Tangled Dreamcatcher - Draw Patterns, Shade and Highlight | Zen Linea | Skillshare

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Tangled Dreamcatcher - Draw Patterns, Shade and Highlight

teacher avatar Zen Linea, Certified Zentangle¬ģ Teacher & Jeweler

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (1h 22m)
    • 1. Intro

      0:35
    • 2. Prepare Background and Start With Linework

      4:36
    • 3. Tangle the Rim

      10:52
    • 4. Drawing Zenfeathers

      8:34
    • 5. Continuing With Zenfeather Magic

      9:22
    • 6. Finishing Linework

      6:33
    • 7. Applying Shades

      8:31
    • 8. Finishing Shading and Blending

      10:53
    • 9. Highlighting

      7:00
    • 10. Adding Shiniest Highlights

      9:56
    • 11. Final Details

      4:53
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About This Class

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This is a fun and relaxing Zentangle-inspired class that consists of 10 video lessons (excluding Intro), which break down the creative process into logical units. Learn how to easily tangle the woven rim and add charming zen-feathers, made of different tangles. Finally, learn the shading and highlighting approach that will really breathe life into this design. Total length of video lessons is 1 hour and 20 minutes.

The class includes and PDF eBook - a great future reference and guideline through the steps to finishing the project and additional tips and tricks.

Whether you are a beginner or a skilled artist, you are the right fit for this class - it is designed for anyone who is able to write four basic letters used to draw any pattern: I, C, S and O. However, it is best suited for intermediate level artists, although beginners can finish the project with the guidance from video instructions.

Remember that you can stop the video at any time to finish what you do at your own pace and you can also watch it at 0.5 x Play Speed if you prefer slower rate (the option is in the bottom left corner at each video).

These drawings were inspired by the¬†Zentangle¬ģ Method -¬†an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns. It was created by Rick Roberts and Maria Thomas. "Zentangle" is a registered trademark of Zentangle, Inc. Learn more at¬†zentangle.com.

Follow me on Instagram to see hundreds of drawings and process videos, visit my learning platform to see live classes, video classes and eBooks. You can also visit my All Things Zentangle Blog to read about the supplies, techniques, tips etc. On my social media you will also see other drawings I did using this technique so you can pick up some new ideas.

Meet Your Teacher

Teacher Profile Image

Zen Linea

Certified Zentangle¬ģ Teacher & Jeweler

Teacher

Hi, everybody!

I'm Anica Gabrovec, a Certified Zentangle® Teacher and jewelry maker from Croatia. On social media I mostly use my alias Zen Linea, which became the formal name of my small creative business.

After working in finance for 20 years, in 2019 I decided to make a big shift and dedicate my time to creative pursuits, which is what really sparks my joy. I've been making jewelry on and off for 15 years and last four years I've been totally into drawing, powered and inspired by the amazing Zentangle® method. 

I can honestly say that creative work has changed my life and my mission is to spread that creative virus to as many people as I can. My biggest reward is when I manage to change other people's preconceived&nbs... See full profile

