Basic Pencil Drawing Skills- How to Draw Shading and Texture

1. Introduction: Hello friends. One of the most basic pencil drawing techniques is creating the textures of different objects. In this course, I teach this sketching of the textures of different objects, including fabric, metal, and flowers in a completely principled way. At first, the different tonalities of the shades are taught. Then we examine the general principles of light and dark shades in a sketch. And finally, by drawing the types of mat and shiny objects and their textures and they're shading methods. You will completely learn sketching different objects with a simple pencil. I hope this course is useful for you and you enjoy it. Good luck. 2. Introducing the tools: Hello to all of my dearest friends and lovers. Welcome to the drawing and sketching course. We're going to create lots of different and beautiful a sketching from 0 to 100 step-by-step. Before everything. I mean, before we even start the principles and the basic steps of a sketching, I'm going to introduce you with the tools that you're going to need during this course. Some of these tools are very simple, like the normal eraser or the pencil. It's either H2 pencil or you might need some drawing pencils like B6, B12, and before that, also the best brands of these pencils are fabric castle brands that I advise you to provide your tools from this brand. And then MQ B20 pencil as well. Another thing that you would need is actually our eraser. You can just push it from the one end and it comes out from the other end. And you can also provide its erasers separately. Something else that you might need is actually to eric D, electrical eraser. It needs a battery and when you push a button, it just rolls over very, very nicely and it just erase the part that you want to be erased. Another thing which is very fun and lots of artists are actually loving this are erasers. Erasers are just like, as you can see, like a dough you can provided and before using it, you should definitely just squish it in your hand. And until the time that it can be stretched out, it can be useful for you. And then it got just cut like that. It means that your eraser is not useful anymore. But again, I say before, each time that we want to use it, you should definitely squish it in your hand, then you can use it. Another thing is that you can provide papers, but I will actually advise you to provide sketching books. Sketch books are available in a, 34 sizes. I just advise you to have the A3 size in the B pencil series. As the numbers will go higher, the pencil would be darker, for example, be 12, is darker from B6 or before, is darker from B2. Well, based on our needs and the darkness that we want to create in our sketch and drawing, we can choose these pencils. So that's it. This is the introduction of their tools. 3. Drawing basics (Tonality): Hello and welcome to another one of my new chapters of a sketching. In this chapter, we are going to work on creating the textures. Well. We actually call creating textures. Actually showing the textures of different things like if, whether they are shiny, they are wooden, they are matte or elsewhere. Actually, in this episode, I'm going to tell you how you can create different textures in different things and how he can also put them together. First of all, I should explain something to you. We have 12 numbers over here, 101112. Alright? In these 12 numbers, I want to create the shadings from the darkest ones until the lightest one. So my first part would be my darkest part. My second plot would be a bit lighter. And as I move toward the 12th one, actually my color palette will be lighter as I move on to number 12. If you can see number one was the darkest and as it's coming this way, it's getting lighter. 1011 is very light and 12 is just blank, and it would be white. Now, we call each one of these tonality. We call all of these 12 numbers tonalities. We call each one of them a color palette. For example, I say the color palette number four of this tonality. So we call each one of them a color palette, and we call them overall tonality of a color. And another thing that we can have is actually to contrast. What's that? It means placing a very dark color palette, like for example, number one, right next to the light color palette, like number 12. It can be any kind of color patches. For example, placing number four next to 11 or two next to eight. If you have a dark color next to a light color, we call it a contrast in sketching and drawing. And another point that you should pay attention to is that what ever you want to create, either it's an egg, a face, or a flower. You should definitely have from color palette number one until color palette number 12. So basically you should use your whole tonality. Another way of applying the tonality is to make them without any separations. You see, I start with a very strong hand pressure, which would make very dark color for me. And then gradually I move on to the right side of my paper. And at the same time, I am decreasing my hand pressure. Plot by plants, color plot by color plan. As you can see, as I'm moving on gradually and simultaneously, I am decreasing my hand pressure to get the lighter colors this way. So this is another way of tonality. My difference, I say it one more time. From number one until number 12 should exist in all of our sketches and drawings. This is a very important way in a very important technique, you might not actually get this way even in the 50th time, because it's hard to create all of these color palettes next to each other with that separation and getting them correctly. So you should practice it a lot. Don't be disappointed if you couldn't get it at the first try. Or some people would like, actually make it like this. It means that they've got a strong hand pressure, but when it gets to a certain point, they may not be able to decrease their hand pressure gradually. This tonality is completely wrong. You see here we have a cut, we have a division. You can see actual transfer of the color. We should not have these kinds of divisions in our tonality. Or sometimes in the middle, you've got a stronger hand pressure. It gets out of your hand. Okay? Now, imagine that I have a circular shape like this. And I have a light source over here, which is shining on my thing. Now, this area would be the lightest area, and here would be the darkest area. We have 123 color palettes here. Here I would have four. And gradually here would be 567. And as I get to the light, here would be 1211. This is the placement of tonality in different shapes. And it's the same in most objects, except the ones which have a shiny surface or a metal surface. So I hope you've enjoyed this. 4. Introducing the principles of lighting and shading: Okay, Well, in this episode we are going to draw a very simple geometrical shapes like a cylinder, a globe, a square, actually a cube, square cube, and no other things which are simple. First of all, I'm going to create a square cube. A cube basically on each side of it. We can have square separately. Then also from this side, I will create my square to give it a shape as a cube. Then we would also have a surface. On the top. You see this line should be just parallel to this one. All of your lines should be parallel to each other. Okay? Then I will create a cylinder on top of it over here. Just like that. Okay? My cylinder will come up to this area. Here would be the bottom. This is the bottom of my cylinder, which looks like an oval. Then I bring it up, take it up, and then over here, I would connect these two parts together. Okay. So here it is. You should be careful, my dear friends, because your primary sketch, your primary drawing should be very, very light. You should not use any hand pressure in this part of your sketching at all. All of your drawings at first should be very light. It also got through the cylinder like this. Another shape. Okay? And now we are going to create cone. Here we would have the bottom of the cone. I'll just create another line parallel to this one over here. And then in this area, I will have to create hexagonal over here. And then I'll cut it over here. Therefore, it would look like the cylinder has actually gone into the cone. Then parallel on this one in this area, I will have this line and again over here. So here we go. It will look like this at last. Now I will consider the center of it. And I would come up, for example, you can consider this area, the end of your cone. From here, I will connect to this part and also to this area. This would be my cone, my 3D cone. Okay? Here we go. Okay. Now I will erase the extra lines that I have over here. Therefore, my work would be cleaner. So I would be able to shade it pretty well. I'm actually editing my primary sketch, keeping the lines that I want and erasing the ones which are useless for me from now on. Because in the beginning there are some lines that you would have to create in order to make your shapes be drawn simpler. But as you're finished with your primary sketch, you can erase some of these extra lines. Again, I take a pencil, I go over the parts which have been erased accidentally. Or basically I am editing any problems that I've created during my primary sketch. So here it is. Okay, now I'll be starting the shading. So you see, I'm going to imagine my light source over here in this sketch. So if we consider the light source over here, these parts which are on top of my shapes, they should be light and the parts which are underneath should be darker. Obviously. We want to see how we can work on it's shadings first, I'm going to pick a before pencil. Then I would have to sharpen tip of my pencil completely. You would do the same. And now I'm going to start from the cube. As you know, the cylinder is actually on my square or cube, or basically on my cube. So my square will be, my cube will be dark from here. And because the light source is over there, this part would be behind my work and it doesn't get any light. So I will have this