Shading Techniques: Basics & Practice | Jasmina Susak | Skillshare

Shading Techniques: Basics & Practice

Jasmina Susak, Pencil Artist

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13 Lessons (4h 13m)
    • 1. Intro

      0:38
    • 2. Tools

      0:36
    • 3. BASICS: What is a Smooth Gradient?

      1:03
    • 4. Creating the Gradient Transition - the First Method (Cylinder)

      21:47
    • 5. Creating the Gradient Transition - the Second Method (Flower)

      18:28
    • 6. Creating the Gradient Transition - the Third method (sphere)

      6:29
    • 7. The Circulism Technique

      7:08
    • 8. PRACTICE: How to Draw a Cat's eye Marble

      30:45
    • 9. How to Draw Droplets on a leaf

      39:25
    • 10. How to Draw a Rose - Part 1

      43:44
    • 11. How to Draw a Rose - Part 2

      42:09
    • 12. How to Draw a Coconut - Part 1

      20:26
    • 13. How to Draw a Coconut - Part 2

      20:09
12 students are watching this class

About This Class

Hi everyone!

In this class, I explain the basics of the two most important shading techniques for creating a realistic style of drawing: the circulism method and the smooth gradient. I will demonstrate to you my unique approach to creating a gradient transition, using three different methods. I will show you how to create smooth textures using the circulism method and graphite pencils. Once you acquire these two fundamental skills, you will be able to draw anything with ease. Furthermore, you will learn to draw a cat's eye marble, water droplets, a rose, and coconut from complete scratch. I will walk you through the process that I use to draw lifelike drawings with graphite pencils. I will show you my drawing and shading techniques, and share a lot of tips and tricks with you. You will learn how to sketch, how to shade, how to blend pencils and how to create photorealistic textures.

So, join me and take your shading skills to an advanced level!

I'd like to see you in my class.

