The Creative Sketchbook: Start Your Daily Sketching Habit

1. Class Introduction: Welcome to my class, the Creative Sketch Book. Start your daily sketching habit. This class is all about getting you to start sketching something on a daily basis in an easy to access sketchbook where you can escape away into a creative world of expression, relax your mind from the hustle of daily life and stress, improve your well being by enjoying the process and journey at any level and create a sketching habit that will act as your daily driver and getaway. I have actively been keeping physical sketchbooks and sketching and doodling in them every day for a few years now, and I absolutely recommend it for your well being. This class is all about giving you some tips, ideas, and direction, so you can quickly get started in this wonderful analogue journey. In this class, we'll start off by going through some of the basic materials and supplies that you need to quickly get started with your sketching habit. I will be demonstrating four different styles of sketching so that you can keep things interesting and vary your sketches on a daily basis. We will explore doing loose sketching with graphite and ink. Detailed drawings with ink and colored pencils. Creative illustrating with watercolors and Ink. And finally, abstract doodling with markers. You will also be provided with a complete set of reference images so that you don't have to think about what you need to draw. You can just go ahead and start sketching immediately. This class is for all skill levels, and the purpose of this class is not to draw perfect artwork. It's to relax and enjoy the process of putting marks on paper on a daily basis and to really enjoy that journey of creating something every day. Once you watch lessons in this class, you will be ready to take on your class project and start your daily sketchbook and upload your beautiful sketches in the class project gallery. If you're after a quick start into a new or revived hobby, then this class is absolutely perfect for you. So what you're waiting for, grab yourself a nice drink, get yourself some nice treats, sit back, relax, and let's get started with this class. 2. Materials & Supplies: Let's now start off by talking a little bit about the materials and supplies that you're going to need for this class. The two main supplies that you'll be needing for this class are number one, a sketchbook and number two, medium or mediums to sketch with. Looking at sketchbooks now, let's look at some of the different features of sketchbooks that you may need to consider before you start this class. Sketchbooks come in different sizes, paper types, covers, and binding. The choice of sketchbook is purely a personal one, so being comfortable while you're sketching should really be the initial factor in selecting your sketchbook. Let's quickly now look at a bit more detail on the size, paper type, covers, and binding of sketchbooks. Having the right sized sketchbook to create a daily sketching habit is absolutely vital. If your sketchbook is too big, in size, or in dimension, then you will most likely have to sketch at a table or desk or rest your sketchbook on something flat. This may be difficult for you to do depending on where you are or where you're living. Therefore, it can be less flexible for you to carry with you wherever you may go, making it less mobile and so you will be less likely to sketch every day. If your sketchbook is too small, then it can be difficult to actually sketch on the actual pages themselves. Having a nice medium sized sketchbook with medium sized pages that are slightly bigger than your hand is something that I would highly recommend for trying to build this daily sketching habit that we're doing in this class. Personally, I prefer to use an A five sized or a 13 by 20 1 centimeter sketchbook, and I would definitely recommend this particular size. Unless you're comfortable using a bigger sketchbook, such as an A four, or even an A three, in some cases, use whichever size sketchbook you are more comfortable with because that is one of the main factors that will depend on your daily habit. That's what it's all about. It's about continuing this daily habit and maintaining this in the long run. Sketchbooks come in various paper types. Some of these types include good quality cartridge paper, watercolor paper, plain lined or dot grid paper and bleed proof paper. Which paper type should you go for? The type of paper that you should consider will be determined by the medium or the mediums that you decide to use. We will look at this in a lot more detail with my recommendations in the next lesson. Sketch books usually come in soft cover or hard cover. Soft cover sketchbooks can be stapled, saddle stitched, ring binded, or perfect bound. Hard cover sketchbooks tend to be ring bound or perfect bound. Which sketchbook should you get? The sketchbook to use, as mentioned before, will be determined by the medium that you decide to use. Let's look at three mediums that you may consider. Looking at pencils and ink. When we talk about pencils, this can either be graphite pencils or even colored pencils. Ideally, you want to be using good quality paper, preferably cartridge paper that has a smooth surface and a light texture on it. Cartridge paper is a lot thicker than your usual printer paper and is usually mold made so that the layers are very thick and they can take a lot of work with pencils, inks and various other mediums. Three main types of cartridge paper sketchbooks that I use are sea white sketchbooks. They have a thick cartridge paper in them with a really nice smooth finish and are very durable and come in many different shapes and sizes. I also use mold skin sketchbooks, which would probably be my number one sketchbook to go for. These have superb quality. They have hand elastic closure straps on them, which I personally love, and they also have an internal pocket at the back, which is really handy. But the main reason for me using these sketchbooks are that I just love the paper quality of them. I think the paper quality is just that perfect balance of thickness and ability to be durable and the finish is just really nice and smooth, and it works great for pencils and inking. There are many other brands of sketchbooks that you can get. The ones that I've mentioned are just the ones that I personally use and that are easily available to me in the UK. So depending on where you live in the world, you can get brands from your local art store that will stock those type of brands. Some other very good and solid brands are Stillman and burn sketchbooks. Rtiser Windsor and Newton and another brand, which is Rodia notebooks. These are absolutely brilliant. I actually personally use these myself. They have a very nice thin paper, which is good for light and fine inkwork. However, they're not thick cartridge paper sketchbooks. So depending on how heavy your marks are going to be, I would be a bit wary about getting the Rodia notebooks. These are usually very good for light fountain penwk. Looking now at watercolors. So if you decide to use watercolors in this class for your sketchbooks, you must and absolutely must use a watercolor sketchbook. And that is a sketchbook that is made of watercolor paper. Now, watercolor sketch books can be very pricey, so that one that I usually tend to use more than any is the same brand that I use for my pencils and ink, and that is the moleskin watercolor sketchbooks. These are usually priced at a decent price compared to other brands, and the actual paper itself is very good. The great advantage of using watercolor paper is that you can sketch in ink first and then color with watercolors later. I quite often do four or five sketches in Ink and then use watercolor after a few weeks when I revisit my sketches. This gives me more freedom and flexibility and keeps things interesting. One thing to note with watercolor paper is that it comes in three main surface textures rough hot pressed, which is smooth and cold pressed or NOT, which is a medium texture. Mold skin watercolor paper is a medium texture, which works very well for detailed sketches. However, it's not completely smooth. So if you're looking to produce really high level detailed intricate work with ink first and then watercolor, then I would probably say don't go for the Mold skin watercolor sketch books, and instead, go for another brand maybe like Stillman and burn Sketch books. These can have options in their watercolor sketch books, which give you a more smoother hot pressed watercolor finish. There are other brands such as Saunders, Cardi, Dala Roni that also produce really good watercolor sketchbook. Just get the type of sketchbook that you can get in the area that you live in. But if you can get the Mlskin watercolor sketchbook, then that would be absolutely brilliant. If you decide to go with using markers, then you must use marker proof paper, that is bleed proof, or you will have ink bleed going all the way through to the next page, creating all sorts of lovely abstract works of art. I personally used heavyweight cartridge sketch books from the C white range for sketching with markers previously and have placed a separate sheet of paper beneath to avoid the next paper actually getting ruined or getting any bleed spots on them. But this tends to ruin the feel and look of the sketchbook itself. I would only recommend doing this if you're planning to only use markers and Inc throughout your entire sketchbook. The best option is therefore, to use bleed proof paper sketchbooks. And the best one from my experience is the render sketchbooks. Now, I've used these personally, and these are probably the only sketchbooks that I've used that have absolute zero bleed in them. You can go on with alcohol markers, you can do water based markers, and they will not led through not even to the second side of the page. So they're absolutely brilliant. However, these are quite pricey, and it depends where you live, whether you can actually get them or not. I think they're sourced and made in the US. So for me in the UK, I usually get these online. Again, all of the links to all the materials that I've mentioned in this class are going to be available in the resource sheets and do check that out. 3. Mediums: You can use the same medium throughout your sketchbook or you can use a combination of mediums. Just ensure that you have the correct sketchbook paper type if you decide to mix and match your mediums. Let's start off with graphite pencils. You can get these in the standard wood case pencils that we all have lying around in the house. You can get technical pencils and even clutch pencils. With pen and ink, you have a few more options. You can get fine liners that come in an absolute huge range of sets. You can get brush pens, dip pens, and even fountain pens. With colored pencils, you have a couple of options. You can get oil based color pencils, like the poly chromos. You can get wax based colored pencils, like the prisma color, and you can also get ink based colored pencils. Looking now at watercolors, which is one of my favorite mediums, you can either go for a student grade pan or tube set or go for the full end professional grade pans and tubes, whichever ones you go for just ensure that you're using watercolor paper. Finally, if you decide to go for markers, you have a couple of options. Again, you've got alcohol markers, you've got water based markers and also paint markers, but do ensure that you use your bleed proof, paper sketchbooks for this option. So just a quick summary of the materials and supplies just in a single screen. Depending on the mediums that you decide to go for. I've got a nice little summary here of which type of paper sketchbooks you should go for, whether you decide to just use one medium or the other. Do check this out in the resource sheet where you can refer back to so that you make the correct decision when purchasing a sketchbook. If you've already got a couple of sketchbooks lying around, this will help you use the right medium for the sketches that you decide to go ahead and do and follow this class. So let's now move on to the next topic. 4. Styles of Sketching: Okay. Let's now move on to the main part of this class, which is all about sketching. We're going to be covering four different styles of sketching, and this is where the excitement starts. This class is all about creating and maintaining a daily sketching habit. In order to build momentum, I recommend trying out different styles of sketching to keep things interesting and ensure that repetition doesn't have a negative impact on your motivation. However, You may only want to use one style of sketching throughout your sketchbook, and that's absolutely fine. Do whatever you're comfortable with, and if you feel like exploring the other styles that we go through, then absolutely go for it. Remember, there are no rules in art. Art is your own expression, and you can express yourself. However you wish. Let's now look at the four different styles of sketching. If you have a look at the resource pack, you will see that I have provided you with a range of different reference images that I've personally taken myself. And these are to encourage you to try and practice the different styles of sketching without having to think too much about what you need to draw or waste time in trying to figure out what you should draw for each type of style that we go through. So I'm going to demonstrate these styles. Using some of these reference images. So follow along as you like, and for your class project, you have a huge range to practice on and to produce your beautiful sketches. So let's start off with style number one, Style number one, loose sketching. This is the quickest method of sketching where you're not focused on perfect details, but want to get down basic shapes and contours. Working freely and loosely to produce a simple sketch of the reference that you have, or you may not even have a reference at all, and you're just working from imagination, that's absolutely fine. You can add as many details as you wish or leave out all the details and just keep it as an impressionistic visual. Graphite pencil and fine liners will work well for this style, and you could also add in a few splashes of color to bring out some interest. The second style is detailed drawings. This is effectively the next step. In the sketching stage to loose sketching where we go in with details to flesh out our drawing. If you want to add color to your drawing, then you can add the details first and then the color like coloring in a picture, or you can add the color first and then the details for a more stylistic sketchy look. Or, finally, you can use color only to build details for a more realistic look and do this in any order as you please. You're absolutely free and flexible in this style of sketching as you were with the loose sketching. So just do whatever is comfortable. The third style of sketching is my favorite style, and that is the creative illustrating. Using your imagination is what this style is all about. The reference image will act as a base for you to create your very own whimsical inspired illustration. This is the most fun and enjoyable