Charcoal Drawing Basics | For Beginners

1. Introduction: Hey, guys. My name is Braiding Messer. I am a Turkle artist, YouTuber and online content creator. I put together this free class so that you guys could understand the basic principles of terrible drawing everything from charcoal types and differences to the specific tools that you'll need to the types of paper that I like to use and more importantly, that I don't like to use and then the basic principles or elements of drawing as they apply to the three layered method. I hope you enjoy this class. It's more of, ah, kind of a 30,000 foot overview of the three layered method and drawing principles that I like to utilize in my approach. If you find yourself enjoying this class, then I highly recommend that you go over to our YouTube channel and make sure you subscribe and turn on notifications. Because we're constantly updating videos and doing new drawing tutorials, we have drawing tutorials on all sorts of animals, from sharks to lions, graphs, birds, all sorts of stuff. Now, when it comes to skill share, I'm going to be uploading exclusive longer, step by step, drawing tutorials, things like dogs and house cats and who knows? Uh, maybe you've been affair it you You really never know. I don't know what I'm gonna drop. So all I know is that a lot of the content that I'm gonna be drying for sculpture is going to be exclusive. Two sculptures, premium catalogue, and they're going to be longer and much more depth where I'm gonna be giving away a lot more of my techniques and exactly how I convey certain textures and looks on paper. I hope this class is educational, and I hope it definitely helps you in your own drawing journey. And, uh, yeah, see you in class Peace. 2. Charcoal Types & Differences: All right, guys know as we're starting today's tip, there are a couple key points that I want you to keep in mind Now. First, there are three modern types of charcoal, the first of those modern types being compressed charcoal. Now this is typically a powdered charcoal that is mixed together with the gum or a binder in the manufacturing process. Now the amount of binder used in the mix will determine the hardness or softness of the charcoal. Typically, these air how trickle pencils are made. The second type is what we know as vine charcoal. Yes, now, vine charcoal is made by burning pieces of wood into harder or softer consistencies. Now you've probably used these in art class and personally, and I know many of you will agree with me. I don't necessarily like working with these types because they're extremely messy, and the third type of charcoal is what we know as a powdered charcoal, and this is pretty much what it sounds like. This is usually used for, like covering large areas of initial layering on, say, a portrait piece or a landscape piece. I've even been known to use them on animals. Now let me show you the visible difference between soft, medium and hard charcoal. Now, personally, I like Prisma color as a brand. I just I think that they make some pretty decent charcoal pencils as far as how these tar balls are applied to the paper. One of the analogies that I like to use is, you know, soft charcoal will apply a lot like polyester is worn or mediums kind of like the cotton and hard is more like of silk as far as the consistency of each charcoal during the application process. 3. Tools you will need for Charcoal Drawing: so a little bit about me. Uh, when I was a kid, I used to work in the shop a lot with my dad, and we would work on everything from motorcycles, cars, lawnmowers, whatever. And he would always say Bread a mechanic is only as good as his tools Now, At the time, it was just something that my dad said, and I didn't really pay much attention to it. That is, until I started to get older and I started to draw more. And basically what he meant was that when you have the proper tools or the proper set of tools, all of a sudden that makes your ease of use in doing whatever job it is that you're doing, whether you're rebuilding a carb aerator or taking off oil filter that much easier Well, bringing it to drawing in the realm that we like to hang out in, the more tools you have a disposal, the more ability you give yourself to be able to manipulate Charbel and a whole slew of ways. And that's why I'm making this video because I want to show you guys all the tools that I use and how I manipulate charcoal and maybe it will help you out. Or maybe it'll give me an idea, maybe a different tool that you can use. And yet so we're going to using everything from graphite pencil to my favorite brush. And smugglers, of course. Who could live without those guys? Charcoal pencils. This is a hard pencil, but we're doing hard, medium and soft, the trustee mono zero research and multiple sandpaper strips and I'll show you why. And then, of course, a razor for sharpening and said Terkel pencils. Right now I've been talking way too much. Let me just show you guys what I mean. I'm gonna be using this drawing to showcase what these tools could do for you. So first up is the graphite pencil. This is absolutely essential, and the reason why it's so essentials, because I use my graphite pencil to draw the initial outline of every charcoal piece that I do. And the reason why is because it's extremely light. It's very easy to a race if need be, and it allows me to draw out the exact framework that I need for when the charcoal comes. What I typically do is I just do very light sketches where I want to lay my trickle down. I try not to focus so much on hard lines that will be in the drawing, but rather 10 toe sketch out shadows spaces, if you will, where I know that I'm laying down a lot of charcoal. Or maybe it's going to be complete. Whitespace? Yes, the graphite pencils and must ending. Next up is San papers