darkness on my cube that I am applying. And as I move on to the right side of my frame, as you can see, it gets lighter. So that's it. Here we go. I will darken this area completely. Okay? Now for this side of my cube, the point that is here is that in sketching, we do not have lines at all. I'm going to tell you why. You see the difference of color between two color palettes of the tonality will actually separate them from each other. So we would not need a separating line. For example, if I want to create a very dark line to separate these two sides of the cube from each other. It's not possible. I mean, it's not really useful in sketching our tonality and our contrast will separate the parts of our shapes that we want. So you see this difference in the color palette. This tonality and contrast actually made these two signs of Dequeue to be separated from each other. We do not need any specific and extra lines to do it for us. Then I want to work on my cylinder. What would I do for creating the cylinder? We would have darkness all the way from here. I can give it a very easy. After creating this darkness, I will give it a very, very small distance and then I apply the rest of my darkness going up as it gets lighter. As I move on toward the surface and the top part of the cylinder because my light sources there, my shading should be lighter. Just like that. Alright. Just shaded in the opposite direction. Therefore, my shadings would be mixed up altogether. This part should be the color palette of 12 because it doesn't receive any light at all. So I will darken this part completely because it doesn't get any light. Therefore, it should be the darkest area of our work. 12 That's it. Can you see just a z like that? And then again, I will emphasize on the darkness over here, making it more, increasing it basically. Alright. Now I can get to the ball, the globe, the circle, whatever one you want to call it. This part of why ball or mayor to say globe is dark because it's the lowest part of our globe and it doesn't get any light again. And over here, I will have the shadow of the cylinder and the cube. This area between the globe and the cylinder would be completely dark because again, it doesn't get any light. It's completely underneath and it cannot even be seen at all. Also over here, I'll have this shadow of my cylinder on this side of the cube as well. Now with the normal pencil, which is B2, I will make my shadings more cohesively, mix them up, making them more cohesive. Therefore, they will get out of that roughness. I mean, I want my shadings to be more smooth rather than making them rough. Now for shading the globe, you should be more careful from here, I am shading very, very lightly. I would have a very light shadings. Then I will actually Fe, this line that I've created with my shadings because in a sketching we will not have any separate lines in our work. So just fade the lines with my shadings. Easy. Okay. Dress like that. Then I'll get my B6 pencil and with a small distance from here, I will darken this area. You know, not all connected to each other. I'll just make space then I'll darken this area. Alright, here we go. So I will fade these shadings in my light as well. Then I'll use my eraser to erase this lower area and make some light in it then with H2 pencil. 5. Completion of shading geometric shapes: Okay, so again, I'm just working on it with my pencil. Therefore, it will get out of that raphe shadings and it will make more smooth shadings for me. Just the way I wanted. I want them to be soft and smooth. Alright, here it is. So we will just make our shadings a bit compatible and cohesive over here. And here, we will have a light because it's a prominent part of our shape. Therefore, it will have more light. So I will use my eraser. Therefore, I can lighten this area and separated from the cylinder with my shadings day and again with my B2 pencil, I will go over this area, which is the outer part of my cylinder. On the other side of the globe. It should be shaded as well. Okay. Here we go. Again, we might add to the eraser, I will erase this part of my cylinder. I just make a light over here. Then with H2 pencil, I just move on on it again one more time to make the shadings be more cohesive. And because I want them to mix of all together very nicely. Okay, Let's get to the cone that we've created over here. It's the same for the cone as well. See, these parts are facing the light, but this part, which is underneath it and below it, would be the darkest area of our cone because it doesn't get light and it's underneath actually, it's behind them. The two other sides are more in front and we'll get more light. Then I get my before pencil. I will shade this area like this, very dark as you can see. And as I move up, it will get lighter. Therefore, I can shape the upper area with my H pencil, therefore, it would look more natural. This part is the next part that we want to work on. Again, I will use a very, very slightly shading. It's a light shading. With my H2 pencil. I'm just doing it. And then the front part is completely color palette number 12. And we do not go inside of it at all because it's completely exposed to the light. And I will darken this area because this lower part, this part beneath it can not be seen very much. It cannot get any light as well. I mean, not as much as the other parts, so I'll just darken it like this. Okay? Then again with my H2 pencil, I will move on these parts and separate this area from my cylinder. I mean, I separate the cone from the cylinder. Which shadings, again, I emphasize on this fact that we do not do it with lines. And maybe even shade this area a bit more just to give it a better contrast. And smooth are shadings. Okay. I will darken this area a bit more to, therefore I can get a smooth area, a smooth shading in this area as well. We're almost done with the basics of the shadings, but it still needs some more touch ups. And wherever I feel like my shadings are too rough or a bit too rough. I'm going to use this pencil on them very, very lightly. I'm just dragging my pencil on it to make the shading is a smoother. I don't want to make them darker, I just want them to be softer and smoother. So I'm just going over some parts with my pencil, shaving them lightly. Okay. Now it's time that I get my answer, the eraser. And then with my cutter, I will cut the tip of my eraser sideways like this. You see, I used my cutter to cut the tip of my eraser sideways. Then I will erase all around my work with it completely because I want a neat shape and in Nice job, therefore, I would use it to go around all of my shapes, all around my whole work in order to make them cleaner. Also in these parts we will have the lights on our, therefore, I can also use my editor eraser on these parts as well. So I just wanted to give it that neat look and that clean look to my work. I don't want it to be messy. So I would have to erase anything extra around my work. It's just like that. Okay. And also this bar below this cylinder. And I just take out the trash or take out the extra things that my eraser is leaving behind on my paper. And also in this area of the globe, I will erase very clearly so I can show that this part is prominent. So anyway, our whole work is done right now. Over. 6. Drawing and shading of bell pepper: Hello to all of you. In our previous episode, I've told you that how you can create a cylinder, square cube, globe, and also a cone, and how you can shape them and create contrast with them. Now, This time, I want to create two other things for you. We're going to create two bell peppers like this. Well, if we consider these two bell peppers as globes or as balls, which have been separated into different parts. We want to see how it's done. We can actually make it easier for ourselves. First of all, I take my H2 pencil. First of all, you should do as I do. Of course, for the beginning, I only create a circle with my H2 pencil. I have a circle like this. Okay? Then if this is my left bell pepper, the circle right next to it, I should have an oval as my right bell pepper because it's actually in a vertical position. We have one vertical line down on the surface, and the one on the right is actually in a vertical position. Okay. This is the center of my bell pepper, which has actually the stem coming out of it. If you do not want to work on that. Now, as you can see, I am dividing this circle into different parts. I have one over here, another here. As you can see, it looks like a flower now. But anyways, I have to divide this circle into different parts in order to make the bell pepper. Also firm here, I'll do the same. And here we've got another part of the bell pepper. And this would be the last part. Over here. You see just this simply, we could have created our bell pepper. We have drawn our bell pepper very simply with creating a circle at first the dividing it into different parts. Okay? Now I'm going to create this area for it, which represents the leaves and the stem of the bell pepper. The stem is coming out of it. Going here with a twist, coming back. Or it can be a leaf, doesn't really matter. No other point is that again, I emphasize that when you are working on your primary sketch and when you're drawing for your basics, you should definitely make the lines lighter. I mean, you should create your primary sketch very, very light. You should not use any dark lines at all. I'm just making it darker, therefore, it would be visible for you in the video, but when you are working on it on your own, well, you just have to create them as much as it's visible for you, that light. Okay, I'm gonna move on on the right one. A beautiful bell pepper standing here. We just create this part of it, like this. Going down on the oval. I come all the way down. And then again over here, I'll keep it. Go up. I have a curve on this part and then again, I come toward, inside, toward the center of it. Okay. Here I would have this shape going down, finishing get here. Then I would have the stem again coming out of this