Shading Techniques: Basics & Practice | Jasmina Susak | Skillshare

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Shading Techniques: Basics & Practice

teacher avatar Jasmina Susak, Pencil Artist

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (4h 13m)
    • 1. Intro

    • 2. Tools

    • 3. What is Gredient transition

    • 4. Creating the gradient transition the first method (cylinder)

    • 5. Creating the gradient transition the second method (flower)

    • 6. Creating the gradient transition the third method (sphere)

    • 7. The Circulism Technique

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

    • 9. How to Draw Droplets on a leaf

    • 10. How to Draw a Rose - Part 1

    • 11. How to Draw a Rose - Part 2

    • 12. How to Draw a Coconut - Part 1

    • 13. How to Draw a Coconut - Part 2

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About This Class

Hi everyone!

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

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

I'd like to see you in my class.



Meet Your Teacher

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Jasmina Susak

Pencil Artist


My name is Jasmina Susak. I am a self-taught, graphite and colored pencil artist, author of many how-to-draw books and eBooks, innovator and art teacher.

I want to share my drawing skills with anyone who wants to draw because I am convinced that everyone is able to draw; only patience, right guidance, and inspiration is needed.

Take my classes, get inspired and enjoy learning!


YouTube    Facebook   Instagram   DeviantArt   PenPick   Patreon





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1. Intro: 2. Tools: Hey guys, it's Jasmine. Thank you so much for joining me. Let's get started with materials. And we'll be using this paper by for brand of Bristol because it's very thick and smooth and really good paper. I'll be using Castile 9 thousand buy fabric Castile graphite bound tools, blending, stump, and Q tips for blending. And this eraser in pencil also buy fabric Castile, then drawing compass. 3. What is Gredient transition: So let's talk about gradient transition or a smooth gradient. So what is gradient transition? In brief, gradient transition is when two different Don's flow into each other flawlessly. So here we have two different dawns. And this is not a gradient transition. This is not a gradient transition because as you can see, we have a clear edge between them. Two different dance. And as I mentioned, we need to make them flow into each other flawlessly. So something like this. 4. Creating the gradient transition the first method (cylinder): So let me demonstrate to you three different ways to achieving gradient transition. So the first thing is to create the shapes of the cylinders. I want to shade cylinders. I just wanted to make the width of this roller, which is about four centimeters or one inch and a half. And I want to make three cylinders. Because I want to make three kinds of shading. I'm going to use different light sources. Now we can make the upper and the bottom areas like this just draw an ellipse, elliptical shape here like this. It doesn't have to be perfect, which is not important NOW. Here, like this. And here in the lower area, we can just draw the lower part of it like this. Okay? Something like this. And let's call them this one a sidelight. And this one to satellite. And this one from light, like this. Ok, so this means that we have here the light source that is coming from the left or the right side. In the middle we have the light source that is coming from the left and right sides. And a third example is when the light source is coming from our point of view. I'm not going to create one with the light source coming from the top and the bottom because they wouldn't change anything here on the side parts of the cylinder. So I'm just going to shade this. Offer areas just like this with an H B, but you don't have to. This is not important. I just wanted to give it some shape because I don't want it to stay white. Let me just to blend it with a Q-Tip. So these areas are not important here because these are flat and we can't create Grandin transition here. So I want my light source here to come from the left side. So here I want to shade on the right side and I am starting with the beep mental and oppress Bihar. And I'm seeing the side and actually I'm leaving out to about one millimeter thick edge for the reflected lights because I should be quiet, lighter than the shade, this shade. Okay. And now I'm going towards the left side, releasing the pressure, my rental. And I'm going to continue using lighter dawns, lighter and lighter in order to achieve that smooth gradient. So if my light source was coming from the left side, this right side wouldn't get much light. And that's why I'm shading it with a very dark mantel. And now I start releasing the pressure. Might be bento Cyprus less and less as I shape. There is a left side. So you can now either start using the lighter one, which is the next one, like an h b for example. Or you can still use the same pencil and press less and less. Okay, so here we have two satellite where the light source is coming from left and right sides, which means that the darker area will be here in the middle, like this. And the left and the right size of the cylinder would be eliminated. And that's why we start here. Some still using a pencil. And you can practice them one-by-one. I just wanted to show you the same pencil were to apply. This one to start with the darkest parts like this. And then to use lighter and lighter shades. And also the same here. In the middle, you press harder and then you just lessen the pressure. Asu, shade away from the center. Like this. And the third cylinder has a front light, which means that the left and right sides next to the edge will be darkest. And they will become lighter and lighter shade towards the center. Because the light source is coming from our point of view. And it is so-called front flight. And here also pressed hard next to the edge. And then just release the pressure as you draw in words, cylinder. And I'm still using beat dental. And now I pressed less and less. And here's Sam underwrite side like this. Of course this is just the practice. You don't have to to Chez next to the edge to carefully, it is not important here. So here also we pressed very hard and we just press less and less as we move away from the edge. Okay? Okay, so the next, the next slider pencil, lighter than beam pencil is an age v. You can use an HB or an F. I'm going to use an HB next to this shade. And I just continue over this 1 second donation to this one. In this case, there is a left side. So here just tried to make it lighter and lighter. It doesn't matter which pencils you use. You can achieve that. Even with an F pencil or an age. It's all about applying the right pressure in the right place. Okay? So don't worry if it doesn't look smooth as you can see, my doesn't look smooth or going to blend it. So for now we're focusing on creating lighter and lighter dance. So here you can start using HB. Okay, and same goes here next to the B. Continued towards the left and right sides using force and also releasing the pressure OSU, shade away from the area. And try to make the left and the right vertical halfs, half of these cylinders, same to me, they're vertical