Ultimate Pen Drawing Class: Beginner to Intermediate

1. Introduction: Hello friends. Welcome to the elementary to Intermediate Pen Sketching course. Pen is one of the most attractive tools for drawing and sketching. And due to the cheapness, availability, and also high permanence of sketches with pen, it has many fans. In this course, I will first teach you the basics of drawing and sketching with a pen. Then you learn how to sketch the water texture. In the next chapter, you will learn the sketch of a wooden boat, and obviously the texture of wood. Then I'll teach you how to sketch the texture of the rope, and in the last chapter, how to sketch a beautiful flower. Don't hesitate to join us, and I hope you enjoy this course. Hello, everyone. Welcome to the tutorial of a Sketching with Pen with me. In this chapter, we are going to learn how we can sketch different sketches and drawings with pen from the basics to advanced levels. Before I want to start the chapter and we have our classes with our pens, I have to tell you about the tools and equipment that we need for this tutorial of the Mott, and the main important object is our pen. It's just a simple pen. Then we have a jelly, a white jelly pen. We also need a pencil. It can be an Ted pencil and as an eraser, you should also have a piece of white paper next to you that I will tell you how to use it during our course as a tape, a paper tape. So, these are all the equipments that we need in this chapter. Let's start. 2. Tonality and Hashing: Hello again and welcome to the first episode of Pen Sketching Tutorial with me. Now for the starters, I should tell you how you should work with pens in general, how we should shade with it, how we can create hatches with it, and how easily you can take it in your hand and start sketching and drawing. For your first exercise and practice. It's very important that you can actually create a tonality of colors with your pen. How can we do that? First, you start shading and coloring with a lot of hand pressure. With a very strong hand pressure, you should do it slowly, but with a high pressure. As you move toward the other side of your work, you should actually decrease your hand pressure. If you can see the movement of my hand, it's going back and forth. Well, during creating this tonality, you should not stop at all and you should not take your hand off your work. Because actually the purpose of this tonality creation is for you to control your hand pressure while you're shading, without stopping your movement. You should actually continue this till the end, until the lights color, just like that. I've created a very beautiful tonality from the darkest shades to the lightest ones. With my pen in the first part, the lines are too close to each other and my hand pressure was high and it gave me a good darkness. But as I came towards this side, the lines have a bit of distance from each other. My hand pressure also decreased. Therefore, the tonality that I've applied went to the lightest shades. It's also very important that during your applying this tonality, you should not actually place your hand stable on the work. Because if you place it on the work stable, it just get a stops in a place and it cannot move again. You should let your hand move freely back and forth, so it can move till the end of your paper. The next thing I want you to do is to create hatches. See, I am creating light hatches. The hatches which are too close to each other. Hatching is actually one of the practices that can improve your skills in pen sketching technique. It's very important to create the hatches and shavings. One of the most important things in creating the hatches is that you can rotate your hand easily and create these hatches in different directions. As you can see, I am creating them from up to the bottom and left to right, and even sideways. Okay? Then I try to keep all of the hatches that I create more cohesive and they won't be too spattered in this way. See, I'm just continuously adding these hatches and next to each other, I repeat them as much as the whole thing that I've created looks like a shade. See when the hatches come over each other. More importantly, they come from different directions. It actually transforms into a beautiful shade. I'm adding these hatches and layer on top of each other and making them darker. I make them dark as much as I want in this way. There is another way to hatch as well, which we call big hatches. These are the big hatches you see in some parts of our work. We might do it this way for the light parts and then we go in the opposite direction. Again, for parts which are one degree darker, again, I go from the opposite direction that I had in my previous layer. In this type of hatching. The beauty of my work is actually to show off these hatches in my work, Not would be a faded shape like the previous one that I created. You should practice both types of hatchings. In the next practice, I'm going to create a geometrical shape. For example, a square. Now I want to shape this cohesively, the shade that I want to create. I don't want it to be too dark or too light. It would be almost in this area. Okay. Now if I want to apply this palette of my color, I would not have start with this dark color from here. I would start from the lightest degrees of the color, the lightest palette of my color. Then, little by little, slowly, I drag my shades to become the palette I want. And making them darker level by level. Right from the corner of my square, with a very light hand pressure, I start the point that I should tell you over here is that as much as you take your pen from the beginning of your work, the hand pressure would be more on your work. As much as you go toward the end of the pen and keep it in your hand from the end, your hand pressure would be less on your pen. Therefore, it gives you lighter shades. For example, here that I'm working, if you wanted to work a light shade, you should definitely consider that if you should take your pen in your hand from near to the end of it, just like that, With a very light hand pressure, I have created a light palate of color like this. Then very slowly, I develop this work from all different directions. You see just continuously, I am repeating this shading and this hatching from different directions, layer by layer, I add to them until I get to the palette of color that I want. This time I am doing it horizontally from the top to the bottom. And next time I will do it vertically from the right to the left, and then sideways from the right lower corner toward the left upper corner. Okay. Then again, I continue the same process just in different directions. And I repeat it over and over again until my hatchings would become a shade. It would be more cohesive and very softly and smoothly, it will get to the palette of color that I want. Just as easy as that. I'll continue layer by layer. You will increase your hand pressure as well. You'll have, of course, a darker layer of the shades. Now, why do we do it in all directions? Why? Opposite of so many of our works, we shouldn't just work in one direction. When you actually apply your hatches in different directions comparing to the previous layers, it actually feels the emptiest spots between the hatches. It totally fill the whites spots and the empty, uncolored parts of your previous layers. Therefore, it actually makes your shadings and hatching more cohesive. And it makes it look softer and smoother. That's why we are hatching in all different directions. Here we go. Okay. Now I want to be more precise on the parts that I think are a little bit lighter than I want them to be. I go over them and I fix them with a light hand pressure. I try to keep it up with the rest of the color palette. Here it is. Little by little, my hand pressure is increasing and moving up, the tonality that I'm applying would be darker. Of course, here it goes. Then I will clean all around my work. Something that is very important in this practice and this exercise is the fact that you can actually control your hand pressure. And if you can't, you will be able to control your hand pressure after this practices. I'm just giving you an example right now. And then you should practice it more and more at home. For example, from this corner of the square, I want to apply more darkness. Therefore, the hand pressure on this corner would be more as I move toward the opposite side. See, I just let go of my line and let go of my hand. Basically, I'm making it lighter. I continue until it will look like this. Okay. Now I guide this shade. I drag this shade until the bottom parts. And then I'm actually trying to create a very shaded and faded shape for my hats. They are going to transform into a shade which is also faded and cohesive. As you can see, my work is in two colors. From the dark side, it went into a lighter one. This was the first and the first episode of your practices and exercises for sketching with pen. In the next episode, I'm going to tell you how you can create circles and globes. Don't forget to follow. 3. Creating a Volume Of a Sphere: Hello again, and welcome to a new part of a sketching with pen with me. Okay, In this part together, we are going to learn how we can shade this ball in the circle. The first thing that I should consider is the source of the light. My source of the light will be in here. This would be my light source as it shines onto my work. This part would be the lightest area and this part would be the darkest area of my work. It's basically an absolute shade. Now for shading ball, I'm going to use this method which is actually hatching continuously, which would look like the last shade. Just one thing that I should tell you is that when you want to do the primary sketch of your circle, you should do it very lightly. Because in sketching, we do not have a specific lines. I will explain it to you later in, next part as well. But do it light so when you shade, it doesn't look like you're framed. You have worked. I start from here slowly. I'll do this. Okay? You should consider the fact that for this you should spend enough amount of time and you should not rush through it. And you should just do it very patiently and slowly. Your outcome will look good. Okay, I also shade from this bottom part of my work. As I told you before, I've chosen this method of shading in all different directions. It means that I should definitely shade in different directions and hatch in different directions. You can actually cover the trace of your pen, which is placed in the previous layers very slowly. I just do this shading, it gives me a light tonality. As you can see, I'm using my other index finger. My shading would not actually get my work. I don't want it to get out of the line. I use my finger to prevent it. Because one of the problems using pen in your sketching, actually, all drawings and sketching with pen has a very big problem. The point is that if you just mess up a line or if you make a mistake, you cannot easily erase it or fix it. It's better for you to pay more attention and be more careful right from the beginning. You won't have to fix them later. Sketching with a pen needs lots and lots of practices because you're not allowed to make mistakes in this technique. Because as I told you before, we cannot fix it as much as we want. It's a pen and it would not get erased. You should get enough skills, and a skill comes with continuous and permanent practices. Do not forget that very slowly. I'm starting from the sides, the edges, and I am shading with Y small hatches which are placed so close to each other. The hatches are small and right next to each other to create this shade for us. Then, I guide these shades toward the center of my ball, toward the center of this circle. As I move toward the light of my work, I will decrease my hand pressure. Therefore, I have a lighter palette of color. Here I go and continue. Then I give a generally light shade for all of my circle. Just remember to keep the movement of your hand fast, yet light. It means that your hand pressure should be light, but your hand should move really fast, as you can see. Should be as fast as mine. Then of course, I will shade in the other direction. In the lighter areas, I try to decrease my hand pressure even more wherever I think it's too light. Wherever I think it should be darker than it is right now. I try to keep it up and work on it again and again so I can get the shade, that darkness that I want. Then obviously, for this shade area, I will consider more darkness. With a stronger hand pressure, I will apply this darkness very cohesively, right from the bottom parts and also from the sides. I will work on it. Here it goes. I'll just make the edges of my circle more clean so I can actually apply the shadings and hatches neater and cleaner. I want it to be neat and clean slowly, continuously. I continue my work on this shading just as easy as you can see. Here it goes. Okay. Now I would also work on these edges on this side too. Of course, they won't be as dark as the other parts, but I'm just doing frameworking with shades really. You should be careful here because even when you're doing the frameworking, you should not leave any specific lines. It should be all as a shade and as hatching, you should be really careful about that. Do not leave any traces of your pen. Then again, I start from the darker parts and I continue hatching in different directions. Just like that, I'll continue my hatching and shading upwards. Here it is. Your hand pressure should not get increased or decreased while you are shading an area. Because if it happens, there will be a stains created on your work, basically, in sketching and pen drawing technique, one of the most important things is the control that you have on your hand pure. Should practice a lot so you can master this controlling. You should be able to control your hand pressure perfectly. Because as I said before, if you decrease it or increase it unconsciously while you're shading an area, it will create a stains and unwanted spots for you that you don't need. All right. I'll do this from all different sides and angles. I just leave the light shade of my ball. I just leave that part lighter again. I'll do a frame working, and then I'll shade this area darker as you can see. But of course I'm going to fade the line of the frameworking that I've just did with these shades. Okay. And then again, shading and fading. Then also from the bottom of the work, I'll do the same thing. I shade and I fade. I'll do the same thing on these parts. Okay? I'll just continue this way until I come to these upper parts. And then very slowly, I bring the darkness from the darker areas toward the lighter areas. And I fade them as I do. So you can see the colors fading into one another. Start from the darkest parts of my shades and I move toward the lighter areas. I also don't want any borders between my dark side and the light side. That's why I said try to fade it as much as you can. And I'll just repeat it on the sides of my work as well. So here it is. Okay. I also do it for here, just as you can see. All right, here it is. Now, if you want to be with us, follow us in the next episode for the rest of this tutorial. 4. Completing the Volume Of a Sphere: Hello, welcome to the rest of the tutorial with me. All right, for the rest of the tutorial, again, I'll do the same thing that I was doing all during the previous episode and the previous part, layer by layer. I'm adding the shades with my hatching very slowly. I just give it time. Now, if you've paid attention for the parts that are lighter in shades, I try to keep my pen in my hand from almost the end of it, wherever I want to apply more darkness Again, I change the position of my hand on the pen. I get my hand to the tip of actually I get my hands to the tip of my pen. Because the placement of your hand on the pen is very important on your hand pressure and on the color that it gives you. Okay? I also work on these parts which are absolute darkness and absolute shade. Yet I will fade them as well into the other colors. It is very important and vital that you can actually get your shadings cohesively and the way that they all look like the same color and different tonality. Just try to do it very slowly and patiently. Do not rush through it, because again, I insist, Don't forget that this time you're working with a pen and if you make a mistake, it would be really hard to fix it. It's better not to. And be careful and be on the spot and prevent any mistakes from happening. All right, here it goes. I also make the shades on the lighter areas more cohesive. I should not forget about them. And just as easy as that, I'll continue. It's really easy to do. You just have to pay enough attention to it. Okay? Just be careful that you should not cover the lightest area of your work with dark shades and dark hatches, trying to keep the lighter areas light. And be careful not to cover them with your darker shades. All right, here we go. As you can see, I'm using long hatches and I'm applying them continuously. And the distance between the hatches and shades are really, really small, almost nothing. That's how close I'm applying them to each other. Okay. Here it goes. This is how we're doing it. It doesn't matter if it takes so much of your time. You should just really spend your time on it to add the colors and the shades layer by layer. You cannot get this shading all at once. That's the price you've got to pay. I also apply a bit of darkness on the top area because I want to show that this ball has a volume. It's not two dimensional, it has a volume and it has a back. The other side would be darker. That's why I went a bit dark on the edge of the upper part. Okay, here it goes. As you can see, I am hatching and shading, very neat and very lightly and softly actually. Then again, I change the position of my hand on the pen. I'm getting it near the end in my hand in order to create shading with it or try to create lighter shadings with it. Just keeping it in my hand near to the end. Then again, when I want to work on this parts which are dark, I'll move my hand closer to the tip to get darker shades. Of course, here it is so smooth and so nice. I add to the darkness that I have here from this absolute darkness. Again, I apply more shades and I drag it toward the lighter areas in order to fade these areas a bit more. As well as I'm giving this area more color and more darkness. You can see my new hatchings, but they're going to be faded. I honestly believe that working with pen is much more challenging comparing to working with pencil. Because here, you know, you cannot make any mistakes while you're doing your actual work. It's okay to make mistakes on your practices, that's how you learn the work shouldn't. Again, with the shades and the hatches in different directions. I try to fade all of my shadings more and more, especially when I have the darker parts coming and engaging with the lighter areas. Here it goes, okay. You should lower your hand pressure. You should apply lighter shades and lighter hatches. For these parts that we have darkened over here, you can actually the lines that have been created over here, the line of darkness. And these traces should be definitely faded, because we want our work to look way more cohesive. All right, here it goes. So I'll just continue and I work on the slower part of the work as well. Just doing it the same way we are getting close to the end of our work. Just try to make your shadings better. Improving them and fading them, they would look more cohesive and they should also be very neat. We don't want messy, messy shadings of in the light area. You should make your shadings lighter just sustaining the obvious. Yet sometimes you know, but it's all about repeating and doing these things over and over again until you can get the scale right and use it the way you want. All right. I'll just continue this shade here it goes. As you can see, little by little, our ball is done and we're finishing our circle. Our ball. It just some touch ups and then we want to move on the next sketches. Again, be careful that you shouldn't have gone out of the line of your frameworking. It's very important, check them. You shouldn't have any specific lines or borders in your work. Try to check all of them while you're shading again and then you can finish your work. Your shadings and your hedging should be done very softly and smoothly. Try to do that right from the beginning. As far as it goes, it's looking good. I'm actually happy with it. Just have to do some last touch on it and it would be totally ready. Just as easy as that we could actually, we did create a beautiful ball with a great volume and a perfect shading. Again, I know it might look challenging at first, but with enough practice, you can get there too. All right, so we finished the shading on this work. I hope you've enjoyed it and you got the things that you needed for your practices. 