Drawing Textures with Pen: Distance, Detail and Shadow | Sam Gillett | Skillshare

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Drawing Textures with Pen: Distance, Detail and Shadow

teacher avatar Sam Gillett, Pen // Pencil // Procreate

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (39m)
    • 1. Introduction

      2:39
    • 2. Project Overview

      2:08
    • 3. Observing Texture

      4:06
    • 4. Light and Shadow

      1:54
    • 5. Detail and Distance

      2:35
    • 6. Style and Placement

      2:16
    • 7. Practice: Rock and Stone

      6:08
    • 8. Practice: Grass and Bark

      7:18
    • 9. Practice: Brick (repeating shapes)

      3:18
    • 10. Common Mistakes

      4:16
    • 11. Practice: Your own Drawing

      1:16
    • 12. The End

      1:33
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About This Class

In this class, you’ll learn how to use texture to craft immersive pen drawings. 

Many artists think the key to texture is detail. Instead, it’s about drawing textures as we see them: paying attention to distance, shadow and composition. 

This class focuses on quick tips and practice sessions to give you a framework for incorporating texture into your pen drawings (no matter if you're using Micron pens, fineliners, or ballpoint pens!). 

You’ll learn: 

  •  How to observe real-world textures and why that will enhance the accuracy of your drawings. 
  • When to fade textures out or add more detail to give the illusion of distance.
  • Why it’s better to start light and add shadow as you develop a texture pattern.
  • What textures you might not want to include, in order to focus the viewer on the main part of your scene. 
  • How to merge multiple textures together into a drawing of your own. 

 

This class is for people who have some experience with pens, but might feel frustrated with textures, or intimidated at the thought of spending hours capturing grass, cliff faces or water.

It’s for beginners and more advanced artists alike: These tips are aimed at helping you consider how you intentionally incorporate texture into your work.

By the end of this class, you’ll have an observational sketch, three texture sketches and a chance to put your skills to the test in a multi-texture drawing. 

So uncap your pen and let’s get drawing. I’m excited to see what you create! 

Looking for more pen drawing tips? Check out Sam’s Ink Drawing Fundamentals Class here. 

 

 

 

Meet Your Teacher

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Sam Gillett

Pen // Pencil // Procreate

Top Teacher

 

 

 

 Hi! I’m Sam. I draw fantastical places (and some real ones too) in pen, pencil and with my Ipad. 

I started drawing when I was about 5, on family trips to England. 

Since then, I've been enraptured by fantastical architecture, hidden worlds and the shadow and light that makes up our world. 

 

In first year University, I transitioned in to creating detailed sketches that I posted on Instagram, and since then have been creating custom illustrations for lovely people and inspiring tattoo artists, musicians, clubs, publishing houses and engineering firms. 

 

You can check out my recent work on Instagram — or peruse my Etsy shop!