Jasmina

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Transcripts

1. Intro: 2. Tools: is just me now. Thank you so much for joining me. Let's get started with materials. I'll be using this paper by for Brando Bristol because it's very thick and smooth and really good paper. I'll be using Castle 9000. By FAUBOURG Estelle. Graphite pencils A blending stump Q. Tips for blending this razor in pencil, also by Harbor, Castell and them divided, too. 3. BASICS: What is a Smooth Gradient?: Okay, so what? It's great in transition. In brief, Grady in transition is when two different tones flow into each other flawlessly. So here we have two different DOS, and this is not great in transition. This is not a great in transition, because you can see we have a clear edge between two different tones and thus a mention. We need to make them flow into each other flawlessly. So something like this. Okay, let me demonstrate for you three different ways to achieving grad in transition. 4. Creating the Gradient Transition - the First Method (Cylinder): Okay, So the first thing is to create a shapes of the Solyndra. I just want to make the width of this crueler, which is a but four centimeters or one inch in hell. And I want to make three cylinders because I want to make three kinds of shaving coming to use different life sources. And now we can make offer and bottom area like this just dropped ellipse. It doesn't have to be perfect here in the upper very early interest. Drop the lover part of it. We don't need the otter. Okay, so this forests are not important. They don't have to be perfect. Okay? And let's call them this one side life, this one to sorry. Like, And this one frogs light. Okay, so this means that that we have here in light serves that is coming from the left order, right side in the middle. We have the light source that is coming from the left and right side. And 1/3 example is the life serves that is coming from our point of view, I'm not going to create one. Would dialyzers coming from the top and the bottom because they wouldn't change anything on the side part of the cylinder. So I'm just going to shade this within a J B. You don't have to. This part is not important. I just want to give it some shade because I don't want to leave it white. So if we have ah, dialyzers coming from the top or from the bottom, it will be the same us front light. Just we would have illuminated the this area that I'm shading If the lie sirs was coming from the top and it will be shaded if slicers is coming from the bottom, the rest will be the same self from focusing out here. I'm just shaded a bit. What? This Kerry is not important. Just don't want to live in the white. Okay, in the first example, I want my life serves to come from the left side. So here I want to shade to the right side more. And I'm starting with a B pencil and I'm shading this side. And actually, I'm leaving out G about one millimetre take for two reflected life because that should be quite brighter. Dennis Shade. Okay. And now I'm going towards the left side, releasing the pressure on my pencil, and I'm going to continue using broader tones broader and broader in order to achieve that Great in transition. Smooth gradient. So if my life sirs is was coming from the left side, this right side wouldn't get much life. That's why I'm shading. It would, uh, would you wear a dark castle? You can either start using, which is the next one is on a J. B. Or you can release the pressure in this one and using the same cancel all the time. Okay, so we have here two sides to life. Source is coming from the left and from the right size, which means that the darkest area he will be here in the middle and the left and right sides of the cylinder will be eliminated. That's why we start here. I'm using a B pencil. Still, you can practice them one by one. I just want to show you the same pencil where to apply. You're also the same here in the very middle, you press more just slightly release of pressure, us. You shade towards the left and right sides. Okay. And it turns Cylinder has from life, which means that the left and right sides next to the edge will be darkest and this will become broader and broader us. We shade towards the center because the life source is coming from From our point of view, it is so called from life and here also press hard next to the edge. So here I'm still using a B pencil and a breast now less and your same under right side. So it all depends on the slicers. It is very important to pay attention to my answers and we're just coming from Okay, Okay, So the next brighter pencil broader than B pencil is an HB. You can use an age B or F. I went to use an age next to this shade and just us a continuation to this to shade for order in this case towards the left side. So here I tried to make it broader and broader, and it doesn't matter which bounces you used. If you can achieve that, you can even achieve that with the same council by changing the pressure. Don't worry. If it doesn't look smooth, we're going to blend it and it would look better for now. We're focusing on creating brighter and brighter. Don's so here again. Start using an age Bensel we can press lightly. Okay, Sam goes here just next to to be shade. Continue stores the left and right sides, also releasing the pressure in your pencil and next to the B area you compress of it harder . You can always go back and shade more necessary. It is better than to exaggerate because it's difficult to race. - Try to make the left and the right Birgit Kulhoff with this so under the same to make their work to go holds symmetrical. I know here also still using an age three and US A continuation. I'm just shading more towards the central, pressing hard next to the B area and pressing less and less as a shade throws the center. So this great in transition is very important, and it's very good to practice to acquire this because if you know how to do this, you're able to make any drawing easily, and it will be successful. I mean, a realistic style drawing. But for now, this is enough. So now if we used on age beat, the next one can be at F an f pencil or an age bouncer I'm closing You going to use to age and to press the big more next on eight cage be and to release pressure. But you can use more passes if you want, and I just want to feel the rest of the cylinder. I don't want to leave wide areas and also mentioned I press more here and, of course, less and less aside approached left edge of this cylinder So this left side will be very bright. But it shouldn't stay white my best. And now we can actually feel this edge that we left untouched 40 reflected light because that also shall stay white like this. Even if there no slicers found on the right side, there will be some light reflected on this edge from objects or anything. And here also, I'm just going to feel the rest of the the left and right sides. I'm pressing more here Next on age beat and less and less us. I'm heading doors. The edges. If he used an age pencils, I mean on age and brighter or so to say harder, you shouldn't sharpened down. Really, because they can scratch your paper very hard pencils. Even if you sharpen them, just make adult dip again with sandpaper, okay? And the same. We can just feel this area that's left and same here at breast more. Next on age be I release the pressure. It was the very center of this cylinder. Okay? And so this is the point of creating great in transition. But we're going to blend it and eventually to darkened something or two bride. And if necessary, we're blending two shades. I usually change it change. And, uh, dark shades become broader a bit because we remove a bit of graph, I would've t shoot and brighter shades. They become darker because we impress the graphite in just two of the paper. But here, you can see that, uh, this is kind of great in transition that I wanted to achieve. Okay, Now, let's blend it all with t shoot, but always start over to brighter areas. I'm using a circle or emotion and press very car. Start here over the brighter areas and goal towards the darkest sure areas like this. Okay, I have a flying all around, but I'm going to raise You can see how it looks much better now, so don't start which to blend over the dark areas because you can apply to dark graphite order Order highlighted that you want to be highlighted. I mean, you can start with dark areas, but just change a D shoe and use a clean part of a tissue for highlights. You can see what I was talking about that after blending dark areas, they become brighter. You're also against our movement. You can see I still have visible edge between the tones, but it's a normal. That's what I say, that we're not done yet. Or you can just pick up to graphite from the dark area and a blood order edge. I just want to your range looks dirty like this. If you want to draw a shiny object, you highlight she'll be much brighter than the highlights of on this still lingers. I'm using a cancel a razor. I like this one because it's pretty can do. I'm using it like but could pencil, and I like it. Okay, I just want to create here to shade more With to age, I still feel that the edge is visible and that degrade in transition is not flawless enough . - No , I said butt. Last visible. Okay, so it doesn't have to be perfect. This is just a practice. Two more You practice, the better it will become. Every time you make it, it will be better and better. 