5. Creating The Volume Of a Rectangular Cube: Hello again and welcome to a new part of sketching and drawing with pen with me. All right. Now in this, in this episode, we are going to work on rectangle, why this sketch and why this shape. Because in rectangle cube, I want to actually explain to you how, I mean, when I say we don't have any lines in sketching and drawing this way, first of all, I consider a square on the top. Then from these three corners, again on the top, I drag lines down, create these lines. Then I create parallel lines to the ones that I have on top. I can close these endings of the lines. You can do this with a ruler. I've done it so many times, I've got used to it. But if you want to get a better shape, it's better for you to do it with the ruler. At first, I've got my rectangle cube. Now, as always, and as usual, we should consider a light source If my light source is shining from here, which is the most important thing, this top part, this top surface of y cube would be actually almost the lightest area of work. The front side would be lighter. This area would be a light between the dark and light. Back surface would be the darkest surface. It would be absolute shade and darkness. This is exactly where I'm going to start my shadings and work very slowly with hatching and shading. I started and I start coloring this area. This time I want to use big hatches in order to shade this surface of my work. I'm using big hatches for here just like that easily. I'm just going to do it layer by layer. I add to the darkness of my work. I do not get too dark at once. Layer by layer, I have to add the darkness. Well, as you can see, I am darkening the surface of my work. The back surface of I also apply the hatches and shadings in the opposite direction like this. So here it is. Okay. Again, I apply the hatching in the dark shade. Again, you can use your finger to keep it in line. I also do it for this part and of course, going in opposite directions, I'll do it over and over again until I get it in the color and in the darkness that I really want here. It is very easy like that. Okay, then I will make this ending of my work. More cohesive. And just like that, I've actually completed one of the surfaces of my work, which was the absolute shade and absolute darkness. All right, then I have to work on this surface. The shading of this surface. The front surface would be in a color which is not as dark as the other side that I've just finished working on. It shouldn't be too light. Should use a white paper in order to get the extra ink off the tip of your pen. When you got that, you can start your work after working with your pen for a while, especially when you work on darker surfaces and sites. You should do this, you should get the extra ink off your pens tip. It would not create any unwanted spot source things in your work. First, I'll do a cohesive shading here like this. As I told you before, this front side is not as dark as the backside and it's not as light as the top side, it's something in between. It's an average darkness that we've got here. Of course, layer by layer, I add to its darkness and bringing it up, then I'll do it with repetitive hatches and shadings. And also I'll do the same thing even from this corner. Just repeat it and I'll do it until the bottom of the work, I start shading from the top to the bottom. Straight shading, okay. Now very slowly, I do it in the opposite direction, shading vertically and horizontally. After that, very slowly, you're not in a hurry, you shouldn't be either. Again, in the opposite direction that I've had my previous layer of hatching and shading. I'll continue the new one. Again, also from this angle, I will work on its shades. It is very important that you place your hand in different positions and angles and you can actually rotate your hand in different angles. You can apply your shadings in your hatches in all different directions so you can cover your work, You can cover your layers and get a good shade. All right, here it is. Okay. Now we've also worked on this side and this surface. And then we are going to work on the third surface, which is actually the lightest surface of our work. We should just create a very light shade for this area. Therefore, you should keep your pen in your hand, near to the end of it, and then very slowly to shade. I just a pencil line. I keep it just as as I can only see it and not get out of the line. That's how light I'll make it just like that, I start shading. You should control your hand perfectly. Again, I insist on the fact that in pen sketching and pen drawing, the most difficult and the most challenging part is actually creating light shades, which can only be happening if you can control your hand pressure perfectly. It's all about the control. Just like that very easily. You can do it. It's a bit challenging. But when you get a handle of it and you can do it easy, as I told you once in a while, you should get the extra ink off your pen tip. Then again, you can work on the rest of your shading. See, even in my lightest area, I'm moving in opposite directions to make my shading more cohesive. All right. It's enough. Up to now. Now I want to do the editings of my sketch. What are the editings? Well, I start from the first surface that I've done. As you can see, I'm getting the spots and blending them and moving them upwards. And I'll do the same thing for the second surface, making the shades a bit more order than in line. And I'll continue that until I get to the bottom of my work, bottom of my sketch, Here it is. I also work on this light on the work. The lightest part should be done the same way with some edits and some fixings. Okay. Now, the most important explanation that I wanted to give you for this part is that you see my dear friends, in sketching this model, I have not used any lines. I mean that I haven't created any specific lines for all these corners and edges in order to divide and separate the surfaces from each other. The only thing that has separated these three surfaces from each other, or in another words us. This beautiful volume and dimension is the difference of color. The difference of the color palette in each side and each surface is actually what gives us a volume, a dimension. Without even creating a line, we can separate the surfaces from one another. With all this difference in the color palette, I do not need any separation lines in my sketchings at all. My last sentence would be that in sketching and drawing, we do not use any specific lines for separating the surfaces or sites. The only thing that we use is the difference and the contrast among the shadings and the color palette of our work. I hope you've enjoyed this as much as the other tutorials. I hope I can see you in the next part of our tutorial as well. 6. Basic Water Sketch: Hello and welcome to a new episode of Sketching with Pen With Me. All right, in this episode, we are going to work on the sketch of water. Basically, I want to show you how you can create a very translucent and clear shape like the drops of the water. I also want to teach you the texture of the liquid. Okay, This is a model that I have chosen for this episode. For this part, I have two different examples of water and we're going to work on both of them. As you know, the fastest way to get your primary sketch very precisely is to blacken the back of your model. And then you can copy it and transfer it on your own cardboard completely. I darken all these parts where my examples my models are. I have to say sorry because of my voice. I just caught a cold. But I hope it wouldn't be too uncomfortable for you. All right. Now I'm going to work on my main Ted and my own work. I turn over my paper and then I go over all the main parts on my model so I can copy them and transfer them to my own cardboard paper. Here it goes. I should also create these oval shapes, the rings of water. So it goes okay. You should consider the fact that as you move toward the sides, the ovals will actually get bigger and somehow a little bit faded on the very edges in the sides. Now I want to work on this other one, which is actually more developed and a big model of the previous one, of the first one. I also go over this model so I can copy it as well. Okay, now the textures of here and also the drops over here in the back here, it goes over here. I'm going to copy exactly like my model. I need all of these lines and these rings. I copy them. Here we go. It's an easy job to do, copying your models into, on paper, but it's very fast. So that's why I do it right now. I just check for once to see if the models have been transferred completely. And when it's done I take over my model. And the next episode we are going to start the shading. 7. Water Drop Drawing and Shading: Hello again and welcome to the beginning of this sketch with me. All right. Now we are going to work on these water drops together. First of all, if your sketch, your primary sketch is as dark as mine, you should use a normal eraser or a do eraser to lighten it because we don't want the extra color of it in our shading. Okay, first of all, take the extra in off the tip of your pen. In liquids, In executing liquids, especially something like water, you should create very soft shades. You can get them very smooth and you can get that clear shape. For example, if you create rough shades and rough hatches like we've done in the rope area. In the rope part, it doesn't read water. Okay. First of all, I'm going to shade some parts darker and some parts lighter. Of course, something that can actually make the texture of the water is the very high contrast of the shades In a place, we have a very dark shade and right next to it, it's very light. That's why it gives us that shine and that translucency that we can see in the water. Clear, shiny water. Okay, I've zoomed in so you can see better right from here on the edges. With a low hand pressure, I start working on these drops. I am applying the darkness exactly as the reference that I'm looking at as my model. Doing them according to that. If they are faded, so be there. I'll fade them too. As I come down, my hand pressure is very low. If you cannot control your hand pressure properly, it's better to take your pen inside of your hands and between your fingers near to the end of it. Don't get your fingers too close to the tip. That will increase your hand pressure. Okay. I'm just creating these opposite shades right next to each other. I move a bit more down also in here. I'll do this fading and shading at the same time as I'm applying the darkness in their own placement. We just tapping my pen, I'm not dragging it too much, especially in the dark places. Then I come down and I move to the sites. I am applying the darkness that I see exactly in my model. Okay, now I'm going to create and shade the spots that I need for this water texture. I apply them where they need to be. Again, I emphasize on the fact that I am going and applying the darkness according to my model. Just with the control of my hand pressure, decreasing it and increasing it. I'm taking it really slow because I need to place some in their right position. Don't rush through it at all. Be patient with it. Continue until I get to this bottom part of the drop. As you can see, I am creating this area very lightly and very slowly with low hand pressure. Okay. Now there are some details for this area that I should apply them with. Just creating spots with tapping my pen on the paper. Of course, check the tip of your pen so it won't have any extra ink on it and it won't get any problem. For you in the contrast. But slowly I'm adding these spots that I need in my work. Step by step and little by little I fade the spot. And part of my work, I'll do the same from the other side as well. Just as this a very light shade. Again, I'll tell you if you cannot control your hand pressure very well, you should definitely take the pen inside of your hands and between your fingers near to the end of it. So you can actually apply these contrasts very well. Okay, then we have very strong darkness here, and we get the contrast. And the opposite shade that we need for creating the water texture to show its translucency, its clearness, and its shine. Okay, we also have some horizontal spots over here that I'm going to work on them with my pen, of course, with controlling my hand pressure, I put them in their correct position. I am creating these darker spots. It's done. Okay. Now I want to work on the rest of our area. I want to work on this ripple and these rings that it had created around this water drop. I start from the very inner one. I'll continue softly and smoothly. I create these rings, just surround them from its sides. I give it the darkness that it needs. In some parts it's very dark and in some parts it's very light. That's as I told you, is actually one of the features of the water or any liquids, basically, when you want to create a water like texture or a liquid texture that is clear, shiny, and or translucent, it's one of the features that a strong darkness goes right next to a strong light. You should be able to transfer these as you see them. Should place dark spots like here, right next to the lighter spots. And then I place even smaller spots, smaller darker spots around here. Okay? Okay. Now I can move to the parts. Again, as I told you, these ripples are actually going to the outer parts. These all walls are getting bigger. It's very important that you can create these curves very soft and smoothly. If you create them like this, like these ups and downs will actually take it out of its smooth and soft shape. Your work is based on water and liquid, so your lines should be very smooth and soft. If you even create lines like that, it will also show that how nervous you are creating these sketches. Just very softly. Create your lines very calmly and then apply the darker spots like I've did here now from the right side, I have. Very absolute darkness that I drag it to the left, basically. In this model, the darkness is in this direction, the center, and the concentration of the darkness should be in that direction very easily. With so much caution, I work on the darkness. Basically. As I said, this area of each ring should be darker. I come down slowly and I fade this darkness again slowly. I do not want to leave any darkness like liner shapes anywhere in the work. Because if you leave them as lines, it can actually even make your work more rough. Your work should be faded, so it will get soft and smooth. It won't get rough. Okay. In here, in between these two ovals, I have to apply a light shade like this. Over here I have another strong darkness. In addition to that, I also need a bit of darkness for this part above it with the sense of one millimeters. I repeat some lines like this. As dark as the other part, it is dark. I, of course, try to fade it. Now, I'm going to continue and expand these ovals step by step. I create the main ovals Again, I say you should work on these ovals very easily and softly. In the beginning, they won't have any ups and downs. There won't be any ups and downs in your line. Then when you shade it with a nice and controlled hand pressure, it would look really nice. Like this. Again, I created one line between these two ovals over here. I created just like it's two or three lines right next to each other or even a stuck together. Okay. Now for here, I shade toward outside, I leave the inner part white, that the created contrast will actually give its water like shape and gives me the water texture, the liquid texture that I wanted. Of course, bigger ovals with some lines in between them just to make them more interesting, I'll continue moving on. Okay, it's enough up to here. Let's follow in the next part. 8. Completion of the First Design and Start Of The Second Design: Hello again and welcome to the rest of this tutorial with me. Of course, I'm going to pick up where I've left off and I start creating very light shades from the surroundings of my work. Just like that. As it goes, I'll continue. Okay. As I told you before, as my all walls are expanding and getting bigger, as they move to the sides, they also get lighter. I should work on them. Lighter again. Over here I apply another darkness in this way, and it's really easy. And also in these ending parts, I am going to consider a very light shade in here. Again, as I want to work on some dark spots where I may have left out, I just work on them like this. I also have to create the reflection of this water drop on this part, on this lower part of the water surface. Because water reflects over here, I create this shape with my shadings to create the reflection of the water drop on the water surface. Of course now on this lower part, I continue the rest of the reflections of these water drops above them. I also create a very small drop for the hint of the top drop on my water. Okay, then I consider very strong darkness for this part and I apply them here as it is the last oval. Create the last oval of this sketch. Okay, And I'll just do the same thing for this upper part as well. All right, now I'm going to consider some very straw darkness for my work. In some parts I need a high contrast. I'm going to create some stronger darkness also from this side. I'm just continuing what I was doing. A very cohesive shade would be placed here. And it's also light, as you can see, just applied for here. Not to leave it very untouched. Also in here, I have to create another darkness with a controlled hand pressure. I'll do it very simply as you could see. Then I also create some strong darker spots over here, it can actually show the water dropping. It also gives me that reflective feature of the water and also give it a good shine. And just as easy as that, we could actually create this type of our water shape. Now I'm going to move on to the next water drop shape or to the more advanced one in this model. I'm also going to start from the top. You should always keep one of your eyes on your model and the other one on your own work. Because if you don't continuously constantly compare your work to your model, you might make some mistakes. Therefore, you should keep an eye on the model and create the darkness wherever you see them in your model. Wherever you see stronger darkness, you should increase your hand pressure as much as you can see. Wherever you see it's light, of course, you should decrease your hand pressure. Okay. So from here we also go a bit more up. Over here we'll have another water drop. It's also very similar to creating a candle. Just drops look like that. I come down and again, in some parts I'm going to shade darker, and in some others lighter. I'll continue like this. Now I come up in some parts, I try to create a spot. I let the ink spread a little. In some parts I do not let it, I just create some dashes. In some parts, I want my pen to go more and shade more. In some parts, avoid doing that, actually. Okay. Now I want to work on the rest of the parts you see over here. First I work on these little drops of the water which are on top. And then I work on the lower part of the, which are bigger. Of course, here they go again. Very easily in these parts, with actually using more darkness, I create better shades. Now from the sides, I try to apply more darkness with tapping my pen on them. Creating spots. Then I'm going to leave these lights inside of my water as the shape of these circles. Then, from their surroundings, I'm going to shade. We also have another water drop over here. But again, I insist if you have a very strong light, which is actually representer of the reflection of a light on your work, try to reserve them and keep them as the shape of a circle, and then shade all around them. Okay, now I can move on to the next drop. As you can see, the process is basically the same. But something that you should really pay attention to is, as I told you before, your model, and you should see how it goes. Now in this lower part, I'm going to increase my hand pressure a bit more to get them darker. But as I move up again, I decrease my hand pressure. And then again, right after that I increase my hand pressure. When you just increase and decrease your hand pressure continuously one after another, even vice versa, it can create the beautiful contrast that you're looking for even on the line. Okay. Now I also shade this area very lightly and another very small water drop on top. Okay. Now, from here I have to shade in this way. And I'll continue in order to create the part which are behind these ones because it actually looks like a hole. It's like a hole of water because has been dropped into the water, it made a hole. It has a front and it has a back. Now I want to work on the back side, the parts which are behind these that we have just created. Then I also do the same thing for this side, but just be careful, these parts should be definitely lighter than the parts which are in front. As you can see, I am creating them lightly just as some waves. Okay, now what we should do is to also create the shades of these parts under lower parts as well. Now, with a controlled hand pressure, I'm going to create any shade or reflections that I can see here. I am basically applying the shadings in this area. I also shade very lightly from these lines themselves downward, It will get out of its fake shape. I want it to look. Also, we don't have any specific lines in water. That's why I told you it's better to fade lines. Actually, you should fade your lines if you want a better outcome. Now I want to work on some more details in the lower parts, but I'm going to tell you in the next episode. 