Drawing for Beginners: Learn How to Draw Anything

1. Introduction: [MUSIC] Are you ready to tap into your hidden artistic potential and discover the magical world of drawing? It may seem a little daunting at first, but with the right guidance and understanding of the three elements, such as respective, value, and composition, that'll be getting you well on your way and gives you a solid foundation to build, to create anything that your heart desires. Hi, I'm Smitesh Mistry, an Illustrator and Content Creator based in London. With over a decade of drawing experience, I've gained a wealth of knowledge and developed a variety of skills and techniques, which allowed me to turn my wildest imagination into reality. Through my journey I've learned that drawing isn't a one-time event. It's something you have to continuously do in order to keep learning and developing. I invite you to join me in this class where we'll be discussing and learning about fundamentals of drawing. We'll be starting off with a warm-up exercise to get you in the right mindset and get you used to the pencil. Then we're moving on to three main sections. We've got perspective, value, and composition. In the perspective lesson, we'll be taking you through the three main types, 1, 2 and 3 perspective. Then we'll be moving on to value, where I'll be teaching you how you can create value with the three different types. Then we'll be moving on how you can apply this and understand lighting to make your drawings look a lot more realistic and 3D. Then we'll be finishing off with composition where we're making sure your whole drawing looks nice and pleasant to the eye. Then we'll be running off the full class for the project where we'll be applying everything that we've learned in four sketches. I said this class is perfect for someone who's never drawn before, never held a pencil and wants to learn to draw. Don't worry if you've got no experience because in this class, I've created a bunch of resources which you can use along the way, which will help you in each section. Because the materials we'll be using will just be a pencil and a paper, so it's open for everyone. You don't need no special equipment, so don't worry about that. However, if you have been drawing for awhile and you do use an iPad, then do feel free to participate in this class whilst using iPad too. Imagine being able to tell stories, communicate complex ideas, and express yourself creatively all through the use of art. In this class, I'll give you the basic foundations and understanding for you to be able to do that. With any great idea comes a strong skeleton and with the foundation that we're going to learn in this class, it'll give you the strength and the ammo in order to create anything that your imagination can think of, letting you create endless masterpieces. Drawing for me is more than just creating, it has brought me joy and opportunities to work with amazing people and for me to create anything that my imagination can think of, and for me to be able to share that with you, gives me immense joy as the joy that it's given me, I cannot wait for you to experience this too. Be ready to start your drawing journey. Let's grab your pencils and your paper, and let's get to it. 2. Tools & Materials: Hey and welcome to this class. In this lesson, I'll be running through some of the basic tools and materials that we'll be using in this class. The tools I've opted for in this lesson are very simple as I want a lot of you to be able to take part in this without the need of an iPad or any other complicated materials. I'll be taking you through the tools I'll be using in this lesson, but then also some other variations in which you could use. I'll be taking you through the different types of tool depending on your budget and your skill level. The items that we'll be covering in this lesson will be pencil, eraser, and paper, and I'll be showing you all the different types which you could use. Let's just get straight into it. Let me show you the ones I'll be using. Firstly, we have the humble pencil. This comes in many different grade and hardness levels. Graphite pencils are the most common one which are used in order to create a range of values and shades. Secondly, we have the eraser. This is used for all sorts of purposes. The main way in which you may think about will be to erase your line. But it's also used in order to create patterns, textures, and to remove or reduce values in certain areas which you've already created. There's many different erasers which you can use from kneadable to plastic erasers. They all have different functions where for example, the kneadable one is good for molding into shapes in order to get into nooks and crannies, and then the plastic one is great for erasing big areas. Finally, let's go into paper. There's many different papers out there from watercolor to tracing. But in this lesson and this class we'll be using drawing paper. The main difference between all these papers is firstly the material used and secondly the weight. The weight of the paper is generally written on the front of the pad but it generally comes in grams per square meter. These are the materials that I'll be using in this class, but do feel free if you have a drawing tablet or any other equivalent of these tools and materials, then feel free to use them. Say for example, the pencil, the eraser on the paper, that can all be done on the iPad on Procreate. So do feel free to follow along if you are using an iPad and you have access to all these tools. Now that we've gone through all the materials, let's get ready in the next lesson, where we're going to be warming up and using these tools. See you there. 3. Warm Up: [MUSIC] Now that you have all your materials ready, let's get up into a little warm-up exercise in order to get you into the right movements and the right motions before we start this class project. For this section, I'll be using pencil and my paper. Let's just get straight into it. The main purpose of doing this warm-up exercise is to get you confident and get you in the motion of creating nice, confident, and clean lines. As well as you've drawn, we don't have little lines I'll put together as it'll make the drawing look quite rough and sketchy. Also, another purpose of warming up is just to strengthen that mind and hand connection. What you're thinking and what you're drawing, you want them both to be in sync. In the resources, you'll find these two pages. I've printed them out, but you can see for this lesson is labeled warm up. We've got one for lines and we've got one for ovals. What we're going to be doing in this lesson is we're going to be drawing straight lines and ovals. The reason for this is because most shapes are made up of curves and straight lines, so getting used to drawing these confidently and smoothly is very important. Let's get to it. Firstly, we're going to start off with the straight lines. I'm going to move that to the side. I'm going to tear a piece of paper out from my sketchpad. I'm going to move this off to the side. What I'm going to be doing is showing you how you can use the guides initially, and then I'm going to continue without the guides. First we're going to start off with the straight lines. What I've done here, I've just got my sketch paper and I'm putting it on top of the guides. I'm just going to be holding this tight because it can slip. With my pencil, I'm going to just be drawing a straight line. What I want you to do is instead of using your wrist like this, I want you to use your whole arm to get a straight line. The best way to draw a straight line is to always draw away from you. Not up, not down, definitely not the other way, so never in toward you. It's always, say, out from your body, away from you. If you're left-handed, you turn your paper this way, then you draw outwards. The reason for this, it just allows for a much more free movement compared to the restriction of your wrist. The aim of this is I want you to get to a stage where you're drawing nice, competent straight lines. One thing as you can see, I'm not keeping my piece of paper straight, I'm turning it to match my arc. Because if I'm this way and I'm trying to draw it, I'm drawing across my body. Whereas this way I want you to draw away from your body. I'm going to keep piece of paper there, and let me just draw nice straight lines. Try to match the guide if you can. If you find yourself like say missing it like that, for example, either realign your paper or instead of say the lines here and here, what I'm doing is I'm looking at the end of the line. Every time I'm drawing, I'm looking at the end of life and can you see it got a bit wobbly? What I'm going to do is going to move the paper away from me and draw again. While you're doing this, try to make sure you hit the edges. Try not to go over too much or try not to go under. Again, this is all part of creating nice, confident, clean lines. Each one isn't going to be perfect. This is the whole purpose of this. See here for example, I'm going to draw a line down, so we can do a slow one, but you can see how wobbly that is compared to say, for example, if we turn the piece of paper and then draw it, we got a nice clean straight lines. You can see I'm doing it quite quick at the moment. Because if like say for example, you go slow, you do end up getting a much more jaggedy line. What we're going to do and it's just nice, clean, straight lines. Take as many pieces of paper as you want for this. I'm going to get another piece of paper and I'll show you. Again, just get a fresh piece of paper. Again, just drawing away from me. I'm not pressing too hard. This is just matter of getting consistent, clean lines. Soon as you find that you're getting to a stage where you get a nice, clean, confident lines, whereas not to jaggedy and you are matching the line quite well. Then I'd say it's time for you to move on to the ovals. Take as much time as you want with this, you're going to pause the video. Then with a few more sheets, just draw as many straight lines as you can. As you can see, here look, I've just drawn a bunch of straight lines. Do take as much time as you need in order to create the nice, confident lines. You want to get to a stage where most lines are quite consistent in the way that you're drawing them. If you haven't lines like this, then I would say yes, takes them more time and practice just drawing these straight lines. Again, I've printed these off. If you are using the iPad, you can just take a picture of this and then put it on a new layer in ProCreate and then you can use that as a way of drawing too. I want you to do is this, as you can see on the resources sheet, there's a bunch of ovals which are different heights. We've got narrow ones, we've got some medium ones, we got some bigger ones and then as you can see it has a graduation from the narrow ones to the wider ones. Put it below your piece of paper. Then I just want you to go in and fill this in. One thing you'll see here, this is something that will occur. What we're trying to aim for here is to get to a point where these lines match up and the ovals are nice and smooth. Like I said, this is me drawing with my wrist. We don't want the wrist. We want a nice. Right now I'm using my full arm. I'm just going to go in. I'm going to fill the sheet in, you do the same. Like I said, if you do want to pause it, take your time. Again, it's always nice to draw the natural arc. Like say for example, the oval is this way and you're trying to draw it. You're try and draw it slow. You're going to get these jaggedy edges. I got a nice controlled over. This is my first sheet. As you can see, it's not the best, but again, I've not warmed up. Now on to the second paper, I'm going to do the exact same. Let's try that one more time. We do want to make sure we get a nice confident ovals where they're meeting up at the end. It's like say here, that's not a good one. But like say if you get ones like this, this is really good. One thing I do like to do, if you hover your pencil over it while imitating the oval and then doing it, you're more likely to get a more confident shaped. Ovals are much harder compared to the straight lines because it's requiring you to be accurate in more than just one axis. Now, I just want to go in on a piece of paper without your guides, so without using your warm up for the lines and the ovals, you can just pop them to the side. Now what we're going to do is just draw the straight lines on the ovals without the guides just to get used to it. Because when we are going to be drawing, these guides aren't going to be there for us, so it's good to just get used to drawing these. We'll do half of straight lines. Split this up so you can do half straight lines, and then we'll do half ovals. Again, I'm turning that piece of paper to match the arc of my arm. None of this, none of this across, none of this towards myself, always pushing away and turning the paper every time. You get into a state where you're drawing pretty much consistently straight lines, which is good. Now for the other side, we're going to do a bunch of ovals. As you can see how I'm slowly getting more and more ovals that are all matching up. There's a consistent amount. If you want to hover and then commit, so hover above it, and then commit. Like I said, the purpose of this is to just get ourselves warmed up in order to create nice, confident, clean lines. Like I've had to use five pieces of paper in order to practice the straight lines based on the guides. Then I've got another sheet for the ovals, and then I've gone on another one for my ovals. Then I've gone on and then just try to shoot at my own. This is all part of the process. It's important you do warm up, so don't skip the step. The best time to move on is once you are getting the nice confidence straight lines when the ovals are matching up at the end. This I'd say is, but if you're getting stuff like this, where there is much bigger gap. I'd say, yeah. You need to take some time just to continue practicing a little bit more. A pro tip that I like to use is while you're drawing, especially the straight line, is to use your whole arm. As you can see here, I'm not just using my wrist in order to sketch these lines, I'm using my whole arm. As if you think about it, if you move your arms outwards is a natural arc. If you're right-handed, your arm will go away from you and if you're left handed, it'll go in the opposite direction. But the main reason of using this to create straight lines is it gives you a lot more movement as opposed to just a tiny rotation that your risk provides. It's just really beneficial when you want to create smooth lines or even just whole shapes. With this warm up, do spend as much time as you want not to get straight lines and ovals. One way that I like to know when I'm ready, I want to move on is where my lines are pretty much straight and the ovals do match up at the end because once you're drawing it, sometimes they don't match up at the end or where you started the oval. What we're aiming for with warm up is just consistency in the lines that you're creating. In the next lesson, I'll be covering 2D shapes. This may seem a little basic at the moment, but I'm building you up slowly in order to get to the more harder stuff as these 2D shapes do for most things out there. When you're drawing, it's important to be able to draw these properly. I'll see you there. 4. Creating 2D Shapes: Now, that you're all warmed up, in this lesson, we'll be covering how you can draw the simple and the most used 2D shapes. I'll start off the class by showing you a demonstration of how I like to draw these shapes, followed by a simple task for you to do. Also in the project resources below, you'll find some guidance which can give you a hand if you are struggling with this. It's a bunch of 2D shapes which are all laid out in his piece paper. One way that you can use it is to put it behind your sketch paper and use it like a guide so you can see the shape whilst you're drawing it, so it helps you visualize it, or you can draw directly on the guide itself if you print it out, but say for example if you use an iPad, then you're going to take a picture of it and then you can put it on a layer beneath the opacity and then draw on top of that. Let's just get straight into it. Let me show you how to create the shapes. Before we start drawing the shapes, I just want to run through the resources that I've provided for you. In this class, we will be drawing a bunch of 2D shapes. What I've done is on separate pieces of paper, I'll put all the different shapes that we've been drawing on separate pages in a variety of different sizes. Again, this is just to get us used to drawing and go hand and use to draw and big circles, medium, small, and then same for the rest. I'm going to quickly go through the piece of paper and then we're going to get straight into it. For the circle ones, you can see I got circles. We've got squares, we've got ovals, and we've got triangles. As you can see in the resources, it's all labeled. This class is 2D shapes. It's all labeled and the different shapes. Like I said previously, if you do want to copy these into procreate and then use the layers on there, feel free to do that, or if you are using pencil and paper, then we're going to go through these one-by-one. It's going to be similar to the previous lesson where we were using these as guides. Then what we're going to do is we're going to remove the guides, and then we're going to try and recreate these shapes again. In the previous lesson, when we did the straight lines, we're going to do the same for this, but what I like to do is every time I'm drawing a straight line, I'll have to turn my piece of paper just to make sure that line is perfectly straight. When we were practicing last time, and I told you to make sure you start the line and then you ended line. This comes in handy when one's drawing shapes like this. It's going to start off and straight line. As you can see, I am using my hand folders, by moving down, but this is for a much shorter section. Using your wrist is okay for lines like this. [MUSIC] As you can see here, using my wrist, it does bring in a slight curve, which is why I like to use a full arm action. [MUSIC] You can tell I've not warmed up, these lines are looking a bit wonky, but this is why we're doing this exercise to get us both on