 <... See full profile

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Transcripts

1. Introduction : When you think about drawing texture, what do you think of? Many artists might think of painstaking detail. Spending hours drawing every single blade of grass or every single leaf on a tree. Often that makes the work look amateurish or overdone. It might take hours to complete that kind of drawing. There's another way of adding texture to your drawings with pen. And it's paying close attention to how we perceive texture in the real-world. The key to drawing texture is knowing which parts we perceive, which elements of the texture on noticeable. And that's what we can focus on to make them look realistic and authentic. I'm Sam, I'm a pen and ink artists living in Halliburton, Ontario. I draw fancy landscapes in some real ones too. And I've drawn stuff for private clients, record labels and more. Texture is central to my work. I find it a special challenge to see how I can incorporate textures from a real-world into a black and white medium. I don't have color to work with. It's just line, shape and shading that has to evoke the perception of a texture like grass, like brick, like a cloud. In this class, you'll learn how paying attention to detail, darkness, and distance to textures changes how they can be drawn. You'll see how simply fading out textures or adding less detail can give the impression of distance and make your work look more professional, authentic, and immersive. Then you'll get a chance to put these ideas to the test. You'll learn how to draw four different types of textures. And then at the end, you get a chance to put them altogether in one final drawing of your choosing. This class isn't structured to be a masterclass or painstakingly long texture expos. Instead, it's just simple techniques and tricks and tips that I use and hopefully will help you be more confident when approaching texture. It's perfect for people who may have done some pen drawing in the past, but feel unsure about how to use pens to effectively craft textures and then implement that into their drawings. More experienced pen artists might benefit from a chance to question how they incorporate texture into their work. Texture is what gives our world dimension. And it does that to your art as well. Learning how to be smart about texture and learning how we perceive textures in the world will help you create immersive drawings that feel a little bit more authentic and take a lot less time to complete then drawing every single blade of grass. It's a challenge, but it's really fun too. And I'm excited to start drawing with you. Ready to go? Let's get drawing. 2. Project Overview : So this class is structured in three different parts. First, we'll talk about the power of observation, and then I'll invite you to go out, observe a texture in your own space, whether it's inside or outside. And then we'll reconvene and talk about what observing real-world textures can teach us about how to draw them. Next, I'll go over three kind of abstract themes in regards to texture. We'll talk about light and shadow, distance to the texture and how to choose which textures in your drawing to draw and which ones not to draw more on that later. Lastly, I'll go over three commonly used outdoor, natural environment textures. Along the way. You'll be able to incorporate those into your own final drawing. You'll end the class with an observation drawing. Some knowledge of abstract concepts in regards to texture, and then a chance to put it altogether. In your own drawing. You can either copy what I draw or draw something totally unique and be sure to post it in the project page. As far as materials for this class, I use Micron pens. I really liked the way that they lay down ink on the page. They're really consistent. And you can use multiple different sizes of nibs to get strengths of line and different darkness in the textures you use. I'd invite you to use micron or Staedtler pens, something similar there archival, meaning they last and they stick really well on the page. However, if you don't have that, even a basic ballpoint pen will work for this class. The main point is to get drawing and no matter what kind of pen you have, it'll work for this class. I'm not too picky. I don't really talk about Penn thickness in this class. It doesn't really impact what we're going to draw. As far as paper, anything you have works. I really like using thicker paper. I have a sketchbook here with about £100 paper. It's nice and thick and it allows me to draw a lot of ink on the page. However, even if you just have printer paper, that's fine. You'll need about two or three sheets for this class. Well, let's dive in. We're going to start with observing textures in a real-world. 