Beginners Guide to Crosshatching Drawing Techniques

1. Introduction To Class: Hi friends. I'm your friend AND gates and I'm welcoming you all on my new Skillshare class. This class is all mean for those who really want to express their art through lines. So what are these lines? These lines may be cross. I think it's diagonal heading, vertical heading, or there are many other kinds of atoms. What we have included in this class so that we can understand the still-life artwork in more amazing be. The main objective of this class is to understand the still-life through the expression of cross hatching techniques. What we are going to learn in this class, in this class we are going to learn about the techniques of cross writing and how to basically understanding the processing using different parameters, using different tools, and basically how to get the final product using the cross etching technique. This is very normative class. We will discuss about the kettle product and understand how basically we can draw the outlines of the product and then how to literally get the cross settings done by the end of this class, I am pretty much sure that you will learn the process. You will understand the techniques. And this may be the possibility that this technique will be your first choice for any shading techniques. I hope that you will enjoy this whole class. And let's enjoy the beautiful journey of cross hatching technique on still-life. Stay with me. 2. An Intro to Required Tools : The first lesson we will understand about the tools and the familiarization with different kinds of tools and when to use them. The pencil is the most important tool for this particular class. So talking about the tools, we don't need that much of tool for this particular drawing technique. You only need two or three duels. That is mandatory. And we will discuss about the must have DLD in this particular class and what you can have it if you do have a sufficient amount of budget. Let's understand this. 3. Familiarisation with Desired Pencils: So in the first lesson we're gonna talk about the tools that we're gonna use in this particular class. And what are the tools that is important and should have all those tools to draw the crosshatching techniques. There are so many tools in the market and you also may have that much kind of stuffs with you. Do you need them? I don't think so that you need that all the stuffs for our growing something which is governed by the cross hatching things or not. So what are the tools that are mandatory and what are the tools that may have if you have a budget video. But if you are having the shortage of budget, you must have certain tools that, that has to be there. So we're going to talk about that. Let's understand first lesson, my understanding the desired tools. So this is the first lesson. Here. We are going to talk about the tools. Here we're going to talk about the desired tool. First of all, we will talk about the graphite. What are the pencils that we need? When we are talking about the graphite pencil technique. V are not going to talk about here about the charcoal drawing technique because it is different one here, we are aiming to understand the graphite first so that beginner can have knowledge of tech tools. The graphite pencil techniques section. The first one is the basic one, which is the pencil. Which kind of pencils that you actually need. So you need certain range of pencil in the graphite section that is starting from the HBI, that is hard black, then you need be six big. You need that much pencils with you. Here. Let you understand that if you do have HB pencil for B pencil or six big ones, that will solve your problem. So mandatory thing that you should have here is only six SPE, only two of the pencils that are something which is, must desire. These pencil you should, must have video for drying something like this that we're gonna talk about here. What are the other pencils that you may have used? These are our wood pencil dependence that I'm having over here. This is the vote pencils. This is also afford pencil. So you may have another pencils that is the mechanical pencil. So why the mechanical pencil is required? Because mechanical pencil, something like this, is having a very small diameter, let's say 0.5 or 0.7. The desired thing over here, you can see the tip is very, very, very fine. And you don't need to actually shop it every time. This is why you actually need this kind of pencil so that you can have a very firm crosshatching lines. Because in grosser things, you must have understand the lines. You must have to have a presence online. This kind of pencils also create the lines, but you have to sharpen it enough. Say for, for B, you may have the lead like this. So after doing so much of crosshatching, it won't be able to do the processing. Then again, you need to sharpen it enough to get the fine tip like this or like this. So this is the only advantage that we can have with the mechanical pencil. We don't need to sharpen it enough. And also it's very fine. You can use it from the top and create multiple layers of processing's without stopping yourself from doing that. So you, it is the suggested one. This one is the suggestion. This is suggest. You can have this pencil if you have certain kind of budget video, but if you are not that kind of budget with you and you are running short for those stuffs you do have. So you may have the wood pencils that is the most TAB until video. 