How to Draw Animal Portraits for Beginners - Realistic Sketching & Shading Basics | Ethan Nguyen | Skillshare

How to Draw Animal Portraits for Beginners - Realistic Sketching & Shading Basics

Ethan Nguyen, Art Instructor

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31 Lessons (4h 15m)
    • 1. Introduction

      1:23
    • 2. Materials

      9:53
    • 3. The 5 Elements of Shading

      5:29
    • 4. Gradual Blending

      4:46
    • 5. Shading A Cylinder Part 1

      12:07
    • 6. Shading A Cylinder Part 2

      11:16
    • 7. The Grid Method

      2:24
    • 8. Dog Eye Drawing Step 1

      10:29
    • 9. Dog Eye Drawing Step 2

      15:10
    • 10. Dog Eye Drawing Step 3

      14:58
    • 11. Dog Eye Drawing Step 4

      15:40
    • 12. Dog Eye Drawing Step 5

      15:18
    • 13. Dog Nose Drawing Step 1

      19:18
    • 14. Dog Nose Drawing Step 2

      16:13
    • 15. Dog Nose Drawing Step 3

      6:22
    • 16. Tiger Drawing Step 1

      3:34
    • 17. Tiger Drawing Step 2

      4:47
    • 18. Tiger Drawing Step 3

      7:34
    • 19. Tiger Drawing Step 4

      14:24
    • 20. Tiger Drawing Step 5

      5:55
    • 21. Tiger Drawing Step 6

      5:01
    • 22. Tiger Drawing Step 7

      12:25
    • 23. Tiger Drawing Step 8

      2:36
    • 24. Tiger Drawing Step 9

      3:57
    • 25. Tiger Drawing Step 10

      5:58
    • 26. Tiger Drawing Step 11

      3:24
    • 27. Tiger Drawing Step 12

      7:00
    • 28. Tiger Drawing Step 13

      5:25
    • 29. Tiger Drawing Step 14

      2:33
    • 30. Tiger Drawing Step 15

      6:27
    • 31. Tiger Drawing Step 16

      3:04
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About This Class

In this course,  you're going to learn all the fundamentals things you'll need to know in order to draw realistic animal portraits.

Each lesson covers a different element of the animal drawing process in a very step-by-step way so you’ll never be overwhelmed.

We'll begin by covering the basics of shading. You'll learn about the elements of shading and how to create smooth gradations.

Then you'll apply that knowledge to draw the facial features on an animal.

You'll learn how to draw a dog's eye, nose, and mouth.

After that, we'll go through the entire process of drawing a tiger from start to finish. You'll learn how to draw the lay-in and gradually add layers of shading.

And by the end of the course, you will have drawn your very own complete animal portrait!

You’ll be able to watch over my shoulder as I show you (in detail) everything you need to know. You’ll get step-by-step instruction guiding you through every step of the way.

Course Material List

I buy a ton of art supply online and these links are the best prices I was able to find for these items & where I buy them myself.

Full disclosure, these are referral links so if you buy something through them, I may earn a small commission (at no extra cost to you!)

Also, be sure to check out the my courses so you don't miss out on any important skills:

 

