Shading 101: Your Step-by-Step Guide to Creating Dynamic Shading in Your Drawings (+Bonus lesson) | Isa Down | Skillshare

Shading 101: Your Step-by-Step Guide to Creating Dynamic Shading in Your Drawings (+Bonus lesson)

Isa Down, Artist, Educator, Author

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10 Lessons (1h 9m)
    • 1. Intro/Trailer

      2:31
    • 2. Materials

      0:49
    • 3. Examples

      2:35
    • 4. Fundamental Stroke Techniques

      15:50
    • 5. Shading Leaves

      9:59
    • 6. Shading Petals

      10:05
    • 7. Practice Project: Daisy

      8:07
    • 8. Practice Project: Poppy

      6:51
    • 9. BONUS Video: Tricks for Drawing Folds in Leaves & Petals

      9:10
    • 10. Wrap Up/Conclusion

      2:51
14 students are watching this class

About This Class

Hello and welcome! I’m Isa Down, and I am the artist and creative designer behind Poppy & Gray Co. I’m so happy to have you here! In this 60-minute class, you will learn the step-by-step process for shading your line drawings.  This foundational class will give you the skills you need to bring life to any line drawings you create.  The emphasis in this class is on botanical line drawing, however these skills can be used on any line drawing that you create, from architecture to animals. 

I will take you through the basic stroke techniques for shading, and will then demonstrate how to use these strokes to create dynamic shading that adds life to your drawing. You will practice your new skills with two projects – shading in a daisy and a poppy, with guidance and explanation from me.  I have provided the outlines for these two flowers, so that all you have to focus on is practicing your shading skills. 

This class is intended for anyone who is unsure about how to shade their line drawings.  With these skills and a little practice, you will soon be shading intuitively, and feeling confident in your new skills with any new line drawing you create. 

I will be using ink with a fine liner pen to demonstrate the skills, but these basic techniques are translatable to any drawing medium – from ink to graphite pencil to colored pencil to marker. Let’s go ahead and get started! 

