Animal Drawing - Draw and Sketch Animal with Pencil

1. Introduction: Learning how to sketch animals is an integral part of painting. The sketch of the animals ranges from wildlife scenes around the world to portraits of pets, which after mastering and gaining the skills in their sketching, it is possible to combine these extraordinary creatures with elements of nature. This tutorial provides expert advice on how to successfully sketch animals for an aspiring student. On this course, we'll work on some very interesting artworks and animals, including horse, bear, deer, squirrel, dog, and even drafts. We also work on some general principles of painting, the anatomy of the animals alike, their legs, heads, or even joints, so it can create them in movement and in perspective. I hope you enjoy this course and learn from it so you can be a professional engraving the animals as well. 2. Principle of sketching a horse body: Hello my dear friends and good evening to you all. According to our previous tutorials, I've decided to work on the sketches that I figured out is so popular among all of you. One of the things that we want to work on it right now is a sketching animals. For participating in this tutorial and learning how to do that, you need a minimum amount of tools for a sketching. I'm just going to tell you some of them. The pencils, the pencils that I use are usually fabric castle brand. They are either a black pens or these gold pins, B3, B6 add HB. And you can use different degrees of darkness that they have. Aside from these, you can even use an etiquette and Normal etiquette. I'm using Staedtler zero-point 85 at it for my sketches. And the tip of it is usually HB. So you can use both exits or normal pencil. We don't get too picky in sketching about what pencils you will use. Another thing that we need is erasers. I usually use Madurai, sir, for my works and I'm very comfortable with it because the tip of the eraser is so thin and small and it actually helps me. Dad, I would work on a very small parts of my works at a doesn't erase a big area for me. But even if you have a normal erasers, it's good you can use them to. Another thing that might come in handy for you is sharpener, that you will use it for your normal pencils. And aside from these, you need a board. My board is A3. A3 size. So you can have the same and we also need a paper. So that's what we're going to sketch on. Your paper size depends on your board. You can make a difference on it. You can use a3 or a4 size. Now we can start our work. Now daddy affair that you can start your practice with a minimum amount of tools. Let's go to our first step in creating our sketch. We will talk about some tips about creating DIY animals. Actually did goal is that I will teach you the different sketches of animals. But at the beginning, I want to tell you about a very primary principles about the animals bodies and how to sketch them. Then when you get acquainted with them, you can easily create any animals buddy and get a great formal vet. The first thing that you should know about the animal's body. First, we want to talk about two things. First about the body of the animal and then about the head of the animal. We just separate these two principles from each other. I want to talk about the body. Well, generally, we can divide the animal's body into three parts. This is the beginning of the body that we can actually show it with an O pole. Then there is the middle part of the Buddy. Almost it twice. The first part, and then it's the last part. So we can divide a day animal's body into three parts. 1.5 fourth, 1, fourth 1. Okay? Now I want to actually apply these parts in an animal's bodies so we can show you how it works. For example, consider we want to create a horse in a side view. Just to point out something. We do not need these all poles to be completely straight. It depends on the muscles of the animal. They can be a little bit corner raise or on the sides. For example, we want to create a horse from a side view. The first part, it gives us bit shaped like this. In the middle part. This, Oh Paul, we can not say it's completely a circle, so that's why I'm saying it's an all-pole. And one for his leg is for his rear legs. Again, it has M an angle in this way. If you pay attention, it's a bit corner. Raise. These three parts are the main parts of our horse's body. Let me zoom in so you can see better. These are the main parts of the horse. Now we want to create a body of divorce on these shapes. For that we want to work on our horses bones. So his spinal, his backbones are and continue. At the top of these shapes. It's very important that when you are working on the animal's body after creating these shapes, you should definitely create a spinal area. Because it divides the animal's body into bars and it actually shows us the way it stands or sits or whatever. It's the same for so many animals like horses, bears, stags, and so on. You see in here, we want to pay attention more about the shapes because these all poles and circles actually gave us a general shape. So that when we want to continue that and completed, in addition to paying attention about the angles of them, we should pay attention to the shapes of them, the shapes of the horse's body. And of course, we will definitely talk about the head of the horse. We will talk about it later completely, but for now, I just want to create a shape for it so you would see how it matches our work. For now, we do not want to get picky about to head of the horse or his legs. Because our goal is to teach you about his body. Its body, It's better to say it's thicker. So this is a general shape. Gallery, angry, angry horse. And this is a hair of the horrors, the strain. And even in this area, we want to show the separation between lakes. Just wanted to get a general shape. Now when we get to the teaching about legs and has, we will tell you more hints. And we will give you more details in those parts. Again, I say for now we just want to create a general shape. So you would know how they go together. We do body. And of course, the tail of the horse, which is so, so important in shaping our horse. It can be very effective. You know, that domain and the tail of the horse are two. Actually two important parts in their body and dare actually, one of the main reasons of how this, how much does horse is attractive or beautiful? So it's the same in a sketching day or very important and the beauty of your sketch. And definitely we will talk about the bonus structure of the animal a next videos. Because knowing about the bonus structure in animals, I would actually be very, very effective when you want to apply them on your paper. If you're acquainted with that and you know about that, you can create your animal's way more easily and even you can create them without a model. And use your own creativity. Of course, under the condition that you do your practice as well. That's the way you can use your own creativity and create your beautiful animals. You see I'm knows even changing my pencil for now. Because my main goal here is about sketching the primary sketching. And I'm not doing any shadings right now. If a next steps we would go into the shadings, I would tell you more about the different pencils, how they work, where should we worked with them? And how to complete your work better? Buffer now, we just want to work on the sketching. Pencil is enough for that. Now I would work and little on his face. The muscles of here, they should be more complete. The ears and the connection between the parts. They are a very important all of them. You see. And now we've got a general shape of the horse. They go together, they have appropriate size. And now you can create the muscles of the body perfectly and shape them. For creating that you have to create some darker lines in your work. It should be bolder. For example, these are the bones on his chest. And even here we can create a bit of muscles and we can dark in here. It can show the shape off his muscles better. Why do I keep saying it's let's say it's just it. And I want to give in, give it any special gender. The ending part of the body should work on it too. Even if you don't want to work on the legs details, Samaj, just because we have came so far. I just want to create a general shape of the bones in the legs. Perfect. You see our main goal in this was to create these shapes of the body. How these 1.5 fourth, 1 fourth, 1 in the middle will actually shape the body of the horse. And you can sit in other places too. For example, imagine a horse from a behind angle, not completely behind. Again, we create these parts, but the angles are different. So the shapes are actually the same in different angles. But when we want to create these shapes, we changed their angles a little bit. Day can be more corner rays that can be more straight. They can be smaller or bigger. But the shapes are the same. Okay. You see they've considered the middle part is smaller. But at the other side of the horse's body will be an n-bit out. More. You see, this is the spine. His spinal area is backbones. And because we want to shape this area, we come back this way. It comes to the legs. So we can show the legs. I don't get into the legs details for now. This is actually he's rare leg. This is the horse's belly. And this part relates to the front leg. C, we just changed the shapes. A little desk structure of the shapes were the same. You just change some details in them. This is 1 fourth for the behind and this is 1 fourth for the front. Because we want to show that this horse is a bit turned. This, if this is the backbone. According to the back bone, we want to show a little part of the other side of the body. So actually we can see as small part from the other side of the horse. I will use a darker pencil so we can show this area better. Just like this. They've divided different parts of the horse body. A, if we want to make it more complete. Here, is its tail, which comes down, up to here. Plus our main goal was to show you how we can create the different parts of the body and you know how to create that in different angles. And here is the neck and the head of the horse. And in the same area here is the placement of the horse's face. That if you want to make it simpler. Shapes like a triangle, we have two ears here. Because we practically created the horse from an behind angle of view. It looks like this and this is the main of the horse. And then, and next steps that we want to talk about, the details of the horse's body. We will work on each of them separately. Learn each of them with more details. Just like this, we will have a great course. Okay, My dear friends, I hope you've enjoyed this tutorial. And in next tutorial we will work on different animals and we talk about the division of their body. And then we will move on to the tutorial about the neck, head, and the legs. 3. Principle of sketching the body of deer from the angle of three faces: Okay, My dear friends, a fear and member. And you have seen our previous tutorials. We've talked about how to shape the animal's body, how to divide them, and how to create them. That I gave you two examples for our tutorial. And we live the rest of day examples in our second tutorial. So first we used a horse for showing the division of the animal buddy with these measurements. And the thing was that they said, the body of the animals will be divided into three parts. The beginning 1 fourth, the ending 1 fourth, and a middle part, which is 1.5. Now, in this episode we want to work on some other animals and work these divisions on that. One of the animals that we've considered for here, we want to use a deer and create a very beautiful, attractive there. But dividing the parts of its body. For that, we will consider three parts of the body. First, I want to create, I wanted to create that from a behind view. You see the size of these shapes are very dependable on the animal that you're creating. But in general, and the belly part, the part of their stomach, is bigger than the other parts. That was the backbone of the animal. So this would be the front part of the body. We have the same angle as we have at the top of them. That we have at the bottom of these shapes. Would definitely talk about how to put the animal's body in a proper, in an appropriate perspective so we can get the correct angle. We can get to shapes and the position that we want them to be. And this would be the ending part, is a general shape that we've considered for our DRs body from a behind view. Now we want to consider the backbones of the animal, which will go from here. You see it has some kind of this angle toward the end of the body and little it comes up and at the end it will come down. Actually the backbone is dividing its body into two equal parts. Practice, don't it? In the last horse that we did, but here we want to see more of the right side of its body. So we're going to show it like this. And also from here, a goes to the leg of the animal, which I've told you in here. It's a very little beautiful dear. All right. And from the top side we want to continue our line a bit so we can see more part, more parts from the right side of the body. We can see more of that. This is actually the upper part of our rear leg. In the lower parts of its leg. And the legs are very delicate. Bought AND upper part they're not so much. And we do not have to create this part so circularly now, if you look at the deers, a bonus structures and muscles so carefully you can see we have some angles here and it's not a complete circle. And for the belly part. So for the belly part, we tried to make it a bit more fat. Fat belly. Now for the front part of the body, as we've determined, it comes down like this. It can get a bit of angle in here. And with that angle, it will connect to the bailee is we'll actually give a better shape to our animal's body. Now, from departs that we have the connection of the belly to the front part. We can see the front legs in this part. And in here. We'll work on the legs and different steps later on. So because we'd have to add so many details so we do not go to them Right now. Let me make this line more bold. This is actually a symmetrical line, which is four to animals back bone. Now we want to continue it a bit more so we can create the neck of our animal like this. Now because we want to create a downhill area for our neck. Who will continue this line as well? The line for the right side of the body. And on the other hand, from this part of the chest, we will continue to drag deadline and create the neck idea and create the head. From the part that they've decided to place our head. It creates a guideline like this. So we would know it lose at a placement of the ears. Actually show. Their placement. Will determine the ending part of the head. And then it's beautiful ears. That in fact, as I told you before, and we will talk about each one of them in details, but not in this episode. We will definitely work on them later. On auto parts. For now, our goal is just to know how to divide the parts of the body and create them with great shapes. And of course it has a tail over here that would just generally shape it for now. Now, usually dears have a small tape. Now, this was a general shape of a deer body according to the divisions and the things that we've learned from, uh, behind angle. 4. Principle of sketching the body of bear from the angle of three faces: Okay, let me sketch our bear next, sir, dear. For creating the bird's body. Again, we create a D3 divided parts about the 1.5 and the middle to 1 fourth, 1 fourth. Different. Again, it depends on the angle of the bear's body. Bears are usually fatter and bigger than a horses and deers or stacks. This is a general division for the bird's body. Now we will create the details on it and create a whole shape as the same way as we did the previous animals. First we go to the back area to as spinal area and backbones. Here we have a curve. It's about his back, and then we come to the back of it. That because we've decided our angle this way, we can show the bottom part of the body. His behind, it's behind. From this part. The legs of the bear would be separated. That actually in a position to our horses and our deers, it has very fat and big legs. Even the upper leg is bigger than the animals that we've already created. So just create this shape. And we create the legs. Now about the belly of the bear. We should create a line in this area. And it should come down a bit more. And as it goes to the front, it gets a bit curved towards the upside, of course. And different parts of the bear's body will be shown like this. You can divide it from here so the stomach and the belly part would not get too big. And from here we go for the bears hands. And this is actually the shoulders of our bear. Like this. And the shape of the hands and the legs, which are not so important in this step. We will work on them later. This is his tail and create a neck and a head for him. But before that, let me create the other hand too. The placement of the other hand. We go over this parts with my B3 pencil just to show the divisions and you would remember them perfect. Sli. Just want to make sure that you completely understand where to divide the stuff. And you can also erase the extra lines from your work. Now, the neck of the bear will be divided from here it comes a bit up and it gets kind of a semicircle, semi-circles shape and gets back connected to the body. This is actually his neck. And in front of that would be the head. We can see the head very little because we are looking at the Bear from behind. You just create the general shape of it and the ears. Just like this, we just create a head and a neck for our bear. Just, we want to get a general shape because those are not our goals knowledge yet. It'll lighten this darkness a little bit so it will get the correct shape. So you see a sketching them so easy to do, no one to go to the legs or hands right now. So I hope you've learned so far to how creates the bot, the animal's body and divide d bodies and keep all the body parts together. In our next tutorial, we will work on the head of some animals. 5. Principle of sketching the horse head: Hello to all of you, my dear friends. And I hope you're having a great day. My friends who are interested in painting, especially as sketching, and especially especially sketching the animals, came back with a new tutorial for you. It's actually a complimentary tutorial for our previous ones. In here again, like the previous sketching things, we need some simple tools for our sketching. First are graffiti pencils. I usually use fabric casts, so pencils, the fabric castle brand. And they also have different degrees of darkness so we can have them. And I'll use 0.5 at it, a Staedtler at it. But if you have any other brands, it's okay for you because in this section you're just want to learn how to sketch and you don't need to use any special tools. And this is my eta duree, Sir. You can use normal and usual erasers as well. But for making our work easier, I chose this eraser and it can be any brand. At last, we will going to have sharpener. And again, it doesn't matter what brand it is, just, it should be good enough to sharpen your pencils. In previous tutorials. We've worked on our a for papers. And today I wanted to work on a different way, which is a sketch book. You can buy these sketchbooks from any store that has tools related to paintings. And just be careful to pay per day you're choosing should be compatible to sketching because some of them are good for watercolors or other types of paintings. But choose the one which are okay with a sketching with pencils. Okay, ALL we are going to start our sketching, which is about the head of the animals. I'm going to use an HB pencil so I can tell you about the general principles. We can say that we can divide the head of the animal into three parts. The first part is actually the main and the top part of the head. First, I will teach you a general way to create the heads and then we will work on different animals. Now, the main part, which is related to the main part of the horse's head, is the place of the eyes. And we can show that with a shape like this. And this is actually the biggest part of the horse's head. The second part is related. The continuous part of the horse's nose and its jaw. Actually division parts that I'm telling you right now is not necessarily for the horses, it's for the animals which are even similar to the horse says like deers or anything like that. So the jaw is connected to the main part of the head with that middle part, which is actually the continuous part of the nose. Now, this is our first primary dividing area, and from now on we're going to create the neck of your animal. Depending on the animal that you're creating, this part can be different. And the ears are usually going. At the top of the head, one of them is into continuous of the line which we've created here and the other one is actually behind it. That I will tell you about the principles of placing the ears. So this is a general shape for the head, which contained three parts. And in this part, I'm going to use my B6 pencil. So it is darker and it's more bold so you can see the curves and the ups and downs better. Here I should have a curve down to the eyes. About divorce, I can say the eyes are approximately here in different animals. Again. Did placement of the eyes are different? In deers. You can put them a little closer to the nose, a little bit down. And here we will have a prominent part. We go up a little. And again, we will have a curve here, tore down. So we can get to the nose and jaw. When it got to this part, before we get to the ending of the jaw, it comes down a little so we can shape the nose and then it comes forward. This is our upper jaw. So it will connect to the mouth. And from the mouth as we come down. If you've paid attention different animals, it has a shape like this. It looks like a chin. I'm not sure what they call it, but it looks like a chin under jaws, but it has a very sharp angle comparing to the other parts of the jaw and mouth. And there's also a prominence part here. And we go to this side, which is actually on the main part of the horse's head. That's almost its cheek. Okay. Now, this prominent parts continues through the years. These are the main lines for our horse's face or head. Now we're going to add some