique. So if I draw another box here. And. I'm keeping my life at the same time. But now I'm going to use something that is called cross-hatching. And cross-hatching simply is. What are you going to do? You start with one layer in a certain angle. Then you go 180 degrees . And you might even turn to paper for that. If that is easier and you go again like this, and that creates right away a darker part to a much darker part in that. So if I would apply that to destroying and I'm going to make it myself easy again so that. You have it easy, too. We're going to just put in those lines. I'm starting with just regular hatching again. And if for some reason now you had already really close like I'm doing now, much closer than in this one. Then I would make it myself. Quite hard to use. Second part, I could do that. What I could do, too, is just use cross-hatching. And make sure I'm. Regarding the line. And that looks like this. And if I let it dry for a moment. You raised this, hopefully doing this. I think this dries pretty quick and you get something like this. Very interesting, isn't it? Now that is the easy way to bring in light and shadow and it is all going to do in this lesson. The quick way to apply light and shadow. Well, that's it on the regular paper, just showing you the basics of this. Now we're going to move to the apples again. And we've still got that sheet. There's plenty of space left to try. To try to practice this. Hatching . A little bit more. All right, let's do that. All right. Oppo has lied to. What are we going to do with the apple? Now, if the light goes on an apple. The nicest . Thing. What we could do is create a nice light spot here. Create. Some faint notes told me this would be the lightest. This will be less light. This will be darker and this would be very dark. We're going . To stick to that same. Hatching . So what I'm going to do, I'm going to choose this angle. So I'm going to hatch the whole thing. But. Not too close to each other. The first lines. I go see? Quite apart to the first layer. I need to do that, too. Now, you see that we're not touching this part. This is where all the line is. This is less. The next thing we're going to do, we're going to bring . In a second layer here. They go. Now we're having a dock apart. And the first thing we're going to do is we're going to use that cross-hatching here, go on the 180 degree angle. Well, I want to still keep an angle. I would need to go like that, but I want to keep a bit of an angle. And only this part. I'm going to do that. Now, going to let this dry for a little bit. On the leaf. I'm going to do it slightly different. I know the light comes from here. So this part would be light it. This part. Let's light it. And this will be dark. And I would go with. One layer and then. Do a second layer here. No cross-hatching. Just go over. With the second one and then the stock or the pedestal up here. I'm not gonna touch debts. I'm just going to do. One layer of hatching you could do down here a little bit more. It's a bit tricky. So that is good. Now I'm going to. Erase my lines. And probably you get the same feeling as I have . Now that. There's actually light shining on this. Apple there. And that is just the simple trick we're. Using to create light and shadow. Now, we could go a lot more detailed with it. There's other techniques, but we're going to stick to this simple technique called hatching and . Cross-hatching and creating that. Now, what I want you to do, of course, is. I want you to create this apple, too. But I want you to create this apple to. And that is just the other way around. And then the light goes like that. And then in this apple. We're going to make it . Slightly different. We're going to put the light in the middle. And there you go. You could put it from the bottom, too, which creates a dramatic effect, too. But that's good. So that's your. Assignment . Practice this a little bit. And if you want to. Practice this on some boxes like I've done here first, of course, do that. Just draw some boxes and start hatching . Away some cross-hatching. And then once you're done with that, you're going to do these apples. Well, that wasn't rocket science, was it? This is actually a great way to enhance . Your drawings right away with just some simple pen strokes. Some hatching, some cross-hatching, and you get just great results. Well, that ends step three. So now we're ready for. Step . Four and we're going to dive a little bit deeper . Into this because there's other techniques which can enhance the drawing even more. Now, there's plenty of techniques, and I'm not going to discuss all the techniques here because we want to just keep it easy and get going easily. But I want to show you one more technique in step number four. So see you. 5. Going deeper with light & shadows: Welcome to step number four. Yeah, 1234 on already. In step number four, we're going to dive a little bit deeper into the shading. I'm going to show you a technique that will develop this whole shading concept a little bit more and enhance the light and shadow effect and also gives you some variation, a little bit of texture in the drawing, just to make it even more pretty. Because what we have is nice, but we can take this a step further. And that is what we're gonna do in this step. Before we gonna go into a bit more at funds shading, I'm going to show you this what I've done and I've done them to, for this one I've chosen to do a drawing, make it a little bit of drawing one. This one I didn't even do, but I've filled in the past the shading. I went a little bit closer with this one so you can see the light and shadow even better. And this one I've chosen to do like this one application to applications under their crosshatching. And with this one, the stock I just chose to do the edge a little bit on this one only at the bottom. That is the way I did it. Yours might be slightly different. That doesn't mean they're wrong. But they could be slightly different as long as you somewhere near this, then you're fine. The next techniques we're going to look at, we're going to look at some different techniques now, there are a few more shading techniques and I'm not going to do all of them in this class. I want to show you one more, just an extra one. And then one is called, I'm going to write it down. Scumbling. Now you may say, what is scumbling? I got to demonstrate that scumbling is shading slightly different. And you could mix this technique nicely with the hatching and crosshatching. I want to draw that box again. Now scrambling can be done in two ways. So I'm going to draw two boxes. I have my preference for one way, but I'm gonna show you both ways. Now we're going to pretend again that the light is shining from that side. Same here. We're going to pretend my lights are getting terrible. I see. Then we already know that we've got those sections of lights going there. And let's add a little bit of another extra section. They're really dark section. Let's do that. Now. Scumbling simply means you're gonna make circles, little circles like that. Which looks pretty interesting, don't you think so? You can overlap them. I don't want to overlap them too much because I want to of course, bring in the light and dark part, so the darker would be around here. I would go for another application of these circles. You could do this very, very small of