Transcripts

1. Intro/Trailer: you guys figure Poppy and Graco and in this class is going to take you through more foundational aspect of line drawing, which is shading. So I'm gonna be taking you step by step through the process for figuring out how to create those beautiful shadow lines and the beautiful shading that goes into line drawing whether it's for botanical, lion drying architecture, urban design, animals, plants, humans, anything that you want to draw this class is for you. If you're wanting some practice with shading, I'm gonna teach you the basics truck techniques. We're gonna go through some practice with those thinking about light source, um, different types of shading techniques. And then we're also going to be looking at, um, specific flowers and practicing shading. Those togethers will have to practice projects. One is a daisy, the other one of Poppy. I provided the outlines for these flowers for you. So all you have to do is print them out at home or at work and bring them with you to class so that you can practice your shaving technique with me. I've actually provided four outline flowers for you to practice from simple to more complex , so that you can go ahead and practice at home as much as you like to. We're gonna be going through two of those flowers together in shaving so that you get a feel for them with me and with the skills and some practice, we're gonna be developing your muscle memory. And soon he will be shading intuitively and he won't even have to think about it anymore. But I know that it is a struggle for a lot of people in my last class on how to create modern florals. Using ink and watercolor is one of the top questions that I had from students, people sending me messages asking How do I do the shading or posting stuff on instagram with their beautiful drawings and saying, I know my shaving needs a little more work, but here is my finished projects from east is class. So between that and one other question which is included in a bonus video, which is how to create those folds that really give that dynamic life to the botanical drawings that you're creating, I have included a bonus video in this class for that as well. Just to give you a couple of tips on how to think about it and how to practice drawing those folds in your pedals in your leaves. So without further ado, let's go ahead and get started with this class, and I am really looking for it to you guys in class again. Thanks so much. 2. Materials: So there's only a couple things that you need in this class for materials. One, of course, being paper. It could be literally any kind of paper. You have to be this back of, you know, your manuscript pages for that amazing next best American novel that you wrote. It could just be basic printer paper, beautiful drawing paper. Whatever you have on hand, just go ahead and grab it. We also are going to need something to draw with. Of course, I'm gonna be using a fine liner ink pen. But if you want to use that, you can have both wing pen, um, calligraphy pen, graphite pencil, color, pencil marker, anything that you prefer to draw with. Go ahead and grab that. You guys can go ahead and practice with those, all right? And that's really all that we need. So let's go ahead and get started with the glass 3. Examples: before we get started with going over the techniques, I wanted to really give you guys a sense of the types of shading that you can really accomplish using these styles that I'm going to be teaching you guys today. Here are some crocuses in black and white. I use just ink with this drawing, and you can really see the shadows in the dynamics with the curves of the pedals on. All of these end the sense of movement in life that the sheeting gives them. Here's some pine cones on a pine branch with pine needles coming off with, um, again just using basic shading techniques that you'll be learning in this class. Here's some lilies that I really went crazy with shading on. It gives it that real contrast from the background watercolor that I had included in it. And it gives you the real sense of this depth and, um, life to these flowers. Where is your shadow going to be? Where is your light coming from? And it really gives you a lot of movement within a very stagnant two dimensional drawing on a piece of paper. Here's the more shading that you can see within the poppies here and there leaves and their little buds. Just a couple more guys for you guys to look at here. You can really see with a flower that's like, so condensed and dense like this. Glad your list, Um, with so many different pedals and leaves together, the direction that your shading is going and the density of your shading is what's going to really help define the pedal. If you have this pedal, for example, that's coming up here like this. But you're shaming is going this direction. It's going to completely disorient your viewer as to what's happening in there. So definitely keep an eye on this. And this is also one example where he actually did use some cross hatching, which will be talking about as well, um, in the pedal for in the leaf. Excuse me and then last but not least, some carnations, Um, again, with the density of the coloring really showing where the shadows are, in some instances almost going to complete black just to show how tucked in that is within the carnation, which is such a flower that is just so folded in on itself that you really need to have a variation of color and, um, density of your shading with that. So without further ado, let's go ahead and get started. 4. Fundamental Stroke Techniques : wait. In this section, we're gonna be talking about basic lying techniques that we're gonna be using first shading . One of the biggest things that I have noticed when I have been teaching people how to shade is that they, um, grip onto the pen really tight, and they kind of hold their wrist really stiff. And in that way you're taking away all of the control that you have, which seems a little bit counterintuitive. But actually, if you loosen the grip in your hand and your loosening your wrist, you're going to give yourself more control than you are. If you're just gonna grip onto the pen, if you grip onto the pen, your line is gonna be all shaky. You're not gonna have any control over it, whereas if you're giving yourself some fluidity in your arm, you're gonna have a lot more control over the lines that you're making. So I wanted to just start with some basic line techniques that we can use to shade. There are several ways that we can shade a pedal relief or whatever. Your, um, topic is whether buildings, architecture or anything like that animals anything that requires shading with line drawing . You can use these techniques with, Um, the 1st 1 is the one that I use the most, and that's just the flick technique. A Zinkhan. See? You want your wrist to be pretty loose for that, and you wanna have a good, um, grip on your pen, but you don't want it to be so tight that you don't have any ability to really flick. You start by putting your pen on the paper in one spot and you just flick up. As you can see, it starts with a thicker line that's a little bit darker, and it gets thinner and later as you flick off of the page. This gets a really nice dynamic when your shading, because your starting point is typically going to be the darker point. Eso it mimics that, and if you're shading thing ones, but as you can see here, it's gonna just be darker down here and later up