details. For example, in the GI area we can create the possession of the nose, the nostrils which are placing here. In our next sessions, we'll definitely work on some different animals and we will shade them so you can see a more complete shapes of the sketches that we are creating right now. But our main goal here is that you can create sketches correctly. And there was a shape related to our horse's mouth. Then here we have something like that. This shape is actually the prominent part about the horses cheeks, the muscles that it has. And it should darken the lines of DAI a little bit more so it can be in a better shape. Just like this. And then we will continue some lines from beneath the eye up to here. And the lines that we have over here, it's actually the bone showing the bonus structure of these areas and also its muscles. Then we'll move on to its ears. Indeed, years wages want to show you that a general shape right now. So later on we can work on the correct way of creating the ears. Because this area is a bit behind when you're creating the neg. It should be at the bottom of the other ear. K. Just like this, we just determined the shapes over here. And in here will be the muscles for the back part of the neck. Okay, So we've understood that we have three main parts for the face and the head. Again, once more, I create those three parts in front of it so we can have a review on that. There is a main part of the head, which is the placement of the eyes, the continuous part of the nose and the jaw, and the ending part, which is the jaw and mouth. And the measurements of these parts. As you can see and video, the jaw part is smaller, comparing to the other parts. The continuous part is a little bit bigger. And the main part, which is the skull of our animal at the placement of the eyes is the biggest actually. So these were the general principles and rules for creating the head of deer, horse, a bear, or et cetera. Animals like that, which are similar to each other. Now we want to talk about the ears. How are we going to create them so we can have the correct shape of them? Let me create with lighter pencil for you. If you imagine that this is the top part of our animal's head. Of course, it depends on the shape and the angle of the animals heads. If it's the top part of it, we can use a some ovals as our guide. The first one that we want to use is actually a semi oval, which we can say the ears are on this oval here. And if they want to continue that, we can complete a live apple. We do not want to complete it. Will just create a semi oval at the beginning. It would be our first guide for creating our ears. Okay, this is the angle of our animal's head. So if we have different angles, this oval can be wider or thinner. The Second of all data can be our guide, is actually determining the bottom part of the errors. From here. They should then be big ovals anymore. And another one which is at the back, will be here. Now, these two ovals again are our guides for the lower parts of our ears. And the third row, which is the last oval actually, which can be your guide, is the one which will shape and L, which will guide us for creating the top part of the ears. If you consider that the ears are coming up to this point. I'm going to create this oval at the middle of our outer oval. It can be bigger or smaller depending on the animal that you are creating. It has big eyes or small eyes and etc. Now let's see how can we create the ears. So we said, this is our first guide. Stars from here. The continuous of them will be at the side of our other oval in the middle. And from here it comes down like this. And it connects to the other. All we have at the bottom. This one again, we start from almost the top part of our lower oval. We have a curve here. And then we've created the shape. It will come down again toward inside like this. This is actually the correct way for creating the ears in horses. In animals like this. But, you know, in creating the ears of beers and dogs, they might be a little different because some of the dogs have ears that are falling down and a donut just standing, pointing out like this. So this is, this was just a general tutorial about creating the ears for animals like horses. Definitely the curves. Dan to add to your work will make your work way more attractive and way more better. So just be careful about them. You see so easily we've created De Beers. We're just gonna do it once more again. And then we'll continue with the rest of our tutorial with the animals buddies. So again, a general shape of the head as semi oval. The middle. Two smaller ovals. According to the animal that you are creating, this can be different. Be careful about that. For example, in this, I want to create the ears a little bit longer and a little bit thinner. So I consider the middle oval bigger comparing to the other ones that I've created at the bottom. And now start to curves. So they will be thinner and longer. Just like you can see. Actually this oval in the middle will give you the permission that you will keep the symmetry between the ears if they're the same size, same length, and etc. So this is our ears. And after a while you can definitely create them without guide shapes. But it's a general way to create the years. I hope you've enjoyed this tutorial and you've used it in your benefit. In our next session and next tutorial we will go for creating the placement of the legs in our animals. 6. How to draw a horse head from the angle of three face: Hello my dear friends and good evening. Alright. Today into continuous of our previous tutorials. Today we want to create the head of some different animals together. For that, we need a paper or sketching notebook. You need usual graphite pencils that I'm using, fabric castle pencils. You can use any brand you want or even air tickets. And also a usual eraser. I'm using edit eraser, so it would be easier. But if you have even a normal eraser, that will be okay too. If you have watched our previous tutorials, he said that the head is being made from three main parts. The jaw, the part that connects to the main part of the head. And the main part of the head, which has at the top of the head the eyes and ears on it. For now. I'm just going to work on it again. So just you will have a review on that. So at first we are going to create a horse's head again and into continuous. We will go to the other animals heads. This is a part of the head which has the eyes in it. Then we have the part which connects the head to the jaw that it can be so different depending on the angle of the head. And at last the animal's jaw. We can show these parts exactly like this. Now, we are going to show the details in these parts, as you have told before. We can also determine the placement of the years in this area like this with creating a semi oval. And then two other all laws in that. Okay? Now I want to work on the details for showing that we can start from this top part and create the shape of the horse's head. The horse's head has a prominent part in this area. And of course it has some ups and downs like this. Until we reach the eye. The Allies would be placed in that angle that I've just created for you. We can show the prominent part for one of the eyes in here. And then the other eye in front of it would be in this side of the face. So it differs in different animals. Some of the animals have the eyes in the side of the faces. They heads. And some of them have the eyes in the front. Like bears, which have the eyes the front of the face. Well, you can say that this is approximately the placement for the horse's eyes. And from here we continue down to the gel showing the ups and downs and to get to the mouth and job. When we got here, we have the horse's nose, you see? Here it comes straight. We have a curve. Then we have the nose of our horse. And then a gets connected to the mouth. And now, again, depending on the angle of the face, you can determine your mouth. And now we should definitely determined the lower jaw for that. Then we can create the horse's nose in the same angle that we have created the eyes. We can show that a curve. But of course, for showing these details, very asymmetrical, we can create a line here which actually divides the head into two equal parts. So if you have one nostril here, the other one would be here according to the line that we've created. So we can have an asymmetrical face over here. This is a darkness inside of it. And shape that the animals knows have is that it's going to be connected to the faces, muscles like this. The muscles which are going to our DI. I will show them in the shading later. Here. We have the lower part, the part which connects the jaw to the main part of the hit. So at first, it's thin. Buzz rhetoric goes toward the head. It will have a bigger distance, it will get wider. So like this, we separate the neck with the head. And it's actually the horses cheek. There were separating here. Well, I think I can take my horses I a little bit to the back. I feel like it's too forward. I want it to be more into side, then be in the front. In this way, we get better shape. Right now we almost have the horse's skull and the jaw and the main part. And from here we come down for the namesake of our horse. Okay, So after that, in the place of the oval, we should start like this. Now, we want to work on the horse's ears. You said we have a shape like this as semi oval, so it can guide us to smaller levels. Decides depending on the general shape and size of the animals is. The size of my walls are good for the horse's ears. And from this side, you see the owl's effect is actually showing itself so much in this ear. And we said we can even have an oval here so we can determine the space and the distance between the ears, but it's showing mostly the shape of the ears comparing to each other. Definitely this year, which is on this side, looks bigger to us because of the perspective manners. Okay, So this is the general shape of our horse's head. Now we want to shade it. For that. Of course, we will want to create shadings, stripped shadings, but before that, we will erase the extra lines unless they get the faded and phased out. Why we're shading. If they're going to be faded with that, you don't have to erase it like And now, but I prefer just to erase the extra lines. Now I want to start creating the volumes and give my work at general shading. We will darken the eyes and just leave a piece of light in them. I created my primary sketch with my HB, but now I working with B6 pencil. This line that we've created for the middle of the head for making things asymmetrical and is actually exist, does actually exist in the horses real face. And it has even a little bit depth. And we consider that the right side of the horse is and dark more. So just shaded like that. And because this part go lower, it's darker. Then lines which are here. We're just thinking them a little. So the muscles of the horse's head will shape themselves. And we can shade here. It's better if I get my B3 pencil. So these lines would not get faded into each other so fast. Because as much soft as your pencil is, the possibility of these lines getting faded into each other are more little light key pair below DI. And we'll drag to arrest which shadings tore down. First, we will shade, I'll just shade our area generally. Then of course we will work on the parts that we want them to get darker. Go over them with our pencils again to stretch that when kids see here toward the nose and mouth, these are muscles. The muscles of these parts of the horse's head is not shaped yet. So first we should create these muscle here. With a darker pencil. We create this shadings from the lower parts toward the upper parts. So we can show that the lower part has some depth. We darken this area near the neck. We had darkness to this parts. Until the area many, the ear, you can have almost a strong darkness. And in here that we've created to Nick, we should not forget that we have made here. But let us get back to our main work, which is creating the darkness on the face and complete the face together. Even here it can be a part of the main which is coming into the face. Because you see that. So often in the horses. The part underneath the main should be definitely very, very dark. It should have a very strong darkness. So the shape of this area would be correct. It's actually the shadow of the main on this area. And from here now we can see the connecting part of the ear to the head. We have some darkness. This area is a bit prominent, so it will get less shading. But we need to shade here just a little bit more. We add to the shadings up to the middle of the face. And from here, we do the shadings in the same direction as we can see. A stretch of the face. We can do darker shadings. So the shape of this area will show itself better. Even when can complete the parts. Next to the nose. There are shadings. And for the right side of the horse's face because we haven't done anything yet. We can just create all the shadings in one direction. Just like this verse, I've created a cohesive shading and then just go around it and make some parts darker than they are. If these would mean darker areas. We can see the upper parts which are next to domain should be darker so that part would get more depth. You see just with a simple shading on your work. You can easily gave so much dimension to your work and make it look more natural and more attractive, of course. And about the horse's ears will have a little dark shading. Because we want to make the other ear to be more realistic, to be more natural. Actually separate this part and we add more darkness to the inner part of it. Now, the head of the horse is almost done. From here. We're going to complete domain and litter, but we do not. And go over it so much. We do no work on it so much right now. We're just going to get a general shape from it will do a very small shading over these areas. So the area would be shaped just like this. And also this part would be indifferent direction. Of course. First I want to add some darker shadings with a darker pencil. And then with the change of direction, we can make the shadings are different and have different directions for them. Wherever I feel like we need more darkness on the head. I just added. These parts are darker. And here and the part near the mouth. You see how easy you can do AR is sketching things and then shading them. Yeah, how easily you can create natural looking animals or other things? Well, because I want to shade this shape so much and we do not want to work on it so much, I don't want to overdo it. So if you continue shaping these, you can, little by little get to the fading shadings, faded shadings, and it can give you a very, very natural look. So this would be generally the shape of the horse's head. I have you've enjoyed this tutorial very much. And in next tutorial we'll work on the other animal's head and we enjoy them. 7. The correct position of the animals' legs: Hello to my dear friends and good evening to you all. Artists, friends. The tutorial that I've prepared for you today is actually into continuous of our previous tutorial about sketching the animal's body. Today we want to work on the principles on creating the animal's legs. And later we will talk about the perspective of animals. Right now, about the placement of animals legs. My dear friends, of course, you've paid attention that in previous sketches. For example, if we have an animal's body for now, I'm just creating a deers body, for example, for you. The shape of the shape and the placement of the legs actually show that which position is our animal in? Is it a standing, is it's sitting, is it jumping? So if we consider this as a deers body, that depending to actually according to all we've taught before, we're easily creating it. Now I want to create the animal's legs. Let me just create a simple head for it, just to show that it has a head. We've already explained how to create that. We just want to have a general shape right now. And today our focus is only on the legs. That of course, it's not as specific to deers. Is the similar for similar shaped animals. So if we consider the front leg and the rear legs of animals, you might create them like this. The next leg will be come next to it with the same angle. And we do not want to work on the details right now because we just want to create the general shapes. And then the rare legs will be created like this with a curve at the back of it. And of course, there should be no asymmetrical of these parts together. And create the rear leg in the same position and the same angle. The rare languages on the other side. So this is a general shape that you can even make a difference in their sizes in different positions and different angles. I would say that we can actually create these shapes in better forums and in better positions. So this was a very primary, basic and simple sketching of the legs. Now we want to make it more attractive So we consider the body parts of the deer as we did before. From part will be smaller and the neck. Okay. Forget these shapes better. You can actually use a line that can show you the angle and the direction that the legs are moving. So we consider a line from the neck toward the back of the body to the rear legs. This is actually going to help you to create good shapes for the body of your animal, for the foot, our animal actually. So when you want to complete this becomes the upper part of its body first. The real leg in this position will be seen more. So it's not a completely two faces, it's a bit vaguer. Sorry, it's a bit into the tree face area. So in here, this will be actually the front part of the body and the legs are coming forward from this side. And again we create the neck of our animal. We connect it to these muscles on its body and the front legs. And before we create the legs recreate the stomach as well. Now in this bar that we've separated these muscles, this would be the leg. And now these two legs are separated. One of them is moving forward and one of them is still there. And definitely when you put these next to each other, you can easily see the difference between the sketches. So if you put your deer or any animal in a position like that, one leg is going forward and one leg is still at a bit behind. You can easily see that the shape of the legs will be way more better. And it's with me more attractive if the legs are completely parallel, it wouldn't be so attractive and good. You cannot show your abilities there. Even if it can be the same for the front legs. But of course, be careful that when I say the legs, it's better that the legs are not parallel. I mean, that they should be in a specific direction, steel, so it doesn't mean that you can create them in any direction you want because we have anatomy and we have positions. As you can see, one of the legs is on our side and the other is on the other side of the body. And the leg. And the bag comes forward. 8. Principles of drawing the body of animals in perspective (how to place the legs and head in perspect: Okay, As far as you can see, you can clearly see that we do not want to emphasize on the details right now. We just want to learn about the shapes, the shape of the animal's legs, in which shapes they look better, and how we can make them better, make them more attractive. And the languages little bit behind a real language is still behind, is in the continuous of the line that we've created at the beginning of our work. Then it gets to the joint. You should pay so much attention to the joint parts. Because one of the most important hints in creating the legs is the placement of the joints. It's very, very important. So now you can easily compare these two sketches to each other. In here are deers walking and legs are way more better. And you can actually show your abilities in creating that. And the body shape and the position is very, very, very better in this second sketch. And no other example. Now we can give you here about the position of the legs is in another position of our deers body. For example, if the deers buddy is facing the front. If we have a shape like this, this is the back part of the body. And the front part. I did not go over the guidelines very much. I do not believe them. So if we consider that we are creating our body in three phases. Now in this situation, again, the shape of the legs can be in two different ways. They can be parallel, or they can be in different shapes and can have better shapes. I create, both for you so you can see the difference in them. And you would know. What do I mean by saying that when the legs are parallel to each other, they would not look so good. And they are not that attractive. Came my friends. If you pay attention, I'm still using very as simple tools for my work. Very, very normal pencils. This is b3 gold fabric castle pencil that I'm using right now. That's very, very easily accessible for you. And when you're practicing sketching, you do not need any special tools. You just did a paper, a pencil, and an eraser, or even a sharpener. So you don't need any special tools for practicing your sketching. Okay? Now you can see that it's parallel. So this is the first sketch that it's three faces, but still the legs are parallel to each other. And it might give us a good need a sketch, but it's not that attractive. If we created in another way, it would be way more attractive that I'm going to create it for you. Now we want to work on a shape on a position. Dad's position of the legs are different and they are not parallel to each other. To try to create the three-way three faces. And we start from the neck, the back part, the lower part of the body, which looks like this, the back part, the tail and this. So you see that my body has not changed at all. We just want to show that in the same direction. Changing the placement of the legs can affect your work? A lot. So that's why we didn't change any positions, any angles. We just want to show that if you create here lays in motion and in different positions, not just keeping them right next to each other. It will actually affect your work in so many ways and it will make it more attractive. And just erase some extra lines so I can see better. And now we want to work on our goal in here, which are legs. Now this side we are going to create them in different angles. That's in here. We will take their rear leg and then my count forward. Sorry, the front leg. The front leg will come a little bit forward, but the front leg, which is on the other side of the deer. Now, this will be the leg which is on our side and still on the front. It goes a little back. And legs. Leg, which is on our side, is going to be closer to us. So one of the legs is coming forward and one of them is going backward. Of course, you should consider your perspective in here too. And we will talk about it, talk about it more in our next episode. But this is a general shape of the placement of the legs that you need to pay attention to it, why you are working with the animals and while you're sketching them so you can get a better picture out of them. I hope you've enjoyed and used this episode. And next session we will talk about the perspectives. 