Transcripts

1. Introduction: hi and welcome to this beginner's course and drawing animals. In this course, you're going to learn all the fundamental things you need to know in order to draw a realistic animal portrait. It's. Each lesson covers a different elements of the animal drawing process in a very step by step way, so you'll never be overwhelmed. We'll begin by covering the basics of shading. You learn about the elements of shading and how to create smooth gradations. Then you apply that knowledge to draw in the facial features. On an animal, you'll learn how to draw a dog's eye, nos and mouth. We'll break down every step of the process in detail and you'll learn things like have to share the dogs I to make a look shiny and lifelike. How to render realistic looking for how to add structure and texture to a dog's nose. How to use your racer to create white hair and whiskers and a whole lot more. After that, we'll go through the entire process of drawing a tiger from start to finish, you learn had to draw the lay in and gradually add layers of shading. And by the end of the course, you will have drawn your very own complete animal portrait. You'll be had to watch over my shoulder as I show you in detail. Everything you need to know. In addition to all the lessons, you also get reference images and drawing scans for all the projects. Well, I hope you found this video helpful, and I'll see you on the inside. 2. Materials: So before we move on to the drawing lessons, let's go over some of the materials that you're going to need for this course. So first things first, we're gonna need a drawing pencil for this course. We're going to be doing some very shading, so it helps to have one HB pencil and also one six b pencil for darker shading. In case you don't know how the this pencil rating system work, I basically starts with H B, which is sort of the neutral middle ground, and then as an increase in number, say, going from to be to three B 24 B five and then all the way to six be the softness of the lead gradually become soft and softer, the higher the number gets, and when the lead is softer, that will allow you to create darker shading. And on the other spectrum, if you go from H B all the way up, you'll have, Let's see, you have something like a to H and then ah, three age and so on, all the way up to six h and nine h, and you can think of that as being harder so to age is hard and the more harder the lead gets, the lighter it is so you can draw very freely without having to worry about the pencil marks being too dark. But for this course, you're only going to need pretty much a to B pencil and a six b pan chose so the to be pencil will be for drawing and sketching, and 60 pencil will be for really heavy shading. Now, in order to get out drawing looking as good as we can, we need our pencils to be very, very sharp. So as you can see, these pencils have been sharpened to a very fine point. And what I usually used to get my pencil really sharp eyes an electric eraser because usually the not electric erasures will not get your pencil very sharp. And when you do try to get them very sharp, they will break your leg. However, I've recently come across to this super super cool, non electric pencil sharpener called the Strat Lor. I think it was the tub eraser, and what this thing does is it has two holes, one for color pencil and one for regular graphite pencil, and they even though It's a non electric pencil sharpener. It could get your pencil very sharp without breaking the lead. So just to show you, I'm gonna sharpen this very doll, uh, color pencil here and we'll see how sharp I can get it. Okay, So as you can see, it's a very nice sharp point. And I did not risk breaking the lead at all. And in fact, with a regular graphite pencil like this one, you can get it. Ah, a lot sharper. So this is a great tool on, and you can pick it up for only, I think six or $7 on Amazon and I'll include that are linked to this pencil sharpener in the materialist. Oh, and I forgot to mention that with ease. Graphite pencils here. I got them part of a set. So this is a, um, essential sketching artist pencil set. And it comes with 12 Hansel ranging from six B two HB and then all all the way up to six h . So you have you have the whole right. I'm sorry. It ranges from six p to HB all the way up to five age. So ah, very comprehensive set. And you know you could just buy this one set and have a whole bunch of different softness and pencils to work with. So you can either choose to get this set which I'll include the link to or just go down to your local our supply store and pick up these two pencils and you should be good to go. Okay, so now the next thing we have is the lead pencil, and this one uses 10.5 millimeter lead, and it is a graph gear 500. Okay, so it's a graph here, 500. I like to use lead pencils for my line sketches because I find that it makes a very fine detail lines without me having to worry about sharpening the pencil. This is just a personal preference of mine. If you like using like pencils, I recommend you grab one. But if you don't a HB pencil sharpen to a, uh, a fine point will do just as well, so this is completely optional. Okay, But you will see me using this throughout the course, and again, it's a regular mechanical pencil. The brand of the pencil does not matter. All of mechanical pencil does is it is a container for the lead. So as long as the pencil fit your hand and you can draw with it comfortably, it doesn't matter what the brand is. This one just happened to be a graph gear 500 the lead I'm using is, in terms of softness, is to be led Onda again. It's, ah, 0.0 point five millimeter in thickness. Okay, so next we have our tort Alon on and these are basically just paper that have been spiral wound into the shape of pencil. And we're going to use this to blend our shading together so that it looks smooth and realistic, and it's a very helpful tour. We're gonna be using it a lot. It's very cheap. You can find it any art supply store. If you walk into in our supply store and you say to ortolan, sometimes they might not know what you're talking about, so you could also refer to them as blending stumps. And so those are the two ways that the's are labeled on. Dow include a link to these as well. If you want to purchase them on Amazon and then we have a regular just eraser for larger racing. That goes without saying, I think any ah, serious artists would have this in the took it. And next we have our kneaded eraser. And this is a fantastic tool for realistic pencil drawing because, unlike the regular eraser, you can use it to raise in stages on Take off, um, graphite from your drawing gradually. So let me show you what I mean if you have a line like this one. So here we have a line on paper, and if I wanted to race it using my regular eraser, it would be more of a less. And although nothing affair, so if I took my racer to the line, it would pretty much take the whole line off. There's no great Asian to it, however, with the kneaded eraser, I can simply touch the line with the eraser lightly, and that will take off little bits of graphite at a time, which allows me to create more realistic effect. So this is a great tour, and it's also very inexpensive, and you can mold it into any shape you want, which also lends itself to more precise erasing. Now, even though the kneaded eraser is great. Sometimes it is very hard to take it into really small, fine corners for detailed the racing. And so, for those situations, I like to use an electric eraser. Now this is basically the way it works, is it's, Ah, small piece off eraser. This one's a little bit worn down, but it's a cylindrical shape eraser, and it attaches to a motor, which spins the eraser around in a circle like this. When have you press this button and that will allow you to erase very detailed however you want. It's almost like a pencil that you can draw in reverse with. So this is a great tool, and actually later in the course, you're gonna find that is very good for adding whiskers and fine hairs to our animal portrait drawings, and you're going to see how that works later on. But in order to use it to its full potential, we need to sharpen the tip of the eraser into a fine point, because when you first get this electric eraser, it comes with a bunch of erasing cylinders, and it is not a fine point. So what I like to do is take this nail filer. Some people call it an emery board, and you basically use it to follow your nails down. And I use it as a rough surface that I can take my electric eraser and sharpen it into a fine point. Okay, so once we get to the course, I'll show you exactly how to do that. But this is also a necessary tool if you want to use the electric eraser. So next we have our drawing paper and for drawing paper. I like to keep it really simple. Um, this is just a regular 8.5 inch by 11 inch copying paper that you confined in any printer or any WalMart or supply store. So I like to use this for my drawing, and we'll be working with this throughout the course. However, if you want to, uh, put your drawing your final drawings on thicker, sturdy of paper, I recommend the shrapnel more bristol, smooth £100 paper, and this is what I usually use for my very own A drawings. However, throughout this course, I'm gonna be just working with, uh, the regular copying paper, just show you that you can still make very beautiful drawing, just with regular paper. There's no need to get fancy, expensive paper or anything like that 3. The 5 Elements of Shading: in order to make a drawing look realistic and three dimensional. That's basically two tools at our disposal. The first is shading, and the second is perspective Now. Perspective isn't really an option with portraiture, because we are so close to the subject. It's more for buildings and landscape drawing. So with portrait, we basically have shading in order to make drawings look realistic. So looking at the sphere, you can see that it's the different tones on the sphere and how they are position and how they blend smoothly together. That gives the illusion of it being three dimensional. And when it comes to shading that something called the five elements of shading and what that is is basically the five different tones or shadows that we use when we shade a drawing. So let's go over each of the five elements and the role that they play. The first is to cash out, and that is the darkest shade in your drawing, and it will correspond to this square here on the scale. It will be as close to black as we can make it. The cash shadow is exactly what it sounds. It's the shadow cast by the object. So in the strong, it will be this area right here. Next we have the shadow's edge, and they correspond to this square. Here. The shadow's edge is usually the darkest home on the object itself. So here in on the sphere, it will be this crescent shape right here. It's basically the area on the object that is the least lit up. Next is the mid tone or half tone and is basically the transitional tone between the shadowed edge and the four light, which is the brightest spot on the object. So we have the full light shells edge. The mid tone goes right between. In order to create that smooth transition and that correspond to this medium, grey here noticed that it's right smack in the middle of the five elements. Next is the reflected light, and this one is kind of special because you don't always see it in every drawing. It's basically this area right here, and it's created by the fact that the light source, even though it's hitting this area here at full blast, some of that light is bouncing off other surfaces and lighting the the object at this angle here, and it's not quite Aziz light as the full light, but it's still pretty bright. And when you do see it, it gives the object a nice little added detail that really makes it look very dimensional and realistic. And the reflected light would be this square here on the scale. And lastly, we have the full light, and that's very simple. It's the area on the south on the object that is hit with the light and is usually shaded is white or very, very light. And it would be this square right here on the scale. So to sum it up, basically, when light hits an object, the spot that it hits will be the full light, which will usually be white. Then, as a radiates from that area, it will gradually gets darker. So this the flight, followed by the half tone than the shadow's edge. And then, if there's enough light bouncing off the other surfaces, there's going to be a reflected light area. And then lastly, we have cash shadow. So now let's take a look at how the five elements applies to an animal portrait. I like the sphere of the five elements aren't neatly separated so that we can see them easily. And also the for the different color for on an animal's face can also make it difficult to recognize them. But here, usually we can see the full light to very easily, and it's the brightest spot on this drawing. So we have this area here by the ear and pretty much this whole area on the right side of the face. The cash shadows also easy to spot as well. We have this little area here underneath the ear, over here, on the side of the face and underneath the mouth, basically any crevices that doesn't get light. It's the all the other tone in between. That gets a bit tricky. This area here on the body and also a small area here on this side of the face would I would consider the shadow's edge. So this area here, here and here would be considered the mid tone. Let's zoom in on the nose here, so because the nose is very similar to a sphere, we can see the five elements much more easily. So here we have the full light and the cash shadow is right in the crevices of nose in the nostril area. And then we have the shadow's edge here, followed by the half tone, and that's not really any reflected light to speak off. But if they were, it would be right here on the edge of the nose. So not that you know about the five elements of shading. It should help you to analyze the drawing and know generally where the tones they're going to lie. You know that if there's going to be a full light area, then there's probably going to be a cash out of somewhere. And somewhere in between that will be the mid tone and the shadow's edge. And also there might be a reflected light in there as well. Okay, so now that we know about the basics of shading, let's go to the next video, where we'll talk about how to apply the tone to our drawing 4. Gradual Blending: Now that we know about five elements of shading and what tone to use and I'm drawing, it's time to learn how to apply them to our drawing. Now it's not enough just to be able to replicate the different darkness of these tones, but we have to be able to get them to blends. Move Lee together on our drawing, just like on the spear right here, where the tones smoothly blended together rather than being discreetly divided, like on this gray scale. And for that, we're going to use a blending technique called gradual blending. So why is gradual blending important in drawing realistic portrait, particularly animal portrait? Well, when we look at this photo here, we can see that in this photo there are many many instances off the different tones, gradually turning from dark into light and then dark again. So there's many areas here where we need to gradually blends the tone together, and unless we canoe that our drawing isn't going to look as realistic as it can. So this is what gradual blaming looks like, and we're basically just drawing the different tones off the five elements of shading and having them blend together on this bar here and we want the goal is to help the transition happened so smoothly that we can't see where one tone transition into the other. So let's go over how to create this blended bar here. I'm going to take my mechanical pencil and begin by creating a dark up and down stroke. This is going to be our cash shadow. And then as I moved down the bar, I will gradually lighten the pressure I apply in the pencil. And if I feel like I want to make a certain portion of the bar a little bit darker, I can always move back over it and add another layer of tone, I think. And the key here is you want to be very gentle once you get the lighter area, because those are usually the toughest to control. And I actually want to go back over and dark in this area here a little bit. So once you have the total it in, we can take our Tortola on and gently blended together to make the transition even smoother . And for the last part here, I'm actually gonna take the 20 on and very lightly used the little graphite that's on the tip to draw in the last tone. So here we have the cash shadow. Shadows edge, the mid tone, the reflected light and then, lastly, the full light, which is white. So we just leave it blank. So this is a great exercise. It's issue some pencil control so that you're able to modulate the pressure you put on your pencil, and it's your shading. It's very simple, but it can be a bit tricky if you're not used to it. So go ahead and create this little shade bar here a few times until you feel comfortable with this gradual blending technique. And once you're comfortable with it and you want a little bit of extra practice, you can also try starting from the light end and gradually darkening as you move towards the left side of the bar. That one's a bit trickier and requires a little bit more pencil control, but it's a great way to practice your technique. So go ahead and try out this exercise, and I'll see you in the next Western 5. Shading A Cylinder Part 1: Okay, So in this lesson, we're gonna be taking the concepts and techniques that we learned so far and apply them into a shading exercise. Now, this exercise is something that I've learned from Darrelle Tank of five pencil method. And it's a great way for us to practice. Shading and giving are shaped contours and the mention while at the same time playing with having a light source coming from different, different angles and direction and also having multiple light source. So basically, what we're gonna be doing is drawing cylinders like these ones and then deciding how many light source we want and what angle they're going to be shining in from, and then shading our ah shape accordingly. So, for example, we take a look this barrel right here we have three light sources. We have one coming in from the right side, illuminating the side of the cylinder or barrel. We have one coming in straight up front, creating this stripe vertical stripe off zone right here. And then we have one coming in from the left and by by using the shading method that I'm gonna show you were able to make this'll cylinder Look three dimensional. So once again, the key thing to remember here is that wherever the light source hit the object full on, there's going to be the brightest spot. And then, as we move away from that area, is going to get gradually darker and darker. And it's that gradual, diminishing of tone that gives to shape its contour. So let's go ahead and go through a step by step exercise, and I walk you through how to draw one of these cylinders. So for this, we're gonna be using our HB pencil, our six B pencil, a kneaded eraser and a tonal on. So before we get too complicated, with multiple light source coming in from different angle, let's start out by drawing a simple cylinder like this one here with only one light source , and it's hitting it right at the front part of the