9. Creating Shine On The Second Design: Hello and welcome to the rest of the tutorial with me. All right, let's continue together. As you can see in the previous parts, we've actually made a framework for all these water drops and did some shades as well. But now we want to do some details here. From here I'm going to calm down. Linary, get to here a very important part of my work for over here. I have to shade in a curve and in a wavy shape. You should create these textures and these shapes in waves. This texture that you're going to create for here is very important. That can actually give the water texture as the wave just as easy as that. Now, before you would want to work on this part of the sketch, definitely you should practice these kinds of waves on another, on another paper. Then after that, you can apply it to your work from here. As I come down, it looks more like a triangle. Here it is, okay? Then I come a little bit lower over here. Again, I should create another wave, but this time it should be even stronger. Just like that. I come over here and come towards this side as well, again with the pattern of waves. That's the pattern of my shading. As you can see, I am applying the darkness, but I'm also fading the darkness Again, I apply the darkness in the center. I will fade it. Okay, here it goes. I also do the same thing for over here as well. And I come to here, I keep the wavy shape in this corner. I'll make it lighter. I increase the contrast of this area a bit more because I want more contrast here. The difference between the shades should be more. Okay, then I will come to here, also from here, I will create some of these waves. I'll create some of the waves in this shape. Just like that. It will be done. Okay. Now I would want to again, work on the lower part of here with a bit of distance of I'll continue this wave. Now in the left side of my work, I should also create this water texture and create these waves, of course. Okay, so if it's a little hard for you to control your hand pressure. While working on these lighter areas, you should definitely take the pen inside of your hand from near the end of it. When you do that, the hand pressure will be automatically decreased. Therefore, you will have a lighter and softer and smoother shade on your work. I should create some shades like this, create some lines and spots over here. So here it is. So very easily I've just done that. Okay. I'll continue my darkness in this area till the end. I keep some of the parts as a strong lights as you can see here. Then I would work on these parts a little with a bit of distance from the top as it is. And here it goes. Okay. Very well. I am shading all over this place in this way. I also shade in the opposite direction on. I will have this cohesive shape in my work. Okay. Now I also have to create some of these spots randomly in these areas just as easy as that. Okay, Now for the lower parts, basically for the rings, again, I'm going to first determine the concentration of the darkness. That where direction it goes, it's the same over here. The concentration of the darkness is actually here. I will darken it as much as I can. I'm doing them as the shape of waves, of course, because I should shade it and texturzes at the same time. I also keep some lines as lights. Then I move to work on the first ring. On the first oval, I've shaded this area very dark but with waves. All right, now this is very dark here from its beneath here, it goes over here. I have another oval shape. Okay, never forget to take the extra ink off of the tip of your pen because it's very important, especially when you want to work on the light shades and lighter areas. For example, here you should just do them cohesively and slowly and softly. Okay, I'm going to move on to this side as well. In here, I will apply more darkness. Here it goes. I will also get the darkness that I had on the above to connect them with the darkness that I have in the luling. Because these darkness should not be separated. They shouldn't look like they are two different things. They should be connected to each other. Again, I keep a light over and drag the darkness down here it is. Just in this way, you should control your hand pressure as you move down again, Don't forget that. Then I continue my work as well with applying light shades. Now I should also continue the darkness even in this part of my oval. Then slowly I create its fans faded shape with my own pen. It will go like that and with a bit of distance, we're good to go. Okay, now I should also add a bit of darkness to this area. Just a bit over here. I would have to fade my shades as always. You know, whatever shades you create, you should fade them. Okay. Then with a bit of distance again, I'll continue the same lines here. As you see, I am following the lines and doing that, I'll come all the way down. I say this area completely. We are really near to the end of this, so just trying to keep up. All right, then in here, what I do is that I should work on this ending part of this water drop. Now, let's continue in the last part. 10. Completion Of Water Drawing: Hello, welcome to the last part of the tutorial with me. And this would be the end of this tutorial. The ending part of this tutorial. Okay, now because we want to finish this beautiful sketch, we are going to start right away. Let's continue together. You should control your hand pressure, which is going downward. You should just make the shades over here looking better. All right? Then with a bit of distance, you can even have a bit of how can I put it, some separated parties in between them should cut them in between. Then you can work on doing the next darkness here, I'll come over here. And then again, I would apply the darkness and I would faint them downwards here as you can see. Okay, even in here, I should have a bit of distance as well between this ring and the other. Then I start shading in a faded way. See, I'll continue my work and I keep these white spots in my work, try to keep them, because as I told you right from the beginning, it's very important. Okay, then also I'll continue it to the left side. But I'll do it fatally. I don't want it, you know, to get too clear and I'll let it go. Okay, so here we go again. I'm going to keep one part white and light, and then I start with a bit of distance from its lower part. I'll continue the darkness. Okay, so here it is, and we are almost near the end of it. Okay. Just remember to keep the contrast as much as you can follow the process and you can get your sketch like this as easy as I did. There are just some more details left that I am applying right now in the work. Darker spots, especially over here. I'm just creating small darker spots like just the dot. I can also work on the fading a bit more. When we fade it, it will look more smooth. If it gets softer and smoother, it will look a lot more like water, as this can really help on the texturizing. Okay, that's how it is. Again, I increase the darkness for these parts that they will be reading. Well, comparing to the lower darkness of my work, they shouldn't look separated. This beautiful sketch is also over. I hope you've enjoyed it as much as I did. I'll see you in next. 11. Basic Wooden Boat Sketch: Hello and welcome to a new chapter of Sketching with Pen With Me. Okay, in this chapter we are going to learn how we can create and sketch different types of textures together. Of course, with pen techniques. All right, I should tell you how you can actually texturize and make shadows and shadings for these kind of different textures. The first thing that we want to create is wood texture. It's a wooden boat, of course. One of the most comfortable and easiest and fastest techniques and methods of creating your primary sketch is copying it. As I told you before, you can use your basic pencil, your normal pencil, or any pencil that you have near you to make the back of your copy completely black, then you can copy your original shape. Okay. With this method, of course, you can easily create any image or any model that you have. I try to darken the back of my work as much as I can in different directions. And then I turn over my paper, my models paper. I place it over here because I don't want my model to move. I will actually fix it on my cardboard or on my paper with some paper tape. I use one tape on the top and one tape on the bottom. My work will not move and it would be fixed because you don't want your work to move while you're copying your model. Okay, then you should use a very sharp pencil. You should make sure the tip of it is sharp enough. Then I start working on my model. With my sharp pencil, I start going over my main lines. First of all, I go over all the main lines I have in my model. Then I can go on some of the details as well if I want to. But as you can see, I am moving on each line very precisely because I know it will be totally copied on my cardboard or the paper that I want to create my sketching on. All right, here it is. Just as easy as that. Okay, I work on the sides of the boat, and until the end of this part, I should also work on the lower part of the boat as well. Exactly like the previous part. I work on the main lines. Okay. Now I also want to work on some of the details inside of the boat because if I create them right now, it would be much easier for me. While I want to work on it, I want to put my main focus on texturizing and shading this work. I don't want to spend too much time only on the primary sketch and very simple lines. Therefore, I prefer to copy these, even the details. I can have more time on creating the texture and shading. I should also work on this side as well, and here it is now it's over. Of course. I should also determine this area for the water. I go all around this area this way. It would be much easier for me to create these shapes more precisely. Okay, here we go. Just as easy as that. I also have a rope over here that I also create this. And of course the shadow and the reflection, it has the water. Okay. I check my work once I see all parts of my work is copied or not. As you can see very lightly, my work has been copied onto my cardboard. And that's enough because your primary sketch should not be too dark because it will mess up your work and it will make it dirty. We'll continue in next part. 12. Start Drawing and Shading The Interior Of The Boat: Hello, welcome to the first part of this tutorial with Pen. With me, of course. Okay, we're going to start sketching this model. First of all, I'm going to start shading from the bottom part of my boat before you start your work, I always tell you, be careful that you get the extra ink from around the tip of your pen, because if you don't get that, it will create wanted spots in your work. Take a piece of paper and just clean, clean the tip of your pencil. Clean the tip of your pen on that paper. You get the extra ink off it. I start from the end of my boat. I just go over some lines in order to make them darker. I will not lose my sketch. I will not lose my primary sketch. While I want to shade, I just make it a bit more darker, not too much the same way from this side. I'll continue up to here. And this way mostly I'm moving on the main lines and also a bit of details as I move on. Very easily I determine my primary sketch. Therefore, I can have a precise shading on my work. Well, very nicely and elegantly, I go over the lines that I have created, my primary sketch, and making them one degree D, so I will not lose them while shading Again, I insist, do not do it too much. Do not darken your lines too much in this step. Okay, here it is. And just as easy as that, I will apply most of the details while I want to shade my work. Right now. It's just a basics, not too many details. Here it goes. And I'll do the same thing for these parts as well. Okay. Now, I also have to work on the end of this paddle and this wooden part here, the blanks that I have here on the boat. It's enough up to here. I also work on this lower part as well, as much as I can. Okay, now let's sketch my whole work. I start from the top of my boat, from the top of this area. Based on my model, I apply a light shade here. I work very slowly, I apply some shadings over here. As I move down here, I have an L shape, which is actually placed sideways. I apply this shade over here so I can give this area a bit of volume as well. Then I continue to the rest of the areas. Okay, Of course, one of the easier ways that you can complete your work is to first apply the darkest parts in your work. The dark parts, for example. First I start with applying this darkness, and I'll continue it up to here. Below this area, I will also shade the end of here like this. Then for the lighter areas, I try to control my hand pressure and keep them lighter. The lighter parts. So kept lighter because we're working with Pen now, you can actually make a lot of mistakes. Again, for this side, we need an average shade, not too dark to light. Just be very careful that your hand pressure for the light areas should be really light. How you should do that? We, of course, as I told you before, if controlling the pressure in your hand is very hard for you, for having a lighter shade, you should keep your pen in your hand near to the end of it. As you move your hands to the tip of the pen, well, the shade that you get will be darker. Definitely try to do that. If it's hard for you to control your hand pressure, wherever your pen is, that will make your work easier to do. Here it goes. I keep this area a bit light. And again, from here, I apply the darkness to my work. Over here, I'll make it lighter. Okay. Again, over here, I consider a general and light shade. Then from the bottom parts of them toward the top part of them, I'll try to create a faded shade from the bottom to the top. I also have to consider this area as well and apply the spots that represent a wooden texture like this. Then from the sides of it, I apply the darkness that I see in my work. Okay, now the pen technique is basically playing with your hand pressure. The most important thing that you should learn in this technique is the control of your hand pressure. As, as you have control in your hand pressure, you can create better shades of. And it only needs a bit of focus and practice. Of course, I apply dark shade here with the lightest spot in the middle of it. Then from this top I come down bringing dark shades, also some knots and shapes here. Okay, now from its sides, I should work darker. I should apply darker color here. It is just like that. I'll continue my work wherever I see any darkness in my work. I apply it in my sketch with the control of my hand pressure. That is the most important thing. Again, as I said a then I come down on this side of this pipe, I'll do the same thing from the dark shades. I move my shading toward the lighter ones. See as I start from the side and the edges, I start dark with high pressure. As I move on, I'll make him lighter just as easy as that. Once I do the shading in the opposite direction that I have already done. So I'll make my shades more faded. Here it is. And wait as long as you can and try to keep some parts of your paper white and light. You shouldn't actually feel all the white spots and all the white dots on your cardboard. Because as much as you can keep them in the amount that you want, you can keep your work more natural. If you feel all of them, it would look fake. Okay, we're going to continue next part. 13. Details Of The Boat: Hello again and welcome to the rest of the tutorial with me. All right, let's continue our work together. Well, from here I start a very strong darkness that is actually in a strong contrast with this part. I try to apply this darkness, this strong darkness very cohesively over here. Again, from here, based on our sketch, we'll continue up to here. Based on our model, I mean that this area should be totally dark. The darkness that I want to apply over here is that I start from the darkest part as I slowly move to the other side. So my hands, I start with a very high hand pressure on this side, on the right side. As I move forward and to the other side, I should decrease the hand pressure and lighten it. Okay. Wherever I feel that some shades are not matching the others, I start shading in a different direction so I can make them more cohesive. Just like that. I also create some spots to share the wood texture like that very easily. I'm applying these, the spots and stains for the wood texture. Okay. This shade also continues up to here. And I also want to work on this area, the edges of the boat. I do them totally dark now in P technique, because we have a limit of mistakes and we should not make mistakes as much as we can. You should be really careful while you want to shade areas, especially small areas. It's better if you have a background of shading with pencil and other materials because it will actually make your hand more ready for it. But if you want to start with pens, you should have a lot of practices and exercises you can get scale of shading with pen without mistakes. Okay. I also apply a faded shade here and over here I have a bar which I think is actually the handle of my pedal. I'll