 is draw a complete illustration for Outcast Silver Raiders, the upcoming dark occult medieval tabletop RPG that you can find on Kickstarter. All the art in the game will be mine except for the map which is drawn by Lex Rocket, by Isaac Fondin, and yeah we're going to draw something that hopefully looks like this. These are some of the other recent pieces I've drawn, but we're going to do the whole process from beginning to end on one stream. See how that goes. Now when I started drawing Outcast Silver Raiders I actually used a much more traditional approach where I would start with pencils and then go into inky, but since I am getting more and more comfortable with and more and more known for the ink lot drawings I felt it was, I felt that I, in order to achieve the kind of dark and messy and I don't know what to call it. It's a, I want a sort of a raw and primitive look to the art and in order to achieve that I need to create the art in a more direct way. So that means I will be using random ink plots and I will be drawing directly with a brush, but I will also be planning it out so it sort of is a combination of what you see me do on the ink monsters and what you'll see me do in a more traditional comic book or fantasy illustration drawing. But first the scene we're going to be drawing is, I can't see the layout very well, but I'll put it up here. This is a double page and the art is going to be around here. So that sort of defines the layout of the drawing. So we have to match that shape on the paper. Okay. And the description is stretching across the top of the page with the main focus on the second page. An outdoor scene with a group of far away people on horses approaching a dangerous looking group of intelligent ape people who are sharpening weapons by an ancient stone statue. Okay. So what I'm thinking in terms of composition is that we need the statue here. Okay. Maybe actually the statue more in the middle here and then ape people around here and maybe a larger ape man in here. So we get a face and then up here we want the horse of riders approaching. Okay. So there are a couple of different ways to solve this drawing. One is to place the statue all the way to the right and then have a lot of small ape people around it. Then that becomes less personal. And the other way is to, as I illustrated there, is to have one of the ape faces coming in from the right and maybe turning around to see one. Maybe it's going to see one of the, I guess it's the player character is coming over the hill. Then you sort of need to be able to create a sense of depth here. That is the most crucial part of the drawing. And another crucial part is the divide here. So nothing important can happen in the divide because that will fall between the pages. And we need to have enough space under here and the right space between here to allow for the text. So let us first start by, this is the only part we'll do in pencil. We will start by dividing the page up correctly. So we know where the things must be. And this is the room we have to work with. Okay, now let's get to the fun part. What I'm going to do, so I'm actually going to have most of what's happening down here in black. And then I want a red sky because all we have to work with is black, white and red. Red sky and then shapes peering over that red sky. Okay, so we'll start by just filling in that red, that red sky. We need some tissue paper to dab it with, create a nice kind of texture. It also sort of creates the space we can work with like this. And then we need to do the same, but with a black ink. And then create the, what we're creating here is sort of the ground. And we want that nice, random texture feeling. So again, we're going to dab it with a piece of tissue paper. Everything here is going reasonably according to plan, but these textures create a few, the random textures create a few elements that we can play with and that will influence the finished drawing. Okay, let's start the brushwork. I start the brushwork most of the time on the right side of the page because I am left-handed. So I want to, as much as possible, not have to move from left to right because that will create a lot of smudging. I could, you know, do some random ink blots here as well, which could be fun and could be a way to influence how the ape face is going to be drawn. But I know that there is going to be an ape face here and I know approximately the size. It's going to be, and I want it dark and ominous and wild-haired and we're getting to the eyes of it and we want to create the sense of its turning around looking. You'll start to see more and more of what I'm thinking and as the art sort of reveals itself and when I'm doing art like this I'm sort of planning ahead bit by bit. I want a small nose to hint a little bit about it and then I want to see what I should have turned the eye a lot more. So we're going to create a lot more shadow on this side. So there's a sort of a strong light coming in from this side and a silhouette on the other side. Almost silhouette. The face is starting to reveal itself and let's give it a room for a big old ear. Actually let's give it more hair, more beard, kind of less chimp-like. I'm really not liking that eye. Probably that's better, that's better. Those small touches and the way I'm working is that I'm, you know, I do pieces that are planned. I do, I even do some pieces with the whole pencil sketch pencil ink process. That's what I've been trained to do and been training to do all of my life. The way I'm drawing now is much more about reacting to what's happening on the paper. So instead of visualizing something and then trying to put it perfectly down on the page, I'm visualizing bit by bit through reacting to what happens on the page. So I had a, I had a plan to begin with and then as the ink hits the page, I start tweaking and changing that plan. I know that down here I don't have endless room