During the previous lecture, we created some amazing brushes and I kept a few of them here so we can
put them into use.
Let's see, first I import a drawing of mine is this one.
It's a sketch about the way and I just link it, put it in here.
And as you can see.
I can rotate the image.
As you can see, it's a very, very simple image about a whale and it's not scanned.
It's nothing special.
It's just a photo I took with my phone.
So to draw it over, you don't have to have super high quality images.
But the image has to have some lines to draw over with these amazing brushes we have.
I will use these brushes because they are a bit distorted.
They are they have splatters.
They are not, you know, a simple triangle or simple line.
And they will happen to follow the lines of the whale, um, like it would be an ink painting or like
if I would use a felt tip.
OK, let's try it.
Said the color first, OK?
I already copied one of the elements and let's see how it looks.
The thickness is nice.
It could be a bit bigger.
But it would be nice for the.
Eyes, this is where we start.
So let's see.
Nice, it's nice and dynamic, the moving is good.
So, again, I just do what we did in the previous lecture I am drawing with the pencil to I am drawing
circles, ellipses and little lines and the pencil tool is applying this brush I copied onto the clipboard.
Start here, I'm not pretty sure on the shape here, because it's just a sketch.
Maybe too thin on the end.
Let's see.
Yeah, it's the, um, maybe two wavy and two thing here on the top of the mouth.
So if I remove a few elements and make it shorter, then it would be a bit better.
OK.
Now with controversy.
I delete the line and let's try with this one so I have it control, see, I copied another shape.
Yeah, it's a bit better.
But now is to not do straight.
But hey, this is us being artists and experimenting.
I did read a few notes and adjust them.
It's better because the thickness is nice.
Also, I can bend this here.
So this one could be still working here, let's see.
Together with the mouse and.
I will continue down here.
And they stop here and there so my brush can have a start and an end.
You know what I mean is that I don't want to use just tiny strokes or the or very long ones, I try
to stop here and there.
I restart my lines if needed.
A decision could pull over.
But this one, um, after the fins of the whale, uh, it has to be a huge stroke for sure.
Let's copy this one and use this brush next.
Let's see how it looks.
Oh, not this one, I don't need the color.
Set back the color because previously accidentally picked up a gray one.
From the paper, OK, it looks nice, but this part is very, very thin.
That one could be deleted, maybe.
Or addnode here, actually.
Using brushes like this is a great way to keep your drawing organic, so I am not looking for the perfect,
perfect bend, I redraw and experiment and yeah, play with the brushes.
What I have and what I do now is I try to flip this stroke because I want to pull from left to right.
So I was actually flipping the brush control to applicator, flip it and use it.
So it's a triangle going from the left to the right.
Not the other way around, so if I pull from this direction, it's thicker here, rather, where I would
say where the finish closer to the body.
Same here for me, playing with lines like this, this gives a feeling that on the end of the scene
it's a bit thinner where the thickness of the muscle is here.
Around under the feen, around, you know, closer to the body.
It looks nice, it looks like a little wing, actually.
OK, let's start from here.
OK, but with the here to let's start from here.
And I stop there because I know if I would like to do the tale as well with one stroke, it would be
very, very thin.
So I will work on that connection there a bit more.
I put this in here so it looks like I want to keep the rough edges on the brush, but I also want to
connect to the.
Nise.
Time to time, I'm zooming in and zooming out to see what I created.
How does it look?
So we control and the mouse wheel, I'm zooming in and out constantly.
Now, let's do this huge big line on the bottom, and I want to keep it bigger.
The bottom line is, I want to get thicker than the ones on the top, because for me, that is giving
weight to the drawing.
This is a line where there should be a shadow.
This is a line which is on the bottom and is holding the weight of the whole whale.
So it's, um, leading the eye of the viewer as well.
So I like to keep the bottom part, uh, thicker.
And by the way, I will give you this sketch.
If you think it's good enough and you want to draw the sketch, please go for it.
But also, obviously, please feel free to draw your own drawing, uh, in your own sketch.
Inkscape.
OK, it looks nice.
It has a very nice dynamic shape here, and I really like that.
How it, uh, how it turns out.
I can still work on the thickness here and there, you see, to make it even heavier here on the bottom.
And in the next lecture, we will add the additional lines and do the tail and the other three.