5. Creating the Gradient Transition - the Second Method (Flower): Okay, let me show you another wage to could create grad in transition. I just want to draw a flower. Just all of one flubber like this. I want to create great and transition differently by starting drying the strokes here on the top and using a HB pencil here. And I press hard here or the top. And I released the pressure. I slowly lift up the lead of my pencil in order to create brighter ends here and admit in the middle of the length of the people like this. So just slightly believed all pencil osu finished the lines just just go from the dump. Two made waves like this here next to the top, you can even create some shorter lines, which will make this area even darker. But I think we're going to use some darker pencil later after blending. And let's do the same with the rest of the Beatles. So just patiently and, uh, press more here. Okay, let me show you how I'm doing this from a different angle here. You can see that I placed the tip of my pencil and I lived it up. It is a slow motion now But I'm doing this pretty fast, actually. So I want the middle off pedal to be a more highlighted to a beer. Carvey. It can even be closer to the top at the Benson the Flower. But let's make it simple this time. Next time you can try to create the highlight. Very close to the top. But some flowers him. Okay, so again here on the top, press more heavily and just leave off the leader of the pencil. OSU finished the lines. Okay. And we can do the same with the rest of the Beatles. - Don't worry. If you shake out of flour or went now or when you blend, you can always arrays that. So just relax. - You don't have to use an age bees like you can use in your other pencil. And I have one more people. Okay, Now we can do the same. But starting here in the inner area and also you press hard. Can you just leave all the fan? So osu approached the middle? The pedal like this? You can see it already appears like shiny or so. But of course, we don't want it to be shiny. I don't know if there any kind of flowers that have so shining pedals, they usually have some Well, A g Well, the T uh, texture. So they're not the shiny. Okay, so this is the same that we did from the top, the pedals towards the made middle area. You just leave all the lead of your council. What? This flower doesn't have to be perfect. Is it just for the sake of practicing Gradin transition? But of course, you should try to make a flower pastoralist tikus possible. Even if you just practice. Because the way you practiced, you will use it for your drawing. So now you can try to make it perfect. Okay. And now, since I don't want to leave it watch, I just wanted to shade the whole, um, pedals. And I'm using it to a just a continuation to this age be. And I started lines over HB and I also go towards the highlight. But now I'm going over the highlights two. And also I leave off the leader with pencil like this. Now, this time I started here from the in your area and not from the job. But it doesn't matter somehow. Just go bravely over the highlights and us against. See, there's still Freedom Bride. They're not that white anymore. I'm in this one high life, and we're going to do the same. Would arrest battles I up using a to age you can use three age or or on age four if you used. If you didn't use an age be and a bruise step you used brighter or no, you have to use even broader than down one. So whatever you'd used in a previous step in this step use broader pencil. But not only next to do that's shaded on the scale, but two or three great to Brighter and just go order previously shaded area and released the pressure of unfinished strokes, and that we could see that this so free bright. I guess I mentioned. But it's not white anymore, and the great in transition starts to it starts forming. This is basically the same matter that I've used in my tutorial on how to draw curly hair so the same. They're nothing more. And now, once you go over on H B to cover the edge between the on H B and to age, you were actually blending on age, be a bit impressing and even more into the tooth of the paper, which is also very good. Just dark over over HB area. Okay, like this. And now we can and do it from the opposite direction. Same here. Place it over to tip over on HP and go over to highlight lifting off the weight of the pencil and it know already looks. Okay. Good. You can see that grad in transition that we call a she achieved with by creating the strokes this way, not only the way we did it with cylinder, I don't know which one is easier for you or most successful. I'm curious which one works best for you. Of course, it's also depends what you want to draw if you want to drug currently here. You don't use that wave creating writing transition to use for Solyndra. But this one So it's actually very good too. I know how to create in both matters. Okay, so this is the point. What? I wanted to show you this and place. Practice it every day. You see things like 10 minutes or so and, um, and just practice to control the pressure, and then you just you will be able to to create this kind of grand entrances should easily because you're going to need it. And I think that this one is left and after just we can blend it. But you can actually like this. But I suggest always blending, and after that you can fly more or change anything that you want. No, I just want to blend it all starting here over the highlights like this, and you can see how the highlights become darker. Just tried always to use it clean. Part of a Q tip. I'm using a Q tip here because the shoot it it doesn't alone. Me, too shades, small area and blending stump as some are too small for this. So Q tip is just perfect for this for this size of trying. And now, of course, we can go over to dark areas here. Also, we can go over this center in the middle. I'm not sure how to call it, and now here blend old, the darker parts. Sometimes we're blending you. Can this straw the flatness of your good, great in transition. But blending is important, and after blending, you can always and change anything that you want. No, I just want to erase what I have shaded around, make it look better. But the sharp outer ads, it looks always better. I have to clean the tip of my council. I have this brush big brush for makeup that I used to over lemonade, the dust and graphite far. So that's very practical. You can get this form, I guess you will need it to. And I'm just going to apply more off the beaten cancer years in the very beginning. Fennel. I'm a inner area because I some mention already well, always brighten up the areas with the blending, and here also talk more if you want, and that's it. A summation. You should practice this every day or whenever you can, because this this will help you to create Grady in transition, which is very important. It will have you controlled the pressure in your pencil, which is also always important. So it is a very good practice. Could try different shapes of blood, flowers or in the order object 6. Creating the Gradient Transition - the Third method (sphere): So let me show you my way of shading a sphere. I want to shade it. Two created on this paper, but I'm want to create a circle on a separate piece of paper. Okay, now let's call this trickle out with scissors. This inner area is not important. You can cut through it just carefully to preserve the perfectly around shape. Okay? And don't throw all this piece of circle because this room is because we're going to need. Okay, So what I wanted to do is to place this piece of paper on your she did paper like this, wherever you want and to dig T shirt into graphite quarter, just dusted off and start shading here next to do edge. And, um and, of course, over this inner area of the spear like this. And of course, now, us, you have less graphite on your the shoe. You can go towards the center. I mean, I have imagined my life service coming from the left upper corner. That's why I want lover right right corner to be to darkest. Okay. And now we can go around it like this to shaded all around. But here in the offer left area, it should be much brighter in particular. We have to leave one point or so to see, say dot to make it look shiny like this. Just go over the edge. And this way you will create a darkest