halves, symmetrical like this as much as possible. Ok, and now here, I'm still using an HB second-generation to the b area, and I just want to shade it towards the center. Also lessening the pressure from both sides. Okay. So now if we use the HB, The next one can be an F dental or an H venter. I'm going to use 2h and to press a bit harder next to HB, and also to release the pressure as a shaped away from it. But you can use more lentils in between. If you want. And edges1 here to fill in the rest of the cylinder. And I want to leave white areas. And as I mentioned, I pressed harder here. And of course less and less as I approach the left edge of this cylinder. Just like this. And now we can actually feel in this edge that we have left on botched for the reflected light. So this also should stay white. So even if there are no light source found on the right side, there will be some reflected light on this edge from the object or anything. And here I'm just going to fill the rest of the left and right sides. And same here I'm pressing harder next to the HB area. And less and less as I'm heading towards the edges. And here also we can just shade this area completely. And same here with press harder next to the HB and reader disrupt derivatives, the pressure on our rental. As we shape there is the center. And this is the point of creating gradient transition between these shades. But we're going to blend it and eventually to dark and something or to erase if necessary. So often blinding, the shapes will change. Sometimes they become darker, sometime become lighter. Okay. Okay, and now let's blend it all with the tissue. And I always start over the highlighted areas and I'm using circular motions and press very hard psi star here or the lighter part and the left side. And I go towards the darkest areas like this. And you can see how it looks smooth now and looks much better and will start to blend or the dark areas first because you can apply data graph Iowa to highlight or just look for some clean part of the tissue. And just use a new tissue for the highlights. Same here. I just want to erase a bit like this. I just want to create here to shade more with an eight. I still feel that the edge is visible between these values. The edges visible and just want to improve, I would just want to make it more followers, followers. So this transition is not flawless enough if we see the edges between the dawns. 5. Creating the gradient transition the second method (flower): Okay, let me show you another way of grading gradient transition. I just want to draw a floor, just the outline of the flower. Like this. You will find this drawing attached and you can download it and bring it over and shade over eight. But I think this is pretty simple to draw. And it doesn't take a long time, just like this. So this petals are not done important. Okay, something like this. And I want to create a gradient transition differently by starting here, by drawing the strokes like this. And I'm using an HB pencil here and I press hard here over the top and I just release the pressure. I slowly lift up, deleted my pencil in order to create lighter. And here in the middle, the length of the battle like this, you're going to see each stroke gradually disappears into the paper. Because I slyly liftoff the leader until I finish them like this. And just go from the top to Midway like this. And just less than the pressure as we finish each stroke. And here next to the top, you can increase some shorter lines. But I think we're going to use some darker pencil later. We'll see. And let's do the same with the rest of the petals. So just patiently and press harder or the top. Okay, let me show you how I'm doing this from different angle. Psi plated default my pencil and I lift it up like this to slow motion, but I'm doing this brief fast actually. As you can see, this is the way of creating these strokes that will gradually disappear into the paper. And it will create that smooth gradient. It can be even closer to the top and depends on the floor shape. But let's make it simple this time. And next time we can try to create a highlight very close to the top. So again here in the top price harder, more heavily and just lift off the pencil as you finish the lines. So now it can do the same with the rest of the battles. Okay? Okay, so I have one more battle here. Okay? Okay, now we can do the same, but starting here. And also here we press harder. And just the liftoff, the pencil tip, you approach the middle or the battle like this. So 1 third parallel like this. You can see it already got some kinda more three-dimensional shape. Looks like shiny. Same here. So this is the same thing that we did in the previous step, but we're approaching highlight from the opposite direction. Like this and just take your time. You don't have to do this to do it this fast. Okay? And like this just lived off the pencil slyly. So as you can see, it looks it doesn't look, fly it anymore. I said this florida doesn't have to be perfect. For sake of practicing smooth gradient. Like this. Almost done with this step. Okay? Now since so I don't want to leave it white, I just want to shade at this highlighted area too, and I'm using it to age as a concatenation to this age be areas. And I started lines or the HB areas. And same here. I just press harder over the HB areas and i less than the pressure as I draw over the highlight, I just lift off to lead the pencil just the way I showed you. So the same. Just go over to age b. And I finished the strokes you're already highlight. Like this. Such as goal bravely already highlighted so you can see it's still pretty bright. But they're not white anymore. And we're going to do the same with the rest of the petals to push the highlights from both sides. First I want from the center of the flower. So same. I want to repeat myself. Just do the same. Ok. And now I just want to blend it all starting here or the highlights and amusing Q-Tip. Select this edge e star where the highlights you see it becomes a bit darker. And just try always to use a clean part of it. Q-tip For the highlight. I am using a Q-tip here because the tissue is still big, doesn't allow me to shape small areas. And the blending stump is somehow too small for guess. Passages. Perfect for this. And of course we can go over the dark areas, swell to smooth out all that we do. Now I just want to erase what I have shaded around to make it a little better. Somebody is sharp. Other edges, it looks better. I have to clean the tip of my pencil eraser. I have this brush for makeup that I use to eliminate the dust and very practical, so we shouldn't Dutch paper with our fingers. Okay, and I'm just going to apply more of the beat dental here in the very beginning of the battle. The inner area like this. Because as I mentioned already, we will always lighten up to areas with blending. After blinding, it will be always brighter. And here also in the top. Go all around. So as I mentioned, you should practice days, every day to acquire this, these techniques. Because it's very simple for beginners. So you can try different shapes of flowers or any order object. 