course. And I got that last part there, which I really want to go over with some more circles. That is what scumbling basically looks like. Now there's a second way. The way I like to scramble is slightly different. You're gonna make some random lines. So these are all little circles. What I like to do is I'd like to just create random lines. First, a light application of this. And it can be straight, they can be bent, they can be any way you like. I'm just letting my pen basically dance. And the second layer is around here. So I'm just gonna go do this second layer again at some more of these random lines. Now you see a lot of a difference between the two. And the third part here, where that little part, I'm just going to keep on going until it gets nice and dark. Months want to do slightly more. There you go. Bit more here too. Now you get three nice parts, light and dark, and then a gradation going from the light to dark that is crumbling. Basically, really simple. You can do this very small if you want to, you can do it large and you can combine them nicely. Now, especially the way, the bottom way. So not do full circles, but more, shorter lines combined really nice with the hatching and crosshatching. Right. That's it. That is a little bit more fancy, takes a little bit more time getting used to it. But once you get used to it, a really nice technique to use. For example, if I look at this now, let me draw them. I have some space. Let's go here. Let's draw a new box. You go, and my light comes now from there. What I will do is I would start with hatching. Hatching a second layer. There you go. My hatching is I realized I doing this very quick, but I don't want this totally lied it. So what I could do a little bit, some spots, some lines there, and do that all over a little bit. And that creates a sense of a texture. I'm using scumbling to create a little bit of a sense of a texture on this box C. And that looks right away completely different in there. And if I then go a lot darker around here, I just enhanced that hole. Light and shadow effect. Now, there will be people that say, you can't mix them. Why not? Girard work? You mix whatever you like. And there's more techniques. There's actually at least two more techniques which I'm not going to show you in this. Because I think for a base we've got enough now, but there are more techniques and you can discover them and also mix them in, right? We're gonna go to the last set of apples. Of course, we're going to scramble the apples. What we're gonna do is we're going to scramble this apple. Scramble. We're going to scramble This apple, and we're going to hatch and scramble this apple. So we've got a nice challenge. And the sun, I really do not care about the song comes from with this one, you pick wherever you want the sun from. But if you want some guidance, I would say this first Apple, we're going to now go from this side. Then with this apple, we're gonna go from down here to make it interesting. So there goes your light. Then the last apple with the scumbling. Let's go from the site. Let's do this one here. Why not? That is, what are you gonna do? We're gonna take our pencil again. And let's do, I'm gonna do the middle one now, you will let you do this one. I'm going to do this middle one here. I want to create lighted part here, slightly larger. I think I might enjoy that. Then I'm going to create how many sections Let's do. Put one extra n up there. We're going to go really dark. And with the leaf, the light comes down from there. Let's get that part. That's the part darker and that part they're really dark. And this would be pretty much only the top of the apple would block basically the light. So this would still be shaded, something like that. Then we're not going to do the top part. Let's start with this one. Now. You could, of course, first of all, sketch the whole thing in. That's good. Then we're gonna do this one. Oh, I'm doing this wrong. Oh, I'm not paying attention. Just crumble this ouch right now. Well, I don't think there's nothing lost. Soap scum, all that. Alright. The first layer of scumbling. I make mistakes too. Yes. And I'm looking to cut this out. That's the first one. Here's the second one. And then up there, just scrambled so small that it gets really dark. So you get a nice gradation going from dark to light. Next one. So I'm going to scramble this really random. Not too much to do with part two. Of course, that's my first layer. Then I'm going to add here another layer. Right? Limb up here. Even another layer. I'm going to make them stronger and up there, I'm keeping them quite a lot. And there we go. Now, maybe bit more around this edge. And good. You could do slightly more up here. That is that these ones, I'll let you figure them out yourself. Alright, what we've got that now, once you've practiced this, it's time to move to the next step. What we're going to go back to our drawing we made. And now we're just going to create something beautiful. We're going to apply these techniques to the drawing, really enhance it and make it a nice pen drawing, which we can be proud of. Let's do that. There's our drawing. Now, we have our drawing. What we're gonna do is we're going to draw a little bit. We're gonna make it ourselves nice and easily. We're going to say the light comes definitely from here. Hey girl. And that means that this tree here, Let's give that some nice light, dark apart. And they're really dark. Alright, good. Next, let's see the branch that this will be definitely nicely lighted. This back here would be very dark. And let's just create a little bit there too. But the only thing which we're gonna do is we're going to add a little bit of shading there because this branch will cost a little bit of shading there too. Let's do this first. So I'm doing this branch. Let's see here. Yes, I need to keep on going. They go. And this part here, I want to shade it to. You already see the effect of distance. You see this now looks lighter than there is a shade right away, a shadow there. What I'm going to do is the next part. I'm going to bring in that second layer. Here. I'm gonna do some cross hatching, not their ego and the branch ready right away. It looks very different. What I'm gonna do with do three, I'm not going to hatch it. Let's come with a tree that would look a lot more natural than this branch. So what I'm gonna do a little bit scumbling here. And then you get the idea that there's actually leaves on this tree too little bit of texture in it. There you go. Now, second layer here, I definitely need more. I'm back here. That is where it gets really dark. So I need that here. Alright. I think I'm okay with this. There you go. Now those leaves look as if there are leaves, them. Alright, the tree, what we're gonna do, the tree, this will definitely, definitely be some shadow. This branch here would cause some shadow under 32. So what we're gonna do is here, we're going to let that light. We were gonna let this be light, this less light. And back here, we're going to do it, I think like this. Let's do it like this. That looks good. I'm going to add later on, create a darker. Let's do first like that. Then I know where I'm going. Okay, we're gonna go here. Alright, I'm going to leave that for now. Next thing is the second application. So this stays as is further away from the light. It is getting darker. As you