object. Okay, so the first step is to draw in these horizontal stripes on the cylinder. The's stripes helps to um, gives this shape a little bit more definition, and it makes it a little bit easier for us to shade and create contour on, and you can use three stripes of four stripe. It's up to you for this one. I'll just start off with three stripes. So here, I'm gonna make the horizontal stripes and fall out of you. You might find it a lot easier to just turn the paper sideway and create the strike by using a vertical up and down stroke rather than trying to work at this awkward angle. So that's what I'm going to do. And we're just gonna create Try to keep the stripes as uniform as possible, but you don't have to be 100 set exact here. The key is to just keep the tone light. We always want to start off light at first and then darken as we refine the drawing. Um, you know, it's a lot easier to make something darker. Um, but if you go to dark right from the get go is gonna be very hard to go back from that. Okay, so here I have my three stripes. I made this 1st 1 a little bit darker than I would have liked, but that's okay. So now I'm just gonna turn the picture of vertically again, and I'm gonna put in very lightly, uh, the left and right edge of this cylinder. Okay, so we're starting to see a little shape here. Now, let's give it some contour. So we're gonna have light hitting the object right here. So that's where the tone is going to be the lightest. So that mean these, uh, the left and the right edge is going to be the darkest. So that's where I'm going to start shading. Okay, so this is gonna be the darkest area. And then as I moved towards this center area, I'm gonna begin to gradually lightened the tone. Okay. Okay. So, as you can see, I'm keeping my pencil touch very light to that. As I'm getting to the middle here, I'm barely touching the paper at all. All right, so now we're gonna take out total on and just lightly blend it together just to have a rough idea of what the objects gonna look like if you're going to be using a total on, try to get a clean one. But if you don't have a clean one, get one that either not is dirty with graphite. But if you can't help it like this one here if you have a total on that's really dirty, Like this one with a lot of graphite on it. When you're blending with it, make sure to keep your touch extremely light because you if you press down too hard, it's gonna put all that graphite under the paper and make it darker than you would want. So just remember to be careful in the blending stage. Okay, So now the next step is to go in and refine these horizontal stripes here. We're just gonna give them a little bit more definition. And also, they don't really have that gradual lightening as you get to the center. As you can see, the tone is pretty uniform throughout the stripes, so I'm just gonna add darkness to this edge and then gradually lighten it. Want to get to the center here so that we get that contouring effect? Okay, so I'm just gonna go up straight up and down along the stripe like this, and then lightened my touch as we get to the center and would do the same thing over here. Okay, again, if you must err on one side or the other air on keeping your pencil touch lighter because you can always go back and add more graphite, okay? And then I'm just gonna do a little bit of edging here and make the shape a little sharper . Let's blend that together and see what that looks like. All right. And we'll do the same thing for the other two shrimps. - Okay , So as you can see, just by adding a little little bit more contrast to these dark edges here, we're giving this shit, selling a lot more dimension. So now I'm just gonna go ahead and do the same thing for the rest here by going up and down the side, using a lighter tone, Of course. And I did for the strike. But the point here is toe add more contrast to make it pop out even more. Okay? And I want to do the same thing over this side, okay? And now we'll blend them. And I even went into this lighted area, but I kept the touch very, very light because I just wanted Italian a bit to smooth in that transition because I don't want it to be such a discreet, dark tone of the light tone. Okay, I want it to be more gradual. So that's looking pretty good, as you can see by adding a little bit more contrast, are drawing were able to give the object a lot more dimension. And a lot of times when people send in their portrait trying to me to critique, even though the drawings look great, the majority of the improvement I could see comes from not adding enough contrast to your drawing. So I think it's because people are afraid to be too heavy handed with that pencil because they don't want to mess up the drawings. But I think if you just add more tone, it will just give your your drawing so much more dimension and makes it more interesting to look at. OK, so at this point, I'm gonna take my need. Eraser. And I can see that, uh, I didn't really do a very good job at creating a gradual lightening towards the centre with the stripes here, so I'm gonna take my pencil. I mean, I'm gonna take my need, eraser, and I'm gonna shape it into this flat edge like so okay, and I'm just going to sweep it among the senator to lighten the tone a bit. So I'm just gonna gently brush it along this area here. Okay? Not too much is out of order over do it. But I want to create that contour, okay? And usually, after I pick up the tone with the need erasure, it is gonna be a little bit of unevenness. So I'm just gonna take my Twitter alone very lightly. Smooth it over once again. Okay, so at this point, I'm gonna take my electric racer here and clean up Theo edges a little bit. Teoh, make it look more sharp. Would just gonna take out some of the smudges that went outside the line. Okay, so at this point, I think we can afford to, uh, add a little bit more contrast to the stripes. The attention is just a differentiate. Um, these part from these part here to make a little bit darker. So I'm gonna take my six b pencil, and I'm just going dark in these area here. Bid more. Okay, Okay. And let's work on the edge a little bit, even that out. And we can actually even make this very far edge really dark, as if it's, uh, hidden by the shadow. And now some quick blending and you have it. Okay. And that's all there is to it. Go ahead and try this for yourself and see how it turns out. 6. Shading A Cylinder Part 2: Okay, so now we're going to be continuing with same exercise. Except this home will make things a little bit more interesting by adding a second light source to it. So we're gonna be drawing a selling their much like this one right here, where we have one light source hitting the front of the object, much like in the previous example. Except this time, we have a second life source on the left illuminating this left hand side over here. Okay, so let's go ahead and start drawing that some there. So once again, we'll start with an HB pencil, and we're going to start by creating the horizontal stripe. And for the sake of variety for this, aren't we just gonna do a four stripes cylinder? And I'll go ahead and turn my paper sideway here to make things easier. And we have our four stripes. As you see, I kept them very light. So now we'll turn it right side up again. And I'm just gonna add a very light outer edge just to give us an idea of where the edge is gonna be. Okay, so now to add the contour. Now, remember, we have to light source. So the 1st 1 is gonna hit us right here in this part. It's gonna be very brightly lit. And the second light source is gonna be on the left hand side. So this side of the, um, cylinder is gonna be rightly, which means this area will be dark, okay? And it's going to get liar as it gradually get closer to the center. Okay, so that's how we're gonna shake that And this area right here, right between where the two light source hit is going to be dark. And then as it moved to the U right and left hand side is gonna get gradually lighter. Okay. So is actually gonna be a very thin shade of tone, right? Right in the middle of the cylinder. So it can be a bit tricky because we're gonna go light very quickly. It's gonna be a very quick transition from dark tone to very light tone. Okay, so now that we have the preliminary shading put in, we're gonna blend it and see what that looks like. Okay, so now I'm gonna go in and darken and refine the horrors onto edge again. I want to keep to that shading pattern where it starts out dark here, gets gradually lighter here, okay? And that it's pretty much bright in this section. And then it's dark right over here. Become gradually light as it moved to the right. Then gradually light as it moves to the left and I'll turn it sideways. And some more definition to the edges. Remember, when doing the edge, we still wants to keep the pensions, so touch light as we get to the center. Okay. Okay. So right here. I sort of made a mistake and made my pencil a bit too heavy. It's supposed to be lighter there, but don't worry. Uh um, in the later stage, we're gonna take out needed it, racer, and lighting that up. So now I'm just going to repeat the same process for the remaining three stripes. Now, it's important that we keep the dark area off the four stripes in line with each other. So this dark area here has to line up vertically with the rest of the three shapes. So I'm just gonna sort of create this dark line right there. Just a help guide me, keep them in line, and then continue my shading, - and I will blend it. Okay, so now I'm gonna add some more tone to the rest of the similar itself. A long lead. Dark, the dark columns. So right on this edge right here. So we'll add tone there and have it gradually get lighter. And I also want to make sure to add some tone here to even out this little stripe here that I made. I might have made it a little bit too heavy so that it stands out a little bit too much. So I might have to get my kneaded eraser en lighten it up a touch. Okay. See, this is why you always want to start off light first and then gradually make it darker. It's so easy to make a mistake. Um, by making it, making a shading too dark to begin with, I'm gonna go ahead and, uh, let my sheeting blend into this area a bit just because we're going to take on either racer and lighten it later. So I can be a little bit sort of messy on this side right here, and they must blend that together. Okay, so now I'm gonna take my kneaded Eraser. And again, I'm gonna make that flat shape like that. Okay? And I'm gonna turn my paper sideway like this, and we're gonna take it and sweep it along this direction in order to lighten this side of the cylinder. And I would be moving the needy eraser in sort of a sweeping motion so that I lighten the pressure on it as it moved in towards the cylinder so that we get that gradually light to the effect can so you can see the graph fights that the eraser picks up and we do another round of that. Okay, so now if we took out a little bit too much of these stripes of the edges on the stripes, it's OK if we we clear the the edge of the this part of the cylinder because it gives that effect that the side of similar is being washed out by the light. But we want to have a little bit of an edge on the striped just to hint at the shape of similar. So we use We used the edge of the stripes to, um, to give the illusion of a shape, so I'm just gonna very lightly going with my pencil and at in those slight edges. Okay? So that they can suggest this straight edge here. Okay. And now the final step is to take out six b pencil and go in and darken the stripes and just make everything flushed out. Give it more definition. - Okay ? So basically all I did was took the six b pencil and went in and made everything made the dark tone just a little bit darker. Um, and that that has the effect of when you made the dark tone darker off, making the light own look as if they're brighter. So and it just makes the picture that much more three dimensional. So now I'm just gonna for the last final stage, I'm gonna take my electric eraser and clean off the dirty smudges around the edges, and we're all set. Okay, so that's the cylinder shading exercise. As you can see, there is ah, very, very wide array of things you can do with this exercise. You can play around with all sorts of different configurations of light sources. So go ahead and practice this shading until you feel comfortable with it. And you can use this sheet as a starting launching point. Andi, just replicate the shading on lighting configuration that I have on here. And then from there you can just come up with own and be creative with. Have fun, and I'll see you in the next lesson. 7. The Grid Method: when creating the outline. Drawing for your portrait is very important that we keep the proportion and all the features very accurate. Now, as a beginner, that could be very difficult to do. So. That's why we use something called the grid Method. And basically the way it works is you would draw a one inch by one inch grid over your reference photo and then draw the same grid on your drawing paper only very lightly, letting you will use these grid as a guide to help you transfer over all the details. The great essentially breaks down the reference into many tiny drawings so that you can focus on them one at a time rather than having to deal with the entire pictures. What can be very overwhelming? In addition to helping me draw better, the Great can also be used to do other cool things as well. So, for example, if you have a reference that was very small, you could use the grid method to blow it up on your drawing paper. All you have to do is draw the grid on the reference smaller and then make it bigger on your drawing paper in this example, I made the grid on the reference half an inch by half a niche, and I made the grid on drawing paper one inch by one inch, so it's twice as big. So now every time you copy over an individual square onto your drawing paper, it will be on a larger scale. And in case you're wondering, no, that using the grid is not a crutch or cheating, in fact, is just a very useful training wheels for beginning artists to practice the hand dexterity until they develop enough skills that they can freehand draw on their own so you could start off by having a one inch by one inch grid on your reference. And as you become more comfortable and more skilled, you congratulate Smith your grid larger, like in this case here where I have two inch by two inch grid, and this will give you Gless guidance and will force you to rely more on your freehand drawing skills. So that's basically the grid method, and we're going to be using it throughout this course to draw our portrait. So in the upcoming lessons were going to be focused on how to draw the individual parts of an animal's face. We're going to go through examples of how to draw the eyes, nose and mouth, and throughout those example, you will also learn how to draw the for. So I hope you're excited and I'll see you in the next lesson. 8. Dog Eye Drawing Step 1: Now we're going to draw a close up, often eyes so that we can really get into the intricacy of drawing animal eyes. This is going to be the reference will be working with. So please print it out. So you have it with you and control along. Okay? So, to draw the outline of the drawing, we're going to be using the grid to help guide us now, since this is a rather large drawing and there's not that much detail we have to copy over . I'm going to be using a two inch by two inch grid rather than my usual one inch by one inch . So I'm just gonna take my ruler and draw in the grid, okay? And now I would do the same for my drawing paper. Okay, so most of the work to be done with this drawing has to do with shading. But before we can shade, we have to create a basic outline drawing. Now, when looking at this, there's not a whole lot of hard lines in this drawing, and that's about the details, and it can get really overwhelming. So the first thing I like to do is to break down the reference. So I know exactly what I'm looking at. So basically, we have an eyeball here with a layer of skin eyelid surrounding it and then follow up with some for the eyeball, obviously, is much bigger than what we can see here, but it's covered up by the surrounding skin. So I want to outline the part of the eyeball right at the edge where it meets to skin. And I'm gonna be using this red color pencil so it shows up better on the camera. But when you do this, you can use your drawing pencil. Okay, so the outline starts here, and it goes down here where it gets cut off by this section. There's little bits of flesh here, right at the tear duct. And then it goes around this way. And right here the reference is completely dark. So you can't really see where the edges. But you should extrapolated from the line here. You can tell that occurs around like this. Okay? And that goes down like so? So that's the outline of they parts of the eyeball than a visible. Okay. And so there's the eyeball around here. We have ah, a portion of skin, and it's sort of protrude outward, three dimensional. It's not flat and produce outward, and you can see that the part that protrude out the most is the lightest because it's being hit by the light. And as it moves out from that gets gradually darker. So we're gonna make sure to capture that when we start shading. That's what's going to give this drawing its dimension. Okay, so there's the eyeball. But here's really the rest of the I opening, Um, because we have to include this part of the the tear duct, so we'll draw that in a swell. All right, so now we have something concrete to go out to go off on. So I'm gonna go ahead and draw in this part here that I just outlined, and then we'll go from there. So now I'm going to sketch in the portion that we just outlined, using the great here as a guide. Okay, next we have this skin area that's around the eyes, so I'm just going to take the pencil and mark, get out again. This portion doesn't really have any concrete line, so I was sort of generalizing it here, but I'm following the dark shadow area that outlines it. Okay, we're just drawing this in, so that way have something to go off. And we also have this portion of dark hair that sits on top right at the top of the I so will also outline it. The hair follows a certain direction, so I will try to make note of that as I'm outlining it. So it's sort of going back and forth in this direction, and then it sort of levels out and becomes more and more horizontal. Okay, to the point where when we get to this point, it's sort of flattens out and begins pointing this way. And so the darkest part of the hair ends right about here, and then it has a lighter area, sort of stretches out into this direction, OK, and we have another dark patch of fur up here again. This one is very no defined borders, so we're just going to very roughly I estimate that shape like so Okay, I'm just outlining the darkest part of this patch of fur, just the darkest part. And then we have this group of for here that sort of radiates into the eyes like so Okay, so those are pretty much the leg, the major landmarks on the drawing. Now that I outlined it, we're going to transfer it onto our drawing now, unlike the eyeball, which is hard lines, these other lines here arm or of guidelines. So I'm going to try to keep them lighter than these lines here so that they don't show up to prominently in the final drawing. It's gonna use a lot of light pencil shrubs. And lastly, we just want to map out some of the details in the eyeball here. There's a whole lot of little minute details here that we're not going to attempt to capture right now. That's gonna be done shooting process. But there is a sex option off the eyeball in general pattern to the tone that I want to capture. And that is this little line here that divides the top half in the bottom half. And here we have, ah, shadow or silhouette of a person. But I'm not going to try to capture that. It might be a little bit too complicated, too convoluted, so we're just gonna simplify that into a simple shape and go right over it. Okay, so there's the bottom half of the eyeball, and actually go ahead and try to simplify the shape of this highlight highlighted area here . So I'm just gonna go to the outer edge and mark it out. And I'm not trying. Teoh make it completely perfect. It is going to see I'm ignoring some of the dark area that inside the white highlight, I guess trying to make my life a little bit easier by simplifying this shape like that. Okay, so now just copy it over to my drawing. Now that we don't have need of the grid lines anymore. Let's go ahead and erase him from my drawing. All right, so that's the first step off our I drawing. Please go ahead and do that to your and I'll see you in the next lesson. 