type of sketching. You can make a regular cup of coffee into a house, a village, a small city. A coffee shop or whatever your mind can dream up of. A real expression of what you enjoy. My favorite type of art, you may find that it takes a couple of attempts to build your illustrations. I would recommend using a pencil first, then inking once you're happy with what you have, and then maybe adding in some color if you want. Finally, the fourth and last style is abstract doodling. This style of doodling is all about just relaxing your mind and letting your medium move freely around the page or spread in your sketchbook to produce a unique abstract work of art. Absolute freedom with no pressure to get it right is the basis of this style of sketching. I would use Inc for this and maybe add some color if you wish, you can use symmetrical lines, dots, stippling, cross hatching, or use swirly curves and random patterns in any form to create a gorgeous abstract expression. Was just a quick little introduction to the four different styles of sketching that we're going to do. Now, what we're going to do is go ahead and demonstrate each and every one of these styles using a reference image that you can follow along and really gets yourself immersed into this absolutely brilliant type of artwork that will hopefully be the basis for you to create and develop your daily sketching habit. Let's get started with that. 5. Loose Sketching: Okay, welcome back. Let's now start off with the first style of sketching, and that is the loose sketching style. Now, for this style, I'm going to be using an A five sized sketchbook. This particular one that I've got is the ring bound C white sketchbook, and this just has standard cartridge paper in it. If I show you here, we have 160 GSM cartridge paper acid free, and it's absolutely brilliant. We'll work fine with pencil, fine liners, and ink. So let's get into this sketch book. So I'm going to just use this on the portrait side of the sketchbook. You can even go in and use these on landscape, change the orientation. However, it suits you. That's the advantage of having a ring bound book because you can lay it flat completely on both sides, gives you a lot of flexibility. So the tools that I'm going to use for this first stole is just going to be a pencil, and I've just got a mechanical pencil here. And I've also got myself a eraser, always got to have an eraser at hand. And then with the inking part, I've got myself two pens, and this first one here is just a standard inkliner which is a 0.8 tip. So it's a nice thick inkliner. We'll work really nice on this paper. And then the second pen that I've got is a fude nib fountain pen. So this is actually a specialty nib fountain pen, and it's great for adding thick lines. But most likely you will not have this pen at your disposal unless you're really into your fountain pens. So not to worry if you haven't got anything to make thick lines, you can go ahead and do your thicker lines with your normal standard fine liner or even shade in with your pencil. So what I'm going to do now is I'm going to select a picture from the references that I've got. So do check out the reference pack that you've got in this class. It gives you a nice range of different images. These are my own images that I've taken specifically for this class. So let's have a look at this. And I think we'll start off with a nice simple sketch of reference image one, and that is of the sharper. So what I'm going to do is, I'm just going to go in with my pencil and go back to portrait mode because that'll suit this sketch for the orientation. Just move my other pens out of the way so that they don't get in the way. And then with my pencil, all I'm going to do is think about the main shapes of this actual object. Now, you don't have to follow me in this, you don't have to draw what I'm drawing, but sometimes it's always good to just follow a class and actually work through it step by step before you do your class project. And that just gets you warmed up. And that's what this exercise is designed for you to do. So what I'm going to do is, I'm just going to start loosely drawing in these shapes that I can see. So you're just going to go in, with my pencil very lightly and draw myself a rectangle. So if you decide to do this, then just go ahead and do this yourself. You don't have to go in with pencil if you don't want. Usually, I tend not to really use pencil first, but just to demonstrate this style of sketching, I thought I'll just go in with pencil first so that you can follow along. So let's just get a bit of a zoom in on there. Very good. I've got myself a nice rectangle shape there. Then all I'm going to do is I'm just going to go in and create this little Kirby arc from the top one end to the other, and then I'm going to do the same at the bottom because that's what this shape looks like. I'm not really bothered to actually imitate this shape perfectly. It's just for something for us to actually work together on. I've got this nice rectangle with these Kerby tops and bottoms and then I'm going to do another curve like this to represent the top part that flips open. Then we're just add in a couple of lines coming down here. From top to bottom to represent that kind of front facing part of this sharpener. And then we'll just got another line here to maybe add in some details. Doesn't have to be accurate, it's just so you have something there. So again, just a couple of lines here, very rough and loose. I'm not bothered about making things perfectly symmetrical. It's just about getting something down quickly in your sketchbook on your page. So I'm just going to add maybe a little shadow area indentation over here. We've got this little area part coming in on the left hand side, and maybe just drawing that table line that I've got, and maybe just adding a couple more lines just to make it a little bit more interesting. Now over here, we have some more details and maybe some lines coming in here from the top. And just like that, all I'm doing is building this image of this sharpneer just by looking at the contours and the actual block shapes, and maybe just write in where it says, press over there to make it a bit more interesting and we've got this sticker that's coming here, the red and black sticker. That's it. I'm not going to bother with the writing on the sticker. I think that's fine as it is. Then we have this little curvy bit that comes in here. Then again, we've got another curvy bit with these little lips coming out. So that's looking rather good. That's about it. We've only spent maybe a couple of minutes doing that, adding in these block shapes. What you can actually do is you can actually leave it at this if that's all you feel comfortable with. If you just want to do a quick little sketchy illustration every day in your sketchbook like this, using this style, it's absolutely brilliant. But the next level really is within this style to start maybe fleshing out some details. You can do this with pen, you can do this with your fine liner. It's entirely up to you. What I'm going to do is I'm going to go in with my fine liner, and I'm going to start sketching out some of these lines that have drawn just to make them look a little bit more better. You can see, I'm just doing these vertical lines, starting off with these vertical lines, and I'm not really thinking about anything. All I'm doing is following in those marks that I made earlier. It's effectively a warm up exercise to sketching more detailed work in your sketchbook, and it's just a great way to start this journey off. I'm just going to tilt my page slightly to the right so that the angles a little bit easy, and that's a good tip to do. If you're working on a sketchbook and you're actually leaning on the table like I am, then maybe tilt it to where it's most comfortable with for yourself just to complete your first little drawing. So you can see here my circle isn't perfectly symmetrical and that makes no difference. I don't want you to stress on making this into a perfect drawing because that's not what it's about. That type of artwork and sketch work may be something that we look at maybe in the second or the third sketching style. However, all I want you to do here is I just want you to focus on these lines and these basic shapes that we've got. You can see all I'm doing is I'm just outlining this little drawing that I've done, and it's looking quite nice for the time that we've spent on it, and it's hardly been any time. So All I want you to do is do something similar like this in your sketchbook, depending on whichever sketchbook you're using, stick to pencil and maybe fine liner for this first stage. That way you won't complicate things and you won't get overwhelmed. Over here, I've just got that little writing part here where it said press, I'm just going to add that on here. 6. Adding More Interest: What I'm going to do is, I'm just going to block in some colors. I'm going to add in some darks here, and that's where my other pen comes in. Now, if you don't have a food add pen or a really thick fine liner, then just go in with your pencil or just actually go in with your fine liner and just go in and do some hatching lines, and then maybe adding some crosshatching, just to add some dark area to this left hand side. And what that will do is, it'll just add a little bit more interest and it'll give the illusion that you've got a finished sketch here because that's what it's about. It's just about creating an illusion of what you can see. Now, you don't have to follow me in this actual reference image that I'm using. You can just go in and do something from imagination if you want. It's really about practicing this loose style of sketching, not working on tight details, just really going in with whichever tools that you have to really produce these nice marks on paper so that you're effectively warming yourself up to getting back or starting a new habit of creating a daily drawing sketchbook. You can see all I'm doing here is just using these lines with this thick food pen, It, by the way, is one of my favorite pens to do this type of loose sketch work with purely because it's just so free and so mobile in terms of making lines. It's just so easy to get thick and thin lines. It just works absolutely brilliant. But if you're not into fountain pens, then not to worry, that's a complete another ball game fountain pens. Let's just carry on maybe adding in some more dark over here. So I'm just going to block in some color just backward and forward, effectively just coloring in some of these darker areas just so that we have a little bit more interest. And that's all it is, no stress, no worry. Just draw what you can see, and if it turns out completely, nothing compared to what you were looking at, and don't worry about it at all because that's what you're not in an art class here, you're in a start sketching habit class. So that's what it's all about. Just to start this sketching habit journey, and then you can actually move forward to creating your beautiful masterpieces of art. But if you don't practice every day, your sketch every day, then it can always be difficult to really get yourself well immersed into drawing or sketching or anything else really practices what you really want. That's what the aim of this class is to build that practice, that sketching habit, so that you don't sit around waiting for the perfect time or perfect tables or perfect chairs and papers that you have. You've just got your sketchbook and you can go in and start sketching. Going to do here is just very loosely, adding that shadow, and we're nearly done on this. I mean we've hardly spent any time on this. Again, just very loose sketching, nice and easy, no stress. And all I'm going to do here is, I'm just going to maybe just add some of these lines here just to show that we have this reference on a table. I mean, the table line is actually over there, but I don't care and I don't want you to care. So all I want you to do is get some marks done in your sketchbook, and I think we'll leave it at that. So we'll close the pen. That's it for this first style. You can see very loose sketching. It's very quick and fast, a lot of energy, a lot of expression work. Again, we're not looking at perfect symmetry or replicating something to produce a photo realistic image. All we're doing is using our hands and our tools, basic stuff just to get something down. It can be a nice relaxing, daily routine. Try this one out and let's now move on to the next style of sketching. 7. Detailed Drawing: Okay, welcome back. Let's now start with style number two, which is the detailed drawing. Now, this style is just an add on style from style number one, which was just loose sketching. We're going to start adding in more details and maybe use a few different mediums like I've got here on the screen to really give a bit more depth and interest to our work This style of work, this detailed sketching or detailed drawing will take much longer than the first one because with the first, we just essentially did a rough sketch and just added in some contour lines, darkening some areas just to give it an overall feel of actual drawing. Whereas with this style, what we're going to do is, we're just going to do the same process, and we're just going to build more and more details until we're happy with the overall look of this particular sketch. On the left hand side over here, I've got a couple of sketchbooks just to give you an idea of the type of drawings that I'm talking about. So I've got this small sketchbook, which is an A six size C white sketchbook. I really like using these. These are the stapled finished sketch books with a nice soft little cover on them. And these work great because they're small and mobile and compact, and they can open up very nicely. So on this first one that I've got, this is, by the way, a complete sketchbook, there's not many pages in it, but it works really nice. So with this, I've just got daily sketches, of my kind of day to day routine at the office, just working and just chilling out, just basically drawing things that I see. And what this does is this really increases that momentum in producing a sketching habit that you can continue with, and then you can slowly start developing that memory muscle and that ability to just pick up a marker or a pen and just get on with sketching wherever you are. And again, that's what the purpose of this class is about to really instill this idea of sketching every day to create a sketching habit. Over here, you can see you Just normal ink drawings here. I've not used any pencil. I've just gone straight in with Ink. I've got a little bit of writing about what my actual date was about. You don't have to write anything in your sketchbook, but you can, if you want. It's as versatile as you would like it to be. And then again, some sketches are very light, so they may be stylistically similar to style one of just loose sketching, and some I may have added in a bit more detail, but I've just kept it simple and basic and really actually enjoyed doing this process, and I actually need to start this sketchbook again because this one is finished, so that was the first one. And then on the second