groups don't leave home without it. I use these sandpaper strips of two different things. The 1st 1 is I'm gonna show you. Here is I take all three of my charcoal pencils, my soft, medium and hard pencils, and I actually grind them onto the sandpaper strip here, all three Boom, boom, boom! I have my trusty, dusty brush and one of the things that I like to do is I'd like to take my brush and I like to dabble on some charcoal in See here. This just allows me to move the charcoal in a way that the only thing that really comes closest smudges and even then a lot of times it takes a lot more work with this merger to get the kind of blending effects that I can get with the brush. One of the things that you can also do is you can take medium charcoal here and you can highlight spots on your drawing where you've already laid down soft charcoal. Whether you you've done it with your brush or if you laid it down straight from the pencil itself, and then you can go in with the brush and you can move a lot of charcoal extremely quickly . And this is a big reason why I use the brush. I tend to try to crank out as many drawings I can while not having to sacrifice on quality in this technique will allow you to do that. This right here, as you can see, is one of the main reasons why I swear by the brush. Yes. If you don't have the brush in your essentials kit, I highly recommend it. All right. Next up is the second sandpaper strip and a smarter now, one of things that I do for my smudges, As you all probably know already, smokers tend to wear down very quickly when you're pushing them into the paper and using them to smudge your charcoal around So one of things that I do is I put very sharp edges on my sponger by rubbing it on the sandpaper strip like this. And smugglers in the world of charcoal, if you don't already know, are extremely important. They are the perfect tool to allow you much like the brush to move a lot of charcoal extremely quickly. The main difference between smudge er and brush that I have found in working with both is that the smudge er allows for more precision. I have more control over exactly where that charcoal is being smudged, Aziz. You can see I can put sharp lines and beginning of wrinkles increases on Joker's face by moving my freshly sharpened smudge er around. And of course, the more you work with mergers, the better you will become. But yes, second sandpaper strip to sharpen your smelters a must and next up is my mono zero eraser, man, love this thing. Just make sure when you go to use it, that you have a clean tip of my finger and the mono zero eraser and if you've never used one, will very simply change your life. It changed how I draw by what it enables me to do. Essentially, it's a detail eraser You can put extremely sharp points on this thing has rechargeable cartridges much like a traditional mechanical pencil, so you'll be able to swap out fresh erasers if you need to. This eraser, unlike a kneaded eraser, you can get into extremely small spaces. This eraser, because you're able to hold it like a pencil, gives you extreme control. Because of that control, you're able to get that sharp point into spaces, whether you're working with hair or an eye socket or lips and you're able to make your drawing pop. But yes, mono zero racers and must and last in my tool kit of necessities is a box cutter. No, this is a razor. Be sure to treat this with a lot of respect and always cut away from you. I always try to push out the smallest amount of razor that I need to get the job done, and I hold my charcoal pencils over a bowl and I hold them very firmly, and I always cut away from myself, and this gives me incredible edges, extremely sharp points that allows for incredible detail, work and line work for my pieces, but that's it. Definitely. Have one of those in your tool kit, guys. All right, of Allah. 4. Paper you will need for Charcoal Drawing: all right. So, as you can see, this charcoal paper has these course lines in it, which, like I was saying, is extremely time consuming because your charcoal just doesn't go is far. This is some soft charcoal that I'm laying down. Like I use a brush. You can see how it just eats it up. Triple doesn't go nearly as far. That just doesn't suit my style. All right, Now this is sketch paper. So what I'm gonna do is I'm gonna take the same soft charcoal. I'm gonna throw it down. You can see how it's not nearly as course. So the charcoal itself goes a lot farther, and it's not nearly as time consuming. And it lays smoother, too, because it's not his course. All right. And then my favorite and mixed media paper. But this paper is kind of like it's kind of like that. Goldie Locks. It's the perfect amount of chorus, but yet it's not to chorus, but yet it's not too little like the sketch paper where it doesn't hold the charcoal in place. This is the paper that I recommend you use. It's perfect 5. Understanding Shape in Charcoal Drawing: Hello. Hello. How are you? Over doing Well, Yes. So in this one, we're going over shape and understanding. Shape is it applies to your drawings. I've been thinking a lot about it. One of the reasons why I wanted to do this video for you guys because of my drawing tutorials. I know I cover a lot. There's a lot of information to digest in a short amount of time. And when it comes to my outlines, I more or less just kind of skim over him. I don't spend a lot of time on him. So basically the big thing that you need to know going into this video is that shape is your outline. By definition, that's what it is. There are two basic approaches. I'm gonna be doing a nice lesson for you guys. Do you understand what each is? And then we're going to compare and contrast each so that you understand the key differences of each approach. And then I'm going to do a nice demo and show