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Transcripts

1. Intro: Hey, Manny, say gaba. It's also known as assembly noun social media, a certified xanthan gum teacher. And I'm going to present your phone in the lovely project tangled dream catcher, who will use these exact angle spliced to create a real eye candy. And everyone can join. All skill levels have welcome to try. Let's get busy and creative. 2. Prepare Background and Start With Linework: So this lesson is really kind of fun and quite easy, at least I think so. The tube will agree with me. And we're going to use basically the basics entangle supplies. So a black pen, white jelly roll, white charcoal, graphite, pencil, and Sue blending stumps. Of course, you can spice it up with other colors. Or I didn't know any details, births, whatever. But this is what we are going to use for the class. And to start, I will really lightly draw some borders. And you can see that I have lived generous space around the borders between the borders and the edge of the tile. And now I'm going to draw a circle in. Certainly you can do it with your black pen. But I will do it with my pencil first. Just an outline because it's quite a big circle. And they wanted to look nice, so it's OK. Now my Micron, PN, but whatever you use, it's just fine. And I will place it like this. You see where my corner is? A little bit away from this corner and just mark the beginning of this clip. And then I will mark where this sticker with the secure a mark or logo is. So this will be roughly the diameter of my circle. Now, I'm just going to try to draw an outline of a circle that's well as round as possible. And if you feel more comfortable by using some kind of a stencil or maybe compass. I will not send Zen dangle polys. Please seek your supplies, whatever it is. This is a zen tangle inspired project and it's just fine to use whatever makes you feel nice and comfortable with. So I did it like this with a light pencil stroke. And then I'm going to give my p-n pen, which is my pen of choice. But of course you can use whatever you prefer, 01 or whatever. And I'm just going to calm my breath and relax and start drawing. And just focus on this line. And make your strokes very deliberate. Don't rush. Don't forget to breathe. It's not the easy to draw a circle. So you really need to feel panicky about it because it will only make it more difficult. So, you know, breathe and just do it one stroke at a time and focus on each of them. So I had my circle here and I won't say approximately the width of my micron pen and draw another circle inside. And you can see how I very bravely started zoning good without doing the pencil line first. But please, if you feel that you would do it better or just feel more relaxed. If you had the pencil line first. Do the pencil line first. And doing it really carefully, not rushing, you know, trying to relax. And it worked out. So this is going to be the outline of this round part of the dream catcher. It's going to be really nice. I'm kind of excited about it. 3. Tangle the Rim: I will continue with my pen. And if you feel that you need a pencil, you can do it, but it's really easy, I promise you. What I will do is just divide this inner part of the circle into eight sections. So I have across first and then I'll add another cross. And here we have it. And of course he doesn't have to be perfect Really. We will add some lines inside. So if there's some spaces that are bigger, It's really completely fine. And after dividing this circle into a bi, which is what I did. If you didn't know it's a buy. I will add these dots. So Blake, round small dots, but I still want them to be visible. Because I will imagine that these are beans. You know how, when they create those dream catchers, my daughter loved him when she was little. She always had one above her bed. And then they weave this inner section with some kind of a chord and add beads to it. So this is what I did. And now I'm going to connect these. And I'm not going to use really straight lines because the whole surface is currently so I'm going to use slightly curved lines like this to connect the beads. So I'm basically imagine that you have a thread and that you are just going with this read through the beads. It's easier to draw them. And after doing this first round, we will do another one. So basically just to repeat what we already did with slightly curved lines. And just concentrate on connecting the beads with your lines. And now it's already starting to look like this. We've inside the dream catcher. And the next step is to just add some more bits where these lines meet. I told you it was going to be easy. And it is and it's going to continue to be easy. We are going to put an intricate design inside and It's basically a fragments, or it resembles the triangular fragment L 16. And then we'll just mark that on the bottom of the tile. So it's triangular fragment L 16 for those of you who have taken my from reticulum and fragments to mandalas class. Maybe you know that this is the way I often or always mark the names or the marks of the fragments on the back. So I put first whether it's triangular or rectangular or circular, and then the mark. And then I'm just going to add these dots somewhere in the middle, more or less, more or less the middle of each of these triangles. And then one by one. I'm drawing with my PN, but I'm really not pressing too hard, which I have to concentrate on because I'm heavy handed and they will have big bold and juicy lines. But for this intricate, we've, I'm trying to really just hold the pen lightly so that my lines are not too bold. Because after doing this, I will also add