the same page. The smaller ones, it is okay to use your wrist because you can still achieve quite a straight line with this. Remember, when you're drawing these, you want to aim for the end point. You don't want to look like a pencil it is you want to aim for the endpoint to make sure you're getting a nice straight line. I'm drawing these lines quite fast because, like I said previously, when you are drawing a little bit slower, you do tend to get a wiggle. [MUSIC] Here was one piece of paper. Like I said, I would advise you to do a few of these just to make sure that you are a lot more confident with drawing these shapes. What we can do now is actually what I'm going to do. I'm going to move this to the side. Then with this space in-between, I want to draw myself and another square. The main thing with squares they are very simple geometric shape, but they are used to build a lot more complex compositions. Practicing drawing shapes and different sizes and orientations is very useful because squares are quite a proportional shape. All sides are the same. It's good to get used to understanding proportions, say for example, I'm going to draw one here. Clearly not a square, it's more of a rectangle, but just visualizing square it is something that can be quite useful and very important when it comes to drawing, as a lot of drawing is about proportions. As you can see I am going over, but again, squares are generally used for working out sizes or working at different proportions. It's good just to get a good gauge of how your proportions are looking. Let's start with circles. Like we said previously, so what I'm going to be doing, is I'm going to be working in a circular motion. I want to make sure my whole elbow is moving, not just my wrist. Maybe for the smaller ones, you can get your wrists involved, but especially for these big ones here, you do want to make sure that you are getting nice circular motions with your arms before you do commit. Let's just get to it. I'm going to start off with the medium ones first. Again, like I said, what I want to do is want to make sure we're getting a nice, even almost like your pencils following it before you commit. Then when you commit, [MUSIC] The more you do this, you will get better at this. Don't worry too much about this if the lines are confident, because these circles, generally are used to build a sketch and build a drawing. Being able to just draw a faint line is very useful. Let's try one with our wrist. Do you see what's happening when do with the wrist? You getting these jagged shapes and you're getting more of a rounded rectangle. Whereas if you use your arm, you can get a better control while getting nice, smooth lines. [MUSIC] One thing I'm finding handy is hovering above the shape before you do commit. Let's go to the big ones now. I'm going to turn this way just so my arm can rub on the paper to get a bit more friction. As you can see here, I'm hovering over the shape before I'm committing, and then, when I do feel confident, I'm going to put the piece of paper. When I do feel confident, I'm going to put the pencil down to get a nice circle. [MUSIC] I'm happy with ending. Like I said, the shape, they're not going to be perfect every single time, but the whole purpose of this is just to get used to the motion and get used to drawing these shapes in proportion, because say, for example is about to turn this over and I'd move these guys across to the side. I'm just going to draw myself just some circles just off a freehand just to see how it feels. Again, I'm going to get used to the motion after using the guides my body is used to drawing these circles. I'm just going to imagine one. Then commit [MUSIC] As you can see here, the more I'm doing it, the circles are getting a lot more consistent, which is what we're aiming for here. You take your time with this. Don't forget, if you do want to pause the video and just pump out a bunch of pages with a bunch of circles or just to get used to it, feel free to do that. That's the template I did for the circles. I'm going to do the same for all of the shapes. Then I'm going to meet you back at the end. We have covered how to do these, so again, I'll turn the page with these. The main reason why I want you to understand how to draw isosceles triangles is again for proportions, because isosceles triangles have a symmetry tools, whereas equilaterals have three lines of symmetry. This is something I like to use, whether it's for, say, arcs or other things. That's why I want you to understand how to draw isometric and equilateral triangles. These are the two that I did. I'm going to go off and do the rest now. You spend some time doing the ovals and the triangles. Now if the ovals, we have covered this in the previous lesson, but this is something that is more important than circles, I'd say because a lot of circles I like circular objects, are portrayed as ovals when you do start adding a 3D element of perspective. I want you to practice ovals a bit more, especially after other warm-up exercises that we've done, this will become very beneficial. I'm going to start again. I just can see these ovals are this way. I'm going to turn my paper this way just to match the arc of my hand, because if I'm doing this way, it is going to be more of a up-down and isn't a familiar position that my hand is used to. [MUSIC] That was a bad one. As you can see, not everyone's going to be perfect, but that's the whole purpose of doing this. One thing I like to do when warming up is to draw a couple of lines and then try to fit the ovals within this. This is another way of practicing not just the smoothness of it, but then, also if you're trying to draw it within a certain area. I've gone through and I've done all the different shapes. I've got my ovals, I've got my circles, and I've got my squares too. Again, what we're aiming for is to get consistency. Want to make sure the shapes that we're drawing is what we're imagining. Say if I'm like, I want to draw a triangle or a square, or a circle, you want to make sure that you are drawing that. We don't want that nice quickly lines, we don't want circles looking like this or like oblong where they don't match up. We want nice, confidence strokes by the shape that we're trying to draw is actually being communicated to the paper. Like I said, do spend some time, go in and take as many piece paper as you need to use the resources that I've put there. Like I said, we've got the square, we've got the circles, we've got the ovals, and we've got the triangles. Go through and use these to make sure that you are getting nice, confident shapes before you move on. One thing I wanted to mention is just to be patient with this. It may seem simple the way I'm drawing it by. I've drawn these shapes numerous times over the last decade. It's something that you'll take time; just more you practice, the more you'll get better and quicker at drawing these a lot more consistently and confidently. I say take your time with this. The thing with this type of drawing is that it is just repetition. The more that you do or create these shapes, the better and better, the more quicker and confident you'd become at this. The purpose of this is to instill that confidence within you while drawing these shapes. Like I said before, if you are struggling, just put the guides behind your sketch paper and use as references, and stand up more and more until you feel confident. Then remove the guides and then try to redraw these shapes again. Now that we've done with this lesson, in the next one will be covering perspective. The first one of three to come. In this particular lesson, we'll be covering one-point perspective. I'll see you there. [MUSIC] 5. One Point Perspective : In this lesson, I'll be teaching you how you can create the illusion of a three-dimensional space on a two-dimensional surface with the use of perspective. I'll be breaking down perspectives in the three different types of the art. I'll be running through what they are, giving you an explanation followed by a demonstration, and then a small task which you can do too in order to get a better understanding of how these different perspectives work. What is perspective? Perspective is a way that objects are depicted in the drawing through the use of vanishing points and horizontal lines. The three different types of perspective that we have, we have one, two, and three-point. Each one has various different uses, but let me quickly run through how I like to use them. We've got one point perspective, which is good for simple geometric shapes. Two-point perspective, which is good for slightly complex compositions, and then we have three-point perspective, which is a little bit more dramatic and it's good for atmospheric shots. Let's get straight to the demonstration where I'm going to run through one-point perspective first, [MUSIC] give you some examples, and then followed on by the exercise. Let's get to it. Now let's go through the demonstration. Here's an example of a guide. This is something I put in the resources panel below. As you can see, is labeled one-point perspective. What we want to be doing is going to be using this. I've created two others. We've got one up to the left and then one up to the right. But let's just start initially before we use these, just creating them. The way this works is that as you see things in real life, like say, for example, you're on a street and then you're looking down the street, you'll see that the street narrows, the house is narrow or say for example you're looking at tunnel, as you look towards the end of the tunnel, it will look a lot smaller compared to where you stood. That's how we like to use one-point perspective. I'm just going to give you a demonstration of how we like to start it. Either you can use a guide or you can use it without. Firstly, what I'm going to do is use this as an example and I'm just going to draw a shape randomly. Let's say I'm going to start with a circle. [MUSIC] Now what we're going to do is we're going to find the edges. We've got our vanishing point here. We're going to find the edges of this shape and then we need to take that back to the vanishing point. I could do before. I'm going to turn my piece of paper to match the natural arc of my arm. From here to here I'm going to draw a straight line and then same. I'm not pressing too on this at the moment because this is just a guideline. Then I want to find where my shape will end. Again, I'm just going to draw another circle in-between this line here. I'm not drawing the full thing because I only need this side of it. Now I'm just going to go in and press a little bit darker. Just like so. What we're going to do now is I'm going to fill this with lots of different shapes. We can go to a triangle down here. [MUSIC] I'm not going all the way to the point. I'm just making sure that I'm imagining where this point is going. Then from there, then all you could do is get a match, this line. I want this a little bit shorter. I'm just going to go in. I'm just going to fill the sheet with different shapes. You feel free to follow along as I'm doing this, just to get the practice of getting used to drawing these vanishing points. As you can see, the main thing is whichever points it can be seen by this vanishing point. Because like say for example this one it's going to be blocked. There's no reason to draw a guideline from that too. [MUSIC] As you can see with this pretty basic understanding of the single vanishing point, you can create some quite complex shapes just by getting used to this. As you can see, there are a few guides. I've done one after the middle, one up to the left, and then one up to the right. Do feel free to use as if you are finding them handy. But like I said, when you are starting, all you are doing is drawing the single point and then making sure all the lines, do you go back to that vanishing point, as you can see, just that in itself, you are creating some structure. This has got like say for example you can create the effect of like things are coming out toward you. This is really helpful for that. You want to make sure that you are taking all the lines back to the vanishing point. You may need to take it all the way back, like I said before, let's say in this example. Say if you've got a tunnel or you've got like a landscape, or you've got a corridor of some like a street you do want that to go all the way to the end. That's something to take in mind. For the class exercise, what we're going to be doing is using the one-point perspective grid that we've just created and draw some shapes on there just to get used to how vanishing points work. In the resources, there is a sheet related to this class with a grid already drawn out. If you don't want to draw the whole grid again and you can use it as a guide, like in the previous lesson, where you put it behind the piece of paper and then you can just draw on top of that. If you do find it helpful, feel free to just use a ruler instead of drawing the free hand just to get used to the perspective of the vanishing points and how to build a shape whilst using the vanishing point initially then, like I said with the practice, once you get better at drawing straight lines, then you can scrap the ruler and then you can just continue as you are. I'd like you to do now for the exercise, I want you to go ahead and I'm going to fill a sheet. Similar to what I've done here, I want you to fill a full sheet of just random shapes, just getting used to creating the vanishing point and then the shapes. What you're going to do is get a blank piece of paper. Then you pick, anywhere where you can put a vanishing point. Say I want to put one here. I'm going to do now is initially just start off by just drawing a shape anywhere. We can start off by drawing a triangle here. [MUSIC] I'll just make to start off by drawing a triangle with the vanishing point. I'm going to label this. I'm going to label that vanishing point. I need to go in and the lines that can be seen by the vanishing points. Not this one. These two. I just wanted to go ahead and using what we practiced in the first lesson, straight line. Let's go ahead and have that. Then with this, you're going to make sure you're matching the angle of this line. It's all the shapes that we discussed in the previous lesson where we draw in 2D shapes. I remember I went to draw from your elbow and your shoulder, not from your wrist to get that nice, smooth circular line. Say for example this point is quite far away. If you do feel more comfortable using a ruler, then feel free. Say, for example, you want to match this to this, and do feel free just to use something that already has a straight edge to give you a little help. Because it can be quite hard initially. Don't feel like you have to draw the straight lines initially. As you can see that it is further away. Then you can go in and just draw the horizontal and the vertical. What we are aiming for here is I just want you to practice getting used to visualizing shapes. One thing I do want to suggest, I'll say is wherever the vanishing point is, this is called the horizon line. This is our horizon line. Imagine that you stood above this object, so you're looking down upon it, and anything that's above this, it's almost like you're below it, so you're looking up at it. This is something to take in mind as well that when you are planning to draw something, going back to these sketches, if you were to draw something, say for example that was at eye level and that was at eye level. But say if you're wanting to make it, I'll give the illusion that you're looking up at something or looking down at something. It will depend on where you start drawing the object. Wherever you put your vanishing point is crucial because that will depend on the view that the person who's seeing your drawing or your art will get off your work. What you do now is ready to go in and fill this whole sheet with shapes as many as you want until you feel like you've got a grip of how to use the single vanishing point. [MUSIC] I'm going to leave it there. I'll let you go in and just continue filling this in. Once you have done, do you come back, and then we'll just conclude this lesson. Here's a little tip that I like to use. In order to get better straight lines, instead of looking at the edge of your pencil, if you look at where your pencils going, your arm is more likely to create that straight line as opposed to looking at where your pencil is, and then every so often glancing over to the vanishing point. That was one perspective. In the next lesson, I'm going to be building upon this and we'll be looking at two-point perspective. Let's just get straight into it. 6. Two Point Perspective : Let's talk about two-point perspective. In this lesson, we're going to be building on what we learned in the previous lesson. I'm going to start with a little explanation and then a demonstration which you can fall onto, followed by again, a little small exercise to give you a better understanding of this concept. What is two-point perspective? This type of perspective has two vanishing points, hence the name, and is often used for more complex compositions, including a lot of diagonal lines. Let's get into the demonstration now where I can show you how to construct this and then how you can use it too. Let's just get straight to it. Building on what we just did on the one-point perspective, now we're going to move on to two point perspective. As the name suggests, this has two vanishing points. Again in the resources, I've put some guides which can give you a hand to give you a better understanding. You can either draw directly on these if you find it helpful or we're going to go for it and I'm going to show you how to create these. This is just a guide. As you can see, just as is, it does feel like you can see the perspective in here. Like say if I was to draw some shapes on this, it already feels like say for example you're on the corner of a street and you're looking down, you're in the middle of this and you're looking down either side and both points are vanishing. Also, this is good to be used when just drawing shapes in general. Let me show you how you can create this. But we're going to start just for simplicity sake. We're going to do one directly in the middle first, and then I'm going to show you ones on the bottom or the top just to see the effective