6. Creating the gradient transition the third method (sphere): Alright, and let me show you my way of shading the sphere as the way I always shade it. I want to create a circle on a separate piece of paper like this. Okay? And now let's cut this circle out. Just scissors. So this inner area is not important. You can cut through it. But here it carefully. Because we need to preserve the perfectly round shape. Found this way of shading when I was learning self-doubt and hours always experimenting with techniques and try to figure out how to do something, how to create the things. Okay, so now we have to place this piece of paper or our drawing paper. And I want to use a graphic barter. And I dig tissue into graphite powder. And I just dusted off a bit and I start shading here next to the edge, actually over this separate piece of paper, n of n. Then I go little by little. I go over the, the area of the sphere. So we have to press more often to shade more often and to shade it to press harder over the edge to sphere. And then we just less than the pressure as we shade inwards. And I have imagined my light source coming from the top left corner. That's why I want to shade this Lara right-side. Much stronger like this. And now we can go all around it. Just a shade it all around. That are implied here don't apply to much of the graphite. So it should be much lighter. And particularly here we had to leave 1 or so to say dot to make it look shiny. And just apply circle or motions like this. Just like this. And you will see how smooth texture is that you can create this way. I think this is the best way of grading it. Now you can see it started looking. It starts looking like a sphere. So you don't have to use any pencil. Just a graphite powder and to control the pressure. So you can see it already has around shape. And this is a very good way of shading. For example, human skin. So many surfaces and textures. Okay, and now when I remove this piece of paper, I get something like this as an integrate. So we don't have any lines here in this image only shades. Now you can even erase bit here if you want to make it like more shiny. And I just want to eliminate this dust. Okay, so the next thing that I want to show you is just take this piece of paper that you got off of, that separate piece of paper in place over the sphere like this. And now we can click on a gas, the shadow, the shadow cast by the sphere or the table or so. And same here to score the edge like this and use circular motion like this. And then little by little, go away from the sphere. A biggest the cache arrow should be the stronger, the darkest next to the sphere. And then it should become lighter and lighter. And then it should be, should disappear into the paper. That's why we have to breast less and less and to apply less and less graphite as we shade away from the sphere. So here we're talking about gradient transition, not only in the sphere but also out of the sphere. So something like this. Okay. You can see now I have left is at its kinda reflected light. But I wanted to shade it. Also flux too bright, such as go over it with a tissue with the graphite powder in it like this. So this is a very good practice. You can apply this technique for so many textures. And now you can even draw over this. Okay, that's it. I hope that you will create something similar and I hope that you will show it to me. I'd like to see how you have created it. 7. The Circulism Technique: So this circle ism is basically means that applying tiny or even bigger overlapping circles like this, I'm just making it big, very big like this to make you understand better. So this is the way we are and we have to apply until you just go all around like this and create overlapping circles like this. Okay, so let's create a sample with a pencil. But here I'm going to create a very tiny, tiny overlapping circles like this. Then it very fast, but you don't, you just take your time and practice this until you acquire this, these techniques. I also recommend here using a block around mental because it will allow you to cover the areas faster and the texture will be more smooth. Okay, so here tried to apply the same pressure. And of course, unless you want to create that gradient transmission with the circle is and then you also just less than the pressure. On your pencil. Here. You can see that it doesn't look too smooth, but we're going to blend it. Here. It is important to apply the pencil evenly. So if we draw it, draw lines or cross hatches, it will be visible. And now let's, let me show with an HIV. So the same here. Just tiny overlapping circles lying the same pressure everywhere and just go over them again and again. Until you feel feelings of the paper. And until those white dots of the paper disappear. Okay, and now one, same here, tiny overlapping circles. Let's do one does with a six. And now what I want you to do is just to blend it with a tissue. Just go over it and pressed very hard. And also uses circular motions and you can see how it looks smooth now. And now let's blend this one, H B. And I can see all those imperfections disappeared. Of course it's still not perfect, but and now let's blend with this 2h. I'm just looking for a clean part of the tissue. The tissue that you use for w0, w1 apply. 8. PRACTICE: How to Draw a Cat's eye Marble: Hi there. In this tutorial, I want to show you how to draw gets I'm marble. I'll be using this paper by for Ran a Bristol pencils by Kawhi, nor on HB and A to B. I'll be using Graphic border and this column, but bad on Electric Eraser by Alex and this white marker by Uni Posca. Okay, so the first thing is to covered the paper completely with graphite powder, some dipping into the graphite powder and the Scotland pad. You can use a T shoot or anything else, and I want to shake my paper with horizontal moments like this, so I just want to covered the whole paper with crop iPod room. It's sort of the highlights to hand had and has the highlights that it will be creating over the marble. It's so you can leave wide to background if you want. Or if you have a great paper, you can. Here's that one, too. I thought you can use a T shirt or a condom patter, even brush or anything that you would like to. So this is actually the half off on aid for paper. It's a age five s, so if you want to draw the same size is that now you can shade more unless I just want to make it quiet. Darker. So the goal is to completely dark into paper. Disqualify Potter. - Okay , The next thing is to create the main outline off the marble. You can use a ruler like this with circles if you have this one, or you can use the drawing compass like me. But I don't want to draw the directly on this shaded papers. I'm going to draw a circle on a not a piece of paper. Let me show you. Okay, so, like this, So this circle has to be perfectly around. So the diameter of my marble direction of this circle is about 2.7 inches or seven centimeters. If you want to draw the same size and let's got it out. What is Caesar's? Carefully. So just to keep this circle perfectly round and to school through this in your area like this, just very carefully. - Okay ? Almost done. And now I have a perfect circle that I can place over my shaded paper like this. See, now we can continue shading the paper, but Onley in this area inside this circle like this, and I start over the edges and if pressed very hard, or the edges. And then I lessen the pressure as I shaped towards the center of the circle of marble like this. And this way will create that great in transition, which is very important here because we're creating round object. And