some more lines inside. Here we have this wonderful star shape. But what I'm going to do is just these curvy lines around. So this is basically what this Fragment L 16 looks like, but I'm going to change. It's just a little bit later, so it's not going to be the exact fragment. Can we maybe call it the fragmentation or no? No. It's, it's already a word, you know how we call the tangent Asian. Some version, another version of its angle. So it's maybe just a slightly different version of this fragment. So like so many times in zone tangle, something that looks quite intricate and detailed as a final drawing, artwork is really so easy and accessible when you break it down into steps. And that's what we're always doing. It's a beautiful intricate star shape. And now the thing that I'm going to do is to even make it more intricate. It's just add lines along these along sides of the triangles. If you have smaller spaces or maybe you have. So if you have smaller triangles or maybe you have bigger shapes that we have already created inside, then you can just skip these additional lines. So we'll just make it, you know, it will look nice even with these, without these additional lines. And just one more around of additional lines along the edges. So I just hope that you agree with me that it was quite easy to create it. And there is only one thing I would like to do before calling this upper part finished. So that's, one thing that's left to do is add a string of beads by basically drawing that's angled triple bicentennial. All along this outer part. It's easy, it's repetitive. But it's going to add to the charm of our dream catcher. India's. I'm going to create this without any colors. But feel free to just add color to the beads or to the tangles that we are going to use after riots. Minus finished bat. If you need more time, just take your time. Pause the video. I hope that you have enjoyed this mindful moments where you didn't have to think about anything and make any decisions, you know, just relaxing and drawing those beads. And I will add a triangle here at the top is basically a thread on which this dream catcher hangs. And I will add some beads on either. It's actually, let's angle called bead line. Of course. You will see all the tangle names at the bottom of the screen and also in the PDF documents. Along with the step outs. 4. Drawing Zenfeathers: It's time to work on this bottom part. And I will take my pencil again. And I would advise you to do the same. Just, you know, to maybe feel more comfortable about what we are going to do, but not the only debt. We will basically draw an outline of these feathers, but the outline we'll serve as a string. So it's going to be some kind of a section in which we are going to add new tangles. And I'm going to start with the longer or the longest one. So I'm just lightly drawing the shape of the feather and you can do the same. And then another one, slightly or not slightly, it's half as short. And the third one. You see how I'm curving them at the end just to add some movement to the shapes. And also the whole shape is curved. But the end to it, just like you can imagine, it's just no floating in a windy, on a windy porch for example. And I will add two more. One on this side and I'm going to curl it the other way. So yeah, it's shorter than this one but still longer than the others. And then the last one right here. So this is, let's say the, the basic shape or direction. But then also going to now add those strings. Very likely I maybe would do it even lighter if I was not doing this video. But I'm doing it a bit darker so you can see what I'm doing. So what I'm doing is just adding some lines to mark the strings. And I will use these strings to add the tangles in there. They can overlap here, or they can be further apart from each other. It will not going to be a streak the border of what we are going to do, but it's just here to guide us so we are better able to add the tangles afterwards. And now we are done with the pencil until the shading starts. And I'm going to take my plan again. And what I'm going to do and I will start with the smallest one. I'm going to use no copepods, two, and these feather shapes. And you can do it too if you like, like it. Maybe you can wait just a minute to see what what will it look like? So I did not draw the mucus them all the way to the top to this round part instead of no, because what you can do, and I will just sketchy, sketch it here for you. What you can do is use this kind of a fescue shape. But I would encourage you to make this inner part a bit thicker. Or you can maybe draw it like a Hollis branch like this. So these are some examples, of course, you can use any other shape that you would prefer instead of MOOC or any of these. And then I will continue with the others. And this is also a chance where you can maybe decide that you are going to follow exactly the lines that you have drawn before, the pencil lines. You can change the shapes now if you want to, or you can just leave them as save her. Whenever I draw moca, I always start with the outer part of the stem. And then the inner part. So one by one. Just focus on each one to it. You know, very deliberately. These long lines are not easy to do in just one stroke. So if you need a break. Break it down in the middle like I did. I just need that I feel that I need to reposition my hand so that I feel more comfortable, you know, what, N2 is actually not reposition my hand that I just reposition the time and continue holding my hand in the same comfortable position. So maybe you are also done like IM. If you are in 1970, if you need more time, you can always pause the video and