it gives you. For this, I'll be drawing just a cube, just to give you an understanding of how this works. Like in the previous lesson, we're going to start off by deciding where the vanishing points are. For this, I'm going to draw one either side of the page, just like so. Then after this, we're going to decide where we want the shape. With this, I like to start off with the horizontal line. I'm going to turn my page sideways and I'm going to draw a line in the middle. Previously we draw the full square. This time we're drawing where the square will intercept. From this point to this point, I just want to draw it back to it either vanishing point. With the previous lesson, we only drew the edges to one vanishing point, but this time, I'm going to make sure if you're drawing each edge to all the vanishing points. Because like I said, these are facing that vanishing point. I can see the lung isn't completely straight, but don't worry, you can just let's go back in. Then same for this side too. If you are finding the drawing the line harder, do feel free to use a ruler too. We've got our line with either edge going to the vanishing point, and now we're going to do, so I want to keep the line vertical. Now we just go through and make these lines a little bit darker. That's how it works if you're drawing the vanishing point on the center of the page, because right now it looks like this is somewhat eye level. But say for example, if I draw it much above or much below. Let's see what happens. It doesn't necessarily need to be in the middle. Let's draw one off to the side and see what happens. Top and bottom both can be seen by either vanishing point. For this, I'm going to use the edge that in my paper just as a rule because it is quite far and it's okay to use a ruler, something to line that up. Now that we've got our lines, let's draw a horizontal lines in and then you'll see something that we didn't have to do with this one that we're going to have to do with this one. It's like what I mentioned in the previous lesson. Anything that's above these lines will look like you're looking up at it. We've got the two sides of this cube. But as you can see that the bottom is going to be here somewhere. How are we going to draw the bottom in? Now that we've got two more edges, we're going to draw this edge to the opposite vanishing point and then this one to this opposite one too. You maybe asking like, how can we not drawing this one to this one and this one too as well? How come I'm not drawing it to both? It's because this one's already on one of the guys that we've already drawn. Then to draw it to the opposite one [MUSIC]. I can see that we've got a shape that we're looking up at, and I'm just going to give you one more example of what it looks like from below [MUSIC]. There we go. That's a quick demonstration on how you can use the two-point perspective. We're using two vanishing points and making sure that you're using the guides in order to construct your shape. Before we move on, I'd like to just give you a quick tip. If you can see here, the lines, this one and this one, they're not parallel but they are converging, so there coming together. If you are wanting to create these shapes without having to use the guides all the time, here's one tip I like to use. I like to start off just by imagining. Right now, so I'm imagining my vanishing points are off the paper here. I'm going to start by just drawing a line. Imagine that the vanishing point there, and then I'm just going to draw this line, but I'm going to draw it so it's going in a little bit. See the distance here to here and here to here. This one's much smaller. Draw my line in. Then we'll do the same for this side. Imagine where my vanishing point is and then drawing this one, so it's a little bit more narrower. Then same for this line is going to be a little bit more narrow because you're imagining that vanishing point. Then same for this side too. This is one way that obviously after many years of practice, I've been able to do this. But it is just about visualizing it. Because when you were able to get to this stage, this is when you can draw anything because you can visualize what the thing you're trying to draw is going to sit within. Say for example, I would imagine this and then say you're trying to draw a jack in the box, for example, you can go in and then again imagining the vanishing point. Then this box will have a top on it. You got something coming out of the box. But this is the process in which we're going to be going through later on in the lesson. But I just want to give you an understanding of why we're doing this with the guides is to get you used to visualizing where a particular shape would be. You can get to a stage eventually with lot of practice, where you can visualize what you are drawing without the need of the guides. The guides are just there to give you an understanding of why the lines are converging. But then eventually because most of the time your vanishing points are way off the screen, this is just a dramatic way of showing the concept behind it. I guess now you got an in-depth understanding of how to use the two-point perspective and the grids and how to create shapes in there. Now for the exercise, so you can have two options. You can either draw a room or you can draw the corner of a street, but you can choose which one you want to draw and then you can get into it too. I want you to get a fresh piece of paper. I want you to draw the edge of a street. I'll start you off and then I want you to go in and complete the rest. You don't feel like if you don't want to use a whole piece paper, don't worry, you can just half it. Let's just keep it small just for the sake of the class project. For this one, I want it to look like we're stood on this tree. I'm going to draw the vanishing points a little bit lower. I'm going to draw a line between these. Then I'm going to pick where I want the middle to be. Do feel free to follow along as I'm doing this. Then all we're going to do is connect our lines together. All the practices that we did in the warm up, getting used to drawing a straight line. It's all coming in useful now. Then we just pick another vertical line. You can choose a shape you're building, and feel free to just have a little bit of fun with it. With this, you want to make sure he started off with a vertical line. We've got our building. Now let's go in and let's add in a door. I'm going to start with a vertical line just here, and then another one next to it. Then depending on where you want the top of the door, just draw a straight line back to the vanishing point. You got a door in, and if you do want to add a little bit of detail, let's have a little open door to the door too. Again, starting off with a vertical line [MUSIC]. Just like so, let's go in and add some windows. You can add two square windows. One here, and then we'll say one down here as well [MUSIC]. Just as you can see how just by these basic lines, we are slowly starting to build a drawing of a house or the side of a building. You can go in, add as much detail as you want to this house, and then I'll come back to the end and see what you got. Here's something simple I've created. Using the two-point perspective, we've managed to create the corner of a street. But again, while we do that now we're just getting used to the concept of drawing the shape. Also as a quick side note, if you are wanting feedback on your projects and all the smallest exercises that we're doing during this class, don't forget to drop them down below in the projects panel where I can give feedback once you've uploaded it. In the next lesson, we're going to be moving on to three-point perspective. Let's just get straight to it. Again, it will be building upon this one too. 7. Three Point Perspective : So finally, we've got three-point perspective. In this lesson, we're building on the previous two that we've learned. I'll be starting again off with a simple explanation to give you a brief understanding of what this type of perspective it is. Then we'll be moving on to a demonstration where you can follow along too, and then it'll be followed by a small exercise again to strengthen your understanding of this concept. Let's just get straight into it. So three-point perspective uses three vanishing points as it mentions in the name. It's used to create more dramatic and atmospheric compositions. Also, this is what your eye sees. Your eye, all the things you see in day to day, most of the time is in three-point perspective, but the one that we'll be covering is a more dramatic way to give you an understanding of how the concept works. So let's just get straight to the demonstration where I'll show you how to create this grid and how you can use it in order to create some shapes. So let's get into three-point perspective. It's very similar to what we learned in the previous lesson with two-point perspective. But the additional change is like you can see an additional vanishing point. So up to now, all the lines that we've been creating with regards to the vertical axis have all been straight. So all the previous ones we've drawn they've all been straight. What I'm referring to is that these lines here. So all these lines so far that we've drawn, they've all been directly straight upwards. So what the third vanishing point does is it affects that line. We start off by drawing two vanishing points. So on a fresh piece of paper. I'm just going to show you. First before I go in, the guides, as you can see here. As you can see with the grid, you can see where all the lines are going and like I said previously, this is a much more dramatic way. This is just a way of explaining the concept to you so you have a better understanding when you are creating your own in your own drawings. So let's begin. Let's start off. We'll start off with two vanishing points at the top of the page and then we'll add one at the bottom. If you want to use a ruler for this, feel free. So I'm just going to draw a center line. What we'd be drawing here is just another cube. So I'll be drawing this much lower down. So I'll draw my two points where I want my cube to be and then just turning your page. Then we've got one here and then one here. So remember, like in the previous lessons we're just going to join these up. [MUSIC] Now so like I said, we're not going to be drawing the lines vertical, we're going to mark where we want the points. So say this will be the top edge and then this will be the top edge on this side. Then now we're just draw these lines together. As I said, the third vanishing point is mainly for the vertical axis. [MUSIC] There we have that. Then like previously, we're going to join this one up to this point and then this one up to this point. [MUSIC] So what this looks like to me, is it could be a skyscraper, it could be a tall building and you're say on a helicopter, or you're on a taller building and you're looking down at this. This is a good way of creating the illusion of perspective on a 2D surface. Say for example we just flip this. So imagine we drew the points at the bottom and then we have the point at the top. Now it looks like that we're looking up the object. So it could say it could be on a glass table, or it could be like we're looking from underground up at the building. So again, this is another good way. So I did put the two guides on here in the resources which you can find in the project panel below. We've got the one where we're looking up and then the one where we're looking down. So wherever you put your vanishing point, like as I've previously, like say where the two initial points meet, these two. So this is your horizon line. So if you put your third point above this it's going to make it look like you're looking up at the object and then say for example if you put your vanishing point below the horizon point, it's going to be looking like you're looking down at the object. So when you are constructing drawings in the future, which we will get to later on in this class, it's important to know where you want the object to be. How want it to look. So say for example you're drawing a tissue box, you're drawing a lumpy, you are drawing a character, or anything you want to make sure that it matches within these guidelines. That's the main demonstration for three-point perspective. Do you go in and spend some time? What we can do now is let's go in and draw some extra shapes just to get used to the concept. So we've got our two vanishing points. One here, one here. Then instead of putting a one in the middle, we can put the other one say here for example. So I'm going to start off with a straight line. So when you are drawing this, you want to make sure that you are constructing that vertical line first and we'll plot object around here. So one here, one here. [MUSIC] Then we decide where I want the top of our of object to be. Then remember, all the vertical lines are now going to this line instead. [MUSIC] So this gives it more of a off-center look like one side is more work than the other. But again, this is a more dramatic way of communicating this idea. What I'm going to do now is I'm going to show you how you can do this without having to use the guides similarly like we did in the previous lesson. So one thing to remember is all the lines are going to be diverging to the vertical axis and then either side of the shape. So one way to do it is again, we are going to start off with our vertical line. This one is always straight. Then now we're going to imagine that our vanishing points, we've got one here, one here, and then one here. So using the using the concept that we did, we're going to start off by drawing a straight line and then I like to turn my page a little bit just so the bottom line is diverging. Then same for this side. So it's going to draw a line here and then turn my page just so again, the lines look like they're converging. So both of these are narrowing. If I was to extend these out, they go way off frame. Then now again, just decide where you want the top to be. With this one in the examples, we did do a lot more exaggerated just to communicate the concept. But now I didn't have to be as much. So this is vertical. I'm going to turn my page and then draw that here. Then same again and then turn my page the other way. Just like so. Then again, these. This is the line. So we're going to turn it a little bit and then have it coming in and then match the line and then turn the page and then have it going that way. So just by applying the concepts that we learned with the guides. This is a way in which that you can construct the shape without having to have to draw the guides every single time. Bear in mind, this is something that's taken me a while to learn. But just by understanding the concepts that we learn in this grid, it is going to help you. As an example of say, a box, a shape, something that we can then further build into a drawing. Say if you extend these lines all the way out at the vanishing point is going to be somewhere over here, same for this one and then same for this one. So there's an understanding of the concept. So what we're going to do now is we're going to move into class project. So now for the exercise, we're going to be drawing an object of your choice. You can pick anything from me around your room. And we can draw up. I'll be picking something from my room and I'll be running you through and how I draw it on the three-point perspective grid. Don't worry if you can't find an object around the room, feel free to join in with the object that I'm drawing. So for the class project, what I want you to draw is a very simple chair. So I want to be looking down on this chair. So like we said, when part vanishing points at the top and then one at the bottom. I'm going to start off with a nice vertical line, just so this is where I want the chair to be. So now let's begin. So firstly, what one thing that's important with this three-point perspective is to visualize the chair. So it's going to be similar to the example that we did here. So we want to start by initially creating a shape like this, which will be the seat. So I'm going to start by, I want the seat to be around here. So let's start by joining these lines up. Let's go in and decide. There's the point of the chair. So when I go in and then again, draw the straight lines to here. We've got the base of the chair. This is where we'll be sitting. Now, let's add some legs. So I said all the lines, it's going to converge to here. So I'm going to turn my piece of paper too much. Again, the natural arc of my arm and then let's draw some lines. Let's mark out how far we want our legs to be. [MUSIC] Then I want to decide how tall on our legs to be. So say, I want them to end here. So let's join this line up here. Then same on this side. Here's going to be the bottom of the chair. Let's add in our leg just making it a little bit darker. [MUSIC] So as you can see, we will need another surface on this side because if we are looking at this chair, we're going to be able to see this side of the leg too. So let's figure out how thick we want this side. Then I'm going to go in again and draw this line. [MUSIC] There we've got our legs and now we can add the backrest to the chair. So I'm going to extend this line up and then this line is already in for us. Then what we need to do you decide where I want the top of the chair to be. So I'm going to say about here and then just go in and draw a straight line. As you can see, slowly come together. [MUSIC] There we have it. We've got a very simple chair which we've constructed based on the three-point perspective that we just learned. If this is something that you do want to learn and do feel free to practice this. But if you are finding it harder initiative and do use your vanishing points, which will give you a better understanding of how these lines and how these shapes work. If you realize up to now we've been drawing a lot of the shapes with straight edges. But that's because in the next lesson to come, we're going to be moving on to how you can use this concept in order to create all the different shapes. So in this lesson we went through three-point perspective, and in the previous ones we've covered one and two. These are the basic understandings of all the different types of perspective and the grids that you can use. In the next lesson, we are going