4. All Kinds of Erasers Required: Now we will talk about the various Elazar's, why they're so unique in their users. Let's understand it. What would be the next thing that you need? You need eraser. What are the users that you need? Razors are coming in different brand, different types. But here in the cross hatching technique thing and understanding the still-life, you need few erasers and most of your investment. The mean of budget will go in this eraser and other tools, not in the pencils. What are the reasons that you need? The first is, you need is kneaded eraser. Kneaded one. What are kneaded eraser? They are rubbery element with them and they are so elastic that you can actually stretch them and try to, you can change their shape as well. Then rebuild their shape to the desired thickness and width. And you can actually get the erasing things so easily and effectively. Like here. You just have to make a fine sharp edge of that and you can see that you don't actually get even a small dust particle onto that paper. So this is the only advantage that it is having against these kinds of rubbers because it is very much dusty. And when you are using them, it create some kind of dust on your paper. You can see like this. You don't want to actually those stuffs on your drawing and this would be the most suggestible one. So use them and have them with you. Whenever you are going to draw, you can get in this kind of packaging. This is one, this one is a favorite castle bond. So you can use them as well. This is very, very cheap and you can get it. Not a very expensive thing for you. But it's a biggest hack one artist should have with them. Most would have tool. I suggest you to have it. What is the next one? The next one is the pencil eraser. Mono Eraser. What are those erasers? Pencil areas are and mono eraser. I think this whole lot of still-life thing are very much relying onto those erasers because they actually help you to get the even a single minute details. You will get many kinds of results in the market. But which one you need to buy. I'm going to tell you where here. So let's see. I'm just getting the sum dark area so that we can work on to them. First one is the modal eraser. This one is a motor areas are then pencil eraser. This one is a pencil eraser. This is mono areas are these two kinds of erasers. You do have a, you do have another reason in the market, but this is not going to use over here. So I'm not going to discuss this kind of eraser and this is not at all required. So I'm not going to use it and not going to share its experience with me, which is not at all Very good. Here, the pencil, the reason this one is from your brand and this is very reliable, very cost effective than another one is the Mono Eraser. This is also a very beautiful eraser and the manufacturer has created it so well and it works very fine. And you can actually change the lead of it so you can reuse it. And you don't need to purchase every time this device rather than to just refill it using the refilling eraser that is actually coming in this form. You can see over here, this is the refill that particular eraser can have. This. This is how you can actually use them as many times as you want. And this actually a very, very, very amazing tool. I would suggest you to actually use them. So these are two tools that you may have. The first one is a pencil eraser like this. You can see actually it is very effective for the minute areas and minute lines. This one is very also very effective one. You can see how this one is helpful for you. You can see there are very minute lines you can actually get. Also you can chiseling it using the knife and then again, getting the exact shape of that particular needle so that you can actually get the minute to minute detail. So if I'm going to suggest you between them, if you do have a good amount of budget, you may go with this. But if you're not having that much of money to invest, you may use this going over one, and this is cheaper than this one. So you can use that as well. But if you are going to buy this, you will definitely love this product. I'm pretty much sure about that as well. You may have used these stuffs and how to use them. I will, I'm going to tell you in the upcoming lessons of this class. Now, let's quickly talk about the other tools. See you in the next episode. 5. Introducing shading Tools: Now let's talk about the shading and this is very important and what is shedding when it comes to understanding across setting. Because cross, I think, is not the normal shading technique. What do we can use in the realism or altruism or hyperlink awesome technique. Here, shedding means something different. You are going to get the details of flight and shades using the lines and not the shades or grades. So how we can achieve that? And what are the principles for getting the shading, the cross setting, and what are the types of processing. This is also very important because all the processing does not really mean that the x thing, it all means about how to get the lines and what are the strength of the particular line. This is very important lesson for all the beginners who really want to understand and explore the cross any technique, Let's see this. 6. Shading Tools Overview : In this particular lesson, we will talk about the shading tools and what are the tools and how we use them. This is the very important lesson of this class. I am saying this why? Because we actually don't need that much of tools, sharing tools specifically, because we have to rely on our pencil rather than the tools itself. Also, you shouldn't have tools like this paper stump and something because you don't need them. You don't need to finish each and every part rather than you have to show your skills on the pencil and to show that cross hatching thing, you have to show the strength and the foods that you actually developed onto the pencil. So what are the tools that you are actually using for the shading thing? And so one is the pencil itself that you are using. The other tool is the brush. We're going to use the brush because there are so many gross adding lines on which we need to rely on. The use of the brush is very minimal. And where you're going to use these brushes, these kind of stuffs. These brushes are makeup brush. You can see over here. You can actually see them in the previous class that I've already uploaded on Skillshare, you can use a seed. You will actually see those uses and how I effectively use them to get the shading thing done. But here we are, we are going to use that is something which is very important to understand. So let's say you do something processing like this and you want to enhance the weight of the line and you want to enhance the, the, the darkness of the particular thing. How it actually help it actually enhanced the darkness without actually removing the lines. So you can see over here the lines that is still there. All you need to do after you don't need to put the pressure too much onto those stuff and don't try to mix everything rather than just to enhance the darkness. So you can see over here, this portion is without brush. This motion is with the brush. You can see that there is a marginal difference between them. And then again, you come with the closet and then adding the values so that you can actually get more darker tones, more darker values across settings. You don't need to change the fundamental of crosshatching is rather than mixing it completely and just do. These tools will help you to add on more and more depth and darkness in the drawing contrast in the drain. So that is all about the shading tool that is only to sharing tool that you need. I didn't want to that you may use some erasers for the shading thing or getting the highlights like this. And you kind of brush, watercolor brush or whatever be the Brush tool may have. You can use them. Design about the shading thing. 