Draw Anything: Learn Proportions, Light, Shading, and Values with Pencil and Paper

1. Welcome!: Hi, my name is Victoria Nico and I am a portrait artists specializing in pencils and soft pastels. I am self-taught, So I have learned from so many incredible artists online. I'm tempted to say that I watched pretty much every single drawing tutorial on the Internet. So for this class, I brought together all of the knowledge I gathered over the years and consolidated it into this course. This class focuses on the basics of drawing, so it is made for beginners. But I also recommend it to artists with a bit more drawing experience because it's always beneficial to know the technical side of drawing. I am very excited to share with you the cheat sheet, which is a free downloadable resource. It is a consolidated version of the lessons and it has illustrations to help illustrate the techniques we are going over today. We also have a worksheet so you can practice the techniques with me. The worksheet as well as the cheat sheet, follow the structure of the class. So the idea is that you turn to the appropriate page and complete the exercise with me as we are doing it together at the same time. Among other things, we will be learning about pencil grades, proportions, how to draw the source of light to make your drawings look three-dimensional. Different shading techniques such as crosshatching. Then we will go through my favorite topic, which is perspective. We will be learning one-point perspective, two-point perspective, and three-point perspective. We will also do a quick still life study together so we can apply our new knowledge to practice. There is so much more in this class, I really hope that you join. I promised that you will have fun and you will learn something useful. I hope that by the end of this class, you will be able to put all of the principles and techniques together and have a very good foundation to create artwork of your own. I am excited to present this class to you. So grab your pencils, download the resources, and I will see you in the first lesson. 2. How To Use This Class: The first thing I want to introduce you to is the cheat sheet, which I am very excited about. It's essentially a consolidated version of the lessons and it has a ton of illustrations to help you better understand the techniques we are learning today. I made this because I personally find summaries to be very helpful when I'm taking classes. They helped me to remember all of the information. After you've done the class. And you want to go back over one section instead of going over the entire course, you conveniently have this information on the cheat sheet, chapters in the cheat sheet to follow the same structure as the lessons. So while we are going for the lessons in order, you can turn to the correct page of the cheat sheet and you have both sources of information at once. Feel free to print this out and write on it any extra notes you have. I use the Procreate app on my tablet for taking notes. So if you have one, you can open up the document there and add your notes this way. The cheat sheet is a great resource and I highly recommend you use it so you may get the most out of this class. Another downloadable resource that comes off the class is a worksheet. We won't be creating one big detailed drawing. Instead, we're going to do a series of small practices to understand more about blending, sketching proportions and a lot of other interesting techniques. So the worksheet has been created for you to follow along and practice the techniques with me, just like the cheat sheet to the worksheet follows the same structure of the lessons. So the idea is that you use it as eager fruit of class, but this is an optional resource so you can use your sketchbook or just any plain piece of paper. Another suggestion I would like to make is that you go through the lessons in order. They have been designed, so we build on them as we progress through the course, each new lesson we will have bits of knowledge we learned in the previous lesson. Then hopefully by the end of the class, we can put all the ideas and techniques together and you can create complete drawings of your own. And that's it. We are ready to start the lessons now, so download your resources and I will see you in the next lesson. 3. PENCILS: Everything You MUST Know: We will start the class by talking about what is probably the most common drawing tool, which is a pencil. I would like to tell you a little bit about pencil values, which is what all of these little numbers and letters mean. Grades of pencils are organized in a scale based on softness and hardness. Mostly C, H pencils and B pencils. H pencils are harder and lighter. Graphite H stands for HOD. Be pencils are softer and darker. Graphite B stands for black. The degree of graphite hardness is determined by the mixed racial of graphite and clay. The greater the graphite, the softer the lead and the more clay, the harder the lead. The number in front of the letter shows how soft or hard a pencil is. A six H pencil is harder than a for H pencil, and a six B pencil is softer than a for B pencil. Harder pencils produce lighter marks since less of the material is released as pressure is applied. Softer pencils make darker marks since more of the material is released. Therefore, a for H pencil will produce lighter marks than a to H pencil, while a full beat pencil will make dark marks than a to B pencil. There is also an F pencil which is similar to a HB pencil. It's slightly lighter and harder. People like it because it can stay sharp for a long time and it's great for drawing fine details. Hence why the F stands for fine. So the H pencils are great for producing light marks, but they can't produce a great range of tone. If you create a lot of layers with a huge pencil and press really hard, you won't necessarily get a dark turn. You'll end up with a shiny gray. However, if you use a B pencil, you can get the whole range from very dark tones to very light. You can apply more pressure on create layers to get dark values and apply a little pressure and thin layers to get lighter values. You don't need