to be building up on this and creating more complex shapes using the knowledge that you've gained in the previous three lessons and applying it to create these shapes. I'll see you there. [MUSIC] 8. Creating 3D Shapes: Now that we've gone through all the different types of perspective and gone through all the grids, in this lesson, we're going to have some fun in creating a variety of different shapes. I'll be drawing all the shapes in the three different grids in order to give you a better understanding of how to use these shapes in these grids, as it'll give you a reference when you are creating other drawings in the future. But also along the way, I'm going to give you tips and tricks on how to speed up your workflow. You don't have to draw the full grids every single time they want to create this shape. The purpose of this is for you to be able to visualize the shape when you are trying to draw something without having to draw the guides every single time, as it can be quite time-consuming. Sometimes it's quite unnecessary when you're just trying to draw a quick concept or a sketch. Like previously, there are some resources related to this lesson just down below in the resources panel which can use if you-all find this a little difficult. Three main shapes we're going to be covering in this lesson will be cones, cubes, and cylinders. The main reason for this is that these shapes are used everywhere, say from the leg of a character to a glass or a bottle for cylinders. Then say for example a cube is good for perspective and scaling objects whilst you are drawing. With these shapes, I'm going to go for a quick demonstration of how going to be laying this out. Then the exercise will be you just continuing drawing these shapes. Let's just get straight into it. In this lesson, what we're going to be doing is everything that we've learned previously with the 1, 2, and 3 perspective grids. What we're going to do is we're going to go through and draw each one in the different perspectives just to get used to drawing these shapes. Especially because we've not really touched on ovals. So far we've just been drawing cubes and cuboids. This is more about getting used to creating a grid structure and then building a shape within them. Here's a guide for the cylinders, which is in the resources. It's just labeled 3D shapes. This will be good just to get an understanding of how we'll be constructing these using the grids. I'm going to pop this off to the side. What I want you to do is I want you to split your paper up into the separate grids and then we're going to create a page per shape. We're going to do cubes and cylinders. As we're going along I will be giving you tips as well as how to create these without the use of the guides every single time just to save you some time in the future when creating more drawings and illustrations. Firstly, we're going to be the one-point perspective, as you can see in the example. Do pause the video if you do want some time just to get yourself ready and then just continue along at your own pace. What we're going to do is we're going to fill each one with a few rough sketches. I want it to be nice and rough just to get used to the concept. We don't want perfect shapes. This is just purely to understand the concept without having to draw the lines each time. One point with this one, I'm going to do a lot we did before. I'm just going to draw circles. Now what we're going to do is we're going to go in and join them all up to the one-point perspective. [MUSIC] That's one-point perspective. Now let's move on to two point. For this, I'm going to keep in the center two points either side. Draw myself a little horizon line, and then let's go in. We've not created a cylinder and a two-point perspective before. What we're going to do is we're going to be starting off similar to the cube. Let's start off with our two lines either side. Imagine we want a cylinder here. Then now what we need to do is when we're drawing cylinders or curved shapes, they generally goes within a square. What we want to do first is find our midpoint. You should be drawing the shape on both sides. Here's a cuboid that the cylinder will be in. What we need to do now is using what we learned in the first lesson. We need to fill this with an oval. That is our cylinder. This is how you construct it. I'll show you again this one because in case that was a little too confusing or a little too fast understanding how these cylinders work with regards to the horizon line. Here, what I'm going to show you is a quick concept I learned that has helped me a lot to speed up my workflow without having to draw these cubes every single time. One thing I've learned is the closer that the cylinder is to the horizon line, the more narrower our oval will be. On the horizon line, it'll just be a straight line because it's almost like you're looking directly at it. Then as you come above it, you will have narrower. Then higher you go, the more closer to a circle the oval will be. This is something to note. As you can see here, the horizon line is here. Both ovals are the same. This is a quick way of just understanding how to draw these shapes without having to have to draw the guides. With this one, what we're going to be doing is I'll be drawing two converging lines here. Then depending on where the horizon line is. Say, if I draw the horizon line here and here. Remember what we learned. These lines have to be converging. Then because of what we just learned here, where the closer is the horizon line, the more narrow the shape should be. We should say if we draw a narrow oval there and then the further away it gets the more open it gets. That's a much quicker way of drawing cylinders without having to draw all the guides. This is a perspective that I mainly draw as this is what the eyes see. This is the closest thing to be able to create realistic drawings and sketches when you are trying to create something. Say for example, we have ourselves a horizon line. Please do follow along just to understand this. Then a center line. Because we want the vanishing point above the horizon line now we're going to have the lines converging this way. Now we're going to be looking up at the cylinder. Like what I said at the bottom, the closer it is to the horizon line, the narrower the oval is. Then the more you get away from the horizon line, the more it opens into a circle. [MUSIC] When drawing the cylinder, you [inaudible] draw on a center line just to give us an axis of which we want the shape to be on. Then what we want to make sure is that the shape we're drawing is perpendicular to the line, meaning that there's a right angle here. This is really important to make the shape convincing. I'd want the shape to be narrow. I'm going to turn my page for this. Then again, because it's going to be converging, because it is going to be going away from us. Then on this side it's going to be a lot more open. I'm going to draw in my converging lines. If I went from the top converging. Now with a fresh piece of paper, let's get into the cubes. Like we did in the first one, I want to draw one in one-point perspective, two-point perspective, and then three. I'll be showing you that the tips and tricks I use as well to make your drawing a lot more quicker. With one point, again, decide where your vanishing point is. We're going to do on down here this time. But we said we're going to start off with a square. Remember this, try to make sure your proportions are good. Make sure you are drawing a square. Then what we said, we've got three points which can be seen by the vanishing points. It's going to join these up. This is where proportions come in. You want to make sure that it is looking good. Create a few more. Let's draw a square. Let's move on to two-point perspective now. Spend as much time as you want with that. Do you have some practice? Now for two-point perspective, again. We're going to have vanishing points in the center. Like we said, we're going to start off with just a straight line. Then again vertical lines. You see what I did there? I started adding some lines. It was only very faintly until I got a visual look at it and then I was like, I'm happy with the way that looks. Let's fill this page up so you can do. [MUSIC] Now for three points. For this one, I'm not going to draw any guides, any dots. It's all just going to be based on the information that we know from these in order to create cubes in different views. I'll show you the one. Then like we did in previous one with the cylinders, we'll go through and we use a separate piece of paper just to work on different views. It's similar, similar to this one. We always start off with a center line. Let's turn the page. I've got a nice straight line. We'll start off with a center line like so. The only difference is we make sure that the lines instead of going straight, want these to be converging as well. It doesn't need to be as dramatic as what we did. There we have a very basic cube. Now let's go into a separate piece of paper and we're just going to fill these again with cubes, but without using the guides just to get used to drawing these shapes. [MUSIC] Here we have it. I've gone through and I've filled out a full piece of paper with a bunch of cubes and different orientations based on what we learned with the three different perspective lessons. The key takeaways, like I said, whilst you're drawing your cylinders is to make sure that when the line is close to the horizon, that the oval is a lot more narrow. The further away you get from the horizon line, the more the oval opens up closer to a circle. If you keep this in mind, it'll make drawing a lot more simpler. As a quick recap of this lesson, we went through how you can draw all the different shapes in the different perspective grids. Then I gave you some tips as well of how you can recreate the shapes without the grids. In the next lesson, we're going to be using the shapes that we just created and building upon that by adding a mesh. Let's get to it. [MUSIC] 9. Adding a 3D mesh: In this lesson, we're going to be running through 3D Mesh. I'll be explaining what it is, how it's used, and why we're doing this. Then I'll show you how you can add this to the shapes that you created in the previous lesson too. Firstly, what is a mesh? This is something that allows for you to see all the faces and the surfaces of the shape even though they may not be visible. I'm talking about, say, when you draw a shape, the back part of the shape isn't visible, so adding these meshes, it gives you a better understanding of the form and the structure that the shape has. This will come in useful later on in this class, where we'll be adding values to these shapes. But for now we're just going to get a grips two meshes, adding them into the shapes that we've already created and just getting used to how they work and just be able to visualize the shape even more. Let's just get straight into it. Let me show you how to add these meshes, do the shapes that we just created. In the previous lesson, we drew some shapes. Hope you got a better understanding of this. What we're going to be doing now is we're going to be looking at a mesh. This is something that I like to use to understand the way the shape is formed, just to get a better understanding of the thing I'm drawing, just so when I do come to the value section of this class it's going to help us massively. Here's an example of a bunch of 3D shapes with the meshes added. As you can see, it just makes it so you can see through the shapes, it's almost like a wireframe where you can see through the shape and you can see how the shape is built up, the surfaces and the faces. What we're going to be doing in this lesson is we're going to be adding these lines to the shapes that we've already created. Again, just to get a better understanding of the shapes that we've made. I'm going to get the shapes that we just created. Let's start with the cubes. What we want to do in like an example, I just want you to start adding in some lines to try to make so you can see the other side of the shape. Say here, for example, we haven't added both sides In button here. We've already started. These lines here, it just allows you to get a better understanding. But then also I want you to try cut the face in half in order to get used to doing this. Let me move my pad out of the way. Let's just go in the best way is to find the midpoint in each surface. Then just go in and mesh. It's like so for the less to draw the back face. We've got our vanishing points over this way. It's like so and see the same for this one. I got a vanishing point over here somewhere. You're just going to specific cubes. Let's jump into the cylinders now. Like I said, remember the close you are to the horizon line, the narrow the shape would be and then the further away you get, the more it will open up. If you're in-between it's going to be somewhat in-between, you may be wondering, why do I need to know this? Why are we learning this part of the class? But it's good to say, for example if you drawing something and there's something in the middle of the shape. Let me show you an example of why this is important. Let's, let's finish this first. we've got our [MUSIC] like so let me show you an example of why would need to know this. Because I'm looking down on the shape. I want the bottom to be a lot more open, so close to a circle and then the top to be a lot more narrow. Let's draw the perpendicular line and the reason for the meshes, for example you draw the coupon. It's going to be in-between this one and this one. Says something that's really useful to know. That's why when we covering these meshes is important. Now let's move on to spheres so that we've got ourselves a few cycles. What we're going to be doing is it's very similar to what we've discussed. You're looking at it straight on , that's going to be the shape. But say, for example you're looking at it from an upwards direction, you're going to see if you draw a line all the way round, you'd see something like this and then the centerline will be there. Thus, if you've got the bowl and then you just tell to ever so slightly. But say, for example we took the ball and then we turn out a little bit so we turn the ball. [MUSIC] Say for example, if I'm looking down on the sphere, we're going to get much bigger circle. [MUSIC] See how the sphere now is made up of these shapes. Do practice adding some meshes to some of your shapes. We've got spheres, we've got cylinders, and then we've got cubes as well. Just to gain a better understanding of how all these work together. This concludes the first section of this class where we talked about perspective. In the next section, we're going be talking about value. The next lesson, I'll talk to you about how you can create all the different values, the different techniques, and how you can get started. Let's get to it. [MUSIC] 10. How to Create Value: Welcome to the next section of this class, where we focus on value. In this particular lesson, I'll be running through what value is, how you can create it. We'll be doing this in a small demonstration, followed by a small exercise to give you a better understanding of what this is. What is value? Value refers to the lightness and the darkness of particular areas of a drawing. Value's important within drawing. It helps create the illusion of a 3D form within your drawing. You can create value in your drawings through using a variety of light and dark tones. This can be done through shading, hatching, and even crosshatching, which we'll be covering now. Let me show you how to create your own value and all the different types. Let's just get straight into it. Firstly, let me show you all the different types of shading in which you can do before we crack on to the demonstration and the exercise for this lesson. This will be in the resources panel below. We'll come to this in a second but firstly, let me break down the three different types. I'm just going to make sure I have a sharp pencil for this. The first type that we've got is either you've got hatching or you've got crosshatching. This is done just by adding a bunch of lines together to create a shaded area. The more it's spread out the lighter the tone will be overall and then the closer the lines are, the more darker the effect will be. That's hatching, then we've got crosshatching, which is using the same concept but using two lots of lines. Let's start with a light tone and then you'll just turn your page over so slightly. That's the crosshatch and then if you want to give a darker tone, you just make sure the lines are closer together. Those are the two different types of hatching that you can use and then let's move on to the second one which is shading. This is something so, so far we've been using the pencil on its tip versus something that you can hold your pencil like this. But just to [inaudible] him side to give yourself a much bigger surface area to draw with because you'll be drawing with the side of the pencil as opposed to the tip. This one is controlled by pressure. If you press lightly on the paper, you'll get a much lighter shade. Whereas if you press darker, you'll get a much darker shade. Then finally, you just got patterns. This one you can just do a bunch of stuff so you can do like little swells. The looser the swells are, the lighter the overall tone will be and then the closer the swells are, obviously the darker the tone would be. This is a quick note before we go into the exercise. This is something that does take practice. I've been doing this for over a decade hence it may look easy the way I'm doing it. But getting used to the pressure and the distance between the lines, whether you're hatching, crosshatching, this is something that you get used to the more that you practice. Let's just jump straight into the exercise now. The task for this lesson is to fill out the boxes that I've included in the resources. As you can see here, we're going to be filling out the different values using the techniques that we've learned in this class. Then what we're going to be doing is I want you to use these and blend them altogether and to make a gradient. A gradient basically it's just a blend of all the different values. Instead of having the different steps, this is just a blend of all of them together. Again, this will get you used to controlling your pencil, whether