one as well. With a turn on the top. And that would be the back of our bell pepper, the part which is behind and we can not say it's completely. Alright. I'm just going to make this a sketch also more determined. I'm just going all around my bell pepper in order to specify the lines just to show where they go. Again, I say that you should do this very lightly. I'm just doing it for you a little bit darker than it, than it should be. Now that our primary sketch is done, we are going to shade them. Now, imagine that our light source would be here. I mean, it's completely from their front. The light source is completely in front of them. So in this bell pepper, this area is completely light. Look at the model. You see this part is completely lied and also this one. The surroundings or darker, but this part, the front part, is definitely lighter. Then you should take your B6 pencil and start shading your works. Before that you have to be sure that your pencil is completely sharp. Sharpen it first, and then you can start your shadings. I start from the lift, bell pepper. See, I'd be starting from here. I will start with a dark color. And then little by little, I come towards right and I decrease my hand pressure in order to get lighter colors as I get to the right. We would also have to shade this area. And then with H2 pencil, I will go over these parts which I have, make them dark. And then step-by-step, I move forward toward the lighter parts of my work. You see, I'm just filling this area pretty well. I'll use my B6 pencil a little. Then again with H2 pencil. I'll shape it like this. Then for the next one, for the next part of my bell pepper, I will apply the darkness at first. And then I decrease my hand pressure to go toward the lighter areas. This is a beautiful shading with contrast. And we're keeping the tonality of the whole work just like that. And then again, with an H2 pencil, I would work on the darker parts in order to make them more cohesive. And also having a software and smooth are shadings. You should do this. You should continue this in all these parts. I mean, you should follow this process, this procedure throughout all the different parts that you've made for your bell pepper. The process is completely the same. Just to tonality. Might be a little bit lighter or darker in some parts. Okay? It's dark around. And as it gets to the center, it will get lighter. And then again with the H2 pencil, I will shade these areas in order to make them a smoother, softer. Then again, with B6 pencil, I'm going to shade this area. It's dark. So also here it will be a dark part. This is a dark side of my work. Then I move on to create the lighter ones. And as you can see, I'm just changing the tonality very smoothly. I don't just cut out from one color and then jump out into another one. I decrease my hand pressure gradually. Therefore, I can have a good contrast, a good tonality. Then again, I will use my H2 pencil in order to make all of my shadings more cohesive. There is no need for you to work as fast as I'm doing my shadings right now. You should do it a lot more slower. You should take your time with it in drawing and also in shading. If I'm working fast is because I don't want it to get boring for you. And I also want to use less time to teach more. So anyways, it's not necessary for you to do it as fast as I do. Take your time. Make sure that you've got your shadings and drawings correctly. So again, I'm using dark and light colors over here. I'm also fading the lines that I've created in my primary sketch to separate these parts. As you can see, there are no lines in my sketch anymore. The parts have been separated from each other by shadings. So that's it. Just like that. Going on and on. Then again, as I said before, the process is the same. Applying the darkness at first all around it on the dark parts, then gang up through decentering, making it lighter. You see as we're getting closer to the parts which are underneath and which are on behind. The darkness are seeing more. You know, the darkness should be more. Yet again, I tell you that you should be careful that these parts should not have any separate lines. All the parts that have been separated. It's happened by having the contrast in there shadings. So pay attention to the shape and the shadings of each one of these parts. So your bell pepper would look better. The curved parts should be darker and then the prominent parts should be lighter. Of course. This part which is in behind the back, basically like that. Okay, What are we going to do for creating? It's the stem, as you can see. I would have to create this twist that I can see. And it's a stem with creating these lines and then working on the part behind it. Just with granting twisted lines, I can create a twist that shape in my stem. Alright. Then I would have to go around this area to separate the stem part from the rest of the bell pepper from its main part. 7. Completing the shading of bell peppers: Alright, well, I'd be shading the area of the stem as well. Then with B2 pencil, I'm just going to create a very, very light shading for this stem just in order to make it more complete. Okay, now we can get our eraser and we can create lights in our work by erasing some parts. Wherever I'm using my eraser, I'm actually creating some lights throughout my shadings in this way. So here we go. There is also a light in here. Okay. We would not forget about the lights on this stem area as well, necessary and needed to our whole work in order to make it complete, of course, in this way. So again, I'm going to use my B6 pencil in order to emphasize some of these darkness and actually fake them into the lighter areas. I mean, with my pencil, I'm going over some parts in order to make my shadings more cohesive, fade some areas and create a better contrast. I would also add the darkness wherever I feel it should be more. Then I'll use my eraser. I go all around my work and I will erase all around it. Then I would want to work on the next bell pepper. After doing this, of course. Then again with my B6 pencil, I will start from here and start shading downward. See, I will just create it like this. And very slowly and gradually, we will create a cohesive shading going from the dark parts to the lighter parts, sorry. Then we also have a darkness over here that we can create easily. So as you can see, I'm doing this shadings on the edges and also in the middle of some parts. Well, I will darken the dark parts and I will shade the lighter areas, of course, lighter. See, it's just a matter of transition of the shading colors into each other. I mean, the tonality of the shading should trends Fair into each other very smoothly. We should not see any borders between them. That's the key point to all of this work. And as you can see again, I'm starting from the darker parts and then I'm moving on to the lighter areas. Your hands movement should be in a way that it will cover all the parts with shadings. And at the same time, it will create cohesive and mellow shadings. Again, on the other side, I'll start from the darker areas, moving toward the lighter ones to lower part, going to the sides, going up till I reach here. This is a top of my work. Okay? Then again, I'm going to use my B6 pencil and I will shade these areas Biola. Actually, I am Marie shading them, redoing some of the shapes. Then I would want to work on this side parts. This one which is next to our other bell pepper. On this area, it should be very dark, so I'll just do it. Then I will shade it cohesively just like that. Until I get to the bottom. From the top and from the side, I will add some more darkness to my work. As I get to the right and I'll make it lighter. Then with the H2 pencil, I am going all around all over my shading spinner to say in order to make all of my shadings more cohesive, mix them all together. And of course, make the contrast the smooth ER. Then again, on this side, again, with my B6 pencil, I will apply the shading wherever I need them. And then from the bottom part, I will start like this. Again with my H2 pencil. I will go over these shadings in order to get the roughness out of them. Then I'll do the same for these parts in the back as well. As I said before, procedure and the process of all of these are basically the same. Just have to be careful about the angle of our light source and hand pressure that we use on each area. Alright. Now we're going to work on the stem. On this system. Again, we create that twist and turn the lines that we create. And then again, Walmart time with age two, pencil, we'll go over it. Again. I'm going to use my air to the eraser and I'll create delights in any parts of the bell pepper that I can see them. Just like that. As you can see, I am using my editor eraser. I am erasing some parts in order to create some light in my work. For example, on here. Also even here it's a bit faded, but it has more light. It's obvious. Yet again, in this area. Over here. It would be like this. Okay. I'll get all the light parts in my work that I need and I can see I can easily get all of them with these today eraser. Okay. One more time with my B2 pencil, I will go over these parts and I will shape them just like that. I will actually fade them more into the rest of my work and get it out of its rough shape. Alright, then let's move on to create the shadows underneath them. So I'm using my B6 pencil and I start from here, exactly underneath my bell peppers. And I'll add the darkness over here. Right underneath the bell peppers. From here, I will apply the darkness and gradually will make it lighter. As we fade the colors into one another. Color palettes basically. I'm just making them lighter and lighter. Again, when you get close to the bell peppers, it should be a bit darker when you get further from them, they should be lighter. So that's just it. It's over right now. 8. Drawing jars, pitchers and fabrics: Hello, welcome to another episode of sketching and drawing tutorials. In this episode we're going to work on this beautiful, attractive