can see, I'm a bit further ahead. Now again, what I've done with the apple is just a circle deck. Hatch it once and don't cross hatching. They're hatched at a little bit. That is causing a little bit of shadow. The branch is casting a shadow here. And I've just done this first layer of hatching here. Second layer of hatching, crosshatching and where the shadow is crosshatching two. Alright, because I don't need to take you through every part I think. But now we're going to pay a little bit of attention to what is happening here and what is happening here. Now we've kept this. Let's start with the grass. Now. We're going to pick the easy grass and what we're gonna do if the grass, if we take this large blades, we're going to add some shadow back there. And that is all that we gonna do with all of these grasses. Just add a little bit of hatching at the back, just to give it some shadow idea here too. But with this one, we need to go a little bit larger because it's catching some shadow. And this one, we're going to shade all the way because they're not catching any light. And what do we need to do if this one doing the same, but go the opposite sides so that you can see, oh, that is a different one. Here. We need a two. There you go. See that looks good. Let's see. We've got something down here. This little one, we've got this one here. And down there we're going to do more shadow. These. We're going to start at the bottom and stop there because it's catching more light from that side. During the same for this 1212, that is good to think of only miss this one. I need to hatch that one right now. I've done them all. I'm doing the same here too. I'm starting again with these large ones, giving them a little bit of hatching. This one from the other side. This one too, but down here some more. Now this one is pretty much in shadow. So as this one, there you go. Now behind here, there's a blade going, they're going to cross hatch debt, hedge that too. And really not cross hatching that but really close to each other. Now let's take a look at this blade here. I'm going to do that like this displayed only there. And I might make this, by the way, slightly larger tube, that looks better. There's blade. Same recipe, but where it gets closer to the other one, we need some more and see now the drawing is starting to look really interesting. Here. Let's go for that. There you go. This one, Here's a blade here. Really dark. I'm going to cross hatch this one. But not that one, right? And what I'm gonna do with this one is head **** this way. And this one hatched the other way. And some there and that's it. Good. And that is looking good. All right. Now, we only have the wishes left. I'm going to take now I'm not going to take my pencil. I know that down here. Pretty much. It is quite dark. And we're, as you can see, we're going to scramble now again on purpose to make sure we're showing that these ambushes now I'm going to do a first application of scumbling. Everywhere I go. And I might go slightly darker here. But I don't want this to get all the attention. So I'm going to stop the more enqueue at, the more of course your eye is going to catch it unless you do everything very dark and one part very light. And that will catch, of course, the attention. Why do we want the attention on the apple or on this part? Probably on this part. We're going to do that in a minute, but I've got that flower. I'm gonna do this flower, pretty simple. Hedge that side. The petals. Hedged them a little bit at the bottom, except for this petal that is under there. We need to hedge that a little bit more here to there to this petal too. Not that petal a little bit like here. Alright, now, good. And as you can see them. Basically only doing the bottoms off that we and others could add some dots here and there. Good luck going to do more on that. That is, that is good. Might go slightly darker. They're in-between the blades of a drama effect. But the last part we're gonna do is then that here. Alright, so we're gonna start with this. I'm gonna do that straight and add an extra line. Here you go. Now, the ice I need to get right of, keep white. Of course. When I do my eyes slightly better than what I have. Okay. What I wanna do here, I want to make that really dark. So I'm just starting with hatching, keeping them close, making sure of course. I am not touching the ice. I want to go darker on this and turn my paper to make it myself easier. And I'm gonna cross hatch this. Otherwise I'll have to get terrible angles with my wrist. There you go, really close. And now this is really catching the attention. And add that edge a little bit better. Go, Good. I'm, the only thing we need to do is behind the tree goes on with some crosshatching there. I think I'm done with this one. I'm definitely done C, and that is how it looks. The only thing we need to do. Carefully. Erase that and make sure I don't rip my paper. And Diego. And we're left with a pretty first complete inked drawing. I'm forgot to get something. There. There you go. Then we need that one too. And here's the line left. We don't want that. There you go. The first ink drawing with a pen. So if you follow me along them, congratulations, you've got a nice first ink drawing now and you have the basics of working with pens and ink down. If you've got to still do this, then I would say you have the video, you know what to do. Even though I didn't do everything, most of it I did. So that you get the idea because the easier part you will get any way. Well, that ends step number four. We now have a pretty dry I really like it. I like my results. So I'm hoping once you're done with this, you will like your result to our, you might actually already be done with it. If you follow me along, if not, go would work with this and create something pretty, we could actually stop here. You now have enough knowledge to create some beautiful drawings, okay? I understand you may have to learn to draw yourself, but if you already know how to draw, I just want to dabble a little bit withdrawing, try to observe something and then draw it, and then make it pretty, you have all the knowledge for that already. But we can take this a little bit further. In the next step, we're going to enhance this. We're going to approach it from a different way, using different materials, giving a totally different result. Now you may already love this, but if you go to step five, I'm pretty sure you will fall in love with drawing with a pen even more. Okay, see you in the next step. 6. The Power of 3: The last step, step number five, we're going to talk about the power of three. Sounds mysterious. Perhaps you already figured out what we're gonna do with that. Especially if you are a little bit familiar with drawing with pencil ready. But if you're just new to it, this might sound totally new to, yeah. So I'm going to explain what I mean with the power of free in this lesson and go through this lesson. It is a bit longer lesson because I'm going to explain it and then demonstrate. It. Just takes a little bit time to go through that. Trust me, if you go through the whole process, you will end up with something you will definitely fall in love with. It's a great technique, the power of free. It's easy once you grasp it. But it can do such marvelous things in your drawings. Okay, well, let's start. As you can see, I've got some new