it's the pressure of all the distance between the lines too. The reason why I'm getting you to create a gradient too, is that most images and drawings are comprised of gradients. This is what gives it the realistic effect. Learning how to create these yourself will be very beneficial. What I'll be doing is I'll be going through the first one with you and the task will be for you to complete the rest. I'll meet you back here at the end once we've completed this. For the exercise in this lesson, what we're going to do is we're going to be focusing on trying to create these values. We've got dark all the way to light with just different grades. What we're going to try and do is trying to imitate and repeat the values that you have here so go from dark to light. This is something that either you can draw the rectangles on your own piece of paper and then just refer back to it or if you want, you can draw directly on here. The two main ones that I'll be focusing on will be hatching and shading as those are the two that I must use when I'm creating drawings. I'm going to start off with hatching first. We said we want to go from dark to light. I only created four boxes because the last one is just white, so I start off. Like we said with hatching, you want the lines to be close together so a lot more dense in order to create that darker value. Whereas the lighter ones are just a lot more spaced out. Let's just get to it. I'm going to do my darkest one, then my lightest one, and then I'm going to work inwards so let's get to it. While you're doing this, try your best to try stay in the line as this will become useful later on when we are trying to create our own sketches. [MUSIC] Here's what we've done. We've gone through and we've created three different types of values using hatching, crosshatching, and shading and we've created a range of values from dark to light. This is something that you'll use often whilst creating a drawing. What we're going to do now is we're going to blend these together, so what I want you to do is to create a gradient. Gradient basically is just right of white now we've got solid and hard gaps between each value. One blending into one smooth value and we're going to, again, put some brief lines in where it should transition. We're going to start with dark hair and light so let's start. Here we're just hatching. I can do dark and close and then as we get away from it, we're going to gradually increase the spacing. I'm just going to go back in and increase the darkness a little bit. [MUSIC] It's all right to go and spend as much time as you want with this, if you do want to create multiple grids and practice this a little bit more, feel free to. But this, again, is another vital skill which we will be combining later on in the class. Understanding this and be able to get a good control of your pencil, whether it's the spacing between the lines, [inaudible] your crosshatching of the pressure in which you're adding to your shape. That was a quick recap of this lesson, we went through what value is, how you can create it and all the different techniques that you can create value with. In the exercise, you got an opportunity to create these values and like I said before, don't forget to upload in the project panel if you do want feedback on how you did with this exercise. In the next lesson, we'll be moving on to an introduction into light and shadow. This will give you a better understanding of the values that we learned how to create in this lesson and how it can be applied depending on the light source. I'll see you there. 11. Light & Shadow Intro: In this lesson, I'm going to be running through light and shadow and why it's important to learn this whilst learning to draw. I'll be giving you an explanation on how you can spot certain light sources and then we'll be moving on to a demonstration, showing you how you can implement this into your work. There won't be a project for this lesson. It's just more of an understanding and giving you the basic information you need before we move on to the next lesson where there will be a project for you to practice this. Let's just give you a quick breakdown of how light and shadows is used within drawing. Light and shadow is an important element for artists, especially when you create the illusion of depth within your work. When light falls on the object, regardless of what source it is, it creates a highlight on one side and a shadow on the other. This is what gives the object that you're drawing a sense of three-dimensionality, which is what makes it look more realistic. Shadows are really important too as that's what gives the illusion of depth within your work, especially when shadows are formed on other objects or things around it, not just on the object that you're drawing. There's three aspects of the type of lighting that will affect the way your drawing will look. These are the quality, the intensity, and the direction of the light that's used. This is important to know, especially if you're creating a still life scene and you want to create a certain mood within your drawing. These aspects of lighting will affect this dramatically. However, if you're not setting up a still life scene and you're just trying to understand this, this is good reference to know especially when you're trying to draw from imagination. Understanding how the different light source, the direction, and the quality will affect the shadows on your work. Again, to grips with this is really beneficial especially when you're creating from imagination. This is the benefit of understanding how lighting works. It gives the illusion of a three-dimensional object on a 2D surface. This is just an introduction and we'll be getting into more depth in the following lessons. As a quick demonstration, just to mark out the shadows and the highlights in my own work, I'm going to be putting up a few images on the screen and I'm going to be talking through it and highlighting highlighted sections and the shadows sections just to give you an understanding of which parts I'm talking about. I'm going to show you, here's a few of the images I've created in the past. I'm going to go through and mark out some of the highlights and the shadows just to give you a better idea of how I've created depth within these illustrations. First, let's start off with this snowman. As you can see, the main light source is coming in from the left, so all this section here is my highlights. Then because of that, the shadow from this bulb has caused a shadow on the body. This area being the shadows. Secondly, here's a Christmas poster I did. Again we've got the light coming in from this top left-hand side, so all this section of the ball is being exposed to the highlights, hence why that side is lighter. Generally, a rule of thumb is that the shadows are always on the opposite side of the highlights. Going in now, so the shadow is on the right-hand side. Then finally, here's a little bit more of a complex one because there's little things like creases and textures of clothes, which is difficult in itself. But starting off with this Afro, which is generally the shape of a ball. Again, I've got the light coming in from the top left hand side, so the Afro itself has a highlight on this side and then a shadow on this side. Then this can be spread throughout the whole of the illustration. Because the light's coming in from this side, everything facing that side has got highlights on them. Then on the opposite side you've got the shadow, shadows, more shadows and then obviously the shadow from the jumper on the trousers and the shadow from the leg. It's just a brief intro into how we are going to be breaking it down into the next following lessons. I just wanted to show you how I've used it in the past and then I'll be explaining this to you in the lessons to come. If you are trying to take inspiration from their work, it's good to know where the highlights are, where the shadows are, where they've come from, and how they chose to light that drawing so you can recreate that on your own too. That's the end of this lesson. As a quick recap, I'll just give you a basic introduction into highlights and shadows and how you can spot this in other people's work as understanding lighting can be quite a complex subject. In the following lessons, I've split this up into a much more digestible way for you to understand that along with some exercises. In the next lesson, we're going to be going into more depth into lighting and how you can analyze it. I'll be giving you a lot more demonstrations in that lesson. Let's just get to it. 12. Lighting Demo: In this lesson, we'll be building upon what we learned in the previous lesson. I'll be showing you how you can analyze pictures and references in order to determine the type of light source and the direction of the light source. The reason for this is that you get an understanding of how light works a little bit and then you can start applying this into your own drawings to, I'll be starting off with an in-depth demonstration of how light falls on these objects. I'll be playing around with the direction, the intensity, and the light source to give you an understanding of how these different factors affect the highlights and the shadows on the shapes. Then this will be followed by an exercise which you will complete, which will be based on the information that you've learned in the demonstration section. For the demonstration, what we'll be doing is using the shapes that we created in the prospective section, and I'm going to be shining a light on there myself whilst recording it, whilst changing the parameters like the direction, the intensity, and the light source to show you how this affects the highlights and the shadows. Then what we'll be doing is we'll be using that as a reference for the exercise later on in this lesson. The two different light sources that we'll be using will be a direct and a soft diffused light. The direct one is a lot more harsh, whereas the soft diffused one spills a lot more, which will give the highlights and the shadows a softer look. With regards to the direction of light, I'll be doing top, straight ahead, right, and then left. Let's just get straight into the demonstration and let me show you how the light affects the high lights and the shadows. What we're doing now is I'm just going to be flashing up a bunch of shapes on the screen and I'll be moving the light. As you can see here, I'm going to be going from soft light, too harsh light showing you how it transitions. What we're looking for here is how quickly it goes from the highlights to the shadows. By this, you can tell how intense or how soft the light is. What I'm doing is I'm shining it from the left, the right, the front, and then the top. As you've seen here, this is what happens to the cone. It's good to keep this in mind, especially when you're drawing things in the future. Because when you are trying to recreate a scene and pick a light source, these are the type of images that will be useful. It's important to see, like say here, for example, with the cube, it's important to see how the shadows are falling on the shape, but not just the shape but also the surface. It's good to study to see how the values affect each face. As you can see, the face that's closest to the light is always the lightest. Then they say the one that's opposite or furthest away from the light source is always going to be the darkest in value, especially when it comes to cubes. A sphere is a very interesting one. As you can see, the way that the light curves around the ball and creates quite a nice, smooth but also curved shadow. Understanding how the light falls on these shapes is really important. Do spend some time, go through them. If you do want to try imitate these by creating value from these on shapes of your own, then please do. Feel free to do so. Finally, for cylinders now. As you can see, the light is coming in from the left-hand side. The top surface is quite light and also the left-hand side, and then it gradually fades to the right. But as we see the harsh light, it's a lot more abrupt. You can see as well the shadows that are casting on the floor, they're are a lot more sharp compared to the soft light, where it's a lot more blurred. Here's an example from the front. As you can see, this shadow is spilling slightly on the floor on the either side of the shape. Here is the final one from the top. What I've done now is I've just put all the shapes on the screen and I was moving the light source just so you can see how the light is affecting the shape, but also the shadow that's formed on the surface. This video is good to keep as reference because what you can do is you can pause at anytime and then use these in further drawings. Based on this demonstration, there's three things which you can take away, which are correlations so when you are looking at future images or you are trying to create your own drawings of your own, it's good to keep these in mind. Firstly, shadows are always on the opposite side of the highlights, considering that the highlights is same side as the light source. It's just good to know when you are creating 3D objects, or you're creating other types of drawings when you are trying to add highlights and shadows, just to keep that in mind. Secondly, we have how quickly the values change. Intense light sources generally go from highlights to shadows a lot more quickly and a lot more abruptly compared to, say, a softer light, which will have a gradual fade from the highlights to the shadows. Thirdly, soft light sources generally have a lower contrast in the overall object or drawing. Below in the resources, I've created a cheat sheet based on all the demonstrations that we did in this lesson, showing all the different light sources and the directions and how that affects the highlights and the shadows. It's good to keep this on-hand, especially when you're drawing so you can refer back to this to see how the highlights and the shadows are falling on an object. That's the end of this lesson. We covered quite a bit. But if you do find it a little bit hard or the concepts in this a little bit complex, do feel free to go back and take certain parts of this lesson again, just to give yourself a better understanding of how all this works. Just as a quick recap, we went through how the different light sources, the intensity and the direction all affects the highlights and the shadows of the different objects. This is the important part to get your head around as this is what's going to make your drawings and your illustrations pop and look real. In the next lesson, we're going to building on what we just learned by adding a cast shadow, incorporating the light source and the shadows and highlights that we added to our objects. I'll see you there. 13. Cast Shadow: In this lesson, I'm going to show you how you can create a cast shadow based on light source that you chose in the previous lesson and on the shapes that we created too. I'll be showing you how the light source in the previous lesson that we chose will help us with this. I'll be going through this in a demonstration showing you step-by-step on how you can use a light source on your object in order to create a cast shadow on a surface. It's good to understand this system as when you are creating illustrations or drawings in the future, understanding how the system works allow you to create your cast shadows more accurately, again, adding more realism to your drawing. By the end of this lesson, you'll have a few shapes fully shaded with a light source that you chose along with the cast shadow. Let's get straight to the demonstration. It's going to split up into four main steps we're going to do is first initially, we're going to determine the direction of the light source, as you saw in the previous lesson, when you meet a light source, the shadow on the ground does change, that's the first thing we're going to do. Then we're going to determine the shape of the shadow. They're going to fall this by establishing the edges of the shadow and then we're going to add value to the shadow. I create a few guides which can be found in the resources down below. I'll create one for a sphere and then one for a cube too and then just for an example of what we looking at, how it affects the shadows is I've created a diagram here just showing that the closer the light source is to the center of the object, the shadow will be much shorter compared to when the lights much lower down, you will have a longer shadow. I'm going to show you how I constructed this diagram in order to create the cast shadow. Let's just get into it. Firstly, let's start with a cube. Let me show you how to create a cast shadow with a cube. What we're going to do first is we're just going to draw ourselves a very simple cube. [BACKGROUND]. I've got myself a very simple cube. Now what we need to do is we need to determine the horizon line and a light source. I'm going to have my light source quite close to the shape. I'm going to say it's just up here and the one we're doing is I'm just going to draw straight line down to find out where the horizon would be. I'm going to say around here and then I'm just going to draw a line out which will determine the horizon. Now, what we're going to be doing is for the top sections of the shape was going to draw a straight line from here to there and then what we're going to be doing is from the horizon, we're going to be drawing a line from the bottom of these shapes. Let me show you. From here, we'll start off with the ground first with the horizon level. For one point here, two points, and then three points. It's going to draw a straight line. One here and then same for here. Like so and then we're going to do the same. From the light source we're going to do the top edges. Then, where they interact is where the shadow will lie on the ground. [BACKGROUND]. Now where they interact, so we've got one point, two point, and three point. What I'm going do is going to join these up together. We've got one here. Just like so and so this is the outline of the cast shadow obviously would go in and which add value to this. We can do this just by a quick hatching, just so we know that this is the shadow. Based on what we learned in the last lesson where we saw how the light would affect. Here's a quick example of if your light source is here, your shadow