area next to the edge like this and just make a circle or motion. Like I know you can see it starts looking like a sphere. So here you don't have to use any order pencil, just a graphite Boehner. And to control the pressure. And this is a very good the way of shading form, for example, skin human skin. Okay, Now, when I remove this piece of paper, I get something like this, you see, So I don't have any lines in this image. Only shades? No, you can even raise a bit here. You want to make it like, more shiny, or you can just leave it absolutely white. Okay, so the next thing that I want you to do is to take that piece of paper that we've gone out and place or d spare like this. And I'm shading here in the lover the right area because my life services coming from the offer left area and same here. I'm shading over this piece of paper and then I little by little gore over the background like this because this is what we're creating now is a cast shadow shadow cast by the sphere. If it was placed under table or so we're and the shadow should be darkest next to the sphere, and it should gradually disappear into the background. So here we're talking about great in transition to not only over the sphere like this. Okay, when you lifted up it, we get something like this. But you can also shade more if you want. And here you can see that I actually I have left an edge which now suggest the reflected light. And I'm just going to be over depth because I don't want to make it too bright. So here we have great in transition from this fear and out of sphere. So practice this because this is a very good method. I have figured it out, and I used it a long, long time ago. 7. The Circulism Technique: thought the circle is, um it basically means a flying Chinese or even bigger overlapping circles like this. I'm just making you very big and to make you understand better. So you just go all around like this and, uh, and create overlapping circles like this. Okay, so let's grave. One example would be pencil. But here, I'm going to create very signing overlapping circles like this. I'm doing this pretty fast, but you shouldn't. You just take your time and and practice this every day until you acquired this. Because this is very important. Also, I recommend using a door tip of a pencil because it will allow you to make it more smooth. And you will create the area faster. We have a duel. And of course, if you work with an h Pensa or Docker Uh, sorry. Harder. They can scratch your paper there while sharpened. Okay, so here you tried to apply the same pressure off course, unless you want to create great in transition of with circle ism, which is also possible. So you start by pressing hard, and then you discreet the breast less and less applying circle or motion all the time and here. You can see how it looks a bit small, except for the top when I actually had more, more sharp lead, then? No. Okay, so now let me show you. What a age B you hear the same. You're discreet ing tiny, overlapping circles blind the same pressure everywhere and just go over them until you feel detergent of the paper. And until why dots of the paper disappear, there is no big difference between a B and its age. Be particular few pressed hard within age be You can create even darker. Don't be given to be, if not three b So I really like an age you can replace If you press Ah, very likely you can created Does shade that you can create with a five age. Okay. And now one would to age. This is a big brighter. I often use this for the skin for delights type of the skin when I shade basic caller off the skin. But of course, even bride skin required docker stones one in shadow. I'm using very do off this to age pencil. I feel measure said that I want to scratch my paper and I just, uh make faster progress. Would it do the tip and also the areas more smooth? And it's easier to work off course when you draw hair than it. It's good if you have while sharpened. Okay, okay. And let's make 1/6 age. Also, I have a do it tip, and here's the same. Just don't press hard because this is a very part pencil and the message is the same. Just go over and over again, flying a circle or motion. You can see how this brighter pencils. Actually, I could create more smallest extra texture. Done a wooden HB. Somehow I have a the last smooth texture would in age be. But of course it the band on on the tip of Euro league. So it's better if you use a dual tip I've used. And now what I want you to do is to just blended with a tissue. Just go over it and pressed very hard and also your stroke or emotion, and you can see how it looks smooth. And now let's blend this edge be, and now you can see how those imperfections that I was complaining about it just disappeared. Do you see how much blended to eight. This I'm just looking for the clean part of the shoe. Just don't apply the far to do you use for blending, blending such bright areas. And, of course, you can see how it becomes brighter when we blend, so don't be afraid of using dark tones. 8. PRACTICE: How to Draw a Cat's eye Marble: Hi there. In this tutorial, I want to show you how to draw gets I'm marble. I'll be using this paper by for Ran a Bristol pencils by Kawhi, nor on HB and A to B. I'll be using Graphic border and this column, but bad on Electric Eraser by Alex and this white marker by Uni Posca. Okay, so the first thing is to covered the paper completely with graphite powder, some dipping into the graphite powder and the Scotland pad. You can use a T shoot or anything else, and I want to shake my paper with horizontal moments like this, so I just want to covered the whole paper with crop iPod room. It's sort of the highlights to hand had and has the highlights that it will be creating over the marble. It's so you can leave wide to background if you want. Or if you have a great paper, you can. Here's that one, too. I thought you can use a T shirt or a condom patter, even brush or anything that you would like to. So this is actually the half off on aid for paper. It's a age five s, so if you want to draw the same size is that now you can shade more unless I just want to make it quiet. Darker. So the goal is to completely dark into paper. Disqualify Potter. - Okay , The next thing is to create the main outline off the marble. You can use a ruler like this with circles if you have this one, or you can use the drawing compass like me. But I don't want to draw the directly on this shaded papers. I'm going to draw a circle on a not a piece of paper. Let me show you. Okay, so, like this, So this circle has to be perfectly around. So the diameter of my marble direction of this circle is about 2.7 inches or seven centimeters. If you want to draw the same size and let's got it out. What is Caesar's? Carefully. So just to keep this circle perfectly round and to school through this in your area like this, just very carefully. - Okay ? Almost done. And now I have a perfect circle that I can place over my shaded paper like this. See, now we can continue shading the paper, but Onley in this area inside this circle like this, and I start over the edges and if pressed very hard, or the edges. And then I lessen the pressure as I shaped towards the center of the circle of marble like this. And this way will create that great in transition, which is very important here because we're creating round object. And so the edges should be the darkest and just pressed very hard. Here, order edge and just last, unless as you shade away from the edge inwards, the marble like this as of this kind of shady will help would give the illusion off around object like this. Okay? And when we left off this piece of paper, we get something like this, and I just want to clean up the power with the brush. Okay, so this is enough for now. So we don't have in any strong lines here. And this is a good base for our drawing marble. So the marvels and balls like this shouldn't contain much lines, broader shades and all its greeted patterns. I like to make it look like the cats. I'm marble isn't This is typical pattern inside the marble. You can look up for some reference photo. Can you do the same like me? And I'm using an age. Be here so you can see that this pencil esprit dark erred in the background. And but I don't press her too hard. And just the shape like this, something like this. - Okay , let's do one more before their from this one using the same Bensel HB and HB pencil And just try to draw different shape to make them but different And just leave the space between this matters like this. Eso this one can be even bit brighter. You can even draw horizontally or diagonally placed these patterns and all the bands in which position you want your marble to beer. So as I mentioned, you can look up for reference photo and studied them if you can imagine how they would look I said that this really looks similar to cats. I This is why