here, which is what you're wanting. If it's a pedal or leaf or something like that, it's also, you know, if you want to, you can also just do a straight line. But that loses a lot of the dynamic that you can get with the flick technique that I like the best. Along with this, you can do cross hatching using that flick technique. Cross hatching is doing a row of lines one way and then followed by Rove. Line is the other way. Cross AC chain is going to give you a lot of texture in your shading, so I will veer away from this one for any type of pedals. But if you're drawing a building or even some leaves of a plant, if it has a lot of texture to it, then this is a really great one to use and something to keep in mind that if you wanted to get darker, you know, it's partially the number of lines that you're doing and personally, how close together they are. So I can make it really kind of a light loose crosshatch. Or I can put the lines really close together and make it a lot darker. It just sort of depends on what look you're going for, whether you want it darker or lighter, and you'll just have to decide based on what you're drawing, is which one you're liking. Another shading technique that a lot of artists use are just dots or stippling, Um, which just looks like a whole bunch of dots. You can either do it. You know, the stippling artists will use dots exclusively in their drawings. Um, we're primarily in their drawings, and it's really just a lot of tiny, tiny little dots all together to create shading, of course, similar with the hatch mark or the cross hatching. If you're doing a bunch of dots together really closely together, it's gonna appear as though it's darker and color, so that's where your shadows are going to be. And if you're doing them farther apart, of course, it's letting more white through the page, and that is giving off three impression that there is light to there. And then, lastly, you can use a combination of these things you can do your flicks that kind of and in a line or a dot you can just do kind of a bunch of random things together. Um, the fun part is to experiment with these and just kind of figure out which style is best for you, and also what technique is best for which ever part of the drawing that your shading in, I were going to be practicing these a little bit so that you can get a good feel for the different movement of it with the flick lines. I wanted to make sure that you are practicing not just in one direction. So you're going to want to practice in the direction that feels most comfortable to you. We're also gonna want to go the other way because depending on where you are in the page, you may need to shade a different direction. Of course, you are also welcome to actually physically turn your page around if you're finding it too uncomfortable to shade in those different ways. And, of course, we will also be practicing the curved flick lines here. A swell thes are very important if you were doing any sort of pedal or relief or curve drawing and can be a little bit tricky to master to figure out the curve of the pedal or the line that you need to do, especially with that flicking motion. Which is why, of course, practice makes perfect. So there's a few things that we're going to practice for. Drawn out these little um, shapes on this piece of paper, you can draw these shapes out yourself on your own paper, or I've also included them in the class materials so you can also print off a page if you're not wanting to draw them yourself. Thes boxes are really for practicing your flicking coming, um, from one corner. And we're in this scenario we're gonna picture that are light sources up here because, of course, we're always wanting to know where our light sources. So we're gonna keep our light source up here for all three of these boxes. So weaken see the difference in shading that we can create using our different techniques. So first step is rich is going to be doing our flick technique out of this bottom left side of the box because our light sources up here So you know that up here, it's gonna be the lightest. And down here is where it will get the least light, and therefore we need to put our shaping down here. So practice just the one flick like that line and see what kind officiating you could get coming from that corner. The next thing we're gonna do is again with our light source up in the top right hand side , which is very typically consider my light source to be, um just gives a really nice feel to a piece as opposed to having light source coming straight at it, where you'll have no shadow lines or from behind where you would just get a silhouette. Um, and you know, I'm typically just trying to picture the sun. Where's the sun coming from? Especially since I do more botanical and nature inspired drawing. So where is the sun coming from? But you're gonna find it somewhere along up here that you're gonna get really funky shadows . If you do it straight above, you can certainly try. But you may not like the feel of that as much. Um, and then they think typically, most artists will consider their light source to be in the top right at the top left. I prefer the top rate just because I'm right handed, and it's easier for me to do my shading going that one direction. We're gonna practice the cross hatching in this next box, Um, but a loser crosshatch. And while we're practicing, these shading techniques were also wanting to practice coming from one source and going out from one line and not always crossing the line. It would be really easy to just kind of go from out here. But then you have lost your definitions. You really wanting to make sure that you're putting your pen on the edge of your border and flicking in words like this so you could ignore my little spots there and then this one, we're gonna do it later across such because it's a box. We're gonna be coming up from both sides, and this is something that is not exclusive to a box. If this was a pedal and you would also be wanting to come in from both angles as well from both edges of the pedal. And lastly, we're gonna do more dense shada shadow over this direction by curating the lines that are much closer together. So, as you can see, you can get three different looks to this. Um and you can also, of course, you know, if we pretended our son sources over here and ignore it, this one for a moment. You can also, of course, practice your stippling over here, which is just as tiny dots those together, and as you get closer to the light source and you have more late on your object, it's going to be less close together so you can practice all of these techniques. Using is boxes and practicing where you want your light source to be. You've been certainly experiment with which direction you want your light source to come from. You're also going to want to practice coming off of the straight line. Like I mentioned up here with the box. Um, you're gonna be coming from different directions. I always tend to turn my page a little bit just to make sure that I could get a good angle with my pen. And in this scenario, we're again just practicing, coming from one side without crossing over and going out from that line. You will also find a horizontal lines in your drawings at times, so you will want to make sure ikan look up as well. And like I mentioned before, if you would prefer to turn your page every time because you have a certain way that your wrist moves and it's just way more comfortable