9. Principles of drawing the body of animals in perspective (how the body is placed in a rectangular cu: Hello to all my dear friends and art lovers. My dear friends. According to our previous discussions in this episode, we want to talk about the animal's body in perspective. Now, for creating the animal's body, usually we use normal pencils that I'm using. Gold fabric castles, B3 and B6 pencils. And answered eraser. A sharpener, a paper that you can use a4 and a3 and a board underneath it. For starters, I'm going to use the lighter pencil, which is B3. Now, when we are creating the animals buddy in usual situations. And from two faces, we've talked about it that how are the divisions and how can we divide the parts of the body? Now, we want to talk about the time when it goes into perspective. So when you want to create an animal's body in the correct position in perspective, you can use cubes. So just to get, to know what I'm saying, just to get it better, understand it better. I'm going to tell, I'm going to give you some examples. For example, imagine that you want to create a moose or a deer, which is the head of the moose is facing us, is back bank, wouldn't see that. And it's a little upper then our vision. So it's offer than our vision. So we can create them in a rectangle cube like this, which you can see the front part is bigger and the back part is a smaller. So now I will make it, make my dy, make my lines darker so you can see it better. So This is our horizontal line, and that is our cube rectangle Q, which is above our vision, above our horizontal line. So when you decide that it's upper or lower than horizontal line, you can easily sketch it. Now, I want to create a deer out of it. I consider the front part of the body. In the rectangle. Of course, the sizes of the rectangle can be different and can change with the size of the dares body. So I should just give my opera line a bit more angle so it can get a better looking. If you've worked on perspective far, you know that when something is in perspective, we the thing that is near to us that is facing gauze is bigger. And the thing that is far from us is a slower. So you see, that's why drawRectangle in the front is bigger. And the rectangle in the back is various smaller. Maybe a bit to the back. Okay. So we are having a correctly now, this is actually the back of our deers body. You see like this. So we consider this as our animal's body does, is it cube in perspective at its going to change into adders body. Now, we can apply everything got visit about the animal's body. In here. We said add animal's body have three parts. Now we can just create those three parts in here. According to our perspective, that was a back part. This is a middle part and this is the front part. The difference is that the measurements are not as the same as we've said before. The front part of the body is way bigger comparing to the bag parts of the body because the front part is near to us as more near to us, isn't near us. Now, we connect these together and reshaped body. And even if you want to create the placement of the neck, you can create it here. This is the throat and that is the back of the neck. This is the throat. For now are just determining the placements and we're not working on a completely or creating the head. So this is a division of the body. You can also have the divisions for the legs, or you can just consider the legs generally. If, when to use perspective for the legs, you can continue these two lines from the rectangle that you have in the back. And in here, you can continue the lines that you have and rectangle and different. You see these lines are not necessarily the legs of our animal, but they are, they can just determine the placement of the legs comparing to each other. So you can change them depending on the motions, on the positions and you can change the shape of them. So we're just creating a general shape now and we have a framework here. And we can also create ahead later. Now let us first complete the body. Now for completing the body, we tried to shape the muscles according to the divisions that we've done in our previous section. And now of course, because it's in perspective that front part of the body, the chest, will be look, we'll look bigger. The back muscles and the ending part of the body, the buttocks area. And do not forget to create curves. I'm sure. I'm, I know that right now. That is not our goal. But futures create a curves and the ups and downs, you can just see that your work really pops out and it gets better. This is the shape of the stomach. The belly comes forward, and this is actually the chest of the animal. 10. Principles of drawing the body of animals in perspective (how to place the legs and head in perspect: And in here, in here, it can have a prominent part outside and connects itself to the legs. Now let's go to the legs, just give them a shape and then we can work on to Head. Of course, the front legs are more clear for us. And as you can see, they look taller and longer here. So like this, we're just going to determine the muscles for the legs. The ups and downs of curves, the prominent parts. According to the shape of the deers, legs, according to its anatomy. And be careful. I said, the legs should be long but they shouldn't be extra long. You know, be careful about that. They should be proportionate. As I told you before, placing these lines are actually going to create a general shape about the legs and the body for us. So you can change the position of your legs, the shape of them, as long as they're correct. And I can also erase the extra lines which are here so my work wouldn't get too messy and I won't get confused during my work. Here also, I have some space. The limit, the area around the chest. Then we go to the back parts. So for example, one of the legs, one of the rear legs can come from here, from behind the front leg and from beneath the stomach like this. And the lower parts. The other leg can come from here. And it comes down to lower parts. So just like this, we have the body of our dear approximately. Again, have some editing here, for example, I believe we can consider the stomach at bit fatter. Now, we want to work on a deers head. If again sooner is stomach line and continue that. You'll see this is actually dividing the body into two parts. And it can help you to find the beginning part of the neck and the head so that it comes up here, it connects to this part and it shapes the throat. If it have omar curve it, I think it would be better if we add more curves to it. And also from this side, reshape it so it connects to the back of the neck and it goes up to create the head. And in here we have the head of are there. Now maybe a moose, maybe a little lower in here. So generally we can just show the head of our deer or mousse with a triangle shape. And then we can add details to it. We will have ears hear the shape of the top of the head, the shape that eyes are going to create in here. And connecting it all to the jaw. And we create the eyes in this very same spot. This is actually a general shape of the head and we have the other earring here. And if you consider this as a moose, you can also create a horns for him. That of course, if you wanted to create now horns for him, you should do that. Both sides of the head. This is a general shape that looks like this. So this would be a general shape of the head and the body of an moose budget that we wanted to create it in a perspective. Okay. It can shaded a little so it can have a better looking for that. You just add some darkness. Underneath the belly. Again, I say this is not our goal. We just want to do it a little so we can have a better shape, we can have a better outcome. You see all the parts which are underneath the body. Our darker and they have more shadings. They get less light. It's also the same for the front legs. Stride that they're more in the front. They have more daring the front, but because they're again underneath the body, it will help. It. It's showing that they should be darker. Be also keep some lied under joint parts. Maybe FEA erase this part and would be better. And shapes like this. We just shape it. And for the head we have an area that is going to connect to the throat would just add more darkness to it. Okay, because these parts are more elegant. I prefer to work on them with my B3 pencil. The shapes and you can create and face our sketch like this. That again, I say we didn't, we didn't get to the details of the face and head too much. Just created a general shape because our goal in this episode was to create div, body in a correct perspective. Here it goes, the horns. So this was the general shape of our dear are moves that we've created together. I hope that you've enjoyed it and you've got the concept of animal's body in the perspective. And you can use this way of sketching for all the animals which are in perspective. Chlamydia, friends wish you all the best. 11. Sketching the guideline of bear's body: Hello to my dear friends. Good evening, and I hope you are all good and well. Okay. Today into continuous of our previous sketches that we've worked on, the sketching of animals, buddy, we want to work on bears and we will know how, what are the general principles about creating there body very different from the body of the other animals. You should consider that the general principles are the same, but the sizes and shapes are a little bit different. For example, the horses had long legs and very muscle body. But the bears have are a bit fat and track traveler and they have short legs and stuff. Okay, So we do a general principles with the three parts, three main parts. But the shapes and the sizes are a bit different from the horse and the other animals that we've worked on. So at first, we just determined the three parts of the body. The same way that we did for the other animals bodies. But because it's a tree faces, we will be very careful with these measurements. The front part of the body would be here. Considering the angle of the body. You should pay attention to the size of this front circle. So I just created very, very light circles here. So later that you want to create the shape of the body. You can get it better. Let me zoom in a little so you can see them better. These are actually our guidelines for our body. Well, if we determine, add a general angle of the body, this would be its spine and neck will toward the front and down. Now, before I go to the guide lines for the legs and the arms, first, I would determine the shape of the body for you so you know how it is. And then we will work on the legs and the arms. Here is the front part of the body, the strong muscles of the bears, shoulders and back, actually. The upper bank. Here we would have the neck. The neck of our bear, which has almost quite thickness. 12. Sketching the body of bear: And here is the other part of the bears back that shapes like this with a thickness. And from here again, it connects to the arms like this. So this would be the front part of the bear's body. If you want to determine the back parts, you see this semicircle. This would actually be the bird's stomach, that even it can be bigger than what we've created in our guidelines. You see, the guidelines are actually only creating the approximate placement of the parts of the body you see? You don't have to say because I created the guideline here and my stomach should be exactly here in the exact same size. Know when you want to create the general shape of the body, you can make some changes to your guidelines. This would be the lower back of our bears body and we turned allies like this and we come down with a very neat curve until we get to the beginning of the bird's legs. The legs should come to here, meaning that this line will continue up to here. All right, so this is our main line for the lower back of the bear. I'm actually creating the main lines bolder and darker so you can easily separate them from the guidelines. I don't want to erase the guidelines yet so you can see where everything goes and how they can help us. Here we will have the arms are we can say the front legs. I would say hands for the bears. This arm would be a little bit thinner. I also create the muscles for that from this side as well. So we can get to the head. Right? I should erase this line a little. And this is actually one of the main parse that shaped the whole bear for us can see that. It can show that it's a very big strong pair. We determine how much we can continue with the neck and then we start for the head. That first we can use a circle shape. So we can determine the approximate placement depending on this part and this line that we've considered for making our work asymmetrical. We get to the jaw. The placement of the jaw is very, very important in order to shape the whole head of your animal. It doesn't matter what animal it is. As we've said before in our tutorials, we can create the job as a simple rectangle or a cube. Now because we're working, we are, we are working in a small size. We just try to shape it with a very simple cube. Well, this true. The Bears job is not too long and it's not too short. We worked on the deers head before. And you can see that you can see that the stretch of the jaw was too much exactly the same as we did for the horse, but in the pair, it's not that much. And the upper parts of the head will be the placement of the eyes. And of course, who will have the ears. In the continuous of the line of the jaw, approximately here. And this year, which is actually behind the head. So I created like this. So this is a general shape for its head. Now let's get to the details for that. We will determine the placement of the nose, the part for the jaw and mouth. My dear friends, as you can easily see, I didn't use any special tools in my tutorials and in my sketching. Just a normal paper and normal HB pencil and eraser. And that's it. You can use any tool that you want. The most important thing here is that you practice, practice, and practice. So you will be very easy with creating the shapes. So the tools are not very important in this phase. Now in here we will determine the position of the eyes. And continuous of the eyes would be connecting to the jaw, the end of the eyes. And they can have a little shading in here so we can show the depth of the jaw. And it can actually shape this area for us a little. Now from this side of the face with creates this area like this. Because this area is at the back of the head. The line is going all the way around and from this part, it will be. Here. The ears of the bear are very short and they are not very sharp. They are short and around it. They are not sharp like the dears ears. Also, this air at the back. There's just one thing does always the inside part of the year would be darker and determine a thickness for the outer part of the ear. For now, the shape of the bear's head is almost complete. And the shape of the body is almost done. We just add some lines to our sketch. So it would look better. Now if you want to work on this shape a bit more and you want to shade it, you can easily erase your guidelines and add your shading suit. But now because we do not want to get too much into details and shadings. We do not do anything with the guidelines or shadings right now. Not yet. We just determined the parts in the body that have more depth. You just shade those parts so we can show that these files have depth. And in here we have the pause and the legs of our animal. Just grade them. Generally, we do not get caught up in the details in here. Because our goal in this tutorial was just to make a general shape from the bear. And we didn't, We did not want to work on the details of the bear and the body. Anyway, we just go over it once and that will be enough. Okay, Now, the next sketch that we want to work on, we would work on more details and create the body shape in another position. 13. Sketching the body of bear that is standing on her two legs: Okay, my friends, in this phase, we want to create the shape of the bear's body in another position, are actually going to create a bear in the standing position. Of course, you've seen the barriers that they are on two legs and they're standing, they want to attack or they're just standing in that position. Now, we just want to create a general shape of the bear's body in a standing position. For that first, we create the lower part of the body with this. And then the upper part of the body. In this position, we can actually separate the body into two parts. We can divide it into two parts. The lower part, which is wider and a bit choppier and fatter, and the upper part of the body, which is smaller. And the last part that we would want to add later is the animal's head that we can create the jail shape of it like this. The area for the legs and the position of the arms that can be like this. Right now is just a very, very general shape of these parts. Is start sketching and create a real shape. We'll start from the neck and we go down. When you want to create an animal that you don't have any special information about them and you do not know the structure of their body. You should definitely use a model as a model picture. So you can use it for creating the shapes and the areas correctly, which is show the back of the bear like this. And we get to the lower part. In here we said we have the legs and the legs will be here you see? The legs of the bears are also fat, but they're short. So this is where we can connect the legs to the body. This area. And also erase the extra lines here. And then we would go forward the front of the body. We create the belly, the stomach. And like this, until we can determine the placement of the arms as well. Here we come to the chest and we go up until we get to the neck again with a curve on the chest. As we've said before. The neck of the bears should be thick and short. Now, this is the general shape of the body. And then we will determine the position of the arms. Here, we start from the prominent part of the bears shoulder or off her back. So we can continue that. And we come down like this to create the arms. And the upper part of the hands and arms should be done. The thickness of the arms should be no big in a lot. As so many people that are dead are too strong. They say there are strong as the bear. Actually, the muscles of the bear shows that they are so strong. So the muscles that we want to create here, you should be careful that we create them big enough to show that a strength that they have. This is the hand and arm, which is on our side. And we have another arm, which we create the prominent part of it here. And we go down, up to here. And this hand is actually on the other side of the body. Of course, it can create this hand a little bit longer. And it come down in here and create the rest of the hint. The pause and the clause. Okay, let's finish with the animals length and then we will move on to its head. You can create the legs of the bear like this. It's short, chubby legs. The curve of here was too much so we just reduce the, the little. Then we will go with the shape of the legs. And we also consider the other leg, which can be placed here. We go toward inside and then you do the same for the other side of the leg. It's a very short, yet strong and wide leg. Like this. Now we have the shape of our bears body. Now we get to the head. As you can see, we can easily determine the area for the neck. I think the next should be started from here because as I said, De Beers next are very strong and thick. If we do a general division, we can put the head in this area so you should erase these extra lines. And we create the bear, bears head in here. Because as we said before, they have very strong and thick necks, but it's very, they're very short, then their necks are very short. So the head of our bear will be placed in here. And the placement of the job position that you can see. The angle of the head is almost two faces. You might not need to create a cube for the jaw. It's okay if you just create a rectangle. Well, I feel like they can just push back the jaw a little bit because the prominent part of the bear's face is not that much. For example, if this is the face and head in here that we brought this line, we can have the gears. So this part would be jaw. They don't have very long faces. This is digital for our bare. Now it got correct shaven and now we can complete it is Lee. First, I will shape the ears a little bit more and a little bit better. The rear ear. Ear on the other side. Of course we said it's two faces, but actually the angle that we are creating this bearing is three faces. I said it's approximately like to faces. And of course, because the size of our work is very, very small, should be very careful with the details that you want to add. Here is the connection part of the jaw and the face, which actually has a curved in part here. That can make the whole share a whole area shaped. And also the eyes, which are almost in the connecting part of the face. And the Joe. If you've and attention you could see that bears have very small eyes. So this is the shape of the ads at last to work on the jaw and mouth. In the air, we have a small bump on the job, then a curve, and then it gets to the nose. You can dark in the nose, come down in it. And we create the shape of the animal's mouth. And the lower part of the drug will be determined like this. That actually connects to the head. So this is a general shape of a bear's body in a standing position. It can always add some more details. For example, you can create the hair on the bear's