every single one of these pencils to create a successful drawing. I only use a few of them because softer pencils have a bit more of a range. I mostly use pencils on the B side of the scale. My favorites are to be six b and 90. And I also use the HB pencil for sketching. Another tool I would like to briefly introduce you to are the blending paper stumps. This tool is made of compressed paper and it works incredibly well with pencils. It is used to blend or smudge graphite and many other drawing mediums. They work really well for blending large areas using the side and even small areas when using the tip. This is great for when you want to blend small detailed areas. The fine tip of the paper stump gives you more control compared to alpha blending tools like your fingers or a Q-tip. Another important thing about pencils that I would like to discuss with you is how to hold them properly. So the way you hold the pencil depends on what you wish to do. Generally, holding a pencil really close to the lead gives the most control you can achieve. I'm very precise marks this way. In contrast, if you hold your pencil all the way on the other end, it gives you a lot more flexibility. You can create longer lines and it's also easier for me at least to achieve straighter lines this way. So personally, I like to hold my pencil this way when sketching. It's also a little easier to create curves this way because you can use the movement of your wrist like so. If you hold your pencil close to the lead, it's a little more restricting to create a soft curve. This is a good way to hold your pencil if you are drawing something like long, wavy hair. Another important factor is the angle of your pencil. If you draw straight up, you will find that you achieve a very thin, intense line. However, if you tilt the pencil to the side, you will get a softer, wider line. This is more appropriate for shading. All of these techniques are good, but really it just depends on the effect do you want to achieve. So e.g. if you are sketching, it's a little easier to hold the pencil towards the end and be a little more loose with your lines. If we draw a circle, It's hard to get a perfect shape if you commit to it in one stroke. So try this out with me. If we grab the pencil right at the tip and tried to draw a round circle in one go. Or you might find that it's a little tough. But now if we shift our hand towards the end of the pencil and with a lighter hand create a lot of shorter curved strokes. Then refine the shape and try to find the perfect shape within those lines. It looks a lot better. This is what sketching is creating small lines. Even if you have lighter lines, they will disappear over time. You can erase them later. This is the benefit of drawing with a lighter hand. You don't commit to democracy or making and give yourself time to perfect them. If you draw one heavy-handed line, it's harder to capture the exact shape and also harder to erase the line completely. So keep these things in mind when you're drawing, try to be intentional with your lines. This will probably become automatic for you and you won't have to think about this so much the more you practice. But in the beginning it is important to keep these things in mind. 4. How To Draw The Source Of Light: Welcome to the lesson. In this lesson, we are going to be creating the source of light. This is actually one of my favorite things to teach about. So I'm very excited to have you here. Light is what makes these shapes look three-dimensional and it adds a lot of realism to your walk. So try this out with me. We are going to be creating the source of light on the first page. So let's try to draw a sphere. Here we are going to apply the rule that we learned in the previous lesson about creating your sketch using small strokes. I'm drawing small lines. Now I'm going to find the circle in all of these lines. If we just wanted a 2D shape, we would just draw a flat circle. So currently this is a 2D shape. It doesn't look like it's coming out of the page. It doesn't have any shadows or highlights. So how can we turn this into something that looks more three-dimensional and realistic? So what makes objects look realistic is light. So they have definition, they have shadows, they have highlights, just like any object you see currently, my hand, it has shadows and highlights on it and that's what makes it look like, it's real. So yes, the first step we have to figure out is where is the light coming from? Is it coming from the top? Is it coming from the side, the right-hand side maybe from the bottom. So for this lesson, we're going to imagine that the light is coming from the top-left side. That's even draw an arrow so that we don't forget where the light is. So this is our light source over here, beaming down onto us. Feel like this. Now, if you had a shape just like this, say you had a golf ball on a table and you're shining a flashlight on it. Where do you think the darkest and lightest points would be? Considering that this is a sphere. The lightest point would be when most of the light would fall. So it would be somewhere around here because the light is coming from this way. It would be over here. And the darkest point would be the area where the least of the light reaches. So it's going to be all the way on the other side of the object. So this would be the darkest side. So now if we start to shade in this object and build intensity of shadow, we're going to start lightly up fast and go over the areas we want to darken. So this is what we mean by layers. So see here if we draw one layer of graphite and then another one over it, and another, then it gets darker and darker without necessarily pressing any hot on. So you will layering, you're not pressing really hard in the beginning, you're starting very thin and then you're adding two. Because remember, it's always easier to add a layer than to remove one. Even if you see an area that looks pitch black, you don't want to go in there with a heavy hand. You want to build this up gradually. So if the highlight is over here, this is going to be lightest point. And as it goes down to this side, it's going to gradually