for you, then that's perfect. This is all about finding what works best for you. The grip that works for you, the sheeting line that works best for you and how you can orient yourself to the page or the page to you so that you can get solid, consistent lines as your shading. We, of course, also want to practice on a curve, and this is honestly one of the harder parts of the shading, because if this is a pedal or relief, we want to be able to shade with the curve. And I'll talk more about this as we got into practicing shading on an actual flower. But you're wanting to shade starting from the starting point of your source. So if your end of course, thinking of your light source always. But if this is a pedal, you would know that this is the center of a flower, and this is the starting point of your pedal. That then grows out and comes up. So this is going to be the darkest point, especially in a pedal where the and you're wanting to bury the length of your lines as well . If you do all the lines, we have another pedal and you're doing all the lines, the exact same lake. You do them the same way. If you're doing them all the same like it just doesn't give it the same softness and dynamic that it does. If you're varying the lions. Of course, if that is a very specific style that you're going for, then do it intentionally. But if you're going for a softer look and you're wanting to really give that shape shadow dynamic with a softer look and not do a more style I shading than definitely vary the length of the lines and use your flicking motion gives it that softer feel. As it goes up, it's the line gets thinner and then you can also practice. Coming down from the top is well, just to get a feel for it. And you can just draw as many curves as you want just to start feeling. How does that Kurt actually go? You know, And if you need to actually move your hand with it, go for it. That's a really great way to get a feel for the curve is to put your pen, you know, hovering above the paper and just curve right up with it. so you get a feel for that. And then as you start getting the feel for it, put your pen down on the paper and just continue that motion to get the feel for the curve . You know, if it was going the other way, you'd be doing it a different direction, and that really gives you the sense of the curve to give that dynamic in your pedal. You're also going to be wanting to practice going from one side again or light sources over here to go from one side of a lying to the other. In this instance, this could be a stem of a plant. As an example. Do you want to be able to practice looking over to the side, starting at one point and not ending at the other? You don't want your minds to necessarily go all the way across like that removes a lot of the sense of the curvature of the stem, you know, last year, very pointedly doing a curve. But even then, it removes a lot of that dynamic of it and gives more the impression there's something wrapped around the curve, as opposed to just there's a shadow over here on our light source is coming from the top right hand, which means that this section is going to be late because the light is shining on here. You also can practice coming from one single point almost like a starburst. These are all different techniques and styles that you're going to be needing to use when you're doing your shading in your botanical line drawing or any line drying that you're doing. I highly recommend practicing this, creating the shapes on your page create other shapes. And you can always, of course, spent this off from your materials section of the class just to give yourself a sense of how you need to place your hand, how your wrist needs to move and really get the feel for that flicking motion of the pen and remembering. Of course, that practice makes perfect. This is not something that you're necessarily gonna master on the first day unless you know you're a genius, which you they may very well be, but it really does take practice. And a lot of it is muscle memory training, your hand and your brain to see and feel things a certain way. So that when you sit down at the table, you're not having to really think through it every time. But the more you practice and the more you start drawing, the better you're going to get it. The shading. So I am going to let you go and practice this, and we are going to move on to the next class whenever you're ready, which is going to be looking at actual examples of leaves and petals and how we can shave those together. 5. Shading Leaves: So in this next section where they are going to still be looking at shading. But we're gonna be using reference photos, and we're also gonna be practicing shooting in thes pedals for these leaves and these little flowers that I've drawn again. These are included in your class materials. So feel free toe, double them and print amount. See that you can practice on these with me. So let's go ahead and look at our two little pill or leaves here. So one of them is at a slant, and the other one, we're just looking at it exactly from its side. So there are a couple of ways that we can shake. This one is we can just kind of shake it like the pedal that we practiced coming from the smallest parts and shadowing shading in with the backpedal being darker, it's farther away from us. It's tilted backwards a little bit, so our light source being up here, it's going to be shining primarily on this pedal. This puddle is gonna be the lightest, and this one will be the darkest If you're considering something that sort of tilted away from you, and on this one we can do the same or light sources up here, so it's gonna be darker down here. We don't have to worry about the backside of the pedal because it's folded back behind us. This is the spine of the the pedal. Um, but we can also consider the little veins. I go into all of our EU, So if you're just gonna practice really very simple basic leaf, we can go ahead and draw the veins Ivory Leaf in and practice from here again, I'll usually come in and make the middle spine of the leaf a little bit darker. I just added it line closely next to it, and then I'm just putting a little bit looking motion just right in the middle there just to give it a sense of depth and, um, really defined where the center of my pedal is. And in this instance, it changes. Where are the origin of our pedal is if these aren't here, as in this one, we're gonna be shading primarily out of here and here because these are really the origin points of our pedal. And in this case, because we've added the veins in here, we're gonna be shading. It's making our origin more of the center of the leaf, and so will be shooting from the center a little bit more in the outer. And again, this is why I had you guys practicing with going from one line without touching all the way to the next, because is going to be in almost everything that you're drawing, especially if you're doing any sort of nature inspired drawing. So you didn't see. I'm just going from one side to the other to give it that a little bit of more darkness on that side on this side. Because these lines air hitting so much closer, it's giving. It's gonna give more of illusion of darkness on the backside where the light isn't shining as much. But on the side, I'm not gonna be doing the lines all the way across like I am on this one where they're almost meeting all the way across here up the entire back of the pedal. Eso it's gonna get that