would be on this side. This same concept where you choose your light source. You pick the ground and then you go through and then you add in all the guides. This a good way of creating a shadow. As you saw in the example on the previous one, the value was a lot darker at the base of the shape. Then it would move away, but that's where the cube. We're going to do now is move on to the cylinder. As you can see here that was a guide and then that was what we created. We are going to do the same now for the cylinder. I got myself a circle. If you do find it easier, please use a compass. I've got my circle. Again, I'm going to choose my light source. I'm going to go for the same one. What we need to do here is because there's no point to connect the light source underground to what we're going to say it was going to put this inside a box just so we have a better understanding of how the shape would be. Now we have lines in which we can use. It's going to join all these up. [BACKGROUND]. As you can see by me moving the light source much further away from the shape, we've gotten much longer shadow. Here is the box that the shadow is going to be within. Now what we're going to do is we're going to split this in half. I'm going to split this same thing in half too. The midpoint of hairs around here, and then midpoint is around there and then just join. Now what we have to do in order to create the shadow for the shape is we've got to draw this circle inside her. Again, this is where the ovals that we've learned to draw come in handy. Turn my page and then what we're going to do is try draw a nice clean arc from all the points. [BACKGROUND]. What I want you to do is to spend some time getting used to this concept of choosing a light source, determining where the shadow is and then what we're going to do in the next lesson is, we're going to add value to the shapes in order to make the whole thing look a lot more realistic using the samples that we recorded in the previous lesson. Now that you've got an understanding with the demonstration of how you can create your own cast shadow. What I would like you do for the exercise with all the shapes that we created in the previous lesson I want you to go in and add the cast shadow to these two just to get used to the system. Understanding the process that you need to do in order to create the cast shadow. There's a quick roundup of this lesson. I went through what cast shadows are and how you can add them or create them on your drawings.We did this on the basic shapes of a sphere and a cube and you did the rest two. Unlike in the previous lessons, don't forget to upload it down below to the project's panel. Give me feedback on these cast shadows to see if they're accurate or to see if they work, or if you're unsure about the work you've done, don't worry. Plot it down below and I can give you feedback. In the next lesson we'll be using everything that we've learned so far and then we're applying these on some new shapes. In order to get you used to the full process of creating the shape, adding the values, and then adding the cast shadow. I'll see you there. [BACKGROUND]. 14. Adding Light & Shadow: [MUSIC] In this lesson we are going to be practicing everything that we've learned so far in the value section of this class. We'll be applying the highlights to shadows and the cast shadows to the shapes that we drew in the perspective lessons. The reason why we're doing this is to get used to the full process from once you've drawn the shape and then adding the shadows, the cast shadows, and understanding where you choose for the light source to be. This is all part of the practice because the more that you do this, the more it'll be ingrained within you. When you are drawing something, it'll become a lot more easier in order to make it look realistic. By the end of this lesson, you'll have a bunch of shapes which are all shaded in a realistic way with light source that you've chosen. The exercise for this lesson is we're going to be playing around with the different light sources. With the shapes that you created in the perspective lessons, light sources for each shape, and then we're going to be adding the shadows in the cast shadows to this. Just getting you used to adding shadows depending on where the light source is. Also, once you've created all these shapes with the different light sources, is good to keep this as a cheat sheet so when you are drawing things in the future, you can refer back to this and understand or quickly glance, oh, the lights up here the shadow should be on this side, or this is how the shape should look. Now what we're going to do is now that we've established the cast shadow, and then what we want to do is use the information that we learned in the previous lesson about the light demo. We're going to use that as reference images and then we're going to add some highlights and shadows to this image. Let's start off with the cube. One thing I noticed, as you can see, is the light because it's high, this top surface was always the brightest. This back one was always the darkest, and then this one was in-between. What I'm going to do first to start off, is I'm going to rub away the guidelines. It gives us a nice clean image. Height to the cast shadow first, just so that we can go in and remove these. Remove these lines delivered either the highlights and the shadows first. Then we're going to go left with a bunch of lines on a piece of paper. Just go in and remove most of them. We've got our cube, we've got our cast shadow already added, and now we're going to go in. Like we said, the light was on this side, the side facing other side. The side opposite, which isn't facing the light is always going to be the darkest. First I'm going to do, I'm just going to make the shadow a little bit darker, just so when we adding value to the cube, it doesn't affect it. Remember what we learned in the initial value class where we learn touch, make a gradient. This is where it comes in handy. Start off with lightest value. Now for the phase in-between we want to make that in-between these two values. Make this side a little bit darker. That's the good thing about going in and adding the values also slightly. Then you can change it rather than if you go super dark straight away, then you can't really go back. What we want to do now is going to move on to our sphere. I'm going to start by raising the guides. Before we get in, What I'm going to do is, one thing what we know from the previous class is when the light shining on a sphere, that's where the highlights tend to roll off. What we want to do is from here to the center we're going to draw a straight line. Then from there with our shape we're going to draw a perpendicular line. That's a right angle, just to make sure that we're drawing. Then I want to do from here, I want to see where the intersection point is. Then just draw a straight line from there and then the same on this side too. It's about here. Just like that. Then this point, and this point is where your highlights are going to start to change. What we want to do here, from this point here I want to start to create an oval. Like so. You can rub this side out. We're just going to use the bottom half as a guide. We've got this as a guide to where our highlights and our shadows needs to start blending out. Then we're going to do a bigger circle down here too. This is where the darkest point is going to be. One thing we saw from the example as well is that the bottom part isn't exactly the darkest. The darkest part is just above it. That's because when the light is coming from here it's going here, and then it's bouncing back up, which is called this bottom bit to be a bit lighter. We'll keep that in mind. This top section we're just going to very lightly, because we only want to create a circle here. In the resources, there is a sheet here which can help you with it, which is giving you an understanding when the light is here, this part will be like this, and then gradually it'll get darker, then this bottom section here will be a little bit lighter than the actual darker section. Make sure with the curved objects you want to follow the curve of the shape as opposed to just straight lines because then that will make it more convincing too. What I'm doing now is I'm just going through and I'm blending the values together. Again, following the guides that we put in initially. Now we've got a base. What we want to do is go in and refine it slightly now. You want to start building on this. We've got our shadow. We can add a bit more value to this. We can darken the values just to make it a bit more prominent. What we can do if you want, you can go in with your finger and you can blend this together to make it look a lot more smoother. But again, in case hasn't blending, you follow the curve. This is one good thing about pencil that you can use. You can use your finger and you can blend out. But do be careful because then you do end up with a black finger. Those are two basic shapes that we've shaded. These are the two that are mainly used to create most things whilst you are drawing. Understanding how to light these and how to use light source with these will become very useful. That's the reason why I've chosen these two shapes to do. Some more practice. What I want you to do now is we want to apply the same thing to cylinders, cones. Why don't you pick two light sources, and then I'm going to draw the shapes. I will only need to do small sketches. There's no need to do big ones. I'll be starting off with the cone. Feel free to follow along. This is something that I do want you to get used to. The reason why we keeping it quite repetitive is to instill the concepts that we'll learn in this lesson. Well, what I'm going to be doing is starting off with my cone. There it is. I'm going to have it there as reference. You can also use the references that we created in the previous lesson. But let's just get into it. I'm going to start by drawing my vertical line and then the perpendicular horizontal line. [MUSIC] Let's draw in our lines so we can remove the center line and we can move the back line as well. We saw like say, we're going to have one line there and then one line there. Like I'm doing, there is some guides here. If you do want to shade directly on here, then feel free to do that. Then so this will be the darkest section because right now we're going to have lightened from this section and then we're going to have a slight area where it's going to fade out. What I'm going to do first is I'm just going to go in and shade the middle pen. [MUSIC] As you guys can see, we've got a light coming from this direction. What we're going to do is I'm just going to imagine. My light was on this side so I imagine I'm going off the paper and my light source is here. It's going to be going this way. My shadow is going to be going back there and then you can see the backend of it. It's going to go back here. Now let's draw the same column, but have the light direction going from this side. I'm going to draw a much flatter cone now, just to get an understanding. We've got a much wider cone for this example, just to show you that the same thing can be applied. Like we said, we're going to have a light source coming from this direction. [MUSIC] We've got our cone shaded now. What we're going to do is going to go in and add a cast shadow. My light source for this is definitely coming from this direction over here maybe. I want to do is I'm going to go down, find whether the horizon is. I'm going to go here and then from here, I'm going to find the center point of this circle. Let's say about here. From there to here, I'm going to draw a straight line and then from the light source to the center point line, which is here. This is going to be a long shadow because the light is much lower. Then from here, we find the edge of the circle. Just go in and add our cast shadow like we've done before and because this is a much more harsher transition, the shadow itself is going to be a little more harsher too. [MUSIC] What I'm going to do, is do the exact same for your cylinder as well. We've got a cylinder. We're going to be doing the exact same thing for this. First let's start by drawing our cylinder. Because we've got the light coming from behind it. There's going to be a lot less that's going to be highlighted and a lot more that's going to be in the shadow. All this here is going to be the shadow and then we've got this section here which is going to be the blend between the highlight and the shadow and there is a little bit on the other end. Having a good understanding of how these shapes are formed, how the highlights and the shadows work on them is going to help you massively when you are wanting to create your own concepts. Do go through and experiment with all these different shades because these are the main building blocks of the shapes that we are going to use in the class project with the sketches I'm going to get you to do. Do take your time until you feel like you're ready where you can move on and you're creating consistent highlights shadows, cast shadows with the shapes that you're creating. That wraps it up for this section of this class. We've just covered a bunch of stuff on value. Understanding how to create value, and then how to understand light in order to create a highlight shadows and cast shadows. I hope after going through this whole process of understanding the basics of values going through and adding values to your shapes has given you a much better understanding of how lighting works within drawings in order to give it that realistic effect and that paired with the shapes drawn with perspective, gives the full illusion of a 3D object on a 2D surface. Do take as much time as you want in this section in order to make sure you reinforce the concepts that we've learned in the previous lessons. In the next few lessons we're going to be covering composition. Let's get to it. 15. Balance: In the following few lessons, we'll be talking about composition. In this particular one, we'll be talking about balance. I'll be taking you through what it is, followed by a little demonstration, and then exercise for you to get a better understanding of what balance is. Before we talk about balance, let me give you a quick explanation of what composition means. Composition refers to the way that elements in a drawing, or painting are arranged in relation to one another. The few principles of composition that we'll be covering today will be balance, contrast, and unity. What is balance? Balance refers to the way the elements are arranged on the page. Balance composition can feel stable and harmonious. While an imbalance composition can feel dynamic and tension-filled. There are two main types of balance. You got symmetrical and then asymmetrical. As the name suggests, symmetrical means both sides identical. Then you got asymmetrical where both sides are completely different, but the overall drawing or painting feel balanced. Now for a quick demonstration, I'm going to be taking you through some of the pieces that I've created in the past, and show you how I balance out these images. Right now what I'm going to show you is two types of bonds that you get. You get symmetrical and then you get asymmetrical. Let me show you an example of what symmetrical reverse to. Then I'll show an example of what asymmetrical refers to. For this, I'm going to be using squares which are cut out from the initial warm-up that we did. I've got two squares. What we want to do is going to imagine that there's an imaginary line going right down the middle, which is the line of symmetry. Say we've got two shapes. This is what a symmetrically balanced composition looks like. We've got both sides which are mirroring each other. Even if we do this, the line of symmetry is still, has now moved here. Then say for example if we do this, the line of symmetry is now here. This is what it's referred to a balanced composition. This is used, let's say for example you got a character or an object like right in the middle of your frame, this is what it looks like. Let me show an example of an asymmetrical balance. This is when both sides are still weighted the same. Here for example this is still a balanced composition, but it's just asymmetrically balanced. As you can see, so the way I like to do is the volume on one side should match the volume on the other regardless of what it is. Say this was moved here. Still an asymmetrical way of balancing this composition or this frame. But I thought this would be a nice simple way of showing you what is meant by this. Even this for example this still feel balanced to me. Now for the exercise, what I want you to do is the shapes that we created in the first lesson where we're drawing squares, circles, triangles. I'm going to cut them out, and then we're going to be using them within a square that you draw in order to make it feel balanced. I'll be doing the same so I'll show you how we can go about this. What I want you to do for this exercise is grab yourself some shapes. Some of the shapes that we used in the first one. We'll have some cut out. We'll get some of the shapes that you cut out at the beginning. I've got some triangles over here. Say face off all four triangles. I just want you to have a little play around and try to make it feel balanced. Say this for example putting into one corner, doesn't feel balanced because there's a lot of space and everything seems very heavily weighted. For example say if you play around with it a little bit. That to me, feels very balanced. It doesn't feel too chaotic. There's not many things that are all together on one side, but this for example, this is a asymmetrical way of balancing. I want you to go ahead and I want you to just play around with these shapes, cut yourself a little frame and a piece of paper. Then with these shapes, I just want to have a little play around. We can do a symmetrical one. Just like this, or we can turn them sideways and like this. This is a good way of doing it. I feel because you'd have to commit to drawing to a shape. But this is something to keep in mind. One important thing is that the visual weight of your frame, you want it to feel balanced. Right now, the visual way is much more on the left compared to the right. Whereas if we swap this for another similar sized square. Now both sides are equally weighted, whether