9. Dog Eye Drawing Step 2: the next step is to shade in the eyeball. Now we're going to start with the upper portion of the eyeball and fill in this dark area here, leaving the highlights untouched. So I'm just gonna take my HB pencil here and fill in this area now, because in the reference, we have this sort of fuzzy, messy effect in the highlighted area. When I shade in this, uh, proportion, I'm going to use up and down show with my pencil to create that sort of messy ray like effect. So I'm just using I'm not using too much fracture here. I just want to put in a preliminary bass tone and then weaken darken it later as we see fit . But now I'm just keeping my touch light and going up and down. Next, I'll shade in the lower portion, and in the reference, we can see that there's this little border of a gray light tone between the top and lower portion. So I wanna sort of outline this little grey portion there and give it a lighter tone when I'm shaving. So it starts out thick and then becomes thinner and then get start right here. Okay, and now we'll shade in the lower portion and here in the reference this portion is pretty smooth. So I don't need to use the up and down stroke with my pencil. I'm actually using a circle A type show and keeping the shading of smooth as I can. Next, we're going to put in the little highlights on the edge of the eyeball here and the one running along the bottom and also this little highlight here in the t adopt. So we're gonna outline that on the reference. I mean, I'm the drawing. It will put in a light outline of that might spot as, uh, smaller highlight right there and then draw in the I ducked my light. I'm gonna take my racer and take out this line right here. Sure, that teeter can go. The highlight can go right through. - Okay , So I created a little space for the highlight right there, and I use the thin edge of mine kneaded eraser to clear out some of the graphite. And now we're going to shade in the dark area. Now we'll take our blending stump and blend together some of this toe to smooth everything out a little. And we're also add some tone up here to to fill in this dark area on the reference going down in now I'm gonna go over this top portion once again with slightly darker tone again, using the same pencil show that I used before and for the lower portion I'm going to add in these really dark tone right here in the corner of the eyes. We have this one that sort of, um, go into the eye and a ray like pattern. And then we have this one over here that follows the the outer edge of the eyeball. So we'll put that in there. - Okay , so I used, uh, sort of Ah, horizontal pencil shock that goes into the towards the center of the eye. You know, very like pattern just like this. And I brought it up all the way up to here and then gradually lighten it as I got closer into the eye. And then I dark in this area here that is closest to the edge. So basically, I'm trying to create an effect where it's the darkest here. And then it is as it gets closer to the I becomes lighter and same goes on this side. I'm darkening the parts that's closest to the edge the most and then lightning it as they get closer. Let's and then we'll take our planning stump and blended of it again. I'm blending it, using the same direction as my pencil stroke that we have that round, curved light effect with the eyeball. Then for up here we're using up and down show. And as I'm blending, I'm gonna let the torture line go past the line a tad bit into the white part to create sort of a light, great home that goes into the center every once in a while just to add to that sort of chaotic effect. And then I'm gonna take the totem on and very, very lightly put in a great home in this white line right here because in the reference that line is not as bright as the highlight. So we need toe established. That contrast, why shading it in on now that we shaded in its sort of blend in a little bit too much. So I'm gonna take my pencil and create a loaded with contrast again. We just don't want there to have to too obvious of a hard line. So when I added this contrast, I want to make sure that I camouflage it into the rest of the eyeball, shading it, using some gradual blend to mix it in. Okay, Dark in this part as well. Now I'm taking my pencil, adding in some really dark up and down lines into this top part of the eyeball here began trying to create that Messi ray like effect. Okay? And I noticed that here in the reference the this side of the eyeball is pretty dark for a big chunk of it. So I'm gonna try to match it here in my drawing. Okay, Now I'll take my kneaded eraser and take the blending stump in, sort of blinded in the habit, some sort of blending into the highlight. Then I'll take my kneaded eraser, former sharp edge and go in and pick up the highlight. Except I'm gonna leave in a little bit of that great home here and there. Okay, just like that. So we have of and in fact, where there's dark tone, a sort of intermediary light tone, and then the highlight and I also lighten this area just a tiny bit just to bring it out a little bit more, Okay? And we'll take out HB pencil, and I'm going to add in this portion here, this dark area that lies just outside of the eyeball. So start off with a light time and make sure to leave blank. That little line of highlight there, well blended together and then of dark in this area. The match, this tone here and a little dark tone right here. I'll take my mechanical pencil, sort of clean up this line and make it a little bit more. Um, less messy, more defined. I have to turn the drawing a bit to make it easier and a little definition here as well. So I'm not just darkening the outline, but I'm also shading in, um, a portion of the drawing in order to camouflage that outline. Okay, No. Take the mechanical pencil and continue to sort of put in some refining tones here at I'm using toe. Add in some, then shrugs a tone within landed the mechanical pencil tens Add a nice refining effect. Everything okay? That's what the eyeball looks like. So far, it still looks a little off standing there by itself. But once we feel in the surrounding details, the drawings really gonna come together. So what? For now go ahead and shade in the eyeball for your drawing, and then I'll see you in the next lesson. 10. Dog Eye Drawing Step 3: the next stop in drawing our dog's eyes is to fill in the area of for right beneath the eye here. Now, drawing this part in is going to give us an opportunity to really make the picture pop and give it some dimension because there's this area underneath the eye here that is the really the only area in this photo that isn't covered by for. And we can really see the five elements of shading at work here because this area is protruding outward and it's not covered by for we can really see how the lights are hitting the part that's protruding out the most, and so they're the brightest. And then as it move away, it gradually becomes darker. And it's not a fact that it's giving the picture depth. So when we draw this, we wanna make sure to capture that, and that's going to give our drawing a lot more dimension, and we're going to start by drawing in the for in this area right here, and it starts out long and then gradually become shorter as it tapers to this end. So I'm going to take HB pencil and lightly sketch in that for padded. Now, before I do that, I'm going to take my need, eraser, and either lighten or erase this guideline that we put in here. This guy line here just so we know where to put the for. But we don't want it showing up in our final drawing. So I'm just gonna lighten it and leave Justin officer that I can see where to put the first . And then I'm using light show oaks. And I'm not trying to fill everything in, not trying to make a solid block here. We want him texture to the hair. So I'm gonna leave some gaps of white in between as I go down the line. - Okay , so now we have a bass tone laid down. Now, in the reference, we can see that this area here of the for IHS slightly darker. There's a sort of a dark ring over here, so I am going to add in and actually a graphite on top of the base layer just a dark in that ring. And this is also gonna help us gives the hair a little bit more texture. And every once in a while I'm letting a light pensar should go past the line into this white highlighted area because we don't want it to be just a clean, smooth line. Um, it is It does have some hair on it. So we do what wants a little bit of texture and messiness in there. I'm just gonna let it go into the whites a little bit. Okay? Okay. And now I'm gonna take my blending stump and create that gradual light to dark effect. So I'm just gonna shade around the white area, and I'm gonna make sure to leave Just a thin sliver of highlight in the middle with some medium great home next to it. And don't worry of you actually put some some tone into the highlight area itself. We're gonna clean it up with the needed to raise her afterwards. That's the beauty of working when they needed Rachel. You can shade in an area and then pick out the graphite later. Okay? So we can already see a little bit of that dimension showing up, which is very good. I'm gonna dark and this area of it to bring that out even more. Now I'm gonna take my kneaded eraser and shape it into a sharp point, so I'm just gonna take my kneaded eraser, and I want to create this effect where it's not just a clean division between the hair and the smooth area, but there's some rays of tone going in there and some highlights blue blending blurring into the first. So I'm gonna take my name Eraser, and just sort of create these flickering strokes throughout the highlighted area. And I'll go into the for area every once in a while and you can see that it's creating this nice little fare like effect every once in a while you need Eraser is gonna get dark with graphite, so you have to make a new tip. Continue. And I'm keeping the touch of the race here very light here, very light and airy. And I want to mix up the shops that is not all uniform, okay? And I just got to take more each be pen. So again, on work on making that transitional, uh, tone between the dark and the light. So here I'm taking my pencil, and I'm sort of ah, accenting some of the white strokes that I put in with the kneaded eraser. I'm putting dark lines next to the White Show to make it stand out more. And I'm also adding in little bits of dark friends of hair here and there to add to the texture of it and most of them, and little bit since dark shams in there in the body of the hair as well. Don't take my blending stump. And I noticed that there's a little bit of white tone there. So I just read that a little bit more, okay, And I'm taking the blending stump. And I'm sort of creating the soft for using in the graph by on the stump with these So, uh, quick, pointy shocks here and just for a little bit more retouching, I'm gonna take my total on and lend out this area just a tiny bit. So much of drawing for is just going back and forth retouching here, changing this there until you feel happy with the results. There's some basic steps that you would be over and over again, but it's just an endless process of going back and forth and back and forth and refining your drawing. And really, you can go on forever if you want to and next hour draw in the for up here on the I, and this one is pretty simple. We're just going to take out HB again and creating life first show going in this direction and we'll blend it out of it and then go back in and add a little texture when drawing for . I like to put in a little bass tone, blended out and smooth everything out on and then go back in again with the pencil and adds a more texture. I find that that gives me the best, most realistic effect. Okay, that's enough for that. Now let's put in this dark area here again. We'll just start off with a bass tone. The most important part here is to capture the direction the hair flow and blended in. And I'm also going to use this opportunity to take some of this Graph five and put in a little bit of shading here and talk of the I. So in the reference, this portion up on top of the eye is also a bit hairless, and we can again see the same effect here where it's light and then it gradually gets darker. So I want to capture that to try to give mine drawing a little bit more dimension on a dark in this area up here, leaving the area closest to the I a little light. Just let him in a dark tone right at the edge. Then when they take some of that cold and also draw in some of this light for here upon the top of the I, this is a very rough We're going to refine a lot more in later stages. I just want to put in the tone that we have something that worked with and now again with eight B and it's gonna go in and dark in this for a little bit more, some more blending. And now to clean up this area a bit, I'm gonna take my kneaded eraser and we're gonna do the same thing we did for this area here will sharpen the thing to a to a point and then just sort of flick into the for up on top to create these tiny white stripes. Okay, and I'll take my mechanical pencil, accent them so you can see I do. I Sometimes I use Thea upside down v pointing towards the I. And then sometimes I would do the of the pointing in the other direction. Okay, so that's not drawing so far. In the next stage, we're going to refine all these for even more. But go for now, go ahead and draw in these part for your drawing, and then I'll see you in the next lesson. 11. Dog Eye Drawing Step 4: Hey, welcome back. So we're almost finished with our drawing of a dog's eye. Now, in this video, we're going to be drawing in the for around the eyes a little bit more. So let's begin by working on this area right here, we'll refine this part that put it in the previous video. Okay, so first on, what I'm gonna do is shape this block off for to match what I see in the reference. So I'm just gonna take my kneaded eraser here and sharpened to a precise edge, and then I'm going to take it. And in the reference, I noticed that there are lighter for going in this direction here upwards. So I'm going to take the kneaded eraser and just sort of flick upward in that direction to mimic those for. And I'm also going to cut into this shape here to have the the shape matches the reference all right. And as you can see, that's giving us a very nice effect where it looks like this a gray ish layer of for growing in that area, which looks really good. Okay, so I'm gonna keep going with that needed eraser and as it gets dark and when make a new edge and just sort of go up and create more of these white for sticking into the darker area. So I'm gonna The the dark tone is a little bit too dark for the needed racer to cut into. So I'm gonna take the HB pencil, and I'm going to create a lighter great own next to it. And this is going to help me create that layer of grey for that stands between the dark and the white. I'm using the flat part of the pencil here, holding it very flat against the paper and using that to put in a light layer of town. Okay, so now that we have that layer put in, I'm gonna take my rights again and at in the little stripes so you can see that's giving us a nice for a fact there. And then I'll take mine mechanical pencil, an accent, some of the some of the stripes, and I also do it for the other side as well. Okay, so now that we sort of refined this area to make it look a little bit more fuzzy and for like, I'm gonna take my mechanical pencil now and darken in for this area with heavier show oaks . And my goal is too dark and not only dark in the area, but also give it texture as well. And here I am, paying close attention to the reference who keep the direction of for Flow and also to keep the shape of this patch of fur as accurate. It's possible I'll take my neither racer and sort of take in some of the for as I see fit. Okay, so now in the reference, we can see that there's these really long strands of black hair growing out of this patch. So we're going to take the mechanical pencil and replicate that. I'm just gonna pick a spot where I want to start and then very quickly make a dark stroke. So some of these I didn't quite make it long enough. I'm good, just gonna very carefully extended with the mechanical pencil, and then we'll add in just a few short, subtle ones just to mix things up a bit. Okay, so that looks pretty good. No, I want to take my six b pencil and really darken in the very core of this patch of fur here partly because the tone in the reference is very dark but also important because I want to camouflage some of the root of these hair that looks more natural. Okay, so that looks a lot better now that we have that court finish. Let's work on adding some fur to this area right here. We will draw in the whole area, but I do want to add in some for right here just so that this part just doesn't look quite so lonely. So we're gonna take that HB pencil and holding the hand so flat against the page. I'm going to make a light very light because the for in this area is very light. So we just want to put in some grey tone in that area, and then we're gonna pick out some highlights. What? He needed a race here later. So the most important thing here is to one Keep your touch lights very loose tropes. And be sure to mind the direction of the for flow in this area down his little bit darker in the reference. Gonna make that a little bit darker as well. Before we go Any further. Go ahead and erase this guideline. This guideline here that we put in for the for just so it doesn't interfere what we're drawing right now. We put it, we pretty much know where to put the for. At this point, we don't meet those guidelines anymore. All right, back to the shading. So just using light, flickering strokes, putting in a few dark strokes here in the axis toe that makes it up. Okay, so we got a good layer of tone putting. Now I want to take my kneaded eraser, my trusty kneaded eraser, and form a sharp edge. And then we'll pick out some highlights. Okay? Okay. And then once we have the highlights picked out, I'm gonna take my mechanical pencil and going there and again Accent these highlighted area and I want to do it sparingly. Don't overcrowd the for with highlights everywhere. - So now we're going to tackle this area right here. So once again, I'm gonna take my HB pencil and laying the pencil flat against the page. We're gonna draw in Honore. We're pretty much doing the same thing here as we did up here. And just to make sure that the things patch of fur stands out from this patch. I'm going to leave this patch slightly lighter. That might not be accurate with the reference, but I think that's gonna make the picture look better. So I'm gonna make a an artistic license, take some artistic license there just for the fun of it. I'm just gonna blend it very, very lightly to to see what happens. We just wanna make this for a little bit different. Maybe have it appear a little soft there than the previous batch. Okay, so now we'll take you to the racer again and put in the highlights. And for this one, I want to really make sure that my highlights goes into this area here just a tad bit. So we want to go across the border and have the highlight goes as if the furs are overlapping. Okay. We want to create that effect. Okay, so that looks really nice. And I'm gonna take my mechanical pencil and race suddenly we don't want to make it, because that look, that looks good as it is. I really like that. But I want to make it popular it a bit more so I'm gonna take my needed a race. Um, excuse me. Mechanical pencil. And just dark in the tone around these highlight just habit. Okay? Just just to make them stand out a little bit more, not too much, because then it becomes too obvious. But when I make him pop a little bit and we'll do the same up here, okay? And then, uh, also add a little texture down here. - Okay , so the fur looks really nice. I really like how it makes the picture look, things that really starting to come together now eso go ahead and add in this layer of for for your drawing, and then I'll see you next lesson. 