take more time. If you want. You can also add some surroundings to these nukes of the MOOC iPods. And then I'm going to start first with the small ones. So it's just, you know, to start with the small steps that we're going to start with tangled tuples here, or a version of To-Dos. So I started with this fescue that's going upwards and then I'm going to add this outer part, the outer line, but you see two those would normally, the line would normally curve towards this first key shape. But here I'm using attenuation. And I'm just using the align in a way that it follows the shape of my feather. And there are many Zen feathers out there. If you maybe search with that segues and feather. So if you're an Instagram or even Facebook hashtag, Zen, further, you will find many of those. You can also see some other ideas of how to fill them. Now I want to do this middle because if those two will overlap, I want to, I want my mid biggest a feather to be most visible. And what else? X2 here is a bit different than the others because I will add another two. Lucas. And you can see that this one stretches maybe a little bit further away from the middle of this feather shape of this or string line. And then on the other side, just not to make it symmetrical, I will add a different one, a longer one. 5. Continuing With Zenfeather Magic: And now we can start adding other It's angles. So I'm going to start with flux, several of them. And now I am mindful about where my line is because I want to preserve this shape of a failure. And I will add these ornaments so it's a line and adults. And of course, another thing you can add is the surroundings. Recharge us love. I don't like to skip it, but you can. Of course, if you don't like it, feel free to skip it. And now I'm going to draw this curvy line and I'm going to add a tangle buys entangle called Mare. I hope that's the way they pronounce it. So I'm just going to start with this V-shape somewhere near the middle and then just add the orange lines to both sides. It's quite easy. So I have my line here and then going to an orange lines on the other side too. And if you feel that you need to maybe adjust the direction of the line so it gradually. But I think that she will be just fine with adding the Orion's inside the space here. I would like to add some kind of a version of the between single. And then we're going to add it so that I will start with the line. It's kind of at say, coffin lending method that's entangle uses. So I started with one shape and then I will start on the next side. And then again. So it's not the way that between these actually created some kind of my version. So if you're not familiar, comfortable with it, maybe you can practice on a piece of paper before finishing, before it's doing good here. So basically, let's say that these are the lines. What I'm doing is C Coffin landing and then here, and then here. So I'm doing the stroke from the top to the bottom. Whereas in between in official step out there doing it from the bottom to the top. And after I did it, I will just add a few more lines. So I'm just going to aura each of these shapes. Again. I'm really not pushing too hard. I'm not using an O1, so it's still my opinion, but I wanted to draw some weiter lines. They don't have too much space here. So I'm just going to add several orbs that are decreasing in size until they blend with the mucus them. It's kind of cute. Creating these Zen feathers. It's very relaxing and mindful and fun. You can try many different angles. And I'm sure that you will have a relaxing time with it. Okay, So the first two feathers are done. And now is I observe this, I think I will just increase this one a bit further away from the central mucus stem. And on that one, I will use the tangled Zander buys entangle. And they'll start by adding these kind of hooks. So I'm adding lines that stretch from the MOOC Custom and then kind of curl around the line. And the holes are two more here. And after I have these hooks, I'm just going to add lines. It's quite easy now and it's top and bottom. I will do these four lines, but as I move away it so words this mid part, I might also use some lines at her 19, know WHO for that or have some sparkles. So incidence angle, it's at single enhancer called sparkles. So you basically break the lines into sections and it looks as though there's some sparkle inside whatever you are drawing. So instead of adding white after you're finished, it's also one way to create it. The same effect, you are discontinuing the lines and adding sparkle. So this is the Zander section. I think it's quite fun and easy. And on the other side, I will draw Hollis shape. Or maybe it's also a MOOC. It's other way I draw MOOC. But the original moca is done with these kind of pods Dawson had even thought. So the original MOOC is this. I have this really beautiful fluffy. Why the dog? But her hair is just everything. And no matter how much I try to move it away from my things. No, it's always there. But it's kind of nice when you have find her. For her. It's occur when you don't expect it. So yeah. It might be maybe a MOOC and not the whole is, but it's whatever you want it to be. The name is not as important. And inside these sections, so here inside this one, since it's quite small, I would like to add anything about the surroundings. But inside the other ones have it'll add dividends. So start with a line and a part that's inked in. And then had an aura line, really, really easy and mindful. But the space is so small here that we don't have too much opportunities to add many lines. So another, I usually start somewhere in the middle when a draw the diva dance. So here it is. The dividends and the MOOC has, or colleagues, whatever you prefer. 