7. The types of Papers: Whether the papers do have significance in this kind of drinks. What do you say? I would have to suggest do something about this. So let's see this paper. This paper is very smooth by saying that you are not able to understand what the paper is, whether this paper is smooth or rough. But you're going to understand with the field and see the, another paper. That particular blame had been done on to that. This paper, this paper is the rough paper. Okay. The another paper. Look at this figure over here. There is also a drain. And you can see this is also a very smooth paper. Is smooth paper gives a smooth rendering and smooth shadings like this. But the rough paper is something which actually worked for processing techniques. Why? Because it's having some small amount of textures and those structures and those undulations will help you do actually create that particular line onto them so that the line is very much significant. When you are using the smooth paper, it actually does the rates. And you need some brush kind of thing going or you need some newspaper, some kind of thing to actually allow the paper to gain more and more layers. But this particular thing is not there in the rough paper. Always you should have a rough paper and that will automatically create the beauty of that cross-cutting thing. Let's see about the paper things. 8. Understanding Paper: In depth: Now let's talk about the paper and why they are having so much of importance when it comes to cross setting. Let's have a discussion. Now. I am going to discuss about the papers because this is very important and very crucial. Which kind of paper that you actually use for running something which is using the processing technique. Especially in this still life. The paper should not be smooth. This is a forest and the foremost thing that you need to understand the paper should not be the smooth paper for realistic drawing. You actually need the smooth paper, but here, you don't need to have a smooth paper. It should not have less, less D8 paper. Should not be there. The paper should have greens. In the simple language, it should be rough. Paper should be rough. Having teeth. Whenever you do this, you can hear that sound. This is very important. Someone is going to use smooth paper. It doesn't sound like this. It is very, very smooth and let me show it to you. This one is the smooth paper. And here you can see this is different sounds because it's having no teeth, very elastic. This is, this is different. We can see you can see the difference. This is why I am not going to suggest you to use a very smooth paper chart paper. Distal papers should not be there. Rather than to use some rough papers that you can actually get the cross settings effectively. So I think I have clarified you about the paper thing. You should use the rough paper, textured paper. In Greece, paper, cartridge paper. You can use any kind of debt. The best option, I think I suggest you to use the February Uno Academy of paper that is a very textured one and a very medium surface grain. Or if you want to use the Strathmore when you can use a Bristol vellum surface, which is having some surface, you can use a Strathmore drawing paper, Canson paper, that tariff one. You can use them. See a green paper, that kind of paper actually having some grains on having some texture that would be nice for you. The local market if you want to go purchase those papers nearby a, you, you may ask for the cartridge paper, so they will provide you the paper like this, which is having some surface, some rough surface, can use the dove and paper as well. I think that I have clarified you about the papers and all the tools that we're going to use. Next, we will talk about the, about the process that we're going to use in the crosshatching and how to basically begin them, how to use them, how to utilize them in the particular class, this one. So I will see you in the next episode of this class. See you. 9. Defining Hatching: If I ask you one thing, what does the heading in your definition? What would you say? I think most of the people will say this thing that it does. Lines, continuous set of lines, parallel lines to each other. And that's how actually they define the cross hatching technique thing. Or if you want to define the hatching thing. Mostly people really take hatching like across I think, but heading and does have so many other dimensions as well like cobe hedging, this curve hatching thing or a contour hatching thing will definitely improve your drain rather than just scraped lines. So when you are changing the arc, the arc of that particular line, it converted into a beautiful goal hat. So this is all about the hedging. Again, I think the coming lesson, we'll learn about that to understand what is hatching and what are the types of heading that we will going to understand this lesson? Let's see this. 10. Details About Types of Hatchings: Now let's talk about the heading and its various aspects in a deeper manner. Now let's talk about the type of things which is the most important part of this particular class. Like how we are going to do the heading and how to get the exact and accurate shading on the particular portion. First of all, let's understand what is hitting. So if we're going to define the hatching, hatching comprises of lines and it is the act. It is actually the accumulation of various parallel lines which are parallel to each other. And they may have equal distance between them, may not have. Also the direction can be