Transcripts
1. Introduction to the tree: Welcome to my class. In one of my earlier
classes on Skillshare, we had worked on trees
with different types of blending and strokes
with acrylic paints. So I thought, looking at
the tree in the center, how about bringing it out
with a pencil drawing? This is the reference. It's very rough, is
from imagination. So let's get started in understanding how to bring
about a quick pencil sketch. All we need is a pencil. I'm using a Tobii pencil if
you have that, that's great. Otherwise, a normal
HB pencil will do your paper sketchbook
in any form it take or tan paper and
perhaps an eraser. So that would help
into final touches. So let's get started without
pencil and paper and create this tree from
imagination with a lot of blending and
predation exercise
2. Tree basic drawing and understanding light: I've got my blank
sheet of paper. It could be Any paper. And my pencil, the
pencil that I'm using is a lot of
very sharp 2B pencil. It's one of my favorites. This tree is from imagination. So like I said, Let's see how we want to bring the shape and look at the
way I'm holding the pencil. This is called the thumb grip, where the thump is being
held at the bottom. Unlike the other grip which
we all normally hold, that's called the tripod grip. So switching to the thumb grip, I'm just very roughly
having an outline. You don't have to
darken the tree. We drink a pencil sketch. So the tree has a lot of leaves. We don't want to show,
we can show that, but we can soften the edges. Let's pretend that the light is coming from the right side. So just talk on the left. Coming back. This is
my tripod grip again. Let's give a little horizon
line at the back, perhaps. Whatever you feel like adding to it, where you want to add. Because I'm thinking that
maybe double the horizon line, we can have some bushes. So coming back to
the thumb grip, the tree, the light is
coming from the top right. So let's have a little
dark on the left. Bottom left, right now, I'm just doing hatching
type of pencil stroke. Now let's do some
cross hatching. How different it is, right? Pencil sketch from your paints
where you give it a wash. So this is a good practice and the reference is right
there for the paints. My pressure is
getting lighter and lighter as I'm going
towards the light. Keep checking it at eye level. Keep taking a break and
see how it's coming about. It's a very short class. So speed is not important, but more about observing. And just opening up your hand. Next step is to go
a little darker. I'm pressing the
pencils super dark now. Back to the thumb grip. Dog, press it so dark that
you're pencil might break, but it should, you'll
just come to know the right amount of pressure
that you're applying. I'm going phosphorus hatching, crosshatching and now it's
a bit circular motion. Like nuts sake that I would
say more like scribbling. So let me come to that shortly. How I'm gonna be the three types of strokes that
I'm applying here, whatever comes naturally
to you as well. So this is where the light is
coming from, the top right. And continue with the scribbles. Darken this even further. That's bring out some roots. Here are the three
strokes that I'm applying here that's coming most
naturally to me here. Crosshatch, this is the
first one that I applied. Scribbles. It's anything it could
be squiggly shaped, zigzag, whatever
direction is moving in. Then is the thumb grip, which I showed you here, just pressing it dark, so that's crosshatch
scribbles and the thumb grip. These three are the main
pressures that we're using here. I hope it now you can
applying these even further so that you bring
out that blending as well. That is gorgeous tree. Whenever you are the
outer edge of this tree, just make sure you're
pencil is soft, especially a doubter part. We don't want to
make it so harsh and sharp at the corners. So there's just the
right amount of pressure that can be applied. I need the part between the dark and light
where it's meeting. That's where the blending
is happening and that when you can do
some more scribbling, if you've done
crosshatch before, apply scribbling on
top as a second layer. Don't repeat the cross hatch. The scribbles drag. The earliest strokes, the
pigments of the Pencil. I hope you keep
taking your brakes, checking it from afar. It's very important. It looks like or you
don't need the brachial. Fine. Let's do check
your work at eye level. I keep coming back
to the time-to-time. Tom grip once again. Because I did hatching here, I'm gonna do play
a thumb grip here. And checking this from far, which I hope you
will, our as well. It's just found
paper on Notepad, which I like to save as much. So it doesn't have to be any fancy sketchbook
paper or anything. Because we want the
edges to be soft. Let's use our Eraser
and give it a software, especially where the light
is falling the top right of the tree and clean it. Use a paintbrush just to