apples. We need some fresh apples for this exercise, I want to talk about the power of three. What do I mean with the power of free? That simply means we're going to make use of free thicknesses of our pen and applied it into our drawing to just give it even a little bit more dimension than it already has. So what I'm gonna do with that, I'm going to get a regular pen, switch, this pen, and I'm going to get free nips. And I think in this one, I do have a bold one, yes, I do have to bolt it. I'm going to use a bolt pen. I'm going to use medium one, and I've got a fine one here. I'm also going to do that with fine lines. I'm going to pick this. These are fairly thick, but it should work now, I want to knock this thick already. I want to have really fine lines. So we're gonna go for a 0.30.10.55. That is the smallest areas. And most of them have this range. So I'm having a range of fine liners. The thick one would be 0.3, 0.10.05. If you don't have 0.1, you could pick the 0.2 also, but I like to demonstrate that really fine. 124 my pens, I've got this one is one millimeter. This one is 0.7 and the next one is 0.5. Something like that. Alright, I want to start with the pen, the power of free. What did you do with that is, now with these other things. We have just used one thickness, so we didn't play with fingers and we have a nice drawing that works great. If you have just one pen with you, you can create a beautiful drawing with one pen, but you can also make use of the pen to create something interests more interesting. Now, here's our apple. So I'm gonna put them next to it and see if we're gonna yeah, we should be fine on the camera. On the top one. There you go. What I'm going to do is, I'm going to do this apple. What I'm gonna do it now slightly differently. I'm going to first use the thickest pen to create those outlines. Now I'm going to get nice and bold lines if the pen is working with me, yes, there it goes. And I'm getting thick lines. Now you will see one we're going to use the fine lines. You will see this effect even more. And there you go. Careful. There's some blushes of ink. Stone was I don't go over them. And that is a nice thick outline. Diego, next thing what I'm gonna do, I'm gonna swap to the second thickness. So the medium one, that's the 0.7 here. And I'm going to make sure this pen runs well, I gotta get a little bit of a piece of paper. Take the test paper. That pen is not gonna work because there's something on it. There you go. Now that works. Now you will see slightly a difference. This is a gel one, this is a regular ink one. Right? Now, we're gonna do the light exactly is here. So what I'm gonna do is I'm going to take the pencil again. Let's change this. Let's go for the highlighted area right there. That makes it interesting. The less light area around it, and then that is very large. And I don't think I do too. Let's do the leaf to the leaf gets. Pretty much the same storm. Start with the stock. I'm going to just hatched like that. I'm not gonna do anything more there. Now if this thick pen, what I'm gonna do is with the fig one, I'm going to create really thick lines. So the big shadow. Now you could do this the other way around to go thick and then go thinner, but we're gonna go Fick with this one. So that layer gets there and I'm going to do the same here. That nice thick line. Create that nice thick shadow. There you go. That's good. Now I'm going to swap refill out again. Normally you could just by simply free pens. We're going to have the same issue or the swan me to activate it. Right? These are brand new ones. I'm assuming it is working now. Yeah, that is working well, the next thing I'm gonna do is with this branch and branch with this leaf. With a thinner pen. Add some shadow to, and I'm gonna do adhere to. And there you go. Now, look at them next to each other and see, this is nice and thick. Well this is all the same and you just bring in some extra depth and dimension. And if I would go back to that really bold one, the first one, that should be this one. Parkour refill the bolts. Yes. What you could do is then a last line. I get really interesting. Just add a little bit of both Hatch hatching. Around the bottom day you got an extra line there to create even a bit more depth. Now the next one I'm going to do with fine liners. And let me demonstrate. So I got the 0.30.1005 starting with the 0.3. Of course I'm doing the outline. Now. This looks right away. She can see quite different from a pen already. You can get nice strokes with a fine liner. Because they're made, of course, for drawing. Don't forget that line. Alright, I want, I'm gonna do, I'm gonna do really exactly the same. So put that light there and put that light around here. I'm doing the same there to know. So I'm going to put that one away. I'm going to go to the 0.1 and add some shading there. Do my fixed shading. Same here. You can see that that effect is quite different. This is now really thick, while this is a lot thinner, they go. But now wait until we go to that little that's really thin, one to 0.05. Those are really thin, faint line. See that? And now you're creating really did affect a lot stronger of light and shadow. And I need to do that here too. That is the huge difference between this one where you had one thickness and going really thick. Now I'm going back to that really thick one to 0.3 and we're gonna give it a rounded edge, really away from the light. A bold shadow that you go. And if you want to make it really interesting, take that 0.05 and just add. Just a little bit of shadow could do it slightly longer around. They're making it even more interesting, right? If it goes exactly that way, that doesn't matter. Okay, we've got one left. What we're going to do, I'm going to take different fine liners. I'm going to go from thick to thin, but I'm going to turn it the other way around. So we're going to see what happens with that. So what I'm going to pick now I'm going to pick this set if it works with me. Yes, there you go. Go from 0.3 to 0.5. So thicker than that one. But different. Let's go for 0.8 on it. That's that's not going to work, is it? Oh, it's called an 08. It has different numbers. This is called 08, but it's a 0.5 millimetre according to the thing, but it looks pretty thick. You see, compare the two to 0.8 of this one. I can find a Degas. I would say they're pretty close. I'm not sure this thick, at least I'm gonna do the same. Exactly the same. We're going to use this as a shadow here to Diego, but now I'm going to use a really thick pen. I'm going to start with a thick pen that is 0.50.8. Now with a thicker, fine liner, just as with a fountain pen. Make sure the ink is nice and dry before you go over it with your fingers again. There you go. Good. Now, that is quite bold and thick. Nice. The next thing what I'm gonna do is I'm going to take that 0.30.4 for cold. So the medium one, but with the medium one, I'm going to go all the way. So instead of here only going with the fin one, I'm gonna go with the medium one, do everything which is in a shadow. Just to show you what it looks if you do it the other way around. These are clearly knew fine liners there. Anyway, they're different than the Staedtler settlers are black, grayish and these are really deep tone black. Okay? I'm going to adhere to right now. I'm going to go to the finished one. So this is the