changed and that action can the same. So let's understand this is the basic one that is the diagonal hitting. I'm just taking another pencil that is, let's say this mechanical pencil that you can actually see the, the hatches diagonally heading is something which is actually on a certain angle from the horizontal or the vertical. So this line actually is the hatching, which is the diagonal from the horizontal one. And it's having the degree from 30 to 45. So 30 to 45 degree line from the horizontal. That is the dominant hedging. This line is basically the headline. How to basically understand it and how do we use it? That is something which needs to be discussed. Here I am showing the some example of that non hedging when I'm doing it like this. So what I'm doing here, I am basically drawing various lines which are parallel to each other and they are having a certain angle from the horizontal line. This is the form of the diagonal hedging. How to use it. We will discuss later, but just let's understand the basic type of headings. You can use this pencil also to understand diagonal thing. Also, the direction can be this or can be this. So this DataFrame can also be used in the form of diagonal adding all we need to understand it having a certain angle from the horizontal. I'm going to do this. This is not the diagonal one. This is not the element, this is the diagonal, this is the diamond. Now let's understand. Do another one, which is the vertical hedges. Vertical hatches. The hatches which are parallel to the y-axis of x, y. The vertical heads would be like this, parallel to the word, to the vertical line, and they are 90 degrees from the horizontal lumen. These are the vertical hatches and you can actually use in the different form, in the different pressure. Also, you can create a pattern using this for the background thing. Now the third form of the heading is the horizontal heading. So horizontal hatches, as its name suggests, it is actually parallel to the horizontal line to the x-axis. This is basically the horizontal hedges which is perpendicular to the vertical heads is two the vertical line. This also again we create like this. And then you change the area like this, this. All these are the form of horizontal hats. So basically there are three kind of hatches, what we actually understand or hear vertical, diagonal and the horizontal. Then the last one is the mixture of all these headers. Which one is the mixed? What is mixed? Stating in mixed hurting you use some kind of diagonal one and then you start changing it to diagonally to horizontal, and then you start changing it to vertical. In the same particular object or drawing, we change the direction of the hatching. Like this. You can actually generate various kinds of hedges. These kinds of hedges are basically used to form our other objects like still-life object. We will discuss in that there are four kinds of hatches written which is known as diagonal headsets, vertical axis, horizontal axis, and the mixed attaches. But all of these hatchlings can be used in the hatching. So let's quickly understand what is the process basically to use the detaches to create a smaller objects. Let us understand this. 11. Significance of Curve hatching: Not all the lines are always a script. There are few lines go in each. Now we will talk about them. They play an important role in processing. Now we will talk about another kind of hatching, which is not the accumulation of straight lines, rather it is having the accumulation of curves. And these are known as contours. Control may be defined as a bunch of ellipse or a circle, which actually form grade, which actually form a shade or a grid. This is not going to use over here, not that much, but the co-head basically that we will use, which actually a form of a contour. And it's, it's basically a part of a condo, let's say this part of that contour that may be used in this so-called hatches, maybe like this. You can see or hear. We can do the same with the penicillins. These are the bunches of globe lines. And it actually can be used in the circles like this. And let's say this is an object. This one is the darkest portion here. Then I'm going to do the hatching thing. I am going to use the hatches, which is which is not the straight line. It is not the straight line, it is the curved line. Like this. You can see or hear the difference between them. It's not a straight line, but it is the curved line. These lines here, you can see like this. You can see that I'm just adding on and the lines are not straight. So this is the major difference. Then. Change the direction on the curve is also we are changing the pencils simultaneously like we're using the Forbes and then I'm using the to be itself. So this is how we actually change the grades of the pencil so that we can find the exact among the curve hatches. And this is just a simple example. We will discuss this technique in detail in the coming episode of this class. This is something which is just the most tremendous. Using. These are hatchlings is your project. You have to create these kinds of headsets on any of the object of your choice and post it in the project section. I will see and review them. 12. Process of Hatching : Now let's talk about the process involved in cross hatching technique or hedging technique. The process is very simple. You lay down some layers, the horizontal layers, the vertical layers and layers as well. But to really understand it in a more efficient manner, you must understand each and every line. Say something about the product thing. You must understand the action of that particular product. Then you are actually identify the shading thing, what really need to be adhered in the particular process. For that, you should have an understanding of that particular product. Let's say this is the product if I have to draw this. So this is a circular one, but the texture you can see here is a bit different. Here. This is the product and it hasn't been painted. The crowd-sourcing thing would be more towards the gold lines rather than the straight lines. And that will be the more efficient manner to really express the real product, which is a timber one. So this will definitely help you to improve your understanding and observation at the same time. 13. Identifying Hatching