it's because like say. If you do this, then you will need two more shapes on the other side to make it feel balanced. It's not always on the side, it's always down the middle. It's just how it feels to you is more of a feeling as opposed to like any rules. Go and have some fun with this. Play around with different compositions. Like I said, if you do need help, do take a picture and place it down below in the project panel where I can give you some feedback. This is balanced, is a very simple overview of what this is. In this lesson, I took you through what it is and how it can be used, followed by a quick demonstration and then exercise which you completed. Like in the previous lessons, if you do want feedback on this, do upload it down below in the project's panel and I'll give you feedback as you are going through this lesson. Also, if you do feel like you have any questions or anything that you want to bring up, do put it down below in the discussions panel where we can talk, and exchange ideas or other students can contribute to. In the next lesson, we will be moving onto contrast. See you there. [MUSIC] 16. Contrast: In this lesson, I'm going to be talking to you about contrast. I'll be taking you through what it is, how it's used and then we'll be following this by a quick demonstration, and then we'll be moving on to a quick exercise to give you a better understanding about this. Let me explain what contrast is. This refers to the way elements in a drawing differ from one another. High contrast can create a strong visual impact, low contrast can create more subtle, understanding effect. You can create contrast in your composition through the use of color, value, shape, or size. Let me explain these a bit more further. We have shape, size, value, and color. Color is something that I've covered in a previous class. But as a brief overview, within color, there's lots of different contrasts, say for example, yellow and purple, those are contrasting colors, and then you've got red and green, and as many other variations in the contrast. Say in this color wheel, for example, everything that's opposite is contrasting colors. Now, let's move on to shapes. Within shapes, the way that things can contrast so, say for example you've got smooth shape or you got a rough shape and then you've got a pointy, jaggedy shape and then you got smooth curved shape. These ways in which shapes can contrast. Now size, the best way to look at this is if you've got a big object or if you've got a small object or you got say two medium ones, lots of small and a big. It's the contrast between the size difference of the shapes or objects within the drawing. Then finally, we've got a value. This is the one that we'll be mainly focusing on. The different ways you can create contrast with your value is to have light sections and dark sections. Similar to what we did in the lighting class where we use the harsh light and the difference between the falloff was a lot more dramatic. This is how you can create a high contrast image compared to with the softer light, this was creating a low contrast image. Now, for the demonstration, let me show you how shape, size and value can all affect the composition whilst playing around with the contrast of all these. Now, for the demonstration, what we're going to be doing is using the same shapes that we did in the previous lesson. But this time we're going to be playing around with the value and the size, because we've already got a variety of shapes, we've got some triangles, we've got some squares. I'm going to show you initially through the paper cutouts and then we're going to be moving onto paper. We're going to be drawing a few compositions too. Let's get to it. It's going to start off with the square. Let me explain contrasts with the cuts the side first. Here's an example of size contrast. They can see this big and the small. This is a very good example of size contrast. Let me show you another example. Here's another example of two different sizes, same shape, but this shows a contrast in size. Let me show an example of shape contrast. Here's an example. Say for example, we've got a smooth round shape, and then on this side, we've got a really jaggedy type of shape. Here's an example of shape contrast. Here we've got smooth and then here we've got sharp. Here's the example of shape contrast. Now, I'll show you an example of high and low contrast for value. Of a high contrast will mean the difference between them is much greater. Say for example, we add two shapes. This is an example of high contrast. Whereas if we had low contrast, so this would be an example of low contrast. The difference between the values isn't that much. You can see the difference of high contrast and low contrast. I'm going to do now is, have fresh piece of paper. I want to go in and asked me to draw some shapes, just have some fun. I want to draw some shapes to create off a little frame. I want to draw some shapes in order to make it feel balanced. For this, what we're going to do is go into imagining that we're drawing something with a subject. Subject being the main focal point of the drawing. I'm just going to draw a very simple person just to communicate the concept. I need you to follow me as I'm doing this. Creates a very simple character. Right now in itself that feels pretty balanced with regards to what we learned in the previous lesson. For now, I'm going to create some contrast, I want to make sure the contrast. What we're going to do, we're going to pretend he's wearing a hat. Let's create a high contrast. We're going to create a dark hat, and for the shape as well, we're going to make the sharp contrast, we're going to make the hat pointy like so. We've got contrast between the sharp and the rounded. With regards to size, we're going to make his hat much bigger. We've got the contrast between the hat and the face with sharp edges and smooth edges. We've incorporate size with the big and small, we've got shape, and we've got a value. There's a lot of darkness in the top half. We need to add little pockets of darkness in the bottom to make the whole image feel balanced. With this, we can go in and add some arms. It's very simple. This is just to communicate the concept. We can give him some shaded arms. [MUSIC] You can see between here, there's not much contrast between these two shapes. Imagine we gave him a beard. The lesson itself feels pretty balanced with regards to shape this balance, and then with regards to contrast, we've got contrast in shapes, we've got contrast in values, and then we've got contrast in size. For the exercise that I want you to take part in this lesson will be similar to what we just did in the demonstration but I want you to draw the shapes. I'm going to draw a big, small, smooth, jagged and then shade them in with the different values to try create the balance that we learned in the previous lesson, but then also the contrast of jaggedy and sharp and then smooth around with light and dark values in order to create that contrast, which is fall fully balanced practicing what we learned in this lesson and in the previous lesson too. Just using basic shapes to start off, and as soon as you draw a shape, just anywhere. I'm going to start off with say a triangle just anywhere. Now, what I want you to do is to go in and fill that frame with other shapes with bear in mind the shape, the size, and the value. Obviously, there's three different frames and now I want you to go ahead and try to make all these three feel balanced with the information they learned the previous lesson. But then also, I want you to give it some contrast. [MUSIC] This is what I've created. Again, I was just going off the top of my hat, but it does work like this when you are drawing and when you are trying to create a good composition, you generally have one thing that you're going to try to focus on and then you can incorporate other things around it. This is good practice just to get used to, so if you do feel like your illustration or the thing that you're drawing, it doesn't feel balanced, then you can go in and add extra elements to make it feel balanced whilst having contrast too. That was it for contrast, spend some time getting used to this concept before you do move on. Just get yourself familiar with how you can create contrast within your drawings. Contrast is a really important part whilst learning to draw as it allows you to create depth within your drawings. In the next lesson, we'll be moving on to the last part of composition, which is unity. I'll see you there. 17. Unity: Finally, let's talk about unity. Unity refers to the way elements within a drawing or painting work together in order to create a cohesive whole. A unified composition can feel harmonious and cohesive, whereas a disjointed composition can feel chaotic and disconnected. You can create unity within your drawing by using these three elements. We've got proximity, alignment, and repetition. So let me explain alignment, repetition, and proximity in a bit more depth to give you a better understanding. I'll be showing you how I'll be doing this in the demonstration. Do feel free to follow along, if not, watch what I'm doing, and then once I've completed it, you can have a go at this too. Let me just run through proximity, repetition, and alignment with you. Proximity, like I said, refers to how close objects are together. This is what you call proximity. Having a lot of things close together. Secondly, we have repetition. This could be in the form of using the same shape. Say you're building something up with a bunch of shapes which are the same. This repetition arts use it in my illustrations. When I'm creating, say, a bunch of bushes or foliage, this is how I like to use it in my illustrations. Then finally, we have got alignment. This refers to having objects in the page, so much like what we did in the first example. Having things aligned. Right now with the edge of this, I'm lining things up and then say, bigger square in the corner by lining everything up. So as you can see, there's like an invisible line lining those two up, and then there's an invisible line lining that up and then same there and then same again there. So this is what is referred to when I'm talking about alignment. This is something to take in mind. I'm going to show you a few examples now of how you can incorporate these into your work in order to make the whole composition work well together and feel unified. Here's an example of something I like to do. Talking about repetition when I'm creating my bushes I like to use nice big flowy lines, and then even some of the things coming off them. I had to keep them all quite repetitive as well. This is one way that you can incorporate. Even like sometimes I just like to add a random pattern into my work. This is a way of keeping it repetitive. Secondly, so say unity. So as you can see here, all the foliage is here together, keeping these all in the same place elsewhere. The proximity. [MUSIC] Again, here's me using repetitiveness in order to make it feel nice and unified. Show you another example. Let's say I was drawing a little egg with a face. So one way that I can make this repetitive is to include other similar shapes or other similar features. So say it could be a bunch of little eggs, and then say, with regards to proximity up all the eggs together, even to maintain the nice smooth shapes, I could do a bunch of clouds which are made up of cycles too. Again, this is another way of keeping the full composition nice and unified. Now with regards to alignment, I cut out a little bush lining up with the bottom of the egg, just again to make that whole thing feel like it's working together in unison. I'd like you to go in and now practice this, play around, just draw. You can draw anything simple there. You can draw just say a leaf, and then you can go in and fill the remaining, and so you can go in. Just have a little play around with this concept. Remember the three main ones are proximity, repetition, and alignment. Here's a little tip that I like to use before actually going in and drawing the full drawing is to really pay attention and keep in mind and make a conscious decision to include repetitive elements, whether that's the shape of things, the way that things are aligned, or how close things are to each other. This is something that allows my drawings feel unified before I get further into the sketch. That's it for unity and all the composition lessons that we've just covered. In this lesson, I went through unity, what it is and the three elements which are proximity, alignment, and repetition, which you can use within your drawings whilst creating your work. We went through a little demonstration, followed by an exercise which you took part in, and like previously, do upload it down below if you want feedback on this particular part of this class. I will be providing feedback once you do upload it down below in the project panel. The three composition lessons that we have covered can take some time to get your head around. So do your practice. If you do feel you want to watch the previous ones again and then take this one again. Do feel free to do that as it can take some time just to get used to understanding what it means by balanced, contrast, and unity. That's it for this section of the class. We just covered the composition. In the next lesson, we're going to be going into the class project where we'll be applying everything we've learned from prospective, value, and composition, and you'll be creating your own drawing from this. 18. Class Project: Welcome to the class project. What we're going to be doing is we're going to be using everything that we've learned so far, so the perspective, the value, and the composition in order to create four drawings. These are going to be nice and simple drawings in order to get used to the process that I like to use. I'm going to be starting off by prospective and visualizing the object that we are going to be drawing on the page, and then we're going to use composition to making sure it's balanced and there's enough unity between all the elements on the page. Then to create contrast, we're going to be adding value to the full drawing by selecting a light source using the knowledge and the information that we learned in the lighting section of this class in order to add the values in the correct place, adding contrast too. This is going to be great for you as understand this process of how to visualize something before you start drawing, and then seeing it slowly coming together is going to be really great for all the new projects and new drawings that you'll be doing in the future. All we'll be doing is we've got four prompts in which we'll be working through each one slowly in order to get you used to the whole process. The process breakdown I like to use is a 10-step process, which I'll be going through each one step-by-step. Let me just give you a quick overview of what these 10 steps are. Firstly, we're going to decide what we want to feel and how I want to look before we start drawing. Secondly, we breakdown what we're drawing into a simple component such as a cylinder, a cube. Then we'd like to start drawing. So we're drawing the basic shapes. Once you've drawn the basic shapes and the framing, let's go in and add some details. Then fifth, add some other elements to make it feel balance and making sure the whole drawing feels unified. Now what I like to do is to choose a light source. Then what we'll be doing is using the reference images which we created in the lighting class to use this as a guide of how we're going to light and add values to this drawing. Then what we're doing is adding in the basic values, but deciding where the highlights and the shadows should be. I'll go in and add a cast shadow. Then finally, I would like to finish off with some detail. This is an overview of the steps I will be taking in order to make sure we go from the idea to the drawing. Let's just get straight into it. The four prompts that we're going to be using for this lesson, we have, firstly, a mushroom, we've got a block of cheese, we've got an ice-cream and an ice cream cone, and then we finally ending with a cactus. The reason why I've chosen these is because these are very simple things which are made up of very simple shapes which are covered in this lesson. I'm going to split this piece paper up into four, and then we're going to draw all four on this piece of paper. I split my piece of paper up. What we're doing is going to go through each one, I'm going to walk you through all the 10 steps, which I discussed in the intro, I'm going to show you how I apply this to the drawing. I'm going start off firstly with the mushroom. In my head what I'm thinking about, is with a mushroom, it's made up of two shapes. Two main shapes you've got, so you've got a cylinder which makes up the stalk, and then you've got a sphere which is quite in half. This is the basic breakdown of a mushroom. What I'm going to be doing now is I'm going to be drawing this with this understanding. First, I need to decide where I want the mushroom to be. So do I want to be looking down on it, I don't want to be looking up, I don't want it to be straight ahead. For this, I want to be looking up at the mushrooms. Taking in mind what we learned in perspective lesson, when we're looking up at something, we need the vertical lines to be converging to give the illusion that we're looking up at this mushroom. I'm going to do first, I'm going to start by putting in a center line. Now I'm going to do is drawing lines either side to make it look like it's converging. I'm just putting in some guides. Remember, turn your page as you're drawing these straight lines. These guides just have to be light because as we building upon this we'll be adding more and more details. But don't worry too much about making it really dark initially. The second thing that we learned was the further from the horizon line that we are, the more open the oval is. I'm going to go ahead and draw myself an oval. Because we're looking up, I want this to be the ground. I'm not going to close that side. Now for this section of the mushroom. So if we think about it, is there, I'm going to start by drawing a big circle and then what we learned in the mush lesson, where we broke down the shape. We're going to use the INR to cut the shape in half. I'm