one, this is taking the details a little bit further. So this is more of whimsical sketching from imagination. And you can see that I've added in a lot more detail, I've started really drilling down with the texture work. And I'll just get a Zoom in so you can see this a bit better on the screen. You can see here nice bit of detailed work here, and again, nice bit of contrast with the pen and ink, which is one of my favorite mediums to use. With this type of sketchbook, it just works really well because it opens and closes very easily, and it can lay flat. It can even fit in your pocket. I don't usually use a six size sketchbooks, but I only use them when I'm going out and about. I wouldn't really use this to do full pieces of art in. But then again, that's not what this class is all about. It's just about creating that sketchbook habit. You've got some detail work here. Again, very dark detail work. Now, I do spend a lot of time doing this type of sketch work. So that's kind of expected with detailed drawings. But what I don't want you to get put off by is that you're looking at these and thinking, Oh, yeah, there's so much detail on this. I don't know whether I want to be able to spend so much time every day. That's not a problem. And just showing this to illustrate to you what type of sketching we're going to be doing in this second style. So over here, I've got another book. I'll just zoom back so you can see. So this is an A five sketchbook, again, another staple sketch book, but this isn't from C white. This is just a basic one from a local art store that I use. And again, I've gone in with a lot of detailed work. This whimsical style of artwork. Now, again, in this class, we're not doing any whimsical work. We will be touching whimsical work when we're doing style number three, but we're just tending to really just start making marks in our sketchbook and using references as a base because it's just easier to sketch something that you can see. Again, I've got a lot of detailed work over here. And again, it's just drilling down into a lot of detailed work, and it just works really well. I mean, I would probably work on these sketches on a daily basis. I wouldn't finish them all in one go. It probably takes me around about 2 hours or maybe a little bit more to complete one of these. But again, I don't want you to be spending that type of time even on this detailed stage. I want you to spend maybe half an hour or maybe 45 minutes on a detailed sketch. So let's put this one to aside. Finally, I've got my favorite sketchbook, which is the mole skin. If you can see this on the screen, this is the Moleskin standard sketchbook. Let's just have a quick look at this, this one, I've finished as well. I'll just do a little flick through. You can see I've got various illustrations, writing, bit of art journaling, and just different styles of sketching with fountain pens, different colored inks and predominantly mainly pen and ink work. And again, I've got a little bit of blur at the bottom sometimes I'm just doing this on a daily basis, working in those details, and it works really nice. So it's always nice to have a sketch book that you can fill, and then maybe come back to it and you think, Oh, I remember this place where I was at. I just did a quick little sketch. So it is a lot of fun and a very nice keep safe. So let's just close this one. And again, I've got that elastic closure on the mole skin, which I absolutely love on the screen over here. I've got the mediums that I'm going to intend to use for this second style of sketching. I've got myself a normal, pencil over here. This is just a B pencil, so it's nice and dark. Then I've got my eraser, which I used previously. Then I've got my ink fine liners, and these are from Faber Castel. These are the pit artist pens, and I've got these in some different grades. I've got a standard brush pen, and this is great for just adding those dark marks. I've got an extra small, which is a fine tip. So you can see, we can bring in some nice fine details with this. And then finally, I've decided to use a medium tip as well, which is quite a broad tip. So again, three little pens for some variations of line. And then over here, I've got a selection of colors of my polychromos colored pencils. Now, these colored pencils are absolutely brilliant. These are oil based pencils and they work great in sketchbooks. I've just selected these colors for the reference image that we're going to draw. And then, lastly, I've just got a standard paint marker over here, the Posca paint marker, and this is just to bring out some highlights. This is just a white paint marker. So let's move our materials to the side. For this, sketching style example, demonstration that I'm going to do, I'm going to be using my normal sketchbook, the saddle stitched sketchbook with the staples at the end. And this is just basically an own brand sketchbook from a local art store, which has some nice cartridge paper on it, which will work really well. Now, this is good for demonstration purposes, but if you have any other sketchbooks that you've got. So, for example, if you've got your mole skin, do try it out in your mole skin because with detailed work, you always like to use it on good quality paper. Now, the image from the reference pack, the resource pack that I've provided that I'm going to be using will be image number five, and that is of the ink bottle that we have, so you can see that on the screen. And I'm going to go in with pencil first. So the first stage of this detailed sketch will be just doing an outline in pencil. So let's just get a zoom in on this 8. Pencil Base Sketch: So what we're going to do is just like we did in the loose sketch, we're just going to start off with a pencil sketch. Now, what I'm going to do here is I'm going to create myself a small area where I'm going to actually keep my drawing in. What that does is that stops you from going all across the page and kind of going in the wrong direction. It just gives you a bit of a focal point to concentrate on. So I've just drawn this very faint box that I'm going to keep most of the drawing inside. So what we'll do is we'll just put this over here so we don't lose focus. What I'm going to start off with is the circular cap. Before I start off with the circular cap, I'm just going to do a light line in the middle of the square, which will give me an indication that this is the center. And then right on the top here, I'm just going to draw myself a squashed circle or an oval to give that indication of the top part of the cap of this, this bottle top, just like that. Very nice and loose. Again, it's just a loose sketch to start off as a base. Then I'm going to bring in two of these lines from both ends. Then I'm going to just do another curvature that follows the shape of that bottle top. Like this. Now, you don't have to make this exact. I'm not going to make this an exact image of what I'm seeing. It's just a basis to get something down. It's quite an interesting shape this one. That's why I've selected this. Now, I've got these little rims that are underneath the bottle caps, what I'm going to do is, I'm just going to go in, draw these in. Just get a bit more of a zoom in so you can see this a bit clearly what we've got here is we've got this other rim coming in at the bottom. Fantastic. That's the bottle top done. Now we've got this little area here where it's actually a square base but a rounded top. What I'm going to do is, I'm just going to draw in some vertical lines from the edge of the bottle top, and then that'll give me an indication of whereabouts the width of the actual bottle is going to be. I'm just going to bring these two lines down here, just like that. Then what I'm going to do is I'm going to bring in another line roundabout here from where the center line is, and that's going to effectively represent the edge, one of the four edges of the bottle. You've got this little area here. Now, if you're following me, just do exactly as I'm doing here, or just sketch as you see in the reference, however you're comfortable with, you don't have to do this exact method that I'm doing this for me is the easiest way to do it. So that's what I'm going to do. Then from here, we've just got a diagonal line going there, and then from this section, we've got another diagonal line going here. Fantastic. Let's have another look at this. With the top part, I'm going to say we're going to probably have the other edge down here. It's just another line there, and then a similar line approximately over here. Now you can see that we've got this curve coming in from this really funky looking bottle. I'm going to draw this curve connecting both of them lines. Then from here, I'm going to do exactly the same. Connect that curve like so. It's looking approximately as what we're seeing on the image. I'm just going to clean this up a little bit. Maybe drop it down up to here, doesn't have to be exact. Again, we're not creating photo realistic art. We're just doing some drawings and sketching to add in some detail. Now, from the top left, what I'm going to do is I'm going to bring this in as so. Then again, from this side, going to bring it in. Nice curvy curvy on that side, and I think we're done. With the top part of this, what we've got is we've got this little circular line, that's just adding a bit of shadow. These are just contour lines that just give it a bit more interest. Now, I'm going to just add in maybe a couple more lines here. I've probably gone a little bit too wide in this from this aspect in terms of proportions. But that doesn't really matter. The actual lid is a bit bigger. So if we just increase the size of the lid, the actual cap of the bottle. We can maybe get the proportions right. But again, I don't want you to get bogged down with getting perfect proportions here. I just want you to get something down quickly and whatever's easy for you to do. Now, you don't have to do this particular sketch if you're following along, you can select any of the reference images to do in this style of sketching, or you can just go ahead and take a picture of anything that you want and use that as your reference. So over here, I'm just going to bring in some lines here. Which form this base of this actual object, this ink bottle. Then maybe just add in a couple of these circular things that are these accents that are coming from the side of the glass of this bottle, maybe just a few more here, just as an illustrated effect to show that we have some interest going on here and that we have some texture. That's pretty much it. Then what I'll do is I'll just add in a little area for the shadow. We've got a bit of a shadow dropping down here, and that follows in underneath the actual bottle. So what I'm going to do now is, I'm just going to get my eraser and I'm going to get rid of these lines that are extra. We don't need these. That's one of the reasons I always say working pencil first because if you make a mistake or if you go in with pen, then you can't really do much about it, but it doesn't really matter because you're not getting judged here on how good you are at producing perfect images from references. All it is is to produce that sketching habit. There we go, clean this up a little bit, and it's looking quite nice. We've got that basic image sketched out with our pencil and it's looking very good. What I'm going to do now is still using my pencil, I'm going to start adding in a few more details. We've got this little sticker area down here. You can see it's just a sticker that they're stuck on it follows that shape of that arched window shape if you like. All I'm doing is just drawing that in. Then we've got some details of the actual ink itself. We've got these two little strips coming in from both sides, and then we've got the curvy writing of the ink. Now, you don't have to copy this writing. I'm just doing this to show you in this illustration, just to give it a bit of a complete look. You don't need to do this, just leave this area out just draw in a couple of squiggly wiggly lines if you want, and maybe just writing fountain pen. Inc. I'm just going to write fountain because I don't have enough room. I'm not really bothered about that, and then Inc, maybe just in some nice writing over here doesn't have to be exact, not to worry if it isn't. I mean, if you want to do it exactly as it is on the bottle, then, by all means, go ahead. Why not? It's all about enjoying itself. But I don't want you to stress. Because if you're getting stressed out, then that's not really the purpose of this class. This class is just an expression class where you're using expressions and you're using it time to just get marks on paper, so you can escape away from the stress, not bring yourself into new stress. What's the point of that. We just want to release a bit of enjoyment onto paper. Sounds a bit dodgy, that I diamine I'm just going to write diamine. And that's about it. I mean, it's called Onyx Black if I've said that right, so it's Onyx and black In Beautiful. I'm going to leave it at that for the pencil sketch. Let's just get a bit of a zoom back and clear the table. 