illusion of light coming in on this side of the pedal and considering also the closeness of the shading lines that you're doing in this very top hurt . I put my shading lines a lot closer than I have done here because it is so folded back. But the shadow is gonna be much darker there and for me. I always turn my page when I am shooting because I want to have a much control over my shadow lines as possible and again and following the curve of the pedal as we talked about in the last section, you can always run your hand up and down with your pen, just hovering about the paper to really get a sense of how your hand needs to move to get that curve. If you go against the curve of the pedal that you're doing, um, that your shaving and or believe that your shading in you're gonna really distort the dynamic of it, and it's not gonna feel as fluid, and it's gonna look like you made a mistake. So let me give an example of that. If you have your belief because and you can see the curve of the pedal now here's if there's a few ways that you can do it if is nearly folded down in on itself. In that case, you're gonna be wanting to do your shading down this way to give it the impression minutes folding almost like this. If you're leap is leaf is folded up. You're going to want to go like this to give it more of that of a dynamic. If you have a leaf that is at an angle like this, however, and you do say just straight across, it's gonna lose the entire dynamic of the pedal. And you're not gonna show that this pedal is curved in any way and you know it's curved because one side of the pedal is you've given the perspective that this side of the leaf is further away from you. So you always when I think about the direction that your pedal is going. For example, here's some sage from my garden. As you can see, this is curved up a little bit. So if I'm gonna be drawing the stage from my garden, I'll do the outline with this center here and again. Just take the actual pedal and run your hand or your pen along the leaf and see how you're going to be drawing that dynamic. If I drew it straight across, I would not. I would be giving more of the impression that it was exactly flat. But even then, if I'm drawing the street across and it is flat, I've lost the entire dynamic of this curve of the pedal, which is really the most beautiful part. So you don't want to lose the dynamics that you're seeing naturally in nature, which are the curves and the folds and the imperfections. - There is one pedal shaded in, and as I've drawn this kind of noticed that this part is a lot lighter. So I'm gonna go back over this just with really light lines to make sure that I'm giving the impression that this is beside that is not exposed to the light as much. Do I think so? Then let's go ahead and practice our second leaf here that's folded over. I'm gonna go ahead and add the veins of my lease so that I have some nice lines to work. And as I didn't last one, I'm gonna really define the spine of the leave. So I have a good, solid starting point and also just gives the back of the pedal a little bit more. Now if you're wanting to practise the cross hatching, I would recommend doing it on a leaf. As you can see, with my sage leave, it has a lot of texture to it. Um, and lots of tiny, little bumpy areas in it that could really allow for cross hatching. I would just be very careful that you're doing it in the darkest parts of the leaf. Where the pedal. Excuse me. Now it is a leaf. I would just recommend you're always doing it in the darkest part of the pedal, which in this case is gonna be close, is to the stem as you're gonna be also making it darker and creating that shadow effect in there as well as the texture. So I'm gonna let you guys go ahead and finish up your pedals and your leaves. Here, practice your shading. 6. Shading Petals: way we're gonna always be wanting to consider our light source. If we have an actual live reference, it's a little bit easier because we can take a look at this. We can see exactly where the shadows air falling. A pedal that's gonna be below another pedal is always gonna be a little bit darker. Could see the shadows falling in there. We could see that, of course, is going to be a lighter up here. But there are still shadows here where the lines are coming down where the folds in the polls are, and it's much darker down here at the base of the center of our pedal. I'm simply because this round part here is coming up above the base of the pedals and causing shadow on them so we can really see where the shadow lines are. And I love the cosmos because they have these very specific lines that you can even follow . And that's actually one great way to practice is taken actual flower that has, or leaf or anything like that that has these beautiful illustrated curve minds in them that are the folds of the pedals. And you can actually just take your pen and physically run them along the pedal as practice for how you need to draw the pedal. You can even take your flower apart. In fact, let's go ahead and practice with this pedal. As you can see, just holding it down. We're arresting it on the paper. You can hold your pen above and see how the curve of the line is gonna go over this way to draw that pill. When the guy comes down and then around on this and meets again in the middle and we can practice where shaving minds we're gonna go almost exactly were always almost always gonna put a shadow line into wherever there is a dip in our pedals to give it that movement. And then we can also practice thes I would recommend again in this instance to use the flicking motion for Arshad aligns with the pedal. Because though the lion does extend from the top of the pedal all the way to the bottom, it's so delicate, Then if we do one straight line it in the drawing, it's almost gonna just segment it too much. So we want to make it one fluid pedal and so using. You know, we see there's two little ones coming out here using our flicking motion. We can, given the impression that it's going all the way without actually putting one solid line. And then, of course, the face of our pedal is gonna be a little bit darker than the top. But as you can see, you can create the feel of the pedal just by taking one in real life and following it. Similarly, you can take a reference photo, and I have included several reference photos that I have demoted from unspool ash, which is a great free photo sharing website. In case anybody doesn't know on splash dot com, so you're never violating any copyright laws if you're putting anything online. But here's another one where you can, you know, if you print it out, you could even practice. You know, let's go over this line here and where in this pedal, and they're gonna be putting the shadow lines. As you can see. If you're looking at the photo on your computer or your Holy and of your hand has these great shadow lines, you can really practice the curve of the pedals with the flicking, um, technique that I've shown you, which is another great way to practice if you're not entirely sure what you're doing or how to do it. And then we're gonna move on to practicing with the flower, as I mentioned previously, were always wanting to think of the source, the origin point of our pedal. In this instance, it's gonna be where it comes out of the stem, which is right down here. This is our origin, which means that it we're gonna be darkest at the base also because of where the shot was gonna lie. But