for Various Objects: So I'm super excited for this as we are going to discuss the curve heads is and how to mix them with a particular answers. Let's see, come to the studio room. Let's see this object. You're going to draw this. You're going to use the vertical hatches and we're going to use the horizontal edges. So in this example, we're going to draw it roughly. When I'm drawing this. Just try to kep kept all these things very light in the foster damped so that if any change I actually wanted to do later, I can actually do that. I'm using the mechanical pencil for that. You can see orient because the lead in that pencil is B. And that B pencil, it's very, very light and I can easily tackle that as well. This is the form that has been created. Now see me, we need to do which kind of headings. As you see, the form of this is in the form of this direction. Here I'm making few things stop so that you can actually see the particular product more time drawing. Actually, this is in reality, you don't need that. But when I'm shooting something from the camera and I just wanted to let you see all the details. That is why I'm doing the dark layer lines initially. Actually, we need to understand this, that the original form lines are like this. Like this. The direction would be the curve. This would be like this. The principal hatching. The main heading of this drawing should be in the form of curves. Let's understand this. First. These are the principle lines, okay? But actually if you want to see it closely, you can find the texture of this is some work, The vertical one. So we are adding the vertical lines also. Very less pressure. Similarly here also, I am only using the vertical lines. Then adding with some scopes, headers. Now I'm mixing all these goblins using multiple lines. Here also here there is no surgical, but there's a few little details there. I'm just adding these lines as well. I am doing the exact thing for the backside of that tape, you can see the classic thing has been written. The same dark lines are also there. So I'm just adding that particular stuff we're there as well. Here the aim is not to resemble the actual product, but to understand the process that we need to use while creating cross etching and contouring heads and go Bejing. Everything. You can see over here, there is a dark space. So understanding the dark, yes, over here, that we can actually get the realistic one asset using the matching principle. What is the learning that we actually get from this? These, these are fuel vertical lines. These are a few guidelines. These are all so-called lines. These vertical lines, vertical lines. And overall the shape of this is like this. The form of the curve. What actually we understand from this is this that whenever we are going to draw any still-life or anything from studying from life. We need to add, mix all these styles. Here you can see there is go hatches, go heading n plus vertical hatchlings. Here we added both. Then we will found this product. You need to understand how to add in few techniques and creating the final product. We should not think that it should be relying on the one type of shading. Let's say if someone wanted to draw like this, this, this, if, let say if someone wanted to draw with that diagonalizing, pick a pencil and then using the diamond hedging thing. Then adding more than letters to make it more dark and some more grids. You can see here that this won't look that effective. The whole process is along the diagonal hatches have been used. But the product itself, it's not explaining this. There's no such diagonal thing in the octet things. Let's say this one is another example. Maybe your project. I'm just putting that here that you can take a snapshot of this object and try to basically understand what are the hatches and where the hedges are coming. And then put your homework into the project section where I will see that thing and help you to understand and we will discuss the particular thing. So now I'm going to see you in the next episode of this photo grid class. 14. Finding References for Still Life Drawing: How do you find the particular product for your drain? This is not a very complicated quotient. You can actually see and explore nearby you and you will find so many products in your household as well. You'll find some older kettles, some old mugs, or a new product which recently came in your house. You can use your water, water, water, see detection on it, and then try to draw it for finding the product, you can go to Google, search for particular items, let's say still-life drawing objects, high-quality still-life drawing objects. You can find some indeed pieces as well, and then you start draining into it. I have also downloaded few of them and uploaded in the attachments. You can see that in the project section as well. 15. Still life Drawing: An intro: So this is the most important lesson of this particular class. Here we will talk about understanding the brain and how to basically understand the key tool. First, we will draw the outlines of that ghetto. And then we will understand the layer by layer inclusion and we will understand pressure. What do we need to apply on the pencil to get the desired details? We will do work layer by layer, and then we will see how we are going to finish that thing. And I will see you in the conclusion as well. 16. Outlines Drawing Techniques: All that beautiful creations. Take time, patience, and effortless process. Blossom. Let's see. Now we will talk about the most important episode of this class. Here we're going to take this exactly sampled of the still-life drawing and how we can actually do the cross hatching thing by drawing it. First, I am getting the outlines. And for the outline thing, I am using the pencil measurement technique. I have already told that particular pencil measurement technique in my previous Skillshare classes, which are already there. If anyone wants to learn that particular thing, he can actually see that Skillshare class of Menzel measurement technique wherever liberated each and everything in detail. Now here I just have vertical axis. Then I am simply drawing the outlines of that tea kettle. This is a very old style cattle, what you are actually seeing or I don't know what exactly the name of that thing. I'm just