happy with that. Good thing with the mushroom is it's not completely round on top, so it doesn't matter if the circle isn't perfect for this. Now what we're going to do is going to draw a center line, so this is where the mushroom will interact. Now what I'm going to do is using this shape, but imagine I'm scaling it up and enlarging it. Now we have a very basic guide built-in. I'm going to do now is go in and start drawing in a little bit more detail to build out the mushroom. I know this is a stock, with a mushroom it doesn't really have to be super smooth. This is where your imagination creep in, but this is just a guide or the skeleton. As we talked about in the initial part of this lesson, where we need to have strong skeleton in order for our drawings to make sense. I'm going to go in and make it a little bit more clearer. That we have very basic shape of the mushroom. What we're going to do now is I'm going to go in and start adding some other elements before I start filling in the details on the volumes in this mushroom. Because we're looking up at the mushroom, the ground isn't going to be visible as much. But also because all the other lines are converging upwards, what we want to do is add a little bit more detail around the outside to emphasize that fact that we're looking up. Because of that, all the vertical lines will be like this. I'm going to go in and add in some rough shapes. As you can see just by the learning that we did in this lesson, we bear to capture and create something quite dynamic just by using three-point perspective, basic shapes, and just basic understanding of how the lines converge. Now we've got a very good skeleton, what we're going to do now is I'm going to choose our light source. Before this, I'm still going to go in and clean up the sketch a little. There we have our sketch. Now I'm going to choose a light source. In our example, there was one where we, the light source coming in from the top-left. Because of this, using the reference images that we created in the first lesson, so from the cylinder and the sphere, what we're going to do is going to use this as reference in order to add value to this. From the reference images, we know at this section here, I'm just going to do some very faint lines. This section here will be really light, this section here will be dark, and this will be the transition between the two values and then with this sphere, it looked like there was a curve for where the light would be. This section here would all be light, and then this section would be dark, and then it'd be a slight light bit on this side here. Now I'm just going to go ahead and add the values. Now what we're going to do is because the mushroom, the bottom section of it, we're going to create a little lip. Then because it's going to be quite dark, because the light is coming from above, but it's going to go ahead and create an extremely dark folly on the inside of this mushroom. Our very basic. We've got the very basic values added to this mushroom. Now what I'm going to do is just add a little bit more detail to the shadows, darkening certain areas, and then leaving certain areas white. One thing to bear in mind is because the light is coming from here, this section of the mushroom is going to be casting a shadow on the stock as the light won't pass until it gets around here. This section here would all be in shadow as well. I'm going to go in and add a slightly darker value here and not end with some final details with this act, with extra details I put on the side, I'm just going to go in, add some details to this. Feel free to add any other details. You can add a moon, you can add some stars. That's mushroom. What we're going to do now is move on to a block of cheese. This block of cheese first, like we said before, we decide how do want those blocker teeth to look? Do you want to be looking down at it? Do you want to be looking straight ahead? Do you want it looking to the right or the left? For this one we're going to be looking down on the block of cheese. For this, we need to create ourselves a cube, and then from that we'll build the block of cheese within that cube. It's a lot what we learned previously. We want both the lines to be converging on either side. Now we've got our cube, what I'm going to be doing now is building the same. With the block of cheese, I want it to be a 3D triangle. This section here, I'm going to keep full. Normally, there's a slight round because it's generally cut from a cheese wheel, and then this section down here, it's going to be pointy. Then same for this section. This size can be pointy and then, so is this something I've drawn these two lines together. There we go, we can see the block of cheese and slowly coming together. What we're going to do now is just add a little bit more detail, some a few holes just to make it a little bit interesting. I'm happy with that. Before I go further, I'm just going to remove the guidelines of the cube, but just so I can see the block of cheese a lot more clearer. That's our block of cheese. Now we need to decide on where I want the light source to come from? For this, I'm going to have the light source coming in from this direction. Because we can only see two faces, this one's going to be a lot more simpler. This section is going to be lighter, and then this section is going to be in the shade because the light is coming from here. I'm just going to go in and shade this while leaving the circles a little open. Wham I'm going to do, I'm going to darken this top section just to make the line between the two edges stand out a lot more. That's that. Now what I'm going to do is let's add some detail by making the holes a lot darker. Because the hole is going that way, this section of the hole is going to be a lot darker than this section, so I'm going to create a slight gradient. [MUSIC] [inaudible] is going to make this side a little bit more darker and increase the contrast on this side by making the values a little darker too. Because the light is coming from this section, we're going to have this side of the cheese a lot more darker compared to this side. That's why it's convincing, let's go in and add our cast shadow. Because we have light coming in from this side, I would say it's going to be a lot further off the page. If you imagine it, there's going to be a line coming up. So I'm going to make this quiet, soft shadow because we've created a low-contrast image here, so I'm going to make this section dark, and then I have it fade out gradually. [MUSIC] We have the block of cheese. The next one is going to be an ice cream cone. To break this down, we have two simple shapes. Again, we've got a cone, and we've got a sphere. Let's go in and build the shapes. For this one, I want to be looking down at the ice cream. Let's go in and start building this. Again, like before, we're going to go in and add a center lining. I'm going to start by drawing the cone. Because we're going to be looking down at it, we're going to be able to see the top face. I'm going to add in a perpendicular line first, for where I want the top of the cone to be. Because it is a cone, both lines are going to converge to a point. Now let's draw the top face of the cone. Now for the ice cream itself. Because we're looking down on it. Actually, firstly, I want this to be a little bit more wider because we're looking down on this cone. Because an ice cream isn't perfectly spherical, it doesn't matter about this. It's just matter of drawing in the skeleton before you can start adding in the detail. I'm quite happy with the way this looks. Let's go in and let's start adding a few more details to the shapes. For the cone, I'm going to keep it quite jagged for the ice cream. Because we're looking down, the ice cream will take over the top face of the cone. We're not going to see much of that. What I've done is I've caught myself up a reference image here just to give myself a little bit more detail to work with when adding shading to this ice cream. It's going to be quite wobbly. It seems like there's these little tufts that come off. That is our basic shape. Now let's go in and pick our light source. I'm going on my light source coming in from this top-left-hand corner. Based on the reference images that we created in the lighting demo, let's use that, and let's mark in some guides. With this, we're not trying to create perfectly realistic images. What we're trying to, is to get used to understanding how we can visualize something, and then from that we can break it down into simple steps of the perspective that simple shapes and then add enough value to make it look convincing. Because this ice cream is over-the cone, it's going to be a shadow from this cone as well. I'm going to have that there. This is all good things to bear in mind. Imagine something is on top of something; what will happen to the object below it? The ice cream. I'm going to have this section here, which is darker. Because the ice cream is a lot lighter, I've gone for vanilla. The values in itself will be quite lighter compared to the cone. This is the darkest, I'm going to go. Good thing with this because it is ice cream. It doesn't have to be perfect, as it was going to be shapes are in there. I'm going to do, I'm going to go in and give us a little smudge. Now for this bottom section, because I've got a light source coming hair, this section here is going to be quite light, but then after this it's going to fall off. Now what we can do is we can go in and add a little bit of detail at some little swirls, going to add some chocolate chips if you want. Remember, we're not trying to create a perfect sketch here. We're just learning how to draw. These little things here is important as we are trying to build up the sketch step-by-step. If you are wanting to do a cast shadow, is going to come down here, so light source is going to be here, so then we again would have to break this down into its shapes. Ice cream is going to be way off here. But for the cone, we can add in a slight shadow for that. If you want, you can go in and add a little bit of detail to the cone, will have. That is our ice cream, and now we're going to move on to the final one, which is the cactus. So now for the cactus, what I've done is, again, I've got myself a reference image just to understand how the cactus looks. Let's go in and build it. First I want to start with a plump up. This is just a cylinder. Again, I'll be looking somewhat little bit down on this. Let's get into it. I'm going to start by drawing my center line. Now we have our basic shape for the cactus. Now let's go in and add some details. Now the ordering of the detail, let's go in and add some value. Like in the lighting class, we're going to have for the light coming in from this direction this time and using the reference images that we created in the lighting dimmer when you use this in order to light this. [MUSIC] Now we have the basic cactus, now we can go in and add some details like the spikes and then we'll go in and add cast shadow. Because we've got light coming this side. I'm going to have the shadow on this side. Remember in the reference images, as you can see here, the shadow goes outwards, so we're going to have it go into the side, but slightly out. Just like so. Here we have our four drawings which we've created based on all the information that we've learned in this class, you take as much time as you need with this. As you may thought that it was quite quick of me, but this is something like I've been doing for a while. Then getting used to visualizing and if you can't get yourself some shapes, then please do because these do come in handy. Just trying to understand form, how you can make more complex shapes and more drawings out of just very simple pre-shapes. Do go in, take as much time you want to pause after each one, please do. Then we'll meet again at the end. There you have it. We've gone through the whole class and you've created yourself four drawings which you can practice, you can do further. You can post to social media. You can do whatever you want with it. But you've got four drawings which you did all by yourself. In the next lesson, I'll be going through what you can do next in order to keep progressing yourself, in order to get your drawing better. [MUSIC] 19. Next Steps: [MUSIC] Now that you have all your drawings you may be wondering, I want to progress with this, I'm doing more, I want more problems, I want more of this more that. What I will be covering in this lesson is how you can continue the elements that we learned on the subjects that we learned in this class and how you can keep using this and draw more things to get yourself better and better yourself at drawing. There will be two main things that I want you to do in order to keep progressing yourself. The first one is we're going to be leaving a bunch of prompts which we will see shortly which you can learn to draw. You can use this object from around your house. You can use references from like say Google or Pinterest in order to start drawing these. But the main thing with these prompts is to visualize it, use the prospective, add in the detail and then add the values. Again using reference images or if the objects in front of you say for example you've got an object that you do want to draw you can do the same with that. First you plan out, try to figure out the perspective and then adding the basic shapes and then fill in the detail and then go in and add the value to. Secondly, what I'd like you to do is to be a lot more observant of the environment around you. Have a look at how lights falling on objects. Look at how the shadows and the highlights are. Say for example if you see say a pen just lying around see what's happening to it. If you put on your desk what's happening to it? How's the shadow effected? Whereabouts to the light source? Have a look at all these things and try to understand this because the more that you get a better understanding of how light falls on objects the more you belch incorporate this into your drawings and your illustrations to make them look more realistic. Then in the future you won't need reference images to look too because you're already understand if the light is up here, the shadow would be here. If the shadow is closer the highlight will be more intense. This is something I use in my illustrations where I add an additional light source whether there's say a character is holding something that's glowing and how that glow is going to light the character. This is something that you will get better at the more that you just practice and the more that you observe around you. One thing I do actually when I'm watching animated films or even just general films I like to look at the lighting in there to see how the character or certain objects are lit and then incorporate that into my own drawings. Like mentioned, there will be a bunch of prompts that will be giving you now. You can go through and draw these unlike previously. Once you have drawn these do link them down below in the project panel so I can have a look and write the prompt that you use to so I can see how you did it. [MUSIC] One thing I recommend is take pictures of the process so draw your grid at the basic shapes, at the details and then put them down below project panel so that I can get an understanding of how you constructed the drawing that you worked. In the next lesson I'm going to wrap up this whole class. I'll see you there. 20. Conclusion: Congratulations on completing this class on The Fundamentals of How to Start Drawing. In this class, we haven't covered a lot, so do take your time if you do want to go back to the previous lessons and practice any of the concepts that we learned. And like I mentioned a few times, all the concepts in this class will take some time to learn, but getting yourself used to it by practicing often will help you to get there a lot quicker. As a quick recap, we started off with a warm-up getting used to drawing straight lines and ovals before moving on to creating 2D shapes. After that, then we went into the perspectives, the three different types, the one, two, and three-point perspective, where we exploit vanishing points and how to use these in order to create the shapes in our atmosphere. After that, then we moved on to values, where I gave you an introduction of how you can create values without shading, hatching, or crosshatching. Then after that, then we went on to understand how lighting works by the demonstrations of showing you how intense light and soft light affect the shadows on objects. And then after that, then we moved on to composition, where we looked at contrast, balance, and unity. And then to end all this, we wrapped it all up, applying all the things that we learned into four sketches. If there's one key takeaway that I hope you got from this class was I hope you got a better understanding of how you can visualize anything that you want to draw, as I feel like this is the part that people struggle with. When you try to draw something, you don't know how to start it. So through the use of perspective grids that we've covered in this class, I hope this gives you a better understanding of how you can start your drawing. I cannot wait to see the drawings that you created and all the progress that you've made over this class too. Do feel free to upload down to our projects panel where I can give you feedback, and like I said in the previous lessons, do feel free to upload any of the progress ones too, so I can give you feedback on this where it's a contrast, perspective, balance, or any other concepts that we learned in this lesson. Whether this is your first time drawing or you've been drawing for a while and you just want me to polish up your skills, being able to draw is such an important thing, especially if you want to convey ideas, messages, or even if you just want to express yourself creatively. Now with the skills that you've acquired during this class, I hope it gives you the confidence to go out and start to draw things that you've been imagining, or just even things around you just to better yourself with the foundation that you've built. If you did find this class helpful, I would appreciate it if you could leave a review down below, just so other students know what to expect before taking this class. I wish you all the best and stay creative. I'll see you soon. Bye. [MUSIC]