zero-point for that I need at 0.2 since sigma has different numbers. And I'm going to do that last part. Really delicate pen here to kinda do this with the delicate one. Alright? Now and then you see the difference between how that looks. I might go with the really thick one that I've done with the other one just on the edge a little bit. And create behind it. If I do it right now, we would get something like that. Nice. Thicker shadow. There you go. That should be round. But you see the difference between all the three. Alright? And that is the power of free making use of free pens. And you can play with this, you can say, Okay, which some parts I really want very delicate than he used a very delicate pen. So now we understand the power of free, but we can do this slightly different too. Now, I'm going to show you that I'm going to use, again a range of free. I'm using 0.50.30.1 pen. But what are we going to do now? I'm going to start with the finished pen. So now we have started with the thick pen. Now we're going to change it around. We're gonna do the outline with the finished pen and then work towards a darker color. And that gives a different look to the artwork. Now, let's, I'm gonna go then with the outline with the thin pen. Now with this, the lines were having might come through a little bit because this is a really thin pen. But we should be. Okay. So there's the outline and studio apple. There you go. That would be done the way this looks. Now for light. We're going to stick with the same light. I'm just going to simply do the same light. So I'm going to get that pencil again around there. And we got to go around and with the leaf do the same around there and something like that. So the next pen I would take started with the finished one. I will take the second one and that would be a 0.3. Now let me start on the stock again. That is what I'm gonna do with the stock. And let me start on this one. If I start there, then I'm going to run into problems and we're gonna go over it. So I'm going to start at the bottom. There you go. The next one here. I'm going to do the same too. Alright. Do those first. And now do the whole thing again. Dado, slightly thicker. And the next thing we're going to get the thickest one that would be the 0.5. And I'm going to add they're really dark parts. That extra hatching here too. And I might just add a little line there to get started. Alright? And that would look simply like this. So totally the other way around. So we've done the power of free now in two ways. We started with a thick pen, then took the second figure spend the less thicker pen did our first shadow and then took the thin pen to finish it off. Here we swapped it around, took the thin pen, then a bit thicker pen, do the first shadow and then do that with the thickest pen, do your shadow. Now, theoretically you could also mix this up a little bit different. Of course, you can start with your thickest pen again. Let me do that on this one. So this would be then the third option. The power of three and freeways, you start with the thickest pen. I'm still going to use that same. Then you take your finished pen and start doing your first layer of hatching. I'm doing this one. As you can see fairly quick. And then you take the middle pen. I got to find that 1.30 now not civil partnership. And you do your last layer of hatching. And there you go. And that would work fine too. So you have some options here. And then if you wanted to, you could go, of course, with the thickest pen ads, an extra layer of shading around there. So that's the power of free in freeways actually, from thick to thin, from thin to thick and mixing it up. So starting with thick, then within, and then go back to a thicker pen again. But there's preference. People have preference. What they like. I normally most of the time start with the thickest and work my way down to the finish. And in a really nice details, I use that thin pen. But this looks good too. And this looks good too. So you have the options. What I want you to do next is to practice a little bit. Here you start with bolts. Then do medium. And then do fin for this one. And then on the hair. This one, you go fin. Then you go medium. And then you go bolts. Actually to finish should be fine. Technically, that should be fine. And then this one start with both. Then do fin and then go to medium. Yeah, I'm sticking to the fin now and we have one left. I'll leave that up to you. Your choice. Whichever you like of this, the best, do that there again. Light or you can use whatever. Let me give you the light. This one goes there. This one goes here. This one we're gonna do there again. And let's do this one then here again. Alright, I'll leave you to do these. Now I'm actually not gonna do this. This time. I'm going to let you figure that out. I'm sure you manage that by now. Well, I said I'm not going to do all of these. I'll let you figure those out. Once you figured them all out, then it's ready for the next step. We are going to make, of course, a drawing with this too. We're going to use the same drawing actually. So we need the same paper with the tree, the apple and the flower and the grass on it. And we're gonna work with our fine liners on that one. That's a fun. Now, I realized this lesson is longer than the previous ones, but I want to show you really how to do this well, so that you benefited the most of it. So we're going to work on the drawing now, but of course it's not gonna be done in one minute. That will take a little bit time, but follow me through. At the end, you will have some great skills, extra skills using the power of free in your pen drawings. Let's start. I've got a new version of the drawing, but I'm also keeping that old one with it. Now, the old one is here. And I'm actually what I'm going to do, see if I have the room. Can I have them both on my camera? Probably. If I work this way, I should pretty much be able to do that. But then I'm going to swap them around and I'm going to do this. Alright. Want to put this one over there? Then I have them both in camera. Okay, good. What I'm gonna do I'm gonna do exactly the same. My son is here again. I'm gonna get free pens. I got the free pens. And I'm just starting with the bold one and I'm working my way to thin one. So actually I'm going to follow exactly what is here too. But you get a totally different way of adult, totally different looking image here. Let me find the fake one that is here. With the thick one. I'm going to do all the outlines now. That part I'm going to speed up. You don't need to see me do after all of that. So on some don't, I'll be back. So that's it. We've got the first layer down. Now what I wanna do, first of all, I'm going to actually hatch this with the fake pen. Cross hatched this to get nice, really thick outline here to get that really nice, cold and dark. And there we go. Crosshatch ****. And that looks really good like this, nice and dark. And if we now go in with the finished and add the shadow here, and then you get that even that stronger contrast. There you go see, and that looks good. The FEC contrasted with that really phi1. Okay, now on the tree, what I probably wanna do use to Fick one to 0.5 and do that. Scumbling as I've done here, do that here too. And starting a bit random. That would be my first layer. Alright, the next one I'm going to do is now to medium