12. Dog Eye Drawing Step 5: welcome back. So we're on the final step of our drawing of a dog's eye. And in this video, we're going to be drawing in the for this white patch of fur here, right on top of the I. And this one can be a bit tricky. It I struggled with it for a long time, but I'm gonna show you really quick trip to drawing it really easily. And then after that, we're from rush down, and then we're going to be putting the finishing touches on our drawing and refining everything to make it look really sharp. Okay, so, to begin, I'm going to take my HB pencil and let's look at the reference photo forbid hair. So here we can see that this Patrick for is putting much white was safe for a few light tone in the middle of it. Here and there. It's pretty much white, so we can't really draw it in directly. What we need to do is draw in the background this great hone in the background here, and then use that to pick out the highlights and then create the suggestion of this patch of fur. So let me show you what? I mean, I'm gonna take my HB pencil and once again holding it flat against the paper, I'm going to draw in the background to create the outline of that white patch of fur. So I'm gonna keep my touch very light. I basically just want to create even a nice, even great home in the general shape of that patch of fur. It doesn't have to be super precise. Okay, so hopefully you can see that. Now that I have the tone lady, I'm gonna take my kneaded eraser and form a sharp edge. And just like before, we're going to pick out the highlights by creating these 10 stripes. Okay, So once we created those stripes, I'm going to take my mechanical pencil and go back in and refined them, make them pop, and also make them look sharper because some of these stripes rather blunt when I put them in with the Racer. So I wanna make them a little bit more pointy. - Okay , so now we're going to take HB pencil, and we're gonna put in a very light, suggestive tone here because, uh, in truth, this portion of hair is not purely white. There's some great own in there. We're gonna just add them in. And I might have to turn the paper here. Just habit. So again, keeping my pencil touch my pencil flat to the page. I'm putting in these very light for, like, strokes. I don't even take the 20 on and lendings one more time. I'll take the kneaded eraser and be careful you don't erase out these whisker like here we put in before, all right, And take the mechanical pencil. - You know, add in a few ray tone here and there. Okay, so that's the white packet for and we can even put in. You know, you can always go back and forth and we touch it as much as you want, but that's basically the gist of it. Next, we're going to refine this area of the eye a little bit more so in the reference, we can see that, uh, this portion where you can't see in this reference let me use this one. OK, so this one, you can see that there's some fuzziness, some hair protruding into this upper portion of the eye and in the drawing is a little bit smooth. So we want to fix that, and we are going to fix it with the You needed eraser. Don't take the sharp edge again. The trustee Sharp edge. And I'm going to market in like this and then also the other side as well. So Okay, so already you can see that that adds a very nice fuzzy effect to it. And now again, I want to take my mechanical pencil, refine some of that, and I'm also gonna add some darker tone in this portion here to make it match the reference. So now let's move on to this portion over here, looking at the drawing as whole. There's a whole lot going on in all these three corners and not a whole lot going on this corner. It looks a little bit out of balance, so I want to fill in this section here a little bit. So I would take my HB pencil and can see looking back at the reference, we can see that Yeah, that's definitely more toned on this portion of the face. And we have an effect where there's dark hair right around this region and then as it goes out and gets lightly lighter so must fill in more for in that area. Okay, I'm just gonna take a pencil and extend some of this hair out, and I want to keep it light, though, Okay? That looks a lot better. A lot. A lot more balance. So now I'm gonna also a little bit more toned up here, have that nice transition from dark to light. Okay? And I'll take my mechanical pencil, add in some texture, and every once in a while, let a short go out into the light area, okay? And I'm sort of just putting in this short ring of dark toad with this with these short pencil shock here, Right? Right underneath this great home. So we have the highlight, the great tone, and then this dark ring that I'm trying to put in that's gonna help make make this area looks like it's protruding even more. And in the reference this areas a little bit darker, so I will reflect that. All right, so now we are very much in the refining process, and here we're just gonna looking back and forth between the reference at in tiny, tiny detail that no one will probably notice. But uh, overall is going to make a big difference to the drawing. Like what I'm doing here. Just taking my pencil and just kind of creating little the tiny ray like strokes on the out of portion of the eye. And, uh, yeah, this process really can go on forever. You can. I spent hours and hours refining a photo, so I just want to show you a little bit of, uh when it looks like. Let's see. Looking at the reference, I noticed that this portion here it's a little bit dark compared to what's in the reference . So I'll take a total on and very lightly because it looks so nice. This little contrast. Highlight that spot here. I don't want to lose that, but I will take the total on and put in a very light layer of tone in there. Okay? And I still want to keep the this part that's closest to the I. Somewhat light, somewhat bright. So I'll have this area here be a little bit darker. Okay, so that's pretty much the whole process. We actually saw a lot of different examples in this throwing exercise. We saw how to draw the eye and made it look glassy and orb like. We discussed a little bit of the five elements of shading and had a create the mention using it. And also we learned how to draw for both dark for and life for Sorry. I hope you learned a lot. And one of the take away I want you to remember is that when drawing for the real magic really happens when you put the needed, erase it to it and put it, pick out those highlights and then refine it with your mechanical pencil, because that's when the first starts to really come together and look really realistic. So I hope you like it. Go ahead and draw in this section, the for for your drawing, and I'll see you next time. 13. Dog Nose Drawing Step 1: in this lesson, we're going to be drawing the nose and also eliminate the mouth and tongue of an animal's face. This is going to be the reference will be working with. So please put it out and have it with you now. Obviously, the first step is to copy over the outline of the drawing. Now that's a pretty easy process. So I went ahead and did that here on the paper to help you do it. Just follow the steps in the previous lessons of using the grid method and copying over the outlines. But I decided to go ahead and do that here to save some time. And then we can focus a lot more on the shading for this video. We're going to focus on shading the nose with shading knows it can be really confusing because there's so many different tones, and they all blend together very subtly. So what I like to do is before I even start toe lay down the tone. It's a look at my reference and sort of map out where the darkest tones are so that I know where to put them. So here I'll just take my pencil my six b pencil and begin shading in the reference. Okay, so I'm gonna take my pencil and basically shade in the areas that are darker in this reference. And what I'm doing is, um I'm simplifying the picture a little bit. I'm making the dark area that much darker so that it stands out against the lighter area, which will make it easier for me to distinguish them. And also, I'm familiarizing myself with where the dark tones lie because just by looking at it can it can get very confusing. So right now I am shading in this whole area right here. That I noticed, is a lot darker than the rest. Okay, All right. So basically, this is just a simple exercise to help me familiarize myself where the tones are. Now, once you've done that, it's time to map out where the tones are gonna be on your notes. So I'm just gonna take the HB pencil and sort of outline where the dark areas are gonna be . - All right. So I made in that line of where all the dark and light areas are now. I'm just gonna shave them dark area so that it won't be so confusing, which is how much? All right, so now we have a basic map for where the dark tones are. This little circle right here is that, um, highlighted area that I'm going to leave blank and also this little slit down here. You might not be able to see it from the reference, so you might have to refer to the image on the computer. But there's a little split here where the nose is sort of crevice and there's a divot there , So this just represent the shadow that it cast. Okay, so now before we go any further, I'm going to take the kneaded eraser and lighten up all these outline around the nose here because we don't want all these hard lines showing up and are drying. I'm just gonna lighten it to the point where we it's just able to see it, of course later is going to get camouflage in when we begin shading it. But I just want to make sure that it's not so dark that how shading won't be able to hide them. All right, so that's good. Now the next step is to begin darkening these tones now with the nose. When I dark in it, I'm not going to be using the same sort of diagonal back and forth struck that I would use in other areas with the notes. We can't see it in this reference so much, but with animal noses, particularly dog noses. There's a type of, um, texture where it's not quite super smooth. That's a scaling nous to the skin on the nose. So in order to capture that texture, I'm going to be using a sort of circle squiggly type motion with my pencil just like this. Okay, so let me show you on a blank piece of paper what that looks like. Okay, so the motion I'm doing with my and so it's just this I'm just sort of making the squiggly cir cle lines. Except I'm not making them quite this big. I'm really doing it very small, making really tiny circles. And all this layer on top of each other is going to give us a very nice texture for the skin on the nose. So I will be using my HB pencil, and first, I'm just gonna put in a not pressing too hard with the pencil. I'm just putting in a a light bass tone here just to develop the texture. And you also noticed that by doing this, we are getting rid of those really straight, hard lines that the tone makes between the the light area, which is really good. We don't want hard division. We want them to just blend together race suddenly. And I'm also going to put in a very light, uh, tone using the same strictly pattern for the area up here. All right, so when I got to this the edge of this right nostril over here, I left little patch of brightness of blank paper there to reflect this little highlight we have here in the reference, All right. And next, I am going to fill in the nostril with somewhat of a darker tone. And there's a little bit of ah, capture light right here on the left national. So I'll leave a little space for that. In fact, I'll take my kneaded eraser and use a fine point to take out that highlight. All right, so now I'm just gonna shake around it for this one. It's not. It's critical that you use a squiggly line because the darkness in the nostrils so thick that that's really no texture there. All right, now I'm gonna take the blending stone for the total on and blend in the nostril. And I'm also going to take a smaller total on with a final tip and use a tip to shade in the area here on the nose. I'm going to be keeping the texture, so I'm gonna keep using that's Wigley pattern with the total on. And I'm not pressing down very hard with the toilet, just a gentle blend to smooth everything down a little bit. But we don't want to get rid of all that one for texture. We just put in, and one of the purpose of this is also toe. Create a gradual blend between the dark area and this light airy. Here's so you'll see me going in between these lines and blurring and out a little bit to create a more trans smooth transition between the two tone. We don't want to see any hard lines with drawings of nose for animal or human, for that matter. We want everything to be a smooth transition. All right, so in the midst of blending. I sort of went over this light area a little bit too much. I want to go over it a little bit, but not too much. So I'm gonna take my needed racer and pick out the graph right again. So now at this point, we want to put in a tiny bit off tone into all these bright area here. Just a tiny bit. I'm just gonna take toward a lot and very lightly brush over the white area. Now I'm going to take him on HB pencil again and go over the darker area Still with a light touch and still using this weekly pattern. And now what I'm trying to focus on is to create a transition, a smooth transition between the dark in the light tone. So I'm burying my pressure as I get to the edge in order to make the the tone even lighter as it go into the the more area of the nose and some making sure to sort of blow out these hard lines that we put in. And then once we got that done, I'm just gonna go into the center area and use a slightly heavy a touch and just dark in these area and for more blending. So now we're starting to see the nose really start to take shape. At this point, I'm gonna take my mechanical pencil with its sharp edge and go in and refined this nostril area a little bit and dark in it. - Okay ? And I also outlined that little crevice a little bit more. Make it stand out of it. And now, at this point is about going back and forth had just refining and cleaning up the drawing until it looks the way we want it to Just take my kneaded eraser with fine point and clean up some of the highlighted area a bit. And I also take the eraser and put a little bit of texture a little bit more texture into the drawing by tapping on it just a little bit here and there. Okay. All right. Now we'll take the HB pencil again and just keep going over lightly. And my goal here is to keep making the transition more and more smooth between the tones. A little bit of blending. So you noticed that I'm also going into the highlighted area and that's okay I'm going. Teoh. Use the neither racer later on, too. Pick out something graph right again. Now I'll take my six b pencil and sort of go over the darkest area of the drawing here, particularly this centre, part of nose, because it's in the in the reference the light source is coming from the left and a little bit from the right. So it's a scent of the knows that it's the most Illit, and so it's gonna be the darkest and here's the bit of knows that sort of lay behind the national. So here's the nostril, and here's the bit of knows that's behind it in this sort of shrouded in shadow, so just going dark in it in order to make the the natural pop out a little more. In fact, you can even pick up a little bit. Highlight there just a tiny bit. You could do the same food here, so I'm just choosing to make some area a little bit darker than the rest. It just makes the nose look a lot more interesting. Rather than just have this big block of dark tone. We have some some area that's dark, but some area that's even darker. That's just gonna make the nose pop even more. And in this center area here, I'm really pushing now in my pencil to get it pretty dark. What blended a little bit, All right, so you can see how, after many layers and those squiggly lines, we created this little, very subtle but very nice texture with the nose. And that's gonna help it look a lot more realistic rather than just sort of blending in a very smooth tone. So that's pretty much it for the dog's nose. Notice how this little detail of a catch light of a highlight here really does a lot to give to mention to the nose and also these highlighted area here as well. And I would say those are really the big critical details that you need to pay attention to when drawing your nose. Other than that, it's about being patient with the squiggling pencil shope to add texture and create a smooth transition between different tones other than that is pretty simple. So go ahead and draw in the shading for your nose, and then I'll see you in the next lesson. 