saying the tea kettle, whatever be the name. And irrespective of that, see the material of that particular object and how we can actually achieve the crosshatching with the realism. That is something which we need to talk. First, I'm using a for loop runs. And over here you can see I'm definitely using the fully pencil. I haven't used any to be B or HB pencil or two pencil for the outline. Directly using the phobic pencil while I'm doing this because I find myself very much comfortable when I'm using the Fourier pencils because I am using it very lightly with a very less pressure. And I want a pencil would be like where I put the very low amount of prefer and I get the results so the mode is softer, the pencil, the better would be the result for me. If you're not that comfortable, you can use the B pencil to B pencil or some lower gate pencil for the outlines. But just remember one thing that you don't need if shouldn't need to put the pressure altogether on the first layer. So these are the first layer. This is, these are the outline, the basic outline, the fundamental of that particular drawing. I'm just getting some idea of that. I'm not finishing anything over here. Just having a simple idea of the particular object. Because there are so many things that we are going to take care of when we are finishing it up. Just draw the outlines. Do not worry about anything and don't be feared up about getting the outlines thing. Just having a small amount of pressure, do not apply that much pressure. And I also asked you to do basically with the higher grade pencil that will be easier for you to erase and you will have a great command of it onto that particular pencil. Fun advise if I want to, if I have to give it to you regarding the outline thing, that shouldn't be. Don't put pressure in initial layers. This is the most important suggestion what one should have when he's a beginner or he or she's a beginner. You have to understand, don't put pressure, whatever be the density we're using, get the outlines. And I would suggest you to not to trace out the things rather than trying to find out the way to draw from the observation, that would be the best thing. Slope. I'm stopping that particular lesson over here. And the next lesson would be the most important lesson where we're going to build the initial layers of crossings. Already started doing that, but that we will discuss in the next episode of this class. I will see you in the next episode. 17. Base Layer for Still life using Hatchings: Adding layer is the most fundamental process in the cross setting. Let us see how. Here we will talk about the first layer of crosshatching. So as of now, I have actually created some outlines using the technique that I have elaborated in the previous episode. Now, I'm just starting with a 4-bit pencil as 40 pencil does have lots of clay and graphite in its lead. And it is very easy for someone to basically darken up those areas which are pretty much relevant in the original image. As you can see. Getting those dark areas using 4-bit pencil directly is a nice option when it comes to save your time. This is very clear that these areas are very dark. You don't need to basically do the initial layer using the lighter pencil. I'm just doing the same with the darkest pencil. That is for B, or here in this particular drawing. And then I am using the to-be pencil. You can see over here using the Ruby pencil, getting some highlights, you can use HB pencil as well. So don't need to worry about that SP or to be for the initial vertical lines. We can see the lines what I am drawing over here, it's vertical in nature. It's not the circular one. Basically what we actually need to do, we create a complete mesh for that. And I'm just doing the same thing. That's creating the mesh with the horizontal and the vertical lines, then the darkest area, as I've already told you, using 4-bit pencil directly. As it will save lots of time. Same time. You don't need to rework on the same area, which is a document. You can see that now I am just getting fuel shadowing thing for that and just getting some dark layers are there as well on the table. Now I'm using the full pencil and doing the same vertical hedges. But one thing is very sure that I'm not putting any kind of pressure onto the pencil. I'm just using the layers. And very light layers. Do not try to basically down the details and try to get that details as early as possible. I'm just trying to take it's time to get the layers of lines. Now the main, main course has been actually started. From now. You can see that I am using some horizontal lines and doing the same strokes. That is actually the co hedging thing in trying to fill up those areas. The same thing I'm doing with the to-be pencil. And just trying to get a little bit harder than little bit more pressure line. The curve lines. You can see this trying to get the get that patch. Patch is very important. That dark patch you can see on the original image as well, so that they're dark. But you say it bad or you say it some spot. All those things. The meaning is same, actually. Just trying to finish it up, using that thing. Now. Just moving towards the mouth piece of that. And you can see how I am actually getting the details over here. I'm just trying to get the shading as in the form of lines. So actually I do not have that option as well in which I'm just trying to smudging things. So I have to be very much patient. And at the same time I am using the lines, a small piece of line you can see or hear and trying to actually getting the horizontal line and then mixing it up a bit with the vertical managers. I've already told you in that initial episode in which I have told you how to mix the horizontal and vertical edges. Here is the simple example of that as well. I'm mixing the horizontal and the vertical on the same portion of trying and trying to get the details. These are very few small details that you need to add onto your drawing. And that will take you to the next level of the drawing. And you will understand the strength of the pencil. The purpose of the crowdsourcing is that you have to create or build strength, hold the pencil, whatever be the whatever be the way you actually generate that strength. That will definitely help you to grow your art. 11 here. Just following that thing and trying to get the shading thing then using the cross etching thing. And now it is the first layer that has been created on the drawing used for pencil, and that will be pencil for that particular thing. You can use it to Bibi until as well with a phobia. So this is the first layer and we will definitely come again and again under this drawing and adding more and more layers, I'm using the fingers also to getting some more layers down so that we can add more layers. So I will see you in the next episode of this class to add more layers. 