so the edges should be the darkest and just pressed very hard. Here, order edge and just last, unless as you shade away from the edge inwards, the marble like this as of this kind of shady will help would give the illusion off around object like this. Okay? And when we left off this piece of paper, we get something like this, and I just want to clean up the power with the brush. Okay, so this is enough for now. So we don't have in any strong lines here. And this is a good base for our drawing marble. So the marvels and balls like this shouldn't contain much lines, broader shades and all its greeted patterns. I like to make it look like the cats. I'm marble isn't This is typical pattern inside the marble. You can look up for some reference photo. Can you do the same like me? And I'm using an age. Be here so you can see that this pencil esprit dark erred in the background. And but I don't press her too hard. And just the shape like this, something like this. - Okay , let's do one more before their from this one using the same Bensel HB and HB pencil And just try to draw different shape to make them but different And just leave the space between this matters like this. Eso this one can be even bit brighter. You can even draw horizontally or diagonally placed these patterns and all the bands in which position you want your marble to beer. So as I mentioned, you can look up for reference photo and studied them if you can imagine how they would look I said that this really looks similar to cats. I This is why this marble got this name and I just want to make one more here. The difference Finger and I pressed last year and I used an agent bent alone the time. But you can use you age to age, whichever you want, or you can use the same pencil like me on HB and just change. The pressure can create a lot of different tones and values with the single pencil by changing the pressure, and or you can use different pencils. - Okay , I just want to darken the swan using the B pencil to be Actually, I don't breast very hard, so I want to dark in this part because I have imagined my life source to come from the opera right corner. And now let's erase this batters in between with an eraser. So this is also still the farm of this pattern, but kind of illuminated euro highlighted. Well, maybe even different color. And here you can see the benefit of the shaded background how this highlight is just more prominent like this, and more visible. So it popped on the paper is that you can use the kneaded eraser or any other memories. Are you hear? Also overdid edge of this pattern here also a little bit and tried to make the patterns in the upper area of the marble a bit broader than a depart in the lower area. So because the upper areas always more eliminated and now I'm using mechanical racer to create this edge, and I just caught the top of it with a knife and I get sharp ads and that you can also very easily do with the kneaded eraser and just like this, and I just want to add more to this one, still using an HB pencil. So here you can play with shades with highlights, great any shape and whenever you want. And here I want to press harder next to this one. So the more volumes we use in our drawings, the moralistic there will look. So if we use only 23 values, the drawing will look flat. So no matter what you draw, you just use many volumes as much as possible. And as I mentioned, you can use a single pencil and just change the pressure. Or you can use more pencils. And now let's dark into edge over the marble, and I'm using HB, and I just want to use also blending stump and to darken up it here already edge and next to the edge like this because I feel that it's still not dark enough here, and I'm just hardly touching the inner area. It's always pressed harder over the edge and just lessen the pressure off the shade inwards . And this grand entrance mission decision will give around appearance to the object and they won't look flat. And so it will give the death to your drawing. OK, and now let's great dining highlights with this electric eraser. I want to use this one because I can erase much more. But you can use any order and razor and go over multiple times. And I just want to blend the edge between the highlights and the marble to make it like gradually disappear. And to make this edge blurry like this. And if you want to enhance her hat allies, you just shake around them and they will become broader. And let's make one more dots here. But you can make it anywhere you want, and they don't even actually have to be around shape like this. Okay, and let's make one more here on the left side or two and let me use this mechanical eraser for the edge. And now I want to also blend the edges of these highlights, and I just want to add a tiny highlight here on the right side like this and now it's time for the guest shadow. If you're satisfied with your model, we can make the shadow cast by didn't marble. I'm using it to be pencil here and I'm shading rights next to the marble like this. So this cash shadow has to be much, much darker than anything else in the picture and expresses very hard. Or if you're afraid of pressing very hard, just go over and over again until you create the desired volume. So if we have imagined that our life source is coming from the upper right corner, therefore delight source would cast a shadow that will fall on the lower left area. So right here. And I just want to leave here in the middle of the area next to the marble that I want to make an absolutely bright later. So this is like delight that this coming thru the marble and falling in a table. So it is actually the refraction of the light through the object that is this blade over the surface over the table. So that has to be very bright. OK, but let's leave it for later. And now, as we work away from marble. We have to press last in the last two. Create broader shadow because the guy shatter. It is always the darkest. Next it objects and it becomes brighter foreigner from the object. And I'm still using it to be. But I just lessen the pressure. And here you can start using the n F pants over uneven age be and just tried to make the and the edges between these two between due to values invisible. So to make that smooth, radiant. And I just want to go back with the to be and to press my charter. And I can see how do Marble already appears closer to the viewer's eye and much more around due to discuss shadow. So the guests shadow is very, very important. Okay, and now we can blend it a bit with a blending stump. So every time you have drawn a bit, you can just blend it and go over it with a pencil again in order to create that smallest Dexter. Okay, And now I'm using an age be again and oppressed lesson last year next to the edge of the cast shadow like this. So you can even blend it with a Q tip, and I'm using blending. Stomp it. It's OK, I said. It is important to make the texture even two evenly spread about the graph. I'm Yes , I feel that my cash shadow is too small. That's why I'm adding all around always a bit. So because I'm not drawing from a reference photo, If I had a reference, what I could see where the cash after how it displaced. So this is from like imagination or memory, and I'm not sure how big it has to be. So it is better to draw smaller, and then we can add more. And let's blend it again with a blending stump like this and that breast very