one. I have not drawn in where the sun is, but I do pretty much remember that. I can follow this drawing too. So this should be the medium one. Check that right now, this is the thin one. Makes sure I get the minimum 0.3. There you go. I'm working my way this way. And going around here a little bit. There you go. Now I'm going to go with that finished one. Dose. Extra scrambling, where you call them scrub links, but extra scrambling. Whoever it's darker, the ego. You probably get the few how this looks quite different than what it looks here. When you do it with one pen, you get a totally different view. Alright, the next thing we're gonna do, the tree, starting with the 0.3. I need to get the right plan. That is this one. Yes, there we go. Let's see, starting around here with the shadow. This stays open. And if you need to draw in those lines, then please do go ahead and do that. Of course, drawing your pencil lines so you stop at the right point. Well, I know this part is totally shaded. This part to go. Let me to go slightly further, I think right now I need to do this part. There you go. In-between there too. All right, good. That's the tree. I add slightly more here and do it more straight than I have done. Okay, now we're gonna go to the finished one and do some hatching here. Crosshatched is go the other way. You go. With this. I might stick for this one. Actually with the same direction. Just give this a nice extra layer where I want it to be. Very dark. There you go. Now you get the nice going from light to dark. And if you're not happy with it, you can just do another layer or you could, as we've done here, you could cross hatch it too. But I think I'm okay with this now there's an obvious cross hatch, but not there. Okay. I'm fine. I'm fine with going to the 0.3 again. So my middle pen, and we're going to actually shade the tree now to three, I have done, I mean, the branch. This, I continue. And I want some shading right here. Get that nice shadow effect. And then I want some shading right here. Where the leaf is. I'm going to get the thin pen again, 0.1. And dare I crosshatched, I'm not gonna do that. I'm going to just give it that extra layer because we're now using various thicknesses. So it gets more obvious C Then here we needed to use crosshatching not to overwhelm it with ink. But here we can nicely go with a thin pen and bring in some nice extra details where we want to use that. Now the shadow I'm gonna do is do that with a thin pen to a little bit. A bit larger, you go and I'm going to do it like that. So you get some nice new answers that way. I'll leave the grass to last. I'm going to start here now. Do the background. I'm going to get that 0.3 pen and just do some scumbling here. And there. They go here, not too much gambling. They go here on top, a little bit on the here, quite a bit more. And making circular motions with it to some dots, some circular motions, not really dots but more lines, little lines in random directions. Here. There you go. Looks good. Let's see, I want to add slightly up here. Get that idea. We're going into a second bump, and here we want to do that too. All right, good. Let's see a little bit around the edge. And let's add a little bit more here to get a nice transition from dark to light. Alright, good. Now while I have this pen at hand, let's see. We're gonna do the flower. Now the flower we're going to do exactly the same. Start there. Then inside, do a little bit around there than start with these leaves. Now here, I'm making it quite dark. I'm doing the same. Right there. The leaves that are under it here too, in here. There you go. That's the on the leaves. Here's one. And the rest. I'm just doing with this pen. Um, aside from this one that goes under it. Okay, not this one. Doing shade. This one needs some shading. This one a little bit. And there you go. Good. Now I'm taking the thinner pen. Put a little with some mark markings here and there. Oh, I forgot one there. Just to make it interesting, I need to go back to this pen. Otherwise it looks strange. The ego. And now on the flower here, I want to bring in with their thin pen, just an extra layer. And here I want to make it a little bit thick too, and that just makes it look nicer. The next one is the apple. There's the round parts. I'm going to shade this in first. And again, if you need to draw in that part, please do. I'm just imagining it. There you go. And while I'm on it does do the leaf too. He go. And now let's get that finished pen. A little bit of extra shading and do that here too. On the Apple. They go, missed a little bit there. Look and see how nice it just looks different than this. Now, this is great. But here you get all the little nuances. You can bring in details where you want. Now I've got the thin pen, I'm gonna do the grass with that thin pen. And we're not gonna do it fake. I'm going to keep it a little bit delicate. So I'm starting here. This one here would be completely not in the lights, completely in the dark. This one I know too, I'm going in the opposite direction again to show, hey, that is a different one. Now here in-between, I'm going to fill that up with black. Then I know that this one here doesn't get light either. There you go. Let's see. I know that here to this one won't receive any light going there. And the same for this one going the opposite direction with this one. There you go. There's no lights here. Might just as well make that dark and dare to. Good. All right, those are the obvious ones. Now let's see. Let's do this one again. Starting at the top just a little bit. When I get down, I want a lot more here to this one, needs to go the opposite direction. Done that this way. There you go. Let's check this one I've done like this little bit down there. And then we have this one. I'm going to go with this one only there. And I'm gonna do that with this one down there. And a little bit up there. That looks quite nice. Alright, this one here is totally dark. Let's see. We've done this one that way. I'm gonna do this one straight like this. This one the opposite way. Here. I'm going to hedge, but quite rough. This one only on the top. Now, when I get here, quite rough again, this one, we're going to go the opposite direction and do it like that. And these I'm gonna do like deaths. And now we get nice grass and we're doing the grass a little bit more detailed. So that will stand out from the tree and the rest. Alright, now here again, starting with this one. There you go. Then I doing this one opposite direction again. Now I'm going this way. I'm going for this one the same way, of course. In there. There you go. Now, this one, we're doing like that. This one to just give it a little bit of shadow. Let's see this one in there. And there you go. Here we need definitely some shadow. I'm not going to shade this one when leave that one blank. This one, we're going in this direction, so let's keep on going in that direction. This one in the opposite direction. And this large one, I'm only going to do around DEI chicken. Okay? This one like that. This one the opposite way. And let's hedge. This one like that. This one. Well, they want to a little bit and then we have this one left. Enter. There we go. I think we've done everything. Yeah. Now, this is nice and dark. So you get to see those eyes really nicely. And the rest were playing a little bit with the