9. Inking Outline: Kidoke What we're going to do now is we're going to use our ink liner to go in and just outline this sketch like we did in the first style. But you've got to remember that with this type of sketching where we're using different mediums, you can actually go in in any order. You don't have to go in in pencil. You can just go straight in with ink, and then maybe add in color, or what you can do is you can go in with pencil and then color it in first. Then go over it with the outline. It's entirely up to you, or you can just build in color to flesh out the details. I'll leave that decision entirely up to you. I'm going to go through that systematic way of just doing the sketch, going in with the outline, then going in with the color, and then maybe adding in some darks and lights with some cross hatching. Let's go in and start outlining this. Okay. You can see what I'm doing here is I'm using this nice thick nib. It's that nice medium sized nib, just to go in and draw in these lines. What I'm going to do is I'm going to tilt my book to the side and just do this little curvy curve. Again, if it makes it easier for you to tilt, then go ahead and tilt your page. You can see that just by adding these darker lines, we're already making some progress. It's already making it look a lot sharper. That's what it's all about. Just add those details to this drawing to make it look a bit sharper. I mean, it is a bit of an odd shape this. You might think that this shape is really just a horrible shape to draw, but it's actually not that difficult because if you just break it down into the kind of boxes and lines and arcs, it's actually quite easy to do it didn't really take that long to do the initial sketch. And with these lines that I'm drawing in, again, I'm not bothered if they're not perfectly straight because it's just a sketch in the end of the day. You're not going to get an award to make a photo realistic piece of art unless you enter a competition, but there's no competition here. It's all about relaxing. So just like that, I'm just going to go in, turn the page to the position where I'm comfortable with and then just go in with my fine liner and start this outlining process. The actual process of outlining can be quite therapeutic. It's quite relaxing. I like doing any type of art me. I find art relaxing per se. For me, for people like me, I just love doing my drawings. But just generally speaking, it's quite a therapeutic practice just to create the lines and just follow the patterns or the shapes that you've designed. Fantastic. Let's carry on with this. Again, I'm just going to use normal pressure, keep turning the page, doesn't have to be super accurate. In fact, it doesn't have to be accurate at all. If you want to keep this as loose as it was in the first style, then go ahead and do that. Not a problem. All we're doing in this stage is effectively just adding in a little bit more detail and just cleaning up our sketch. So that it looks a little bit nicer and so that we can spend a bit more time with it. That's what it's all about time. It's all about the time. I've got my details there. I'm happy with that, not really bothered about whether they're right. Again, I'm just going to maybe draw another accent here. Then these little dotty dots that we did. Over here, let's just do these, just drop in these circles. Don't have to be spaced out evenly. You can just throw them in randomly if you want. It's not a problem at all. It's just adds this bit of depth, a bit of interest looking good. So what we're doing here is just going in again with them circles. Okay. You can see that it's just so easy to work in a sketchbook because you can move it around. I mean, I'm actually drawing this while I'm standing up on my standing up table, but you can actually be sitting down on your couch or leaning against a wall, if you like, or just lying on the floor. I quite often lie on the floor and do a lot of my drawings while I'm watching something or while I'm just having a bit of fun with the kids, just playing around with a little one. She often jumps on my back and starts jumping on my head as well, but I like to just carry on with something to keep my mind occupied. Again, I'm just adding in the little curb lines to represent some kind of glass variation, and I think that's about it for the main part. What we can do now is we can just go in and start adding in these details over here. I'm actually watching the image on my iPad. If you've got an iPad or if you've got your phone, hand it's always good to just keep it on, just so you have that reference so that you don't lose the actual image itself and so that you can keep on track of what you're doing. Again, here we go. Nice and easy. With the inks, I'm just going to go in S. I'm not bothered about keeping it the same as the font style on the actual image. I'm just going to just wing it if you like. I'm just going to go in and draw it however I want because that's what art is all about. Let's just go in a couple of lines here. Let's just write in fountain here, Fountain and it was actually found in pen, but Fountain pen, and then over here we have the brand which is diamine If we just go in with diamine diamine. I'm just going to call it diami because I can't fit it on. Let's just do that. You can get my picture up again because I've lost it on my iPad and there we go. We've got the onyx Onyx black. I'm just going to say on bla. I'm just going to call it on black. We've got onyx black there. Then we've got these little splashes, which I think are quite nice, especially when we come to color this in, it'll add a nice bit of contrast to the drawing and the overall image. It's always nice to draw images that have high contrast in them. It just makes it more interesting when it comes to the coloring stage. Okay. What we're going to do now is, we're just going to go in and just do the outline of this shadow area here. Now that shadow just comes here and it just goes slightly under the actual bottle. Fantastic. Right. I'm going to leave them marks as they are. And then what we'll do is just give this a quick little wipe. There's no need to go in and actually erase any of those pencil lines because sometimes it can add to that sketchy look. But if you want to erase your pencil lines, then go ahead and do that now. 10. Blocking Darker Areas: What I'm going to do now is I'm going to go in with my brush pen and the brush pen is here. I'm going to go in and I'm going to start highlighting or darkening the areas where we've got a lot of this black. We've got a nice bit of beautiful black. Shadowy area here. I'm just going to do that. Then again, just going to go in in this area. You can hear the squeaky pen because it's a brush pen. It's making a lot of squeaky noise, isn't it? Again, just doing that there. We've got quite a lot of it here. Now, there's no right or wrong way to do this. I mean, you don't have to put these darks in first or put them exactly where I'm putting them. I'm just putting them where I can see them or where I actually feel like putting them because I think they just sometimes add a little bit more. Interest to the drawing because sometimes your drawing can look a little bit flat, and it's always nice to make things look a bit more interesting. Again, I'm just going to add that in there. We've got a little bit of a shadowy type thing here. I'm just going to go in with the black pen. Now you don't have to use the black pen or a brush marker for this. You can use a black coloring pencil or even some markers if you have them. But just do ensure that you add in some depth with some darker tones. Over here, what I've got areas again. I' going to add that dark down there and they just add some kind of lines coming in and maybe just adding some stipples, sketching lines just to add a little bit of texture there. So from this left hand side, I'll just tilt my page. I'm just going to add in another line that goes here. And then maybe on the arc, we've got this little bit of shadow here. It is very dark on this end, but what we're going to do is we're going to go in with the actual colored pencils as well. Again, bring that dark element here. Really nice and easy. Keep it very loose. Nothing is precise in this. It's just nice loose strokes. You have something to work with what we can do is we can just go in. And cover these areas up. You've got them little dotty dots sticking out. So a couple more little areas there, and then we've got a little bit of shadow here on this cap. What we're doing is we're just going in with this. Again, very loosely, and then on the edge here, maybe just adding a couple of little strokes. Looking good. Now what I'm going to do is over here, we've got the sticker on this sticker where we've got this contrast area, I'm just going to go in and I'm just going to color that area completely in black. Just flat color there because we'll have a nice bit of contrast with those splashes of ink. What that does is that just brings it out a little bit more. It makes it look a little bit better. And that's looking good. Then finally, just for the front here, got this baseline right down there, and then maybe finish it off with the baseline just underneath the sticker. I think that's looking okay. Let's now go in with some lovely jobbly color. 11. Colouring Details: Okay, so I've got two colors here. I've got this really nice yellow, which is a dark pled ochre. Then I've got myself a lighter shade of umber, which is a raw umber, which is a kind of brownness shade. This is a nice light and dark. And what we can do is we can just go in now and start adding in a little bit of color. Now, these are one of my favorite pencils that I like to use. These are the polychromos, as I mentioned before. But you can use whichever colored pencils that you have, whatever brand they are. It's just adding in that little splash of color to make it a bit more interesting. Firstly, I'm just going to use the lighter tone. You use a side of the pencil and just go in and color in the main blocked areas of this kind of color. It's just going in like this and like that. Now you can see some of the pencil marks are merging in with the color, and that's absolutely fine. Just going in on this side. Got a bit of a highlight there, so I'm just going to leave that area, and then we have this little highlight of it going on the lip area here to slight reflection. Then again, just a little bit of a highlight going there. That's about it for the light. Then what we can do is we can go in here and just use this to block in them color splashes, which I think look awesome on nice dark background. And we're just going to use that pure yellow color, this pure yellow ocher color. Then what we can do is we can go in and use the same color for the actual writing. So for the inks part, just go in with a yellow, whichever yellow you've got if you don't have yellow ocher, just use any shade of yellow that you have, or even if you've got orange, it makes no difference if you haven't got the exact shade, just use whatever color you have. I mean, you can use blue, green, orange, whatever you have at your disposal. That's fine. On the back of this, I'm just going to lightly go in with the color because we haven't copied the details exact. I'm just going to splash in a little bit of color there to add in a bit of interest. With the darker color now, let's add in some, some darker areas. Over here, what I'm going to do is use that darker tone to just add in a little bit of depth and interest. Then same going for this area down here. Then what I'll do is I'll do the pure darker value on the edge of this cap. You can see that's already started adding some nice accents of color, and it's looking quite nice. With the same color, what I'm going to do is just going to go in and maybe adding a little bit on the background here just to give it a bit of a contrast from the yellow spots that we have here, the yellow splashes, because I do like them on the black, they look really good. I look like a bumblebee. Let's just carry on with that. Again, I'm not following the exact color scheme that they have. I'm just using what I like adapting it to my sketch. That's looking. Now what I'm going to do is I'm going to use a gray and I've got here just for your reference if you're using the same pencils as I am. This one is a warm gray V one, a warm gray number six. This is going to be quite a dark gray, but I purposely chose this. I'm going to do is, I'm just going to go in over here, and I'm just going to fill this area into this gray. What that does is it adds that nice bit of gray tone so that it's not all looking dark and gloomy on one side. It just brings out that gradual richness in that color that we have, this nice, dark rich color. You can see, I'm just going in with a bit more pressure, just adding another layer, and that's the great advantage of using colored pencils, especially these polychromos pencils. Using them in sketchbooks is great because they don't smudge. When you turn the pages, once you've done, you've got your artwork looking just as good as it was when you first did it. Again, I'm just going to go in with the gray. I'm just going to go in and color in this area, release a little bit of the pressure from the pencil and then go in with a bit more pressure here just to start adding in a bit of darker tone. Again, going over this lip area in between the contrast of the black and the paper white. That's looking good. I like that, so I'm going to continue that over here. But what I'm going to do here is I'm not going to cover these circular dots completely. I'm going to let them be as bright as possible. I'm just going to color around them because we've got quite a lot of the highlight over here. And then if we go towards the right, maybe color the last ones in because the light source is actually coming on this side. There we go. Then let's just color this in up to the edge but leave a slight gap. Always want a slight gap where the light is touching. Again, you don't need to do this. You can just color it in, however you want. All I want you to do is just get some color on the page, if you have it at your disposal. If not, just go in with more details with the ink, maybe adding a couple of cross hatching like we did in the first style, and then just keep adding more so that you have a more refined look. So Over here, what I'll do is I'll just finish this area off and I'll leave that area white. Then again, going in with the gray into this area just above that sticker, adding in that nice shade of gray, very lightly, and just going in like this. I'm just going to go over that text part of onyx black, and then I'm going to leave this area, maybe leave this area white. Then at the bottom here, let's go in a bit darker and then finish it off by just finishing this edge. Then over here, just go over this cross hatched area. Then maybe going a little bit darker at the base. I think that's about enough. But what we can do is we can actually go in with the gray to maybe darken these areas a little bit more. So versatile colored pencils, you can layer with them, go in dark, create darker tones with grays and blacks, and it looks really nice. So just a few more finishing touches. I think I'm going to leave it at that. We spent quite a bit of time on this. So let's move on to the next stage. So for the next stage, all I'm going to do is actually just go in with a black colored pencil and just add in that shadow because the shadows are always going to be darker. Because we're actually dealing with quite a dark ink color here, it's looking quite nice. How gorgeous is that color? I mean, I love using black on white. The contrast is just amazing. One of the reasons I love doing ink work purely because of that deep contrast with beautiful black ink going onto white paper. It just looks fantastic. You can see there. We've got that black, and then what we're going to do is we're going to add in a little bit more ink to bring that shadow out. So what we can do now is just add in some background color, and I've got myself this pinkish red color, which is called a pompan red PomplaanRd something like that, but yeah, that's what it is. What I'm going to do is I'm just going to color in this background so that it imitates the reference image and just basically fills the page really. You don't have to do this if you don't want, but I just like to do a complete sketch and maybe fill in as much of the page as I can. So just like that, using the side of my pencil, just going to go in lightly add a layer of that nice red color to represent the color that we have on the actual image. Again, it's going in up to this level over here. I actually take it a little bit higher like it is in the image. Why not? We're just going in just like that. You can see With the pencil, with the colored pencil, it's just so easy to quickly get down color. I mean, I'm not pressing down really hard because we don't really need to do that. I mean, if you want to press down really hard, by all means, go ahead, but you may have an achy hand after it. So let's just put that to aside, and let's get the blue for the top half. And again, with the blue for the top half, all I'm going to do is just like I did with the red. Use the side of the pencil. We don't want the attention to go on the