hard. So if the object this found in ah direct sunlight, we would have the sharp edge off the cash shadow. And if we have some artificial light, the edge of the cash shadow is usually blurry like this. No, If you have some marbles, you can place them somewhere to see what kind of shadow they would cast and how the light goes through them. And you just draw what you see. Okay, I'm I'm almost done with this. I just want to blend it a bit. What's that? The guest shadow can be even bigger when the object that when the light sources closer to the object, the cash at a will be bigger. Okay. And now we can create a highlight that I mentioned. And I want to use an electric eraser. But as always, it can use any other razor. And just like this, and just to make the edge between these two follows blurry like this. Okay, so this has to be, like, absolutely white. It can even color. It's with, um, opaque white marker if you want. So this is the delight that I mentioned which is coming through the glass and heating the table. And this led gift impression that this marble is made of glass. Okay. And I just want to add more highlights or the marble. So here you can add something or remove something. If you created highlight and you feel that it's not good, It just go over with the lending stomp or with a pencil, and you can like a limited eliminated so can experiment with the things to see what looks good. What works. So just trying to play this highlight somewhere else. It also measuring Gonna want to cover them with the graph I if you don't like them. So don't be afraid of experimenting and practicing. And I just want to add, but more highlight here and I just want to darken here on beds. Actually, I don't like this I like I created and now I just want to docking it again. So as a conceit can always change it and just toe dark in here next day, edge off the marble, the lower edge like this on. I want to call her the lower edge. It has to be a much brighter. So there's are kind of finishing touches now. We can add anything, change anything and said, That's it. I hope that you enjoyed this tutorial that you have learned something and I'd really like to see your results. So just feel free to post it, and I will see that and see what an extra tutorial 9. How to Draw Droplets on a leaf: and this tutorial always show you how to draw water droplets on the leaf and let's start with the leaf so it can be any shape. I mean, you can really mess off here, and I want to draw typical shape of belief. But relief can be around. It can be a week or a thing. So just the way you want. And I want to draw some Stan like this. OK, and now let's feel the whole area with an HB graphite pencil. Eso just shade the whole leaf and take care of the edges. So here you can press three hard and I'm holding my pencil like this that I can cover the larger area pastor just like this. This is not important. It doesn't have to be smokes now because we're going to blend it in the next step. I can No, let's blend. It'll with the shoe. I can you even use a Q tip. I use circle emotions, and I'm pressed very hard, and I can see how it becomes very smooth and kind of darker. And it looks a quite better now, so just pressed very hard until you have impressed the graph. I into the tooth of the paper and make all those tiny white dots of the paper disappear. So here you can see I have a bit broader area, and I'm just any more often age be here and here next to the edge. I want to use a blending stump because I can blend more precisely. And I can keep the edge very clean and sharp. And I want to raise what I have shaded out of the olive line. And is that the same everywhere like this? And I want to smokes it out with the T shoe. - Okay , The next thing is to divide this leaf into two equal parts and by adding more shade here in the middle of the leaf. Like this eso we can shake here in the lower area of the upper half so it's gonna bend inwards and its so called self shadow I. So let's suppose that our light source is coming from the upper left corner and we have to shade in to draw everything accordingly. And then let's blend it with a Q tip, and you can see now how it looks last flat and also here, and the lower area of the lower half of the leaf, so it's all usually kind of bent inwards. So I just want to make this edge darker. And it's good to to make the leave us realistic, us possible sort of. The droplets can look more realistic and the whole picture will look more lifelike. And I'm using now on age. Be just a shade more here and now. Let's greet the wanes by erasing the area. So here in the middle of we have to make kind of a leaker. What a Wayne, a so called main win like this. And now, after you erased it towards the top of the leaf, it should become thinner and thinner. And I'm using this a razor in Bensel, but you can use any other kind off a razor, and you can see how it becomes brighter. But im pressed too hard, so it will still boot quite brighter, but you don't want to make it white. But if you overdo this, you just go over with the blending stump or with a Q tip, and it will become darker again. And now let's great this smaller wins that are going from this main wing. There's the edges of the leaf and this has to be quiet thinner, and they have to be even thinner as we approach the edge of the leaf. So something like this. - Okay , I know we can create the same in the upper area. I like this a racer because I just use it like a pencil. So it's quite practical and I actually want to draw here with when the starting points off , the smaller wanes like this. - So same here. Something like this, with all these don't have to be strictly the same just approximately just like this. - Okay , So I won't go much into details because it's braced, smaller drawing. So if you draw bigger leave, you can go much more into details. But it's OK for now. I thought we can finally get to the point of this drawing to create the droplets. Okay, So let's start creating droplets. And let's great tiny have circles in the opera part of the droplets using an age be council . So here we have to decide how big are droplets would be end to shade. Just the upper half of the drop to droplets like this, and it can blend it with a blending stump and as we approached the center of the droplet, But we have to release the pressure, and we have to make it to quite darker over the upper edge. So this has to be very dark because we're going to apply to create wide thoughts over this . Areas suffer just a work. These have to be quiet, darker, so if we can achieve that's big contrast. But when the highlights in the shadows, let's make more industry, try to create droplets of all sizes and shapes. They don't have to be perfectly round, and they should be placed at random and just the upper half of them like this. So let's great now smaller ones. And now I want to create two connected here. So this is also something that we can make to make it different just for the sake of randomness. - Okay , and one here over the edge, and I think that enough and let's blend them a bit more so other can see my shade gradually disappear into the don't off the leaf here in the lower area. And now let's a raise the lower half of the droplets so that we can create a highlights this way like this, just just carefully and breasts harder over the bottom and then lessen the pressure on soup . Erase upwards so these areas