this marble got this name and I just want to make one more here. The difference Finger and I pressed last year and I used an agent bent alone the time. But you can use you age to age, whichever you want, or you can use the same pencil like me on HB and just change. The pressure can create a lot of different tones and values with the single pencil by changing the pressure, and or you can use different pencils. - Okay , I just want to darken the swan using the B pencil to be Actually, I don't breast very hard, so I want to dark in this part because I have imagined my life source to come from the opera right corner. And now let's erase this batters in between with an eraser. So this is also still the farm of this pattern, but kind of illuminated euro highlighted. Well, maybe even different color. And here you can see the benefit of the shaded background how this highlight is just more prominent like this, and more visible. So it popped on the paper is that you can use the kneaded eraser or any other memories. Are you hear? Also overdid edge of this pattern here also a little bit and tried to make the patterns in the upper area of the marble a bit broader than a depart in the lower area. So because the upper areas always more eliminated and now I'm using mechanical racer to create this edge, and I just caught the top of it with a knife and I get sharp ads and that you can also very easily do with the kneaded eraser and just like this, and I just want to add more to this one, still using an HB pencil. So here you can play with shades with highlights, great any shape and whenever you want. And here I want to press harder next to this one. So the more volumes we use in our drawings, the moralistic there will look. So if we use only 23 values, the drawing will look flat. So no matter what you draw, you just use many volumes as much as possible. And as I mentioned, you can use a single pencil and just change the pressure. Or you can use more pencils. And now let's dark into edge over the marble, and I'm using HB, and I just want to use also blending stump and to darken up it here already edge and next to the edge like this because I feel that it's still not dark enough here, and I'm just hardly touching the inner area. It's always pressed harder over the edge and just lessen the pressure off the shade inwards . And this grand entrance mission decision will give around appearance to the object and they won't look flat. And so it will give the death to your drawing. OK, and now let's great dining highlights with this electric eraser. I want to use this one because I can erase much more. But you can use any order and razor and go over multiple times. And I just want to blend the edge between the highlights and the marble to make it like gradually disappear. And to make this edge blurry like this. And if you want to enhance her hat allies, you just shake around them and they will become broader. And let's make one more dots here. But you can make it anywhere you want, and they don't even actually have to be around shape like this. Okay, and let's make one more here on the left side or two and let me use this mechanical eraser for the edge. And now I want to also blend the edges of these highlights, and I just want to add a tiny highlight here on the right side like this and now it's time for the guest shadow. If you're satisfied with your model, we can make the shadow cast by didn't marble. I'm using it to be pencil here and I'm shading rights next to the marble like this. So this cash shadow has to be much, much darker than anything else in the picture and expresses very hard. Or if you're afraid of pressing very hard, just go over and over again until you create the desired volume. So if we have imagined that our life source is coming from the upper right corner, therefore delight source would cast a shadow that will fall on the lower left area. So right here. And I just want to leave here in the middle of the area next to the marble that I want to make an absolutely bright later. So this is like delight that this coming thru the marble and falling in a table. So it is actually the refraction of the light through the object that is this blade over the surface over the table. So that has to be very bright. OK, but let's leave it for later. And now, as we work away from marble. We have to press last in the last two. Create broader shadow because the guy shatter. It is always the darkest. Next it objects and it becomes brighter foreigner from the object. And I'm still using it to be. But I just lessen the pressure. And here you can start using the n F pants over uneven age be and just tried to make the and the edges between these two between due to values invisible. So to make that smooth, radiant. And I just want to go back with the to be and to press my charter. And I can see how do Marble already appears closer to the viewer's eye and much more around due to discuss shadow. So the guests shadow is very, very important. Okay, and now we can blend it a bit with a blending stump. So every time you have drawn a bit, you can just blend it and go over it with a pencil again in order to create that smallest Dexter. Okay, And now I'm using an age be again and oppressed lesson last year next to the edge of the cast shadow like this. So you can even blend it with a Q tip, and I'm using blending. Stomp it. It's OK, I said. It is important to make the texture even two evenly spread about the graph. I'm Yes , I feel that my cash shadow is too small. That's why I'm adding all around always a bit. So because I'm not drawing from a reference photo, If I had a reference, what I could see where the cash after how it displaced. So this is from like imagination or memory, and I'm not sure how big it has to be. So it is better to draw smaller, and then we can add more. And let's blend it again with a blending stump like this and that breast very hard. So if the object this found in ah direct sunlight, we would have the sharp edge off the cash shadow. And if we have some artificial light, the edge of the cash shadow is usually blurry like this. No, If you have some marbles, you can place them somewhere to see what kind of shadow they would cast and how the light goes through them. And you just draw what you see. Okay, I'm I'm almost done with this. I just want to blend it a bit. What's that? The guest shadow can be even bigger when the object that when the light sources closer to the object, the cash at a will be bigger. Okay. And now we can create a highlight that I mentioned. And I want to use an electric eraser. But as always, it can use any other razor. And just like this, and just to make the edge between these two follows blurry like this. Okay, so this has to be, like, absolutely white. It can even color. It's with, um, opaque white marker if you want. So this is the delight that I mentioned which is coming through the glass and heating the table. And this led gift impression that this marble is made of glass. Okay. And I just want to add more highlights or the marble. So here you can add something or remove something. If you created highlight and you feel that it's not good, It just go over with the lending stomp or with a pencil, and you can like a limited eliminated so can experiment with the things to see what looks good. What works. So just trying to play this highlight somewhere else. It also measuring Gonna want to cover them with the graph I if you don't like them. So don't be afraid of experimenting and practicing. And I just want to add, but more highlight here and I just want to darken here on beds. Actually, I don't like this I like I created and now I just want to docking it again. So as a conceit can always change it and just toe dark in here next day, edge off the marble, the lower edge like this on. I want to call her the lower edge. It has to be a much brighter. So there's are kind of finishing touches now. We can add anything, change anything and said, That's it. I hope that you enjoyed this tutorial that you have learned something and I'd really like to see your results. So just feel free to post it, and I will see that and see what an extra tutorial 9. How to Draw Droplets on a leaf: and this tutorial always show you how to draw water droplets on the leaf and let's start with the leaf so it can be any shape. I mean, you can really mess off here, and I want to draw typical shape of belief. But relief can be around. It can be a week or a thing. So just the way you want. And I want to draw some Stan like this. OK, and now let's feel the whole area with an HB graphite pencil. Eso just shade the whole leaf and take care of the edges. So here you can press three hard and I'm holding my pencil like this that I can cover the larger area pastor just like this. This is not important. It doesn't have to be smokes now because we're going to blend it in the next step. I can No, let's