to go because, you know, that's going to be the layout of the, that's where, that is where the text on the page is going to go. Okay. So now we talked about the tree dimensionality of the bit. So, so pick. So if I wanted to feel three-dimensional, I need to have another slightly smaller ape here that's clearly visible and that's easily readable to put the smaller apes that will be here in context, in proportion. So we need to have the silhouette of his face clearly readable here. And that's, you know, one of the most difficult things to do in this sort of art style and this sort of approach to art is to make anything clearly readable. The apes, according to the description, should be sharpening their tools and I'm guessing that I will skip the, the sharpening of tools part because that requires a lot of small detail that I'm not comfortable putting into this tiny drawing, this message drawing. If I did it in a illustratorly more clean style, it would be no problem to show all those kinds of details and I would probably do it as in a larger piece of paper as well. But on when I'm working this small and this messy, I need to be very careful with what detail I put in, okay? So now that the two apes in front are more or less there, we're going to start making the smaller. And if you're wondering why I choose to do the art in this style, this messy style and this messy approach, it is because taking the risk and doing it directly like this, doing it improvised like this is a calculated risk in order to hopefully make something feel more alive. That is always the back and forth. It is between making something that is technical and I guess illustratorly and nice and neat and making something that feels alive. And what we're doing now is we're trying to make something that very much feels alive at the cost of some of the other things you get when you draw a more deliberate and more nicer piece, I'd say, cleaner piece. Now we have nicely these three apes showing the relation of size between them. So it's showing the perspective. We will have hints of more apes around, spear and spear up here. I want those sort of ape-like postures. So keep the backs high, sneak in a little bit of a shape here as well. We need to sneak in a few more shapes to make the illusion of there being a larger group than we're actually drawing in just a few touches of the brush and we have a tiny little face here. And when by the end I will be applying some ink spatters and some white ink and all that stuff and all will combine in order to make it feel more and more alive. So on here we're going to have a few ape characters as well fill in these tight spots but still have it be readable. That's always the key to have it just on the edge of readability innocence. We're drawing almost like small stick figures. That's up here we're going to have sitting, leaning his arm on his knees and fall down like this in order to maybe this guy is sharpening his weapon he can at least be holding it and studying it sort of. How are you today? That's a good question. I don't always know a bit frustrated by starting this stream with a... I started it wrong the first time to abandon the stream and start all over and that's always not a good way to start streaming but otherwise good. I think this piece of art is coming along swell. It's for the Outcast Silver Raiders RPG. It is a illustration of apes dancing around a statue that we haven't drawn yet. Looks nice. Thank you. Doing these lives is always a bit nerve-wracking when I don't have... I don't have a huge YouTube audience so starting out with a full start sort of ruined the momentum a little bit but what can you do? That doesn't have to... that shouldn't affect the art. Okay so now we have to make some small lines behind the characters here in order to indicate even more apes and then we are going to make the statue. Okay so the apes are dancing around the statue and we need to make it... it needs to have the same sort of lighting so the main light comes in from the right hand side and I want it to have a bit of size. At this point I could actually use some tape to mask off some masking tape to mask off some of the areas in order to more easily be able to do to show the perspective on the statue but I'm instead going to build a base here. I'm going to do it all freehand and then we're going to start building something on top and it's going to be following the same light source. So amazing. Thank you for that comment. Thank you Mr Pencil and if you have questions about how I'm doing this and the process and you're in the live then do not hesitate. I want this statue thing to be sort of alien maybe low craft and let's let's do something with a big wing on it something like a almost a Cthulhu-esque figure and I want it to be sort of simple simplified try to not do too many details on it and have it somewhere what unclear what it might be but still easy enough to recognize as oh yeah that's a weird looking statue that these apes are worshiping. So I will go in with white ink here. Thank you for talking through your thought process. Yeah that's the idea that's the idea and you know because I was very much trained traditionally in comic book style inking and penciling and one of the benefits of talking my way through this process on a live is that I have to be much more aware of what I'm actually doing in the process. So I have to verbalize what the process actually is to draw more things here. I will probably go in with actually with red down here and just create some yeah use a lot of red and then just some white ink on the fringes of the sculpture in order to give it a stony look and perhaps even perhaps even create some cracks and stuff like that. Let's do some small indications of cracks and we'll see if we'll which will remain by the end and if you're watching this and liking this do share the stream. I will be probably drawing for yeah maybe a half hour