14. Dog Nose Drawing Step 2: welcome back to step two in our drawing of a dog's nose and mouth. So we already have the outline and the no shaded in. So in this step, we're going to be drawing in the for that surrounds the nose. Now, this dog has predominantly white for so we're not going to be putting in a whole lot of tone. But we can't just leave the drawing blank either. So what we're gonna be doing is using very light, subtle tones to suggest to for So let me show you what I mean. We'll start by drawing in this little patch of fur up here right above the nose. Okay, So to create that effect, what we're gonna do is take out HB pencil and just sort of put in, ah, layer of tone a lightly of tone that matches this little half dome shaped right here, sitting on top of the nose. So we just want to put in a base layer of tone in the shape of this this half dome. So I'm holding the pencil low against the paper and shading it very gently. And to help with the effect, I'm going to move the pencil in the direction of the for flow. So I'm going to be using up and down strokes rather than side to side or diagonals, and that will blend it a bit. Okay, so next I'm going to take my kneaded eraser and shape it into a fine edge, and I'm going to look at the reference and notice that the for there there's a layer of tone, and then there's whites back for that. So go straight up and then to the side. It's sort of fans out horizontally, so I'm gonna take my kneaded eraser and recreate that pattern on my drawing. So I'm just taking the edge and come looking upward to create these little light white hair . And then when I go to the side fan, it got word, and then we'll do the same thing from this side. So right now it's extremely difficult to see these little white mark. So what I'm going to do is take my mechanical pencil here and accent them by darkening the area right? That's right next to the highlights. So I'm just darkening the area next to the highlight to bring out the white for and even with the mechanical pencil. I'm still using sort of these shocks that Emily animal for to add in that texture. And then looking at the reference here, I can see that there's patterns of for that sort of point towards the nose as well. So I'm also going to add in some of that here. Okay? No, we are going to blend it into a tiny bit and then we'll repeat the process with the kneaded eraser. So this time, when I go in with the kneaded eraser instead of phone the same pattern up, up and down, I sort of turned the stroke slightly horizontally and them sort of cutting some of these, Uh, for that I drew, I'm cutting little white dashes in them, and that's gonna make the for looks a little bit more natural and more soft and fuzzy rather than drawn in. Okay, so now, in the process of doing all that, we should have really blur this top portion of the nodes, whereas in the reference, we can see that there's sort of but somewhat definitive division between the top of the nose and the for area. So I'll take my six, my HB pencil and put in a little bit of that division right there. It's gonna draw a sort of a faint line that goes across the top of the nose. Okay, so that's how we add in the for to the top of the nose. And now we're going to work on adding just very faint, subtle suggestions for to the surrounding area. So we're gonna take the HB pencil and holding it mode to the paper, draw out these little light raise that suggests the for growing from the less now and that some some slightly darker for grown up this way. So I'm gonna add in some of that tone there. - It's really difficult to see this on camera. So let me just zoom in and have you take a look at what that looks like. Okay, so there's that light, very light layer of tone in the direction of hair growing out from around the nose and that will just take the tourmaline and give it some light, blending again, still keeping the stroke in the direction of the for flow. Be careful not to have the total on touch this area of the nose here because that's going to smear a lot of that dark graphite onto onto the white for area, which we do not want. Okay, so now we're gonna take out needed racer, and, well, lighten up this guideline that we put in here, okay? And then I'm going to take my HB pencil. And where that line used to be, I'm going to just create a fully for like, um, border. Okay, It doesn't have to be super special, and I want to keep it really light as well. So it doesn't have to be super special. I just don't want a completely flat straight line. I want some fuzziness there so that we have the appearance of for Okay, so I'm just gently going back and forth with my little my pencil. Okay, so now we're going to clean it up a little bit with the needed racer, my forming a sharp edge, and I'm goingto be flicking it in, towards and nose this way. And then I also do a few strokes. Um, the nose outward. Okay. All right. So that's how we suggest the white for for the dog, it's very subtle, and it's difficult to see on camera, but in real life. It creates a very nice in fact, we're we can tell that the dog has for but that it's a very light color. Okay, so the next step is to put in these whiskers here that stands out against the, uh, dark gum off the dog's mouth. So to do that, we need to shade in the gum area and then take out the highlights with the needed eraser. So before I shaded, I'm going to again take out this outline here that I put in for the the mouth. Okay, now that is the race. I'll take my HB and put in a light layer of tone and then we'll blend it in. When I reached the part where it touches the for, I changed my the direction of our blending stump show, uh, to mimic the for. I'm sort of going up and down along the border prefer, okay. And now we'll take the kneaded eraser and put in the highlights. So this park and we put t tricky. What we want to do is create this taper look where the hair starts out thick, and then it when it reaches the end, it tapers out. So when you're putting in the highlights with the kneaded eraser, be sure to so the flick up towards the end with the razor to create that effect. Once we have the highlights put in, I'll take my mechanical pencil and darken the area right next to it for bring it out. You know more. And I'm also going to use this opportunity to shape the the whiskers, the hair to make it more pointy and tapered. All right, so now going back to the reference, we can see that with this gum. Here we have this area here that's very dark compared to the rest. So I'm going to outline that here in my drawing and shaded in very dark. Okay, And now there's this little sort of bump right there where there's a dark tone right here and then some dark turn right here and a little lightly lit area right there. So I'm gonna put that in to give this gum some contours and dimension. I want to switch over to my HB pencil here because the lead the lead pencil is a little bit too precise, and it's creating, too too much of a clean look and I don't want that in this area. I want a little bit more a blended, fuzzy look, I'm just sort of adding little bits of dark tones here and there just to mix things up. So they asked the hair and the gum for the side of face. Now, we'll just shade in this area here. This area doesn't really have any whiskers pointing into it. And it's more or less pretty much all just one tone off of shading. So just I'm just gonna fill it in. And actually, to be truth, there is a little bit of control here. So in the reference, there's some dark tone, and then there's a bit of a white tone right there, giving it some dimension. So I'm gonna make sure to capture that. I'm gonna draw in the dark time right there and then a little bit of dark tone on this side , and then some lighter turn right sandwich in the middle. Okay. And then we can even take needed racer and light in this area of it. And then this part right here looks a little bit messy in my opinion. So I'm gonna clean it up a little bit by shading in some of the whisker. Some of the the hair there. All right, so I think that looks a lot better. So there is the hair and also the gum off the mouth drawn in. So go ahead and shade in the fur and the gum for your drawing, and then I'll see you in the next lesson. 15. Dog Nose Drawing Step 3: welcome back to the final step in our drawing off the nose and mouth. So in this video, we're going to be shading in the tongue, and this is going to be a pretty straightforward process. First thing we're going to do is take out kneaded eraser and lighten up this outline here we put in as a good night. Next, I'm going to take my HB pencil and put in a light based own for the entire tongue, and then we'll give it a quick blend. Okay, so that looks pretty good. But the tongue sort of lacks some dimension right now. And in the reference, we can see that there's a big forward right here where there's a Big four that goes down the middle of the tongue, where the sort of the two side Khan cave into each other. So we're going to put that in, and that's gonna give out tongue a little bit of dimension. I want to take my HB pencil and draw a line down to match that in the reference, and as the lying reaches the bottom of the tongue, I would get gradually lighter, and now I'm going to take my pencil and create a darker tone That sort of radiates out from this crevice from this line here. And I go back a dark in the middle line a lot, a bit more, okay and then blended in again. The goal here is to have a smooth and gradual, um, blend between the tones and then we'll let the total on suggests that little fold here towards the tip of the tongue so you can see how that little bit there really add some dimension to the tongue. And I'm going to go in and sort of add some more shadow to talk portion of tongue to make it look as if are the the upper part of the mouth is casting a shadow over it. Okay. And I'm gonna take my six p pence on you're all in that crease a little more to make it stand out more. Okay, so that looks pretty good. But the tongue is sort of lacking texture right now, in the reference, we see that this tongue is not completely smooth and as tiny little cracks in it, especially this one and this one here on the two side. So we're going to put in some texture tongue. I'm gonna take my HB pencil and holding it flat against the page. I'm going to sort of create these light, sweet glee cracks that goes down the tongue. Okay, I'm not pressing very hard. And I'm not just drawing a straight line, just sort of wiggling my pants a little by little to create this sort of chaotic cracking pattern on the tongue. And it's better to start off light at first darken issue go rather than pressing too hard and then having to erase all that. No, not do anything special here. Just sort of using very chaotic pencil stroke, trying to match those cracks in the reference as closely as I can. And then in the middle here we have cracks that are going down this way. Then we also have cracks going up this way. Okay, so once we put in the cracks, I'm gonna take my toward a lot and blend it lightly to smooth it out and make it look a little bit more natural. Okay, so now next, we're going to take our kneaded eraser. And in the reference, we can see that there's a thing sort of outline of highlight around the tongue the the outer edge of Tony being lit up by the light. And so it's appearing a lot lighter than the rest of the tongue. So we want to put that little the border in that's going to give us more dimension. I'm gonna take my needed racer shape into a sharp edge and then very, very lightly. We don't want to make it to distinctive Ah, oven outline. We just want toe pick up a tiny bit of graphite all along the edge of the tongue. So I'm just gonna very lightly instead of tap it on the edge and pull it in towards the center. Okay, that looks really good. And if you found that you took off too much, we can always take the 20 long and lightly, but on a little bit more tone around the edge. Okay, so that's it for our drawing of the tongue. I hope that gave you a good understanding of how to draw a dog's nose, mouth and tongue. And so please go ahead and shade in the tongue for your drawing and I'll see you next time 16. Tiger Drawing Step 1: So now that we learn all theories and concepts that goes withdrawing animal portrait, it's It's time to go ahead and put all that together and draw one ourselves. This is going to be the reference photo will be working with. You're given a copy of this reference photo in your reference file section that comes with the course, so police print that out so you can have it with you and draw along. Now the thing that differs from drawing animal portrait versus drawing human portrait it's is that with human portrait, it's there's a lot mawr hard lines for you to work with. For example, if this was a human face, you would have the outline of the face, the outlines of the different facial features, and those would make it easy for you to draw on initial outline of the portrait. But with Animal Portrait's, it's very different. All the fairer and all the hair blends together and creates a lot of fuzziness. So if we try to just go on this alone, it can be very overwhelming. So what we're going to do is create our own hard lines. I'm going to break down this portrait into simple overall shapes so that we can use them as reference point when drawings. So, looking at this portrait, the first thing that jumps out with is that the face of the tiger is just one big circle. So I'm just gonna take this color pencil here and draw a circle around the face, Okay? And next album going to outline in the years here. Now we'll do the lower part of the body. And from there was, instead of just drawing a simple triangle shape, I'm actually going to follow the general outline of this nose here. There we go. Still a simple shape, but it fits the contour of the nose. Next outdraw in these snouts here, and we have a little bit of, ah, gaping mouth right there, smaller triangle and then a semi circle for the chin. And then lastly, we have the eyes. So with the eyes, just like with the nose, instead of just drawing in simple ovals, I'm actually gonna follow the outline off the I and the black area around it. So you can see by breaking down the reference into the simple shapes, it's going to make it a lot easier to work with, especially with the eyes and the nose. Because now that we have these line drawn in, even though we still kept the likeness of the tiger and the general shape of the eyes, we created these lions. That's going to be that's gonna help guide us when we try to replicate this, rather than having to deal with all the little details and not knowing where the lines ends or begins. So we generalize it to a degree, but we still keep the the likeness in the shape of all the features. So go ahead and print out a reference photo of your own and do this to your reference, and I'll see you in the next lesson. 17. Tiger Drawing Step 2: The next step is to work on our line drawing, and we'll start with this big circle here that outlines the face. So first thing I'm gonna do is decide that this square here on the references go to correspond with this square on my drawing paper. And I'm going to make note of the points where the circle intersects with the grid line. So here's one intersection point. I'm going to mark that on my drawing paper, and I'm gonna be sure to measure as precisely as possible where that intersection point lies, because that's gonna really affect the shape of the circle. Suppose me right there. And I'm gonna trace a circle to this next intersection point and I'm gonna try to capture that. The angle of that. It's a section as closely as I can as well. And I'm essentially just going around the circle, marking the dots and using them to help me draw the circle. Okay, so now that I have all the dots are laid out, we're just gonna connect them and make out circle. And now we draw in the outline of the ears and the body. So as I'm doing this, I'm constantly paying attention to the grid lines and using them as a guide. And what I'm paying attention to is the intersection of where the line meets the grid. And I use that as a reference point, and I also look at the shape that it forms. So, for example, with his ear here, there's this negative space in this area here that forms sort of a triangle. And so that's gonna help me get the slant of this line correctly. And also the top of the ear here, cut. Being cut off by this grid line forms a sort of a semicircle shape. And again, I'm gonna use that to compare it with my drawing to make sure that I have gotten the contour correctly. So we're just gonna draw them in here. Next thing when a draw in the nose right there and this one can be pretty tricky because the shape is rather complex. Take your time and erase and redraw as many times as you need to get. It is accurately as possible. - And then lastly, we have the eyes. We'll start with the right eye first, so there's gonna be a lot of details of the eyes. But I'm just gonna focus on this outline here that I made with the red color pencil que And now for the left eye. Okay, so we're done with our rough outline. Go ahead and do this with your drawing, and I'll see you in the next step. 18. Tiger Drawing Step 3: Now it's time to draw the stripes onto our portrait. Now this could be one of the most frustrating and confusing part of the whole process. Because there's so many stripes in so much detail, it can be really easy to get lost in it. So what I recommend is to rely on the grid to help you and just focus on one square at a time and just draw what's inside that that's that's really gonna help simplify things and keep you from getting overwhelmed. And another thing that I found useful is that before you begin drawing, just take your reference and trace with your pencil, the outline of the different stripes and what that does. It's kind of familiarise your hand with the sensation of drawing these odd shapes, and I find that when I do that, I have a much easier time drawing the actual stripes. And when you're drawing these stripes don't stress out too much about capturing every little details that it doesn't have to look exactly like the reference. As long as you have the positioning and the general shape of the strike, you should be good to go. So let's start out with this square here. - Okay , So as you can see by no means that I copy the stripes exactly. Toe a T. In fact, I took a lot of liberties with some of the details and directions, and I even omitted certain smaller stripes that I didn't feel like drawing. And that's okay. My philosophy when it comes to drawing stripe is that less That's more. We don't want to overcrowd our drawing with all these details and when when you have to deal with this much information, Uh, we do have a tendency to get lost in all this details and start adding in things that aren't really there. So I say, When in doubt, leave something out and you can always add more in later. If you feel like you're drawing is a little sparse, but you don't want to overwhelm it with a bunch of details and then have it be this chaotic mess. When we get into the shading stage, let's continue with a few more square so I can show you how the process works. For example, with this where right here I'm basically breaking it down into these shapes right here, and that's all I'm going to be focusing on. So I'm just going to try to replicate this line and this line here on my drawing paper and just focus on getting all the contours and the shape right? Okay, I'll stop right there and then I'm going to focus on this shape right here. And of course, I'm paying very close attention to the point where this line into sex with the grid so that I can keep it proportional in my drawing. Make sure that all the points matches so that they fall in the right position. And then once you have this square completed, you can go outside and complete the rest of the strike. So I'm just gonna draw this part of here, and then we'll move on to this lower square again. Just focus on the outline and try to replicate that, and now we'll just complete the rest of the stripes. So that's pretty much the process. It's pretty simple except a little bit tedious. So it's gonna take a little bit of time and some redrawing and erasing. But take your time every