should also gradually disappear here, over over the center of the droplets like this, so just gradually released the pressure. Also raise orders, Senator, because it should be the brightest on the lower edge. If you order this to just go over with the blending stump or a Q tip and less did the same with each in every droplet, you can even use an electric eraser. If you have one that's over death, you can erase much more and create broader highlight because it eliminates much more than a manual erasure so that Grady, in transition between shadow and highlight, it's a very important to create here. I keep cleaning the tip of my eraser, but if you have kneaded eraser, it's either just to need it. But I want to clean the tip of my razor to have to be able to create brighter highlights and not applied that graph I over the highlights. So this is actually delight that passes through the droplets that we're creating right now , - okay . And like this. And now let's great a cast shadow. I'm using an age Be again. As I mentioned, this is the only pencil that I use in destroying. And so here, now, right under the highlight that we just greeted. Just start here right under the droplets and press harder. And then we have to release the pressure as we shade away from the droplets like this. So these are the shadows that the drop lists cast over the leaf. And as you can see it, will it make the drop? The droplets pop on the leaf and just very carefully here, next to the highlights to keep the edge between the highlight and the cash out of very clean. And as I mentioned, the cash at a will should be the darkest next to the highlight. And then it just has to become a lighter and ladder as we shade away from the droplets and here, over the edge, under droplets already outer edge, we have to blend it with a blending stump like this. - And I would concede how these droplets or are you look riel comparing to the rest of the droplets that We haven't done anything that we haven't done yet, so they look divided from the surface of the leaf, I said. That's why this cast shadow is wearing born. And so let's do the same with each and every droplet and the bigger droplets have to casted the longer and bigger shadow and smaller off course have to have smaller cast shadows. Okay, and now it's time to add the highlights over the droplets. And I just want to create one or two dots here over the shaded area and the Oper area of the droplets like this. Okay, I want to use an electric eraser to make them broader. And we can also use a white marker which will make our work much easier. Conceive this marker bright unit Posco is very opaque and you can see how the droplet looks shiny unless it the same over each and every droplet over the bigger Once you can create two dots and or the smaller one, you can create only one dot okay, and that's it. I hope that you have learned something. And now try to greet more drawings like this and to practice. And I hope you will show me your results 10. How to Draw a Rose - Part 1: Hey, guys, is jasmine less? Draw arose completely from scratch. And before we start sketching, let's practice a drawing heart on a separate piece of paper like this Just the way we draw a simple heart, practice this motion and and then begin making the lower area off the heart around her like this. And just keep practicing this kind of lines, this kind of flying like this. See? And now the next step is to draw a tiny circle on your drawing paper like this. And now we can add the kind of the line that we just practiced to it like this. So he want on this side and then one on the left side and so own. And as you're heading the shapes like this, you make them just speaker and bigger just one like this, like this. So we're creating the pedals here, next to day center of the rose, which are pretty tiny. And as we draw away from it have to make them larger and larger like this, and you can add them wherever you want. Now they don't have to go in any order. And of course, the shapes can differ. You can even take a look at some reference photo. It can started some photos before your star sketching. - Okay , here. I want to draw the outline. Order this big pedal bent. So not only the outer edge, but or it bent. Okay. And I think that's enough for now. So here also and I want to add here one tiny so not the whole federal is visible, only the outer edges off it. And now you can erase any hours line that you don't need. Did you think that you have made mistake? Now let's shade the darkest area where it gets less light or gets no light at all using an HB pencil and pressing very hard like this. So here you can actually imagine where it would lead to receive last lights. So here, of course, the inside the rose and not over day outer areas of grip eagles. So if you're afraid, if using very dark pencil, you can even make a copy off your sketch. So if you think that you're going to mess up with the such dark shade, So in that case you wouldn't be afraid. And you can have a sketch. You can always start again if you mess up with something. But I recommend also started with the dark rentals us against C. I pressed very hard because I want to create absolute black color and so you don't have to use a B you can use seven B or six B or even four. B four B is also dark enough even to be is also dark and off. - Okay . And it's bringing up like this because the other edges of the bills they receive much more light and there wouldn't be dark areas. And now we continue with an HB to strengthen these outlines between the battles, the pedals that don't more eliminated like this, and and let's actually go over ever single outline like this just very carefully. And I use an age be old the time, OK, and now let's shaded old with the B pencil like this. So just go over the pedals over the whole area and a press blindly, so don't press very hard. And don't change the pressure, because we we want to apply this B pencil evenly. You can even use circle or emotions, but just don't press too hard. So this is pretty time consuming step, and, uh, but we're just setting the basing tone, so we have to work on it more. But for now, let's just apply the basic don't. And now you see, when you go over to outlines, you're still able to see them under the B pencil. So I want to use a B pencil because it will give a dark tone to the rose, since I want to draw a red rose, which is quite dark when we we make, for example, some reference photo. When we make black and white picture out of color picture, we can see that the rose is pretty, dark said. That's why B pencil. It's much better than H five age or six aged. Those are too light, too bright. But of course we can try with those pencils to, because we can also draw white rose or yell arose. So I always say that pale drawings are more difficult and more delicate to make, but you should give it a try. But I think you should practice with darker drawings first and, of course, to get rid of that fear off using dark pencils. So here you don't have to pay attention to anything just shaded all like this. You can see that it looked looks pretty harsh and off course I have visible lines and everything. But don't worry, because we're going to blend it in the next step and it will looks most OK . And now let's blend it all with a tissue and just go over the whole area with the tissue like this empress very hard. And as you can see, it becomes