model. We are going to work on some pictures and vases, which are symmetrical and we want to work on them. I want to show them how you can create symmetrical shapes and also shape them as well. So creating vases are very easy, yet they need more practice. They need more exercise. First of all, I'd be starting with B2 or also H2 pencil. You can use either of them. Doesn't really matter. So just like this, I will start with the top of the vase or the picture to jog. And then over here on the lower part, I'll create an oval. Okay? Then I will create this oval in order to make my work looking symmetrical. It is a symmetrical shape. Now, from here I'll come down. This is my first jog or first vase. Depends on your day. Don't matter that much. The next one I want to create is right next to it. And it's actually more rounded. Therefore, I will create a circle for it. And then on top of it, I'll create kind of a neck for it. And then it will be the opening on the top. Now, I have my rounded vase over here. Okay. Here we go. This is the second one. The third one again is next to this one, and the bottom of the vase would be placed over here. Yet, again, I'll create a circle on the top of my ways. And as you can see, the top part of the vase is big and the lower part of it is a small, basically it's narrow or thin. This would be the opening of the vase. I create two lines, bring them down. And from here I would have the top part of the ways, which is big and wide, as you can see from here, it will get more thin. It will get more narrow and just make it a smaller coming down toward the end. Okay. So over here, I will have another circle like this. It looks like a fruit. It's not really clear to see what kind of a fruit it is, but it looks like a fruit. So we just created, as you can see it over here again, we have another vase. I will create the lower part of it first, the body. So on top. Again, just like that, I will create its shape. It also has a design like that on it. And then I get to its opening on the top right here. And this one also has a handle, so created, it's more of a picture. I'm going to call all of them jug. Again right next to it. I want to create another jog. This one is a bit more rounded. Again, as you can see, it comes down getting a bit more narrow. See, just like that. Comes down here, it got narrower and that would be the bottom of our vase or jog. And this would be the opening of our vase. You see my dear friends that how easily you can create symmetrical vases or jogs with this simple geometrical shapes like circles and ovals, it would be really easy for you. Then I would also have an apple over here. And then right next to it, I have another race. Again. Be creating it with a circle. Just like that. Work on my circle. On this area. I will shape it a bit more. And from here I move up and I would have its opening over here. I'm just following the design that I'm seeing in the picture in our model. Just like that. Alright, then over here, as you can see, we have a handle. Therefore, it's more of a drug and a picture than being a vase. So this one is a jog, a picture. Okay, here we go. So easily we could create our vases and pictures. And all. We've created all of them with simple geometrical shapes. Now I'm going to work on the background of them. First of all, I have to create a line over here. So when the fact brick underneath them get to this line, it will come down and it will go vertically in order to show that they are placed on a table. I am creating two fabric, or the cloth underneath them. Just greening some shapes. And again, I say with that horizontal line will emphasize that it is, or they are on a table. That would be the surface. Alright? So however, I see my fabric going on in the model created. Although this shape of the fabric, the shape of it, is not really clear right now because we're just creating our primary sketch. But when you step into the shading phase, you can get a very cool volume and a very good shape out of this. Trust me. You will. It's just like that. Now we want to work on it's shadings. I'd be starting with my B6 pencil. And I want to start from this first vase. First picture. This time my light source is on the right and the light is shining from here. Therefore, the right side of all pictures and vases would be light and the left side of them would be dark. So I'm just starting from this picture. On the left. I start from the dark colors. From the left, moving towards the right. At the same time, I'm getting my shadings lighter. I mean, as I move right simultaneously, I'm shading lighter. Just like that. So as I'm getting toward right, I'm decreasing my hand pressure to get lighter shadings and also darker over here again. In this area, the design of my way, so design of my picture should be really, really dark. And in this part we have the nick of our picture. Just like that. Okay. Underneath this area should be really dark because it's actually under this prominent part of the edge of my pictures opening. So my pictures opening has an edge. And then underneath it should be dark because it doesn't get any light. Then inside of this area, again, we should have more darkness. Shadings and contrast will actually give your shapes volume. They get them to become actual objects from being only simple surfaces. So after Dad, I would want to work on the handle. As you can see for the handle, the lower part is darker. This area is also dark. But when it gets to here, it will be shaded more lightly. Okay. I'll get my H2 pencil. And then I go over the dark shades. I just go over all these parts again. I say in order to fade all of my lines together and make all of my shadings looking more cohesive and softer and smoother. The next vase is the tall one. And I'm going to start from the top of it, from its opening. I'll shade and I'll come down at the same time, I'm paying attention that I would keep my shadings dark on the left and lighter on the right. Base pairs have complete darkness. Therefore, they should be completely dark. As I come to the right side and as I come toward the lower areas toward the bottom, they would be lighter. As you can see that. Okay. Here we go. Just like that, very, very slowly and very lightly. I will shade these areas because I don't want too much of the shadings colors over here. So I do the same for here. As easy as that. 9. Lighting and shading to jars and pitchers: Okay. I would apply the darkness from the left towards the right side. And I'll darken this area completely. As I said before, from the left to the right will go from the dark to delight. I would keep a light area over here so I will darken the shadings around it a bit more. Because this part is actually behind the Apple. Therefore, it would be darker. And also over here. So I'll go on the vase again on this side of it. And the part behind this vase is also dark because it has the shadow of the vase on it. And then literally will make it lighter as we go up. Then with our H2 pencil, it will go all over it very, very smoothly and lightly. Just in order to get all of these shadings become more cohesive. And I want them to blend in better. Here we go. I don't want to have smoother shapes. And just like that, our second base is done. Now I want to work on our beautiful apple. We want to see how you can shade an apple, which is one of the easiest things to shade. So just like that, the apple has darkness over here, a little bit over there in order to show the part which the apple stem is coming out of it. Then some are shadings over here, lighter, but still it needs some shadings on the lower part and on the right side. Then again, I move on to pickup H2 pencil. And I will just make all my shadings more cohesively with it. Just like that. Okay. Now I'll move on to my third vase. Basically my third, my fourth shape that I'm shading. I will darken the central of its opening. I will darken all around it just like that as you can watch me. And then little by little, I will feel it's shadings. Also. I mean, obviously from this side it would be very dark and it has also a texture like this. From these lines going up who will work a bit darker on the part which is exactly a stuck to that line, it will be darker. And then basically on the lower part of the vase, we can see originally the color of the lower part of the vase is lighter, therefore, we can just shade. It, can just shade it very, very light. As you can see. It's almost not there because it has a difference in color. So the upper part would be darker. Also, it would be darker on the edges, on the edge of that line that we've created and on the left side. But on the lower part, it would be really, really smooth and light. As you can see it here. Then there would be the next vase. Again. The center would be dark than the sides. Again would be dark. So I would apply the darkness over here. And I, as I get toward the central of the vase, I will make my shadings lighter. See on the left side on the edges it would be darker. One of the key points over here is that you would have to keep your hand pressure in complete control. I mean, if you're able to control your hand pressure very well, you can create these shadings very well. The lower part, actually, the bottom part of this face is completely dark because it's behind these two races and shapes. This darkness will continue up to here, and as it goes up from here, it will get lighter. But the bottom part and a bit to the right is dark because of the existence of the other picture and also that fruit shape that we have on the bottom. Okay. Also over here, I will apply a dark shade. Then again, as I come towards the center, I will make it really light. Here we go. That's it. Okay? This ways that we are shading has actually a shiny texture. Therefore, you can see it darkness like this. In the center of it. You just create what we see. Because the texture of this vase is something that can shine and it's almost, you can say metallic on the central of it. Again, you can see some more darkness. Alright. Here we go. Then we