6. Finishing Linework: And there are only two more feathers left to be finished. And I will also use a very basic tangle. Crescent moon. On one side. Of course, you are free to use any tangles that you like. So if you think of another, its angle that you think that might be better for a certain space. Just feel free to use it. I will add a fescue shape here. You know, just, just because. And on the other side. I will maybe also do it a little bit bigger than it is right now. So I just made another line as a string line. But I'm not sure what's going to come out of it. I'm going to start by adding another fescue like this, kind of making the mark. And planning where I will put my draw my tangles inside. And this is going to be kind of a fundus, you know, bicentennial. Just a few of these, let's call them rise shapes. And then an oral line around it. And you can always add some surroundings if you are fond of groundings like I am. And I can actually fit another face skew here. Maybe you will want to add another one too. So of course, our lines for my be identical and of course that our shapes will be different. So just feel free to add any other its angle or maybe 3s the shape, or just do what you feel that fits best with your drawing so far. And there's just one more small one to be done. Then we're going to add a pod. It's a tangled called sprinkled by Zen triangle. And then draw a normal line. Actually this orange line. And here and add another line inside. And sprinkled has these funny little kind of a hat. Then I'm just going to edit like this right along the MOOC apart. And on the other side, I'm going to throw flux by xanthan girl, Maria's version of flux. And then another small one. And then we'll just feel the species with blocking because they are more. And you know, you just observe your drawing. And if you want to add surroundings or orbs or any other detail, wherever you feel that it fits, you just enjoy it or maybe add some weighting to the lines way. Think, I'm always puzzled with the pronunciation of that word. So add weights to some lines if you feel that it will contribute to the design. And it's actually while you are adding the surroundings and the weightings and everything, It's actually already the foundation for, for shading. So it will contributes to this overall look of the drawing. There is one final thing to do before we move to the shading, retracing these borderlines. So I love framing my drawing. Drawings. You know, it's just like finishing them. Giving this last touches. I don't know. It kind of looks finished when I do it like this. Might sound silly. But it's just something that I do very often. Quite natural for me to do already. And that's it. Our really beautiful, I think it's really lovely. This dream catcher shape is finished, but it's only after adding shades and highlights that it's really going to shine. So of course, next, next step is shading and highlighting. If you want to maybe use your eraser to get rid of some of these lines. If you think that they will be visible later, you can see it now. 7. Applying Shades: If you use some kind of an eraser on a Renaissance style, try to use this kneaded eraser has something that would be gentle on the paper surface. So you can see how I'm not racing. I'm used to doing school because I wanted to preserve the surface and basically just trying to pour of these pencil trace from the surface, almost like an glowing it to the surface of the paper and then pulling it away. So really gently to it really turned to me. And then if you see that maybe some lines have been muted because you have gone over them with the eraser and just go back and add ink to them. I'm thinking maybe I should feel these spaces between my firm. This leaves with blacking for some more contrast. And also you will see me during this quite often, you know, going back and forth and just adding small details. I'm trying to add some more weight to these lines. And I want to have contrast. So if this side will be black, then the other side will be light. And I also want to have some weight on the same side on the other half of my mirror. And it doesn't matter if it's not really precise, as you can see here, not all the lines have the same weight. But I will use shades again on the bark so don't worry about it. And now it's time to start with the shading. I will mix several approaches to shading here, just to try to get the best outcome. But it might be not what you would logically do. So I'm going to add shades first below the objects. So I'm going to add shades wherever. I think that I might achieve some 3D effect or volume. And of course, like usually when we add shades in this zen Tango inspired projects, we kind of determine where the source of light these. So I will determine that the source of light this here, and I will add shades to this bottom, to the top left side of my objects or sections of drawing. Maybe it's better to say sections of drawing. Because even though this is one object, I consider it to be portioned into sections. So I'm just trying to be consistent and mindful about where I put the shades. I will also apply shades right below. So it's again either below the objects. Here it was on the bottom because it's basically below the top part of the rim. And it will all make sense once we're finished. So this is what I would call, and it's not a professional term by all means or by no means. Is it a professional term? In turn? It's what I would call section shading. So I'm not looking at each of the tangles. I'm looking at some logical parts, let's say sections of my design. And I would like