you guys what it looks like on paper, and that's it. Hope you'll be able to walk away from this video with a more thorough understanding of how to best layout your outlines moving forward. So having said that, let's get it. Okay, so understanding shape in dry Okay now. So to start, it's important to understand that shape is one of seven principles of art and design. It goes shape, line, color, value for texture and space. I will be covering the rest in future videos, but for this one we're focusing on shape, and it's important to note that shape is the form of an object. Or rather, it's external boundary outline, as some call it, or the external surface, as opposed to other properties such as color, texture or material tape. And also, I want to highlight that your shape is a two dimensional area that is defined by a change in value through the lettering of your tones in order to achieve ah, three dimensional appearance. So this is one of the reasons why, in my drawing tutorials, we lay out the outline first with graphite, and then we know that we're going to be going back into it, and we're going to be building it up with darker tones. Okay, so the first approach is the use of geometric shapes, geometric shapes are, of course, uh, circles, rectangles, squares, triangles and so on. Now they are comprised of clear edges, and they are found in a lot of human made things such as buildings and machines. Uh, the Cubist movement of the early 20th century, with names such as Paul Cezanne and the Silly Kandinsky, Um, were pioneers in this space. Now it's important to note that most geometric shapes are made by humans, though you know crystals are also considered to be geometric, despite the fact that you know they're made in nature, such as snowflakes, for example. Okay, now the second approach is what they call organic shapes, and this is more in line with three approach that I tend to use for drawing animals under organic shapes. It's important to understand that they have a natural look and a flowing and curvy appearance. They are typically like your regular or asymmetrical, and organic shapes are typically associate ID with things from the after world, you know, like like plants and animals. So you'll find yourself using the organic approach, especially when it comes to the drawing animals. More so than not but now artistic application. We understand these concepts these two fundamental approaches when it comes to drawing but application, how do we apply them? So when attempting to create a piece that looks natural, it has that that flow soft or it's very calming. Organic shapes are generally the shapes of choice. If you've been following this channel for a while now, you know that I don't tend to use geometric shapes much at all. But if you know if you're just starting out, geometric shapes can definitely help you get that realistic outline that's in proportion with CIA reference photo if you're using a reference, and I'll show you how to do that in this devil. But it's also important to note here that you know when you're attempting to create a sense of like, let's say, chaos or anger rigidity. Geometric shapes may also be used to create a very abstract interpretation, if you will, of things that you know would normally be depicted as organic shapes. In the wake of abstract are geometric shapes, even if you're drawing something that's organic in nature, tends toe. Give it that that aesthetic. Okay, so here we're going to be drawn. I'm gonna be drawing ah, hand in a wrist, and I'm going to use the geometric approach to show you how you can iron out and nail your portions right off the bat versus doing inorganic approach here. What we're doing is we've taken cylinder for the arm sphere for the wrist, a rectangle for the main body of the hand triangle for the part of the hand that branches off into the thumb. We've used spheres for the main joints, where the fingers or branching off of the main body of the hand. You could take these lines, and you can run them down the cylinders as you can see where breaking apart the fingers as we go towards the fingertip, getting skinnier in skinnier. And this approach, even though it's geometric, is helping us to identify that that organic shape, because now what we can do here, we can go in and we can iron out what that organic shape would look like with our outline. So this is a way that you can use both approaches in tandem with each other, and hopefully you'll be able to see a benefit, especially if you're new to drawing. Let's say, and you're having problems with your proportions. So this is the two in union with each other. And then eventually, as you continue to draw, you will be able to bust out the shape, the organic shape rather of any reference image. It just takes time. It takes patients. And just like anything in life, just repetition. The habituation of it will build your skill set. And before you know it, you'll be able to look at a reference photo or, say, a client, any kind of subject matter, and you'll be able to bust out the organic shape of that image, and you won't even really have to think about it. It's very easy to forget that when you have artists that have been drawing for a long time , let's say maybe there are a lot older than you are. You know, they've done a lot of drawings in their time. Because of that, they're able to do things that look very simple, even felt their not so. So, you know, if you're just starting out and you're struggling a little bit, nail your shape. When it comes to your reference photos. Definitely give this approach a try a bitch. It'll help 6. Understanding Form in Charcoal Drawing: What's up, My fellow artists? All right. Now, in this video we're focusing on, for now, form is one of seven principles of art and design. I've always been a firm believer that, you