once in a while, stop and re examine your drawing with the reference to make sure that you're still on track . Now I'm just going to draw in the rest of the strike for the portrait and we'll see what that looks like. And this is what the finish stripes look like. By the way, After I pause the video, I noticed that the stripe in this area that I just drew was way off, so I had to erase it and redraw it. So it just comes show you that you can't be too lax a daisy, and you always have to re examine your drawing to make sure that it's on track. As you can see, I by no mean copy all the stripes exactly. In fact, I took a lot of liberties with it. For example, with this area in the forehead right here, there's a lot of tiny little details in small stripes here and there, which I omitted altogether and just sort of simplified it into a few bigger shapes. And that's OK. These tiny little details aren't worth drawing in at this point. We can add them in later in the shading stage and also at the top of the head. Here is a very confusing area so I just sort of replicated is closely as I can and simplify the rest. So I just wanted to show you that you don't have to copy everything down to, uh, a t As long as you get the general idea of the stripes, you should be good to go. And drawing these strikes can take a long time. So be patient. And don't rush it. Now that we have everything drawn in, we really don't need the grid lines anymore. So I'm just gonna take my eraser here and get rid of all the grid lines, Okay? And so we're done with that. It's a bit of pain. You don't make your grid lines super light. So that's why it's important to keep yours really light. Don't go ahead and do the same for your drawing, and then we'll see you next step 19. Tiger Drawing Step 4: Now it's time to add some shading and we'll begin with the stripes now. The first thing you gotta remember when doing the stripe is that we have to keep the direction of the for flow in mind because the the for on the Tigers face emanates from the center and it changes direction as it moves down the faith. So we've got to capture that in our drawing. You don't want to be using vertical stripes, vertical strokes on the stripes on his forehead and then moved to the side of his face and then use the same vertical shock because that just would look right. So we have to gradually tilt our pencils show as we move down the face. So I made an extra copy of the reference and drew in these arrows here to help guide me, and you may want to do the same and have it with you as your drunk. So let's zoom into this area right here, and we'll work on that first. So right here at the center of the Tigers forehead, the for flow is going to be vertical, so we'll get begin with this stripe here before I begin shading it. I'm gonna take my eraser and actually erase the outline that we drew as much as I can. I just want to leave just enough so that I can tell where that stripe is. Because remember, these outline we made are not the shite themselves that just guidelines to help was place the stripes. We don't want them showing up in our final drawing. We want the Streit's to have the same effect as the reference where it looks like it's The borders are very fuzzy, and it's look like it's being formed by thousands of hair. We don't want a hard line showing up there, so I lightened as much as I can and actually darken it a little bit, just for the benefit of the camera. But if you can erase it completely and still see where you need to shade, by all means go for that because that's going to give you the best look, Okay, so when shading the stripes, I'm going to be using a zigzag pattern stroke, and I'm gonna keep my pencil pressure very light. So it just to show you what this exact pattern looks like the pastor showdown going to use to shade in. The fur is basically just up and down, up and down stroke like that. Okay, And whenever I can, I like to do. I like to use the shock along the direction of the pencil. So I hold the pencil and I used sort of the vertical edge off the pencil to shade, as opposed to like this, I find that it is as a more natural edge to the for. It just makes the for look nicer, but basically the show come using. It's just this up and down, up and down in a slight zigzag e type of pattern. I'm not shading in the entire thing like this, where it's all just one tone, whereas everything is filled in. I want to leave some gap of white in there because that's going to give the for some texture. So I'm just going back and forth, back and forth very rapidly with the pencil almost chaotically or frantically, and every once in a while I'm going to let the pencil go a little bit too far out of the line, and that's to imitate the fact that sometimes some furs are longer than others. and it's just going to make it look more natural. Okay, so when you see me shading the stripes, this is what I'm doing. So keep your passes, showed light and just go up and down, up and down, and every once in a while I'm gonna go outside the line to give it a little bit of a fuzzy , messy look. But I want to confine the shading to within the outline that we drawing. We don't want it getting too big because then it will start to really crowd the drawing, and we will raise this next stripe here. And yes, they can't feel very tedious. And sometimes you feel maybe impatient and you want to just hurry it up. But you want to resist that urge because it can. They can cause the shading to not look as good. And remember, as you move clockwise on the face, you want to begin to gradually tilt your pencils show so that it matches the for flow. So, for example, with this stripe here, I'll show you how I would gradually shift the angle. Since we're already a little bit to the right pencil show, can we talked it a bit a Z, we moved down. I'm going to make it more and more diagonal. And we're keeping the shading very light for now. And then we'll go back on it later. Too dark in some parts. And that was gonna add more texture to the four and make a look more realistic. Okay, So as you can see, I'm gradually making diagonal so you can see we have a nice, uneven tone to these stripes, which is good because that that's just gonna make a look more natural. As you can see, the pencil show begins vertical here, a Z. We move clockwise. It turns more and more until once we get to eye level, it pretty much becomes horizontal. And then as we move downwards and more, it becomes Diagon organ and we're just going to keep doing that for all the rest of the stripes. It might seem like tedious work, but can be actually pretty relaxing if you just put on some music in the background and just kind of zone out. So that's pretty much all the main stripes. And I even added a tiny little stripes up here just cause I felt this part was a little bit empty. Now let's move on to the ones right on the tiger's mouth for these ones. Well, look at the direction of the whiskers and we can see that this sort of pointing downward so we'll shave them accordingly. We'll put in some real light stating for the stripes on the body, - que once we laid down the tone, I'm just gonna take a clean total on and go over it lightly. We don't want to blend it too much, because that's going to get rid of all that nice texture we work so hard to put in. But we just want to smooth out some of the hard lines a bit, and still, I'm going to keep the total on with the direction of the for flow. So with these, I want to go straight up and down, and I'm being very sparing with the total on again. I don't want to over blend the's stripes because that's going to get rid of those nice textures. I'm focusing most my blending on the center off the stripes because on the outer edge I want to keep those fuzzy a pair like effect, and so I don't wanna blend in those area and get rid of the get rid of those I'm keeping what? Blending more towards the center of the stripes whenever I can. - So as long as you don't over blend the tunnel on gives the stripes on the for a much softer effect. So that's it for this that go ahead and do the same for your drawing, and I'll see you next one. 20. Tiger Drawing Step 5: So far, our picture hasn't quite come together yet. Even though we've added in all the stripes, the drawing doesn't doesn't quite look like a tiger just yet. So in the next to step, we're going to be adding shading to the eyes and nose, and that's really gonna bring the picture together and make it look a lot more real. So let's go ahead and zoom in to the eyes area. Okay, The first thing we're going to do with eyes is take our HB pencil and shade in this this area here, this dark patch around the eyeball and we're going to keep our pencil touch very light and even tilt the pencil. So that is very low to the paper and fill it in as evenly as we can. Next, we're going to take a twiddle on that has a little bit of graphite on it, and we're gonna use it to shade in the eyeball area, and we're gonna be using circle emotion, and we'll keep our touch again. Very light. We want this to be even lighter than the area around the eyeball. Okay, and that's just fine. And then we're going to go over the very top part of the eye bar with a little bit more toned. So it looks like there's a slight shadow cast on it by the top part off the eyes here, and that's gonna make it look a lot more three dimensional. I'm just gonna go over the top area once or twice. Add a little, a little bit more shade to it. Just like that. I want to do the same thing for this. I over here. Okay. And now I'm gonna take my mechanical pencil for a little precision shading, and we're going to go into these crevices here near the eyeball and really dark in it. Okay, Just like that. And then do the other corner over here and I want to use the tip of the pencil to sort of outline the edge, and I have all of it to make it pop even more. Then what? Don't let the dark tone so they follow follow down here as well. And then I'm gonna like my touch a bit and sort of at a sort of intermediate layer of tone so that it blend into this lighter area here so you can see by adding this little dark tone here it looks like it makes it look like these a shadow cast because the I was sunk it into the head of the tiger, and it just makes everything here more three dimensional. And then we're gonna do the same thing over here that referring back to the reference we can see that in this reference here, the the top edge of the eye isn't exactly a perfect line. It's a little bit fuzzy because there's far from the tigers sticking into it. So we want toe. Add a little bit of texture to this tarp part here, so that looks more realistic. I'm gonna take my HB pencil and just very, very lightly because we want to make this very subtle. You don't want to go and then just start drawing hardline and makes it and make the make it look like Tiger has eyelashes. We want just add in just almost imperceptible. A little dashes like that, and it might not seem like you're doing much, but after a while these these little marks you put in will begin to darkened and and show this nice, subtle effect so we don't want to go just everywhere. I'm just despairingly adding, Ah, hair here and there. It's like that very short. Keep them very short. Do the same thing for this side, foolin this area of it just to make the transition a little bit more smooth. Okay, so that's what the eyes looked like. I think it's making the picture look a lot better already. Go ahead and do that with your drawing and I'll see you next step. 21. Tiger Drawing Step 6: so seeing how good the eyes look less at in shading for the nose. Okay, So first, we're gonna take our HB pencil and just sort of shade in this whole area here with a light tone. Well, ended a little bit. Okay. Now I'm gonna take my mechanical pencil and add in of a dark area right here in this natural right underneath the natural to make it look like it's a shadow cast by the nose, right in the whole area. It and that out just added an intermediary somewhat lighter area to help transition it, you know, dark and the line right here. Even more to make the nose, then out even more. Okay, now, referring to the reference, we can see that right here in this area of the knows, there's a split that goes up. So we'll just add that in here into our drawing. And in the reference, this nose is rather evenly lit. But we're gonna take a little bit of liberty here in order to give it a little bit more dimension. I'm gonna take my need, herbal eraser and mortar into a fine tip. And if you remember in the rules of shading. Basically, the part that protrudes from the face is going to receive more light and therefore appear lighter. So what this knows here? The tip of the nose is going to be protruding the most. So I'm gonna take my need eraser, and would create a little light spot right there at the tip on one side. And then I'll create another one on this side because, remember, the nose has split. Still, we have two tips with us taking out. And no since the top of the nose will also be protruding a bit, a bit off light spot right there as well. And in the reference, there's also a band of light that goes along this out of part of the nose. So while we have the eraser, we're gonna add those in as well. Now we'll take our pencil and sort of accentuate those life spot by darkening the area around it. Now moving on to the nose bridge. So, looking at the reference here again, we have the nose protruding from the face of the center area is lighter. And then to the side, we have a shadow just like a human nose. Really So I'm just going to take my HB pencil and match the shading that I see in the reference I'm going to turn my pencil does your so that it's really low to the paper and keep my touch light. We don't want to overdo this. You want to start off with a light tone and then darken as you see fit. Okay, so now we'll take the twin alone and we'll end this out of it. No one a dark Add in a little dark patch right here. OK, so that's our tiger. So far. Go ahead and shade in the known for your drawing and I'll see in the next step. 22. Tiger Drawing Step 7: The next step is to add in the fire that outlines the face. Now, this part can be a little bit tricky because if you take a look at the reference the fur on the outside, the face, our white So how are we supposed to show white for with a pencil? Well, one way to do it is to shade in this background here a solid black and then used the contrast of the black background to suggest the white for on that would look great. But it is a really time consuming process. So I'm going to show you the way I like to do it, which is a lot easier and doesn't really take away from the look very much at all. We'll begin with the left side here. So first thing you want to do is take your eraser and take out this solid line here that we put in as a guideline. We don't want that showing up in the drawing, just erasing enough so that you can barely see that line. Okay, so now I'm going to take my HB pencil and holding it rather flat against the paper. I'm going to use it to make very light outlines of the for. So I'm not really using the pencil and met using it to make individual strands of hair. I'm simply create drawing very simple for outlining, and I'm still paying attention to the direction of the for flow. So as I'm moving down, letting the the Shan become more more horizontal and remember, we want to keep the touch very light. We do not want to many hard lines here because that would take away from the effect that the for is white and soft. And I'm just following that mind to make sure that the outline of for conforms to the shape and I'm mixing it up every once in a while, putting some short for here and there and then some longer ones. But as we get closer to the mouth, the fur will become gradually longer and longer, and at this point, it will begin to curl up and meet with the mouth here case and that we have a soft, very soft layer for put in. I'm gonna take my total on now and gently blend it. Uh, and I'm going to hold and use the total on almost as if it was a pencil. I'm still following the direction of the for and pretending as if I just repeat it. That process I just went through, except this time with a total on instead of a pencil. I'm using it to make sharp points with the for I'm letting some of the tone blend into the side of the tiger. And essentially we want to create a fuzzy effect with this border, for I want to get rid of some of that hard line and create a soft look. Okay, so next I'm going to take my each week pounds so again and again, holding it rather flat, we want to avoid the hard lines. That's why I'm holding it flat against the paper. And I'm going to go in and sort of try to very lightly added some subtle strands. So that suggests the the pointy for and what I'm doing here is basically finding corners and just sort of darkening it here and there. So here's a corner here, I guess, making a little bit sharper. Here's a tip, and we don't want to overdo this. Just pick. Put them here and there, and then overall is going to caused the this area for toe look much more natural and would do it for the top. So you see, the first still has that fuzzy look to it. But it's a lot a still a bit more defining out. You see more tips pointing out, and the whole thing just looks like it's born by a bunch of tiny, tiny hair. Okay, so we have sort of areas in between in this area. Here we have areas where it's a little shaded, other areas are still white, and we're sort of connecting this stripe here with the edge of the face with little bits of strands of tone Here and there. Now, even take my mechanical pencil and used the pointy edge two very lightly. Suggest a few hair that for lands in with the edge. Okay, and now I'm gonna take my kneaded eraser and flatten it to a fine, sharp edge. And just use that to go along with this in between area to create more of these sharp white shrieks that run among the for. And then you can go in again with the mechanical pencil and define some of these pointy tip I'm putting in sort of the shapes, some pointing out away from the face and some pointing inward towards the face. And while we're at it won't go ahead and add in that fuzzy layer, offer to the top of the head as well, and then take the mechanical pencil at a little, defining these here and there. We'll take the kneaded eraser and go over it, and you can actually just follow. Repeat. That process is many times you feel like into you reach the consistency that you're looking for. But I think that's good enough for that area. And now we'll do the same thing to this side over here. First erased the line, then take the pencil and holding it flat against the paper. Create an outline of the for Okay , Now we'll take out Total on and give it the first round of blending. And now again, with the HB pencil holding it close to the paper, I'm going to add in some very light V's here and there, another round of blending, and now take my mechanical pencil and put in some defining these can. I also add in some some strands and bites trends that sort of connect this strike with the outer edge, and then we'll blend it once more. No. Take need eraser and put some highlights in between them because we don't want this area to get too dark, because then we'll lose the effect that the for is wiped. Okay, so that's what it looks like so far. I forgot Teoh drawn this little patch right here. So let's zoom in to do that real quick. Okay? So that's what the on the face looks like. Okay, so go ahead and add in the for outline for your drawing, and I'll see you in the next lesson. 