just continue up to here. The end of my work, I'll shade it in this way. If you have paid attention, you can see that I've left an area above it, uncolored. I also work on this wooden bar over here. And I'll shade it like this. Then again, I work on this part of the boat, the side of the boat. All right. It has two colors inside of it. Some parts are darker and some parts are lighter. And this actually makes the sketch even more realistic. So I apply it. Okay. I make some parts darker and I just leave some parts lighter as they are. I also need a mild shade over here with a low hand pressure, very lightly. And generally then for making it more cohesive, I definitely shade in the opposite direction. Then I'll do it even sideways. Okay. Now, of course, again, I want to apply some of the spots which are for the wood texture. So here it is. And I come over here and shade this area as well. Okay. As you can see, I've worked on this absolute darkness over here and I lightened, actually I shade it a bit lighter in between each of them just as easy as that it's done. I'm just on the working on some of these white parts a little. It would be actually, they wouldn't be too white and they wouldn't pop so much. Okay. Now I want to work on this side area from here, I'll continue in this way. Then I apply the darkness that I want over here. With a bit of distance again, I apply the darkness in its own placement. Okay. Then I want to also work on this wooden bar over here. Of course, from one side I start dark. As I move forward, I'll make it lighter and lighter. Okay. Now, up to here, this part of our work is done. Now, I'm going to start and shade the lower part of the boat. Okay, I start from here, I'll start shading it without any fear. I start shading this area very dark, because you shouldn't be feared as well if you don't face it. If you're always afraid of applying the darkness, you cannot get the contrast that you want. You should do it. I close the bottom and the top part of it as well, and then I apply a very general shade for it. Okay. Just like that. Here it is. I also apply some of the spots in the work, and here it is. Then I start from this part of the boat, from the front part of the boat, and I start shading. Of course, because this part is more prominent, it would get a lighter shade, just some darker spots in some place. I should work on this area with a light hand pressure. One of the most important things to know about pent is that you should actually master the skill of controlling your hand pressure. Because when you actually decide to use what pressure you want to have over here, you're actually deciding the color of your shade. You can create masterpieces. With that, you should just learn how to control your hand pressure. From the bottom part of here, I bring another shade. The prominent part will actually pop out and it would look good for the bottom part of it in different directions. I start applying light shades just to make the shades of this area cohesive. One line over here and another over here. I apply them both in my work of I apply some spots for showing the wood texture. Okay, Now I want to work on this part of the boat. Obviously I start from this top area and I start and determine the white part of my work. Very organized neatly, I get it. Here it is, okay. Now I also want to work on the lower line as well. So be very careful to create these lines very bravely. Without any fear, you should create very smooth lines. See, this is a brave line, that's what I mean. This is a feared line if you want to create your line like this. This is actually working with fear. These ups and downs, actually the parts that your hand was afraid to do. It was shaking. You were nervous. Or anyways, if you want your work to look more beautiful and you don't get a feeling of fear out of it, try to practice creating a smooth and soft lines. As you can see, I'm applying a very light shade for here. Keep the pressure of your hand in control if you can. If you just get the tip of your pen in your hand, try to change it and get your pen from near the end, it will give you a lighter shade. Okay. So up to year is enough. Let's continue in next episode. 14. Completing The Drawing and Shading Of The Boat: Hello again and welcome to the rest of this tutorial with me. Okay, let's start together again. As you can see from the lower parts of this area, I have more darkness and I increase my hand pressure. But as I move up, I decrease my hand pressure and I try to create lighter shades in order to fade it. See on the lower parts, I have a higher hand pressure. As I move up, my hand pressure decreases because I want to fade my dark colors into lighter ones. See, I also consider some of the darker spots as the texture of the wood, especially for this front part of my work. Okay, here it is. Again, I'll do the same thing for this area. Just be careful that this line should end across from this one. This time, I take the darkness from the lower part and as I move down, I make it lighter. Why? Because this area is more prominent. And as you know, the prominent area should be darker on its surroundings and it should be lighter itself. You should have a low hand pressure and the hatches that you make should be continuously and one after another. Okay, here we go. These parts should be definitely darker. From this corner, I apply the darkness for the wood texture and also the parts which I can see are more deep. As I told you before, prominent part should be lighter itself, but its surroundings should be darker. It can show itself better. Okay. I also consider a very general and light shade for this prominent area as well. I just don't leave it white. It doesn't look good. Just like that from the front part. With more hand pressure, I'll continue my movement here it is. Just like that. As you can see, I am also creating the spots for the texture of the wood. All right. This area should be a little bit lighter. Here. Again, we should apply that darkness. See. Just like that very easily. With a stable hand pressure, I apply the darkness over here. Okay, here it goes. I can clearly see the darkness I have here. And I apply it exactly as I see it. I get a bit of this darkness that I've already applied here. I faded upwards so it wouldn't look like a specific border line. The ending part of this boat would be here. I just make my shadings cohesive as much as I can. Just like that very easily. Okay, now my boat is almost done. I should just work on the water area. Now I determine the area for the water right now. Here as it is. You don't have to create this area exactly as your model. You don't have to copy one by one, line by line. It's just enough to get the general shape of this area. If you want, you can copy it exactly as it is in the model. But I'm telling you if you made any mistakes or you missed some of the lines, shapes, it's okay just to get the shape of this area, the general shape of it is enough. But if you'd like to do more, well, you can always do more. Here it is. Now, what should we do here? From the top, I consider a distance. First I do this absolute darkness for this part of the boat. There is an absolute darkness here at the bottom of the boat. It shows actually the bottom part of the boat, the part which touches the water. And then I keep a white area here like this. And then horizontally, I start shading and hatching, see like this. Okay, from the surroundings I create the shadings. And as you can see, I'm creating hatches which are so close to each other. I start from the edges and from the sides and toward the middle and the center of the water area. Again, I'll do the same process. I'll repeat the same process from the top. Here it goes. Okay. Here it is. And I'll continue all the way up to these parts. All right. Just like that for some parts I can use even darker shades. I shade some areas darker comparing to the others. See like that. Well, I'll try to keep the lines as close to each other. You can see that shaded way in my work. I try to create my hatches and my sha close to each other as much as I can. You can see that they are going to be fainted and the shade is going to show itself. I work on the sides, on the edges, and here it is. I'll continue till the lowest areas. Okay. Now from this side I'll do the same thing. So the process is basically the same and I'll just do it. Even some parts can be darker. Now, foresee the rest of the tutorial. Let's do it in next episode. Let's finish this beautiful sketch together. 15. Completing The Water Part and Finishing The Design: Hello and welcome to the rest of the Sutorial and the last part of the Sutorial. Okay, let's complete this sketch altogether. I start from those parts below the boat and I apply darkness into my work, into the water ripples, which is actually showing the reflection of the boat on the water. Just like that. I'm applying these dark shades to show the reflection of the boat on the water below it. I also do it on these parts which are more behind. I'll continue downward. As you can see, I am changing the shades a bit too. I'm doing them in zigzag. Some parts are darker, other parts are lighter. Here it goes. Okay. So just like the previous line that I've created, I have some more darkness in some parts and some light in some other parts, and here it is. Okay. Also in these parts, I try to create this zig zag shape, okay? And here it is. In here, I create the darkness, just some lines and shapes over here. After that, I make them all more cohesive with a general shade on top of all of them. I take this area out of its very light shade. I make it darker. In other words, here it is, It goes like this. Some dark shades, some light ones. The contrasts of this water can show its most of the darkness are a bit random, except for these very dark spots which are the reflection of the boat. They can actually help you a in getting your works volume correctly and perfectly. All of your shading should be horizontally, you would not lose that shape. The texture of the water should be kept to actually try not to do any vertical shades. And all of your shading should be horizontal. I also apply some more shades just on the edges of these that I have created here. I just get it out of its messy way. As you can see, I am applying a very general shade to get all of these colors and shadings cohesive altogether. Okay, I also work on these very strong reflections here. Okay, Now, for the last step, I get my white pen. Well, first I heat it up on my hand. My white pen. I heat my white pen on my hand. When you want to use your white pen, you should heat it up on your hand. You should do that before you use it. Then I work on the parts, which I need very strong lights in my work. Wherever I have a very strong light in the work, I use my white pen to get them correctly. For example, here I had a rope or a string, which came all the way down up to here I created with my white pen. And then I also create a shine for this bottom part of the boat, which is the place that the boat actually hits the water. And I also create some more lighter spots below it so I can give it more shine, even over here where you couldn't keep the light with the whiteness of your cardboard or your paper. For those areas, you can also use your white pen. Try not to over use it. Use it as much as you need on the parts that you need. Again, I drag it over here, here it is. These parts should be light. I use my white pen. As you can see, I'm getting the lights that I need. Wherever you are using your white pen, you should use it twice or three times so it can give you a strong light that you want. Because drag your white pen only once on an area probably doesn't give you the color, the whiteness that you want because you have a background color beneath it, and it's obviously darker than white. You have to drag it several times, maybe twice or three times, to get the shine and the whiteness that you like. All right, here it goes. Should also apply some more dots and spots. You can show also the shine and the glitter shape on the surface of the water. Okay, this sketch also done, and I hope you've enjoyed it. I'll see you in next tutorial. 16. Basic Rope Sketch: Hello everyone and welcome to a new episode of this tutorial with me. In this episode we are going to create this beautiful rope together. I want to teach you how easily you can create the texture of the rope. That definitely in sketching with pen creating textures is one of the most important things that can make problem for so many of our students. As much as you practice, you can do them better and get a better skill in pen technique. Okay, Just like my previous one. I just do this with coping. I do the primary sketch with copying by darkening the back of my printed model. Then, of course, I fix it on my paper, it would not move. Okay. Now, from this corner, I start going over the main lines to create the main lines of the rope and my primary sketch. Okay, so just like that I'll do it and I'll do it over and over again until I can copy my model completely into my work. Okay, so just like that I'll do it. I go over all the main lines over here very easily. I get the main sketch and the main primary sketch of my work. Just as easy as that. I've created the main edit of my work. I just check one so I can see is it clear or not, which it is. As you can see, my main and basically my primary sketch have been transferred into my paper. Now, let's work on it in next episode. 17. Primary Rope Drawing and Shading: Hello again and welcome to a new episode of the tutorial with me. All right, in this episode we are going to work on this primary sketch that we've already created. Now, I want to start from the corner. As I move to the other side, I want to finish it. First of all, I place this line in its own placement, but very lightly. Then again, very lightly, I apply a very mellow and light shade for it. And I'll do the same thing in opposite direction as well, like this. Okay. Now, for this middle part, that is actually between two prominent parts and obviously has darkness inside of it. From here, I try to apply a darker shade. I faded. As I move toward the center again, I see this middle part is dark because it's been placed between two prominent parts. There should be dark. Then obviously I'm going to make my shadings more cohesive like that. And then from here, exactly like the previous part, I'll just repeat the same thing like this. And I also apply this darkness a little in the previous part. Here it goes. Okay, now I want to create the third layer, and I'll do it very softly. I'll shade very softly, especially from these edges and sides. And wherever I know it's deeper and the darkness is more like this. You should pay attention. The things that we are doing right now is actually the foundation of our work is just a background color. We are actually just preparing it to create the actual texture. We're just preparing it right now, this is background color and just a foundation. That's it, okay, here it goes. And then very beautifully I apply this. Dark shade by throwing them off and in different directions in lighter areas. Okay. Then I can move on to the third part. The same way, of course, from here, which is considered the lower part, the part below the main part. I try to apply the darkness as I move toward the center. I make my shades lighter. The process is basically the same for each part. You just have to pay a little attention to the directions that you're to the parts that you're shading. Either you want them to be dark or light. Here it is. And very beautifully I fade this darkness here. Okay. Then I work on this area again and completely. I'll fade it, okay. So I apply a general shade so my work will look nice and look cohesive up to some level. You see what is this happening over here? This happens when you don't get the extra ink off the tip of your pen. So if I have done that, this wouldn't happen. Now, I have unwanted spot here, but I'll later tell you how you can fix it during your work. Try not to make it by taking off the extra ink from your pen tip. If this happened like that, like it happened for me, I'll tell you how you can fix it. Okay. This area is totally dark, so I apply a general shade for it again. No, it will look like this. And then very slowly, I drag this darkness to the right side of my work, and I'll fade it at the same time, very slowly. And step by step I'll follow and I'll continue my work. Well, I also have a strong darkness on this side. On this corner, I'll have it from this side as well. I apply it here as well, just as easy as that. Okay. I'll do the same thing for the other parts as well. As I told you, the process is the same. Basically, you only need to understand where is the deepest part of your work and the center of your darkness. When you find that the rest is too easy, that's the most important thing for you to know. Understand and find the deepest area and the darkest part of your work, which is the center of your darkness from there. When you move to the other parts, you try to fade darkness into lighter shades. Okay? In this deep area, I have a stronger hand pressure. And as I move up, as I move to other parts, I decrease my hand pressure. Okay. The next part that I can actually tell you, it's dark totally, but don't forget to get the extra ink off your pen tip. This area because it's inside of the knot. Totally strongly dark. Because it's inside of this knot that we have in our rope. I just apply this darkness exactly as my reference, as my model. Okay. And of course I spread this darkness into this upper area. See, it's highly darker than the other parts because again, I insist it's inside of the not. Okay. And I'll do the same thing for here. Has the same position. So I'll do the same thing for it. You should work on it very slowly with hatching in shades. And just like that, we've created this darkness, the strong darkness over here as well. We also have some more stronger darkness. Even they should be darker than this that I've created right now. But remember, this is just a foundation of the work. I am going to apply some of my shades or some of my darkness while I want to take it to the next step and create the textures of the rope, just like that, I can work on the next part of the rope, which starts from here. Again, I start applying very general shades, general and light like this. And just like that in the upper parts, I'll fade it totally. So here it goes. You shouldn't lose these lower parts as well. I mean, do not forget about them. We have to work on these lower parts as well as we do on the upper parts. They are just as important. Okay, just like that, I went over the lines very smoothly. Let's continue in next episode. 