smooth. If you get some off the graphite powder out of the other edge, Just don't worry. You can always arrays that you can. You can even use a Q tip or blending stump to blend the edges. But it's okay. Just trying to blend over the whole area suffer, blending larger areas. I always use a T shoe, and I use a blending stump for smaller areas. Okay, and now it was the easiest part. Now we have to create a grainy in transition between the black shade in the deepest areas and the rose and the tone of the pedals that we just created in the prayers step. And here I'm using an HB pencil and I apply circular motions and I start here next to the darkest part, it with a heavy hand, and I just released a pressure. Also work away from the darkest areas and same here, - and now we can shade under the edges of the overlapping pedals and over the underlying pedals to made it overlapping pedals pop. So this way, the underlying pedals will appear farther from the viewer's eye because the overlapping panels will cast shadow over the underlying pedals. And so here apply more pressure when you shade next to the edge off the or lumping pedals and just gradually reduced the pressure off the shade outwards. So towards the edge of the battles that you shaded over OK, and now let's plan it all with a Q tip. So just go over the areas that you just created and blend down with a Q tip length. This and you get also used a blending stump here, okay, and now, to make the overlapping pedals even more pop and to make them appear even closer to the viewers, I Let's just greedy highlights already edges with an with an eraser, so just don't press very hard and just eliminate a bit of the graph I here like this. So here also, it is important to create a great ian transition. So to erase more over the edges and then last unless Ozzy rub inwards towards the centre of the rose. And now you can see how the cash shadow and highlights make this Ah, pedals and different blames and they look closer and farther from new yours, I And here I also want to erase the olive lines because they seem to be too strong. Okay, Now, let's continue by shading petal by petal between the highlights over the edge and, uh, the darkest shadow that we created next to the overlapping pedals. And use a B pencil in a circle or motion and go slowly. So work slowly over this these areas. And as you can see now it becomes darker. And I suggest focusing on one pedal of time because this is actually the last step in building up the tones. If you overdo shading, just go over within a razor and slightly touch with the tip off for a razor to still eliminated A little bit of to graph I 11. How to Draw a Rose - Part 2: - and when you finish shading federal, just blend it with a Q tip to make it smooth. And now you can work more on the pedal if necessary, because after blending, you can see water. You need more shading or it's enough like this. Or maybe you even want to highlight something that you go with an eraser. I just want to build on the darkest stone here in the middle of the Rose, but it still seems to be too bright, so it's not dark enough. And these would be pencil here also, and I just pressed harder here. And I also want to use a bit of six B to shaded, deeper sections. And as you can see, I use circle or emotions and and now it could see it becomes darker, and, as always, we have to blend everything that we should. We have to blend with a Q tip to make it smooth, and now let's shade this one the same here, just a work slowly dumpers too hard, but go over again and again until you create the volume that you want. But that is actually still broader than the guest shadow, but quite darker than the highlights. So just enough shade over to highlight and tried to make a smooth Grady. And on each petal, so do the same with each petal. I don't want to repeat myself. Just use circular motions, and when you have shaded a bit, you just blended with the Q tip or with a blending stump. And some of the pedals can be kind of a way. We so just tried to create the highlights over some protruding areas within a razor and to shade more next to them. The shade harder. Okay, and if you're satisfied with euros, you can draw some leaves around and also the stem. And just like this, some shape of the leaves like this. And now let's just cover down with an eight B pencil like this. So here also don't worry about the visible lines and everything. We're going to blend it and just draw very carefully. Here are on the edges of the pedals, and, as you can see by adding the dark don't around them, there will be they will drop even more. - And now let's blended thieves areas and press very hard to impress the graph. I into the paper and we can just erase everything around the leaves and battles Amanda. Graphite powder as we blended that we applied over to break by ground, we can erase that to make the edge between the rows in the background. Clear. And now I just want to create the wanes by erasing the lines or the leaves like this. And now we can shade this stem with a blending stump. And we can add some branches and thorns. So this doesn't have to be too dark only here in the middle and make the left and the right size of the stem a bit brighter, so it will make this them appear around. And I hope that you enjoyed this tutorial that you have learned something and feel free to show me a result and see with the next tutorial. Bye bye. 12. How to Draw a Coconut - Part 1: I want to draw a cock in it that it's Scott in half and I want to cross sectional area to be visible. So let's greatest circle as a wide line, and I'm using divider to to create my circle and the distance between the needle and my pencil lead is about six centimeters, four to and 3/4 of an inch. And now let's just draw a circle. So the diameter of my circle is four inches and half more, a bit more than 11 centimeters, and now we have to decide where we want our cock in it to be caught in half and to drug the edge of the shell. I want to start here, and I use an HB pencil for sketching. So this lunch shouldn't be straight, but should have tiny curves. OK, and now let's create the edge on the other side. So here somewhere, I thought it was just approximately. You don't have to draw the same okay, something like this, and now we can erase the circle, this upper part of the circle because we don't need that anymore. And now let's create one more line next to this to create the thickness of the shell. So just parliament to this line that we created first just go next to it like two or three millimeters ban, just create the same line problem to this one all around. - And now, as the last part of the sketching percents, let's Grady edge between the meat of the coconut and a cavity that said the thickness of the flesh. So there's a thickness of the flashes as we know much of a thinker, then the thickness of the shell. So it's white and just also dropped parlor line to do previously created lines, but much for order from it. - And let's also draw some tiny lines over the with off the meat that radiates from the very center of the coconut to suggest the fiber. Okay, and now the next thing is to shady inner area of the Kokkonen, said the cavity where the coconut water is found, and let's take a separate piece of paper and just trace the previously drawn line. So between the flash and Kokkalis cavity, and now let's just cut it out with the Caesars. So