3. Observing Texture : The world around us is made up of textures. We see lines, but within those lines, everything we see, whether it's a tarmac, asphalt, whether it's a tree, whether it's a forest expanse or a mountain, they're made up of textures. I believe that observing the texture is we want to draw in the real world. And knowing what to look for in those observations leads the artist to drawing better textures that more accurately reflect the environment or the texture you're trying to draw. For example, if you haven't looked at a forest, are not looking at the forest, you might miss the way that the light plays through these evergreens here, or the way that the ones farther away from us up here, more distant and more faded. Now these are concepts I'm going to talk about later on in this class, in subsequent lessons. But for now, let's practice observation. What I want you to do is to grab a piece of paper and your pen and to draw a texture that is around you. If there are trees nearby, try drawing the foliage of the trees or maybe the grass on your lawn. What about the sidewalk in front of you? The texture of the cement there? Or even if you're just inside, try drawing the texture of your couch. Different textures give us the opportunity to practice looking for lights and darks. Different patterns on the texture. Take five-minutes and try to draw the texture that you see. So remember, this is a really quick sketch. You don't want to take too much time on this. You're just trying to get your hand used to being on the paper before we move on with this class. And you want to get your eyes use to observing texture. So what do I see in this bush that's right in front of me? Well, I see lots of small, small spindly little juniper branches as well. I do see the outline first, and as I mentioned, I'm just going to draw a little part of this bush. I'm to inking in this outline. First. I'm going to have their basis there and underneath here you can see that there's some of those those branches. But I mean, we're talking about in the main part of this class is texture, not drawing bushes. So I'm just going to leave them like that. But then what do I see as far as lights and darks? Because lights and darks, as we'll talk about in later lessons, is the basis of how I go about starting texture. For my brush here. I'm just going to really, really quickly shade in some of these dark spots because I know that the light is shining from the top. And whatever you're deciding to draw right now, whether it's a bush like this, but it's a tree, whether it is the wall in front of you. Pay attention to where it's darkest and where its latest and try to capture that. That's all we're really going for in this lesson. Capturing the rough outline of the texture. And no one's looking over your shoulder. So it doesn't matter what it looks like at the end. Just be really rough here. But as you can see, it's not really a fully fleshed out texture. It doesn't look super great, but we're capturing the feel of this bush, right? I'm not drawing the individual Juniper leaves, but I'm observing the dark spots and observing where its lightest as well. And kind of noting how there's some dark areas within the light. I might add a few little details here, but for the most part I'm just focusing on getting the feel, the overall vibe of the bush. You could say. We're going to look at the observational sketches we did and talk about light and dark and how using tones and shading can influence the textures we draw. I'll see you in the next lesson. 4. Light and Shadow : When you're drawing with pen, you only have a couple of tools to create texture because we don't have colour and we can't make people see the tree by painting in green, which is an easy way to make it appear like a tree. We have to use wine and shading, as well as light and dark to create the texture we want to. First, let's talk about light and dark. Shading is your most powerful tool while working with Penn, other than line, I suppose, but if we're talking about texture, It's definitely shading. And that's because when we look at textures, our eyes are drawn to the light and dark parts of it. That's what gives it its form. We have to capture those if we want to successfully capture the texture. And that's why it's so important to focus on the dark areas by fleshing those out, we can really help people infer what they're looking at. Their eyes are drawn to the dark spots of the texture. And therefore, we don't really need to draw the highlighted spots as much or the highlighted areas of the texture. For example, check out this picture of a tree here. What do you see first? If you're like me, your eyes are probably drawn to the trunk. And then the dark spots on the underbelly of the foliage. Believes that our darkest around the bottom. And that's what really forms the texture of the leaves that we want to draw. If we focus on getting those dark areas right and tracing the dark parts of the texture, we're more likely to create a full, well-rounded tree. We don't even really have to worry about the light parts at all. Let's recap that the dark spots that texture are the most important things to focus on. By focusing and by detailing in the dark sections of a texture. Our eyes are more apt to infer or fill in the blanks. Next up we're going to talk about distance and how distance to texture influences how we see the texture. 