18. Create a Rope Texture: Hello again and welcome to the rest of this tutorial with me. All right, in this part we are going to move one step forward. And after we've created this beautiful foundation, I want to start creating the texture for the several parts that we've done. First, you should take off the extra ink of your pen tip, then you should start right from this corner and start and create the texture, see in the rope texture. The directions are really vital. Just like that, I create a texture for my robe in this sideway direction, in this curved shape. Now in the darker parts, I'm going to actually create my shades darker of wherever. It's light shade, light overall. I have my texture in the direction that I want, as easy as this. Okay, I create actually not very organized textures. This is a texture that I'm creating. See, it's not very straight, it's like zigzag lines and zigzag small wines going into one another. This is a texture that I'm going to create for the rope, but again I say the direction is very important. Okay, I do the same thing for this next area, and then very easily I move toward the direction of me and I create the textures for it. Then I wait as much as I can, I can actually fade these lines in between the parts. With creating my textures, I'm going to fade these lines in between these different parts. With creating the textures, I try to do it slowly. I don't want to rush through it just as beautiful as that. As you can see, my texture is showing itself. I'm going to do the same thing for the next part as well. You should have a lot of focus and a lot of pressure on the dark parts and darker areas. As you move toward the lighter areas, you should decrease your hand pressure. Other than that, keep your focus just as easy as that. I also create some zig zag shapes inside of it. Just like that I get the texture and the shape of rope. It can clearly be seen now. All right, Now for the next part, I'll do the same thing. The process is totally the same. I just have to repeat it on different areas, just have to pay attention about the textures and about the direction of the textures. Because again, I emphasize on the fact that the direction of the textures that we are creating is very important in the per sketch and create hatches next to each other. They will look more continuous and they will look more cohesive and they're stay connected to each other. You shouldn't create them separately. I mean that it shouldn't be in a way that you can actually count the lines or separate the lines. They should look very cohesive and tangled together. Okay. So I've texturized my work up to here, See if you're paying enough attention. It's a really easy job to do. Okay, then I'll repeat the same thing from here in this way very beautifully. I get the textures of the rope. Again, I'll do this for the next part. One thing that is very important in this texturizing is the fact of the direction of the texturizing. Again, I say, for example, if I have this direction, I shouldn't shade in the opposite direction. That is the problem with so many of the textures that they don't show themselves. It doesn't matter what the material is. It could be a metal paper rope because each one of them have their own method of texturizing. But sometimes when you can't create the texture that you want, the problem is actually the direction of your shading. If you don't apply your shadings in the correct direction that you have to do for that type of texture and that type of material, it doesn't matter how correctly you apply them. If the direction is wrong, it doesn't give you that texture and that material. It is vitally important. All right. As I told you before, this area is I should create a dark textures here. This is the darkest area of this work. I have to create very strong textures without any fear, with a lot of confidence. I give this area a lot of darkness. Here it goes. Well, now I emphasize on the darkness a bit more so I can get the volumes correctly. Actually, one of the things that can create great volumes for you is the contrast that you create in your work and in your shades. It's the same way from here. All right, now I start again to create a foundation and a background shade for the lower part. Now I start from the darkest area as I did in all the previous parts. And as I move toward the lighter area, I decrease my hand pressure in order to get a more normal and lighter shade. The hand pressure is high. As I move toward the light, with controlling my hand pressure, I decrease it. I'll do the same thing for the next part. Again, I start from the darkest area. I fade my dark shade toward the center. And the lighter shades, of course, I consider a very general and light shade for this area. Again, I say after texturizing the upper part, now I'm doing a foundation and a background shade and color. For the lower part. In each part, I'm going to shade in different directions to get a nice foundation. All right. Now as I am applying the shades, I'm also applying the textures just like that. I have more hand pressure in darker parts and deeper parts which have also gone in, so I can get the volume that I want here. Okay, now I want to work on the next part. I apply a very general shade for here, general and light, in order to increase the control of your hand pressure. If you want to improve your control on your hand pressure, especially in technic, you can actually understand how you can texturize each model. What you need to do is to work on different sketches with different textures and materials. It can be a fabric, metal velvet, or anything that you like. It can actually help you a lot. Your eye will get more comfortable actually. Your eyes will sink with your brain. You know what kind of texture and what kind of material it is. You can apply it and work it the way it is. If you can practice on different textures and different materials, that would be great. You should practice them over and over again until you master the technique. So you can work on a lot of different models. King and I will have some more darkness over here. Just like that. So now I move to the next part. I create a very general shade as you can see. All right. So it's a very easy thing to do, to create a base for here as well. And wherever I can see more darkness, I apply more darkness. And wherever I have less darkness, control my hand pressure and decrease it in order to get lighter shades. And again, I emphasize on the fact that one of the most important things in pent technique is to control your hand pressure. That's actually a re scale key. Okay, again, I start texturizing especially from here. So here it goes. And very slowly I create these textures here. All right, here we go. I keep this part of my work which is light. There's a strong light in my work that I try to keep and don't go inside of it too much. Okay. It's enough up to now. And let's do the rest of it in next part. 19. Continue the Drawing Of The Rope: Hello again and welcome to the rest of this tutorial. Okay, in this part of our tutorials, we want to work on the rest of this rope. Now we are in the beginning of this, not again, I want to work on the upper part first, I want to start here. Going down to here, and I consider a very general shade for my work. Okay. Layer by layer and in different directions, I create a very light shade over the surface. So it's very easy. It's basically the same way. You should just be able to spot the correct placement of the darkness there. Okay. Now, wherever I found the darkness with a controlled hand pressure, I apply dark shades on my work. And as I move toward the center or the lighter areas, I decrease the hand pressure K. Now, because the darkness actually makes a shadow over here, I should also darken this area more because it's a knot. This part and it's a twisted knot. This part lapse over the previous part. Therefore, this side of it would be of course, and I'm going to create this darkness with constant hatches and with controlling my hand pressure. I've created the shade in different directions, just like that. Okay. We should work on the shades of 2.3 parts and then we can texturize them afterwards. I'm going to create a foundation first for several parts and then texturize them. This lower part will definitely be darker and it's going to fade away as it moves up. Okay, now also for the next parts, I'm going to do the same. I'm going to apply my shades considering these two more parts. I'm going to create the foundation for all these three and then text them afterwards. Now I'm going to create a general and complete shade with a stable hand pressure. Do not forget that while you're working, you should definitely check your pen tip and take, take the extra ink off of it, you won't create any unwanted spots. This way. Now I try to drag the darkness as that much into my work. From the dark parts, I have to shade darker. Obviously, I'm working on these edges on the sides which they have more darkness without any fear. I apply this darkness on the edges and the sides of my work. Many of the students are very afraid of placing the darkness, especially in pen method, pent technique. They have a lot of stress for placing them. Because in pen technique and the technique of sketching with pen, it's a bit difficult to fix, create darkness by mistake. But something that is very important for you is to know. Unless you don't create any darkness in your work, you cannot get the great and enough contrast in your work that you want. Your result will not get the quality that you want. Therefore, the outcome of your work, it's not the outcome that should be. Do not be afraid of placing the darkness, but be careful of where you place them. Because as much as the darker spots are important in the work, placing the light in the work is also important. We should get both darkness and light in our work. You should consider them and apply them based on your model. Not less than that. Do not be afraid of ruining your work because the worst case scenario is that you'll start another work. Don't worry about it. This is art. If you fail more, well, the next time you'll actually work on that stronger and better. If you don't make any mistakes, how are you ever going to learn? So don't worry about ruining your work and starting over, especially in sketching and painting and these kinds of arts, because it's actually one of the steps of the process of learning. Okay, then I look at my reference and I see ever it's darker and ever it's lighter and I apply the same thing for these. I'm continuously checking my work with my model. Okay. Again, I say constantly check the tip of your pen so it wouldn't get any extra ink off it. Okay. I shade this area generally and completely, so it can make the whole area more cohesive. Okay. I really enjoy of shading this type of models and this type of sketches, because as it moves on, it is actually showing itself more and better. I really enjoy it. I also shade this area generally and lightly again, as you can see, of course, darker on the edges in this way. And just like that. Okay, now I start from the first part that I, that I had created and I start creating the darkness and the textures here. Now I'm creating these textures based on the curve that I can see on my rope, and the direction would be the same way. Be really careful about the direction and the way that it's curved. All right, I try to organize the shades a bit more. I also apply the textures very lightly in the lighter areas, in this way. Now I work on the other part, and based on the curve of my rope, I am applying my textures. All right. Okay. And then I'm going to work in the dark parts with higher hand pressure and in the lighter parts with the lower hand pressure, of course. But I'm creating the textures here, should keep in mind the direction, the hand pressure, and the curve of the rope, because it's a bit twisted, I come down and for this lower part, again, based on the curve of my work, I create my textures in the correct direction. See how I'm doing them, just this way. Okay, now in these lower parts where I have darkness, I should have higher hand pressure. I also fade the specific lines between the parts. They shouldn't be left as lines, they should be faded into all the shades. I also do the same thing from the other side, the opposite side as well. Wherever I hit the line area, I just let them go. Let the texture lines go. Now, let's continue in next part. 20. Drawing and Hatching The Knot Part Of The Rope: Hello again and welcome to the rest of the tutorial. All right, let's continue all together, we had actually created the foundation of this in the previous episode. I just have to apply some more darkness and then I can texturize it. See, now I'm just applying the darkness. Here we go. Just in this way, al right, now after I have created the textures, I should also apply some small lines in between the textures, it would look more natural. All right, now I'm going to work on the last part of this area. Again, I apply a very general shade and the light one in this way, and here it goes. Okay. Now I'll continue, and from here we move to the other part to complete this. Okay. I should also work on this area which has been left out. We can move to the next part. This area is very strong dark area because all of these parts have actually elapsed over this area which is underneath all of them. The shadow of all of these parts above it are actually on here. Therefore, this area is dark. That's why I do the darkness over here, as you can see. Okay. Very confidently, I apply these shades and these hatches right next to each other, just like that. Okay. From this curve I have my darkness. And as I move toward the opposite side, I'll decrease my hand pressure. This area would be lighter, which is obviously more prominent. I cover this area with hatches which are so close together, and they gave me a very smooth and beautiful shade. Here it goes and here it is. Okay. Now, I should apply the darkness more. Wherever I can see stronger darkness, I work on it more. All right. Here it goes. I would also work on the darkness of the previous parts once more so I can get its general color and shade. Okay, now I'm going to this area which I completed, its background color. It's time for the textures, and here it is. Now we are going to work on the next part of the end of the rope. Before I start shading, even for the foundation, I'd have to do this frameworking for the different parts of the rope. I won't lose them. And I would know what kind of shades I should use for each part. For example, which parts should be darker, which parts should be lighter. So just like that, okay, I want to have the general shape of my work. And with this frameworking, I know where everything goes, just makes your work easier. Just remember when you're creating these lines, you should remember not to leave them like them. I mean, while you're shading, you should make sure that you will fade these lines into shades. We shouldn't leave any specific lines in our work. Okay? And it doesn't look well. I determine all these parts, so my work will be a complete. Okay. Now let's do the shading for these areas. I want to start from here and I want to do this exact same process as I did in the previous parts. That means first I have to create a general shade, a foundation and background color. Then on top of that, I'm going to do my texturizing just as easy as that. You should be very careful because this area is actually on top of this part. Therefore, there is a shadow made by this area on my new part. Therefore, this part would be, these points should be dark because they have the shadow of these upper parts above them. Okay, here it is. And with a very controlled hand pressure, I'm going to drag these shades and fade them from the darkness toward the light. Okay? Now I want to work on the texture for this area. That again, based on its darkness, it will have a dark texture, obviously. Now, for the next part, for example here, this part right next to it, the same thing happens, okay? Now from here, I apply the darkness that I want. I apply them here with a general shade in this way. And then again, I move in opposite direction. Here it goes. Now, I would also create my darkness with my shades. Just as that I'll have these shades. Okay, I'll fade the darkness completely as the shape of the shade. And also from here, I'll do the same thing. I apply my darkness, and then I'll fade it. All right. Now I want to start texturizing it exactly in the direction of the curve that I can see here on the rope for this area. I'll do the same thing. I apply the darkness and then I faded through the rest of the area as you can see. Now again, I can start texturizing this part of the rope in this way. Okay, now I drag the darkness from here upwards. I can also get the volume of my work in this way now for watching the rest of the tutorial with us in next episode. 21. Continue Drawing The Right Side Of The Rope: Hello again and welcome to the rest of the tutorial. All right, now we are going to work on the shades for the new parts as usual. First check the tip of your pen to get the extra ink off, then you can start shading. Of course, for the foundation, I get the shade I actually guided through here. This part is light, upper part is light, and it's of course dark on the sides and the edges. As I move toward the lighter areas, I decrease my hand pressure so I can have lighter shades. Okay. Also a little I want to work on this area and the darkness down. Well, the darkness that I have is here. This is actually the center of the darkness. And I work it based on my model. See, now, after I've done the foundation, I can start texturizing my rope on this area. Very organized and patiently I try to work on this texture here. Okay, now again, from here, from this part below the previous part, I start with a very strong darkness. I am going to shade all over here. I will also fade all of my shades into one another, because at last I want a cohesive shade. They have to be faded like this. Okay. Now I'm going to fade this darkness from the darker areas toward the lighter areas with decreasing my hand pressure. Now I want to texturize. After creating the background color and after applying the foundation, I'd like to texturize the area. Actually, I have to do that again based on the direction and the curve of this area. I start by text. In this way, I will also keep the light area. Okay. Then again, I'm going to start from this part, the part right below or underneath the previous part. So I start very dark over here and I move toward the lighter areas. Okay. Then I apply another general shade over here. And here we go. I would also fade the darkness that I have applied over here. And I control my hand pressure from a high hand pressure to a low one. I completed it in this way. I do the fading till the end of it. Okay. Now I'm going to work on its texture. That again, I should pay attention the twist and the curve of the rope, because it's middle of the knot. As you can see, it has a strong twist. Consider it. When you want to textize this part or any other part, the direction is very important. Okay, now I move to the next part. I start creating a very general shade for all these three parts altogether. You see you can get the general shade first for all these three parts altogether. But later when you want to create the volume and textures, you should do them separately. This is a very easy way you actually shade all of them together. So generally then you can work on them separately. I apply my shadings. Generally, wherever it's darker, of course, I use more hand pressure. Wherever it's lighter, lighter hand pressure or lower hand pressure. Okay. Then I will continue my shade like this. Now, for each one of them, I'm going to create the contrast that is needed. Of course, the lower parts would have more darkness like this. And just like that I come over here and I create the texture for it like this. And just as easy as that. Okay. Now I want to work on the next part. Now for this part, again, I am going to text and shade based on the curve of my work. Okay, here it is. Over and over again, you should just practice the same method, the same skills, until you can get a handle of it and you can master it actually. Okay. After that, it would be easy for you to determine what are deeper, darker, what parts are lighter, what's the direction, how you can get the right texture, and so on. Okay. Now I make it more organized. It was too random and a bit messy. Now I'm going to work almost on the last part. Again, from this part I have a very strong darkness and I apply it now I texturize it very easily. And of course, the last part, this small part, should be done as well. Do not forget about it. Okay, now let's work on the next part. And this is actually the ending part of our work. Just like the previous parts, I'm going to start shading. This is the last part of my work, as I told you, for the background shade, for the foundation for this general shade. You can do several of them together, but for creating the volume and shaping the texture, you should do them separately. Okay, then I have considered a very general shade for the whole area looking like this. Now we want to work on the volume of our work on the volume of each part. Actually, I start from over here, start from the dark areas and then get the shades to create the contrast like this. Again, I'll repeat the same thing for the next part. Now be with us for the last part of this tutorial. 