to enhance all of those sections or objects by adding some shade below them. And next I will do the shading of those sandals. Like individual tangles. Hope that I managed to explain this well. But first, I'm looking at the drawing as a home and thinking about the best way to increase the contrast, then I will pay attention to the details or to the tangles themselves. So now I did add shades below all of these sections. But contrary to that, I will also apply shades all around my border because I want the border to stand out so I'm not being consents consistent in my approach of shading, you know, following the principle of source supply, light. And I don't think that I need to be I'm not following any rule book. I'm just trying to do what seems best for this type of design. And I know that I want to enhance the dream catcher. And I would like this square, or it's not a square, it's a rectangle. Rectangle. I would like it to appear as though it's lifted from the background. So this is why I'm adding these shades. And now that I have edited shades quite boldly, all around this border, I'm going to add some software shades as I move away from the border. And I will do it almost everywhere, but I will not do it on top because I believe that on, so what I have now will be enough. And then after applying all these graphlets traces, seek your blending stump. Nice sit comfortably in your hand. By keeping it at a low angle like this, you will be able to rub the surface of the paper with the bigger surface of your tortilla on for blending stamp, whatever you're using. And as you do it, just remember how delicate paper is. So do not rub to heart. And if you are using a very soft pencil like mine, It's ADB. So the software stone there is. Then you shouldn't have problems with blending. 8. Finishing Shading and Blending: And now as we do the blending, maybe it's now visible. How, for example, this round part of the dream catcher looks as though it's elevated above the surface of this rectangle or whatever, the big round this. You almost don't need to blend right next to the line. But what's important is that when you apply the shades and the two applied, it really ran thanks to the ally lines so that there is no gap between the line and the pencil trace. That way. Of course, right next to the line is where the Xij should be the darkest. So you will achieve it. And then bland also these shades that are applied. And below each individual feather. You don't need to be extra diligent about the placement of shades. Notice being mindful about consistency. If you are I'm minding the or applying the source of light principle. It will make a difference. Okay, the shades or the first part of the shading is done. And inside this Around part of the dream catcher, I will only apply some more shades where some of these lines meet. So in the middle of each triangle, and also here, right next to the beads. But not too much. I still want this section shading to be most visible on that part. So I believe that's just enough. We can always go back and add some shades later. And now we will shade each individual feather and each individual tangle where we think it's necessary. So those the way I usually shaded is I add some shades right below this fescue shape. And I either add shades to both sides of this central stem or just one side. And now since I have applied this source of light principle, I will only show the one that's below, let's say. And they will just be the same and be consistent with it also in other feathers. So I will add the shade only to the right part of the stem. And my Zander needs some shading below each of these. I didn't know is it hooks or some kind of ribbons that I am also shade in this small place where the ribbon emerges from out of the mucus stem? I don't know why I rarely use the sender. For some reason. I rarely remember that it exists. I decided to add shade on the other part of the mucus stem. And of course, you can always change your mind. And even if you decide on a certain, about a certain approach, if you just follow your gut feeling, especially once you get comfortable with shading, you just do what feels the burst. I'm of course adding some shade. And I will add it right next to where the two shapes are overlapping. And you will see that some of these graphite trace will be smudged. I'm not going to erase anything or tried to fix because later I will also use white and I will use also white jelly roll. And then I can also fix some of those. I'd say smudged parts. So I'm shading below this a MOOC or Holly's, whatever we decided it is. Maybe just some shades inside the dividends itself. And it's not easy to shade when the objects are so small. This is why I like tangling. Big shapes. It's so much easier to place shades and highlights inside a bigger space. And now I am considering where I drew the weighted lines and this is where the shades should be, of course. And always rotate your signs so that it's easiest for you to be precise with blending. If you're right-handed, you wanted to shade the darkest part of the sheets to be on your left side. I will introduce some shades. On the other side of this. Well, I said it's between but I'm not 100 percent sure. And another thing that I will share this, where each of these auras is disappearing behind the other shape. But I might just as well had some shades. And below each of those sections because it does seem as though these sections disappear behind each other. And I have these three flux shapes. And I will apply some shades below the central line. And then I will just extend this shade Towards the other part of each leaf. And then I'll move to the next feather. We, I