more before I'm done and like the stream share it and maybe we can get some more people into watch and maybe we can get some more questions. Questions is always good because then I can have something to talk about while I think about the art. That's sort of strange but that's how it works for me. If I'm not drawing on a live I have other things to distract me while drawing so at my worst I can sort of do maybe put on music and a podcast and the TV in the background and then start drawing that's at my absolute worst. So the question here is is your intention to use this piece for OSR for Outcast Silverators? Was there a specific prompt from the writer? Yes I read it in the beginning of the stream. The prompt is this is a two-page spread but we can only use half of one page and just the top of the other page and it's a bunch of ape-like creatures worshiping this huge statue and sharpening their tools while a group of Outcasts player characters comes over the horizon over the hill here and spot them so we're going to draw in some horses here and it's a difficult composition sort of to work with because this part of the page is a full half page and this is just a tiny sliver on the top and the rest will be covered with text so it's a bit sort of you can't freely do as you please with the composition you can actually have a lot of fun with it so it reminds me of Gendi Tarkovsky's animated primal series. I've heard a lot of good things about primal I you know I really enjoyed Samurai Jack but I still haven't watched primal in full or anything actually I've watched a few stills from it nothing more I don't think I've even seen a trailer for it shame on me shame on me here are three Outcasts coming over the hill here and now it's time the first thing we have to do is go in with more red where we need more red okay so the first thing I was talking about was I need to just clean up the brush properly so that the red actually is red and not a lot of black in it we will digitally clean up the drawing but you there's not that much I can do digitally so we just need a little bit here a little bit of texture here will also help to separate the foreground and the background that's the main reason why I'm doing the red on the statue here is simply to separate it the apes show the size and make all of that clear a little bit of red here a little bit down here then it's much clear but we still have a problem here because this is the coolest sky shape this is a confusing shape okay so we need to blot in a little bit of red sky here to make sort of the shape of a dome the dome of the sky and then dab it so that it looks like the rest of the red ink that has the same kind of texture okay so now it's time to start adding some detail again with white ink and thank you all for liking the stream okay so we'll use the thinnest brush for the liquid white acrylic first just touch up his face a little bit because that's going to be the biggest thing on the drawing then start to add in some of the details we sort of messed up or lost in the process that will make his face much easier to read again it's about this difference between the expression and the readability that's always the two things that i'm trying to as best as i can to balance and here it almost looks like he's missing an eye so i can actually make that more prominent feature tiny bit clearer here with the lip now the under lip jaw line i don't know if that actually helped the drawing so that's always a danger when you're working improvised like this or directly with ink is that you will be doing a lot of changes that you think are about to help the drawing but actually ends up hurting the drawing and it's back and forth like that and that's sort of the same as when you work with the pencil except when you work with the pencil you can erase and just forget about all the little mistakes you made and that's not really an option here i can do some amount of fixing with with the white ink and then or with the white acrylic and then the black acrylic on top of that but it's much less it's much harder to modify it once it's put down so that's also something that comes with it's a risk and reward it is the risk is high but if if you nail it then the reward is that makes it worth it just once in a while when working like this magic does happen that's the fun part and you just sort of you don't quite know when magic will strike and that is actually very similar to working with a more planned piece and working with in pencil and ink is even when you're working with those traditional methods and no matter how perfectionistic you are you don't know when the magic will strike making these small alterations and hoping hoping for magic i don't quite know if i like what's happening here with that eye but we'll we'll leave it for now this arm a little bit clearer because it looked like the back arm and not the front arm make these stones a little bit clearer that's just about creating these these codes for i'm not really drawing any detailed stone i'm just doing some shortcuts to some some types of line that we have seen in a lot of illustrations as shorthand for stone then i hope that's enough to create that stone like feel and so have a little bit more careful with how the light is hitting the stone here and we can probably go in with with some black acrylic by the end and fix fixed places where we overwork it so there's a little bit of back and forth about overworking and underworking and overworking and underworking and you know as i as i'm drawing all this i know that before i'm done there will be a couple of rounds of white ink spatter and black ink spatter which may if those ink drops fall the wrong place it may change a lot up here i don't want quite as much of those small textures and small lines because i want to indicate that it's sort of further away probably and indicate that with adding some layers over here now it's just