22. The End Of The Rope Drawing: Hello and welcome to the last part of this tutorial with me. Okay, now we're going to finish this beautiful and greater sketch altogether. Now, like the previous parts, again, I start from the darker areas because this darkness shows the deepness, depth, and well, a deeper area in my work. First, I shade this area generally, then I start from the darker parts I want to shade first. I want to shade all of these areas generally, and create their foundation and create a good contrast for them. And then I want to work on their textures again. For the next part, I'll do the same thing from here. I start with more darkness. I apply this shade for here and also for here, like this. Then I also organize my shades a bit more, getting from darkness to light. And then I move on to the next part, exactly like the previous parts. I'm going to do the same thing for here too. I work on him. And also from here, I want to create some darkness for my work. I actually consider it for my work. Okay? And just like that, I move up very organized, very neat, with a controlled hand pressure. I'm applying all these beautiful shades in their own places, and I fade all of these darkness into the lights. I want to have cohesive shades. Okay, for here again, I start with dark colors. And then very patiently, I apply the darkness first. And then I faded into the lighter areas, give it its faded shape. The last part of my work is here now all the foundation is finished. Of course. In the next step I'm going to t this last part of the work, let's do it now. It's again, exactly like the previous part. Based on the curve, the twist, and the direction of each part, I will create its texture. While I am texturizing, I should definitely consider the direction, which is the most important thing, and the curve and the twist of that part of the rope. Okay. And just like this, I'm moving part by part and I'm texturizing them again. From here, even my textures are darker. As I get to the light, my textures would also be lighter. Here it is, okay. Now I have moved on to the third part in this way. Okay. As I told you before, so many times, wherever it's darker, you should use higher hand pressure, even in creating the textures. Wherever it's lighter, you should have a lower hand pressure, even the textures would be lighter. Okay, moving on to the next part. As you can see, I have also faded all the lines in between each part because I don't want them to look like actual lines. They should be definitely faded like this. Okay, Now I want to work on the last part of the work after here. Okay? Just like that, I finished my beautiful sketch. See, it was very easy. Should just pay attention to the details of your work, like the direction, the twist, and the rest of the things that we've said during the course. Okay, I hope you've enjoyed creating this beautiful sketch with me as much as I did. This is a beautiful rope. Just be careful, work on the shades and the textures correctly. Okay, I hope to see you again in the next tutorials. 23. Basic Flower Sketch: Hello everyone, and welcome to the first episode, and the new episode of creating another beautiful sketch together with pens with me. Okay. Now, in this episode, in this part, in this chapter, we are going to create this beautiful roast flower. This time I want to show you how you can create a texture, a very soft texture of petals and other parts of the flower, and how you can actually create this beautiful contrast for it. Now for creating the primary sketch of this model, again, I'm going to use the copying technique. Let's do it together. As you can see, I have blackened and darkened the back of my work from before so that we can do the primary sketch by copying it. Therefore, I'll sketch right here. I fix my model actually on the paper that I want to work on. One on the top, one on the bottom. Then with a very sharp pencil, I start from the central part of my model and I start copying it. See, just this way, I am copying these petals one by one, very carefully. Okay? You should put each one of them in their own placement. Here it goes. You should go over all of these. Pay attention to be careful about the direction of the petals. You should know in which direction they are placed. And you should also create or go over the water drops in their own positions. Very important. Okay. I'll continue. I try to create the details of my work as much as I can in this way. Here it goes. I also have another pedal here and so on. If it's hard for you to know which parts should be dark and which parts should be light, you should also go over those parts too, so you can determine the area that you want to get the darkness or finish one. Okay, Here I have also some kind of a shadow on the pedal. I go over that too, basically. First I go over the main parts of my model and then of course I go over the details like water drops, like shadows and stuff like that. The ending part of my toe is like this. Okay. You can also check it once to see if all of your work is copied or not. I'll check it and I'll see, yes, all of my model is copied here. Okay. Now we are going to do the next step to start sketching this beautiful rose flower. 24. Beginning Of Petal Shading: Hello and welcome to a new episode of Sketching with Pen with me. Okay, in this episode, we are going to work on this beautiful rose flower together. Okay, which part should we start? We should start from the center as we started the copying. But before you start, it's better if your primary sketch is dark as much as mine, it's better for you to use your eraser and lighten it a bit and then start your shading. Okay, You should start from the center. You should start your shadings from there. Don't forget to get the extra ink off the top of your pen so you don't have any unwanted spots. Okay. Then we determine the areas and therefore, we can understand the direction in which we should shade. Okay. Now that I've determined what I want for my work, I start shading. I do not want to work on the very small water drops, but I would work on the big ones that I have here. Because I'm not working in a hyperreal style. Therefore, I just have to create the general things in the general shapes. And mainly want to teach you how you can create the texture of the petals. Okay, let's start together. Right from here. Right from the center, I start with creating a very strong darkness. As I can clearly see in my work, it starts shading there. Okay. Just like that, with controlling my hand pressure, I drag this shade toward inside. Okay. Just as easy as this, be careful for these soft textures like for example, petals. You should be very patient and you should spend a lot more time for your sketching, because as much time as you spend on it, the result would be much more better. Because while you're shading the smoothness and the softness of your sketch is important because you've got to get the textures right here, it is like this. I'll just continue, I'll do the same for here as well. Now, again from the stark part, I'll continue with a high hand pressure. Little by little, I try to make it lighter again, I say, little by little, you shouldn't do that, all of a sudden, Okay. Then I apply a very cohesive shade for this area, and then I come up for this upper area. I'll do the same thing. I start very dark and step by step, I'll make it lighter again. Very, little by little, very slowly. I lighten it, okay? I keep it like that, therefore it can show the bend and the turnover of the pedal for me. Again from here I apply the darkness. Then by little I lighten it. The hardest part of creating these areas, it's really easy to do the rest of the work. I'll just continue like that. And then I have a very white area over here. I leave a white area over here. And then again, I start applying the darkness from this side, from the left side, based on my reference. As I move up, I make it lighter. But I should do it very slowly and step by step. I shouldn't just suddenly change the color with creating a shade in the opposite direction. I'll just do it, okay. For all of this place. I create a very cohesive shade. Some parts are darker, as you can see. Some parts would be lighter because this contrast is exactly what can make the volume for us. Even on this darkness that I've worked over here. I do some fading, practically fade this darkness here, just like that. I just apply a mellow shade on the parts that I've kept white. I create a very light shade all over them like that. I also create this water drop that I have here. And again, similar as to my reference, I work on it. I give it a shade. All right, Just like that. Now from here, I come over here from its lower part with a very strong darkness. I drag it and I come up, and then very slowly I faded again, a very strong darkness here. As I come up, very slowly faded. Just like that. Really easy. Okay. Now, again, I go over all the darkness that I had worked on before. Just enough to get the color that I want in those areas. Now I'm going to work on the bigger areas here. We have to create the bigger petals as well, just like that. First, I separate this area from the outer parts and from the sides and the edges. I start doing dark colors. Also on the parts, which we can see there is a depth and it's deep. We should also use dark colors and make them darker. As I move up, I should actually make it lighter. This beautiful shade can only be created by the control of your hand pressure. This is vital for you. This is really essential that you can control your hand pressure perfectly so you can get a beautiful shape like this. I also create a bit of darkness on the top, so I can show that my petal has been folded over and has been bent over again. I say it's very important to be able to control your hand pressure, creating dark shades in some parts and light shades on some others. In here, you should have a very strong hand pressure to create. Much more darker shades. And also in this lower area, that is basically the depth of your work. Where very deep, where it's on the edge and on the side, we should start dark Also from here you see from this inner area because it's a deeper, I start with my dark colors and I start applying the darkness. I come up, as I move up more, the darkness should be more faded. Should get more faded. Actually, it's dark on the bottom, in the deep areas. But as I move up going toward the prominent areas, my shade should also get lighter. You can see that very easily. As I move up, I try to lighten my shades. And at the same time as I'm lightening my shades, I am also fading the darkness. I will not create any borders between the light shades and the dark shades. They should be faded and blended into one another. That's why I am dragging the shades toward other areas as well, because I don't want them to be separated from each other. This is actually one of the things that can really help you in the softness of the texture. Okay, I'll continue like that. And your shading should be also in several directions, therefore you can show the faded shape of your work. See here it goes. Okay, In here I have a petal in this shape, and another one over here, also over here. I'm just trying to follow the shapes that I had in my primary sketch. Therefore, I create the general shape of my petal and then I can work on its shading. Okay, now from this lower area, I start very dark. As I move up, I lighten it to continue with this. Follow us in the next episode. 25. Continue shading the petals: Hello and welcome to the rest of the tutorial with me. Okay, let's do the rest of the shading of this beautiful flower. I was working on this new petal over here. I keep this light over here. And then with a high hand pressure, I drag this strong darkness toward the upper parts of my work. Just as you can see now, without any fear and with complete work, you can actually bring this darkness into your work. Then you should shade over here very cohesively and continue this fatness up to here. I'll create a shaded shade, faded shade. Then I do the fading of these parts slowly. Now, I'll continue the same thing from over here. Very lightly, I don't want the darkness as much as I have over here. So I would have the contrast, and the petals would not actually mix into one another. But slowly, I create this shade in this way. See? Very slowly, I'll continue until the top part of my work. Okay. Now from here again, I apply the darkness upwards with throwing them off at the end. I'm also very careful that the darkness of here should not be as much as the darkness of the upper part. Very slowly. With a lot of patience, I am applying these shades. You should do them in different directions. Therefore, the trace of your pen would actually disappears in this way. See? And just like that until the top of my work I'll continue. Okay, so I'm just dragging and shading over here. Then I make the shading on my pedal cohesive and make them cohesive, then you should take the extra extra ink off your work. Then very slowly apply the darkness over here. You should create the darkness in their own placement. As easy as that. From the slower area, I apply more darkness, and as I move up, obviously it gets more faded and lighter. Okay. So just like that and just easy as that. Then with a bit of distance, I also work on the pedal behind this one. See in the very strong darkness. Little by little, I decrease my hand pressure and it turns into a lighter color. I start of hand pressure darker shades. As I move, I make it lighter. Okay. So I'll continue and then I apply the darkness over here. You should have a very good control on your hand and then you can actually control your hand pressure. Definitely the beauty of your work would be much more because of the pen technique actually depends on your hand pressure. If you have a good if you have a good control on your hand pressure, your outcome would actually look great with less hand pressure and less darkness. I should work over here on this area. I continued and that's it. Okay. Now I would want to work on this other part. I should have this over here. You see, I am keeping this very thin area light and white. Now from here I'd like to apply the darkness. See, I kept that part light and now over here I can apply my darkness again. As I told you before on the edges and on the deep parts, we have a strong darkness. I am applying this darkness with a high hand pressure. As I move up very slowly, I fade, it hatches should be continuous, and one after another, you should also create your hatches and shades in opposite directions as well, for two reasons. First of all, you should actually cover the whole area that you're shading and second of all, you shouldn't leave any traces of your pen shading and hatching. It can do the both for you See? Just like that. I'll continue. I create the shade in different directions. Therefore I can see the shape of fading and becoming cohesive. For this part of my pedal, I want it to be faded. Now, I'm going to do more hand pressure for this part of my pedal, also here. Okay, then I consider a shade for this water drop here. It would be faded like this. The water drop should be shaped but not very clearly. Then I'm going to move on and work on the next part. I'll continue my shade over here, but because here it's a white area, I should keep it. See, be careful when you are creating this shade as it gets to the edge of the petal. On this one, as it gets to the edge of the petal, it should be lighter. I'll just continue like that. I create a very soft and smooth shade for this petal over here. Just as beautiful as this, the more number of petals that you're working on, the better contrast you can see here. For creating this beautiful sketch, you should spend a lot of time, because you should do these petals one by one. Therefore, you can get a great outcome and a beautiful result. We also create the shades in different directions. Therefore, it can be soft, smooth wherever you think it's lighter comparing to the other parts. And it needs more darkening. Therefore, you should go over it with another higher hand pressure and get the darkness as much as the other parts. Okay, now I would want to work on the next part which is this. Okay? Again, right from here, I want to do a light shade and then I keep this area, I keep the edge of the pedal lighter as it is here. Very slowly, I'll continue. Okay. Then I move for the next part and then I create a distance. I create a very thin area over here. And I keep a thin area between here for a strong light, and I try to keep it white. Then I consider darkness for this other petal, again, as I told you, I try to keep this area a very thin area, light in here. And then I can continue with the rest. Okay. Just as beautiful as this, it will be made. Okay, now for watching the rest of this tutorial be with us in next episode. 