body. I have a B6 pencil that I want to add some darkness with it. And now bears body. 14. Shading and drawing the bear body hair: So I can create the shape of the head and the body at better, a bit better. I said from here, because this part can be darker. I start creating the darkness. And at the same time that I'm creating these shadings, I tried to give its body and texture because you already know that the body of the bear is failed with hair. So if we create that hair texture on its body, it can actually make it look more natural. Right now we can create that hair texture, which shading, just like what I'm doing right now. When you're creating these shadings, you should be very careful and you should pay so much attention to the curves of the body. It's very important. And in some parts we just create these shading so we can have darkness and we do not get too much cut out with a hair texture, just want that area to be dark. Well, these areas are dark. Areas that we need to work on like this. Inside TO ju just run some colors in here. Also on the chest and the bailee would just bold these main lies in some parts, so our work will look better. The pause and the clause which are going in a little bit toward inside terabit curved, so they're definitely darker. The inner part of the body is also dark. It's actually surrounded by two arms. This is why we need more darkness in here, definitely when needed. Now that the NIC is been shaped. You can use these here very easily. As you can see as the same time that I'm shading, I'm actually guiding the hair toward outside and dragging them toward outside. So in this area, the feeling of these hair can be way more and we can show them way better. But again, be careful. We have different animals that their bodies are filled with hair, but these are different from each other. So for example, if you create long hair on a body that has a shorter in the natural nature, it can actually ruin your whole work. Makes it look cartooning, not real and not beautiful. So because we came to here, I will add the darkness for inside of the ears. And I would work on these parts. And I would add the hair on the face. And the lines that we have here. It should be a little stronger. Create these shadings very, very lightly and elegantly. And we will make some parts darker. Wherever we feel like it's needed, for example, this prominent part of the cheeks on the face. Because you want to show them more, we need to dark and the lower area of them, the area below them. So especially if we want to show that some part is prominent, we can go around it. And our commit. As we've said before, the direction of the shadings can help us to shape our whole area better. All right. As you see, we can just shade wherever we need. Okay? Now, Nick are shaped. And now we can work on the bodies here. And we complete our work In some parts that we do not want any fine works. We can actually get our pencil on our work more horizontal so we can get more darkness. But in some places that we want to show our shadings better and we want to show that they're linearly and we want to show that here texture, we try to use sharp parts of the pencils tip. And connecting parts between the body and the legs are definitely darker because they have part curved in they have depth. Also from here. We have the bailee to connection to the legs. And of course, the strong dark mass that it might have here and the stomach. And definitely we should pay attention to the shadow of the arm on the stomach and then the body. So we will have a very, very strong darkness here, which would be exactly the shadow of our arms like this. Where are we? We are also shaping this area. The volume of the body is showing itself little by little. And considering that Bailey and the stomach is a way more prominent, we try not to shaded a little too much and we would have lighter shadings like this. Okay. The shadings of this area is so light, so I just added a little bit to them. Now we want to work on the legs. If you want to add some hair on the legs. We can work like this and add to hear among with the shadings. And in here It's something like that. It's beneath the animal's knee and it has a little bit of depth and it's carved in. So that part would be darker and this part, which is more on the surface on the top, would be lighter in shadings. On the top of the foot. It just give it a very, very simple shading. And we can add some of the legs hair on it. Then we will do this. Say we will do the exact same for the right leg. You're just create some hair for it. And we need to sharpen our pencils. I need actually, okay. We just drag some here toward the outside so we can show that the texture is hair. And the kid show it pretty well. Again here. The part below the knee is darker and the upper parts will be lighter. And shadings for this bottom area, the tub of animals foot, which includes the clause. Pause. This area, which is going to be shaped like this. Okay? Just as easy as this, we've created a bear, a beautiful there, and we even applied some shadings. So whenever you feel like you need more darkness, you can repeat the shadings and make it darker and give it a better shape. I hope you've enjoyed our tutorial and you've used it and practice it. And you can easily create the animals in different positions, send them to us, and we can enjoy them too. 15. Drawing the basic sketch of cartoon bear: Hello my dear friends, and good evening to you all. That's a tutorial that we've considered for you today is a bit different from our previous tutorials today, we want to work on a bear, but it's animated. You want to create an animation bear. For that. First, we start with creating the general shape of the bear's body. Be careful that when you want to create a cartoony sketch or animate to the sketch. And division of the body parts is totally up to you. It means that you're the one who is deciding that what shape can your cartoony character can have? But you'll have to also consider that. You're, for example, in here you're creating a bear. So you should consider the general principles of creating the shapes. So it's look, so it will look like a bear at the end. But you can change some things. Comparing when we want to create a realistic bear. Because it's an animation and you can just make some changes onto it. So this is a belly to stomach, the upper body and ahead. Now this time we want to start our sketch from to head. For the head of our animal. Vif said we've got a rounded area for the face and jaw. That if we consider it here, we consider the jaw here. And it has an open mouth and it's laughing and smiling. The eyes can be start from here. Are the curve of the head would be starting from here like this. And here we would have the ears. And in this area, we will have its cheek. But because we want to determine the placement of the cheek, we can almost create the shape of this area. We can show the cheeks. We showed a cute chicks. Ok. So now we have a general shape of its head. Now because we want to make it more clear for you, we determined the placement of the eyes and cartoony characters. We create the eyes more closer to each other, so they would look more funny. They look funnier like this. And the ears would be placed here. And the other one would be placed here. You see, we have a fantasy shapes, we have a cartoony shape, but still, the general principles of creating the ears and the body are the same as we've practiced in our previous tutorials. So do not worry about that. The shape of the nose. And in these parts, you can see that slowly I'm going over the main parts, making them darker and bolder. The mouth. And of course, it should be like this. But also for creating a sketches like that you can create. You can use your horizontal and vertical guidelines. And you can use them very precisely. So you can transfer your sketching and models into your work. But in this case, I chose not to use horizontal and vertical guidelines. I've decided to use these circles as my guidelines as we did in previous tutorials for our realistic bear. All right. Now this is a main part of our Bears head. Now we go to its body parts. In here that we have the upper circle. We will place the back part, the shoulders, and the arms. That it has almost thick hands and strong hands. And in here we determined this lower area. The back area to animal's chest would be placed in here. We also wanted to have a cute clothes zone. Maybe an overall. I didn't know yet. So now we will have to create this part of our sketch for its close. This area is the area that we can see, the bears belly. And as far as we can, as far as we know that the bears have very big stomachs and big Bailey's. We should create a big curve here. And from this side we will determine the placement of the arms, chest, and belly. So this is the general shape of the body, the upper part of the body. From here we create it's pans. Because we've said that we are working on a cartoony character. So they can have cute dresses. And of course, this character is not. From my imagination. I am using some famous caricaturist and animators works in here and just copying their work. But also you can use your own imagination. It depends totally on you. You can use your imagination for creating your own character. This part shouldn't be too thin like this. So this is a chubby arm and hand of our Chevy bear. I think I've got its belly to Trevi in to fat. So maybe I just bring it a little bit toward the inside so we can have less stomach like this. And also from this side, reshaped clothes. And we create the animal's legs. Q little pants. And the legs which are in this shape and we create them very, very simple. From this side, it would be the other leg for our animal. We determined the clothes coming on the foot, on the legs. And this is the edges of our pants. Forgot about the other hand. It doesn't have so much site and view from this side, but it comes down like this. We have to show it a little. So this is add general shape of our cartoony bear. Now we want to erase the extra lines and we can shade it so we can shape it a little. 16. Shading and adding details to cartoon bear: So we erase the extra lines as you can clearly see. So again, I say As you can see, our guidelines just created a general shape for us. So we will have a general model and we will just go with that. Will blow off the extra things from our work. We don't want our work to get messy. Now, we will go and pick a darker pencil. We can use B6 or B3 pencil. Right now, I will add the darkness into my ears with my B6 pencil. And I want to create at general shading for the head. Also the other ear. It's the same. And also the nose and mouth. We can also determine its tongue in its mouth. The parts where I don't want them to get too dark. I can use my B3 pencil to shape them. Now we will go to its eyes. Just give them a little color. Maybe even if these parts will get a bit closer together to shape would be cuter and funnier. And better of course, will shade this area a little. Sometimes the shadings in these kinds of sketches have a way of, you know, volume, creating the volume for our area. And some of them are good for creating the hair. The shading that I'm using here is just about creating the volume, but the ones which are here. In addition that they showed a volume, they are also showing the hair. So we can have that kind of shadings that can show the volume and the hair simultaneously for us. Okay. There we go. And cheek should have a cute cheek. So it will shade in the same direction as the bears hair until the part below the throat. And of course, we will show this cute, funny smile that he has on his face. And we will complete it with a shading. The parts on his back, the shoulders, which looks like this. The area for the arms. And you can easily show them with very simple lines. You see wages creating some simple lines and shadings, but are, shadings are actually showing the bears muscles. At the same time. You can also do some of these shading sort outside so it can shape that hair texture for you. In this part of the arms and hands, we should show the curves. The prominent parts is pause. Some very small shadings. So just scan, give this area a general volume. And because this is a cartoon character, we do not want to get too much, do not want to get caught up too much into the shading process. Were just want that to shape a little and get a good overall look. Just to give it a three-dimensional look and the base of hair texture, that will be enough. This part is a little bit darker, so we are going to shade it a little bit more. Also in here. And then again, we will use our B3 pencil and create lighter shades to determine the shape of this area. Then we create this curves and ups and downs on the belly of this cue to creature. And then we go am shade its back. The lower part also needs a darker shadings. So we create them. And then we use a B6 pencil for this area. We'll dark in here completely. And then from this dark area we drag some darker shades toward our lighter shapes so it can get a better shape and forum. Maybe in here we need a bit more darkness like this. See generally for the parts that you think they should be darker. If you go over them a little bit with you or B6 pencil, you can get the darkness that you want. The other hand, which is on the other side of the body, you just give it a little bit of shading. Just to give it some volume. And the clause. Then we'll come to its clothes. And with creating some cute or wrinkles, we try to make our work look more interesting. Shape these parts. The parts which are coming from underneath the hands recreate these shadings. We shape them, rework on their parts which you feel like they need to be darker. You can create thicker lines. So we create our shaming like this and we determine its fate. And also in here, did the same shade the lower parts of the fingers and recreate the clause, the pause. Turn it down. And we just add some details to the surface of our clothes. So just wanted to add some credit lines and details, just not to leave it sorrow and on touched. Just some wrinkles so we can show even he's clauses being stretched because who serve fat and chubby. And maybe ambitious as shape here. That looks like a pocket or maybe some patches. All right, So this is it. I hope you've enjoyed our to tell real and you have enjoyed creating this sketch. You do it at home, you practice on it, and you send us your beautiful works. So we can enjoy them as well. Wish you all the best and goodbye. 17. Linear drawing of the dog head: Hello to my dear talented friends and good evening to you all my dear friends today I've decided that in the continuous of sketching animals, we work on the head of a job for a debt according to our previous tutorials, first we want to show the head with simple shapes and lines because we want to show the head facing toward us. First, we create the main part of the head, like an egg shape, an oval. And for this you can use an HB pencil or a B2 pencil. This is a primary shape of our dogs head. I tried to make it a little darker so you can see these guidelines better. Okay, this is our primary shape. Here, is the muzzle of the dog, which we have nose. And here we have to draw. And you can show it with a circle. Suppose the muzzle and the jaw. To see. Now we're just working with very simple lines and we do not get into the details so much right now. Here are the placement of the ears. And in this direction is the second ear. And we're just creating the placements approximately. And it can be a little moved, daring work. So after we've showed this part, after we created this general shapes, now we want to work on the eyes. There will be approximately here, both sides of the continuous of the model muscle. And here we will have the dog's nose. And after we are finished with determining the placements, we will move on to adding more details. And you can find this shape of the head in similar creatures too, dark like cats or even wolves. At the top of its head, we will have some ups and downs, some curves. Of course. These parts will look like this. They shaped like this. This circle is actually the skull of the dog. And when we create the hair on our dog, it can actually come a little outside of this circle. And it should be, it can be wider. And we can even consider ears coming a little bit more out of them as primary circle that we've created because of the hair. And these parts will be shown like this with the hair of course. And in the part of the animal's Nick. We can have this because we do not want to work on the body so much. We want to work on the head. We want our focus to be on the head right now. You want to give a little shape, a little more shape to the dogs, Joe. We can say that it shapes like this. In here. It will get out of that a circularly shape. It's not completely circular. Almost a straight and toward up. Just like this. And also from here it comes toward inside or inside of the head like this. We can continue this area. Erase here. Whenever you feel like your guidelines are extra, you can easily erase them and get on with them. Then we complete the nose of our dog, considered and determined its placement. But it's not very precise. So we can draw an asymmetrical line from the middle, from the middle of our head. And then we can create a nose in this area. And then his nostrils will be shown like this. If you don't erase some lines, it would be okay because later we want them, we want to actually shade our work. And some lines will be add to our work, and some lime, some lines will be erased. So if a line does not bother you or make any problems for you, it's okay if it's a stills. If it stays, I mean, sorry. In here next to my dogs muzzle and Joe, you can see a prominent part which is located on the lower part of the John, lower part of the mouth. And you can see it at both sides. If they come up to here, we can create a darkness. In here. We will create a shape that we want to create the eyes next to them later on. And if it's like this, you see eyes would be here. All right. This is perfect. These are actually the ups and downs which are located on our face. And you know, they have a shape that we can show it these lines and it would be more natural. You don't see completely straight lines in a dog's face or even the human's face. So like this and being here. And in these parts because we want to shape them later, we do not create them so much linearly with us. Create them in the shape of lines. So even up to now, it's very similar to a wolf. Behalf course. The model that I chose is a husky dog. And it's very similar to the wolf because I wanted to hit two birds with one stone. I wanted to learn about creating a dog's head and also maybe a wolf. Now if we consider our eyes to be in here, you can see a little line below that. You can see in these kinds of dogs, or you can see them in wolves. So we create this darkness and this line. At both side of our phase. Again, I say below the eye. And we erase the extra lines so we can create our eyes. Well. The eyes are students. Circularity. And these stretches next to the eye, the shape of the eye and the shape of the hair, and even the color of the hair which are next to its, I will actually give the eye a bit of a stretch look. So this is DI these are the eyes, are two of them. Because everything we do for one I should do the same for the other eye. And we should play some darkness. At the top of the eye. We will leave some place for the darkness of four inside of the eye. And even there is depth part, there's a curved part, curved in part at the top of our eye, which you can see some darkness in this area. And because this area has darker here as well. And we also want to show that, you know, there is some hair here. You see. I'm adding some lines and details into some parts and also erasing the extra lines along with them. Now we are going to shape around the face and the ears. So in next phase, we can move on to the details. And we should consider the external area up to here. And about the heirs. They should start connecting to the head from this area. But I've told you before in different kinds of dogs, you can see different types of ears and head and everything else. But right now, depending on the model, the model that we are working on, the shape of the head and the ears are alike. This so again, I say it might be a little different in different kinds of dogs. But for the one that we are doing right now, this would be it. All right. Now this is the shape of our right eye. You see, as you can see, it didn't exactly connected to our primary circle, connected to that external area because of the hair that our dog has. We will definitely do the same for the left ear. And the highest is same as DR1 is long ears. And again, you pay attention to this side of the head. As you can see. We can even expand it a little bit more than it is. And again, the beginning of the year will be added to continuous of the head. Like this. The rotation of the ear towards inside. Also we have it in this year as well. I just forgot to create it, but I will definitely show them completely in our shading phase. So do not worry about it. Just like this. It would be very Zm re Rabia to fill a damned. Now, if I erase this circle that I created that first, you can actually recognize the shape of the dog's head way more better now because now it's more shaped. You see, if you start from a very simple shape and little by little, you add some shapes to add some lines to it. You can easily get the forms and shapes that you want. And you can actually get a better look at these animals. Now, the head of our dog is almost done in the terms of sketching and a nexus that will definitely go to the shading phase. Just wanted to determine some parts. So while we're shading, it would be easier for us to recognize the parts which should be shaded. Just like this. And the power set we should shade for the neck is like this. So you see our head sketch is completely shaved and now we can shade it. 18. Working on the eye's of dog: Now for a shading, I'm going to use my B6 pencil and start working. One of the most important parts in E2 sketching is actually creating the eye, whether it's sketching animals or humans. So the first thing that I'm going to work on and shape it are actually the eyes of our animal. Dogs have very kind eyes. But because some dogs like this, which have some similarities to