that's also where the origin is. It was just always good to kind of think of that. And you're wanting to think, of course, about the curve of the pedals as well. And in this instance, this flower is almost hugging in on itself. It doesn't fully opened a some flowers do. And so you're gonna be thinking about where is the light hitting inside and especially, But this pedal, which is behind thes two and its curved over, So we're gonna be darker down in this area. It's gonna be darker, especially down in here, and will probably be a little bit lighter. Appear for late sources coming from up here. And this is a curve. Ah, fold of the pedal that's come over. So we're gonna be darker along this line as its folded over. It's not gonna have as much light in there, and it's gonna be lighter on top here. So let's go ahead and practice with this flower. Do be sure you're always remembering to bury your lines and you're always gonna want to do some sort of ah shading line wherever there's a dip in your pedal to give it that sense of movement and just really show that there's a curve there or a fold in the way. Do you thinking, of course, also, how is this peddle wrapped around? Is it opened out? Is it curving in way? Looking at the back of it really can't in front of it with all things to consider while you're doing it, Wade, a darker with the sun or the light source is not gonna hit it, which is down at the bottom here in the folds of the pedals and where there tucked under the other ones and it's going to be lightest where the pedal is folding outwards is gonna be light over here cause they're pedals coming at us towards us. So there's gonna be an area of the pedal here where the light is shining and that's reflecting. Um, are reflected in the fact that we've left white there. And in this instance, this pedal is really coming up. Um, and because there's this fold here, I know that the light is gonna be able to hit these two areas here. And, of course, the light will be able to hit here and then down here, it's mostly shadow, except for this small area that has some light the moving onto the next one. Um, again, our origin of our pedal is gonna be right here in the center, and in this case, it's much more open. So we may not have to do is many lines, but we know that this one has a nice fold to it. So it's gonna be darker long there, wherever the folds are, and we're always gonna have lines wherever the little dips of the petals are ways like to start from the center of the pedal or the center of the flower where the petals has really originated from just to get a sense of the movement of the pedal, What direction is that pedal taking? But when I take it up top, I know what direction I'm going to need to do. My shadow lives. It's always interesting, of course, coming from where the folds are because you're going to need to add a little bit more shadow where this has folded over, of course, because this is folded over and it's darker here. This part is in the light, so you don't need Teoh stomach uncertainly either, as in this one, you could go from one side to the other. Um, and another way that I like to do is to do the straight flick lines more up one side of the stem than the other just started, depending on the density that I want in the stem and the kind of feel that I'm wanting to give the flower. So there are two examples of flowers and are two examples of our pedals that we have shaded together. And if you don't feel comfortable doing this yet, I recommend just printing these out again and starting over until you get a good sense for where it needs to be dark and the curve of the pedal. We will, of course, be going through projects. Um, actually shading in very specific flowers that have drawn out for you guys that are also in our class materials so you can print. Go ahead and print those out before you move onto the next class, and I'll see you there once you guys have gotten comfortable with your shading. 7. Practice Project: Daisy: way have moved on to our practice projects. The 1st 1 we're gonna do is the daisy, and I just wanted to show you the four flowers that I've drawn for you that you guys can print out. I have just printed this onto just regular printer paper just to show that it's completely doable for you guys to do this. A swell I've drawn from the simple to more complex, um, four different flowers for you. These air to Daisy's just one being very simple because it's just straight on looking at you. Another one with a bit of a tilt away from use. You can think about how to shade that. Next. Is this Poppy Uh, which has a little bit more complexity because it's folding in on itself. These ones are coming out. There's folds to it, has curves that has a more complex pedal. And then, lastly, is this one type of chrysanthemum that I've drawn just because there are so many pedals holding on to each other, you really have to think about where your light sources and how the pedals air shadowing each other and how that really affects each other. So we are going to be walking through the simple pedal and this poppy, and then I have just included these, Um, excuse me. This we're gonna be walking through this simple daisy. And this Poppy and thes two are just two additional flowers that I've included for you guys for practice. We're gonna be walking through this simple daisy. And this Poppy and thes two are just two additional flowers that I've included for you guys for practice. I have included them on a sheet with four like this, and I've also included sheets with them each individually so you can print the mountain practice as you wish. So our first practice project is the daisy. Um, just straight on it. You. So it's at its simplest, um, level. And this is where you really just gonna practice for muscle memory? Because, as they say, practice makes perfect. And while we may not actually reach perfection, um, you can certainly reach improvement with practice. So again, we want to look at where the origin and source of our pedals is, which is, in this case, the center of our daisy. This is a very simple, basic drawing that we're gonna just be shaving in, um, as practices, I said end. There's one pedal that is taxed behind, um, these guys and even see you know, these ones that kind of folding in over themselves as well and tucked in a little bit over here, too, and, well, it's open at us here. We can tell just by this basic outline drawing how the flower is oriented besides facing us . So weaken decide for ourselves how we want the flower to be oriented. Do we want it coming in, Um, and pointing up towards us, which in that case of make it darker in the middle and darker going out outer edges, it's cupping in. Um, it's gonna be darker in the center with our light source here Is that we're gonna be coming darker and here, or is it almost folded out away from us, In which case, it's gonna be later in the center and darker along the outer edges? Or is it just kind of flat and look at us. I'm just gonna go with the flat and looking at us, Um, feel today just because this is uninterested Torri flower for you guys, and then you can experiment with it and print it off as much as you want and see what kind of changes you could make based on where you shadow your flower. So let's go ahead and shade are daisy and together E . - Alright , guys. So here's how I am shaving my daisy as you can see anything that was hidden behind or tucked behind another pedal, I made it a little bit darker right