26. Petal Folding Drawing and Shading: Hello and welcome to a new part of this sketching with pen with me. Okay, let's do the rest of this beautiful sketching together. Okay, I'm going to work on this bigger petal here. First of all, I'm going to determine the area around the petal. Basically, I'm frameworking it with my shades, and based on that, I start my shading. Now I go all around this area with my pen and I'll do my linings very lightly. Then I start from this area, which is basically the darkest area. I start with a high hand pressure and I start shading it. As I move up, I'll decrease my hand pressure, therefore, I would have a lighter shade for my work. Okay, now as you can see, I'm shading in different directions and in opposite directions, layer by layer with my pen. I'll continue the same way until this upper part, and I'll just continue the shading from the bottom to top. And from the top to bottom, I apply these shadings like this layer by layer, just as you can see. I'll continue that in this way, even from here. I'll just continue the same thing. I'm also keeping an area white in this area because it's been bended backwards. It's totally white. But underneath this area that has been bent backwards, I'm going to do my shading. But as I told you, really careful not to shade that area. Then little by little I come down. I'll do the same thing in these parts as well. My shading process is the same as I come down. Okay. You see again, I'm going to shade this area from this side, from the right side. And these edges, in order to get a better color, I need a stronger color. I will continue this shading in all different positions and directions. Therefore, I can get the tonnage of shading that I need. I'm just adding the layers of the shades until I can get what I want. I'll also from here, and I have a water drop here, so we'll consider that as well. Then I go totally dark in their surroundings. Okay. Therefore, I'll apply this darkness. Okay. These parts should be definitely dark as well. Therefore I have to make them D. Then I can move toward the center. Okay, Then I've got some shades thrown off from the darkness toward the light. Just the same procedure by repeating several layers on one another. So I'll continue. I'm pretty much done with this one. You just have to do the layers enough and with a controlled hand pressure then it would be easy for you. And slowly I get my shades very soft and I'll darken them at the same time. Okay, here we go. Goes like this. Then I'll use my shadings in an opposite direction in order to make my whole work, my whole pedal look more cohesive. The shades of. Okay, I'll continue over one another. I mean, I'll continue this layer by layer over one another until whole of my shade would be very cohesive. Just like that. And then I'm going to use this bend underneath the underneath St part again. I will work on this other side of my pedal which is dark. And I'll do the same. I'll continue this way. Okay. Now I work on all of these shades in this light area, but I'm going to do them lightly. I'm going to have and apply these shades in the light area but they would be lighter of I'll do less layers. Just like that. You see? The thing that is important is that my friends, you should spend lots of time on this beautiful sketch. You see, I worked a lot on only one pedal. You should definitely work on it more than I right now. Because now I'm actually giving you a tutorial. I'm going to do it fast so you can learn more. But if you want to work on something like that, you should definitely spend much more time on it. Don't rush it and be patient with it. Spend as much time as needed on it. The more time you spend, the slower you work on it, you can get a better outcome, trust me, especially when you're working with pen technique. Actually, necessity of it is spending time on it se then I move to the next pedal, but before that let me just get this water drop as well. I just need a very, very mellow shade for it like that, you know. So here it goes, just a mellow shade would be enough here. But in this area, which is basically the edge and definitely it's deeper, I'm going to have a darker one. Okay. So I'll continue, I work on the rest of my work. I'm going to start the next pedal. I want to work on this one. I'll keep this, we'll keep the shape again. I do a light framework for my work, a very light one, just like that, okay. Then I start shading from the light toward the dark. I just keep these water drops here. I do not go inside them, definitely. I won't shade them because they should stay as light as possible, even white maybe. Then I start shading from this line that I've created for this petal so I can get it out of its Linar shape and it would be faded and it will blend in as you can see like this. Then I would have a very slowly shade here. Okay. As you can see, I'm working with a very light hatches and they are also very close together. So just like that and it would be the same from this side. I'll just continue my work. I'm getting these shades layer by layer on top of each other. I place these shades on one another layer by layer until I get the color that I want. 27. Petal Hatching and Water Drop Drawing: Hello again and welcome to the rest of the tutorial with me. Okay, let's do the rest of our work together. Let's just continue then again, as I told you, by layer I'm going to apply these light shades on top of another. At last I can get the shade that I need. As you can see, I'm just doing them layer by layer. I'll continue also from here. Again, I just emphasize that. Remember to keep the water drops light, it goes like this. As you can see, the layers are being perfectly matched on top of each other. They're blending. I'll just continue my work and I'll do this shading in different directions. Therefore, I have this shading for my pedal. Just as this I come all the way down, all the way down to this point. Okay. Now right from here, I should give some darkness to my work. And then little by little I should darkness in upper areas. Then very slowly I'm going to do this. I am going to fade it very slowly. See, then I'll shade it in so many different directions as I told you before, Here it goes. And then little by little I go up and I'll just take this darkness with me. See, just like that. So I'll just have my shadings and I'll faded so cohesively even with the darkness that I have here. All right. Now, if you keep the distance between these hatches in this kind of shading, all of these shadings are created by the hatches. Basically, we are using very thin, narrow, and constant hatches, and we are creating the shades with them. Therefore, as much as these hatches are closer to one another, and the distance between them would be less in each tonnage, dark tonnage, or the light colors, the lighter shades, it actually gives your work more smoothness and softness. It's better that you try to create your hatches with shades. It's better for you to actually create these hatches so close to each other to get softer shades. As I told you, it doesn't matter what color you're shading in. It can be dark, it can be light, it can be in any tonnage that you like. As I move up, I am doing it more faded then I'm going to drag it like this from the edges of the petals and then I'll fade it downwards. So just like that, I'll fade it. Okay? I'll do the same thing for this petal as well. Okay. Then little by little, I'll bring it down in this way. Okay, my dear friends, you should be really careful that this part of these petals are actually lighter. I create some shades like this, which are curved. I can show that the direction of my pedal, that in which direction it's been bent over or basically in which direction it goes. As for these areas, I need these directed and say directed darkness. Okay. Also from here I'll just apply these. Now I want to work on these water drops based on what I can see here. I'll create these water drops so beautifully, you just have to match the shadings around your water drop to the shadings of the rest of your pedal. It's very important to do that. See right in this way. Again, in here, I'll do the same now with a bit of distance. I can also create this reflection inside of the drop. Then I'll have a light shade over here and some dots and spots as well. Okay, then for this area, I'll do the same thing. Okay. Now we want to work on the rest of these areas. I should apply darkness on it once, and then I can continue to the rest. Now I want to take my white pen in this step and create several spots and strong lights. I'll do it for all these parts just like that very easily. Okay, then I'm going to work on this other pedal that came all the way down here. Then I determined a place around my pedal as I told you, I framework it and then I can start shading now, because I want my pedal to be separated from here. I should create a contrast. Now, how is it done? The contrast is created by placing a dark shade right next to the light one. A light color palette would be placed next to a dark one. Therefore, I'm actually going to create this area darker than the rest of it, like that. And here it goes. So I'll just continue completely then I'll fade this dark area into the light area. I will not just place it separated like dashes and cut out over here. I'm going to use some more darkness on the edge so I can show the prominent parts of pedal. Also the parts. Okay. Now, like that, very easily and slowly, step by step, I am applying the darkness wherever they are needed. Okay. So I'll continue from all these parts and also from here on the sides. Then very slowly I'll do the shading in this way. Okay, just like that. I'll do the shading over here, right on the edges. Then very slowly, little by little, I also work on the parts behind the petals that I've placed these lines. I should fade these lines into shades inside of this petal. Therefore, they wouldn't look like lines, they would look like shades. I don't want any specific lines in my work. Just does this. Here it goes. Okay. Now I'll continue, then I'll go once in the opposite direction of the shades that I've already created and so on. So I would also clean around my work, therefore, it doesn't look separated. Okay, And that's it now for the rest of this tutorial. Let's follow in the next episode. 28. Shading The Larger Petal: Hello again. Welcome to a new part of the Storia with me. Okay? Now, I want to make some of these parts more natural. Therefore, I would want to increase, or I'm sorry, I'm going to decrease their thickness in some parts in order to make them look more natural. They should be thinner than this. Okay, So I'll just continue this way. I can just show it more natural. And then I would increase the darkness of some parts like this one. Okay, now we move to the next pedal which is this one. From here I'll just take it like this and I'll continue up to here. Okay, I do have a water drop here. Then from this corner I'll just apply darkness for it. Also from the sides it would look like this. Okay. Then I'll create a very thin shape in the center of it. Okay. Then I'd like to work on shaving this pedal here. Now, in order to separate this pedal from here, I should darken this area more or I should lighten this one more than this. Either I should darken one side or lighten the other side. Okay. Now, very slowly from here I start shading. See, just very slowly, I start shading, then I'll just create this petal darker than the other one because I want to get the volume of my work correctly because I want to show the shape which is underneath or beneath this pedal. I've got to create this contrast here very slowly. I just create a very light color palette. In this way, I'll come all the way down. Over here I can see a water drop. I'll continue up to the lower part. Over here again I have three water drops. Then I come all the way to here. Again, I start shading in the opposite of the previous direction. This time, of course, I'll do it lighter than the previous layer. I'll go in darker shades comparing to the one that I've already created. It would be in the opposite direction of my previous one. I actually shade the other one, shade the previous one horizontally, but I'm going to shade this one, not totally vertical, but sideways. Now, the climax of the darkness for this area is over here. Therefore, as you come down, this pedal should actually be in a lighter shade K. Here it goes. And I'll continue until this middle part. From here I'll create of shading until this upper area. Okay. Now I start making this shading more cohesive. Then very slowly, little by little, I'll do this cohesive thing, I'll just make it cohesive in this way. Little by little, and step by step, you don't have to rush through it. Over here, I have a very strong darkness right right beneath this petal, so I can get its volume correctly. See over here, you can see complete darkness. That's the shade or basically the shadow that has been created from the upper pedal on the lower one, it comes up to here. From here goes this way, okay. Slowly, I create this darkness that I needed into my work. Now something that I do is that with a bit of distance, I start shading dark, and then I start fading it upwards. In this way I can show this petal actually bending downward, facing down here. It goes in that way. Also, I can even shade these parts in the direction of Y pedal being folded and bit. Also from here I create a very strong darkness towards this side. And then again, I'll fade this darkness in this upper area. Okay, here it goes. Then also in this ending area, very slowly, I apply the darkness and apply the shade and I faded at the same time. I don't want the darkness to look like some specific and separated lines. When you just blend your shades into one another, the whole thing looks softer, smoother, and of course better. So just the same way I'll just do it. Okay. Then I'll do the same for the rest of the area, especially on the edges. So here we go. All right, then here it is. Now I want to apply the darkness that it's needed for this place because it's much more lighter than it should be, I'll just give it to it. I work even on this middle part and the central part of the pedal. Okay? Now you can clearly see this cohesiveness in my whole work. I want them to look all the same. I want them to, they are all from the same thing and the same world. I'll just shade it like that, making it cohesive. Blending all of these colors into one another, not an easy thing to do. All right. Now from here, from this side, I bring a darkness so that I can show. This side of my petal is more prominent than the other side. See my dear friends. Placing the darkness and the light in their own correct position in your work can clearly show the depth and prominence of your work. Therefore, you should apply in the darkness and the light in their own correct position as you can see in your reference, in your model or whatever it is, in order to get the volumes correctly, to show the depth and the prominent parts. Okay, then I'm going to shade this one, the outer petal, then after frame working it very lightly, I start shading it in the opposite direction, like this, very slowly from one corner to the others. And here it goes. Okay. Now, also from the top area, I apply this darkness into my work. Okay? Also from the outer parts of this petal, I will go more dark as it is dark on the edges. When I move toward the center, it would be lighter. Now I'll do it in the opposite direction. It's as easy as you can see here, so don't worry about it. You just have to understand where exactly are the shades and the contrasts. It can help you really well. Here it is, okay. Then I also apply a very general shade from this side again. And I'll come all the way up. All the way up to here. Okay. Now for watching the rest of this tutorial follow us in next episode. 29. Continue Shading Large Petals: Hello again and welcome to the rest of this tutorial with me. Okay, now let's continue this beautiful sketch. And we are almost getting to the end of our work. We're going to apply this rose flower so beautifully. Okay, first I want to work on this middle line on this petal. Then I come down and I go up over here. I also have a line here. I can also see a turn and a bend on this petal, which looks like this. It goes up to here. I'll continue it like this and goes down. Okay, Now this lower part, the bottom part of this petal is very dark. And of course, as it moves up, it gets a bit lighter. But in general, this petal doesn't have light areas comfortably and relax. Apply your darkness even strongly. This is generally a dark petal, but as I told you, some parts have less darkness than the other parts, but in total, it's dark. Okay, also from here, do the same thing. I just continue until this lower area. Now underneath the petals, the parts that they bent over is definitely darker. I also create this very dark shade for my work. See, it's really dark. And then very slowly, little by little in the center, I have less shade. So just like that, I moved to the end of my work. Okay, here it goes. I'll try to make the shadings on this area more cohesive, so it wouldn't just look like hatches and lines being created next to one another. So it goes like this and that's it, totally easy. Okay. Then I'll continue all the way. Then over here in the layers that I'm creating, I try to create a very soft shade for this area. You should control your hand pressure, you should decrease it. The hatches that you're making should be very close to one another, because as I told you before in the previous episodes. When you create your hatches closer to each other, it gives you a very soft shade. I also have stronger darkness for these lower parts of the petal, or say these parts of the petal that are underneath. Then I also create a shade for here. I don't want them to be totally white because that wouldn't look natural. I just give it a very light shade, just going over it once with a pen in order to make it more natural. Okay. Okay, here we go. As you can see, this is a dark petal, but it has a very soft shade. I should also remember to apply strong darkness right from here on the bottom, because in these lower parts, we need a stronger darkness sometimes for creating strong darkness, you should actually color that area once with a very high hand pressure to make it totally dark. But then after a while, for example, after several minutes that you've, that you've done that place, you should go over it again and create a second layer on your work. Then it can give you the darkness that you wanted. For example, for here, this inner part of the pedal here, I have a very strong darkness. And then little by little, you do it lighter, You gradually make a light. Okay, Then I work for this other petal as well. But before doing it, before creating the other petal, I have to create the water drops that exist here. And also the ones which are here, you see just like the rest of them, I should darken its surroundings and I should go around it and create a dark shade and leave it lighter so it can show actually strong contrast, can show the shine and the texture of the water. Okay, let me just darken this area a bit because it needs some more. Now, I can move on to do the other pedal right when I finish this one. Let me just complete here. Okay, now we're good to go. Here it is. Okay. Now for creating this other water drop. Again, I am going to create several spots like this. Then of course, the water drops will be made in the center of them. As usual, I keep it dark on the surroundings. I start applying the strong darkness over here after I've separated this water drop. Okay, now I'm going to start here and little by little as. We move upwards. We are going to decrease the darkness and take it toward the light. Okay. Then just like that, I go up over here still. I've got another water drop. I'll work on it too. Okay. Now you can see the shadow of this petal above it. So it should be created over here as well. This area is totally dark because it's got the shadow of the petal over it. And also from its surroundings, I will fade it, but I'm going to do all around this edge, you see very slowly I shade these parts and then I will fade them. Okay. Now I start shading a very soft color here. And from the darkness that I had over here, very slowly I move up. Okay, here it is. Now I share this area completely and cohesively with one color. You see, I am controlling my hand pressure. I am creating hatches which are so close to each other because I want a very soft shade over here. I shade this area as well. I'll do it in the opposite direction of my previous layer of shading. But again, I'll do this one cohesively as well. I can only do that because I've learned a skill of how to control my hand pressure. As I told you before, this is a key skill in pen sketching technique. Okay. Got to add a bit more darkness on the edge, on the border between this pedal and the pedal over it. Because as I told you, it's got a shadow on it. Creates more darkness over here to show that this one is underneath or beneath the other one that we had already created. I'll darken this area and I'll faded toward the center. Okay. Then I completed up to here, and now I go on the opposite direction that I've been in the past. Then again, I'll go in the opposite direction. So I make sure to go almost in all directions. Therefore, I wouldn't leave any wider spots in my work and I would not leave any traces of my pen on the shading. It's very important can totally ruin your work or make it pretty. By paying attention to these details. I'll try to make them more cohesive, more organized. So they wouldn't just look like lines created next to one another. Okay, be with us in next episode. 