wolves look at little bit violent. We're going to work on the eyes a little bit different. But it's just the faces. Because generally dogs are very kind and loving animals. The center of the eye. I will create a dark moments and I create just a little light for my eyes. I mean, I consider a placement for the eye, for the light in the eye and just give the risks of the eye. A light shading. Also do the same for the other eye. The parts beneath the eyelids always have some kind of darkness. Alright? Like this. Now create a darkness all around the eyes completely. And we try to create that hair texture around our eyes. As the same time as we are shading. It should be easy for you by the time you spent on others sketching. Also, again, I say we do the same for this eye. We're just applying and adding the darkness to our word. Little by little. We start from the part next to the eyes, and we continue our work to other parts. Well, dogs have hair on their body and when we want to shade is using a literary shading like this, which can also give us that hair texture. See, if this gushed out we are working on is hyperreal. We should work on it more and we should spend more time on details and a work. But right now, we are working on a real realistic painting in sketching. We want to focus on this sketch and details and creating the South Vineet. The shading is enough up to this level because we just want to show that it's a dog. Actually, as I said before, the sketching is more important to us and just want to have a little bit of shading. But if you have a hyperreal sketch, you should try harder and you should spend a lot more time on creating the details and textures. Okay? The area around the eyes, our shape. Now I want to use a fader to give it even a better shape. I want to work inside of the eyes, give it a color and fate. The area. 19. Shading the nose and volume the dog snout: And shape it like this. Now slowly we drag the shadings downward through the muscles and draw. And we show the dark parts more. For example, these parts around muscle, which should have more darkness. And also in here, in these parts to darkness will move forward to these areas. And in here we applied a darkness like this. Very, very fast but little shadings. Also here, a small shades in this direction, but we are creating them fast. Of course, the parts which are actually a border for the darkness. We can work on and more and we can make them darker. Like this. You should pay attention to the parts that may have some hair. In the parts that you feel like there might be some hair. You should create the shavings in a way that show the hair texture. Now on the nose we have so much darkness. So I start at the middle of it, at the center of it, make it completely dark. And then we drag the shadings two to both sides. The lower part of the nose is darker and the top part of it is lighter. If you've paid attention to the news of animals. It has a very unique texture. It looks like it's plastic or rubber. It's very shiny and it's very different. It reflects is the sunshine very well. You can see very good reflections on the nose of animals like this. So you should pay so much attention to the shadings and the lights on the nose. So we apply a strong glide and strong shapes. The nostril is completely dark. The lower part also dark. Just like this. We're just kind of spattering the shades. We can also see a very small darkness beneath the nose, which you can show perfectly with hair texture. And I will go a little on these areas also. Because it's correct that we've said the lighter parts have light on them, but it doesn't mean that they're white, they are lighter. And if we want to complete the shadings beneath the nose, we will create the hair which are existing in this area. Very softly and various slowly you should add these hair. Pay attention. You shouldn't just create the hair very long and tall. You should add the hair layer by layer so it can look more natural. You shouldn't draw very long hairs and that will be it. No small hair, but layer by layer. Because the length of the hair can not be too long. As we can see real animals. This area is actually dark area generally. So we can use a little bit of our fader and we can make the shadings that we've created a little bit of smooth ER. And we can even give color to this area little before we complete the hair. Just like this. Here we go. Exactly like this. And even these back areas which should be darker, we can go over them with our fader little and then complete the shadings later. It can also work on these parts. We're going to shade in the exact direction that we want to create our hair. So be careful about that. Wherever your shading you should pay attention to the direction of the hair coming out of that area. All right. Now, its general shape that we could create. By now. Then I choose a sharper pencil to create even more hair for our muscles and draw. And of course, whenever you feel like you've created too much hair or too much darkness, you can use your eraser to create your hair texture. You can erase the extra hair on your work. And of course you know how to create hair texture, whether a stir. You see. We are actually feeling this area at the same time as we are creating hair takes Sure. In these parts. We need more border. There we go. You should have some occupations here. And go little by little slowly, step-by-step. What you are doing, any kind of a sketching. If you rush through it, it never works out, so you should do it step-by-step slowly. I would sell much patients and cautious. So you can get the result that you want. Never forget that. Okay, just like this, the field, the muzzle area, little by little, that is small hair. We are going to shape them a little bit more because in some parts we need darker layers. And that's what I'm doing right now. Creating them as more patient as you are and bring these layers of hair on top of each other. The result of your work with beat better. Okay, in this area, the direction of the hair is a little different. So you can create them in this direction. Also, it's the same for the other side of the face. And there are various small hairs. Now, the hair which are coming from muscle toward upside. You see this area. Until here we had a dark area of hairs. And up to here that will be finished. From here up, we create two layers of Hal sorry, create two layers of dark hair. Upward. This goes to the middle of the forehead. And if you pay attention, we can do the same from the other side. Just two lines going up to the middle of the forehead, which would be darker comparing to the other parts. And then we shade around them. The direction of the hair in this area will be like this. Well, generally rotating the pen still in creating the animals hair should be a lot. So they hair would look so natural and so good. We've done have enough rotation and different directions. It would not work out. Also, this middle area should not be untouched, but just create a hair but with less concentration. And of course more lightly. Just like this. Here we go. Okay, we add some more darkness to the price said We need. You can also use a little of our fader. And these flaws which are darker. So we can get a better volume out of it. 20. Working on the hair of the dog and volume the dog head: And remember to blow off the extra powder from your work. And then we continue our shadings in these areas. Next to the eyes. And a little on top of here. Make sure you create the right shapes on deface. Shapes should look natural. As much precise you are for this and spend more time for your shading. Well, obviously, you'll get much better results. Now, I just added some general shadings as can be seen here. So we will get a general volume from this side of the dog's face. Day hair that are coming here and shaped area around here, around the eye. At the left side of the head. We can do the same and we can create these shapes and areas. We determine the placement of the shadings, how much they should be done, in what direction they should be done. Especially these parts next to the eyes are very, very important to us. Like this. Here we have an area. It shows the concentration of the hair. In here. You see the shape of the dog's head is getting more real. In each step of our work. As we move forward. It gets more natural and more real. So don't worry. I'm sure you're going to have a masterpiece at the end like this. And this will come here. The part that connects the head to the neck. We can easily create a hair like this. We can show them with a better and more beautiful shape. Pay attention that in creating the hair, you shouldn't be too much in order because the thing that actually drawing the shape of the head is that you give too much ordered to the hair if you go a little bit disorder and just create a hair illiberal randomly, even change their direction sometimes toward upside, some times downward. And adjust. Go a little while there. You can get a very good shape, easier. And you can just apply the shape of the head very easily and very naturally. So don't get too much in order. Alright. Even in here. And the continuous of those hair. You can also show the hair which is on the neck and a buddy. And you should definitely pay attention to the difference of direction when you're creating the hair. Mean, do not create all of your hair just in one direction. It would be natural. You see, these are actually the hair which continue right up to the middle. And in here, the continuous of the hair should be downward. Because the shape of the neck and the head and the body, just keep, stay here in this direction. Alright. Now this is a general shape up to here. Then I will give a shape to the ears and the top of the head. And then later on, if you wanted to add even more details on the face, we will create them later. And another may shading that we haven't done it yet is actually on the forehead of our doc. It's continuous of this line upward. And on the forehead we create some hair. One of the main shadings of our sketching. Just like this. This rotation should be done. It's just sad. If in some parts day hair should be in more different direction, you can just do it. Comparing your work to your model. Just, let me just add to the darkness in this middle part. And Lidl with my B6 pencil. You see when you take a darker pencil in your hand just spontaneously, you darken the parts that need more darkness. So you don't have to put any pressure. And we can do the same for this side of the face as well. Now, the top part of the head can have longer hair comparing to the hair on the jaw and the muzzle, the lower part. That's why I just let my hand go a little bit more free to create even longer hair. But as we come down, we should control the length of our hair. Because it's knowledge, dad, long when we come down. Alright. Let's see this shadings of them. Face and the hair of the face can be more complaints and we can work on them so much more. But we're gonna do that later in this step and this phase, I rather first give a shape and a general shade and shape to the top part of the head and ears. And then at last, maybe we'll add some details to the rest of the face and we will complete them more. And in here we just create some hair, very, very small hair at the top of the head just to give it the feeling that it's a hairy texture. And then to the ears. 21. Shading the dog ears: So the shape of the dog's head is almost complete. Now, we can work on deaf ears a little. So first to do that, I sharpen my B6 pencil and I'll go straight to the darkness. I create DID dark parts, dark areas. And just like this, I even create the shape of the hair in these parts. First parts which are completely dark, you can create complete darkness. But there are some parts like this upper part of the ear that we can create them with our B3 pencil. Because it's lighter. For the darker parts, it's better to use a darker pencil and you can get the results sooner and you can work easier and better. That's why, that is why. And these dark parts, I use my B6 pencil. And when I go to delight our parts, I use the B3 pencil. By. You should be very careful when you're working on a dark part and you're moving toward a lighter part. Try to keep the light. Do not go old dark. These parts. It's not bad if we keep the light into hair because there is some light on the hair of this area. That's why I'm not going into this too much. Now. In the center of the air, we can seal almost a very strong darkness. That's why you can color this area completely with your dark pencil. And then after that, you can create some shapes in the same area and you can see the hair. Just create the hair in the same direction and give it a good shake, give it a natural, natural shape. This area should be dark and completely. And also here it should be done. I change my pencil so I can keep the light's better and more. These parts of the ear, these lower parts, of course, the hair, can be seen in these directions. And even here, you can see some darkness and this direction. Now, the inside parts, dinner. On the contrary that they have so much hair, they should go toward a gray color. In this part, we have kind of a darkness day hair which come toward up from here. And of course, in this area we can add a little bit of darkness, keeping the shape of the hair. Okay? Now we have the shape of the ear up to a level. And of course later you can add more details to it. But now we're going to do the same and work on our right ear. So we can have an asymmetrical animal here. First, we create the darkness inside of the air. Create them as much as we can see. And again, I say, when you're creating the darkness, you should try to keep that hairy texture on it. Especially when you are going toward the lighter parts. Reshaped linearly and recreate these hair. And even in these parts, we complete these shapes. The hair which are actually coming from inside towards the outside. And we should show them in this slider part. But of course, the inside area of the ear can even have more darkness. And in the middle, the darkness should be less. So this is a general shape of our dogs head. I hope you've enjoyed up to now. 22. How to fade and shape the hair of the dog: Okay, my friends, up to now, our sketching is actually a complete sketch and draw. But if you like to work on your sketch even more than this and you want to complete its shadings. You can use your fader on some parts to fade them and bring more shadings and details into those parts. I've decided to do that. But at the same time that I'm fading, I want to create a very, very small hair. So when you put your fader in dark areas like this, when you continue it, you can actually continue these lines. And when you continue these lines, you can give the feeling that there are more hair in that area and you can give your work more volume in that zone. We can also do the same in here. You should just be very careful in which area you are doing that and you should follow the correct direction of each areas hair. These are very, very two important tips. You see. As more as you work on your shadings, your work will look more natural and more realistic. And you should definitely see that these hair should be connected to this top part of the head and the ears, of course, a little. Alright. These areas have strong darkness. So we can fade in and we can use its darkness in our benefit. Just pay attention when you're working with fader and you're fading your work. At the end of your work, you should definitely come back and work on so many parts of your work with your pencils. Otherwise, the darkness of your work might look way more or less than you want it to be. So be careful when you're using fader at D and you should come over these parts again with a pencil with emphasizing on some parts and actually pushing your fader more into the cardboard. For the parts that have more darkness, you can actually make that part fader and create way more darkness in that area. But of course, they've worked on the muzzle area once with our fader, but because we need more darkness in here. Again, I preferred to bring my fader on this part. Even on some parts, you can use your eraser and created details and textures and lights. You see how easily you can add darkness to these areas. And as well as the same time as you're spattering to darkness, you can create more hair for your head. Of course, in these areas we didn't work on the hair too much and we didn't not want to overdo these hair because it's a very, very simple sketch. And it's not a Keras grew sketching, or it's not a hyperreal sketch and drawing. It's a real one. Realistic. But just naturally, if you are into a drawing and if you're very interested in that, you try to add more details to your work and make it better and better. You see, even that I just used my fader on my dog. It is getting in a better shape and it is getting more and more natural. If this two or three layers, meaning that you would fade with the fader. And again, we stay there with our pencil and if needed. Again, we will use our fader and continue this cycle. Actually, the volume and texture of our work would be amazing. So I'm just going to tell you once and a video bought in house, in your homes. You have so much time. So try to do this cycle for, I don't know, two or three times. And as you see, I'm dragging my fader from inside to outside. And because I want thinner lines here, I'm using this smaller fader. If you drag it into darkness, you can create hair with it perfectly. In these parts, again, I choose my bigger fader and I fade it. I give color to this hair. Also, the hair on the neck will guide this chart inside. We try to add more darkness so these hair. And then we'll use a little fatter, smaller fatter. And I continue their hair very delicately, very beautifully. And it can easily create that and hair texture for me. It's just getting better and better. 23. Completing the lightness and darkness of the work: And as I told you before, you can use your pencil and work on some parts that you lost some shapes or they still need more work. For example, this part needed more details. Also for this, I can create some smooth textures right next to the eyes. He's look like various small hair, short and small hair. Here we can have a strong darkness exactly like this area. During the fading, a little darkness was faded away of course. So we can pick our pencil and see wherever we need more dark this, they can easily add it. And for this Jiang or darkness, it's better that you use a darker pencil, meaning B6 pencil. So wherever you feel like this part should be darker, it will add B6 pencil. And always remember after using your fader, definitely the darkness that you've already created with your B6 pencil will be faded away a little cell. After using a fader, again, you should work on your dark parts at a strong darkness with your pencil. Always remember that. And some parts actually gets out of the hedging and shading and you just have to hit depends on the pay for. And with spots and dots, you create the texture that you want on your work. Okay, Let us fade the ears as well. So I work would be more cohesive and the shape of it would be appropriate. Okay, we use big fader for debate areas. And very far we've reached a smaller space. We try to use a smaller fader. Okay? Now I prefer to choose my fader and get a smaller one. Some lines in the year, just to create the texture perfectly. So with this smaller fader, we create delegate and smooth shapes of hair and the texture of this area. Okay. We also drag these parts out toward the hair of this area should come toward outside and create a hairs like this. And again, as I said before, as more time as you spend on your work, you can get a better result. At a better outcome. You can add more and more details on your work. For example, right now you can work so much on the hair which exist in the ear. You can make them more delicately, more finally. And right now I'm just creating them with my B3 pencil. You can create the hair more delicately and with more details. Even the hair which are existing in this area and can use a darkness that we had already here. And we drag them upward. Even the hair, which are in this connecting part of the ear and ahead. You can even work on these hair more and make them more delicate and more visible. The world of sketching and painting is a very, very big one. You say when you're working on a sketch and a model, even after the time that you thought the sketches complete. Even after that, you can continue working on your model and the sketch, adding more details and making it better, more beautiful or even like this, using your eraser to create some liar hair. Or you can dark in the lower layers. So the upper layers would show themselves more. And so on. You can do so many things. And you can continue to work on your sketch and hours after you thought you finished it. And the result would be your outcome will be more interesting, more attractive, and evolve, all more realistic and beautiful. If you felt like you've darkened some parts of your work more than you should have. You can use your eraser or different kinds of eraser depending on its part. To get the extra darkness off your work. For example, I wanted a little light around my dog's nose so the shape of the nose would be seen better. All right, my friends, I hope you've enjoyed this sketch and you do it and it was helpful and useful for you. So you can have so much time on your hands and layer by layer, you complete this sketch, you add these hair texture and you enjoy your sketching. And at last you can create a beautiful masterpiece. And I hope you, I wish you all the best and goodbye. 