5. Detail and Distance : If you check out this habit whole drawing up here to you, you might be able to see the door and you might be able to see the fact that there are trees there. But you can't really see a lot of the details, right? It might just look like a tree with a little bit of shading on it. But if you zoom up close, you'd see that there are a lot of details in the bark. The bark kind of curls around the tree. There's also a stone that lead up towards the door. There's even a mailbox that you might miss when you're looking at it from your vantage point behind the camera. In a similar way when we view textures and when we wanted to recreate them on the page, paying attention to how far away they are from us is super, super important by ensuring we create distance, by how detailed we draw in the textures. We create more fully fleshed out three-dimensional spaces for the viewer. Here's another example. If you check out the thing you observed in a couple lessons ago, go up really, really close to it. If it's a tree, even better, take a close look at the tree leaf. If you're outside in a public place, it might look a little bit awkward, but really observe the texture close up, checking them out close brings out details you might have not noticed from afar. But imagine if you drew all those details, the drawing would appear overcrowded and cluttered. Kinda put the viewer in a weird space where it's not clear how far away we actually are from the texture. Often it's what we don't draw that gives the viewer a glimpse into how far away we are from the texture or from the object, for example, across this field. I'm not going to detail in all these trees doing that would just add some clutter to the background of the drawing and take away from the detail of the foreground, from the shards of grass that I want to detail in here. Here's another example. In the drawing behind me here. In Rivendell, I didn't draw the individual trees and the tree line at the very back of the drawing. The fact that the trees in the front and the trees of the back are clearly the same textures, but just drawn completely differently. It gives the viewer a glimpse into the distance and the scale of my drawing. Keep that in mind as you go about the third part of this class where we're going to be drawing textures. The texture is closest to the viewer or in the foreground, as it's called, often are the most detailed. The thing you want the person's attention to be placed on should be more detailed than the stuff in the background. Doing that creates a cleaner composition. It also guides the viewer's eyes towards what's most important and what's closest to us in the drawing. 6. Style and Placement: Now, while this class has been about drawing textures so they appear somewhat lifelike, this next tip or thing to keep in mind might seem a little counterproductive. That is what texture is not to draw in your drawing. Now, it sounds kinda like a mystery or like I'm giving you a riddle. But let's break it down here. If you check out the drawing of Rivendell again, behind me, it's clear that there's some textures that are not fully developed or are full-out missing from the scene. Checkout the middle where there's a waterfall, I kinda fade out so there's almost white in that area. That's technique, partly because I'm not very good at drawing rushing water and waterfalls. But I also want to have the illusion of fog or mist. And that's something that's really difficult to draw. But by fading out into white, I think the, I infers the fact that there is missed there or at a point of interest, even though I don't really draw it. Here's another example in the foreground, or the part of the drawing closest to us, is the way I fade out, the leaves and the other foliage, as well as the bricks on the bridge. Now in real life we know these do not fade the closer they are to us. But in the interest of the composition or the way the entire piece is structured. To me, it makes sense to fade them out, since I don't have a border, I don't want the most detailed or the darkest stuff right on the edges. I want it to be more towards the center. Sometimes the opposite is true as well. If you check out this drawing of a castle on a hill, you can see that the mountains behind it would most likely still be detailed near their base. However, if I added that amount of detail in that kind of texture to the mountains, it would detract or takeaway from the main point of this drawing, which is the central hill in the castle on top. Therefore, sometimes if you need to, you can play around with the perception of texture, making things appear a little bit lighter or less detailed to suit the end goal of the drawing. Here. That is the focus on that central castle and the hill leading up to it. First up, I'll go over how to draw rock. 7. Practice: Rock and Stone : Now next we're going to talk about drawing ROC in stone. This is a really interesting texture to tackle because it's a combination of a organic shape and natural shape that you find in a natural environment with some straight lines or lines that appear straight to us as we're viewing them. It's also a great way to put it into practice. What we talked about when I talked about light and dark, because the dark spots of Iraq are what's going to flesh out the texture and make the rock or their cliff face or whatever kind of rocky texture you want to draw, appear three-dimensional. Let's dive in. So the first step in drawing our rocks today is to observe rock formations, cliffs, Jackie mountains. Anything that is similar to the rock with a style of stone that you want to draw. We then have decided on a light direction because as I mentioned, that determines, that the texture, that determines how we perceive the shapes, the