get darker. So let's fill in all of this region. And this is going to be very light. It's still going to have some of the pencil marks on it because it's never really the white of the paper. So just fill it in slightly and then we'll just make everything from there a bit darker. So here we're making dark lines as we go down. I'm just using A5 B pencil for this. You don't necessarily need more than one pencil. You just need to control. You just need to control the intensity at which you are pressing onto the PayPal. Because if you press lie to, you can get a very thin layer of gray. And if you press a little bit harder and go over the layers, then you get a slightly darker gray. And then this creates a dimension, but you can add a darker color to it, e.g. now I'm going to use an API just to enhance the shadow. But if you just have one pencil, don't worry, that's also fine. This is why I like to use the B pencils because they're very versatile. You can achieve all sorts of turns with them. The source of light is very important. Always before starting the drawing, take a moment to observe the picture and figure out where the light is coming from, where the highlights are, where the shadows are falling. And maybe there are even two sources of light. Maybe there's one coming from here and there's one coming from here. In which case the shadow would look something like this. This would be the darkest point, and that would be another highlight here. A highlight here, and it would cross right here in the middle. And then another thing you have to consider is that you have a shadow underneath the sphere. So if the light is coming from the top-left, then again, the shadow would fall like this. So you would have shadow that would look something like that. And it would probably be darkest tools, the bull. And it would become lighter as it goes out. You have to ask yourself, what is the space sitting on a flat surface? And maybe there's even, maybe there's even they sat and background color. If we try to fill this in, maybe we have a gray wall right behind the sphere, then it will look something like that. Again, the table probably won't be the light of the paper as well. Sorry, I just start sketching anything you see, books, furniture, houses, plants, just stopped drawing with a light hand and creating numerous shorter strokes. Pay attention to where the shadows are falling and where the light is coming from. These other things you do to make your drawings look convincing and just remember, it's okay if it doesn't look good the first time that you try it, this is why you have an eraser and a whole lot of space to practice on. The first sphere doesn't work out. Try again, maybe change the light source, perhaps it's coming from the top right side or straight from the top. In that case, think about where would the highlight be and where would the shadow falling? And if you are finding it hard to imagine how the object would react. If you were to move around the source of light, then perhaps take a real object and a flashlight and do a little experiment. See how the shadow response to the movement of the flashlight and try it with other shapes too. Maybe you can find a cube, in which case put a flashlight on it and see how the shadows walk around it. If we were to do a cube, who tried to make it symmetrical, then currently this is a two-dimensional shape, but if you want to make it three-dimensional, then you would put it into perspective. And it would look something like this. And we will be learning about perspective in a few lessons, which I highly recommend that you watch these lessons because the, my favorite, but this is a very basic idea of it. So here we have now a cube in, in, in perspective as a three-dimensional shape. And again, if you imagine there is a light source, so again, let's make it the same as the previous one. Draw an arrow. Then again, you have to think about what is going to be the darkest side, what is going to be the lightest side? So the light is coming from the top. So this is probably going to be the lightest side right here. So we're gonna give this a very gentle layer of graphite. And then this over here would be slightly.com. Then we have the darkest side because this one is away from all the sunlight. And then you would also have a shadow that would be here in the bottom right, similar to this fan. Again, it wouldn't be darkest as it comes closer to the shape. And also something that's interesting is you start to notice that the shadows around the object, they start to blend in with the actual object. And it gives you kind of a softer effect. And again, we are going to be learning about this and how to use it in an intentional way to give a sudden effect in your drawing. Sorry, that's gonna be towards the end of this class. Trained for that. These are very small quick examples of how to use light in your drawings. I hope it communicated the basic principles well, then these are great to practice because once you draw the spheres and cubes, then you can draw anything in nature because everything in nature consists of these simple shapes when you break it down. E.g. if we have, I'm going to draw a tree than the top of this tree is just a sphere and then you have a cylinder that comes out of it. Or if you have, or if you have a house, then that just consists of cubes and triangles. Pretty much everything in nature consists of these very simple shapes. And you can break it down into these for the sketching purposes. Of course, they are a bit more complicated and they need a bit more finding, e.g. the tree may have a lot of smaller circles within it. The cylinder may come in and out. In some, in some places. We will talk about this now in the next lesson, but I quickly wanted to mention it to show you that this is a great way of looking at the world and breaking down the shapes to create your initial sketches. I hope you enjoyed this lesson. I will see in the next one. 5. How To See Your Subjects As Simple Shapes: Everything can be broken down into simple shapes, including everything you see on the screen right now. Objects are triangles, squares, and ovals, but usually they