24. Linear drawing of squirrel: Hello, my dear friends, and good evening to you all. Today they've came back with another beautiful animals sketching. The animal that I've chosen for you today is a very little cute squirrel. It's a very simple sketch that I'm sure all of you will be able to do that. Now for creating, our squirrel will start creating parts of its body. Very simple. The first part would be its head, which we can show in this shape. Just the general shape. The part that we have, you know, the mouth. It would be a little sharper comparing to the other parts. Then it would be the middle part of the body, the main part of the body. That if you want to show it generally we can show it with a circle which is connected to the head. It's okay if it's not completely a circle. If it looks like a little bit, it would be even better. And in this lower area, we would have the legs that we can determine its placement like this. So let me first determine the placement of the hand and then the legs. Here. We will actually create two oval shapes. So we can determine the placement of the lengths. One of them is in the bank, is on the other side of the squirrel. So this is the general shape of our square. Let me zoom in so you can see the details better. Now, you want to work on each part of the body step-by-step in part by part, we will add details. First, we start with the head. Now in the head, the nose will come like this. We have a prominent parts in the placement of the eyes. Then we have a straight line at the top of the head are actually the forehead of our squirrel. Here we have our scrolls nose, so we create a shape of it. A very cute noses. In here we have the mouth that we actually want, the hands coming toward the mouth. But later, not right now. Now it's throat is being shaped. And we came up, we shape it a little bit more. And in here, we should have our ears. Since the ears are very, very simple. We just create them from the very beginning. And in this various CYP, because they are very simple. And on this side you can see the ear, which is on our side, and you can see more of it. So like this, we create the shape of the air and we do not want to work on its details, not yet. And this is a backup ahead which if we continue the circle, it would connect there. But now we want to continue our work. It comes to the back of our squirrel. And we continue this circle. So it gets to the legs about the front of the body. On the front of the body we should create a hence because we want to show that the hands are coming to artists face and mouth. So if we wanted to create a hands for the arms, we have a thickness like this. So it has this kind of thickness. And the arms and the upper part of the hands are short. In a squirrels. Hi darling. You should pay attention that when you're sketching animals, you cannot give one rule to all animals because different animals have different bodies and they have different sizes, different shapes. So if you learn something for one animal, it would be different for another. May 1 be a group of a species or a group of animals would look like each other. For example, the dogs or things like that. Or even when you compare the horse's head or the dog's head, which we had in our previous tutorials. You can see that very small details actually make them look way different from each other. So this is the shape of one of the hands and the other one came from the back, can be right next to it. The fingers are little long, remained make them shorter. So generally I said the scrolls have shorthands. As you've all seen them. Like this. We will have it. And this hand which is in the back, would be the same. And if we actually, let me erase this guideline first, also here. Now, if you want to create a continuous of the back hand, it would be a little like this and it comes out a little. On the other hand, we will continue this circle that we had. It likes. It's coming from underneath its throat. So it comes down. It makes the stomach, it's shapes the stomach until it gets to the legs. Like this very zinc and error we want to work on to animals leg. But now that I'm creating it, I think it's better if the drag this leg a little bit toward left. So does a wide part for the stomach would be more visible. And the leg will be placed here, I think is a better shape. We can also work on this lake like this. We come toward outside from here and shape it. Then it will go to defeat. It just create them generally right now. And in next steps, we will definitely add more details to them and complete them. And it's better if we determined the placement of the eyes here right now. It's also the same for the other part of the skull. So the I would be here. It's actually below this horizontal line. In this area. A black big I. Usually the eyes of these kinds of animals like squirrels and rabbits. Wherever the stretched. And we will complete it and next steps. 25. Shading the head of squirrel: Okay, My dear friends. Now we will continue our work. We create the legs of our squirrel. But of course, because we consider that the squirrel is on the ground, the paws are not going to be that much visible. And of course, the most attractive part of a squirrel body is its tail. So if we consider the center of the tail like this, it can come from here on this side even more. And from this side it comes down like this. And of course we can make the body come out a little bit more, say, because the squirrels have a very thick tail. And at last we erase any extra guidelines that we had in our work. And then we will start shading our work. But of course even we can create the fingers more finally and delicately. See these fingers are actually bend toward inside a little. So we can show one or two of them better. So the hands would look more natural and more real and better. Of course. Actually to pause. I like this which have long clause. We can consider that in this situation, the curve is behind the fingers and that is why it cannot be seen from this angle. It looks like this. Okay, now we want to start shading our work. As you can see, I didn't create the line around the tail very bold or dark because we do not want to create the tail with a framework. We want to create the shape of it without any framework, and we want to show it The fair texture. So we'll start shaping the squirrel's eye. As I said before, we usually start by the eye. I'm using my B6 pencil and I'm going completely dark. Just be careful in the Palestine you can see light. You can keep it. And you don't have to create all the area in one color. So you can keep 11 part completely light and he can go darker in some other parts. So we can have three colors in the eye. White, gray, and black will work on this part above the eye. We create some lines for it. And then we start shading a little above this area. Recreate a darkness. But we want to keep a light trace around the squirrel's eye. A light circle. Maybe. These shapes that we have in this girl's body can be, even in other animals, they can be very different. It means that I'm creating something as a model for you here. But it doesn't mean all of these squirrels or a exactly like this. I'm just showing that a kind of a squirrels can look like this. Then we can create the shape of the ear and little. Then in this phase we are creating HDR primary shadings. We haven't created any hair or fair. Not yet. Right now. We just want to focus on creating the volumes on our work. Then we go to the part related to the nose. Depart behind the ears will be darker in this area. So comparing to the other parts, we will go a little darker in here. And also we create that curve that we've considered for the neck, and it should be a little darker comparing to the other areas. Okay. Now we go into this upper part of the hit. This area gets more light and they give it less shading. Now I'm creating these shadings with my B3 pencil. From here that we have an angle. Are shadings would be a little darker comparing to the top part of the head. So various slowly, we shape this area downward. And as we come to the nose, again, we make the colors less. But actually this light that we have here is not as a reason of the light shining on it. It's the result of the color, the natural color that the nose and the mouth has comparing to the other parts of the squirrel. So we shade these areas. You see, as you've paid attention. If you've paid attention now previous tutorials, different parts, needs, different kinds of shadings. So you got to know, you'll get to know about different kinds of shavings. For example, when we were working on the dog is sketch. We try to create the hair from the beginning. Also in this sketch, you could do the same, meaning that part by part, you create the hair and then you fade it. But here we are using another method. So we started to shade our work first and then move on to the other phases. The result of both of them are almost the same. But here, I just wanted to show you that creating the volume is very important for us. And it doesn't matter that much data. First you create the shading, are first you create the hair. Okay, let me fade the head area. So then I'll use my fader on the parts which have more darkness like this. Then I move forward to my bigger fader and work on the parent switch, have a bigger surface. Well, because the phase has some kind of hair texture, I pay attention that I fade in the same direction as the hair or fur. Because this can actually gives your work a better shape. That at the same time that you are creating the volume, you also get a foundation for your hair. And just like this. Now, the head of our squirrel is shaped up to a level. Now for making the head even more complete before we move on to the lower parts of the body, we will use our eraser for some parts and maybe a little use of our pencil in some other parts. The lights that we like to keeping our work, we will use our eraser on them so we can actually have them and keep them. And also this area around the eye, if we keep the light of that area, it would be way more beautiful. And then we can work on the faces hair. And this will be more. Now I'm creating some very delicate lines where my H2 or age 3 pencil. Be careful in a small animals like squirrels. The length of the hair is very, very important. You should not rush through any of it in creating their hair and try to be more precise. Because, you know, getting this very, very small details and paying attention to them actually makes your work more unique. And this is the thing that makes your work more beautiful and professional. You see this pencil doesn't give that much color to your work, but it gives the texture that we want. It gives us a little small hair takes her. Yet it doesn't create any more darkness. And you should be very careful about the direction of the hair. So it would be in the correct direction. And position. Like this. These parts needs some spotted area. Because we wanted to create that hair shape interface. We can use a little eraser on it. And in some parts we need to make our work a little bit darker. For example, this part of the face. So we can show the hair texture better and we can get the volume of the face better. So we continue these dark hair and listen more up to this area and a little on the air. And of course, the inner side and the inner part of the ear. Also do the same for back of the head. Your lines should be very delicate. Do not overdo them, okay. And you can add a little more darkness in this area below DI, you see the darkness that you create in this part actually shows the volume of these areas more embedded in your work. So try to have different color, tone edges in different parts. 26. Working on the shadows of squirrel body: Okay, Now we want to work on the lower parts of the body. Because in the lower parts, it's almost darker. I start with my B6 pencil and I give my work is shade. And at the same time I tried to create the volumes. And also I try to keep that hair texture while I'm doing the other two tasks. According to the direction of bodies hair. I'm shading this area and creating the volume. You see. Even while shading. In parts that I want to show the hair, I tried to keep the lens of the hair in control and not make them too long. Although these hair will be faded in this step. But may be the trace of your pencil will be seen after, even after they were faded. So it's spinner to pay attention to the direction of your hand and the direction of the hair. So you would not face any problems. Nader, in extra steps. The parts beneath the arms should be very darker. And about its stomach because I want to have this area white. I do not continue these dark shades up to down that much. I also want to create this hair shape texture on the hands. In the part that we come on the hand, on the back of the hand. There are also shorter and the direction are this way coming toward the pause and claws. And in here they will, they'll have a little twist. And the price which are at the bottom of here are definitely darker hair. We should give that darkness to them so they can create that volume that we want for this area. Okay. Now about the fingers. We can shape them a little bit more. This second finger should be a little longer. Like this. And also the other hand. Okay. Now let's work on the hair texture of delay. We want to create a foundation and a shading for that. Later. We will work on fading the shades and giving volume to them. We just wanted to give it a general color and shape. Also, we do the same for these areas. We try to shave them in the correct direction so we can get this darkness that we want. The back of the leg is darker comparing to the front of it, which gets more light. And this area is actually the bottom of our squirrels. Language is the feet. We will add some darkness for the other leg. Determined the darkness where they should be put. And as we go to our body. You can see some shadings. And we just keep a light here because we want to show that this area has been shed some light. Okay. Now here's a little arm showing here. From the back arm. It's just showing a little that we shade it a little. Now, you want to work on these parts which are related to the white part of the body. I'm using a lighter pencil like B3 pencil. Just forgive this area. A very, very, very light color because we just want to keep that hair texture. Now up to this point, most of our animals body is shaped. Now we're entering the fading phase on the body. So I take my fader because it's a large area. I'm using my bigger fader. Now. I'm creating the animals. If you pay attention to their primary is sketch. And when you are entering the shading phase and editing phase, you be careful about the texture of their body. If it's hair, the length of the hair, the direction of the hair, you would definitely get the result that you want because it's one of the easiest subjects and one of the most interesting subjects in painting and drawing tutorials. Most of the students actually enjoy these kinds of drawings because they're so simple and so interesting. But at the same time I said you should pay so much attention to the things that I've said to you. And we continue to fading on these lower parts. This part of the stomach and also the other leg. We also shade these bytes and at last, background color would be given to these parts of the body. Okay. Said we kept them white. It's not bad if we gave a little background color to them with our fader because if we want to show that hair texture that I told you, we need to have a little gray background color, just a little do not overdo it. Be careful because we want to keep this part very, very light. We can give this great color to the stomach with Sir coloring movements. And we can spatter the color to the stomach. On the other hand, we have the hands that we do not want to work on them. Some odd who did not want to show so many details because we're just working fast on this sketch. I just go over them with fader little just to get a more clear shape of the fingers. And that'll be all. 27. Sketching the hair of squirrel body: Okay, now some parts and some borders, we need some more darkness. But before we move to those parts and to the darkness, first, we want to add some lights. And we create our light area. Which is why I'm using my eraser to create these lines and be careful it should be very sharp because we are creating a hair texture. In this area. We can create different directions like this. And about the stomach. The wide part for the stomach. We can easily work with our eraser and create the hair texture on the gray background color that I told you to create. And previous step. So when we go over that gray part with our eraser, you can easily create that hair texture. You see it's a very hard work. You should just spend time on it and you should be patient. It might take a little time by unsure when you see the results of your work. You'll be very, very happy about the time you spend on it. Now, if they want to even have a better hair texture. You can use an etiquette. You can use an etiquette to create the hair. Because this part, In this part, for example, I need more darkness and some hair which will be rotated and twisted in this direction. Alright. Here we go. Now, on this upper part of the hand, we need more darkness. And it continues on to the body. Even in this area. We should pay attention to the shape of the hair and recreate this rotation in them. Squirrels generally have very small little hands. Therefore, the hair on their hands are shorter and are very, very delicate. So we're just going to create them very delicately and a slowly. And the part beneath the hand. This part should be completely dark. L not completely, but it should be very dark. And because it's a very small area, I keep using my etiquette to create delicate hair texture a while. I'm trying to make this area darker. Actually, the tip of this etiquette and the darkness for tip of this edit is B2. So if you want to use a normal pencil, you can use a B2 pencil. Well, for the parts which we have so much darkness, you would have to use a B6 pencil. Do not forget that. Okay. Now like this, we're almost done with the hair beneath the hand, which are dark because it's actually the shadow of the hand. Just guide some of these hair upwards so it can be in a better shape. And day wouldn't look so separated from each other. Now, we will come to its body hair. Because we want the tip of Arab pencil or our ETA to be sharp all the time. You should rotate your pencil or your entered in your hand continuously. So you would make sure that you always get the sharpest edge of whatever tool that you're using. Pay attention to the darker parts, to the lighter parts. Choose the darkness according to your area. And at the same time compare it, the areas next to it. And as you can see, I'm shading these areas without any pressure, and I'm just doing it very slowly and smoothly. These are the hair related to the back hand because it's in the back and it's a little bit lower. It's darker. Also the hair for its legs. The back leg would be darker because it's in the back. Obviously. Let me erase this extra part. Now if we want to show the front leg better, these areas should have more darkness comparing to the areas around it. And this border area, we need more darkness. The variety that should exist in the hair. We tried to apply it all very little to these bytes. And the lower part which we can consider here, the ground is, give it a little shake. Test the show that it is a standing, solid ground. Of course, you can consider anything else in that area. Now. In this light area, it's not bad to create some hair with H2 or H3 pencil. Just randomly create some lines. So it wouldn't be so simple and they look all the same. But be careful we should not overdo it. Alu should not let this area to become lately failed. It is very, very important. This area needs a little bit more shading and it takes a little bit more darkening. And the hair on the other parts would be more random. 