Let's continue with the tale.
He did the brushes will be very nice and visible because these are.
Quite short lines compared to the long lines on the back and on the belly of the whale.
I'm using this brush now.
Let's see.
Yes, much better.
Again, like in the previous video, we defend this party, the speaker then and then the line is getting
thinner on the end, closer to the edge of the.
Until.
OK, should I merge them together here somehow, I mean, not the path, just visually a bit.
Yeah, maybe that's interesting.
You see, I really like the dynamics and the thickness there.
Let's do this short line, make it a bit thinner.
And this one is very nice, as I said here, you can see the brush very nicely.
OK, I can make it even thicker to make it more visible, and that's helping to create a little shadow
here on the edge.
Okay, let's zoom out, okay, stylizing invisible.
And now it's time to connect these lines or make a visual connection.
Which again, means that they don't have to touch it just looks like they are touching.
So I start from here.
And here it is, a bit thicker, but on the end, on the right side, it's thinner again.
Let's play with the shape a bit more.
Or actually, I can use this one, because that's Fener on both ends.
Let's try this much better.
Just let's make it thinner and delete some of the notes.
So, again, when you are using an elliptical shape, the for the for your brush, then the both of
the edges will be thinner and the middle will be thicker, so.
It's nice to know where you want to use that brush.
So this is why I have several triangles and ellipses just in my type.
So not the original ones coming with the Inkscape.
So I can play with them and be creative with them, because this is whole the whole process here is
a creative game.
It's coming together nicely.
I still have to draw the fence and some more lines I would like to add later, but if I move the image
side of it, you can see it's nice and clean and it's much cleaner than my original sketch.
I could be a bit smaller, was too big for me for a real.
OK, but I really like these lines, uh, and I have to finish the finish to that lower one to finish
the shape of the wheel and make it recognizable.
So I just grab whatever brush is in now.
And it's not really good.
Let's try it with the triangle out.
Of my own creation, actually.
Let's see.
I may make little waves here and there on purpose.
And what I do is it's thicker here on the edge, which is closer to us and thinner on the edges, closer
to the theme park or the far away part of the blade.
Remove some nodes and fix the shape.
This when I move into the line.
OK, it's nice and clean, I like it.
I hope you also are satisfied with your own drawings.
I will create a new rationale, I think, because these lies I want to have them, uh, different texture.
So maybe this one would be nice.
But I think, uh, I will need a different brush, and this time I will create one which is again built
up from little pieces, as we did in the previous lecture.
Little dots and little speckles here and there.
But what makes this brush different than the others is that, as you see, the top is smooth and almost
straight.
It's curved, but it's like no little dust and the particles there are on the bottom.
I make a lot of details, a little, you know, circles.
And now I just select all of them and merge them together.
We control plus or Path Union.
Now, this is one shape, make it a bit smaller, so if I make a line with this, supposedly the top
will be nice and nice, smooth curve on the bottom.
It will be more rugged with the, uh, little particles that see.
More or less, the.
Well, not enough.
So I take, uh, yet another try on this, and I just cut in little pieces, so I just do a zigzag.
So, like both of the sheep and they go past the fence and you see, I'm cutting this little nudges
here and there and let's see how this looks.
Now, I have a shaped like a saw blade.
Let's see, control, see and put it on the path, OK, much better.
This now looks like a real brush stroke because those little cuts, these triangular shaped carts I
make, um, are actually bent over the whole line and they are elongated around along the line.
And they they are very nice.
You see, it's clearly a different type of brush like the ones I used elsewhere on the drawing, I said
the thickness, and now I just, uh, draw some lines or duplicate some of these, uh, to have the
feeling I'm looking for.
For the belly of the whale.
Could be much picado.
The.
Yeah, so they are more visible.
You can see it, you can notice that sometimes I'm drawing the line from left to right and sometimes
the right to left, and that's also changing how the brush is applied on the on the part.
All together, I'm satisfied with it.
It looks like an old the or an etching or early, Natalie, more of like, uh, like, uh, cooperage.
With this nice fuzzy lines as well.
And if you want, you can draw this well, as I said, but you can also feel free to create a portrait
or create, um, anything actually with these lines, I would really, really, really would like to
see your work.
That's work on the shape a bit more.
OK, maybe it's a circular, but I'm OK with now, maybe I can work on it later, but as a first sketch,
I'm satisfied because I created something that looks like actually painted with ink.
And if I remove the square, I could group these objects and group them up together and have something
like I had in my mind when I created the sketch.
Kay and.
This will be not finished.
Now I see, because I can keep adding little details and little elements, but I let you do it.
For yourself, and I hope you enjoyed this process of creating something, a more traditional looking
artwork like not in a Inkscape and.
Yeah, I just group them up and here is the finished drawing for me and please share your artwork with
me if you created your own.