blend. It'll with the shoe. I can you even use a Q tip. I use circle emotions, and I'm pressed very hard, and I can see how it becomes very smooth and kind of darker. And it looks a quite better now, so just pressed very hard until you have impressed the graph. I into the tooth of the paper and make all those tiny white dots of the paper disappear. So here you can see I have a bit broader area, and I'm just any more often age be here and here next to the edge. I want to use a blending stump because I can blend more precisely. And I can keep the edge very clean and sharp. And I want to raise what I have shaded out of the olive line. And is that the same everywhere like this? And I want to smokes it out with the T shoe. - Okay , The next thing is to divide this leaf into two equal parts and by adding more shade here in the middle of the leaf. Like this eso we can shake here in the lower area of the upper half so it's gonna bend inwards and its so called self shadow I. So let's suppose that our light source is coming from the upper left corner and we have to shade in to draw everything accordingly. And then let's blend it with a Q tip, and you can see now how it looks last flat and also here, and the lower area of the lower half of the leaf, so it's all usually kind of bent inwards. So I just want to make this edge darker. And it's good to to make the leave us realistic, us possible sort of. The droplets can look more realistic and the whole picture will look more lifelike. And I'm using now on age. Be just a shade more here and now. Let's greet the wanes by erasing the area. So here in the middle of we have to make kind of a leaker. What a Wayne, a so called main win like this. And now, after you erased it towards the top of the leaf, it should become thinner and thinner. And I'm using this a razor in Bensel, but you can use any other kind off a razor, and you can see how it becomes brighter. But im pressed too hard, so it will still boot quite brighter, but you don't want to make it white. But if you overdo this, you just go over with the blending stump or with a Q tip, and it will become darker again. And now let's great this smaller wins that are going from this main wing. There's the edges of the leaf and this has to be quiet thinner, and they have to be even thinner as we approach the edge of the leaf. So something like this. - Okay , I know we can create the same in the upper area. I like this a racer because I just use it like a pencil. So it's quite practical and I actually want to draw here with when the starting points off , the smaller wanes like this. - So same here. Something like this, with all these don't have to be strictly the same just approximately just like this. - Okay , So I won't go much into details because it's braced, smaller drawing. So if you draw bigger leave, you can go much more into details. But it's OK for now. I thought we can finally get to the point of this drawing to create the droplets. Okay, So let's start creating droplets. And let's great tiny have circles in the opera part of the droplets using an age be council . So here we have to decide how big are droplets would be end to shade. Just the upper half of the drop to droplets like this, and it can blend it with a blending stump and as we approached the center of the droplet, But we have to release the pressure, and we have to make it to quite darker over the upper edge. So this has to be very dark because we're going to apply to create wide thoughts over this . Areas suffer just a work. These have to be quiet, darker, so if we can achieve that's big contrast. But when the highlights in the shadows, let's make more industry, try to create droplets of all sizes and shapes. They don't have to be perfectly round, and they should be placed at random and just the upper half of them like this. So let's great now smaller ones. And now I want to create two connected here. So this is also something that we can make to make it different just for the sake of randomness. - Okay , and one here over the edge, and I think that enough and let's blend them a bit more so other can see my shade gradually disappear into the don't off the leaf here in the lower area. And now let's a raise the lower half of the droplets so that we can create a highlights this way like this, just just carefully and breasts harder over the bottom and then lessen the pressure on soup . Erase upwards so these areas should also gradually disappear here, over over the center of the droplets like this, so just gradually released the pressure. Also raise orders, Senator, because it should be the brightest on the lower edge. If you order this to just go over with the blending stump or a Q tip and less did the same with each in every droplet, you can even use an electric eraser. If you have one that's over death, you can erase much more and create broader highlight because it eliminates much more than a manual erasure so that Grady, in transition between shadow and highlight, it's a very important to create here. I keep cleaning the tip of my eraser, but if you have kneaded eraser, it's either just to need it. But I want to clean the tip of my razor to have to be able to create brighter highlights and not applied that graph I over the highlights. So this is actually delight that passes through the droplets that we're creating right now , - okay . And like this. And now let's great a cast shadow. I'm using an age Be again. As I mentioned, this is the only pencil that I use in destroying. And so here, now, right under the highlight that we just greeted. Just start here right under the droplets and press harder. And then we have to release the pressure as we shade away from the droplets like this. So these are the shadows that the drop lists cast over the leaf. And as you can see it, will it make the drop? The droplets pop on the leaf and just very carefully here, next to the highlights to keep the edge between the highlight and the cash out of very clean. And as I mentioned, the cash at a will should be the darkest next to the highlight. And then it just has to become a lighter and ladder as we shade away from the droplets and here, over the edge, under droplets already outer edge, we have to blend it with a blending stump like this. - And I would concede how these droplets or are you look riel comparing to the rest of the droplets that We haven't done anything that we haven't done yet, so they look divided from the surface of the leaf, I said. That's why this cast shadow is wearing born. And so let's do the same with each and every droplet and the bigger droplets have to casted the longer and bigger shadow and smaller off course have to have smaller cast shadows. Okay, and now it's time to add the highlights over the droplets. And I just want to create one or two dots here over the shaded area and the Oper area of the droplets like this. Okay, I want to use an electric eraser to make them broader. And we can also use a white marker which will make our work much easier. Conceive this marker bright unit Posco is very opaque and you can see how the droplet looks shiny unless it the same over each and every droplet over the bigger Once you can create two dots and or the smaller one, you can create only one dot okay, and that's it. I hope that you have learned something. And now try to greet more drawings like this and to practice. And I hope you will show me your results 10. How to Draw a Rose - Part 1: Hey, guys, is jasmine less? Draw arose completely from scratch. And before we start sketching, let's practice a drawing heart on a separate piece of paper like this Just the way we draw a simple heart, practice this motion and and then begin making the lower area off the heart around her like this. And just keep practicing this kind of lines, this kind of flying like this. See? And now the next step is to draw a tiny circle on your drawing paper like this. And now we can add the kind of the line that we just practiced to it like this. So he want on this side and then one on the left side and so own. And as you're heading the shapes like this, you make them just speaker and bigger just one like this, like this. So we're creating the pedals here, next to day center of the rose, which are pretty tiny. And as we draw away from it have to make them larger and larger like this, and you can add them wherever you want. Now they don't have to go in any order. And of course, the shapes can differ. You can even take a look at some reference photo. It can started some photos before your star sketching. - Okay , here. I want to draw the outline. Order this big pedal bent. So not only the outer edge, but or it bent. Okay. And I think that's enough for now. So here also and I want to add here one tiny so not the whole federal is visible, only the outer edges off it. And now you can erase any hours line that you don't need. Did you think that