think we all shade this crescent moon the same way. But with these from this, I think I will just add sheets next to where the mucus TAM is. So now you don't need to be super precise about where to place the shades in these small spaces. You want to be more mindful about this. Let's call it section shading, because there's just no space to shade individual details. And also apply some shades in this sprinkle, right below the aura and also below the stem. And maybe some more shades. This is what I'm talking about. It's such, such small and delicate objects or, or shapes that it's difficult to shade them individually. And the last thing I'll do regarding the shading is held these kind of smiley shapes to MOOC or pods. And then just blend them. And now when you observe the drawing, it has much more about volume. But it also looks kind of, I don't know, messy. It doesn't look finished to me. Although if it was a white style, it would be finished now. But since it's a 10 cycle, we will add much more 3D effect to it when we apply whites or highlights. 9. Highlighting: For highlighting, I took the white generals and sell. And what I want to do is do the opposite of what I did with the shades when it comes to section shading. So I will apply whites graphite on top of these sections or objects. So in this case, it's below the shades inside the circle. I still want to assume that the light source is top-left. So I am applying these highlights to bottom right. And you can see this magic right now. When I apply the, before I even blended it, how it really, it really comes alive. And just to show you, of course, the next thing is to blend those highlights on and they usually do, at least in my classes, I usually do apply the highlights and then blend them all. But I just wanted to show you. I don't need to do a lot of blending, basically where these highlights transition into the sections with our other highlights. And it's really, it's like a touch of magic. Light. I just loved to see how it transforms the drawing. And oops, I just realized that I forgot to shade the small MOOC AirPods, so I'll do it maybe you have noticed before, so you did it already. And I will just add this white highlights with my charcoal pencil to those places that are termed stewards. My source applied inside the tangles, inside the MOOC pods. So wherever I haven't applied the shades, if my shades are at the bottom right, I will apply the highlights at the top left. And then I will leave the narrow spaces for later. And in those narrow spaces, I will only apply the highlights with my jelly roll because I don't, it's difficult to be precise. With the charcoal pencil. I'm considering adding a little bit of highlight to the dividends, and I will apply highlights to these mucus with the white jelly roll. And there's also some white highlighting that needs to be added to some other shapes. So I'm looking for those that are not too narrow. So on top of each of these sections, I have some shade below this hook. And they want to have the highlight on the other side where there are no shades. And just, you know, observe the zhang, be really mindful and intentional about it. And remember that you can also always go back and add some more. And you know, seek some moments as you work on your drawing. Like when you just finish it doing one section or one part. Just, you know, t The moment to pause and observe the drawing as a whole. Maybe look at it from arm's length. Try to see, if know, sometimes when you look at the details, you can't see the whole picture. You just, you know, it's lost on you. So it's good to just take a pause and observe the design as a whole. And now of course, I want to increase this contrast between the shaded surrounding parts and the highlights. So I'm adding the highlights right next to where the line is on the opposite side of the darkest highlight, darkest shades. And every time I work on highlights, we need to adjust the lightning just because when you add the highlights, it, the drawing appears completely different. It's transformational. So maybe just a few of these really quite delicate highlights on top of some of these feathers. So it's the opposite side from where the shades are below them. And you want to be mindful about blending these. You don't want to ruin the paper, paper surface. So you know, doing lightly, you don't need to go over the whole surface. You just need to blend those parts software. Your highlights are transitioning to the part that's not highlighted. And this already changed the drawing so much sheets. Quite amazing. But I will do some work with my Gelly Roll 2. 10. Adding Shiniest Highlights: So when I use the jelly roll to add the whitest highlights, I usually turn to the Jelly Roll 10, which is the boldest. But I tried to be mindful about it so that I don't go over the black lines. I want to enhance this central part of the circle. So I'm just going to add this really a light or delicate trace with my Gelly Roll. And I will also add some. And maybe it would be wiser to use the overhaul five or 08 for this, or maybe even the white charcoal pencil. What I'm trying to achieve, It's just, you know, not really adding, adding, adding a line, but more like some, some traces of highlights. I think there's just enough. And of course, I would like to add dots just to enhance that bead line. It's not when I say the bead line now it's not the name of the tango, it's just this sequence of beads. It's what we incent angle call proofs. It's a tangle enhancers. So basically, you can add these small round shapes, orbs. It doesn't have to be a circle, can be an oval as well. So you can edit wherever just to enhance the