light and dark areas on this rock. If I pretend that this is going to be the sun right here, it's gonna be shining down on our rock from this side. Then, before I even want to start drawing the rock, I'm going to decide the distance, as we talked about, textures change in how we perceive texture changes depending on how far away we are from it. For this rock, I want it to be fairly close so we can see the different light and dark spots on it. We can add a little bit of detail without being microscopic, without having the rock right up in our face. Because that is a little bit too much detail. It would take a long, long time. So I'm going to draw this rock. And as I mentioned, some people have different perspectives or different ways of drawing textures. Some start in the middle and draw with light and shadow and dark spots. But when drawing with pencil or pen, I do like kind of drawing the outline of the shape. You can draw whatever, whatever works for you. I want to have a rough idea of what this rock might look like. And again, this texture can be transposed onto a wide variety of rock faces, different scales as well. But here we have the outline of our Boulder. We know that it's fairly close to us, so we're gonna be able to see the light and the dark areas and we have this shape, this outline. We also know that the sun is shining in from the right side of the Boulder. I usually want to start from the left side, start from the darker areas. But I'm going to start very light and go over it multiple times. I know with rock there's a lot of long flat areas. There's a lot of multiple surfaces. They're not square, they're not uniform. But on the rocks that I've observed in this picture here, for instance, you can tell that there's multi, multiple sides that are either farther in or farther out on a rock face as well. We can go back to Outline now and start adding some imperfections, adding some cracks that start at the top. And I'm not lining up the cracks. I'm very gently kinda adding shadow. And I know I'm adding shadow on this side because the light is coming from that side. And I bet you can tell now, even from the little work we have done, how you don't really have to add that much texture. You don't have to add that many lines for the shape to come alive. To seem rocky or just seem to kind of gesture to our eye and our icons like, Oh yeah, I know what this is. I can tell from the shadow, from the illusions to rock. This is in fact Iraq. Now I'm going lighter here, as I mentioned before, I want to kinda stay light so I can get an overall idea of the texture and the texture field and then detail it in or add a little bit more shadow afterwards, I might add a couple of lines here of kind of protrusions on the rock face. And you'll notice the pen strokes that I'm using. And this applies to pencil as well, is just straight up and down. I find going straight up and down like this. Swiveling with my palm against the page gives me greater control over the darkness or lightness that I'm applying, the pressure I'm applying to the pen or pencil by being really light on the page and almost dotting in your lines as opposed to being dark and jaggedy. I can just control the shape or the textures that I'm creating here a little bit better now that we have a little bit more of the rock fleshed out. I wanted to start shading in sides and I can also darken in parts of that outline as well. Now, especially on a rock face because there's so many sides of it, right? There's going to be almost unlimited amount of gradation or an unlimited scale of the light and dark. It's gonna be some really, really dark spots and some are really, really light spots. And by making sure we have a full range of shading, we can make that come or make the rock come to live, come, come alive. But making sure there's a whole range of shading we can make the rock kinda come alive or seem really three-dimensional. By giving the viewer a whole bunch of different light and dark areas to focus on, just like Iraq in the wild. The top here is where the most light would hit. So obviously it's going to be the lightest. And often when rocks meet the ground, there might be some kind of faces that are almost inverted. And so you can darken those in a little bit. Now that we've got the basics of this rock texture, we're going to add some vegetation, will focus on drawing grass and then drawing tree bark as well. 8. Practice: Grass and Bark : We'll talk about drawing grass and vegetation because that's something that I find really tough. It's so small it and often grass and bushes are so detailed, it's hard to know where to start. Well, as we begin here, Let's keep the things we just talked about in mind. And that is the light and shadow, the distance from us, and the composition of our piece. What's important to detail that determines how much detail we add to this texture and where. That's a key thing to remember to help you not go crazy when trying to tackle large textures like grass or bushes. So let's dive in. So if we check out this picture of a field of grass, we're gonna see that, as you might expect, it's not really revolutionary to say, but the primarily thing here is short lines. That's the shape of the blades of grass. However, as we talked about in previous lessons, It's finding out what we have to draw in