know, if you can understand the subject by its principles, that will really help you not only in your comprehension but of actual application and your eventual mastery of that subject. So you've heard me say it in other videos. Form isn't necessarily hard to comprehend, but it tends to be really difficult in your application on paper. And so hopefully this lesson will show you guys the hack that I've developed and that I know works for me. And maybe it will work for you, too. So having said that, let's get this class started. All right? So no understanding for in drawing. So before we can touch on form, we need to understand what comes before form. And that is a shape. Shape is defined, of course, by the outer contour of an object. And this is how, um, your viewer wolf first, perceive it and begin toe really make sense of your drawing. Now it's important to understand a bit light value. You've heard me say it a couple times and shadow, all of which could be achieved by the buildup and successful layering of your tones, will help to give an object that sense of form and context in space so that your viewer can fully comprehend and identify you're drawing. No. It's important to note that the fundamental difference of form is that it is three dimensional, whereas shape is only ever going to be two dimensional. Now, in drawing form is implied, and the reason why it's implied is because it's an illusion of that third dimension, as opposed to, say, sculptures. Right when it comes toe sculptures, the form is very much riel, and the reason why is because it physically takes up that third dimension in space. But with drawings. Um, it's not like that. It's up to you to sell the illusion of that third dimension, so that leaves us with how do we convey three dimensions in two dimensional space? Well, I use a technique that I have dubbed framing my form in my drawings. So in order to achieve a three dimensional appearance, we must use form lines in our preliminary outline and this will help us frame and the what I call invisible inner contours of our subject. Now it's important to know. Yes, we do already have our basic shape, which is the outside contour. But the form lines are meant to help us frame the inner contours of our subject, and this will allow us to go from a two dimensional framework to a three dimensional framework. Now let me show you guys what this looks like on paper. Okay, so here have taken a photo of my hand and we're going to start outlining the basic shape of my head. This approach that I'm using is the organic approach, as opposed to the geometric approach. One of things that you'll find is you draw more and more. Let's say, if I mean, if you're uncomfortable with just busting out and organic outline like I'm doing here and then you want to use the geometric approach to help solidify your your outline and the basic shape of your subject, you can do that. You'll find that as you draw more and more, you'll become more and more comfortable. Your muscle memory will develop in your drawing hand and you'll be able Teoh to bust out basic shapes using the organic approach more often than not. But here what I'm doing is I'm just ironing out the thistles when I called the basic outline. And, of course, the basic outline, as you see here is two dimensional. There is no third dimension, but we're going to be implying, if you will, that third dimension through the use of our form lines. It was gonna You're a some of these just iron out the the nail here. Okay, so this is the basic shape. But now I'm going to look at the reference image, and I'm going Teoh very lightly Start to frame that three dimensional form that we see in the reference image. And as you can see, the flow of that third dimension in this image does change from the fingers. It's a much more tight framework. And then here on the thumb, As you can see, there's a high point as we go back closer towards the main body of the hand and then it gets smaller. And with practice you'll start to be able to identify those high and low points in the for of your subject. But the whole point of this approach is to help you as the artist get a better comprehension of the underlying form in your drawing so that when you go to lay down your char poll, you'll be able to know exactly how to pull that charcoal across the paper. It's here. I'm gonna show you. We'll take some soft char clear, do a nice little tone check and then using these form lines, What I'm gonna do is I'm gonna run my charcoal along the bottom. It's like this here and that I'm going to follow that contour for that. I've just laid down with my form lines and what this is doing is this is already helping me as Thea artist, convey that illusion that we were talking about the lesson of that third dimension of that three dimensional appearance. This is how I draw all of my Turkle pieces. I always use form lines and I always frame my outlines after I laid down that basic shape. So I hope this help and good luck in your future drawings 7. Understanding Line in Charcoal Drawing: Hey, what's up? So in this video, we are going over line and what that looks like in your drawing. You know, we were just kind of going off there for a second. Like we were doing all sorts of step by step drawing tutorials. You know, we did one on the great white and then, you know, the bird and hammerhead and a frog. And I was like, Whoa, hard stop, because I wanted to show you guys how to draw in charcoal with three layered method from the ground up. So that's one. The reasons why the last couple of videos have been more lesson based, your lesson. Demo type, structure versus step by step drawing tutorials. So that, like, say, in the future, when we're doing another step by step tutorial and I say something along the lines of Oh, so we're gonna put a defined