23. Tiger Drawing Step 8: Okay, so now we're going to draw in the for for the chin and also the snout, using the same method that we use for the outline of the face. OK, so I'm going to erase the outline for the chip. Okay? And now I'm going to take my HB pencil and draw in the outline of the for and Pat on. The firm is basically it starts out sort of diagonally and then gradually fans out so that it's almost vertical when it reaches the middle. Okay, and then we'll spend it and I'll take the pencil again and make it a little bit more defined with some of the strands. And I'm gonna let the the tone goes into the chin a little bit here and there, some more blending on. It's very light refining with the mechanical pencil, adding Cem Bey's here there, some pointing towards the chin, some pointing away from it. And that's pretty good for now, moving on to the snout, This one simple, we just not the ad in tiny funniness here and there alone the line. Okay, we'll do the same thing for the other side. No. Also add in a little fuzz for that mouth right there. Some light V's to refine the shape quick around blending. And there you have it. Go ahead and do the same for your drawn and in the next lesson will fill in years. 24. Tiger Drawing Step 9: next, we're going to draw in the ears and with the ears. The process is pretty similar to what we use for the outline in the face. So let's start off with you right here. Okay? So first I'm going to erase the outline and put in a fuzzy outline for the year. Now, with this, we still want to pay attention to the direction of the hair flow. OK, so I'm gonna hold my pencil flat against the page and softly draw in this outline. Okay, so there's the here. Now, when we look the reference, that's a whole lot of details going on here with scattered black patches here and there. So I'm not gonna try to capture all these. Exactly. The main thing I want to make sure I get is this fuzzy soft look to the ears because the for in the years, a very soft and not hard. So I want to make sure I captured that in my drawing. But the rest of the details, I can more or less generalize, and I still look very good. So I was still refer to the reference and from the reference I can see that there's some darkness here and then a little bit of darkness in this middle area. So I'm gonna do the best I can to add that those in. Okay. And then we'll take out toward along and softened everything up and I'll take my pencil here, put in some bees. Teoh. Help make the edge a little bit more defined. Okay, then softened everything up once more. And that's it. Okay, so now let's move on to the left ear. Once again, we'll start by erasing the outline and put in the fuzzy for border. I would give it a quick round of blending and some these two there to refine it, find around blending, and that's it. Okay, so go ahead and drawing the years for your drawing, and I'll see you in the next video. 25. Tiger Drawing Step 10: So now we're going to fill in the for for the body now for this world to be using a similar technique as when we drew the outline of the face. And when you look at the reference the for in the body except for a few dark packets here and there is mostly very light and fuzzy soft for So for this we're going to keep our hands to touch is very liked. I'm going to begin by erasing the outline. Once again, I'm using my HB pencil and I'm keeping the pencil rather low to the page. Remember to mind the pattern of the hair growth. It's sort of going out diagonally from the faith. So I'm just going over the stripe here with soft pencil stroke, creating little sharp edges here and there to make it look like white fur is poking over dark for and the bottom. I'm gonna go into the white area here and there to make it look like dark for is poking into wife are just like in the reference here. You see, white for is sort of overlapping this dark stripe and then in this area here, some of the dark stripe is overlapping the white for under it and you can even take You're needed eraser, make it into a sharp point and added some quick, thin middle highlights here and there. I'm just taking my racer instead of doing this over the white area toe add in little white shrieks and we do the same for this thin striped here. And I'm also taking an opportunity here to sort of accentuate the for from the chin more So I'm looking at this for here, and I'm sort of darkening the area outside of it and thereby making the for on the chin of here more pronounced and white. Okay, so in the reference, we have this area here right underneath the chin, that's really, really funny and chaotic. So for that toe capture that I'm just gonna add in some very, very light. Hence a show from lay in this really a thin layer of tone in the shape of little patches of for little pointy patches of for and now the same thing for for these two stripes. And now that I look at the reference, I noticed that this strike is a little bit doesn't really match the reference in this shape is low off. So I'm going to correct that and erased his top part right here. Okay. And here I'm gonna take my toil on and sort of sort of create some light tone that connects these stripes together. And I'll take my kneaded eraser and go in between the light area again. Okay, so you see that these little white stripes that it puts in it really adds to the effect of making the for look softer. Okay. And now you can just look over and add in a little finishing touches in there, but that's pretty much it for the body. For now. We'll go back and we find it later. Okay? So go ahead and do the same for your drawing, and I'll see you in the next lesson. 26. Tiger Drawing Step 11: Now it's time to draw in the dotted whisker on the muzzles. So let's zoom into this mouth area here now, In the reference, even though we see lines drawn here on the muzzle, they're actually not solid lines. It's just little dots that are line up and looks like lines. So when we draw the these onto our drawing, we're going to be putting individual dots, but they have to line up to form a line. So to make sure that I get everything I lined up properly, I'm gonna draw in light lines on the Tigers now. Okay, so we have these lines here that matches up with these lines of dots, and now I'll just count up. How many dots is supposed to go on the slice that the 1st 1 there are three and will erase the guidelines first so we don't have it showing up, and these dots tends to get larger as they get further away from the Tigers face and also darker. So we want to make sure that this thes dots of the closest are smaller and lighter. I'm gonna take my eraser and lighten up of it, okay? And the next line has five dots. - So those are the whisker dots? Pretty simple. Now we just do the same thing for the other side. - Okay , so those are the whisker dots. They appear to be a little tad bit too dark compared to the rest of the face. So? So I'm just taking my kneaded eraser and dabbing them to pick up some of the graphite. Okay, so that looks a lot better. Go ahead and do the same for your drawing, and I'll see you in the next video. 27. Tiger Drawing Step 12: all right. At this point, we pretty much have all the components of a tiger's face in place, except for one thing. And that is the whiskers. Without it, it does make the drawing look a little bit off. So in this video, we're going to be adding in the whiskers. And for that you're going to need your electric eraser. Okay, so in the reference here, the whiskers are white. So we can't just take a pencil and start drawing in lines because it just wouldn't look right. What we need to do is take use I electric eraser and basically create white streaks on the drawing to represent the whiskers. And then we'll take a pencil and refine it to make the whiskers much more accentuated. One trip when using the electric eraser is that eventually we need toe sharpen the tip of this eraser to a fine point to that, we can make very thin streaks on the drawing. But when you first put it in the racer, it's going to be a cylinder shaped like this. And when it's a civil in the shape, we have this sharp edge here along the circle that we can use to make very fine, fine erasing self before you do anything to it, I would. Athlete use the sharp edge here to draw, say, two or three whiskers on the tiger first. Okay, so I'm just gonna take my You have tilted at an angle to make sure the edge eyes touching the paper. So I'm gonna tell my drawing here a bit to make it easier and put in the first whiskers. And for this, I'm not going to be referencing the photo too much because the whiskers in the photos of First of all, very small and there's a whole lot of them. And it would be a little bit unrealistic for us to try to replicate all of this because it's just way too difficult. So we're just gonna do the best we can put in as many whiskers as it would seem natural. Okay, so there's the first lying put in. I basically held the eraser close down on the paper and moved it across slowly to make sure that it gets a clean street going there. And now just take my mechanical pencil and refined this line by darkening the area right on , right next to his edge. So there's a streak and I'm just gonna dark in all these area here, that adjacent to it in order to make that white streak stand out even more. Now, if we just put in a very dark tone right along the edge of this streak, it's not gonna look great natural, because it's gonna create hard lines. So what we want to do is is put a dark time right next to it, but then also camouflage that tone with the rest of the drawing so that it doesn't stand out so much so you can see I put a dark down here right next to streak. But then I tried to gradually blend it with the rest of the drawing with intermediary tones so that it doesn't stand out too much, and I don't do it continuously everywhere. It's not like a straight line along this streak. That's just spots here and there, and there are white gaps in between, but it's enough to suggest the shape of the whisker. So if I left this area here dark like this, it would look fine, in fact, but to make it look even better, I'm going to shaded in a little bit more and gradually blend it with the other tone here on the tiger. So now looks a lot more natural, and we'll go ahead and let the whisker ago a little bit further in to this now. So that's pretty much how you put in a whisker. Now we'll do another one, all right. Next we're gonna put in is going to be a little bit shorter, and it's gonna go from here down in this direction. So the tone there was a little bit darker. So maybe racing a little bit tougher, That's okay. We're going to outline it to make it clearer. And we'll take kneaded, eraser and clean up that whites whisker a tiny bit. Okay, so that's basically the whisker drawing process. Now are we need to do is put in a few more, maybe four or five more on this side of the face. And whenever I feel like my edge on my electric eraser is wearing out, I'm just going to go ahead and take my nail file, hold the erase it at an angle to it just like that, and then the on button and just let it sharpen the racer into a fine tip, and we wanted to be a sharp. It's we can without it breaking. Okay, so here's my race. Sharpen to a point. Now let's use that to put in the new whisker. Okay, so that's pretty much good enough for this side. We can't make our whisker super super fine, so we can't really fit too many without having it look really overcrowded. And so I feel like that's good enough. That's enough whiskey for one side, and now we'll put in some more whiskers on this side. Okay, so that's how you put in the whiskers. Go ahead and do that for the right and I'll see you in the next step. 28. Tiger Drawing Step 13: At this point, we pretty much have the portrait completed. Now all that's left to do is to refine the shading. So in this video, when I'm going to do is take my six b pencil. This is a very dark pencil, and I'm going to go over the stripes and dark in them in order to give them more contracts to give the drawing more contrast. And I make everything stand out more so I'm just gonna take more pencil and go over the stripes in the same way with the same stroke that I used to draw them in the first place. So filling in the stripes when I got to this area here, near the snouts with the whiskers are I made sure to be careful not to color over the whiskers because that would undo all the work we did in the previous steps. So when you get to the whisker, be very careful and just go around the edges of it just like that, and also with these whisker spots here I darken them a bit. But I didn't want darken them too much because I didn't want them to overshadow the face and stand out too much. We want them to be more subtle. And lastly, when you notice when I get to the stripes on the body, I lighten my touch considerably, the stripes on the body a much lighter than the one on the face. That's because I wanted to keep Mawr fuzzy soft effect to it and when, By making the the fur on the body software and Father Year, it makes it appear it doesn't draw the viewers attention away from the face. And it also makes the face appear as if it's protruding forward more, and it gives the drawing a three dimensional effect. And lastly, I'm going to darken the shading in the eyes and the nose area. So, as you can see by darkening stripes, it really makes the picture stand out a lot more and makes it look a lot more vivid. So go ahead and do the same for your drawing, and I'll see you next. Video 29. Tiger Drawing Step 14: Now that we darken the stripes on the face, the next step is to darken all the furs around it. Not too much, only slightly, because we don't want the for to just fade into the background when compared with the dark stripes. So I'm going to take my HB pencil here, and I'm going to slightly dark in all the furs around the face and some on the body were not do anything special here. We're just using the same pencil Shoko and technique that we use when we drew them in in the first place. Only we're making everything slightly darker. Okay, so let's start with outline of the face. Once again, I'm holding the pencil low to the page, and I am keeping my pencil touches light. We don't need to put too much pressure here. Just on extra layer of graphite will be enough to make everything darker and be careful where your shading when you get around to the whisker area and here on the mouth would also add a tiny bit of tone. And then I'll take the pencil on the sharp edge, and I'll just create very light strokes that radiate from that opening to make a look like for So now I think the fern look much better compared to the dark stripes. Go ahead and do the same for your drawing, and I'll see you in the next step. 30. Tiger Drawing Step 15: Now that we have everything darkened in, it's time to capture the tone in the middle of the Tigers fate. So if we look at this reference here, we see that there's an orangey tone in the middle of the face and also in these areas right here. And then there's white patches of far away. It's just pure white, and so we want to capture that in our drawing. Now. The first step I'm gonna do is outline all these areas here where we don't want to shade so that we can leave them on touch. And that should be pretty simple. So let's zoom in on this I right here, and I'm just referring to the reference and marking out the areas that are going to be white very lightly with my pencil. And of course, you are drawing. It's not going to match perfectly with the reference, so don't worry about getting everything exactly right. When in doubt, I tend to err on the side of making the area that's going to be white larger so that it will be more visible in my drawing and down here we also have a border between the white and the shade. Okay, so the lines of light and hard to see. So before all this get any more confusing, I'm gonna go ahead and start shading in the areas that I know I supposed to be dark, So we'll start here with the nose and you notice here with the reference that its darkest right here on the area around the nose and then as it radiates out, it gets gradually lighter. So we want to keep that in mind when we're shading. And also that the darkest tone in the nose area is right here on the two planks off the nose bridge. And you want to keep your shading very light. Like I said, we can always make it darker, my going over it again. But it's gonna be hard to lighten it without damaging the drawing. So keep your pencil touch very light. Keep your pencil low to the page that we don't make any hard lines. - And also remember that there's quite a bit of whites here around at the outer edge of the tires face. So when you get to that area, make sure to refer back to the reference to make sure that you leave those areas white now ? I don't want to really make this white patch around the air. The tiger's eyes stand out a little bit more, so I'm actually going to do a little cheat and and achieve that effect by making the tone around right around that area a little bit darker so that the white stands out more. And also I'm going to add a bit of a fuzzy border here in this white area so that it's not just a straight line dividing the white from the dark tone, just a slightly fuzzy border. And we also add a little bit of that shading to the body as well. Okay, so that's it for this step beheaded at in the shading for your drawing and I'll see you the next video. 31. Tiger Drawing Step 16: The next step is to add in the pupil for the tigers. Eyes tigers pupil are different from human and they're not very pronounced it all and particularly with this reference here, that pupil are very, very subtle and barely visible. So to draw them first we're going to take our torture line, and we're going to decide where we want to place the people. So, looking at this reference, you might not be a to see it very well on camera, but basically about 1/4 off the top of the people is hidden by the upper eyelid. So we're gonna take the total on, and this one is a bit dirty, so it has some graphite on it and we're going to draw a crescent right at the middle of the eyes. And so so that about 3 3/4 of the people is visible and we're just making a faint circle here. Using the graphite on the torture line okay is very subtle. And then we're going to take our HB pencil, create a darker, smaller crescent shape right in the middle of that circle. We just made okay, and then we're going to take kneaded eraser and shape it into a very, very fine point. And we're going to just lift up a tiny speck of white right in the middle of that dark speck right there. And that's it. So we'll do the same thing for the other. I okay, I sort of went outside the line of it. So clean it up with this eraser. All right, well and in the dark, crescent and small highlight. And we're just adding a little bit of blending, too. The rest of that, I hear that I erased. Okay, and that's it. So that's how you add in the people for the tiger. I actually personally like the portrait with the I sort of left blank. I think it gives it a very striking look. So if you want to leave the eyes blank, that's totally fine, too. But if you want to add in the people, that's how you do it. So go ahead and do that to your drawing. So congratulations, you just completed an animal portrait from start to finish. Thank you for all your support and happy drawing