you have made mistake? Now let's shade the darkest area where it gets less light or gets no light at all using an HB pencil and pressing very hard like this. So here you can actually imagine where it would lead to receive last lights. So here, of course, the inside the rose and not over day outer areas of grip eagles. So if you're afraid, if using very dark pencil, you can even make a copy off your sketch. So if you think that you're going to mess up with the such dark shade, So in that case you wouldn't be afraid. And you can have a sketch. You can always start again if you mess up with something. But I recommend also started with the dark rentals us against C. I pressed very hard because I want to create absolute black color and so you don't have to use a B you can use seven B or six B or even four. B four B is also dark enough even to be is also dark and off. - Okay . And it's bringing up like this because the other edges of the bills they receive much more light and there wouldn't be dark areas. And now we continue with an HB to strengthen these outlines between the battles, the pedals that don't more eliminated like this, and and let's actually go over ever single outline like this just very carefully. And I use an age be old the time, OK, and now let's shaded old with the B pencil like this. So just go over the pedals over the whole area and a press blindly, so don't press very hard. And don't change the pressure, because we we want to apply this B pencil evenly. You can even use circle or emotions, but just don't press too hard. So this is pretty time consuming step, and, uh, but we're just setting the basing tone, so we have to work on it more. But for now, let's just apply the basic don't. And now you see, when you go over to outlines, you're still able to see them under the B pencil. So I want to use a B pencil because it will give a dark tone to the rose, since I want to draw a red rose, which is quite dark when we we make, for example, some reference photo. When we make black and white picture out of color picture, we can see that the rose is pretty, dark said. That's why B pencil. It's much better than H five age or six aged. Those are too light, too bright. But of course we can try with those pencils to, because we can also draw white rose or yell arose. So I always say that pale drawings are more difficult and more delicate to make, but you should give it a try. But I think you should practice with darker drawings first and, of course, to get rid of that fear off using dark pencils. So here you don't have to pay attention to anything just shaded all like this. You can see that it looked looks pretty harsh and off course I have visible lines and everything. But don't worry, because we're going to blend it in the next step and it will looks most OK . And now let's blend it all with a tissue and just go over the whole area with the tissue like this empress very hard. And as you can see, it becomes smooth. If you get some off the graphite powder out of the other edge, Just don't worry. You can always arrays that you can. You can even use a Q tip or blending stump to blend the edges. But it's okay. Just trying to blend over the whole area suffer, blending larger areas. I always use a T shoe, and I use a blending stump for smaller areas. Okay, and now it was the easiest part. Now we have to create a grainy in transition between the black shade in the deepest areas and the rose and the tone of the pedals that we just created in the prayers step. And here I'm using an HB pencil and I apply circular motions and I start here next to the darkest part, it with a heavy hand, and I just released a pressure. Also work away from the darkest areas and same here, - and now we can shade under the edges of the overlapping pedals and over the underlying pedals to made it overlapping pedals pop. So this way, the underlying pedals will appear farther from the viewer's eye because the overlapping panels will cast shadow over the underlying pedals. And so here apply more pressure when you shade next to the edge off the or lumping pedals and just gradually reduced the pressure off the shade outwards. So towards the edge of the battles that you shaded over OK, and now let's plan it all with a Q tip. So just go over the areas that you just created and blend down with a Q tip length. This and you get also used a blending stump here, okay, and now, to make the overlapping pedals even more pop and to make them appear even closer to the viewers, I Let's just greedy highlights already edges with an with an eraser, so just don't press very hard and just eliminate a bit of the graph I here like this. So here also, it is important to create a great ian transition. So to erase more over the edges and then last unless Ozzy rub inwards towards the centre of the rose. And now you can see how the cash shadow and highlights make this Ah, pedals and different blames and they look closer and farther from new yours, I And here I also want to erase the olive lines because they seem to be too strong. Okay, Now, let's continue by shading petal by petal between the highlights over the edge and, uh, the darkest shadow that we created next to the overlapping pedals. And use a B pencil in a circle or motion and go slowly. So work slowly over this these areas. And as you can see now it becomes darker. And I suggest focusing on one pedal of time because this is actually the last step in building up the tones. If you overdo shading, just go over within a razor and slightly touch with the tip off for a razor to still eliminated A little bit of to graph I 11. How to Draw a Rose - Part 2: - and when you finish shading federal, just blend it with a Q tip to make it smooth. And now you can work more on the pedal if necessary, because after blending, you can see water. You need more shading or it's enough like this. Or maybe you even want to highlight something that you go with an eraser. I just want to build on the darkest stone here in the middle of the Rose, but it still seems to be too bright, so it's not dark enough. And these would be pencil here also, and I just pressed harder here. And I also want to use a bit of six B to shaded, deeper sections. And as you can see, I use circle or emotions and and now it could see it becomes darker, and, as always, we have to blend everything that we should. We have to blend with a Q tip to make it smooth, and now let's shade this one the same here, just a work slowly dumpers too hard, but go over again and again until you create the volume that you want. But that is actually still broader than the guest shadow, but quite darker than the highlights. So just enough shade over to highlight and tried to make a smooth Grady. And on each petal, so do the same with each petal. I don't want to repeat myself. Just use circular motions, and when you have shaded a bit, you just blended with the Q tip or with a blending stump. And some of the pedals can be kind of a way. We so just tried to create the highlights over some protruding areas within a razor and to shade more next to them. The shade harder. Okay, and if you're satisfied with euros, you can draw some leaves around and also the stem. And just like this, some shape of the leaves like this. And now let's just cover down with an eight B pencil like this. So here also don't worry about the visible lines and everything. We're going to blend it and just draw very carefully. Here are on the edges of the pedals, and, as you can see by adding the dark don't around them, there will be they will drop even more. - And now let's blended thieves areas and press very hard to impress the graph. I into the paper and we can just erase everything around the leaves and battles Amanda. Graphite powder as we blended that we applied over to break by ground, we can erase that to make the edge between the rows in the background. Clear. And now I just want to create the wanes by erasing the lines or the leaves like this. And now we can shade this stem with a blending stump. And we can add some branches and thorns. So this doesn't have to be too dark only here in the middle and make the left and the right size of the stem a bit brighter, so it will make this them appear around. And I hope that you enjoyed this tutorial that you have learned something and feel free to show me a result and see with the next tutorial. Bye bye. 12. How to Draw a Coconut - Part 1: I want to draw a cock in it that it's Scott in half and I want to cross sectional area to be visible. So let's greatest circle as a wide line, and I'm using divider to to create my circle and the distance between the needle and my pencil lead is about six centimeters, four to and 3/4 of an inch. And now let's just draw a circle. So the diameter of my circle is four inches and half more, a bit more than 11 centimeters, and now we have to decide where we want our cock in it to be caught in