line right here. We're gonna make sure that we have Ah, nice, thin client quality. You'll you'll know. Oh, yeah, line quality. That's basically the relative thinness or thickness of the line. You know, you'll be able to kind of recall what things are, and I feel like it'll by making these lesson based videos. It's only gonna help you guys understand the step by step, drawing tutorials more thoroughly. And so that's the That's the hope This video is going to be a lesson and then a demo. So let's do it. Okay, So to start, we need to ask ourselves, What does line actually mean and drawing so understanding line in dry? It's important to note here. First and foremost, that line has length with tone and texture. It may divide space to fight for, describe contour or simply suggest direction for no. There are different types of lines, so to start the first line that you will be laying down and drawings is what's known as your contour line. And this is basically using line to define the edge form. You've heard me say that a couple of times of an object. Simply put, it is used to create Nolan of your drawing. Next up is the implied loving now in normal drawings such as graphite. This occurs when you continue a line after a small break, and that line proceeds in the same direction. Now, with the three layered method charcoal approach that I'm teaching you, it's important to note that your later tones that formal lines so lighter tone and then a darker tone on top of that that will create a very late lightweight and that also is an implied line. Now the opposite of an implied line is, of course, a defined line. And define lines occur when you continue a line without any break metal. You know they typically have a mid Teoh heavy line. Wait. Now line quality is something that's very important. Line quality is the relative thickness or thinness of a line, and by simply varying the line quality. Stay with your pressure control with your pencil, an artist can show form in a drawing with just the use of that line and the last is your line. Wait, this is what I was talking about with the implied line line. Weight is used to describe the strength of a line, or how light or dark that line appears on your paper, if you need. This is confusing. Don't stress. We're gonna jump into a demo. Okay, so to start, I'm going to be drawing the basic outline of an apple, and the line that we're using here is our Contour Line Contour Line. As I said in the lesson is used to define the edge and, uh, four of an object. So understanding this in application, what we're doing is we are using that contour line toe, identify the basic shape of the apple. Let's go to solidify that. And then here, what we're doing is we're also using contour lines to free our basic shape. And this is one of those things where if you aren't framing your form in your drawings currently, maybe give this a try, especially when it comes to the three layer method. The Turkle approach that I teach framing you're outlines like this will only help you because it gives you, ah, framework to work with. And not only that, but when it comes to just your outside contour of your object, you're only able to see it and thus work with it in a two dimensional framework. But by doing this by adding this three dimensional framework, it gives you more to work with, and it allows you to see that three dimensional form before you lay it down and really bring it out with your Turkle. This, of course, is the contour line. Yes. And now what we're gonna do here, because I'm gonna take some charcoal, take some soft truck with my brush. I'm just gonna start following these contour lines and pulling the charcoal in the same direction that I have framed my outline in. You know, what I'm doing here is I'm just basically giving this some flesh, if you will, I'm giving it some body so that we can start toe better understand the drawing and then here Do you mean models are a race rooms cleaning this up? And this is one of the reasons why I am a big proponent of don't worry about perfection, right? Especially in this step. When it comes to your contour line, you are totally not committed. And then here what I'm gonna do is I'm gonna take my smarter. I'm just gonna build up some of these darker tones on the top of the bottom of this apple and the sides. It's still play to that form for me. Don't skip that. Skins and texture hero quit, but I really want to focus on the line work. That's what this tutorials all about. So I don't get carried away But this is just to show you guys how easy it is once you have your three D framework in place, how you can start to throw that trunk around. And this year, if you look that darker tone in front of that lighter tone, this is a prime example of an implied line with this approach. Let's clean this up here a little bit. Well, I'm gonna do something. Take a medium charcoal going to make sure my pencils sharp. I'm going to lay out a really nice defined line. I'm gonna start off skinny and then I'm gonna fat in this light up a little bit. Make sure I have that nice line quality line quality is the relative thinness or thickness of life. So this line here is a prime example of it. A fine line with this approach. And then here, as I was saying, is a prime example of line quality. We have the relative thinness of the line of top and then the relative thickness of the line towards the bottom. And this plays to that form that I was talking about, that you can convey simply with your line work. And then here when it comes to the line. Wait. This is the relative strength of the lines. This is a nice, thin line. I hope this Detroit helped you better understand line work and good luck in your future drawings. 