move on to the next picture. Over here. This one is also the same as the ones that we've created before. I mean, the basic procedure is the same. You should be just paying attention that either there's something in front of it or not. This picture is really, really dark, especially on the lower part there for, as I can see it in my model, I will darken it as much as I can see, especially on this bottom areas. It's really, really dark, completely dark basically also on the edges. Okay. Then this, I mean the back of this, behind this picture we have another way. So I just made it a bit lighter. I mean, I made the vase sliders so the contrast of the picture can be separating them from each other. This medium part, actually this middle part of our picture is a bit lighter. Then again, on the top we will have a darkness in the center of the opening, dark and its surroundings. I come down and over here, we will have a shading like that. As it comes to the right, it will get lighter. Of course. Just like that. Okay. Now you can move on to your last vase as it appears. This vase also has a light color by itself. Because it goes very, very light shadings. But also we should consider that it's the nearest vase to our light source. I am shading it with my H2 pen, so be careful it's not B6. I am shading with my H pencil. So all of these parts should be shaded on the sides. But as I said before, because it appears to have lighter colors basically, and it's the nearest to the light source. The shadings over here would be all very lightly. Now I'm using my B6 pencil a little in order to just darken this area a bit more. As I can see it in the model, in the picture, I placed the shadings wherever I can see them. I would also have a light here. So I would applied with my eraser obviously. And then my B6 pencil separated from the area behind it. And also from the background. Just like that. The only thing left is this fruit or fruit shape. I've got no idea what's going to fruit it is, but it exists. So I'm just going to create it as a way as I can say it with the shadings wherever I am able to see. Okay. It would be just light, shaded like that. Maybe could be a peach, maybe. Then I am using an edge eraser to lighten this area. Alright, Very well. Now with my eraser, I will go all around my work. I will erase it all. I mean, I will erase any extra shadings around my work. I will make my work clean by going all around it with my eraser. Because while you're shading, you might just leave some traces out of the shapes and they should be erased if you want to get a cleaner shape, cleaner outcome, better to say. So here we go. Wherever I have any extra lines or any extra traces of the shadings, I would erase them with my eraser. And then in some of the vases and pictures, I will create some lights in some places of them. I'm using my editor eraser to erase some parts in order to create light on some of my vases and pictures because I want to show that on some parts of them they would have some shine. I'm actually creating shine on them. I'm just applying them the way that I can see them. Okay. They could be in different parts of your vases or your pictures, doesn't matter. You should just compare it constantly with your model to see how it's going to go on your work. Alright. I would apply spot of the light here and there with my electronical eraser. 10. Fabric shading: Alright, now we are done with devices, pictures, and fruits. Now I'm going to use my sharp tip B6 pencil in order to create the fabric underneath them on the background, I want to show its texture and its shapes. And I'd be starting from the bottom of my vase. I will have this darker spots. First of all, I'm going to create the darkest areas, the darkest lines basically. And then it would come down from here. And then in this area, it can be like that. I'll bring this up, I'll bring this darkness up. And again, from here, it will have a darkness. It will be shaded toward the back of these vases. You see? These would look like this. From here on it. We'll just have a pass over here. We will have a shade. It's actually, it might be actually lighter than this. Again, with a bit distance from here, we will have another shading. And it would look like this atlas. This side is the light side of my work. Again, we would have darkness over here on this line. It will come down. I will get my fabric going up. Then these parts should go up. As they go up, they should be darkened, they should be shaded basically. On this cloth. As you can see, I'm creating beautiful contrasts over here. It's just about creating darker shadings and the lighter ones right next to each other. And then from behind this dark side, dark line, I'll come toward the lighter area to the right. Something that you should really pay attention to why you're creating the texture of the fabric or a cloth is actually a good contrast if you can bring the darkness and if you can bring the darkness and the lights right next to each other with a good tonality. It would be really easy for you to create the texture of a fabric or a cloth. For example. This is the table area. And whichever shadings you have over here, tore down, it should be one step darker from the ones that you have above because this is coming down vertically. So whatever shadings that you have here should be one degree darker comparing to the ones which are on the surface. This can also give you a better contrast, a better feeling of the texture. And at the same time, it is emphasizing on the location and the position of your cloth and fabric coming down from the desk. Okay. Then I would want to work on the next area here underneath this fruit, I will have darkness over here. This area is almost completely dark. Here. It will come back out. Why you are creating these shadings. You should be really, really careful and you should pay a lot attention to your model. Should watch it with details. You should actually look at it with details. Okay? The triangle created here will be darkened and it will be dark and below it as well. Coming down. Alright. That's it. It will be shaded just like that. Here we go. Welcome. Underneath this waste that we should just shade like that. Then we move up. It will get darker, the shading will get darker as we move up because it going, It's actually going behind our racers and they would not receive any light. Again, a vertical shape underneath the apple. And with a bit of this sense again, it will come down again. You want to show this wrinkles on the fabric and the fact that it's going down from one side of the table. We just create some wrinkles over here. And then we will add the darkness on this area. Again very easily. Alright? Then from here, I will add a darkness. I'll get it to the edge of the table. In this area, we will emphasize on this darkness. So we can show that our fabric is dropping down. You will have a very, very big and strong darkness over here. And then as it goes down, it will get lighter because it receives sunlight. K just like that. It will be dark. And again, with a bit of distance, I will darken this area as well, making it very dark. As you can observe. Then for this area, again, I will create a triangle shape and from its surroundings, again, I would have some kind of a dark shapes, some darkness. And basically when you're working on a fabric, especially a wrinkled fabric, with creating these parts which have gone in. Actually, we have some depth and we have some prominent parts to death warrants should be darker and the permanent parts or the flat parts would be lighter. This is a very simple example of a fabric. So that's just said creating a fabric is just as easy as that. You just need to create the darkness in their own placement, which are more deep and wrinkled inside of the wrinkles basically are inside of the depth. Parts which are flat would be lighter. And also I would shade this area the way that I see it in my model picture. I would come down, come all the way down. Okay, this area has been shaded the same way. So be shading here. And then again, over here we can see some wrinkles on the fabric. Just like that. Okay. I'm just trying to add some more details to it in order to make my work more complete. Some lines on the surface of the table, some shadings. Then I get my H2 pencil. And as usual, I go over some of my shadings in order to make them more cohesive and obviously making themselves there and smoother, for example, in these parts, these shading should be way more smoother. So I'm using my H2 pencil all over them. Just go over them once and if it was needed more than once. So here we go. We will just shade the whole area, actually, all of this area. And as I told you before, the lower part should be darker because on the surface we can receive some light on the fabric, but on this area, we will not get as much light as on the surface. So this area should be one degree darker as I told you before. Just be careful not to change your hand pressure because the shading is that you're applying rudder H2 pencil should be completely cohesive and with the same hand pressure. Here we go. So that's it. Work here is done. This is our beautiful sketch with this beautiful shading. I hope you've enjoyed it and it was useful for you. 11. Drawing Block , fabric, bucket and apple: Hello all of my friends, welcome back to another tutorial sessions for sketching and drawing. In this episode, we're going to draw and sketch this beautiful and attractive model. First of all, we're going to create the primers sketch, then we do the shadings. Okay? First of all, I'm going to create a cube with my normal pencil, a square root cube. And it might be a little toward being rectangle. I mean, it's acute and it should be square, but it's something between a square and a rectangle. Here we go. Let me just say this upper part of it should go hire a bit more. As you can see, it has an angle going up. And the lower part is actually parallel to that, so it will go up as well written angle. Then these two will actually get connected to each other. Okay? From