drawing. So just so you know T This time to relax and enjoy leaving those marks. And here it is. And it does look wonderful. I will add some white gel to these sections just to enhance some. And then I'm going to just visit one feather after another and tried to carefully add some white gel to these stems. And also to add these shiniest highlighted spots to some of the sections of her tangles. And they want to use it also at the bottom part of the MOOC. So it's meant to increase the contrast between the MOOC report and the shade that's below it. And it's what in our theory help shading is called reflecting light. I might also add some highlights to these auras. Just to know a few highlights. As I said, if you feel that your jelly roll ten is not delegate enough for some of these tasks. Maybe your shapes are smaller than minor. Then of course you can use. So it's home rights to these notice going back and forth. You can also take the eight or maybe even all five. To add some of these highlights. For me, I think I can do just fine with the 10. And even if I maybe accidentally add it to some spaces where it shouldn't, shouldn't be or mute the black lines. I will revisit those lines so no harm done. I want to have white on these ribbons for hooks or whatever they are. And there's only one more feather left. Don't forget to rotate your tile as you work on it. Can be so much easier for your hand. It's much easier to move the child and to keep moving your hand. You have seen that I have also added some highlights right next to the line below. And you can see how amazing this looks. So it's really the shades and the highlights that transformed the drawing completely. And this is actually where I would probably finish this this drawing. What I would maybe like to do is just revisit these black beads because I applied highlights over it. But I like to keep them visible. And the next thing to maybe recommend is to play with these affects a bit more. Or maybe use some other tangles to form these feathers. Maybe you can even add some shapes. You can watch me and then decide, it's good idea. Unlike print some here in some of these spaces, just to add some interests to the drawing like this. I will also, I keep a blowing might sign when they see that maybe the surface has peeled off a beat as I was blending the shades or highlights. And you can barely notice these tangles that I'm adding. But still it adds. Let's say more. It's more like a texture. Then you know what single that you need to recognize. It's like an additional texture that you give to the drawing by adding these. And there is one more thing that's really optional, but I would like to show you. And another thing maybe just to mention is if you are not happy with how these charcoal pencils work on a specific surface, you can use good white pencil. Alike, PRISMA, color of white or maybe current dash Babylon, which, which is, which is what I use when I don't use the charcoal. And they're much gentler on the surface of the paper. 11. Final Details: So yes, I will show you the additional thing that timeit zoo. But first I have this parabola by current dash here. So with it, since it's not scratchy, like the charcoal white, you don't need to be careful at all about the way that you are applying it. And as you move away from the edges and just release the pressure. And you will naturally get a less vibrant white color. And it's easier to be precise because the tip of it just doesn't, you know, it's not you don't spend it so quickly. And now we have a pro marker. It's an alcohol-based marker, but it could also be water-based. If you have like coin or a Tombow or something like that, you could also use that. And they will just go along these sections where the shades are deepest. And you can see when I apply it, you can clearly see the line. But as it dries, it will not be so noticeable, but it will deepen these shades. So you can just observe what difference this makes and then decide if you want to do it or not. So it's really optional and it's, you know, not that you need to go right away and purchase new supplies. I'm sure that most of us have more than enough as it is. So I'm just I just want to show you so that you know, if you do consider buying new supplies or if you already have the gray markers. Maybe you want to try and use them like this to deepen your sheets. And the one that I'm using is warm gray. I like the warm gray. It's marked as number three, which is the mid mid zone. So there is darker, darker, and lighter. But I like this kind of the green. So you just want to increase some of these sheets and pillow, some of the, some of the shapes and tangles. And that's too much. Also related here. I hope I haven't already done it, might have. And here it is. I just hope that you can, you know, see how it affected the whole thing and made those some of those shades order some of those shades even deeper. And by deepening the shades, it actually enhances also the highlighted parts. And maybe just another around with my blending stump. So that I can actually call it finished. And I believe that they can safely say now that and with the project. And another thing that I would like to say is, of course, as always, thank you so much for joining with me. Drawing is my passion, and I love teaching and I really love getting your feedback. So if you would like to right near feedback, or if you would like to send me or drawing or maybe segue me on social media. Please check out the e-book as well. It's, I think a great resource. And please use the segue Zen linear class when you post online so I can easily find your drawing. Thank you so much and see you in another project. Bye.