18. Second and Third layer: Mid Tones: Using the correct pencil, exact Wenzel required time. It is very important to understand. Let's see, which told needs to be used at what time. So now we are here to basically generate that depth. What does the depth, how to basically get the dark layers? This is very important. I'm using this small size brush you can see for the handle thing. And you can see the handle is very, very dark. There are few more things which actually need to understand over here. And implementation of these kinds of brushes are very crucial for drawing something which is very minute and delegate. Now you can see I am started using the mono Zero eraser. Dust, finalizing few edges. Now I'm using the same for the vertical hatches, using the eraser. Here. I haven't elaborated this technique, but this is very, very useful and handy because, uh, you, now you are basically subtracting from dark to light. You are basically subtracting the lighter portion and getting the highlights using the brush directly. And these lines are very, very dominating. And I would say that it actually enhances the values as well because they are very bright. You can see the portion which is the most highlighted in the real limits and who are here as well. This has been created using the brush that will actually create the sense of light and shades in the particular drawing. This is why these tools are very important and you should have in your, in your collection of art supplies. This is why I mentioned that tools, human should not have so much of pencils or human should not have so much of equipments other governments. But you should have at least these kind of erasers or you may have a pencil eraser as well. If you do not have both of them, you may create using creating your own, using the knife and chisel. It results in small pieces. Then you will find these kind of fine. It is as I'm zooming it up and trying to let you understand that how I am using this it is and trying to get the the curve hatches. Now, I'm using the darkest pencil that is, for a warrior, for the timing, and getting some more dark values, more dark areas. I'm not basically pressurizing it till now. I haven't pressurize any of the portion in the drying is accepting that portion, which is that our cousin, which is pretty much prevailing in the real image. Other than that, I haven't used much pressure onto that pencil for any area, specific area. Now I'm basically finalizing and trying to create more effective, in fact, full curve edges using the four events. As you can see, the lines are more contrast and it's having more depth into that, that particular way. Which actually come from layer by layer technique. It didn't came like this only that you have created in the first layer. You should work for the first layer, the second layer, the third layer. Likewise, you should not do it in one layer. I have seen many artists who did this, the single layer and then they fill. This is my clear suggestion to you that you should use it layer by layer and try to get the darkest one in the final layers. I think that I have mentioned these stuffs to you. Now. I am just generating few backgrounds as well, so that the product, the still-life, should came out itself and pop out from the background. And for that I am using the pencil eraser on mechanical pencil as well. Mostly mechanical pencil help you to get the, get the vertical hatches all nicely and very quickly. It will fill up the area in the background area. If you are doing the dark values in the product itself, you should do the light hedging in the background, will not do the dark hedging in the background. If you do that, that will reduce the contrast. Net will let us not go into, pop out your drawing. What is the main subject? So try to get the values, the background values of one grade or two grid lighter than the real drawing. Now, I am again trying to get a few of the values more dark. Likewise, in the mouthpiece of that particular thing, you can see I'm just adding the final touches. I am giving the final touch and trying to get more dark values that it should be defined itself. Using the mechanical pencil for that, that will definitely the financed one. And it will help you to find the minute details. Then I'm adjusting the values using the kneaded eraser and pencil. It is mono eraser. Doing the same stuff. All over onto the drawing will help you to find the realism and using the cross hatching technique, this is very important. You are, your aim is getting the, if your aim is getting the realism by the means of crosshatching, that is something which is more attractive. And this basically require more of the skill rather than just a process that has been remembered to you. I would say this is more challenging and you will have a more fun with that. Now I'm using the brush, the minute brush, and then it is simultaneously working with all these three stops, the brush, the mechanical pencil, and it is our hope that you'd like to see you in the next episode. 