here we move up again with an angle. And then parallel to our lower line, we'll create this one. Okay? Again, from here, power loyal to the line that we had in front, we will create this line. This is how we are creating, you know, cubes. Okay? Then you should pay attention that our love, your lines would be parallel all around this squares or rectangles on all sides of it. Okay? Now we come out saying, I will come out of this line just like that. And then from here, I will come out again. Why am I going to do this? Because in here we are going to have fabric. Then with a small distance from the cube itself, I will create a fabric coming down like this. I mean, it's coming down from it. Okay. Then on this lower part, you can see we can have this kind of the fabric shape. Okay? Now from here it comes over it, and from this other side, from behind to cube, it will go down again. Just like that. Now, what should we do? Well, basically we should create shadings that we have over here. Again, we will have another shading and another one after that. I'm just creating them like this right next to each other. Therefore, you can differ between the darkness and the light, easier. Now, I'm just going to bring them down in different shapes. Again. I'll do it. And then another one. Okay. As you can see, my lines are not completely straight. Okay. Then from here, I'll come down just like that, the same way I come out basically. So some parts of these lines can not even be seen. Now. This part of the fabric, I'm going to continue it upwards to, I mean, I'm going to have it on the top of my box or my cube as well. Because I want to show that this fabric is going off from behind, coming on the surface, on the top, and coming down from this side. This way. The Darkness would actually sit on their own placement. The other part that you should create is actually the bucket which is on it. This is the bottom of the bucket. And then it will go up until I reach this area. So this would be the opening of the bucket, which I will show an oval. It's very easy way. Now what do we have inside of this bucket? We have bonds inside of this bucket. Just like that. Now we also have strand or strap going over into balls. Came here, it came down with a turn and it turned at last again. Easy, right? Now that it has went up. It will just go like this. So in here again, we have another turn after the twist, because this strap has lots of turns and twists. I'm going to show all of them. Now we should divide this cube into two equal parts. It's like two blocks being right next to each other. Then we should make these parts of them empty. Again, I'll do the same for this side as well because I, as I told you before, is actually the inner part of it would be parallel to this line because it's a cube. And these lines would be erased. Anyway. After you've divided your surface into two equal parts, That's very important. Again. On the top part, we will have it. And over here, we have the same shape, the same way. Just like that. Okay. Now we can work on it's shadings. But before I do that, I would actually want to erase the extra lines from my work. Therefore, when I'm shading, I would not be mistaken. I would shade areas that I don't need or vice versa. Anyways, after I erase all of my extra lines and extra parts with my editor eraser, then I can start shading it. Again. Well, first of all, I'd be starting with my B6 pencil. For shading these parts. You see over here. First, I just have to sharpen my pencil completely. The tip of your pencil should be very, very sharp. Then F, their dad, you can darken these blocks. First, we're going to shake them. Okay. Here we go. You see, I'm just shading these parts completely. And then just like that, have these parts shaded. I can see I'm keeping a light tone, almost lighten. It's not too dark or too light. Amongst an average tonality. So just like that, you can easily shaded. And as you can see, my shadings are very cohesive. So you should be able to control your hand pressure in order to have more cohesive shadings. And then this inner part, actually this whole inside of our block should be completely dark. But as you can see, I am not going through a straight line on the edge. I just went out and N because I don't want it to be one straight line. It's not natural or realistic. And of course, it doesn't match tomato. Just like that. We will darken the whole area inside. It's the same for this area as well. You will apply the darkness over here, strong one. Then also from the top, I'll bring a bit of darkness and keep the lower parts of this side a little bit lighter. I'm going to work on the block which is right next to it, and I'll do it exactly the same as I did for the previous 1. First, you should shaded cohesively and then you should work on the holes inside of it. The procedure is completely the same. You just have to repeat what you've done. There. Here we go. Okay. And also in here, just like that, from the top, I'll bring soon darkness. And I'll fill this area with my darker shadings. Might actually strong dark shadings. Okay. Also here would have more darkness getting up, getting lighter. Then I would also have to work on this hole on the block exactly as I did for the previous one. I will darken it from here. And as it comes to the left, it will be lighter. As you can clearly see that. Again, not with a straight line on the edges. 12. Start shading: Okay. As I'm finished with the whole, I just go on the edges of the block itself. So I would also create some spots and some textures in my shadings on this block. So I'll just get it out of its very simple shape. Alright, my dearest friends. Now, we can work on the designing of the fabric. Well, first of all, for designing this fabric and basically for showing its textures, I would have to darken some areas. You should pay attention that in some parts you should shade completely dark and in some other parts next to them, you should work a bit lighter. Therefore, it wouldn't be all one color coming down because it would not look realistic. That way. If you use different colors next to each other, it would look more natural. And it will come to this way. Just like that. Okay, Also from the top will be just doing the same thing. Alright? You should be very careful that you would not go inside of this strap passing through the fabric and going over into block. So do not bring the shades over there. Then as it comes down, it would also have strong darkness over here and it will return as we wanted it to be. Just like that. Now we're going to work on the next darkness here. Again. I start from dark shades. I come down bringing it into lighter colors. I mean, I would not just come down all in one color. I'll use a slight contrast there. And then I'll create a horizontal line for it as well. Just be really careful not to go inside of this trap there. Okay. So it would be just like that. And then from here, again, I would have to go horizontal. But the level is different. It's going toward the end of our fabric. So here it goes. This area a bit more because I think it needs more contrast. Yet again, I will move on to the next part and we will actually do all of these stripes one-by-one with the same process. Just remember to always keep the tip of your pencil sharp as I'm doing now. So after sharpening my pencil again, as I said before, I would go through all of these stripes one by one, darkening them with the same way. First vertically than two horizontal lines. And as I said, in the first place, there are two important things about it. First, you should not come down completely straight because it's a fabric texture and we want to emphasize on that. And then you should not come down all in one color. It's good to create some contrasts and some places. Then again, on this side, first, I'm going to finish these parts, I mean vertically and horizontal lines on the floor. And then I'm going to work on the parts which are on the surface, on the top, basically underneath the bucket. Okay? But we shouldn't have actually created this area because we will have an apple over here, which I forgot to do and I forgot to create in the beginning in our primary sketch, but it's okay. I just figured it out. We had a good timing because I haven't. Shaded the ones behind the Apple, yet the apple would be placed here who will not want to work on it right now. I'm just going to shade the risks of the parts considering the Apple going between them. So here it is. And it will all go down like that. So here we go. Okay. We would also Shea these stripes behind our Apple. I mean, not the ones which are actually behind it. I mean, the ones which are above it, better to say, because you can not see the part which is behind the apple. The apple is not translucent. It's not transparent actually. Okay. This is the last stripe over here to be darkened. Here we go. Then I can actually complete my apple a bit more than Atlas. I have ring the edge of the fabric down. Now I want to work on the horizontal parts of my stripes or my lanes on this surface of my cube. Basically the part which is going through under the bucket and coming out from the other side. Again with the same order one-by-one. I shape them. Do not forget to do the shadings on the other side of the bucket as well because the fabric has came out of the other side of it. Okay, so now we've applied the stripes on our fabric. Now with pencil number H2. Again, I want to start shading. See for example here. If we shaded like this horizontally, I can show that this era is a bit folded. And with shading like that, I can show that for loose area, it's not too much, but it's a bit also in here. It has been folded down actually. Then again with the distance, I would have some shadings here to show some folds on our fabric. Better to say some ups and downs, some wavy shapes on it. From here, I will shade up. And then I'll shade this lower part a little as well. Well, we would not forget about these parts because we should shade all of our work wherever it's needed. You will