accents and new answers. We can add slightly more on the bottom here. And that makes it look really nice. Now if the thin pen on the branch, you could add a little bit of things in it, just like that. Not too many to make it even more lifelike, the ego. And I wouldn't do that with a regular pen because that gets really thick, but with this thin pen, you can play with that. We can do the same on the tree. Just add a little bit random. Even here. Some lines now that suddenly see enhancers, that whole idea of a tree. Alright, good, and the rest we're going to just leave. The only thing I want to change is go to the 0.3. Now, the thin 1.10 I had Around here, we definitely need some more scrambling. Scribbling, whatever. Some colors, scribbles, official term is crumbling actually. That looks better. I like that. A lot better, good. Now you could theoretically this here. Just a few more lines to get a bit stronger shadow. And that's it. So that would be. The power of three and having them next to each other. Put them right in the camera and move them a little bit. You can quite see the difference between the two. How does delicate part, really dark parts in here? That definitely is light and shadow in here. But it's all bit more uniform than here because we have here, we have control over it. And theoretically you could take that thick pen, where is it, that 0.5. And you could add around there, some dark lines around there. You could play with debt, even a bit more. Blades of grass. You could enhance the parts at the back a little bit to even get that stronger idea of light and shadow. There you go. I'm not doing it on these. You see the difference between this and that. Now you make them stand out a little bit more. And if she do that, I will do it at definitely at the bottom of the branch to end this here on this bottom two. And perhaps even add a little more to get that idea of light and shadow even stronger. And you can play with that. You can actually play with that a long time. I do a little bit here too then to enhance that a little bit. And so we could keep on going. And that is the advantage of having fine liners, having various thicknesses of fine liners. Bold, medium, fine, you get the range of free and then you have a lot more power suddenly in your drawing to this nice, this can become a great keep on going. You could actually make something really beautiful of this pallidus beautiful already. Can start enhancing part here. Put a line there, extra line here with these blades, some extra lines to in-between the grass at the flower. Play a little bit with the thin pen, add some small details in shadow with it. For now we're going to stop the lesson, but we're going to do one more thing. There's a blade of grass there that just doesn't look right. I'm gonna do that with a thin pen 0.1 again. And just a little bit of shading there. And now that one looks right, Good. And this one, can we get away with? Now while I said we wouldn't do it, Let's do it. Just looks better. Now he's not standing out that much. Alright, good. That's it. Well, I could keep on going, but I'm going to stop here. I'm happy with the drawing. And I think you'll agree with me that the power of three is really interesting technique creating some beautiful results. So again, there's the end results. Now, if you followed me along, you have something really pretty too. If you're gonna do it now, I would say, have fun doing it. This is a great technique. And what you can do, of course, is, I've done one of the methods, but there were more thick the other methods do and practice with that a little bit too, I challenge you to do that. So print is a lot of time twice, or find another drawing online you can do to imprint that if it is only an outline drawing and start working with that. Or of course, if you can draw yourself, draw something in it, and then use the other techniques, make use, full use of the power of free and just see what you like. Okay, well, there's one more lesson after this where I'm gonna deal with a little bit more of the materials from where to go from. Here, we've only use some simple pens, some simple paper. I want to show you a little bit more about the paper, the options you have to just create even nicer experience in drawing with a pen. Alright, see you in that last final lesson. 7. Tips & Recommendations: Welcome to this last lesson. Now this is not a step. We've done the five steps already. We've dealt with the material overwhelm. We've done a drawing. We've looked at shading in two ways, and we looked at the power of free. But I want to really go back to the material overwhelmed because the same overwhelmed there is for pens. There actually is for paper too. There is so many paper. And if you type in paper just at Amazon, you get over to Files and results. And if you think, oh, I'm going to narrow that down, I'm going to search for drawing paper. Specifically. Shockingly, you get over 10 thousand returns instead of the 2000s were before. Even if you would go really specific looking for paper, you get just around a thousand results for those kinds of papers too. So what I'm gonna do in this lesson, I wanted to just give you some options, options you can use to start with and why you take, why you would use those options and how you can use them to your own advantage, and how they will make this experience even more fun. But we're going to look at is paper. So far, what we've used is only regular paper. Now you may wonder why I have a photo album here and I think I've got it the wrong way around. I want to show you that photo album. You can draw really nice in a photo album and you get something like this. Now, this is actually done with an actual feather. There's all kinds of thing. This is just a nib pen, but there's also some stuff this is nip pens to. I know there's some fine liner stuff, some fixed stuff, nice, fine with all kinds of experiments what I'm doing. And this is what I do in my spare time, just having some fun experimenting with pens and putting it on this paper. Now, as you can probably hear, this is really thick paper and it has these nice sheets in-between. So if it is not totally dry and I would put this on there, it won't spill on the next page, but I let it dry most of the time. These you can get relatively expensive. And one little tip. If you go to a secondhand store, this one cross €1, you can find them there or in the stores here at over here. The call to action, which by all those households, all those cheap stuff. They have photo albums, they have photo frames too. And their photo albums are priced very inexpensively, let's say it that way. But the paper is great to work on. And it doesn't work only with ink. You can actually do some watercolor on this end. Some colored pencil would work too. Alright, so that is just the first tip I'm gonna give you. If you want to have something special, something different, something nice to work on. And especially if you're going to use like here, this is really dark. A lot of income and it's not going to spill what you call bleed through on the next page. That is the huge advantage of this paper. Alright, good. I'm putting that one aside. The next recommendation would be just get the normal sketchbook, something like this. Snap plus two, I've got two of them. This is a nice bound one. This is the one with the ring one. And these are just