order to make the texture appear convincing. We don't have to draw every single blade of grass. Well, you could, but I think you'd probably be here until 2024. So first we're going to just practice that rudimentary shape. And I'm going to gripping back on the pen a little bit, starting off heavy and I'm kinda flicking, flicking up. That's kind of the shape I want. And as they get closer to you, they're gonna be bigger. Maybe by this point you'd be able to see the individual strands of grass. The key thing here is you don't want them to be uniform. You don't want them to be the same. If you look at the graphs in your front line, unless you manicure it, It's all different. There's different lengths, different sizes, different shapes, different directions, it's going. The key thing is fading out from tall to short in the background. So let's dive into the actual texture here. I'm going to add multiple little lines, little short little dashes, jags like we did on this practice page. And it's gonna do them really irregularly to make it look like the grass is a little bit uneven. Their little smaller back towards the rock and then they get a little bit larger as they move towards the viewer. I sometimes start in one place when I'm doing a texture. But as you can see here, I kinda jump around a little bit too. As we talked about earlier, I start a little bit lighter, a little sparse, and then I can add more. I can add more blades of grass in different areas that seem like they might need a little bit more tension or a little bit more care. Now, as we talked about as well, It's the intentionality or the place that you draw the texture that's really important. Here by the rock. We want to have it a little bit more detailed because that's kinda where our eye is drawn to. That's the spot that needs a little bit more texture. To tell us that yes, we're looking at grasp. The rock transitions into grass. And that's a really key crux of the drawing. Then we, as we see that the sun is on the top right of the rock, we're going to draw in the grass a little bit more detailed, a little bit darker here to the left of the rock. That creates a sense of shading and puts the graphs into its larger context in the scene. I'm going to just draw it over to the right-hand side of the drawing here. A lot of little dots, little tiny little lines to just give it a little bit more scale. And then I'm going over it with a light wash of ink. So really, really light on the pen and just kind of shading in a large section of the grass. But I think by what I have drawn and what I haven't, You can tell that it's a grassy section of lawn or field on a summer day. All by this small little lines. When taken individually, they don't look like anything, but when placed together, hopefully they look like a grassy field surrounding this rock. Now, trees are really, really fun texture. I really love them and hopefully you can tell by the care I put it into this part of the drawing. As I'm observing the trees that I want to draw, this is probably gonna be kinda like an oak tree. I'm checking out photos. Along the way too. I've attached resources at the bottom of this video in the class description page that you can check out as well. I know that the bark often runs vertical and in jaggedy, lyrical or curly shapes a little bit. And I'm gripping back on that pencil or the pen, sorry. And creating these irregular textures along the way, kind of up and down textures that often have the darker spots on the left-hand side because that's where the sun is coming from. Now, these dark areas that I'm shading in there, the sections of the bark that may be more indented into the tree than the light spots. I want to add some darker lines and darker areas of shadow to really flesh out the idea that this tree is being cast in the sunlight. And this left side would be much darker than the right side. When I'm looking at tree bark, I noticed that there's so much variety in the light and dark areas and that's what I want to capture in this texture. Even though we're a little bit farther away from the tree. I think it's an important part of the drawing and that's why I'm spending a little bit more time on it. Capturing these light and dark areas. However, I'm fading it out a little bit towards the bottom. And that's to give emphasis to Iraq, as I talked about earlier. You don't want to crowd out textures in your piece. And I think we can understand or glimpse that this is a tree and it's fairly detailed without having to ink in the bottom. If I inked in that with a similar amount of detail as I did with the middle of the trunk. It would crowd out the grass in the rock as well. Now in interest of time, I'm not going to go over the foliage or the tree up top. However, I'd invite you to finish that off if you like. You can, at the end of these four examples, you can add different textures. And I think tree foliage would be an awesome place to start, paying attention to the light and dark areas of it. However, a key part in drawing texture is having other textures in the scene or other spots to accent the distance and accent that the scale of the scene. Here I'm drawing some tree trunks that are much further away, a little bit lighter, much less detailed. To give the feeling that we're looking into a forest. There's a space behind us that didn't really take much at all, much work. But even with those straight up and down sticks, I think you can tell that there's a forest. There. Didn't take hardly any work, but by adding that, I think that added so much emphasis to the tree, we did draw the last practice exercise for this class, we'll be drawing geometric textures, straight line shapes that repeat like Windows, or in this case, brick. 