half and to drug the edge of the shell. I want to start here, and I use an HB pencil for sketching. So this lunch shouldn't be straight, but should have tiny curves. OK, and now let's create the edge on the other side. So here somewhere, I thought it was just approximately. You don't have to draw the same okay, something like this, and now we can erase the circle, this upper part of the circle because we don't need that anymore. And now let's create one more line next to this to create the thickness of the shell. So just parliament to this line that we created first just go next to it like two or three millimeters ban, just create the same line problem to this one all around. - And now, as the last part of the sketching percents, let's Grady edge between the meat of the coconut and a cavity that said the thickness of the flesh. So there's a thickness of the flashes as we know much of a thinker, then the thickness of the shell. So it's white and just also dropped parlor line to do previously created lines, but much for order from it. - And let's also draw some tiny lines over the with off the meat that radiates from the very center of the coconut to suggest the fiber. Okay, and now the next thing is to shady inner area of the Kokkonen, said the cavity where the coconut water is found, and let's take a separate piece of paper and just trace the previously drawn line. So between the flash and Kokkalis cavity, and now let's just cut it out with the Caesars. So we have to create this same shape of that so we can place the paper or done okay. And now we can draw over this, actually, the shade to apply. And I'm using B pencil. I just want to co over here next to the edge. You will see your soon. Why? And I just want to cover next to the edge with ground five like this. Okay. And now I want to place it over to flash so that only the cavity can stay visible and that I can reach it. And I Right now I want to shake it with a tissue. And I go over this separate piece of paper, as you can see. And then, little by little, I go over the cavity. And as you can see, I'm applying to graphite boater over the cavity. So as we know, the coconut mean is absolutely white. But if our light source is coming from the left side, we have to shave the left side of the cavity much more than the right side. And I want to apply a bit more of a graph. I I still use a B pencil for this. So this is a very delicate work, and you can do you by using the circle is a massive in a very bright pencil. But I want to show you this method because this is quite better. And as you can see, I'm going over to cavity. But I want apply more graph on the left side and then less and less offside she towards the right side because the right side of the cavity should stay whites and we have to create a smooth Grady in between the left side and the right side, the smooth gradation of great callers. If you want to make a darker, just a draw more over the separate piece of paper with a big pencil, and then you will be able to apply even more Graphia just little by little like this. And when we remove this separate piece of paper, we get something like this. And now we can shade here the fiber off the meat and I'm using blending stump. Such a some off the areas that receive less light this but the order areas can stay wide because some of them are always more illuminated and exposed to the light. Now you can see that there is some of the fibers appear to be deeper and the surrounding areas will pop and blending Stump is enough. Of course, if you have it, use it already for drawing the brand new that doesn't have any graph on and it it won't help here, you know, here on the right side, let's shade a bit more So the make the inner side of the cavity that we have left absolutely want to make it more prominence. And if our light source is coming from the left side here, this part will be less eliminated. - Okay , and now we can shade the thickness of the shell all around, and I want to use a beep. Answer for this. And here you should try to achieve its most extra, because the husk that are found on the surface of the shell day day should be like harsher , everything but smooth. And, of course, here on the other side, which is farther from the viewer's eye, the thickness of the shell should be even thinner. Then closer interviewers. I OK , and now let's drop the husks and tiny hairs or the surface of the shell. And so here you can relax and scribble, and I'm using a B pencil here and I want to press harder here, next to the thickness of the shell to make this too, sir. Planes separate look separately. So if our life source is coming from the left side here and left side, we have to create lighter areas. And on the right side of coconut, the husks and the whole shaft should be quite darker than here in the left side. And But I use a B pencil all the time, and I pressed very lightly here. But you can even use an HB or an age and just scribble. It is important to cover the whole area. At what's more, you should use scribbling as a hero can change the shape of this circle that we use us a quad line and draw Be deeper, you can stand the life side. I have laughed out like to millimeters so it doesn't have to be around shape. And now I saw as I'm drawing towards the right side, I just press harder and harder as again see, it becomes darker now. Was that breast harder? So here you can even switch to four b five beef, six b. So I still use the B pencil and I press harder. And here I want to use four b pencil because this area would receive last lights If our life source is coming from the left side and same here just scribble and changed the pressure to create different values. 13. How to Draw a Coconut - Part 2: and here on the right side, we would have some of, like the lights, even if there's no light source found on the right side. So the right edge of the Cochran it would be more illuminated than here, This south shadow. So here we have to press less. Okay, Now I want to use an A B pencil and too dark. And here this Ah, self shadow here, next to the table or the surface where the Cochran it would be placed because this part off the kokonas receives the least light, and it has to be the darkest. And I also want to go over here over the darker areas just ah, to color some of the husks with an A B pencil to make them a bit darker. - And now we can blend a bit with a Q tip, but not the whole area, just some of the husks that that that can be more blurry than the orders. But the texture should stay harsh, - and I want to add more details within a B pencil to create some tiny dark lines. And here I also want to color the thickness of the shell here over the over the highlighted area so that thes two planes can look separate. - And if you want to let it up something, just use an eraser. - So we also need some highlighted details over the husks and we can create them with an eraser . And now let's create some of the husks around the Cochran and I used to be pencil here. So actually, those are the protruding husks which are not glued to the surface of the shell. And so some of them should be shorter. Some thinker, some darker s so you can go even over the coconut meat like this, so it will make it more lifelike and just a random. Put them around the thickness of the shell wherever you want. So if you're satisfied with the coconuts, you can add some guests shadow. So if our light source is coming from the light left side, we will have the guest shadow here on the right side, under the document and on the right side. And I want to use a B pencil and two craze on Lee. The horizontal strokes back and forth like this. So the cast shadow is always good. It will look, do it would make Do you object appear more three dimensional and more lifelike, and in this case, it will make the coconut appear around. And so when creating gas shadows, the rule is always simple, created darkest shadow right under the object and make it brighter and brighter. ASU shade away from it. So here, also degrading in transition, is very important. - And now, as we shade farther from the coconut, we can start using an age B pencil, and I still apply horizontal strokes on Lee and because I'm going to blend it. So it's not important to be smooth for now. So you should step away from your drawing to see how this cash after actually look what it looks us. If the clock on it cast the shadow. And alternatively, you can take a look in the mirror because it will show you the things that you can't see like this. Okay, now let's blend this cash out of using a piece of the shoe and course, um, to emotions. So here I want to use Q tip right under the coconut to avoid smudging the bottom off it. And OK, that's it. I hope that you have learned something and feel free to show me yours also, I can't wait to see what? How your cock in it turns out and see what an extra tutorial. Bye bye.