Create realistic textures using ink

Devon L Kurtz introduces himself and outlines the process of creating an ink drawing from start to finish. He discusses his materials, including a digital sketch printed on paper, a light pad for tracing, and Arches hot press watercolor paper. Devon also mentions his preference for 300 GSM paper for its absorbency and durability. He uses Zebra brush pens for thicker lines and Micron fineliners for finer details, emphasizing the importance of varying line thickness for visual interest. The focus is on creating bold shapes around the focal points of the drawing, such as the characters' faces.

Devon explains his technique for creating line art, emphasizing the use of his whole arm for smooth and controlled lines. He talks about the benefits of using a lightbox for tracing and periodically checking the line art without the sketch for accuracy. The artist also discusses his process for creating thin, wispy lines for hair and eyebrows using fineliner pens. He then transitions to discussing ink washes, introducing the use of Yasu Tomo black Sumi ink and how he mixes various shades on a portable watercolor tray setup.

The paragraph focuses on the application of ink washes to the skull, using a leopard skull cast as a reference for accuracy. Devon provides tips for ink washes, such as using less water than expected and testing different techniques on a test sheet. He demonstrates methods for creating smooth, flat areas and fading effects by manipulating the ink while it's partially dry. The goal is to achieve a varied, rippling texture on the skull, which is enhanced by using different techniques to represent shadows and forms.

Devon describes using a dry brush ink technique to create the texture of fur on the hood of the character. He uses a destroyed brush with frayed bristles to achieve a natural texture. The artist emphasizes the importance of practice and experimentation with different brushes to create various textures. He also discusses the use of Micron pens to add finer details and define fur clumps, aiming for a realistic and tactile appearance.

The artist discusses creating the appearance of a flat shawl using a dry brush ink technique with more ink for darker and shinier braids. He focuses on making the hair look real by following the direction of the braids and adding volume. Devon also adds medium dark gray washes to the braid to create depth and uses Micron pens for more control and detail. The goal is to maintain a natural look while ensuring the hair and shawl do not distract from the character's face.

Devon focuses on rendering the eyebrows and other facial features to resemble short hairs rather than flat shapes. He uses ink washes to create a soft appearance and emphasizes the importance of swatching ink shades to account for how they dry lighter. The artist also uses a wet-on-wet technique for the cheeks, blending lighter and darker shades for a warm, skin-like effect. He advises using references and simplifying complex tones for an illustrative rather than realistic approach.

The artist adds final details to the face using ink washes and pens, focusing on creating a three-dimensional appearance. He uses dry brushing to add dimension around facial features and tones the bottom of the character's outfit for a neutral background. Devon also discusses creating magical, grass-like textures on the skeleton creature using a dry brush with ink, aiming for a unified yet textured look. He emphasizes the importance of practice and testing on a test sheet before applying techniques to the final piece.

As a final step, Devon adds white ink highlights using a Uniball Signo pen to represent magic surrounding the creature. He emphasizes a random but unified distribution of these highlights, which adds a sense of calm and brings the piece together. The artist also discusses the use of highlights in various areas of the artwork to create a dimensional and detailed effect, suggesting that even a few well-placed highlights can significantly enhance the artwork.