background. We want the attention and the focus to remain on the actual object that we've drawn. This is just adding a bit of completeness to the overall sketch. And I think that's looking pretty cool. 12. Final Elements: Okay. What we've also got here is we've got some blue reflections. So I've got another blue color here. That first blue that I used, that was actually what was that called. That's a C light cobalt turquoise. That was a nice color there. Then I've got a middle thalo blue over here. What I'm going to do with that is I'm just going to add in a layer onto this area. If you see on the reference image, you have a slight tint of blue that's coming on from the background onto this actual bottle glass itself. What that does is that just gives it a nice feel, gives it that three D aspect, a little bit of realism. Again, we're not here to produce realism or realistic art, we're just doing sketches. But you can see just by adding that blue, we've got ourself a nice little sketch. Again, just with a blue, just add a bit of accent on the end of the edge of this actual cap. Then maybe just add a bit more accent here. Effectively, it's like a glow, like a blue glow on one side of the actual bottle. I think I'm going to leave it at that. What I need to do now is, which is going to go in with the brush pen again, so we've got a nice bit of dark to really bring out some of the dark areas. Just like that, I'm just going to create some render lines, some hatching lines. To really bring out this line of contrast between the lightest and darkest areas just like that. What I want here is, I just want to go in with as much dark as I can. You can see that going in, maintaining a little bit of that edge, and then over here, maybe just go in and start adding in some hatching lines like this. You can see it's very subtle, but it makes a huge difference. Again, maybe just go in, do a little bit of outlining work. What we can also do is we can actually color in these dots because these are all in shadow here. If we color these dots in here, it will add that realistic effect to having one area as in shadow and one area in light. That that bottom part done. Again, I was going to go in with the brush pen, going like this, keep adding in them hatching lines, just to add some interest, maybe add in a couple of stipple lines here, some dots and stipples and maybe add some dots and stipples to this area here. It just gels and merges in quite nicely. Again, some more stipples. You can keep going in and in and in. That's what it's really all about, but what you don't want to do is just get yourself lost in the details because then you're probably going to spend hours and hours on it and you're going to be like, Oh, I don't want to do this again. Then that defies the entire objective of this class because it's about creating a sketching habit, not doing one sketch and leaving it forever. It's about maintaining it. Let's leave it at that and maybe go in with some more crisp crossy cross hatching with the medium pen. I'm going to go in here. You can see I'm just adding in some more hatching lines here, a bit more thin, a bit more subtle, but just to give it that overall effect. I'd like to add in these hatching lines. It's just a style of sketching that I personally like to do. You don't have to do this if you don't want. Then maybe just do some more outlining where we went over with the pencil, where you've lost the sharpness of the black, and we've got some areas you can just outline here, very rough. Maybe go in, where it says the ink and just go in and maybe darken those areas in between the letters. And you can see it's looking quite nice. There it is. Then what I might do is do some squiggly wiggly lines just to add in some of those patterns if you like, and maybe just make it look a bit more vintage and authentic like it is on the bottom. The bottle does look rather nice. Let's just do a couple of Crissy cross hatches there. I think I'm going to leave it at that. You can go in with more detail if you want or less detail. I'll leave that decision entirely up to you. Let's just get a Zoom back on this. Okay, so you can see now we've got a nice detailed sketch over here. We can just finish off by adding in some highlights with our paint marker. So just going to give that a little shake. Now, if you don't have a paint marker, not to worry, you don't need to do this, but I'd like to always add in maybe some highlights or some areas that I think I might have covered up that I didn't want to cover up. You can see here. Going in, fixing that area, maybe adding a nice little contrasty line there. Then maybe just on these dots, just adding a little bit of a glow that I'll give it some more interest and then just a few dots here. Just to give it that nice sketchy look, make it look pretty cool, and I think that should do the trick. Then maybe just clean up this area here. Again, maybe a couple of dots here just to show that we have considered some nice highlights. I think that's looking rather nice, maybe a couple of dots there, and then maybe a stronger line here. Fantastic. That's it. I promise you. That's all I'm going to do on this one. I'm not going to keep going on and on until it becomes the actual image itself. So that was the demonstration of the second style of sketching, the detailed drawing. You can see if we compare and contrast it to the first style. So if we bring the first style here, just get a bit of a Zoom back on there. You can see we have two complete different results. We've got a very loose sketch here with pencil first and then with a bit of ink. And then over here, we've got a real I wouldn't call this realistic. I would call this a more detailed drawing. Of an image using similar principles like we did in this one, but we spent much longer. Try this out, try this exercise out with the first style and the second style. See how you go with it, try it out with different images, or just come up with your own creative images, and I think that's a great warm up exercise into this class. Now let's move on to style number three. 13. Creative Illustration: Okay. Welcome back. Let's now look at style number three, which is my favorite style of sketching, and that is creative illustrating. Now, for this one, I'm going to be using my favorite book, and that is the moleskin watercolor sketch book that I've got down here. Now, this one that I've got here is a landscape version. This is nearly a five in size. It's just slightly narrower, and I think it's an ideal size quick little sketches in and splash a little bit of watercolor on them. So I'll just give a quick little flick through of this one and you can see, that I've got some illustrations in there. Some of them have been colored in, some haven't. That's the advantage of using a watercolor sketchbook. If you're not in the mood of doing some watercolor, then just go in and do a normal sketch with ink. Then later on if you decide to get out your watercolors and your brushes, then you can go in and start coloring it in. But the most important part of this type of artwork where you're doing inking first and then going in with watercolor is that you need to be using waterproof ink. So the pen that I'm going to be using, for this sketch is going to be my favorite fountain pen. Well, it's one of my favorite fountain pens, especially for watercolor sketching. And the reason for that is that this one has a nice broad nib. So if you can see that on the camera, but you've got a very nice broad nib on this. And this particular one that I'm using here is by Twisbe and it's the ECOT version, which has a nice thick barrel, and it has this little pulley system at the end, which you swivel and the ink is uploaded into that reservoir. Now, the ink that I'm using for this pen is this ink by the Atrientis. This is document black ink. And again, I'll leave links to all these resources and tools that I'm using in the resource book. So do check that out. The most important part of this ink is that it is waterproof when it's dry. So once it's completely dry, you can go over it with watercolor, and that is the key. Now, you don't need to use a fountain pen to be able to sketch like this or use waterproof ink. There are other pens. There's pens like the uni ball, air micro pen, and I use this one quite a lot as well. And it's fairly cheap. It's not that expensive, especially compared to fountain pens. It's not even one tenth the price of a fountain pen, but. These are nice and handy. They're lightweight, and you can throw them around, and you won't be too bothered about it. But the key for this one is is that this has waterproof ink in it. So that's the key component of sketching when you're doing watercolor sketching. So for this one, this demonstration, I'm going to be using, this pen. And I've also got my pencil here, so I think we're ready to go. Now, again, as I mentioned, this is my favorite sketchbook that I like to use, and I probably use this more than any other sketchbook. I always have extras of this sketchbook lying around just to make sure that I don't run out of sketchbook space, and it works great. Now, you can get this particular one in a standard portrait mode where it opens up like this, rather than in landscape. But I personally prefer the landscape when I'm doing watercolor. It just gives me more of a nice kind of wide angle to work on. So let's get the next clean page. I've got it here. And what I'm going to do is I'm going to actually work on this in a portrait mode. I'm just going to flip this over purely so that it's easily seen on the screen. And then let's have a look at our image bank in our resource sheet. And I think for this one, I'm going to go for image number three, which is the coffee cup. So if you want to follow me on this one, then have a look at image number three. We're going to use that as a base for this sketch. Okay, so all I'm going to do is you're going to put the ink and the pen to the side. I'm just going to use my standard pencil that I've been using, and I'm just going to start sketching in this basic coffee mug shape. Again, it's the same process. Just go in with pencil first. If you don't want to go in with pencil and just go straight in with Ink, that's entirely up to you. I'm going to go in with pencil first. Just to maintain that same system that we've been doing in this class. So just that nice little shape of that simple coffee mug there with the little coffee inside, and then we've got the handle coming out like this. Now, remember, we're not going to be sketching this as an identical, you know, photo realistic sketch or anything. This is the fun style of sketching, where we're going to use our creativity to come up with a nice whimsical style of sketching. So I've got that basic outline of the shape, and then we've got these little lines that are coming up. Vertically on the actual mug and maybe just add that little shadow area there, and that's about it. I'm not going to go in any more detail. What I'm going to do is when I talk about creative sketching, using a base image like this, I'm talking about creating an image, maybe creating a little scene, just using this as that base shape. What I'm going to do is I'm going to use that same shape again over here and I'm going to draw myself another coffee mug. So it's as creative as you like. You don't have to draw another coffee mug. You can draw whatever you like. And then what I'm going to do is I'm just going to scatter this mug and details around this base shape. So just with my pencil, coming up with these ideas, and that's all it is. It's the ideation stage where you're really coming up with some nice whimsical creative ideas. Now, you may not like to do this and spend time doing this. You might like to just sketch. If that's what you want to do, then just go ahead and just sketch the image as it is, and then use the same method that we've been using and maybe add a splash of watercolor at the end. But what I'm going to do is, I'm just going to add that extra cup there. Then maybe over here, I'm just going to drop in a couple of these round shapes that may end up becoming a border in this image. I'm just going to I go along as this fleshes out. Then over here, I've decided now in my head. I'm building this picture in my head. Going to add in a couple of steps over here. I'll just raise that a little bit higher so you can see, and then I'll have more of these round shapes over here. Now again, your creative sketch might be completely different. Go ahead and do it however you want. But if you want to follow me in this particular one, that's absolutely fine. What I'm going to do now over here, I'm just going to draw another coffee mug. We've got the main big one here, a small teeny weenie one here, and then one just hiding behind this one. Like we've got three coffee mugs, a little border, and I think now what we can do is we can work on maybe some of this background. So for the background, let's probably drop in a couple of peaky peaks to make this a bit of a landscape scene. So that's going on in the background. Let's have a kind of horizon line over here and maybe just drop in a couple more shapes like this. A couple more triangular shapes, and these can form whatever you like them to be. So just a couple of circles there. I think that's about it. That's just the base sketch. 