also bring a very light shading to the surface of our fabric underneath do bucket. But it should be very light. Just go over it once with your pencil. Okay, that's it. Now, we can move on and create our beautiful apple. Well, before I start shading it, I will erase around it. And then with my age, I'm sorry, I would also have to erase these parts from inside of my apple. Now, I'm going to shade the apple with my H2 pencil. Very lightly, as you can see, I'm just shading it very, very lightly with a very low hand pressure. So it will go around the edges. All the way around, maybe darker and some parts on the corners on the sides. Then it will come up from this side. Just like that. And just very easily like that, I'll create the textures for my apple with my shadings. Here we will have that curved area on the apple, which is the placement of the stem. This area should be darker as well. So I can work on my apple just like that so easily. Alright, then I'm going to use my B6 pencil to create several dark spots. On the apple. It's actually the apple's skin. And then I'll add a very strong darkness as a shape for its the stem. Just like that. Alright. Now I'm going to work on this bucket on the top of these blocks. I will start with H2 pencil, and I'll be starting with shading very, very lightly. Shade this bucket very lightly. So just like that. From the corner I will apply the shading. And then I will darken this area On the opening of my bucket. With a bit of distance. I will darken around the pen ink. I'm just creating from this side so you can see better. You see it's like we're showing the edge on the opening of the bucket. I want it to be a bit sharp because I want to show the texture of my bucket, which is metal. I would have to keep the tip of my pencil sharp at always. It really helps you to bring out that metal texture on your objects. So from here, I'm just going to shaded dark downward. Then I move toward the right. Shadings would be a bit shorter and a bit lighter as you can see that. Just be careful that you're shading should be vertically and linearly like that. 13. Completion of shading: So this part would be shaded as well. And I'm going to continue. Also. From this side, I should come down shading in darker tonality because it's more in the back. And then I start creating the reflection of the stripes of the fabric on our metal or metallic bucket. Because bucket is made of metal, it will have a reflection on it. And here it would have the reflection of the stripes on the fabric. Just like that, as you can see, just gives more realistic aspect to your work. It will make it more interesting and beautiful. And also it will give it a good dimension. Alright, now I'll take my edit eraser and I will apply some of the lights in these areas. Well, basically, the metal texture is that we would bring one dark as one very dark palette, right next to a very light palette. Like this. Say, you can clearly see the textures. Now we can move on to create the ball's starting from here, which is very dark. So here should be also dark. And I will shade inside of this whole area. This bowl is lighter comparing to the others. It's more in front. That is just a shadow of this trap which has been placed on this ball. Then this bowl, which has a very darkest spot on this area. This part of this ball is very, very dark, so I'm going to shade it very, very dark. Just like that. I'd be creating it easily. Then I will use my eraser and erase this part completely because I want to make it light completely. Then again, with my B6 pencil, I go around it, note inside of it, again, shading these areas bit more too. Working on these stripe reflections. Here I go on the site. I would also have to shade this area beneath the bucket, which is obviously dark. Now, the only part that has been left is this trap, which came on top. And when through this area, on the twists areas, this Traps would actually have more shadings and they would be darker. When they reach this area, they would get lighter. Again. From over here on top that we have a twist. It would be dark again. Wherever we have a twist, it should be dark. Then when it comes from behind this bucket, it will be dark again and light again when it goes down a bit. And then in this era which it goes behind the blogs, again, it would be dark. So you can see that we are constantly placing the dark light, dark light palettes next each other. Good, a good transition. I actually add it to the edge of my bucket. Also in here again, we have a twist on our strap. So I'll make this area dark. And then we would shade it all the way down through here. Just to make it look better and more interesting, and obviously more similar to your model. Okay, Also in here we would have to have some shadings, light ones, but okay. Alright. Then we should erase all these surroundings here. I'm just gonna do it with my eraser this time. I'm erasing all around my work in order not to leave any extra lives or any trace of extra shadings. Then with the B2 pencil, I'm sorry, I mean H2 pencil. I would create some shading like this as the shadow of our objects. But I'm just going to create them as shadings. I don't want him to get too dark. And again, I'm sorry, but I'm using H2 pencil. Said it wrong for the first time. Just like that, as you can see, I'm creating a pretty cool shading over here to represent the shadows of the objects, but they won't be too dark. Then I can switch to my B6 pencil and I can amplify these shadings and shadows. I can actually emphasize on them and make them darker a bit, not too much again. You can also use my finger in order to spread it out and also make all my shadings blend into each other. I hope that you've enjoyed this tutorial as well, and you've used it enough. 14. Quick sunflower Drawing with a trick: Hello everyone, Welcome back to another one of my tutorial sessions. And in this episode, we're going to work on this beautiful sunflower together. Well, our previous episodes, we would have created our primary sketch with our hand. But this time, I want to give you trick for creating your primary sketch. Well, for the times that you have a lot of rush in your work, you mean you're in a hurry or you don't have too much time to create your primary sketch by looking at it and creating. You are going to use this method. In this method, you'll just reverse your printed model and just as you can see, you are darkening the back of your model. So this thing that we're doing right now is actually makes our paper to act like him Caribbean. So you would be darkening all on the back. All the way completely with my sketching pencil. I will darken the back of my model, the printed model. Then a next step, I'll place my model on my cardboard or on the paper that I want to create my primary sketch. So I will have to stick it to my paper or my cardboard with a tape. Basically paper tape in order for my work not to move. I don't want my model to move during what I want to work on it. Now, I get a very light pencil or on colored pen that would also be useful for you. There are some pens that they don't have any color, so you can also use them. Right now I'm just going to use a very light pencil. I will sharpen the tip of it completely. And then I just move over there parts that I need from my model. As you can see, I'm just going over the main parts. I mean, if you wanted to created this model by your hand, I mean, separately, you would have created these parts. So you just have to go over the parts that are the main parts. And you would have to created by yourself. While you are doing this, while we are going over this sketch, you're actually transferring this sketch onto cardboard underneath it. So this is a method of copying your primary sketch, but don't say that it's copy and it's really easy, everyone can do it. The point is not creating only the primary sketch. Of course it's important to create it, but it's not the only thing that matters. Applying the shadings and applying the details correctly, we will actually make your work pop out. And let me tell you one more thing that people who are allowed to use this technique are people who are actually qualified enough to create their primary sketch beautifully. And they only use this method in order to save time or something like that. But if you're not even qualified and creating great primary sketch, yes, it, this method can actually make your work lazy. So this is a very useful method, especially for some people who are working on hyper-realistic as sketches. It's not that they are unprofessional, they are professional, and they're actually pretty well. They're perfect and advanced in the sketching, in primary drawing or sketching. But because they want to save some time, they prefer to spend more time on shadings or details. So just easy as this you can see, my sketch has been copied on my cardboard or my notebook. I don't know if you can see it clearly, but when you do it by yourself, you can easily understand how cool year and how complete your sketch will be transferred from your printed paper onto your notebook. Now it's a good time for me to start to shadings. Okay? Now, the petals of this sunflower is very, very light. Therefore, IP starting the shadings with my H2 pencil. And then onto pedals. Ib is starting to shade from this middle areas and the bottom areas and the tip of the petals. I'm not going to shade these areas too much. They would be just a little just to touch in order to give it a shape. Because basically the sunflower has light petals. Again, from the next part, I go up and depart, which is between them and is actually closer to the center of the sunflower would be darker. But in general, I'm not applying too much of my pencils color, pencils, darkness on the petals. See just like that one by one, I'm going to create the petals of my sunflower. Okay? So here we go. Now, be careful that you will just control your hand pressure. Therefore, you would have softer and smooth are shadings. You don't want any roughness in there because these are flower petals, so