30. Soft Hatching On Large Petals: Hello again and welcome to the next part of this tutorial. Okay, let's continue our work together. Right from here, I bring some darkness in my work. In these parts, I'll fade it. I should do the failing for it because I don't want to leave any separated parts or spots. But my hand pressure should be average too low. It shouldn't be really high. Okay. Now for this third petal, I'm going to start right from here, over here, it's triangle. It's shape of a triangle. I give a very light shade to this triangle shape here. I just give it a very light shade, just enough to get it some color, not to leave it white then, because the petal is again bended over and turned and folded and create a shadow on it. I should also consider a dark shade right around its edges. I work on the edges shading them darker. Therefore, I can also faded into the rest of the work. Okay. See very slowly and in different directions. I create this shade. And on this sharp edge, on the sharp end, I'll just darken the shading a bit more. Okay, now I want to work over here as usual. First, I'm going to separate this water drop. I'm going to do that with shading its surroundings. Really dark, here it goes. Now, I should also leave a very light spot in the center and then darken its surroundings. Then I also create a darker spot over here. Now I can shade the rest of the area. Again, be careful not to go inside of the water drop. I shade the rest of the area to give it a background color. Then shade it again and make it fader. I just create a very general shade. You should just be really careful that when you're applying this shade, you should leave the edge of this petal really light. It can show that this part is more prominent and it's got more light. When you're shading this petal, remember to leave the edges, the lower edges to the right lighter. Try to keep it light. Okay. But this part should be dark. As you can see, I'm darkening this edge. Okay. I'm actually going in the opposite direction of my previous layer of shading. I start shading in another direction. I'm going to create my hatches really close to one another, end in the opposite direction. This can actually help us to create the shade that we want without leaving any parts uncolored. I worked the darkness of this area as much as I want. As I told you, don't forget to leave a lighter area on the right edge. It's just as beautiful as this. Okay. I'll just continue my shading and I just be careful to keep the light on the right edge. I should keep that in my mind while I shade the rest of the area. I want to say this again, that the lights are actually showing the prominent parts and the darkness and the dark parts are actually showing the depth and the shadows. Therefore, if you want to get the volume of your work correctly and okay, you should definitely pay attention to the precise creation of the light and the darkness. It doesn't matter what tool you're using. It can be pen, pencil, colored pencil or anything else. Whatever technique that you're using, you should be really paying attention to the precise position of the light and darkness in order to get a great volume by a great contrast through that. Actually, you see, I'm getting this shade to the darkness that I want. As you can see, I'm using my pen just to touch this area, circulary, shade it. Of course, it would look like this. And it goes like this. Okay. Now, little by little, I increase my hand pressure for my shading. Therefore I can get the darkness that I want in my work. See, just like that. I'll do the same thing on this side too. You see the climax of our contrast is in this area. And as I move downwards, the darkness will get lighter. Okay, Just like that, right on the edges I create of darkness. As I get to the center, I'll faded. I can show the pedal actually folded over and bend over this way. This is actually, you can say, inside of the petal that has been turned out. Okay. Now I should also create some shades in the direction of this pedal. We can also make our work looking more attractive. Okay? And as you can see. I am considering this contrast for this petal to make it more beautiful and get the right volume. Okay, now I want to move on and work on the next petal, which is actually the rest of this petal but on this side. Okay, again, I'll do a framework. I know which parts I should shade as I have kept light in this area. I should also keep the light in this side as well. Very slowly, I start from the center of the darkness and I start my shading there. I'll do it towards the light that as I move on, I can actually lighten it and fade it. Okay. So I'll continue my work. And I have a very soft, smooth, and also cohesive shading for my work. Okay, here it goes. This would be the center of the darkness. And very slowly I come toward outside, toward the center after that. And then I totally fade it. Okay? So I can easily fade it through here. Okay. Then I create my shades very generally and in different directions, so my petal would actually look very cohesive. I don't want any parts to be separated from the others. Here it goes. Now, the darkest area of this petal is this here in the center. Not totally the center, but here toward the center is actually the darkest area. With a low hand pressure and with a very light shading, I consider this darkness and I create this darkness for the middle and the center of this petal. Don't forget to get the extra ink off the tip of your pen so you don't get any unwanted spots. Then you can shade in all different directions, you can spread the darkness. It's not too dark as the other parts, but it's still darker than the lower side of this petal. Okay. It's all going well. As you can see, we are really close to the end of our work. Again, I emphasize on the fact that you shouldn't rush through it, especially if you are working on some textures as soft as this. Because you've got to spend so much time on it to get the details and the textures correctly. Also get all the shapes and the volumes with creating the useful contrast which are not separated from one another. With a border, it's very important that all your colors should blend into one another. Okay, let's continue in the next episode. 31. Continue Shading The Largest Petal: Hello again. Welcome to the rest of this tutorial with me. All right, now we are all going to work on the last part of our beautiful rose flower. Now this time I want to work on this big petal over here. First I'm going to do a very light frameworkinge. I'm going to do it. Light, very light. It would go like this. Then from the center, I'm going to start shading. But the shading that I'm creating over here is actually hatches which are so close to each other, but the light, I'm doing it with a low hand pressure, as you can see a creating these shadings lightly. My hatches are light but close to each other so I can get the softness. But you should be very careful with your hand pressure and not to increase it. Okay. I am completing my work here. Here they go. Just as this. Then very slowly I do the fainting for this area and then I repeat the same process for this lower area. First I shade with my hat ching, so close to each other. Okay. Then after that, again, I'll go in the opposite direction of my previous layer. So I shade this layer the exact opposite direction. You shouldn't rush through it at all. And I'll do it slowly. Okay? The most important thing here is for you to be able to control your hand pressure just as it is. Okay? So here it goes. Oh, all right. And very slowly, I am shading in all different directions, continuously and constantly. I am totally making my shadings more cohesive. And I'm doing them in all directions. I'm doing them actually in so many different directions, therefore the shadings would actually come out. Great. Okay. Now in this corner, in the side, I'll do the same thing. And then again in the opposite direction. Okay? So again like this, I'll just continue. I continue in different directions. When I'm doing the shading and the hatching in all different directions, I try to E and the trace of my pen. I do not want to leave any traces of pen in my whole work and in my shades. Then from its surroundings, very organized and very neat, I fade my frame working which was also very light. I'll fade it toward the center. You see now I start shading from the outer part of pedal toward the inner part of it. As I did it for the edges of the pele, for the bottom part of the pedal that I started a bit darker on the edges, I made it lighter toward the center. I should do the same thing for this side as well, which is below the other petals. But as you can see, I am shading this area with hatchings so close to each other. It's very important that you would have a strong control on your hand pressure in this step. Therefore, your shadings would actually be created cohesively. Okay, now again, I repeat this shading in the opposite direction, and then I'll do it in the opposite direction. Again, going round and round in all different directions. Now in this central areas, the focus of the darkness is only in here. Therefore, I try to use more hand pressure in order to place the dark hatches and the dark shadings of this area in their own placement. With the use of shading in different directions technique, I am actually creating this darkness very softly in these parts. Again, don't forget to take the extra ink off the tip of your pen, especially when you're working in some light areas like this one. Okay, from this part that the petals have met each other and they're collided, should apply more darkness. Of course, as you move toward the center of the petal, you should make them lighter. Okay, I'll continue this work as much as I get the darkness that I want over here. Just by adding layers and layers of the shading layer by layer, I increase my hand pressure now from the lower part of this pedal that has actually created a shadow on this pedal. Underneath it, I will fade a darkness here. So I can create a shadow, but it should be faded by considering that darkness. I also Work on the rest of the darkness at creating all these dark shades here. Slowly, I'll do the job. I bring it to the ending part of my pedal and I fade the shade. Now I should move toward the upside of the pedal Like this, I would also create the darkness for this area in the opposite direction of the previous layers. Again, I shade to create another layer and increase the darkness as well as I'm blending the colors into one another, then I try to fade and create the darkness of this area very slowly in my work. Now, when you are creating hatches with your pen, it is very important to have a very strong control on your hand pressure. As I told you before, do not rush through it the more time you spend on your sketch. Definitely it gives you a much better result, especially in pen technique that we you can edit it very easily, even if you make a mistake, we can fix it up to some levels. We cannot edit it completely because we are more limited in sketching with Pen. Therefore, it's better for you to be patient and take your time with it so it wouldn't get ruined. It doesn't need any fixing or editing At last, You are satisfied with the shades that you've created because they are so smooth and beautiful and nice. Okay, then I'll continue from here as well. See, okay, now I can also consider a stronger darkness comparing to that part over here. You see, well it's showing the curve over here that it went in right underneath the other pedals. It came out and it goes in again. It's like a wave on our pedal. I create this darkness over here, very slowly here as you can see. Okay, it goes like this. I increase this darkness in the center of my pedal, but as you can see, I've done it very tastefully and very nicely. I didn't actually or bear say I haven't created any separated lines there or any separated areas Now, very slowly, step by step, I apply my shadings over here, darker of course, and I'll face this area totally and completely. Okay, so here it goes, just like that. I shade all over this area and I also shade in the opposite direction. Again, here it goes very easily, I'm just creating this shade. I'll continue and I faded into my beautiful pedal. Okay, so here it goes. And on the edge of my petal apply ness to some level, not too much. Then I change the direction of my shading Again, I can blend these shadings into one another to get a very cohesive shade at the end in one color. Okay, so here it goes very slowly. I'll continue that. Okay. We're almost getting so close to the end of our work, but don't think it's finished yet. I should also apply some more darkness here to show also the placement of this pedal, on the pedal which is behind it, and then I fade the darkness toward inside of my pedal very slowly. As you can see, you should even do it slower than I do here. As I told you before, you should do it more slowly than I am doing in the video. Okay, let's continue in the next episode. 32. Creating Darkness On The Depth Of The Petal: Hello again and welcome to the rest of this tutorial with me. Okay, now let's do the rest of the darkness. I'm just going to complete darkness wherever I need it. So I'm doing the findings of these dark shades on their own placement as well. So constantly I'm shading, you know, all these different directions continuously and constantly. I shade until I get this darkness that I want here. Okay. Just like that. I am shading and I'm moving all the way up up to this place. Okay. Now, I am dressed, making the darkness over here where cohesive. Slowly. Because if I want them to be a really cohesive, I have to go through them very slowly. Okay. And as you can see, I'm both moving toward the root of my pedal, to the end of my pedal, and also I'm fading it toward the edge of my pedal, which has turned outwards. See, because if you have a darkness like this, you should fade it both ways. And it can show that beautiful depth in the center of your pedal. And the wavy shape of your pedal is shown perfectly now. So here it goes. You see with this beautiful contrast that I've created here, you can clearly even see it right now. You can see this part looks more deep. And this part after it. I mean, the lighter part looks much more prominent towards the edge. Okay. Here it goes. I'll continue right from these parts. And I'll continue downwards all the way down. Just in this way. Then I'll try to fade my shadings very cohesively. Even the fading should be cohesively. Now, I should also drank this darkness of words, Alito. So these colors can actually blend together. Okay. I am shading in the opposite direction as well. So our shading is actually done more cohesively. That's why I shade in all different directions. Now to leave a trace, not to leave any white spots or on shaders spots, and to making it more cohesive. Okay. Here it is. And this is how it looks. Just be very careful, you know, you shouldn't just shade without any cautious or very quickly, especially in the light areas because as I told you before, there is almost no room for error. So try to be more careful and not to make any mistakes. So after I'll continue, as you can see, my shapes are all cohesive and blended. I also do it ones from this side, and I'll drag the darkness downward. Okay. Now in here, Mary's small. I create a light shade of this pedal, a light shadow of this petal over on this outer one. C. There should be a shadow over here. Now to dark enough, but not too light either. Over here. I also have another water drops. I've got to create that as well. I'll create it exactly as I see it in my models picture. So with a very high contrast, I place it over here just as usual, just as the previous ones. I dark and its surroundings strongly. And I'll keep the center white and light. C. Now, here it is. Okay. Can easily see it here. That's all the shades are going into one another from the darker parts to the lighter parts. Okay. So here it goes. This part is also finished. Now we want to work on the next petal. And for this one, I'm going to do exactly the same because it's big and it has lots of contrast, which is spend much more time on it. So I start dark from these deep areas and the shadow parts clearly apply the darkness here. And I'll fade it toward the prominent part. So ranked from here, very slowly and mellow. I dressed, create darkness and then I'll faded toward the center. So I've got a strong darkness over here on this edge beneath the other petal. Because of course it should be darker. It's got a shadow and all the stuff. But as I move toward the other parts, very slowly, I faded and I create this tonality of the shapes. Okay? Okay. Here we go. Right from the beginning. I started working part by part and layer by layer in opposite directions. So first I shade and create my hatches in opposite directions. And then I'll do the fading. Okay? So just as you can see, I am completing this petal as well. I'll go all the way over here toward the ending parts. Okay? So here it is, shading all the way through. And as you can see, as I'm moving on these parts, I am creating lighter shades, of course. Okay. Then I also go around the edges. And right on the edges of the petal. Very softly. You should start shading softly and lightly. Of course, it shouldn't be too dark. You should take your pen in your hand near to the end. Therefore, with even a low hand pressure, you can create much more normal shades. And also they would be more cohesive. And it would be easier for you to control your hand pressure, especially because you're going to work on light areas. So you should create that faded shape into it as well. And also in here, I would do this. Okay. Now, I create the whole thing with a low hand pressure here. As you can see, my hatches and my shadings are very aligned. So you can actually conclude that I am using the left-hand pressure emphasized on it as well. So let's do the last part in the next episode. 33. Final Shading and Design Completion: Hello and welcome to a new episode and the last part of this tutorial with me. All right, now let's do the shading for our last petal of this beautiful rose flower. As you can see, I'm doing it very cohesively and very beautifully. And I told you how from the surroundings of this pedal, I should also add more darkness in order to create a better contrast and a better volume. I apply my darkness in this way and shading on the edges as I move toward the outer parts of my pal, I just let it go and faded into much more lighter shades. Okay, just like that. I'll do the fading completely as well as I'm shading it. This is our last petal. Clearly you shouldn't rush through it because you don't want to work a whole thing and then mess it up at the last minute. The last part of your work, actually these parts are even more important because if you make a mistake in the beginning of your work, you can change it, start over. But if you make a mistake here, it would be a loss. Okay? Now these parts are too light, therefore I just go over than once to get the color as dark as the other light parts, just to get the matching color for the whole area. Then I'm working on these shades from several different directions. Here we go. And also in the opposite direction of the previous layer. Just like the other ones, I'm going layer by layer, adding these shades in different directions to get the correct color that I want. For this petal, I am making it more cohesive and I am also creating a very soft shade. I also create a shadow of this petal on top of it. I should shade this area. This is the shadow of this upper pedal, which has gone over this one. The shadow should be totally dark. Here we've got absolute darkness. Because it's a shadow. Actually, this absolute darkness gives us even a better contrast. A better shade at last, better volume. But on the lower parts, I created a bit more F again, I'll fade the whole thing into my work because I don't want any border lines or any separated shades. You see, I can fade it with these shades around it. And towards it, here it goes. See, I also increase the darkness of here slowly, little by little, step by step, and I'll fade it upwards. Okay, like this. I make the shading of this area totally cohesive. And I would also eliminate the spots that have been created over here. See, it's coming together all well as you can clearly see that. Just as beautiful as that, we've finished our beautiful rose flower. I hope you've enjoyed this tutorial as much as you could. As much as I did. You should practice a friends, my dear students. Because these tutorials can help you up to some levels. The thing that can take you from a student to a professional painter is practicing continuously, constantly, over and over again. This is it. This is our beautiful rose flower sketch. I loved it. I hope you did the same thing. Okay, so see you in next courses.