19. Finishing the Still life Artwork: There's no point in doing something if you are not able to finish it successfully. Here we haven't talked about that. Using these techniques to help you to create an awesome and successful life growing. I will tell you how to finish that and enjoy this final session with me. You're drunk it. Let's see this. Now, we are in the final finishing episode of this particular class and in which we are going to discuss about the minute details and how we can actually add more layers and finalize few drinks that needs to be accomplished. Without that, we are not able to say this, that this is the finished artwork because 80% or 70% of work had been done in the previous classes. But that 30% is something which makes this going to the next level. Here you can see that till now we haven't created that dark grid and graphites. Those tools which actually need lot of effort. And you need to add more and more layers for getting the exact detail, exact dark values. So here I am doing the same. I'm using the six B pencil for that. And starting bid the handle. Here, you, as you are aware that my aim is not to basically to copy the real images, to take that thing as a reference, image, as a reference. And I am basically trying to draw something like that. So if you also want to draw something like that, you can do the same thing. Understandable thing is that, that we should understand about the values and how we should achieve using the cross hatching technique. Now I'm doing the same same principle under sides of the handle, which is the wired one. And you must understand the particular element that has been used. And accordingly you should had lines and layers. I'm doing the same on the one side of that kettle. And we'll do the same for the other side as well. Here. As I have already told you, the resemblance is not that important rather than to understand the process which is involved into it. Because if you understand the process and why I'm emphasizing that if you understand the process thing deeply, you can draw anything. But if you don't understand the process and you understand particular drawing to how to draw that, you may not be able to draw it for the other, another drawing. So understanding the processes are more way more crucial than understanding something which how to copy or how to really exactly draw something. My, all my concentration is onto the particular thing. The finishing of any product. You need to add highlights as well. For highlighting thing, I'm using the mono or areas that you may use the pencil it inserting. You can see how I'm actually using that. How I'm trying to get the horizontal lines, the horizontal hedges, throw the resulting. Then when you find the lines, you may add more depth onto that using the pencil or the to-be pencil. In that way, you actually create the still-life thing or you may create something, some any product using the cross hatching technique. This will adding more and more life into the particular portrait rather than just making it realistic one and just smudging is and everything. Expressing your lines through the cross hatching and making something which is realistic is very important. And this is something which makes you towards the perfect artist. So this is what the aim is all about. This is where all the finishing is all about. Now I'm using the mechanical pencil and trying to get the table details as well. This is not at all very important, but I'm making a complete composition. You need to add a few layers or there as well. You may also leave that to some extent. But if you are doing that and creating that background and all the stops, which is including the which is there in the real image. This will definitely help you to get more and more refined product at the end. And now I'm using the same pencil and just trying to get some diagonal edges so that I can show it. Freedom that I do actually implemented in driving that particular still-life. Why I'm doing that and just help you to make the final product more towards that, how actually it has been created. Because the way in the backgrounds and all, each and everything are just there to help you to express your way of working or express your way of just what is your style. Basically, these are the only things which will help you to create them. For background thing you can make some rough patches. Also, I have seen many other artists who are doing the same thing. We're doing it in a different manner. They use different products like plant-based tills. They use the user mistakes to basically getting those details. So this is your audio ground, the background, and just trying to play with that as much as you want. So I think that I have finished it. I hope that you liked it and you have learned a lot from that particular example. Tell me this is your project and you have to finish it. You can see the project section. I have mentioned each and everything, how you should initiate it and how you should finish. Try to make your own, and just put in the project section so that everyone can see that. And we'll get motivated from you and also you will also encouraged by it. I will see you in the conclusion. 20. Concluding Remarks: This class is dedicated for the beginners who really want to explore the cross hatching technique. I would say that I have given my best to let you understand the principles and the process and how we can approach the particular step-by-step procedure to understand a drain, to understand the still-life using the cross setting technique. And I can say that you should implement these techniques in your brain wherever you be drained. Like let's say someone is drawing the board regarding technique and someone is drawing the landscape techniques. There are so many artists who are basically drawing from life. And they are basically drawing the nature itself, mountains and then the glaciers, anything. You can actually use the processing technique there as well. And you can see that how the artwork has been enhanced from this level to this level. And this is just a one-day process. Let's say you start thinking from now about the growth searching technique. You will implement it for short from the next day itself. And you can say, and you can see also the changes that has been made and that growing. The expression has been more created, the force has been changed. You are now not at all dependent on the tools like brushes or paper stump, but rather you are more dependent on the pencil itself. So this will create genuine freedom in you and the lesser the product you'll need, the mode free you are. By saying like this, I'm going to give you a best wishes for all the efforts that has been made creating this class. And this is all for you. Now. Thank you so much for your patients and seeing the glass till the last episode, I will see you in the project section where you are going to upload your artwork. And we'll help each other to understand the art in a more better than profoundly. Thank you so much. See you in the next class.