14. Whimsical Elements: Now comes the creative part. In my mind, what I'm thinking is, I'm going to make this cup, this main cup into a small little house, you're thinking, how are you going to make this cup into a small house? Well, I'll show you. What I'm going to do now is, I'm just going to do some more stronger lines here. For the base of the cup, I'm going to add in effectively the skirting or the edge of the house. I'm going to keep to the shape of that cup just to make this a nice, interesting little illustration. What I'll do is I'll just get a zoom in on there, so you can see this a bit clearly. So there you go. I'm just following the shape of that cup. Then I'm going to maybe add a roof top here so you can do a little dot, and just going to do a diagonal line going down on that side, another diagonal line going down on that side, you can get a bit of an indication of what I'm trying to do. I've got this roof top edge coming here. Again, another one coming there. And that's how easy it is. So we've just created these little shapes using our coffee cup and it's provided the base drawing or the base shape for our little house. So all I'm going to do now is maybe just add a little chimney over here, just like this. Again, the perspective and the proportions of this, are not going to be exact. We're not creating perfectly symmetrical works of architecture or anything like that. We're just having a bit of fun. So I've got that down there, and then this little coffee mug that's coming out on the side and might end up making this an extension of this house. So how about doing the same on there? Then maybe the roof might be slightly different. We'll give it a flat roof. I'm just going to create a little flat border and just round it off for the top part to show that it's still maintaining that shape of that coffee cup. That's looking good. Now we've got this little handle area here. What I guess we can do is just use the bottom part of that handle and maybe do another extension. We've got another extension coming over here to the back and then maybe have another roofy roof down here. Right to the end following that same line and orientation. You can see we've got ourself nice little structure there. A nice coffee cup house. What I'm going to do now is I'm going to do something with this here, I'll just maybe just keep this as a coffee cup or have this as a sweet pot, where I can have some little lollipops coming out of them. So maybe have a lollipop coming out here. Why not? Make this an edible world that we're designing, where we can end up eating, you don't really want to be eating this now, do we? No, we don't. Okay. So I've got some little lollipop sticks coming out there. They can represent whatever you want. Keep the coffee mug as it is looking good. Now, let's just get a Zoom back so you can see that, so you can see the coffee cup over here with a couple of lollipops in the middle. Very rough and very light. We're going to go in with the ink later. So Now, what I'm going to do here is I'm going to start outlining maybe these border rocks, if you like, this rock bed bed of rocks on the edge, and then quickly just make them a little bit more stronger so that you can see Again, we can manipulate this however we want. If you want to maybe design something else at this level, go ahead and do it or if you want to follow exactly what I'm doing, then you can do that, not an issue at all. So there we go. And maybe over here, this can represent some kind of water area, maybe a lake or something, and we'll have a nice to have a nice boat boat, simple little boat design, very simple, easy to do squares and straight lines, Looking good. Let's now start adding in some details over here. Let's get a bit of a zoom back on there so you can see the whole picture. For this area here, we might maybe have a door. Let's do a little arc on a door, little arc on a door, and then maybe have a couple of steps coming out, maybe just one or two steps. Then we can add in the details with a pen later. Then how about having a squared off a rooftop like this. A couple of lines going across. Maybe have a nice old school design on the actual frontage of the house. All I'm doing is doing these straight lines to create this criss cross pattern, and it's looking quite nice. So let's add in maybe dropping a window here. Just go in with that, nice little arched window, simple enough and maybe just dropping a window on this little extended area over here, following the lines and the curvature, the shape of that coffee mug. On this other side here, maybe what we can do is have this bit coming out a little bit, so we've got this border, and then within that border, maybe have a couple of lollipop sticks. Just throw in a couple of lollipop sticks or some chocolate, if you like, throw in whatever you want. I just adds that bit of interest. How about finishing this side off with a nice big window and keeping it similar like the others, so we don't overclicate things. I think that's looking rather good. Then for this last area here, this little extension, maybe just have a small window. As Pz, lemon squeezy. What we're going to do here is just add in some tile work on this kind of roof doesn't have to be accurate. I mean, I'm doing this really rough and just making them slightly wonky. It just adds to that whimsical look. You've got a really nice kind roof texture going on there. Then maybe at the back, we make the roof texture slightly different. Maybe we just do lines on it, so it gives a little bit of variance so that it's not all looking the same. Right? I'm happy with that. Let's maybe add a couple more details here. How about we just drop a little car here? Yeah, why not? Let's draw ourself a nice little car just to make this look even more funky and cool. So just a little car, you don't have to do this. If you don't want, I've just got a habit of drawing cars in my little illustration because I do like my cars, especially my old school Corvettes and my 1969 sting rays. Love them. Absolutely love them. But I'm sure you don't know what I'm going on about. So I'll just leave it at that. I got a nice little car. Drop that in over there, and then maybe have a little path coming out, going to the back just to complete the illustration, make it look a little bit more convincing. Then what I might do is actually might just throw in another coffee cup here, throwing in another coffee cup like we had before. Again, just have some of these little round elements coming out to add a bit more interest to the overall sketch. So over here, I'm just going to add this road area where the car is. So that it doesn't look too odd, but then again, it's whimsical, isn't it? I can look as odd as you like. Let's just get a zoom back on that. That's it for the sketch. I'm going to stop there. You can keep going, you can add as many elements as you want, add some more coffee cups if you like, or add in some other elements from the other images that you have on the resource pack, but I'm going to leave it at that so the next stage is going to be the amazing inking stage. 15. Initial Inking: Ok doke. Let's start the inking. I'm going to use my fountain pen for this, put the cap to the side, and let's get our hand comfortable so that we can make this inking process easier on ourself. It's the same process that I did last time. All I'm going to do is, I'm just going to use my pen to just go over the lines to really bring them out so that they look nice and flush and clean. And do this, however, you find it comfortable if you like to just, you know, use loose sketching marks, go ahead and do that. If you want to go in really fine and bring out detail like we did in Style number two, then you can do it that way. So what I'm going to do is, I'm just going to do this as I go along, however much time as I feel like I want to spend on it, You can spend as little or as much time on this as you like. Or you can just skip the pencil stage and just go straight in with the inking. I quite often do that in a lot of my sketches, especially in the water color sketchbook because I just like to go in and come up with ideas, create some creative sketches by just looking at my surroundings and it works really nice. All I'm doing here is, I'm just going over this. I think what we'll do is we'll just speed the video up because it's exactly the same process as before. I'll see you once I've completed the line drawing. Okay, so now I've completed the basic outline structure of the illustration, and you can see you would probably haven't got a clue that this house is actually based on a coffee cup shape. So that's the fun aspect of this amazing style of sketching. It's just an initiation into starting off your sketch, and then you can dream up kind of whimsical world that you want. And again, I've left in them coffee cups just to give it that indication whenever I come back to it to remember that, Oh, I did this using a coffee cup image. So there you go. This is just a basic outline. What I'm going to do now is, I'm just going to go in with my eraser, and I'm just going to erase out those pencil lines. Because we're going to be using watercolor in this, you don't really want too much of the graphite to murky up that watercolor because what that'll do is it'll just gray it out and it can kind of contaminate the pureness of that color when you put it on. So just going to quickly erase this And again, that's the advantage of using watercolor paper. You can actually go ahead and leave your sketch like this and come back to the coloring later on if you're not really up for it, or you can go in and start coloring in straight away. But just ensure that your pen marks, that these ink marks are completely dry before you start adding watercolor. Otherwise, you're going to have a horrible mess and you're going to be very angry, and you're probably never going to sketch in your watercolor book again. We don't want that to happen. No, we don't. Let's just give that a quick lit up clean. Lovely. Right. Okay. So what I'm going to do now is, I'm just going to wait until this dries out, close my fountain pen, maybe give it about 15 minutes to dry to make sure that it's completely dry. And then what we'll do is we'll go in with our watercolors, and I'm just using my standard student grade watercolors for this. I'm not going to use professional grade because I don't really think you need to, especially when you're working in your sketchbooks. We're not creating a piece of art to sell or anything like that. So standard water colors will work absolutely fine. Just make sure you've got yourself a nice brush. If you're going to use water color, just to make it easy, try not using a brush that's too small. So, for example, like the brush that comes with this set, it's quite a small brush. It's a pocket brush, and for me, that's a little bit too small to cover an entire page of details. However, it can be quite handy, but that really depends on your kind of way of coloring in when you're using watercolors. So I'll leave that to you. Just make sure that you have everything ready so that you can get this next stage done nice and quickly. 16. Watercolour: Okay, so the actual ink has pretty much dried, so it's not smudging or anything like that when you rub your finger on it. That's one of the test to say that it's dried out. But again, if you're doubtful just give it maybe another 5 - 6 minutes, and then in the meantime, what we can do is you can just wet our watercolors. I'm just going to give my little watercolors a spray, and again, I'm just going to use my student grade. That'll do for this quick sketch. I'm just going to use the water wells hair for the mixing. I've got my nice brush over here, my size eight silver black velvet brush, one of my favorite brushes. So I think we can start. Just adding a bit of water to that brush and then decided now that I'm going to maybe go for the roof first. So let's use a little bit of this red. Put nice crimson over there, add it to my pan. Again, this is just such a beautiful sketch book to use, because you can go in with watercolor, and once the watercolor dries, the paper becomes completely flat. Now, do remember when you're using watercolor sketchbooks like this, like this small-skin [inaudible] , it will warp the paper depending on how much water you use. If you do use a lot of water on the page, it will start warping and [inaudible] , but so do be aware of that. Again, if you're interested in watercolor, then do check out my watercolor course where I explain all these aspects. But just generally for this particular class, I would probably recommend using some clips to clip the edges. But for me personally, I can't really bother doing that. I like to do quick watercolor. When I'm doing my water coloring in, I don't like to go in too much detail. So let's make a star on this. So I've got this nice red here, my adding maybe a little bit of orange to that to bring out a little bit more vibrancy, and I think we can go straight in with this. So I'm just going to go in and add in my red, and you can see the orbits of paint on there. So get rid of that little splotchy splodge of paint, and again, just adding a bit more water, and you can see how beautiful that color is. So easy to color once you've got your ink down. It's just an absolute relaxation as far as I'm concerned. So relaxing, don't worry about keeping the color within the lines and being super neat, just do a quick little wash of color. Now I've got my red there, I keep my red on this side. So I'm just going to bring that red down here and maybe read bit of red on the edge. Again, if you have these white spots, not to worry, just to leave it in the end of the day, it's just a quick sketch. So what I'm going to do now is I might intensify that color a bit more darker with this nice, beautiful color here, up that's on, we've got this gorgeous color down here and you can see it's intensified that color giving it a slight brown shade. So again, bringing that down here, what I'll do is, I'm not going to let it meet this side because otherwise it's just going to seep into that watercolor and make it all murky, will leave a highlight line there, and that's it. Then so it's just really nice and easy. What I'm doing is I'm holding the page down with my fingers here if you can see using my left hand, you just hold the page down because I'm adding water, you can see it's already started curling up a little bit. Just hold the page down. If you don't have any clips at hand, this is what I tend to do. I watercolor when I'm lying down on the floor because I just enjoy taking this sketch book wherever I am, and I just enjoy the entire process. Again, I'm not bothered about being super neat or making this into a perfect piece of art because that's not what it's about. It's just about quickly getting some color down and just adding a bit more interest to your beautiful sketches. So again, just going to add in a little bit color here on the border, give my brush a little clean, add in a bit more and maybe just add in some border color here on the doors and on the windows just to make it nice and cohesive, make it all gel together, and how about having the same color on this area here? We'll just color that whole area red, and then what we can do is once the watercolor dries up completely, you can actually go in and add more ink details after the water color has dried, and you can do that with any ink pen. You don't have to have water resistant ink for that. You can add ink with any pen. But then you got to remember that if you decide to watercolor over again, if you missed a spot, then you're going to get a muddy mess. So maybe best not to use a non-water resistant ink. Just stick to the normal water resistant ink that you have if you're going to add details later. So let's just quickly get on with this. A little bit of blue here, beautiful, ultra marine blue. Just go into that and take this color, add it to this to just gray it out slightly, and you've got this nice purplish shade, and what we'll do is we'll start coloring this area in, where we've got this road area where the car is, and that's what you got to do with the watercolor sketching, using watercolor fairly quickly. It's always a good idea to color in the areas where there's a gap between the actual water color and the illustration. That way you can focus more on just getting the color down and not having to worry about a bleeding into each other, and usually the watercolor will dry fairly quick. Keep your washes as light as you can. Don't go in with too much water. Otherwise, you're going to have some bumpiness and some little texture areas bobbling up. So got that color there, happy with that. How about adding some blue shade down here where we've got this water area. We've got this divide, wont touch this, we will straight into this. I love this nice [inaudible] of blue here. Could actually add that to the mix down here, to give us a nice shade of blue. So let's do that, add in that blue, look at that gorgeous blue. That's okay. Calm myself down and not get too excited. Could be just at the early stage of the coloring, we've not even reached halfway. I get