the the sculpture needs two lines there are some cracks in the sculpture we will we'll have to fix those a little bit with black ink black acrylic and what i really enjoy about working with this improvised style is that it keeps me it forces me to focus all through the process and that's one of my strengths and weaknesses as an artist is that when i create my art if i plan things too well i tend to get bored by the end of it because there's no you're just you've made a plan and then you're just sticking to it for hours and hours afterwards but when drawing a more improvised manner the plan is always slightly changing you always have to make these small creative decisions again and again and hopefully they will lead to something good something good that's what we're hoping for time for the first round of spatter we'll do black spatters first on this one that's that's something i have to decide based on what details are in the drawing so in some pieces it's it makes sense to do the white ink spatter first and others it makes sense to do the black ink spatters i'm really hopeful that these black ink spatters will somehow bring the face more to life but it overdo it a little bit and then go in with some white ink afterwards and whatever ink hits down here that's a problem for isek who does the layout of the books but you know it's not such a big problem that he can't solve it so that again helps bring this whole thing to life hopefully hopefully always hopefully this whole section became a lot better we still need some white ink up here and i need to dab these things again and then get the face a little bit back with white ink again we're hoping for magic because i felt that that face was cool but it wasn't quite magic and it needs to be magic and that's what we're aiming for now we're going to go in with some um white ink spatters here and they are trickier because the white ink is the white acrylic is thicker than the ink so it creates another type of spatter i want to use a slightly bigger and i guess bouncier brush for this so we'll use this one it will create some of these very nice lines that look pretty awesome we're not going to do as much of this as we did of the black spatter especially in here we need a few of these lines in order to make the stones feel more organic and we accidentally created an eye on one of the horses lovely let's go in with some more white ink let's try to bring back the eye back some of the wrinkles now it looks proper mad that's a little bit too mad so we need to chill him out just a tiny bit chill out monkey chill out a little bit too much there so that's where we'll need to go in with some black acrylic as well because the ink doesn't really stick on top of the acrylic well enough so a bit too much otherwise it looks kind of okay we'll take that white bit and create a sense of light and shade on these small figures hopefully that will make them pop a bit more not too much again making it more readable now i'm going to do one of the hardest things to do which is one of the things that worked the best early in the drawing was the eye of the monkey man and i'm going just to erase it and kill my darlings and we're going to make him much more clear eyebrow and also the nose those gums shading there yeah smiling wrinkles because he is evidently someone who smiles a lot he is nice grin i think that's a better face maybe it was better earlier i don't know it is back and forth and then to do the highlights of the eyes again yeah overall i think this is a better more readable face do you agree i don't know maybe i'm wrong yeah thank you yeah i think this ended up like a much better clearer more understandable version again always about clarity versus versus life in a sense i think this is a good this is a good balance of them what's the description my friend so the description is we have a double page of monkeys monkey ape men dancing around an old ancient statue of some sort and sharpening their weapons and the outcasts coming over the ridge page the other page so that is our description and that's what we've been trying to do i think we're getting very close to finish here again these pieces are the art style is rough that's one of the points it's supposed to be rough and hopefully still readable it did you have another go at the warlock burning the night i have not drawn that again so that is one of the pieces with which i will have to draw perhaps on another life and that's one of the dangers of working this way is when you do the traditional inking and you know penciling and inking there are a lot fewer pieces that you have to throw away because they simply don't work but the the what you give up for that is first of all this takes a lot shorter time than the traditional route and also give up that accident and yeah and the the life that you can get i thought you said life not live but i might have switched the word we might be drawing this in another life who knows anyhow i think i think we're does it look done what do you guys think i think it looks done i'll sign it and after i sign it i always find a couple of things to fix okay so i'll try to give you a bit of a closer look at it i think it came out nice i think it came out nice thank you all for watching this stream or watching it in the archived version all my art is available for free use even these pieces made for the outcast silver rader kickstarter will be available for free use in the future if you think that's cool perhaps go over to my patron and consider supporting with one dollar a month that helps more than you ever know if you like the art then this will be released for the outcast silver raiders that's currently crushing it on kickstarter so do check out that as well thank you all for watching and do if you like the stream do share it and post it here and there if you have others that may like it yes i think that's all for now thank you all for watching bye bye