we have to create this same shape of that so we can place the paper or done okay. And now we can draw over this, actually, the shade to apply. And I'm using B pencil. I just want to co over here next to the edge. You will see your soon. Why? And I just want to cover next to the edge with ground five like this. Okay. And now I want to place it over to flash so that only the cavity can stay visible and that I can reach it. And I Right now I want to shake it with a tissue. And I go over this separate piece of paper, as you can see. And then, little by little, I go over the cavity. And as you can see, I'm applying to graphite boater over the cavity. So as we know, the coconut mean is absolutely white. But if our light source is coming from the left side, we have to shave the left side of the cavity much more than the right side. And I want to apply a bit more of a graph. I I still use a B pencil for this. So this is a very delicate work, and you can do you by using the circle is a massive in a very bright pencil. But I want to show you this method because this is quite better. And as you can see, I'm going over to cavity. But I want apply more graph on the left side and then less and less offside she towards the right side because the right side of the cavity should stay whites and we have to create a smooth Grady in between the left side and the right side, the smooth gradation of great callers. If you want to make a darker, just a draw more over the separate piece of paper with a big pencil, and then you will be able to apply even more Graphia just little by little like this. And when we remove this separate piece of paper, we get something like this. And now we can shade here the fiber off the meat and I'm using blending stump. Such a some off the areas that receive less light this but the order areas can stay wide because some of them are always more illuminated and exposed to the light. Now you can see that there is some of the fibers appear to be deeper and the surrounding areas will pop and blending Stump is enough. Of course, if you have it, use it already for drawing the brand new that doesn't have any graph on and it it won't help here, you know, here on the right side, let's shade a bit more So the make the inner side of the cavity that we have left absolutely want to make it more prominence. And if our light source is coming from the left side here, this part will be less eliminated. - Okay , and now we can shade the thickness of the shell all around, and I want to use a beep. Answer for this. And here you should try to achieve its most extra, because the husk that are found on the surface of the shell day day should be like harsher , everything but smooth. And, of course, here on the other side, which is farther from the viewer's eye, the thickness of the shell should be even thinner. Then closer interviewers. I OK , and now let's drop the husks and tiny hairs or the surface of the shell. And so here you can relax and scribble, and I'm using a B pencil here and I want to press harder here, next to the thickness of the shell to make this too, sir. Planes separate look separately. So if our life source is coming from the left side here and left side, we have to create lighter areas. And on the right side of coconut, the husks and the whole shaft should be quite darker than here in the left side. And But I use a B pencil all the time, and I pressed very lightly here. But you can even use an HB or an age and just scribble. It is important to cover the whole area. At what's more, you should use scribbling as a hero can change the shape of this circle that we use us a quad line and draw Be deeper, you can stand the life side. I have laughed out like to millimeters so it doesn't have to be around shape. And now I saw as I'm drawing towards the right side, I just press harder and harder as again see, it becomes darker now. Was that breast harder? So here you can even switch to four b five beef, six b. So I still use the B pencil and I press harder. And here I want to use four b pencil because this area would receive last lights If our life source is coming from the left side and same here just scribble and changed the pressure to create different values. 13. How to Draw a Coconut - Part 2: and here on the right side, we would have some of, like the lights, even if there's no light source found on the right side. So the right edge of the Cochran it would be more illuminated than here, This south shadow. So here we have to press less. Okay, Now I want to use an A B pencil and too dark. And here this Ah, self shadow here, next to the table or the surface where the Cochran it would be placed because this part off the kokonas receives the least light, and it has to be the darkest. And I also want to go over here over the darker areas just ah, to color some of the husks with an A B pencil to make them a bit darker. - And now we can blend a bit with a Q tip, but not the whole area, just some of the husks that that that can be more blurry than the orders. But the texture should stay harsh, - and I want to add more details within a B pencil to create some tiny dark lines. And here I also want to color the thickness of the shell here over the over the highlighted area so that thes two planes can look separate. - And if you want to let it up something, just use an eraser. - So we also need some highlighted details over the husks and we can create them with an eraser . And now let's create some of the husks around the Cochran and I used to be pencil here. So actually, those are the protruding husks which are not glued to the surface of the shell. And so some of them should be shorter. Some thinker, some darker s so you can go even over the coconut meat like this, so it will make it more lifelike and just a random. Put them around the thickness of the shell wherever you want. So if you're satisfied with the coconuts, you can add some guests shadow. So if our light source is coming from the light left side, we will have the guest shadow here on the right side, under the document and on the right side. And I want to use a B pencil and two craze on Lee. The horizontal strokes back and forth like this. So the cast shadow is always good. It will look, do it would make Do you object appear more three dimensional and more lifelike, and in this case, it will make the coconut appear around. And so when creating gas shadows, the rule is always simple, created darkest shadow right under the object and make it brighter and brighter. ASU shade away from it. So here, also degrading in transition, is very important. - And now, as we shade farther from the coconut, we can start using an age B pencil, and I still apply horizontal strokes on Lee and because I'm going to blend it. So it's not important to be smooth for now. So you should step away from your drawing to see how this cash after actually look what it looks us. If the clock on it cast the shadow. And alternatively, you can take a look in the mirror because it will show you the things that you can't see like this. Okay, now let's blend this cash out of using a piece of the shoe and course, um, to emotions. So here I want to use Q tip right under the coconut to avoid smudging the bottom off it. And OK, that's it. I hope that you have learned something and feel free to show me yours also, I can't wait to see what? How your cock in it turns out and see what an extra tutorial. Bye bye.