around that source. I also made my and darker along that center where the origin of the pedal is just to give that illusion of them coming up just a tiny bit. And I also dark in my center just because I felt like it needed a little bit more depth to it. And then, with my stem, I darkened under where the pedals were because there would be no light source there and then stuck along more the left hand side of my pedal. So there is our daisy, all shadowed in and shaded in, and I also made sure that any developer dip or valley that I had in my pedals that I did my shadow marks there as well, just to give it that sense of. It's not just a something that outlined in black and lying here on the page and actually has some dynamic with All right, So go ahead, practice your daisy if you feel comfortable with your daisy than let's go ahead and move on to our next one, which is our copy. 8. Practice Project: Poppy: I wear the poppy that we're gonna be shooting, and today is actually taken from this watercolor and ink painting that I created. If you're interested in learning more about this style that I have really delved into you, then go ahead and watch my modern florals class where I will teach you exactly how to create this, um, splashy, happy watercolor look with your lying drawing as well. So, as you can see, I actually just took this one exactly this, Poppy. Exactly. And I outlined it and procreate so that you guys could practice the shading and shadows on it. You don't have to go as dense as some of the examples I showed you earlier on in this class where every single thing you know is really deeply, um, shadowed and you can say much more sparse, like I did with this and still get a really beautiful effect. So think about what kind of shading you want to do on this Poppy. And then let's go ahead and get started, - E . - All right, so here is my poppy that I have just finished shading in. So let's take a look at it next to the original poppy that I had drawn. As you can see, there is really no correct way of shading, Um, in terms of how dense he wanted to be or what direction you want to take with your shading . You do, of course, have to follow the basic rules off. Um, light darkness, where your light sources and how your pedal is curving or your leaf. But in this case, you know, I made this one a little bit more dense in the center. Then I did over here, and I also made my leaf a little bit more dense than I did. And that could just be partially attributed to the size of the pedal. This one and is much bigger. So it looks like there's much more light in there. But it could also be attributed to the fact that in these pedals I went from the centre stem and I, um, just went out along the stem, whereas in this one, I actually shaded from the outer leaf, um, the outer edges of the leaf towards the stem. So in this case, the center of the leaves are where the most light is coming almost like it's folded back And so the center the leave is getting the most late where in this case, it would almost be like the leaves air folding in on to themselves. And then again, my stem similar to how I did my daisy. I just did darker right beneath where this fold was worth. This pedal is because it's not gonna be getting any light. And we're interested flicking, um, lines along the left hand side of the stem because I wanted to give it a bit more density than I would if I had just done, um, you know, just from one side to the next. So there you go. You guys now know how to shadow in all of the different pics of flowers. And like I said, you can go ahead and grab this guy from the class materials and practices often as you want . And here are two extra petals that you can practice on keeping in mind the in this instance , the position that the flower is in and the perspective that you're wanting to get If you're light sources up here and this is tipped back, how are you going to be thinking about light falling on that. And also over here with your light source. How are these pedals affecting each other? And you're also gonna want to make sure that any of your shadow lines are going to be going with the direction of the pedal for an example. Here is one that has a little bit of a fold up here. So this actually might come. You know, you kind of see it coming down a little bit here, but this part is going up. Whereas this one is just straight out like that. This one has a little fold. Is that coming up a little bit? Are you gonna give it a little bit of a curve up? Same with this one. Where are you going To keep with the outward fold. I'm gonna leave that up to you guys. And you can practice as often as you like. Um, definitely add anything that you're practicing to our class projects so that I could take a look at it and give any feedback that you guys want 9. BONUS Video: Tricks for Drawing Folds in Leaves & Petals: right now. Time for a little bonus section. I wanted to include a short video that talks about creating the folds in pedals and leaves because this is another question that I had a lot after My last class was how to create those folds and pedals and leaves. So I have included a bunch of reference photos in your class materials. They're all pictures that I got off on unspool ash dot com, a free photo sharing website. So go ahead and peruse that website. And also take a look at the photos that I snack for you guys. So one of them you've already seen in one of the earlier videos where we had kind of practice looking at the lines of the shading and then I also have this one as well. Um, in terms of pedals. Now this one is fantastic because it's basically just all really clearly defined folds um, which is wonderful. And as you're starting out you were, Boy, it's gonna take some trial and error to figure out how to move your pen to get a certain line to make it look like a fold. And not just like you didn't know where you're lying was going, I would highly recommend printing out or taking a look at reference photos like this. Or you can even look at things that other artists have done. And you can almost just take your pen and just run it right along here. How do I create this pedal? Chess is tiny little full down here. Coming office down there. And how do I take this one? Create this really dynamic. Amazing. Fold the pedal. Just go ahead and go crazy. Run your pen right alone. End of that leaf. You're that pedal. Excuse me? You really get a sense for where your lines need to fall in order to make this look like it's folding in on itself. So let's go ahead and practice on an actual piece of paper blank piece of paper with your pen and your reference photo in front of you. And you can really start to get a sense for where you need your mindful course. You just drew it, Um, right on top of there. So let's go ahead and mimic what we did there to give it that sense of Go ahead and continue to take a look at this, you can see how I created this pedal. That's kind of come back and turning in on itself. This is the inner aspect of the pedal. And then this is the curving outer part of it. And you would be shading, of course, in line with these pedals. Another great one toe look at, um is this one which I have looked at before. But it has these great curves to the pedals. My favorite being, This one that comes down here, you can see just how it falls down, and that's actually curving in on itself. So this part here is the inside. And then this part curved out around it to this she'd like. So I know this leave