again, inexpensive sketchbooks. And the advantages and the, you see it here already, 130 grams. It is thicker than your regular paper. The regular paper is really thin. And if I'm opening up the stairs and putting aside, come back to that one. If I'm opening up this one, I need to find a page of code where there's ink drawings on it. There's an ink drawing on it. This has a nice thick paper and you also see right away probably different. This has a nice natural color. And then I have to find a pen one because there's a pen one on a two day, you go look at that. There's a house with a pen and then I can put this one next to it. And you can see how that looks, how different this really looks compared to this one. And just the more off-white color, cream color, just add something to the drawing. And it's nice paper. It has a little bit of texture on it, but you won't notice that when you're drawing, but it works good with pencils and colored pencils than two. So that's an advantage of a sketchbook. I would recommend starting with a smaller one, not with the large one. If the smaller one, because it just the paper size is less overwhelming. So you can focus them on a smaller drawing, not get overwhelmed by the large paper. Just focus on a smaller, you can even go smaller than this. I know they're smaller ones than this around. And I might actually have one somewhere. There's one little sketchpad. See, that's even smaller. Bit above the ring like this. Now, there's no ink drawings and this is only in this one. There might be no, there's no ink, does only pencil drawings in it. But works great. This one works great for him too. And it's a little bit less thick, but still it's thicker paper than regular paper. That is just to take away the overwhelm, then you don't have to do. Large drawings and think, Oh my goodness, there's so much paper. Or you can just start small. Alright, Good, put these away again. The next thing you can try. There you go. It's something like this. The scope Bristol, Bristol drawing book. And that is nice smooth paper. Don't notice what is on there that's been messing around. It's a nice smooth paper. And Bristol paper works awesomely with ink. And here's another one. This is slightly larger number on a brand. Now, I'm not going to recommend brands, but if you want to have a good brand, it is this brand, Claire from ten. It's their paint on series, paint on series, multi techniques, multimedia, mixed media papers. This is the smooth one and the smooth one actually is just Bristol paper. And again, Bristol paper is nice and thick so it won't bleed through. And you can use this with various techniques. Also a little bit of water, brush pens, ink pens, and there you have the fine line, so it's on there. Nice smooth paper. And that works great with ink. But you can also get the regular mixed media paper. Got one here. That works good too. And that has a little bit of a texture like the drawing paper. And it works with more techniques to. So if you want to expand your art experience, this paper works with colored pencils, with paint, watercolor, you could do it bit of graphite, nice paper. You can get this in various colors and just makes it interesting too. And again, don't go for a block like this. So I'm going to put these away now, stick to the small papers. Now a lot of artists like to use watercolor to, I'm not going to recommend starting out with watercolor paper. Because watercolor paper is Refer, is more expensive and will not enhance your experience at all. Actually, it might take away a little bit. It's really fun to work on watercolor paper, but it's not as nice experience as an sketchbook, or especially the Bristol or the mixed media because they just way better for ink. Unless of course you already know how to paint and want to combine yesterday, what color is a good option, but starting out, I would say just a regular sketchbook or get some mixed media paper and then have fun with it. Now again, with the mixed media paper, does brands that charge you a ton of money, and it's just marketing. Let's put it that way. Marketing is good. It's good for the brand, is not good for you. Because I can buy ten of these sketchbooks at the price of one of the brand ones. And the brand wants won't x gives me a greater better experience at all? Sometimes on the contrary, okay. That's it. Other things I'm not going to recommend now I'm gonna, we're not gonna go into ink and brush pens and there's all kinds of things in the future. I might make some lessons about that, but for now, we're going to end this here. Oh, no, hang on. I'm not going to end this. I'm going to show you one more thing now if you're going to work on a paper with a color on it, I'm going to show you one thing that might be really fun and let me get that. That is this paper, this is has tone ten. I'm going to show you some simple ink drawings I made. See, yeah. Right now you see probably right away. What I mean is there that white, you can add some white and I've got some pens here. Get a gel pen or white gel pen or white paint marker. I think it's called a paint marker of white paint marker. This is a Posca only now, these are not cheap, but they last a long time and work on any kind of paper. And these are just, yeah, you can buy a gel market anyway. Just a white gel mark and you can add these if you're working with pen and here is in black. I can show you that in black. There just a little bit, just a very little accent of gets some white here. There's another one and just makes the drawing just a bit more interesting. Now it is some gray in it to just brings out something. Let me show you this one here. This is a good example to just an ink drawing. And then there's just some light on some of the parts, you just highlight something. So that will be my last recommendation. If you're gonna work on toned paper, then for sure get that white with it. And that just enhances that experience and the drawing and the way you look at it just a bit more. It just gives a little bit extra like here. That makes it Now look like glass. Just because there is some white, it suddenly looks like glass and we found the white. It just wouldn't look that glossy as it does now. Alright, good. And that's my final recommendation. Then get a white pen, a gel pen, or a paint marker will work well, and that would be then my final recommendation. Just get, if you're going to work on tone paper, get yourself a white pen and just put some excellent and play with that. Now we have a good overview of papers, and we have a good overview of pens. We had that already. So now you can just continue this journey in drawing with a pen. Now in the future, I plan on releasing more classes on this. So what I would suggest is just follow me here on Skillshare so that you can get a notification when a new class comes out. I'm doing more on traditional drawing painting. And you can just browse through my profile to discover more. Now if you can't wait for future classes, you can also go to my website. What does a lot more on inking, advanced techniques showing you how to also get into drawing and just learn this whole drawing with a pen inking way more in way more advanced than we've done now. But for now, this class ends here. Thank you for being with me. I really enjoyed creating it. I hope you picked up some techniques that get you ready to start drawing with a pen.