Okay, brush pen basics. what it's all about is the contrast between thick and thin strokes. And that's the beauty of a brush pen is that we can get both of those out of the same nib. So, just a few basic rules within downstroke see the trick here is to hold the pins slightly more vertically than you would otherwise do. Let's get the same thing on the upstroke. See, with any luck, you can get these razor thin it's all about control.

Okay, so spend a bit of time on that get your thin downstrokes and Ethan abstracts writes before you move on to the next one. Now you've got to do the thick one goes without saying that we'll be putting a little bit more pressure on the pin. Now you can try these two ways. You might find it easier to go a little more slowly as I'm doing here. Or you can do some quick dance tracks. Let's do the same on abstract.

Slowly. Fast. So just feel that out and see what works for you. What it comes down to though is the contrast between thin and thick. Let me show you what happens the very first time you put the brush pen down on the paper and try this. Probably going to do a skinny line and then push down for the thick one.

But do you see how it kind of blows out too soon. There. What that comes from, I found his timing. You see this is too short. And we read through this very quickly and this we had to react quickly to draw that thick line, we'd be better. If we started and did it more gradually, longer, longer longer than just flick it off at the end.

I've got a smoother kind of transition there. Let's try another one. See what I mean. It's not important that these be the straightest lines, we are after all going to be drawing characters. So it's the human form, and we're basically fairly squishy creatures. So that's The crux of thick and thin.

The next most important thing to learn is to be able to draw on a curve. So let's take this one for example. Do you see how we're doing kind of the opposite of what we did there, we're pushing you down with the pressure and just slowly releasing until we get that nice skinny. Now this is going to be a million different things. These can be eyelashes, these can be shirt colors, these can be a piece of the chin or a little piece of the lip does a fantastic ones I have in your arsenal. Let's try this the opposite way.

So now we'll go from the bottom. skinny and applying more pressure as we go up. See, okay, now we need to kind of Flip it a little bit. So let's go and try the other way. The next thing you wants a little hooks. So what hooks lets you do is circumnavigates and otherwise disastrous situation.

In the trailer for this class, there was a sequence where I was drawing the bow of the character. And I basically pulled the curve around too fast. And instead of giving a funny skinny head, I basically just gave him that little dip that sort of Mickey Mouse ground kind of perfect. So that's being able to just turn on attack with your So let's see some examples of that. What if we're going up, we need to suddenly just whip round you see, could be thick or thin. Even within get used to being able to turn quite quickly with a set of folks, it's flipping as well.

And you can spread these out as much as you want. consider it to be a wide arc like that. Alright, once you've got that down, we need to start looking at here. male character here. You're probably going to fill in like this. Just these quick straw See how they overlap there.

I'm also going quite fast because what it gives me is this little texture at the end here, which looks pleasing really like human hair. So let's just try that a few times. Now don't be afraid of using up this whole page, we are doodling after all. See, the faster you go, the better the textures. And also try and separate them a little bit. Just takes a bit of practice to get them to kind of land next to each other.

All right, let's move a vacuum for the entire thick. We can do the same thing now but with a little wiggle in it. Now this is something I definitely use for long hair, like the surfer guy in the thumbnail for this class, or a female character with a longer more voluptuous here. So same principle but we alternate sorry, gang thick, thin, thick. It's another one right next door. Now you see what I had to pick up there, that's okay.

The best thing about a doula brush pen, you can simply flip it around, get the small nib and make a little correction to smooth out your curves there. But now the great thing you can do with these news is this kind of stippling. Typically I use it for stubble for my characters, but you could just assume use it for shading, much like a handbrake tattoo, that sort of idea. So try that a little while try to them slowly. Try see what happens if you go a little faster. Get them a bit more coagulated.

See how different the results can be in terms of how shaded it looks. Let's just grab a new piece here. Okay, let's just get the sketchbook in there. And I'm just going to give you guys a quick one on an eye that's made of four components, essentially, we're going to do a movement like that. We're going to do another one like that. Inside, we're going to do movement like that, then a movement like that.

Then to shade that, we'll use that hatching that we added a moment ago. And I always like to throw a little darker edge on there. So we're going to go over that again. And just add one more movement like that. So that's something like this. Do a little skinny line for Canada out Atlanta Same thing again.

Just join it up there. For this next movement, just a quick little one, just quick little circle, get it in there on their shading. Just rough. We're going to add one more back on then we've got some semblance of an eye. There's a few other tricks you can do to make it a little more feminine. You could do your same thick and thin there.

Just leave a little eyelash out there and bring that in, just a step in a Let's try that again and see if we can get a little bit so cool. Other hook. Let's just catch up like that. Alright, so that's the general gist of drawing an eye for your character.