8. Understanding Value in Charcoal Drawing: Okay, So, understanding value in droids? Yes. So first value to find describes the relative lightness and darkness of a color in a composition you've heard me say. Accentuate the value scale. I want to make sure that we accentuate everything from complete weight on through to complete black. It's important to note here that wait is going to be your highest value. Well, pure black will be your lowest value. Now, tone. You've heard me use this term a lot, and it's often confused with value. So I just want to clarify tone is the degree of intensity or strength have a color? So that's one. The reasons why he's my tone. Check papers, gun checking the intensity of my darker values. Now here it's important to note that value is what allows your viewer to see the form in your drawings. I want you to understand here the tonal variations will effect that range of value, and it is this range of values that makes objects look three dimensional. Now value relationships value. Relationships in drawings are essentially the key to realism. What these are, as these are how dark or light one value is when it's compared to another value now, in believable drawings. Value relationships in our drawing must mimic the value relationships that occur in life or , say, for example, in your reference image. So if you have a darker values in the reference, you want to make sure that you mimic that in your drawings on paper, no, the value scale, the good old value scale. I'm sure you've seen this in other videos or maybe other classes, but I'm going to lay this out, um, as its used in charcoal. Now it's important to note that when it comes to the values scale that artists use a system of nine values ranging from complete white to complete black. Now this scale consists of four late values, which will be depicted by, uh, grades one through four, a middle value, which is also known as 1/2 tone and then four darker values, which will be depicted as tones six through nine. Essentially, I want you to think of this as a simplified a gradation. No, when it comes to the fore dark values, I'm going to utilize a soft charcoal, and the reason why I'm going to utilize a soft charcoal is because of charcoal as the least amount of binder in it. And because of that, it conveys a very rich, dark value. And as we work our way up the value scale, we're going from a low value and progressing to higher values were going to be using our pressure control. And we're gonna be pushing with less and less pressure have been here on grade six. We're gonna be using a medium charcoal. And as you can see on the paper, the medium charcoal has a slightly different tone, Has a lighter tone, and the reason why is because it has slightly more binder in it. And that's the reason why it has that lighter tones. Because of the charcoal has to share paper space with the binder that comes from the manufacturing process and then grades four through two. I will have a hard charcoal and same thing more binder. Slightly lighter tone. What are the reasons why I want to do this? I want to show you how you can affect the look of charcoal on paper and thus the look of your value with Smith your work when it comes to charcoal drawing, as I've said in previous videos. Your tools are everything different Tools will give you different effects on paper and they will convey a different looks for you, which is wonderful in the wake of adding different values and different textures. A swell. But as you can see by smudging this, you can really see the richness. And in that in those lower values with soft charcoal, and then you can see the progression of how it gets lighter. In its tonal variation, I'm with the medium charcoal and then with the hard charcoal. So grades 98 and seven belong to the soft charcoal six and five belong to medium charcoal, and 4th 3 and two belong to our charcoal. Now that's scale. So here, I'm gonna show you what that looks like with a light source on a form such a spear. So principally we're gonna keep the approach the same. We're gonna start off with ourself charcoal on the ninth value, which, of course, is the lowest value. And we're gonna pack in love. And then here on the eighth value, we're gonna back in use slightly less pressure. And then the seventh value. We're still using ourself Charcoal. Here. We're gonna use even lighter pressure still, And this gives us a nice, uh, great Asian. And then, of course, with our sixth value, we're switching to the medium charcoal, and this medium charcoal is going to give us a lighter value. It's gonna give a slightly later tone here. I'm switching to the hard trickle on the hard charcoal has even more buying during, and because of that, the charcoal has to share the space on paper with the binder. And that's where the reasons why gives us that that later tone. Well, shoes, slightly less and less pressure control as we move towards that highest value, which of course, is complete white. I will just use are smarter here. It's packing the charcoal, and this is one of the things that I wanted to show you in this video, even though we're smudging and pushing the charcoal into the paper, we're still keeping the different values intact, and your viewer will still be able to see these because of those tonal variations from black toe. Wait. But this is the value scale. And then, of course, this is what it looks like in a three dimensional form such as a sphere. And remember that complete white equates to the highest value, while complete black equates to the lowest value. No, to conclude. I want to leave you with this. I want you to think of each value as it's only er on its own. One layer may not convey much you might hear the term. The drawing looks flat, but when you combine it with other layers, all of a sudden they create depth and three dimensional for so I hope this lesson helped and good luck in your future drawings.