excited with new colors, with new art, look at that. Absolutely gorgeous color that I think I'm going to try remembering how I made that color, and again with watercolor, you've got so much of a huge, vast array of colors that you can produce. You can keep making new colors as you go along, and that's a great advantage of it. But the problem is that if you don't remember how you made the color, then it's always difficult to make more. So it's always a good idea when you're making your colors make enough of it so that you can start coming back to it if you need to do some touch-up work. So again, just going in the wet on dry method, let's just pick up maybe a bit of this Van Dyke brown, so have that brown there and keep it nice and moist, got that nice brown over here, and let's just use this brown as it says, just going to use my finger to hold that down, and just this border area of the house, I'm just going to go in and just add this brown to the border area, and again, you don't need to plan too much with your watercolors. Don't worry about thinking that, "Oh no, will this color work with this, will that color work with that?" Just don't worry about it. Just get that color onto that page coloring your sketch. I mean, you don't even have to completely color it in. You can just partly color it in and just leave some of it as it is. Why not? It's just that experience. It's a journey. Isn't it all about the journey, not about the end result? It's about that journey. Right. Let's just go in maybe add in that board brown area down here. Now our roof area should be a little bit dry. So we would probably start looking at some of the details on the actual main part of the house. The main parts of the coffee cup are looking good. 17. Building Colour: Let's now look at some of the house elements. Let's create a nice light color, maybe use this color here. We've got this raw ocher over here, add that to the brown, lighten it up, bring in maybe some of this color, and just like that, do some color mixing. To be honest with you, I don't really like that color. I think it's a bit too murky, so I've changed my mind. Let's go back to the blue. Let's go back to the blue and create our self a nice cool color to contrast with the red. How about adding a little bit of this color to it here, and that will bring it out quite nicely. There you go. Again, with watercolor, just keep making your colors, mixing your colors. But even if you haven't got much experience with watercolor, I still say, try this out. What I'm going to do here is, I'm not going to bother about these little round things down here. I'm just going to literally go over it. Then once the watercolor dries, then I can go in and start adding more details and add more color if I need to. It's very flexible in how you're using it, and it looks quite nice. I do like that blue. You can tell that I'm a fan of blue. I do like blue. We've got this nice shade of blue here. It's like a indigo type of blue, isn't it? These windows over here, the watercolor isn't completely dry, but you know what? It doesn't matter. Even if it starts bleeding all over the place, don't worry about it. It's just about getting that color on to complete your gorgeous drawing. Let's just go in into this area again. I'm just going to go in straight with my watercolor and finish off that chimney area. If the watercolor goes over another one, not to worry. Let's make a slightly darker shade. I think I've got pure indigo here, so let's just add that pure indigo, which is a beautiful color, just to darken up the shade so that we can maybe add a little bit of variance on the one on the back. Just a slight variant. Everything in watercolor is subtle, so you can make these slight changes by just adding a dab of color. You can see that it elevates your overall feel and look of your illustrations. You can see a slightly darker color at the back, maybe add a bit more to that to darken it even further, and then what we can do, you can just drop in some of that, darken it up. Fantastic. Let that dry and then maybe add in a same color over here, just across there. Super-duper. I'm going to let all that dry now and let's see if we can find some more dry spots. How about using the same color and bringing out some color down? If we just use that same dark shade and maybe add a bit of this yellow into it, this kind of murky brown, we'll get a [inaudible] of green. That'll add a bit more variance to our color palette. There we go. That's a beautiful color as well. Look at that. Gorgeous. Gorgeous colors. We've got that nice darkish indigo, turquoise ecoline. We'll just fill [inaudible] , and again, I'm not bothered about the white spots. I don't really care about them. As long as I've covered the main areas, it's just an indication of color in your scene, and I think that's looking good. Let's now focus on these stony areas. For the stony areas, what we can do is we can actually create a new color. I'm just going to clean out my [inaudible] , then I have some fresh [inaudible] here. Just go in and let's start creating some gray. Again, let's go in with the blue, bit of blue and a bit of this nice dark brown here. That'll create a really nice gray. We got ourselves a nice gray there. All I'm going to do is just drop that in into the stony areas. I've got this little step thing that steps into the pavement from the watery area. I can see, very nice and subtle. The sails of this boat, I'm going to leave them as white as I can, so just going to leave it to the white of the paper. So let's just be a little bit more careful when we're painting around them, and there we have it. We got our self a nice stony color there. Let's go in and add in that indigo, a bit of indigo, dry out the brush, and then with the indigo, let's just add in maybe a bit of shadow here on the underbelly of the stones, just to add a little bit of interest. Again, we're not here doing photorealistic coloring or anything like that. No. We're here just to do some quick little sketching and have a bit of fun doing it. What we'll do now is let's use some bright colors. Let's brighten it up a little bit.. Let's go into the orange. Do you like a bit of orange? Look at that beautiful color, that orange. Pure orange. We've got a bit of pure orange there, and maybe use a little bit of yellow ocher, add that to the orange to make it really nice and vibrant. Look at that gorgeous color. Its like a saffron color. Then what I'll do is I'm going to make my Corvette, I don't think it's a Corvette anyway, but [inaudible] like one of these old school 1970 cars, which I absolutely love. Let's just add this orange to this. Take a little bit more time doing this one. You can see I'm just covering it up. Once that watercolor dries, it'll look fantastic. Again, just a bit on the roof edge and the spokes of the roof. [inaudible] Leave that part white. Then what we can do is we can go in and maybe use a little bit of sharp green. This is pthalo green over here. Add that to that mixture in the middle, you can see we've got that gorgeous vibrant color, and then bring that that into the orange color that we just created, and it gives us a nice muted green. With that muted green, what I'm going to do is I'm just going to go in, I'm just going to dab that on to this edge, dabbing it onto the edge, and over here, just around this cup, just to add a bit of brightness to the illustrations, or just there effectively. It's coming across here. What we don't really want is that mixing with the orange on the car because that will become quite murky. So we'll just leave that little gap right above the car. Bring the green all the way down here, just like so, and then finish it off over there. We'll finish that green off there, bit more green. Let's just finish these edges to stop all these white gaps popping all over the place. I think that's about enough. With that other green, we can intensify it a little bit. Maybe add a little bit of this to this green here. You can see we've got a slightly darker green, and what that'll do is if we just add that here, it will add a little bit more variation and interest. As you can see you've got two greens, effectively like a separation between this little garden-y element and the green pavement, if you like. What I'm going to do now is I'm just going to create a nice light color to go on the background so we could actually go for maybe, bleh, stick to the orange. Let's do an orange. Add it to the green, and then we've got our self a nice copper, brown color. Nice copper brown color there. Then what we can do is actually, we can use this copper brown color for the boat. You've got this really nice copper-ish brownish color, another color that I absolutely love, copper. Water color copper is a beautiful color. Copper, blue, green, I like all colors made don't I? Yes, I do. Let's come down now and just clean our brush. 18. Final Details: And can carry on and we can actually go ahead and start doing a little bit of brights over here where we've got these lollipops, what I like to call them lollipops. Is going to go into this lemon yellow, and you're going to literally take that lemon yellow, and you're going to drop it in. On these lollipop things that I've got nice lemon yellow there. Now this part has dried. Again, I'm just going to add that lemon yellow to that, and I'll give it a tinge of greenish shade on there, which is quite nice. Then maybe just add that yellow here, making sure that it doesn't bleed into this wet area on the top. We've got that yellow coming in over here. Fantastic. We've got a nice bit of color going on. What we'll do is we'll wait for that to dry and see where the color dries out. I'll just keep adding in a little bit more just to have a complete overall image. But what we can do is we can actually just go ahead and color the background. To contrast with the blue, we could possibly have a yellowish shade, an orangish brownish shade, all these ish shades. You just come up with a nice color. Again, if there's a color that you want to try out and you think that I don't know what that color is going to look like, get a bit of scrap paper and just add that color on and I do like that color. I a lovely color that. I think I'm going to maybe add a bit of lemon yellow to this to bring it out dab of green. I think we're ready to go. With this one, all I'm going to do is just lightly give it one light coating of this beautiful shade that I've just made up. I'm not bothered whether it goes in completely. I'm just using this to just fill this airy space that we have on the back of the illustration. It just makes it a little bit brighter and gives it a nice fresh look. Again, just using that color, taking as much of the color as I can, but not overloading my brush, just going in. These little gaps. I'm not bothered whether it's smooth or whether it's rough. It really adds to the sketchy feel sketchy look of the illustration and I absolutely love that. Let's go over here. Bring that down. I think we're nearly done on this one. With those little elements in the background, I'm going to leave them as it is. I've got the door here, and then I've got some of the window area here and a bit on the boat. Let's use the same color to do all of them. I guess we'll have a nice sharp blue door. Let's just literally going straight with this beautiful blue. Just like that. Dropping that beautiful blue. Okay. And it's looking good. Sharp color here for the boat, these little things that hold the sails. You can see a bit of that color has gone across. Not to worry. You can easily fix that. If you have a little cloth. You can even use your finger from this. You just use your finger and just push it up and it's gone just like that magic. I've got a nice coverage now of water color. What I'm going to do is going to wait for this to dry and then I'm going to go over with ink with my same pen over here that I initially did my illustration with to really bring out that sketchy look and start coloring in some darker areas. Let's wait for that to dry. Kid k. What we've got now is, we've got some nice water color that's completely dry on the page. As you can see, it's much filled in nicely. What I'm going to do now as a final touch is I'm just going to go in with my pen again, my fountain pen. I'm just going to pick out areas, which I want to block in with some nice black ink and maybe go over some textures with some cross hatching. Then what that will do is it'll just complete the entire picture and scene. Let's go ahead and do that and then we'll come back and review the illustration. Okay, Dak, now what I've done is, I've just gone over some of the outlines and made them a little bit darker, filled in some areas over here, added in some cross hatching just to bring out a little bit of texture and depth. And you can see it makes a huge difference. You can keep working in these types of sketches with as much detail as you want. I'm going to leave it at that. Otherwise, I'm going to probably spend another 2 hours on it. So This is basically the third style of sketching. Now, if we compare this to the others, you'll be able to see a stark contrast in the actual style. So let's have a look at them. So there we have it. We've got our three different styles of sketching. The first one was the loose kind of doodle, loose light sketching style. The second one was the detailed drawing. And then the third one was the creative illustration, and you can see it's a complete difference between all three. As I said before, you can decide to do whichever one of these styles as you won in your sketchbook, either stick to the same style or have a bit of a mix and match. Effectively, you're always going to start off with a loose sketch, and then you're going to build in some details. So it's entirely up to you how far you want those details to go, whether you're using colored pencils and ink or whether you're just sticking to ink, or if you decide to go in with some water color and some cross hatching, it gives you a huge range of options to start this wonderful journey. So now let's move on to the final style of sketching, and that is style number four. 19. Abstract Doodle: Okay, welcome back. Let's now look at the final style of sketching, and that is the abstract doodling style. Now, this style is all about having fun and creating marks and shapes using whichever material you like. For this particular exercise, I'm going to be using my pro markers. So if you have any markers that have wide tips on them, like chisel tips like this, then that would be great to use in this exercise. If you don't have these, then just go ahead and use whichever pens or whichever instruments for drawing you have. You can use anything that you like. But the thicker, the broader, the stroke that you can make the better and the quicker this actual exercise will be. For the reference image, I'm going to be using image eight on the resource pack. So check that image out if you want to follow along, that's the one with that funky looking Tcup and cup compination. Again, I'm going to be using three pro markers here. I've got a purple color blue, and a red. You don't have to color match with your image. You can use any color that you want. If you just have a black marker, go ahead and just