28. Sketching the squirrel tail: Okay, now we get to the most interesting part of our sketch, which is its tail. Before we go to detail, let me work on this area a little bit more. I just want to add a little bit more darkness so I can completely separate the leg from the body. Okay, shaped now. Now we'll move on to the tail. Actually the connecting part of the tail to the body because it doesn't get any light and it's in the shadow. It's very, very dark. So you can use your B6 pencil and evaluate your hand pressure. Pay attention to the direction of these hair. They are all coming from a center which is the point of getting connected to the body. They're all coming from the same center. The connection area, the connection is spot of the tail and body. And then it comes out and the spatters like sunshine. I increase my hand pressure a little bit more so we can have the color that we want and we can have the darkness that we want. Now, I choose my B3 pencil island to continue the tail. I want to create Doris of the hair with my B3 pencil because as we come for award, it gets a little bit more light. You see little by little in the correct direction. We are moving forward. And we are creating the shape of detail. If you remember, I told you, we do not want this line around detail. The reason was this, that we should create that border with our hair texture. If a line would be seen in our work, it will reduce its beauty and age would not look that much natural. So we keep the general direction. Yet. We'll give variety to our work. For example, if we create 34 here toward the upside curve, create three or four upward to the curve. We create one or two downward, the opposite direction. Now in this area, the directions would be different. It means that they go toward its head actually. But you should be careful and you should pay attention that there are some hair in the middle that are moving in both direction. I mean, dare direction is not completely to the left or to the right. There's something in between. So pay attention to that hair to now we continue this shape off the tail. Even when can go longer than we did before. Now, you see the length of the hair are more comparing to the other parts of the body. So we look at it like in a foundation up to this level. And now we want to give volume to it a little. And then we'll come back and continue our work. This part that we have complete darkness if faded completely. And then we tried to do this in the same direction that we've created our hair. You should be very careful about the ending of your lines. You should throw your head off the paper at the end of your line. So they would look sharp at the ends. You shouldn't just go and come back with your fader. When you reach the end of the line, just throw your hand off the paper. Now we have a general shape of the tails foundation. Now, we want to start and make it more complete. For that, we will start from one corner and little by little slowly we add the hair to our tale. Of course, you can even use your eraser in some parts because we want to show that there are some little lights on the hair. We do this in order to make our work look more natural. Because there are not exactly like each other and in some parts they can even be curved or shaped. We create that curve. So day would look more and more natural. You see, we're just adding the hair layer by layer to our tail. And we also complete the heights of the tail. In these steps, I would just drag this part toward back more than it is right now. Okay. For keeping our school completely and a frame work. It just look at it from a little bit wider. I zoomed out so you can see the hole is squirrel. As we are working on detail. In this area. We create some hair return coming in this direction. I mean, in addition to the hair which are coming from here, some here are coming from the center to this direction. And again, I say Try to keep that variety in your work. So it would not look very unnatural. Pay attention that this part at the top of the tail should look a little bit more as spattered and spread. For example, if it came forward to this lower areas. So if you go out from this lower part up to this level, the top bar, it should be a little bit more spread. It. Pay attention if you're using a normal and usual pencil for creating the hair, you should constantly keep it sharp. It is very important, not just in this sketch in scheduling that you're working with hair and you want to create that texture. You should do this. And you see as more work as we put into this and more time that we spend on it. Its shape is getting more beautiful and more natural. We can even add some wider here in this area. Okay. We should add a little bit more darkness to this front leg. I forgot it, but now I just added it. You do too. And we can also give more shading to this part below its feet, the ground. And then we can shape it. Well. Definitely we can work on this model and this is sketch more and more. And you can add more and more details to the edge to it. But for the friends which are at the beginning of their work, it's enough up to here. If they can't even created up to this level, it's a very good beginning and it's a very greatest start. So don't worry. But for the ones that have passed our previous tutorials, you can spend more time on it and you can create more details in it. So we shade this area again. You see when you add the darkness area gets depth and it can create a great volume for us. We created this darkness and we are actually a spattering this darkness and spreading it toward outside a little bit more. And of course, the lower areas are basically darker and it will be seen darker. And at the top areas they would be lighter because as we go to the top of detail, they hair will get a little bit separated from each other and they get more distant. And that distance makes these areas to look lighter. And with a very, very low hand pressure, we create the endings of the hair so randomly and in different directions. Now, the thing about the height of the tail or the thickness of detail can be different in different squirrels. But pay attention. One of the most iconic features of a squirrel's is dare tails. That's why you should be very careful while you're working the their tails. So the result of your work would be a masterpiece, as I'm sure you can do. My hand pressure is very, very low and I'm just, you know, kinda going over it okay. For her. When you learn to create the hair, It's varying enjoyable for you. You can even spend hours creating a hair. If you learn how to do it correctly, you will enjoy it. And it doesn't matter if it's animals hair or humans hair or even eyelashes or eyebrows. Because all of them have actually the same basics and each one of them have their own special joy. And we can continue to, continue to take up to this back part of our squirrels hit. Okay. I think the tail is good up to this level. Just add a little bit more darkness so it's back. The darkness to the back of its head. We add darkness to the ears, the throat, and wherever you feel like it's needed. These are the final touch ups that you can easily do that to end of your work. You can edit the parts that you've missed or you want to redo. And just like this, we're almost finishing our beautiful work. If you want to continue shading, you can still create more volumes in your work. But even up to this level, the shapes and volumes are created. And definitely Yvonne NRA sued how you can create this beautiful cue to small animal. Just another hint I was going to tell you is about the very small, little cute whiskers of our squirrel, which are in here. You can easily create them like hair. And some parts are just grade them. Now very in-order. These ones which are in the different direction. You can create some of them with your pencil. Or you can use your mono Zero eraser or a small edges reuser and create some light whiskers on here. Do not overdo them. Just five or six of them would be enough to get a general shape, an idea. Okay, our arc is almost done. My friends. Actually, that we've completed our squirrel shape. We've got the volumes who got the shape? So even we got the texture of the body. If you feel like you need to add more details, do it. And tried to create different squirrels. Saw your hand get used to it and you'll get to know them better. I hope you have enjoyed this tutorial and it was helpful for you. And see you again soon. 29. Linear drawing of Giraffe: Hello, my dear friends and good evening to all. Today we've came back with another animal tutorial. Well, for today, I chose giraffes for sketching them. Because the head of the giraffe as some kind of special shape and it has two horn, horny shape on its head. So the model that I've chose is this picture. I wanted to get ideas from this picture and create my own sketch. But right now my goal is not to simulate completely and 100%, I just want to get an idea from that so I can create the head of my giraffe correctly. Now, if I consider the smaller giraffes muscle in here, its job. This would be the middle area. And here would be the main part of its head. You see, I just create them very lightly because we would have so many changes in them. And the shape of the head is not completely two faces, It's kinda three faces. So we just pay attention to our model. And of course, as you consider this circle a little bit lower. This is the part below the head that I'm just determining good like this right now. So we have to Jada middle part and the ending part of the head, the main part. So here we have its mouth. You just create a general shape of it. Now usually in giraffes, this upper part of their jaw is a bit longer and is coming out a little more comparing to the lower part, to the lower jaw. Here is the placement of the nose. And this corner or lines that we have here. It doesn't have that much ups and downs in giraffes hit. For example, in horses, we have so much ups and downs in this area, but in giraffes, not so much. And if you pay attention to the angle of the lines, you can just create these and show these very easily just at the top of their head. They have a prominent part like this. Now before we can complete our head and completed, It's better to determine the placement of the eyes and the ups and downs, the curved parts, the prominent parts. And E. If you see any mistakes, It's better to edit it right now before we start anything and make it correct. They have a curved part in here that comes up to below the eyes. If you consider a straight line with this angle, we come to the eyes. So the shape of the eyes will be like this, because in giraffes, we can see almost a very big eyes and very prominent eyes. The eyes always pop out and they are very beautiful. So this is the inner part of the eye. And if you pay attention in giraffes pictures, you can see even day have a special shape for their eyelids. Up to now we've created a general shape for it. Because this is smaller giraffe that this tends between the eye and this curved part here should be less. This would be as smaller. Because we've considered this smaller giraffe can even make this lower part a bit choppier. You see the framework in all these and on all these kinds of animals or the same. And general shapes are almost the same. But the details are the things that are changing in each animal. Now we want to work on the top of the head. On the top of the head. The things that we can generally show are these two horny shaped things. And then we come down in here. We will have our ears. So we have these horn, horn shapes. It's actually we can say as their tentacles. We're going to show this horn shaped prominent parts like this. And we shape them like this. And like this, it connects to the head. Elmo's we can say. And above the eye, it gets connected to the air. I erase my guideline because we have determined the placement of the ear. And from this lower part, from here that we have this curve a little below, the eye, is actually the part where the ear starts. And from here it will have a curve and this area will be separated. Giraffes do not have very big ears comparing to their bodies. But again, as you can see, their ears have a special shape. And we can see, usually we can see some wrinkled and striped skin. Okay, up to now we've created the head of our giraffes child. The smaller giraffe. Now, we want to create its neck and then we will move on to create its mother. As you all know, giraffes have very long and stretch. Next. That would be shown like this. Alright. So the design of this giraffe is almost complete. And why we're shading, we can complete it more, we can add details. And we can also show that low part spots that they have on their body. Now, we want to work on the mother's face and mother's head. We can almost say that the mother's head is in S3 faces angle, but less than the child is. It can easily overlap these two heads together, like what I've done here. It looks like the mother giraffe. The mother giraffe's head is beneath the child giraffe's head. As you can see again, we have the jawed middle part and domain part of the head. Now we're going to work on its details. According to our model. Here. It would be like this. Actually in the continuous of this circle that we've created. We have a curve and a prominent part. So we can get to the jaw and get to the upper jaw. The upper lip that we said in the algebra Jove have it longer, becomes a little more out. And the lower jaw, we can say it almost starts from here. And like this, we will have its mouth. They pay attention to the ups and downs of MR. it comes up to here straight, but from here it gets curved. I mean, don't think like that. You should definitely get to the CR calls so you can start to curve. No. And giraffes. From here we start to curve. Let me show it better for you. You see from here we start to curve and we change the angle like this. In giraffes. We can easily do this. Okay, up to this level. We have the jaw of our animal. Now, we want to determine the placement of the eyes. If I create a line like this from here, we can easily show it in this area. But again, I'm going to complete the top of the hair a little bit more. And then I continue creating the eyes. Here we create the tentacles, The horny form things. The other one would be shown in here because we said our head is almost in a three phase angle. So a shape it like this. Also this one. The one which is in the back will be seen a little bit shorter, my friends, because of the perspective. Now, we will want to show the placement and we'll see where we should shade and where we should create the eyes and other things. These are the placement of the curves and a prominent parts. This is a prominent part above the eyelid, which connects to the front part. And you can create DAI in this area very easily. Of course this would be its eyelid. The I would be like this. We can show the eye like this. It's nearly the same as we created for its kid. Giraffes actually have beautiful eyes. This is the part below its, I have some prominent parts here too. And of course later on we can erase the extra lines. But this lower part of the head can even be thicker and be fatter a little bit. But right now it's not a mistake and we can continue our work together. We have another prominent part in here, which comes from the cheek, which come, which comes from the cheeks to DI. Then we create the giraffes ear. And in here that wrinkle lines of this skins, wrinkles on the scans will be seen on the face because the angle of the face is a little bit different from the baby giraffe. And as you can see, the ear is not too big and it would be okay. So this is the head of my giraffes, my mother giraffe. And from behind, from behind the ear, I create the neck. Because the mother giraffe is taller, of course. And if the baby giraffes neck is straight, her nick is coming from up to down. So it would be like this. And of course, both of them have the mains. We can create a little of it for the kid and here because it's in the back of the neck, but it would be visible for the mother. We can add some little details and we'll leave the other details to the next step. Okay. Now on our giraffes, on the kid giraffe, we can create the placement of the later part, spots, the polka dots. But if you even misplace some of them, bring them a little up, a little down. It would not make any problems for you. And you can even create them while your shading. But just to show you that you can do it this way as well. If you wanted to simulate a picture, you can create them like this. And as you can see, when these spots are getting to the lower parts of the body, it looks like they're getting bigger. We can also see some of these spots on its face. For example, on the model that we've chosen for today, we can see a heart shape, the spot in this area and the spots on the face are very smaller and they are more in the jaw area. Actually. There is no spots in the middle part of the head to the top of the head. And it's the same for the mother giraffe. First, I erase the extra lines from my work or any guidelines that I've created. So when I'm creating these spots, it would not affect them. Okay. We can have a smaller spots in its phase. C. It's very interesting. Even in the nature despots and designs. And this, you know, the natural designs of animals have a special order. At the same time that they don't have any special order. They have one, they have a pattern. You see this start from very smallest spots. And as they get into bigger parts, they get bigger. The follow each other in a very special pattern. By yet you can see them like they're random and they're not in a special order. This is actually fascinating. And we have very, very faded spots. And of course, if we want to show the spots like as we've, as sorry, these shapes as we've shown on our kid's skin. We can make these lines bolder. So we can keep these shapes and we do not lose them during our work. Especially when we want to shade. And it's better to complete them while we're shading. And let me complete this area as well. Complete this spots on the neck which are going down to its body. And bigger spots in these areas. Actually, the thickness of the neck is more in there too. Okay. So this is our primary is sketch. You see how easy it was with literary designs and sketches. In our next step, we will create a simple shading. We do not want to work so much advanced shading in it, but at the same time we want to give our sketching a shape and a volume. Of course. Our work is done almost. 30. Shading and add more details to the work: Okay friends. Now we've finished our primary sketch. Now we want to complete it more, add some details and start with the shadings. As usual, the first part that I want to work on are the eyes. As you can see, the giraffes have so long eyelashes. So there will be so much shading on the eyelids and there would be no lights seen in their eyes. So I'm just darkening the eyes completely. Do not just dark and the parts which contain eyelashes. And I'm using my B6 pencil by the way. So instead of completely dark in it, you should create kind of a texture here, an eyelash texture. And it would be like this. Again, I say because the eyelashes are very long, they actually cover the whole eye and you can note C, so much light in their eyes. That's why we darken their eyes completely. And they have beautiful eyes, almost as beautiful as DeBeers. Ethernet. Recreate these eyelashes textures, of course, with the correct direction. And we also created a darkness because this area should look way darker than it is right now. But we want the darkness to still have that texture. Now. We add some darkness above the eyelid. And we try to shape this area which shading. Let me erase these lines so I can create them with my shading. Like this. These lines will be connected to here. And these lines which are actually showing the prominent parts of the face will be shaped like this. Okay, here we go. Because you want to show that prominent part above the head, at the top of the head. We should create some darkness at the back of it behind it. So it can show the other part prominent. Then you work on the nose. Just give it a dark color. The line beneath and knows the line for this upper part of the mouth. So we are working in each part that has the possibility of creating the line. And we can consider something inside of its mouth. Maybe it's a leaf or anything. Because in the model that I've chosen, it looks like there is something in its mouth. It's eating something. The darkness for the mouth that comes like this. And it will be shaped. Now the part for the lower jaw will be complete. This area should have much more darkness because it's in the lower part and it has a darker color comparing to the other parts. E1, we can shade some of these areas. And of course, the upper part of the job, which connects to the nose. 31. Adding darkness to the skin of right giraffe: Okay, my friends, I've darken some of the spots that they needed darkness. Also in here. I'm still using my B6 pencil to feel in these spots. And as you can see, they don't have very special shape. Here's just a general shape and form that you can create them as you want. Or you can simulate what you've seen the picture. And I created a foundation for my ears with my B6 pencil. And as it comes down, I decrease my hand pressure and I let the light be there. I completed these wrinkles and then I went to the Ting, tentacles, added some shadings. And they have darkness toward the back. They have more light toward the front. And for the darker parts, we will use our B6 pencil. But for these parts which are lighter, we will use our B3 or B2 pencil. As you can see, I've changed my pencil as well. And in addition that we're shading this area and we're showing the volume. These parts actually have a hair texture. So we can show that her texture as the same time as we are creating the volume and shading. This area needs a bit more darkening. We shade the lower part and keep it darker so we can keep the upper part lighter. Again, we've determined these darkest spots. And in here, there are some prominent parts or some curved parts. We're just going to show them where creating their darkness. Very, very softly and smoothly. We press our B3 pencil on our work and we create these shadings. And the same time you should pay attention to the direction and the shape of these hair texture. So as the same time that we are creating the volume. You can also show the hair texture. Of course. The size of our work is very small and we do not emphasize, I'm showing the hair completely. But even if there are some lines that can be seen at our work, if they would be in the direction of the hair. The outcome of our work would be way more beautiful and way more attractive. In these bars we have less hair texture and it looks like as scan more. We also give us shading to this eyelid, but the other part should be darker so this area get some depth. Now for the lower part, let us continue completed together. We still need more darker shadings for separating this area. That is why I'm creating this dark line. To shape this area better. Add some are shadings. And also from this border line that we have which separates the head from the neck. We will create more darkness because these parts, as we said, are in the lower parts of the head. As they are lower, our area would be darker. You want to show ups and downs here. That's why we will keep one part light and one part darker. And we shaded upward. Just like this. And now approximately up to this little, we give it a color and we keep it lies in here. But I don't want to shade this area too much. We just want to get a gray color. We don't want it to be as wide as the other parts of the face. And again, we have a volume just beneath the eye that we should complete it with shading and show it. It comes from here. It continues until this part. And of course, it should income very straight. It should be a little curved. So this would be the upper part and the lower part will be lighter. So we shade the upper part and make it darker. The lower part will stay lighter. Just a very delicate line would be placed here, a very fine line. So we can keep the perfect shape of the lines that we can see on the face. Now create too much lines because we can also complete these shadings with our fader. In this area next to the ear will be shaped like this. You see it's not a hard job at all. Just that you should have a model in front of you and practice on it more and more Several. 