scrape out the extra flakes. Alright, I'll see
you in the next
3. Applying the darker tones: Back to the tripod grip and just doing some final touches. This work, It's a
very short class, but I could take hours and hours to make it
as realistic as possible. So Drawing, Sketching, you just don't know when
to stop the final you do, but yes, you don't want
to make it super dark. But just keep playing around
and blending it further. And just keep moving. We haven't given any
branches for this tree, just an imaginary tree. As of the branches are
just buried somewhere inside and not seem maybe
the leaves are very rich. Is taken from a reference
from a painting. After all, we bringing out a pencil sketch in this format. Softer edges outside. Circular motion. How about giving some
imaginary bushes at the back? Little bit of hatching? Hatching is also applied
for the thumb grip to take away crosshatching. What we applied for
the tree on the top, we doing the same
for the bushes. There's just a bit smaller. It's Fun to make from our
imagination, isn't it? Because there's no rule that
you have to copy exactly as long as you know
that the light is on the top and it's
dark at the bottom. Keep moving towards the right. I'm going on top of
the trunk as well. So it's not important that
you have to suddenly stop, hop across just
when you're going above the trunk to supply
a little less pressure. And in front of the
hedges we can have some plants, some wild plants. We can add that later. So I'm just darkening it
once again at the bottom. Some hatching applied
here for the girls. Make sure it's lighter because the grass is a very light gray. The bushes could
be a darker green, but we don't want to make a everywhere there's a contrast. The tree on the top. If the tree, if
there was no light, if the tree was just uniform, then it would be a
struggle with the pencil. But here because we
are playing with light and now darkening
it even further. To bring some wild
plants in front of the wild grass or whatever
you would like to call it. I keep lifting it up to
check it from a distance. It's very important, so sorry that you have to look at a blank page for
the little while, but yes, it's just I
hope you do the same. Whenever you pause the video or you have it on high-speed, either way, just keep
checking from far. Now at this part, whether you think the
work is just about done, now there's no rule. You just follow where
your hand takes you, wherever there's misdirection
the pencil takes you because this is
about your instinct. We've done the technical part. But now, a little
trick that I like to share is located with
a bit of blurry eyes. It helps. Blurry eyes
means half-open, a bit of a squint. And then you'll see that
it popping out as it, is it that wow factor
isn't there yet? Maybe some of the
plants can be a little taller up to you, that's completely your choice. This is just an optional bought. I was thinking how about adding some clouds, but let's see. So this is the way I'm
going from bottom to up, not top to bottom
but bottom to up. Because most of the plants, they get little tapered, pointy on the top. So let's have it
brought at the bottom and point D on the top. Check it again. Once again. Dvr. When I bring it back
on the paper on the table and I
look at the screen, I just get another fresh
perspective as well. So when you see it from far, you'll notice a difference. Just don't know
when to stop right? That blending. Remember
the dark and light. Just further refining it so
that we get a nice gradation. The more you do it, the
more degradation to come. We don't want that sudden
dark and sudden light. It can remove the arrow. And how about making some clouds? It's an option. Let's see how it looks. Again, using our imagination. Normally the clouds are light on the top and dark at the bottom. So I'm just giving a
very rough be and again, coming back to the thumb grip, maybe I don't have
to make the outline, but just apologize
that the videos, after doing the voiceover, I realize a slightly cut, but as long as you can see the pencil Reddit is right now, it's funny with the camera
that I would have to keep shifting the paper. Very light. Let's make this one litre. I made the previous one a bit dark because not
that cloudy day. The pencils show shade. The pressure should
be little lighter. So let's work on
that for this one. Soft circular motion,
it's an option. You don't have to
have the clouds. After checking again,
I think it's alright. There we go. I hope you enjoyed this quick pencil
drawing of the tree
4. Project - drawing and shading the single tree: For your project work, this is the reference of
the little painting of the single tree and the drawing that's going to come
about it. Here. We're going to focus on the
light coming onto top right. The bushes at the back is an option along
with the clouds. But The focus of the class is
the single stand-alone tree
Surbhi Bahl, Art tutor