be careful about that. So just like that, you see, you don't have to do anything, especially just have to apply the shadings in their appropriate places and when they're appropriate amount. And this outer parts of the sunflower is lighter and it will actually show itself better when you work on its background as well, because the petals are light and we're going to shade the background a bit darker so they would pop out. Do not worry and do not rush through it. I mean, it shouldn't be in a hurry. You should be working on your sketching is very patiently and you should spend as much time as you can on the sketching that you're doing. This is basically the only thing that makes your work look good. It makes your outcome look good. So here we go. As you can see, I'm just going go over the parts that I need to main parts. And also I would work on the pedals on this side, the same way. So here we go. That's habits and the process is the same for all the petals. Just you should be careful and you should constantly check it with your model in order to see okay, which petals are lighter, which ones are darker, and how you're done? Step-by-step, we get closer to the parts of our work which are even more interesting. I would also have to work on this area. Here it is. Said, I'm also working on these petals. Okay? Then in this top part, there are only three more petals lift, which I'm going to create. And then we can move forward to the next step. Okay? So here we go until we finish all the petals and we can move to the arrest of the sunflower or SMR Sunflower. Okay. Now gets your B6 pencil and then with a sharp tip of it, you would go over some parts, some very inner parts, for example, here. You would just go over them in order to apply a light darkness in it. The parts which are two pedals sticking next to each other, or the parts which are close to the center of the flower. Just with your B6 pencil with a very sharp tip. You can go over these parts and add a slight darkness to them. Again, we don't want to do too much because as I said before, basically we are having a light flower but I know aren't just going to try. Okay. You see now that you add these darker lines and create your contrast, you are making this beautiful volume and this beautiful shape out of these pedals in order to make them pop out. And now they are getting a good volume with creating this contrast, with applying these dark lines next to the light shading that vf already created. And then you can also see that which petals are above, which petals are underneath the others, because they are placed layer by layer as you can see. Okay? And you know, really, honestly like to create flowers and plants because it just gives me a good spirit. It just lifts me. So I advise you to spend more time on it in order to make it more beautiful. 15. Shading the sunflower: Okay. Now he knows something that you should know again, I say is to as motion as you spend time on it, it just gets better and better. So try to create your shadings as smooth as you can to bring out that flower feeling of your whole work. It's always good to do that. So that's it. Again, as you can see, I'm just going over the pedals and making them contrast wherever that's possible. And at the same time, I'm trying not to do it too much, you know. So just like that. Now, I want to start working on the center of my flower. First of all, we have to darken these areas at the bottom and then we would lighten them on the top. I mean, way well, just gradually changed the shadings. In this area. As you can see, I'm creating dark circles, one after each other and inside of each other basically. And as I move toward this side, I'll make it lighter. Again. Another darkness coming toward a lighter area. And another darkness would be applied to here. And I'm just creating this a small circles because of the texture that I can see in the model and me shading it this way will actually help that illusion of the texture. So I also go between these petals over here until I get back to where I started. And then I'll do it all over again. Making them more increasing them basically. And that's how it's done. And when I get to these parts, I will actually create the same circles, but I'm going to create them less intense. I mean, I am decreasing my hand pretty sure yet I'm creating the circles. Again. I will use my B pencil in order to work on the darkness and make them smooth, ER, and softer. Just as I want them to be. Then I'll use my electrical eraser to create some dots inside of this whole central of the flower in order to just add some lights. But they should be as the shape of dots or spots. Then again, with my B6 pencil, I will darken these parts which are needed to be darker. Shading these areas with a darker tone all the way around here as well. Just like that. Now, what's the next step? The next step is to create a background in here. But before doing that, I just want to work on its leaf as well. This is the leaf dad exists on our sunflower. I'm just going to shade it cohesively. You don't have to do anything on it. I mean, it doesn't have any specific details or anything. So you just have to shade this leaf very cohesively with the same hand pressure, except this area because it's actually between these two pedals. And I want it to be separated from the petals. That's why I would have to make that area darker. So you can tell the difference between the leaf area and the pedals. Then it go like that. I'll continue until I get to the end of this leaf. So that's the leaf. Again, I say, I just darken these areas which are close to the pedals in order to separate them. Now, I want to start working on my works are on my models background. You see my dears. I'm starting from around the pedals. Let me just sharpened tip of my pencil even more because it should be completely sharp. Therefore, I can create a great background without getting into the pedals. See, just shading it like this. Just be careful we would not go into the petals at all. That's a very, very important thing. And we should create our background, obviously darker comparing or according to the color on our petals, because they should be separated. And when we do a darker background, our petals will actually pop out. And it will give it a very great luck because the petals are already light. So as I said, for creating the background, I just have to go from between the petals and then I bring them out. And then shape the rest of the way. You just shade it towards dry toward left vertically, horizontally. How old were you see fit? Just like that. Okay. That's it. And then you just follow this process, the whole procedure for everywhere around your flower. Again on these parts, you just do the same. So I would have to shade all around my work in order to create a good background for it. As I said in the beginning of our work. Is it even with hatching and shading the background of this flower, it will just pop out and your outcome would be really, really cool. So now you can see with even simple lines with simple hatches basically how your work can be so great. It's just a matter of how you want it to be. It doesn't always have to be something extraordinary. You can use very simple methods, simple shapes, but create beautiful sketching. That's the beauty of it. Here we go. All the way up, coming down from the right side. Just like that. Again, I work on this side petals. And again I say, the whole way down should be just like that. You see, now that reworked on the background, our flower actually popped out and it's like it's coming out of this paper, gave the volume. And again, I say it's in this sketching. It was specifically because our petals of the flower was too rare to light and we had light shavings for them. So when we've created a background like this, actually brighten our whole work up. Now, in this step, in this phase, I'm going to take by electrical eraser, and then I will actually give an order to these outer parts of our pedals. Wherever I have any extra darkness, any extra shading, I would just easily erase them. You can also do this with your eraser. I mean, there's no necessity that you would have to do it with urine, electrical eraser. I'm just showing both ways for you so you can choose yourself. Okay? Now I'll choose my B2 pencil. Me just find it. Or you can also use H2 pencil. I would just go over all these parts once more in order to blend all the shadings together, make them more cohesive and smoother. I'll do it from the center of the flower toward the pedals. You can do it with a normal pencil. Or H2, doesn't matter, you can do it with either pencil. Then at last, I will apply the stem of my sunflower. Going like this. A part of it goes for the leaf and it goes all the way down. Then when my B6 pencil, I will increase its darkness a bit more. And that would be, it would also apply shading for the background of this part because you don't want to just leave it untouched like that. So you also have a background over here around the leaf and stem. So here we go. Can see we've got a beautiful sunflower very easily and very fast. Again, I would use my B6 pencil to apply more shadings on the background. And also small shading from the ending of the stem towards this area. It's basically the shadow of the stem on the ground. And then I would also darken this area below this pedal and a leaf in the way that it's placed on the floor, on the ground. And it may a shadow. Also on these parts. I would have to apply more darkness in order to create shadows. Again, just to emphasize the fact that they are placed on the ground or on any surface. I mean, it just gives more character to your work. So don't be afraid to do such thing. Alrighty. And in this area, I would also add some more darkness. I do all the touch ups that I think is needed while I'm checking out my work all over again for the last time. And then my work would be simply over. Here it is. This is our final outcome. I hope you've enjoyed this tutorial and it would have been very useful for you. Good luck everyone.