9. Practice: Brick (repeating shapes): So lastly, we're going to talk about geometric shapes. I want to say geometric. I'm basically going to talk about bricks. I'm going to talk about straight line shapes, basically human-made objects that have straight lines that are repeating over and over again. Whether that's Windows cascading down a wall, whether that's a stone floor. And this lesson will be about tips to stay sane while creating these incredibly detailed and repetitive shapes. How can we be smart about what part of the texture we draw to make the human eye infer what the texture is. Now here I'm going to go over this geometric shape and that is this side of this little cabin that we're going to place behind the rock. I've sketched it in with pencil to get the outline right. I'm not gonna go over the pencil or the outline or how I draw that in perspective as much this time in the interests of your time. However, we're gonna go over how to add this brick texture without bringing in the whole thing. Now, remember it's what we don't draw that often gives the eye a clue to what's there. By picking out the kind of style of brick that I see in this reference photo. I know that that's the main crux or the cornerstone of this drawing. I want to capture those rectangular bricks. And by drawing a few of them in strategic spots, I can give the viewer an overall impression of a brick cabin without doing all of them. I'm kinda going evenly across the building, little clusters of bricks. Now, you'll notice they're a little bit light because the cabin is a little bit farther away from us. And often the rectangles aren't the same size. That irregularity, I think, adds a little bit to this cabin because we don't want it to appear a little bit older and a little bit decrepit. However, I'm not working in the entire thing. I'm paying attention to the key parts. For example, you notice how there's more bricks around the door and there's gonna be a few more bricks around the sides of the building to give it shape and to give it scale. However, in the middle here I don't really have to add as much detail. We see the bricks on the side and we get pretty good glimpse or a pretty good grasp of what the texture is that applies to a lot of different geometric textures. You don't have to draw the whole thing. You don't have to draw every line for us to get a glimpse of what the final output actually is. And then it's the sun that adds the final touch. By shading in, we can then get a better idea of the position or the area that this cabin and habits in the scene. A little bit of shadow really, really add some contrast. I think it's a fun technique to try as well. I didn't really light lines to your drawing. And then I'm gonna kinda go over it a little bit more at a few more details towards the side. And they're rectangles, but as you can see, they're pretty lazy rectangles, sometimes just vertical and horizontal lines capturing the the main lines we see in that reference photo of the cabin. Before you create your own drawing, I'll go over some common mistakes, things to keep in mind or things to avoid. Well approaching drawing texture in pen. 10. Common Mistakes : Now if you watched the introduction, you know that a big thing about drawing textures is a lot of people spend so much time drawing texture and they often get it wrong. Maybe not technically, maybe they have the texture, technically correct. They've drawn every single blade of grass, but it doesn't work with the overall composition of the drawing. There are a lot of mistakes that you can make easily and texture stuff that I've done and stuff I still do. I look at and I think, Oh, I could have done that so much better. So here are some top three mistakes people commonly make when drawing textures. First, it's startling, too dark. Well, we talked earlier about how the dark parts of a texture are often the most important with pen to get right into focus on. Often people draw in textures, dark right away without kind of easing in to a permanent texture. Sounds kind of weird, but here's what I mean. I mean, if you're drawing a texture often I'd wanna start in pencil or maybe even pen, but start out with really light lines. Get a sense of the overall shape of the texture before drawing it in. How does the field kinda fade into the distance? How has the field shaped around the central castle, for example? If I don t know that, then I might start drawing dark spots farther away from the front of the drawing and then have to even it out and ends up at the front of the drawing or the foreground is super, super dark and the background is super dark as well, and it just looks really muddy. So by starting out a little bit lighter before you kinda focus on those dark spots, you can ensure that you can keep everything else we talked about in mind. Another mistake I think people often make is trying to be way too detailed. Adding too much