hell, it's coming over just like that, folding back over on itself. So to draw on that, I would you would come from the source. It's dipping down, coming back up. But then, to create this bottom part of it, you're gonna be coming over like this and we'll just say that we can see the origin of this pedal. We're here. If we say this is the centre, here is the pedal. And to make it fold over on itself. You can see that there was that line there in the pedal. It's really quite remarkable. Teoh, just go ahead and trace over drawings, photographs that were taken of actual flowers because you've got to really see what line do you need to create to create that dynamic sense that it's folding in on itself. Here is an example of one that I had drawn in the poppy that we just drew together. But seeing as he comes up here and folds in on itself, but then at the bottom here almost twists and folds over itself as well. Which is really fun, Um, thing to kind of figure out in the best way honestly, to do it is by practicing and training your brain to figure out what the heck is going on. In this instance. I came, he came around and then these two are folding in over themselves, taking an actual picture or a flower and running your pen over It is honestly the best way that you can practice. You can also go ahead and take a look at other artists drawings that they've done in the style that you draw, whether with ink, watercolor color, pencil marker. Whatever you use, you go ahead and find your inspirational artist and figure out how they drew it. Just make sure that if you're imitating somebody else's are you're not posting it as your own creation. You can always tag them if they're inspiring you. And, you know, here's my art. I copied so and so, um, go check out the original piece. But if just make sure you're not actually taking somebody else's style or there, um, artistic ideas with pedals. I also included a few reference photos for you guys to take a look out because they really give you, um, different types of leaves and how they're folding in, um, over themselves again. I would just honestly take the pen, and you can just run it along and see exactly how these folds go. You can see here that this comes down. Just follow the lines of the leaf to really get that sense of how it's twisting over itself . It's really quite fascinating once you get into it on. I just really wanted to give a little bit of guidance arm ways to practice so you can go ahead and practice on this guy, for example, Teoh just kind of train your mind on how you're gonna do it and then go ahead right next to it. And great seemly that's coming. Here is the stock, but it's coming off. So it goes up and then fall back down on itself, the one next to it being a slightly different angle. So go ahead and practice an experiment with these guys. The's a really wonderful different types of pedals that you're really going to see a lot, Um, the shapes of in different flowers and gun one last just demo one because this is great. And I love this because you not only got the folds and the different curves that the leaves here, but you also get the different perspectives. This one's coming all straight at you, and you can see just how thin you need to make that to give the illusion that you have this pedal here just coming right at you. I'm in. All you're seeing is the front part of it there. So go ahead and practice that it's a really fun way, um, to practice folding, uh, drawing your folds of your pedals in your leaves. And also, I am a huge advocate for going out and just finding stuff outside. Um, here's the state sage that I had shown you guys earlier. You can look at this fold in the leaf, and if you're looking at it straight on, you would draw this line coming in here, improving around there with the outer line attached to it. It's really a fun way to practice, you know, with the cosmos. You want to hold it at a different angle, so you can see where does it come in? How do I create these different folds? And you can even practice with some Berries as well. Um, just how all these different folds and turns need to go. So go ahead, go out and explorer your nature around you and take these reference photos that I provided for you all and just really go to town and practice practice drawing directly on here. Practice drawing on your piece of paper until you really get that muscle muscle memory. And that's just one great way to practice your folds in your pedals and your leaves 10. Wrap Up/Conclusion: so exciting. All right, So that includes all of the videos for this shading 101 class. And I hope that you're coming away with a strong sense that you have the tools to go out in practice. I don't expect if shading is a really difficult thing for you that you've come out of this class feeling like you're a professional at it. You need to practice. It's the muscle memory and training your eye to really look at these flowers and petals or , you know, whatever your subject is, just really look at the curves and the lines of it to really figure out how your shading is going to go. So you definitely need to practice. Don't think that just because the glass is over, you are going to be a professional. But you are one step closer, and you now have all the tools that you need to figure out how to do sheeting on literally anything that you're drawing. So go you. I honestly it Once I started figuring out botanical line drawing and shading when I step outside. That's the only thing I see. When I look at a plant, I automatically start looking at the outlines of it. How would I draw that? Folding where with the shade lines be. And how does the light hit the flower of the pedal? So, um, I hope that I don't do that to you, That you don't come away from this class with that, but you might still be warned. Um, it might drive you a little bit crazy, but it's also really fun. And your training Your brain? Well, you're even just walking around outside. So make sure if you post anything from this class on instagram that you tag me at Poppy and Graco so that I can see it. And I would absolutely love if you were post you're finished projects in this class, so I could give any feedback if you're wanting it. Um, And if you have any questions, go ahead and ask them. I'm checking in on this bus all the time, so I really look forward to engaging with you guys and making sure that all of your questions are answered in case I didn't cover something in the videos or something I said was really confusing. I definitely don't want to confuse you. And if you haven't already. Make sure you check out my modern florals class on how to create modern florals using ink and watercolor. It is really fun class that will be perfect for you guys to practice the shading technique . It's a simple process where you create really beautiful artwork. Um, like this guy right behind me. And you can practice all the shading that you need Teoh with your drawing. So go ahead and check that out as well. And like I said, I'm just really excited to see your projects and to give you guys anything back. If you have any questions or you're wanting some individualized feedback, please don't hesitate to get in touch with me. I would be more than happy to try with you guys and again, thanks so much for joining this class. And I hope that your pockets are full of resource is for going out and just really exploring shading of anything that you are going to draw. All right, I'll see you guys when your next bus