use that. So the actual book that I'm going to use is going to be the same book that I did, the Quick doodle, the quick illustration in for sketching style number one. I've got another one here, so this is just the basic cartridge paper sketchbook. So just go to the first page over here. Generally, I wouldn't really be using these markers on a cartridge paper sketchbook like this, but just for this video and this specific class, I just want to illustrate to you how easy it is to do this. Ideally, you'd want to be using the render book. So I've got the render book. Here. I'll just quickly show you so I've got my render book here. Ideally, I'd want to do this in this if I were to continue using markers for every sketch. But because I'm just doing this as a one off sketch, I'm just going to go ahead and use this cartridge paper sketchbook. And what'll happen is it'll go through to the back, it'll bleed through to the back, and maybe I might get some spots on the other page, but I'm not really too fussed about that right now. So let's have a look at this image. So we've got the teapot image there. I'm going to start off with maybe using this purple color, and this is just absolutely brilliant because what you can do is you can just go in, Draw a rough little outline of your object. So I've got that teapot object over here. I'm just going to create these squiggly wiggly lines with that chisel tip, and you can see how easy that is. No force, no stress, just simple lines. Enjoy that process of putting color on paper. It doesn't have to be accurate. It doesn't even have to represent that image that you're drawing. Again, all I'm doing here is just drawing that shape. I've got that handle shape here. If you want to follow this particular pattern style that I'm doing, go ahead and do it. If not, just come up with whichever designs shapes and contours as you like. You can see I'm just using the side of that pen to create this overall impression of this teapot. You've got that little teapot end coming there. You've got that handle bit there, and that's it. How easy was that. What I'm going to do now is with the other side of the actual pen, which is the bullet tip. I'm going to just create some more interesting lines. To really fill up the gap that I produce in between these abstract shapes. That's all it is. This exercise is just about sitting down, having about five, ten quick little minutes, just putting some color to paper. You don't even need a reference image for this. You can just come up with your own patterns and designs. It's such a relaxing thing to do, especially if you had a hard day at work and you just want to sit back and chill, just draw in the squiggly wiggly lines, maybe do some stipling like this, a couple of dots. And some cross hatching, just random cross hatching, if you like, just to fill in that space and maybe follow the pattern of the reference image that you're using. But again, it's something I don't want you to stress about by using the reference image. It's just a starting point to start creating these lines. Because this part is pink. I'm just going to go in and maybe use this red color just to add a little bit more variation. You can see all I'm doing is using that chisel side, just to come up with these rough lines, maybe break up the lines to show some sort of a uneven abstract type pattern, and you can see it looks great, so much fun, so easy to do, and it's something you really don't have to even think about. Again, I'm just going to keep continuing doing that, no symmetry here at all. Now, if you want to create a really nice symmetrical pattern around your actual reference image, then go ahead and do that. You can do whatever you like in this, no rules. There's generally no rules in art anyway. Just do what you feel like to give your mind a bit of enjoyment. And there we go. So I'm going to put that color to the side. Let's get this nice blue color out. So we've got the blue color chisel tip, and I think what I'm going to do is, I'm just going to do these little square things over here just to fill in this space. I think that's looking rather nice now. You probably won't even realize once you've finished what you based this sketch on, and that's not a problem. As I said, as I've been saying throughout this class, this class is not about producing perfect illustrations and artwork. It's about that journey, that process, and experience of just getting something down on paper. What I'm going to do now is I'm going to use that bullet point now again, to just create some nice little patterns and lines. Just to create this nice little abstract doodle woodle. That's all it is abstract doodle. You don't have to be exact, you don't have to be precise, maybe draw in some squares and color them in, or you can even draw in some squares and just leave the outline of that square, why not. Whatever your mind takes you to going in with that. Then again, I might do some stipple dots over here just to create some variation. It just creates this really nice little random pattern in your sketchbook page. Now, if you decide to do this on every single sketch in your sketchbook, then again, I recommend you probably do this on the render paper, which is the bleed proof paper because that way you can utilize both sides of the page. You won't be worried about the actual ink bleeding over and ruining your sketchbook. If you decide to do that, then just go ahead and do that. All I'm going to do here is just keep doing these little dotty dots. Let's finish this quick little abstract doodle out over here. Maybe some squiggly wriggly curly lines going up like this. Squiggly bigs there, and that's it. Look how quick and easy that was. So you might be looking at this and thinking, ha, this is just so messy, I don't like this. Absolutely no problem. I would still say, give this a go just to see the fun aspect of it. But if it's something that's not really your cup of tea from this teapot. Is cup of tea from this teapot, then just go ahead and choose something else from another one of the styles that we went through. Now, I'll quickly show you the page underneath, and you can see that it's completely bled through. You've got massive shadowing there and the actual ink has come through to the other page. So don't be using a sketchbook that is not bleed proof. Unless you like this look and you just want to continue, or another way to do this is just put another sheet of paper over here so that you can maintain a clean surface for your next page, whereas with the back, it's going to probably reflect that symmetry of what you've got on the front. So that's about it for this final style. It's that quick doodle abstract doodle style just to relax your mind and get some color or lines and shapes onto paper. So let's just have a look at all four styles together. 20. Style Comparison: Okay, so there we have it all four different styles of sketching in sketchbooks that we went through on the left style number one. We had the quick illustration, the quick doodle drawing that we did just with Pen, spent about five to 10 minutes on there. Then we went to style number two, which was the detailed drawing, the detailed illustration. We spent a little bit more time on this, maybe about half an hour to 40 minutes. Then the third style, which is probably the most time consuming style is the creative illustration, probably spent around about 1 hour on this one. And then finally, we had Stauber four, which was the abstract doodling, and that took around about 5 minutes. In terms of time being spent in your sketchbook, I would recommend that you spend at least 10 minutes every day, doing a sketch in your sketchbook. Now, remember, 10 minutes is the minimum that I would recommend when you start off sketching on a daily basis to build that sketching habit. So style number one and style number four would suit you if you just want to be spending about ten or maximum 15 minutes on your sketchbook every day. So use the reference images if you want to or just come up with something creative. Or just have a look at whatever's lying around in your house and just use that as a base reference. If you want to start delving into a bit more detail and come up with some more intricate details and use other mediums like colored pencils or watercolor, then maybe try out style number two or style number three. Just remember, with style number three, you're going to be spending a lot more time with this style where you're going in with a pencil sketch in water color, then maybe a bit more ink, and then there's drying time involved. So what I don't want you to do is get put off by the actual stages and the waiting time with this style, if that's something that you think it might not work for you. So instead, maybe go with this style and then move on to this when you're in that routine of sketching every day. Now, I went in with quite a lot of detail for style number two and three, you don't have to do that. You can tone it down a little bit, maybe give yourself a target of just spending 30 minutes every single day and get done in that day, how much ever you can. There's no limit or rule on having to complete an image every single day. It's more about spending that time drawing, sketching, getting marks on paper that will help achieve that sketching habit. So if you, for example, spend half an hour and you just get an ink outline drawn, just leave it at that. The next day, come to do the watercolor and spend half an hour on that. Then maybe the third day, do some fine refining or retouching with inkliners or even with colored pencils, if you want. So just test it out, see how you go with it. But again, I recommend that you start with a small amount of time. Just start off with loose sketches. And if you don't have time for sketching, then just go straight into doing some abstract work to make sure that you don't miss a day in your sketchbook. And hopefully that will give you a nice insight and some new exercises and references to get you warmed up and started in this wonderful journey. So now let's move on to the class project. 21. Class Project: Welcome back. Hopefully, you would have done some of these exercises by testing out these different styles of sketching throughout this class. But even if you haven't and you just watched the class, then it's the ideal time now to start your class project, which is basically just going through a sketchbook and doing four different sketches by using a combination of these four styles and medium or by just using one style four different times by using four different references. So that's all I want you to do. And if you can't complete four of these sketches in your sketchbook, then maybe do three. If you can't do three, just do two. And even if you can't manage to do two, just do one sketch and post that in your class project and then maybe work on your second or third sketch on the next day and keep posting to the class project area in the project gallery so that we can all have a look at how you're progressing. It's a great channel for open communication and for helping each other in this journey, and it acts as a great motivator. So try that out, have a go out the exercises that I did in the class by following the steps that I did in your class project, select whichever reference image you want or come up with your own creative sketches to do at least two to four different sketches on different pages in your sketchbook. But just make sure that you go through the early lessons in the class again to ensure that you buy the right sketchbook for the medium that you intend to use. So if you're going to go for markers, then I would suggest that you go for a blue proof paper, sketchbook like the render, or you can get one of your C white sketchbooks like I've got over here, and I've also done some actual marker work on this, and it's just bled through to the other side when I put a sheet of paper in between. So if you want to do that, go ahead and do that. Again, marker work over here. I've done it for the first few pages of this sketchbook. And then I just went in with colored pencils on the next page, then ink work. And just like that, that's how you'll build your sketchbook. Now, if you're very particular about how you want to lay out your sketchbook or whether you don't want to mix mediums, then go ahead and just select one medium, maybe just do Inc and just stick to Inc for the first sketchbook that you complete. And remember, you don't need to have a huge sketchbook like this. This is a jumbo sized sketchbook. You can even get these small ones that you can start in. And these are only a few pages. And sometimes these act as the best sketchbooks to start your sketching habit in because you will most likely complete this sketchbook. Within a matter of a couple of weeks if you use all the pages. So I think this is a great one to start. Maybe the size is a bit small for you so you can get this in the A five size or if you're comfortable using A four, go ahead and do that. But remember, again, the smaller the sketchbook, the more likely you are to finish it, and the more quicker, you'll be able to finish each page. So I'm going to leave that decision entirely up to you for your class project. Do give the class project to go and post in the project gallery. And then let's move on now to some final thoughts and round up this class. 22. Final Thoughts: Okay, welcome back to just a couple of final thoughts on the class. So hopefully, the lessons would have motivated you to try the four different styles of sketching. And this would have warmed you up and got you into a habit of doing some type of sketching in your sketchbook. And then this will effectively help you in your class project, where you select the pictures or reference images that you want to draw and draw them in any style that you want. This then hopefully will become a stepping stone for you to continue this sketch book, where you do your daily sketches in, for you to relax. Just get away from the digitized digital world that we live in and just move into a nice, relaxing analog five, ten minute work of expression or whatever you like. That was the purpose of this class. I hope you enjoyed this class. Do check out my other classes that go into more details of the materials that we used in this particular class for colored pencils, water colors, markers, and even pen and ink. I have specific classes on each of them on skill sheaves, do check them out. It goes into a lot more detail on how to use these mediums to get the best result. Also, follow me on my social media on my Instagram where I personally sketch every day and post my sketches. Please stay in touch on Skillshare so that we can learn from each other and enjoy this process and this journey of really producing artwork and sketching on a daily basis to really help our own motivation and our general well being. Stay in touch, follow me on Skillshare, have a look at my other classes, and ask me any questions that you like on this class or on any other class and do post your class projects in the project galleries so that we can all have a learn from each other and enjoy this wonderful process. So thank you so much for your time and help, take care of yourself, keep sketching every day and peace.