detail to your texture can take away from the overall sense of your drawing, especially when you're drawing with pen, because that often means too much darkness. For example, if I tried to draw every single leaf on this tree, it's going to look like a muddy mess. It might look kind of cool, but it might not serve the overall purpose of the drawing unless your focus is just on the tree. If I spend four hours drawing in every single leaf, I might feel very accomplished at the end, but I'm not sure if that tree would look any better for it by being smart with where you place details and what textures you focus on, your drawing will turn out better. Lastly, and I didn't talk about this as much in the other lessons, but it's paying attention to light and shadow. We did talk about darkness, but the way that the sun, or the way that the light will play off a texture can change how we perceive it. If you check out this scene of grass leading out towards this forest, you can see that in the sun, you don't really see the individual strands of grass. Therefore, if we tried to draw all these individual grass shapes, it wouldn't really look like a field. And since we're drawing with a black medium, we'd end up muddy in this scene. It look way too dark and it wouldn't really capture what the grass texture actually looks like in the sunny day. Instead, maybe we just add a few little strands of grass. But I'll talk about this later when we talk about drawing vegetation in a further lesson, often light erases texture as well. Here's what I mean. In this drawing of Hogwarts, you can see that this tower on the right-hand side of the drawing doesn't really have much texture on it at all, even though it is a brick building. But since it's farther away and this getting direct sunlight, the sunlight kind of takes away that the brick lines that we'd see from this far away. Therefore, I kept it completely blank because I want to accent the sun and the highlight of that tower. And I knew if I added bricks, it would create the illusion that it actually is under shadow. It would darken in the tower in a way that would take away from the contrast I want to create with a light and dark. So to recap, paying attention to where the light would hit your texture is really important by adding a shadow on the texture as well. You can really accent its place in the scene and do that consistently. Now it's time for you to create your own drawing. In the next lesson, you'll have a chance to put these textures together and add some of your own as well. 11. Practice: Your own Drawing : I gave you three examples of shapes you can draw. As you see, I put them together in one drawing. Now, if you've done that with me, this is the time for you to add some creative flare at some other textures that you're curious about. Integrating the concepts that I introduced in the beginning of the class. Try drawing a new texture and keeping in mind how it might look different the closer it is to you and the farther away it is from you. Try paying attention to the way that the shadows are, the dark parts of the texture, create a three-dimensional shape or a three-dimensional feel for the texture. And lastly, be smart about what part of the texture you draw. How can you make your life easier by choosing which sections of texture or which texture is not to draw completely. Thus creating a drawing that centers the viewer's eye on what's important while not appearing too cluttered. If you'd like, you can draw something totally unique. Throw out the examples I gave out the window and draw a scene using your own textures. Try to include two or three or four, and then post it in the project page. If you'd like. Give a brief description about what you've drawn, what you found really difficult, or what you enjoyed about the process. And that's it. In the next lesson, we'll wrap up the class and talk about what we went over. 12. The End : So you made it, we talked about how to craft textures using light and shadows. How to ensure that the texture is closest to us are more detailed, the ones farther away fade out. We also talked about smart use of your time. How to pay attention to which part of the texture is important to draw in order to get the overall impression of it without creating drawings that are too cluttered. Then we went over three different textures to draw. You had the chance to practice grass and vegetation. You also got to track practice that rock, geometric shapes. And then we talked about the brick and these shapes that are repetitive over time. I hope you had a chance to put it together too, and I'm so excited to see what you've drawn on the project page. But what's next? Well, I hope you can take these tips and put them to use in your own drawing practice. By keeping these ideas in mind, I think your setup for a more efficient and a little bit more of a fun drawing experience. You don't have to draw every aspect or every part of the texture that you want to convey or the texture you want to put on the page. But being smart and by using light and shadows as well as distance, you can create textures that are really fun, that add to your drawing and that are hopefully enjoyable to draw as well. I'm excited to see what you create. Thanks for taking the class and I look forward to chatting with you about texture. Again.