32. Shading the skin of left giraffe: Okay, My dear friends, after that wave gave a background color to this area. We will clean the tip of our fader. You see I've cleaned this tip, but this is a still have darkness on it. For cleaning the tip-off the fader, you can use a sander. So you keep the sander and you drag the tip of your fader on your sander, and at the same time you rotate it in your hands so you can get all sides of it clean. So as you can see, the tip of it will be completely clean. We would do the same for the other tip so you can see better. And for this you can use ascender which has a medium roughness. It shouldn't be too rough, so it would not harm your fader. And it shouldn't be so solve. So it wouldn't have any effect on the tip of your fader. You see, now it's very easily clean. After you've cleaned the tip of your fader. You come over these parts and the parts that you want the shadings to be a little faded. You will work on them very slowly. First, I wanted to work on the lighter parts. I want to drag my fader and these lighter parts before I move on to the darker parts. And up to a level, I make my shadings more cohesive and then I would work on my darkness. When you are working with a fader, try to always keep one tuple of your faders cleaner and use one of them to fade, do darkness, a strong darkness. But of course, for working on very light parts, you'd have to clean the tip of your fader. But even in these areas, if you have a more clean tip, you can work easier. So try to keep one tip of your fader cleaner. You see now for these parts which have less shadings, I chosen the other tip of my fader which was completely clean and I just give it a color. I do not overdo it would not work on it so much. Okay. Now again, with the tip which was darker, we go over these spots, Santa Sainz. We go over them so we can make them more cohesive and compatible to our work. And of course, if you like, you can make these spots darker. Depends on you. Okay. It's still shading. All the spots. Do not leave anyone anyone of them actually shouldn't leave any one of them untouched. Or even the spots on the face, maybe a little here. Under the thread. I like this. We give the body and general shape is actually the neck. And for these part, which we have more light, they should have a little shading so the light can show itself. It's not like that, it's completely white. There's a difference in colors and lights. Okay? This giraffe is almost done, but it needs more details and lights. But before I add the lights to it, I prefer to work on mama giraffe, the bigger giraffe. I give it a background color foundation, and then I will come back and work on my baby giraffe again. Now in here again, like the previous giraffe, we will work on the spots and very easily they give color to them. The ones which are on the lower parts are darker. And these ones which have an apart, which are in a part that receive more light, they would be lighter. That generally after we've done all this bads, these difference in colors, these contrasts actually will show themselves. See with this same technique, you can create animals which have this kind of skin, like low per word or cheetahs or anything like that. And maybe in their bodies, even in this spots, you can see more hair texture that you need to create the hair as the same time as you're creating those spots. But in the giraffes body, the hair would not show that much because they are very short. So the texture will not actually show. But you can use the same technique on the animals with the same body scan. We complete this vase or even randomly, you can add some spots. In some parts. For example, you keep the lower part of a spot darker and the upper part of a spot, liar. I'm just going to generally keep these spots which are on the top lighter. And these are small spots on the face. These are very, very small. And then I'll move on to the neck. Of course, the ones which are at the lower part of the neck are darker spots and the ones which are at the top of the egg are lidar because those are the ones which are placed in an area which has shadows. So they would be darker, but at the top of DNA, because we can receive some light, it would be a little lighter. And try to keep that random pattern because you should now give it a very special pattern. They shouldn't be so much in order, they should be randomly done. So they would look more realistic and more beautiful. Okay, here we go. We're almost done with the spots. And this one over here. Okay? So we've finished the spots and a next step, we will create the rest of the shadings with pencil and fader. 33. Adding details to the face of left giraffe: Okay, My friends, now we want to continue our work. We start from the giraffes mouth. We start our shadings from here to mouth. The lower jaw would be darker, so we create kind of a strong darkness in here because it's in a lower area and it has more darkness, considering the upper jaw is longer than it, that low R1. So this area would be completely dark and because this bart generally is darker comparing to the other parts of the face, and it also got the shadow of DIL per job. Here we have a shape next to the mouth like this. And all the parts which are existing in the lower part of the face need darkness. So we will darken all of this area. And for shading easier and do not get, do not block the light. I use a different angle for shading. Now up to here, I was shading with B6 spend cell, but right now I changed my pencil and I'm going to shade these parts lighter with my B3 pencil. Again, in these parts which have a depth, I use B6 pencil so I can get a better darkness. In these bars, you should show the volume with your shading. And an a part which is above here, above job with connects to the forehead. There is a depth, There's a curve here which connects the jaw to the forehead. It's the shape of its skull. And pay attention you see here because it's an overlaps, It's dumb mouth of our smaller giraffe is actually covering this area and the shadow of the mouth and a face will be on our bigger giraffes face. Here we would have definitely a strong darkness. And from here, the darkness can continue above the eyelid, almost up to here. Then we go to these horny, horny shape features. The darkness will spatter. And another hint that you should pay attention to is that departs that we as spattered a color like this are the parts which are basically dark in our model, in our work. I mean, even in model that I've chosen, these parts are dark brown and the other parts are lighter. They are, they look like creamy. So we give a color to these parts. The parts are brown, but they are very light brown and we do not bring so much color to it because it got light. So we keep the contrast so we can add our shadings layer by layer. Maybe even some spots would be placed here. Very smallest spots. That, even if we do not place them right now, it doesn't make any problems for us. Because step-by-step as we move forward on our work, we can make more of these spots. Now. The upper part above the eyelid, we want to show this prominent part of the eyelid. We need to darken behind it and create shadings like this. So we make this area darker as we erase the extra lines so you would not face any problems. And then you can see the eyelid will pop out and look more prominent. And also from this side, because we want to show this, show a correct shape of this prominent part above the eyelid. I can shade it and I can shape it perfectly. So we create a shape with pencil and then we completed with our fader. In these parts, did general coloring of the area is light. Just this part which has a curve and then it has a depth actually underneath the ear. Only this part will be darker. So first we complete these wrinkles beneath the ER. We had the same in our smaller giraffe. So we complete these wrinkles and reshape it and then we will add the darkness. We can also work on this upper part of the ear. We create a shape for it. And even also on this lower area. And various slowly reshape our ear with these shadings. We shape it and we also create volume. I'm creating these shadings with my b three pen cells, by the way, in case you're wondering. And there is a rotation toward inside darkness. And I want to create some dark, some stronger darkness. So I choose my B6 pencil. And I start shading this area because here we have a stronger darkness, because we have more depth. And these from parts look like a hair texture. So it would, it should be completed like this. All right, now, the drafts ear can be a little bit more prominent than it already is. And how it can show that we can create a dark shade here, connected to connect this area to the lower area. And a shade here. So that part would actually look more prominent. And are shadings would be complete. Now if you want to, you can just keep these shadings as the way as they are right now. And you can note even fate them with your fader. That depends on you that which kind of shadings do you like the best, the faded walls or raw like this. And around the eye, the shadings will have a shape like this. It looks like as eyelashes. And then it comes down below the eye and it will shape the area around I I kinda looks like we're showing the eyeball here. It looks like that. We don't see that by it looks like that. We are seeing the eyeball. I emphasize on the darker parts. It's all about a contrast, of course, you know by now. So it's very important to place your darkness in the PAR, sad day are needed. I colored this area and I create a volume. Here needs more color. The shadings in the middle will be lighter because they received more light. And slowly we continue these shadings up to the giraffes jaw. And as you can see, I am using my B3 pencil and I've made my shadings lighter. You can even use B2 pencil in these parts. It has a good and enough darkness for place like this. Now, in this area. Oh sorry, there's something we forgot to create a nose of our animal into primary sketch. But it's okay. We can easily place the nostrils here. And then we can continue shading. To enter part would be dark, like this. Here, it has a medium color. And then arrow denotes true. We should keep a light in here because it's very small. It got a little bit out of the hand. But of course, in nexus that we use our eraser to create allies around it. But here because we have a bigger area and the nostril is more visible. So we try to keep the lines around it from the beginning. And this light is actually the reason, sorry, the results of these edges being prominent. Because around and Austria as a big prominent, It's going to be lighter. Continue to shading. We can even create some, they're very short hair texture. But because we are working on various small sizes, they hair would not show that much. And even if you don't get to the hair texture so much, it wouldn't make any problems for us. Nothing is special happens really. Would also work on this area and needs more shading. So I completed and then we will move on to the neck. Shadings of the neck. Here we go. And you can definitely see the difference between a faded shade AND, and NOT faded shade one between the two giraffes. And as you move on, as you spend more time, you can apply more details on your work and you can make it more beautiful. Now in here, the part behind the ear, we need more darkness. This is actually the part which connects the head to the neck. And the muscle which is here will show itself a little separately in this area. And the lower part of the neck would be definitely darker. We do not give it so much thickness. I just want to show the darkness of this lower area. Rigging. Slight shading to these parts except apart behind a face. Because we want to show the face lidar in that area. Again in here you drag the shadings upward and as we get to the top are shading will get lighter here. And also it should create the main for this giraffe. It has short Maine. Because in the mama draft domain should be more visible, should be seen more. That's why we're going to create this main like this. So for the first time. So for me getting a more comfortable angle for my hand and for you to see it better. I rotate my work. And then we'd a very, very small curve. I'm using my B3 pencil to create this main. Right now. I don't care so much about the darkness. I just try to create correct and delicate hair shape and hair texture. See domain of giraffes are not very long. The data actually look like zebras. So the zebras and the giraffes are similar in this matter. They don't have a very long mains. Just this would be enough. And after we've created at once, we will use our fader. And they go over it. For a one layer. If you've paid attention, I've created the first layer in this direction. So empty spots will be field and it looks like connected to the neck. And the second layer I created like that. Now in this step, you can make the parts which are darker with more hand pressure with your pencil. So the shape of your main would be better. And for that, because we are creating am basically hair texture here, we should sharpen our pencil. And again, we'll bring out the darkness in here. In the middle parts because they're curved. They look darker. And here are the most. Then you'll see, reshape this so easily. And we use a lighter pencil for the top part of domain, the tip of the hairs of domain. And please, please try to keep that curved shape so it would look natural and be a shuffle. Okay, now we can work on our fading. 34. Fading the shadows of giraffe face: Okay, My dear friends, as I told you, and this is them, we want to use our fader and fade the shadings of our giraffes face. For dad first, I want to use the darker tip of my fader and fade the darker parts of my face. I start from the nostrils, that jaw and little by little, I'm Yvonne. And wherever I see any details that I forgot to add, I will do that right now. For example, like this shape around the nose. And also the darkness in here have so much darkness. The spots on the face and skin. I go over all of them while I'm working with a darker tip of my fader. The tip which I haven't claimed yet. Very slowly with circularity movements be fade. All of them. The spread or darkness spattered or darkness. And definitely you can check all of these at the end of your work and wherever you feel like you need more spots, you can add them to your work. But do not forget that. If from the beginning, like me, use your, you've used your fader for spattering, gives us pots after you've added, after all, or if you have added any spots at the end of your work, you should definitely use your fader on them again. So day look all alike. They look all the same and cohesive. Even we can apply the darkness in our ear or these wrinkles. And the eye. Now it will change to the more cleaner tip of our fader. Or it can again use our sander to clean the tip of our fader. Okay. Now we want to work on lighter parts. You'll see when the tip of the fader is clean. First, we will work on their parts which are too light because they are not white. They definitely have a color, but they had a very, very, very light color, a very light shade. You should be careful that the amount of color and shade you give to these areas are controlled and are not too much. We shape our eyelid. And of course, these parts have more darkness. So again, we switch to the darker part, to the darker tip of our fader. And we use it for these areas because we can see strong darkness. I think for this top parts of our ten cycles here, we can use a little bit of pencil, just like what we did in our baby giraffe. Okay. So we fade them downward. And if it was needed, we create even a little bit. Hair texture. Can not continue our fe. We can now drag our fader continuously. We can leave the traces of our fader. So we can show kind of a hair texture in those areas. And we're bringing our darkness in here. The area we have here, it has a little darkness up to the part. It gets to the eye. And in here we use little hand pressure and we just spread it. You do not want it to get completely black or dark. This area. The part below the jaw, the lower jaw, the lower part of the face. This is darker too. And it's not because the skin is darker here. It's because it's in a lower area and the shadow of the other parts would actually be on here. And we'll just give a medium color between these spots. Not too much and not too little. Now I think it's enough for the head and a free willing to work on it more than this. It would be dark, which is not what we want. Then we move on to the mag again, as I said, the part behind the ear needs more darkening. That's why we as batter its darkness with spread its darkness with our fader also depart the lower part of the neck. And this muscle that we've talked about here is darker and as it goes up, it gets lighter. In here. We do not use too much a hand pressure. Just give it a lightly color so it won't be white and we can get the color that we ultimately want. Now there is something about air dash we shaded right now. Of course, if you want to make this work more realistic, there are a lots of things to work on. You can work on so many parts more precisely and more carefully and with more and more details. So right now, we're not doing a hyperreal sketching. It's a real sketching. It's not high portrayal. That's why we do not work on the details so much. But if you want to make it a hyperreal, you should work on the details way more than this. And right now we just try to work on the simulation and create the shapes correctly. This is our focus right now to create the shapes of a giraffes body and face correctly. Now, up to now, live, gave it a background color. We've created a volumes and in next step, we want to work on the lights a little and will be finished. 35. Completing and adding more details to the Giraffe project: Okay, My friends now, before I start creating the lights, first, I made the shades of this area more cohesive like this, completed them more. And because the spots were a little bit faded, I shall go over them again with my pencil. So they would be more visible. Actually. In some places we need to even make the borders of these spots showing more and make them bolder. So their shape would be more natural. Maybe even we have to add some spots and some areas, not everywhere, but in some areas. I bring my fader on it. But I do note fade away the borders. Be careful. Alright, now I'll move on to our eraser and we work on the parts that we feel like they need to have lights. I'm using my mono Zero eraser for that. Lights can actually make miracles in your work if you use them properly. Like this. This area I think is too much light. And even if we use our eraser, it wouldn't show itself. So we create a darkness first. And then on the darkness we can create some lights. This way they can show themselves. Here we need lie because this part of the phase is actually more prominent. Then with creating the shape of the hair. We get to hair texture and we get the light at the same time. Here we have a light border. Okay. As I TO do air and a nostril, we have lights to show that prominent edges. And this line that we have here, they even need some more lighter lines like this with shape, this area. And then we complete the lights. You see the shape of the face is actually more visible as way more natural. The ups and downs are showing themselves right now more than ever. And we blow off the extra things from our work. Then we give some light to these areas. If you didn't have mono 0 erasers, you can also use EDTA erasers, Buzz, Buzz, you should sharpen the tip of them like this. One layer, one layer from each side. And then you can use it for creating your lights. When you use pencil on your area, pay attention. That depends, is actually graph it. And if you drag your hand from one part to another, it can actually make your work and messy and dirty. So after you've done shading, when you want to work on the shades, more nuance to create lights, or when you want to even and blow off the things that are on your work like the remains of your eraser. You should be very careful. Or always, you can put a clean paper underneath your hand and damp place your hand on it so your work would not get messy. Because right now I don't want to block your vision so you can see what I'm doing here. I would not place that paper and I'll take my hand from the work so you can see better. Well, we leave that literary texts. Sure, it stays a little so it can give us that hair texture so we do not have to faded completely. We also need this linear is striped takes share over here too. So we can show the hair. This shave, the extra lines that we have here. We're just erase them. And then we try to make our lines more clean and neat. This area needs a bit more fading. And it has a shape symmetry yet. So we will give some volume to it where the fader. Now due to the eyes can be seen less the corners of the eye. Then again, we'd come back to our eraser. This part of the eyelid because it's a prominent so it's lighter than the other parts. And we can also darken this part behind it, above it, darken it more and it will make that part to pop up. And to be more prominent. You see has more time as you spend on it. You can create more shapes and textures on it. So that completely depends on you that if you feel satisfied, videos, sketch or not, or how much do you want to work on it? You can create a very simple shading. You create a volume and just let it go. Or you can work on it hours and hours. So you can make your sketch more complete. So we sharpen the tip-off our eraser a bit so they can get better lines. And then we go to these wrinkles. And of course in this area and the back of the head, we can have some wrinkles. And for showing this shape here, better, vigils erase some part of them. And for showing a prominent part, we use our eraser on this top areas. Exactly like this. Okay, My dear friends, as I've told you before, for making this work more complete, you can work on it hours and hours. You can add so many details on it, or you can just finish your work right up to this point. It depends completely on you, how much you want to work on it. But something that you should pay attention to is that if you choose a sketch, if you choose a model and you want to create it, you want it to be so natural and you want to create it. It's so much details. The model that you're choosing should be in a very high-quality to picture should be in high quality. Because when you see so many things in your model, you can be able to create them on your own work. But if you haven't worked on Amalia's sketching so much, and then you choose a motto which doesn't have so many visible details. And it's not in a high-quality, even if you are a good, a sketcher, even if we are good painter, you can just create a general shape of that model. That will be all. Now is a little circular movement. The fade, these two we did not get to on the top part so much so they keep the light in that area just with the cleaner tip of the fader or just go over it once. And that's it. Okay, My friends, our work is almost done. And you can use the same technique to create your own beautiful masterpieces. And you can create very beautiful paintings. You can enjoy your sketches and send them to us so we can see and we can enjoy as well. I hope this was useful for you and you've enjoyed it. I wish the best for you and see you on our next tutorial.