don't appear in a 2D form like this. E.g. if you are drawing a simple landscape, so let's practice a simple version of this. So a tree is just, as we mentioned previously, a rough circle. And then you'll have something that looks like a cylinder coming out at the bottom of it. You may have mountains here, which I'll just select the triangles. And then you have flatland. And of course these stripes are not perfect symmetrical, simple cylinders in squares. They do need refining, but just for the sketching phase, they can be oversimplified. So this tree is of course going to have some texture, but it is still a circle on the lying underneath everything. And maybe, you know, the cylinder isn't even might look something like this. The mountains have a bit more texture to. Then. The way to make this look realistic is just by adding values. So like we discussed briefly in the previous lesson, first thing we do is we decide where the light source is and we place our shadows and highlights down consistently. So again, if we assume that the light is coming from the top left side, so like this, our shadows will fall on the right side, so that will be shadow underneath the tree. The mountains will have shadow. On this side. There's more value here. So we are building layers and enhancing the shadows as we go and we remembering to be consistent. So DACA values on this side, he enlightened values towards the left. We know that the sky will be the lightest, so we're just going to do a very, very light layer of shading. And then what our shadows are more intense. This is where we really press down just a little bit harder and we go over the areas to create depth of layers. And also notice I am not holding my pencil right here at the bottom. I'm holding it at the end. And I'm kind of using the flat side of the pencil tool to create the most natural shadows. Here we have our mountains tree tree cylinder. Of course we have the cross. And we can pick up our HB pencil or whatever higher pencil you have if you want to. And you can add darker values to it. Bring out the tree shadows a little bit more. Shadow will be most intense as well. So it really is just putting all of these principles together and this is how we make our outlook convincing. We will also look at perspective in the later lessons, which will be very helpful and I think you will find it enjoyable as well. Anyway. Once you have the basic shapes down, you just start refining them. This tree is not a perfect circle. We need to make the outline a little more messy. You start out with a circle, but there are other small shapes there, so you just start modifying and you can break down much more complicated shapes into simple ones, e.g. on your worksheets, you have a fox exercise. I see many basic shapes within the body of this box. It looks like we have a bit of a cylinder on the torso. So then you have another cylinder here, which is the tail. The legs are also, they seem to be cylinders. And you have the head which is a sphere. And they showed two cylinder here. You have triangles as it is. Here you have some triangles, two more cylinders, sphere. And again, all of these shapes are not perfect to they need some modifying. The foxes torso is not a perfect seminar, but it's a little bit rounded on the edges and it goes in and out. For sketching purposes, this exercise of simplifying shapes works very well. So it lets you focus on the general foundations before going into the details. So this is a great way to approach making an initial sketch because you can take your image and observe what will the basic shapes are. And then think of it as copying down the basic shapes, not copying down the entire fox. So this will give you a very good foundation. And then after that you add the values, you add shadows. You start refining your shapes, you add your details. And then also you have your blending stumps so you can add this step to smooth out your objects as well. We can blend them in and make it a bit more cohesive. Just like this. Remember a tip to use a soft hand when you are creating the initial sketch so that we can rub off the lines that we don't end up needing in the end. So, yeah, once you have these sketches down, we add the values and something you can do to make observing the values easier is squinting. So if you squint your eyes, this gets rid of all the details and it leaves you with just the values. My advice to you starting out would be to just sketch everything. Do little thumbnail sketches, don't think about them too much. Just draw the basic shapes. Start with the basics and then refine. A sketch will not be perfect the first time. So this is why we were fine. I hope you enjoyed this video. In the next one, we will do some shading techniques, so I hope you will pick up some useful information over there. I will see you in the next lesson. 6. Easy Shading Techniques: Welcome back. I hope you find this lesson very insightful. We will be focusing on shading very simple shapes. Imagine we have a spin. Again, we're going to quickly sketch this out using short lines. Something very quick, very rough. It doesn't need to be good. It's just to illustrate a point. And I want you to do this with me because This is very good practice, just so you remember it better later. Now, imagine that the shape you want drawing is transparent slur. If we were to put rubber bands around our transparent sphere, think about how it would come around the object. Would it be a straight line going through the middle and then you would see another straight line at the back? Or would it be something like this? So if we put a rubber band around our sphere, you would probably find that the front would look something like this. Then the back of the rubber band would be like that. Probably a bit more to the side. So a rubber the back of your rubber band would look something like this. And then making this line dotted just so that it's easy to remember which one is the back one, which one is the front one? And then if you had one going on the side, so we draw our front rubber band fast. It would carve something like this, and then the back would carve something like that. So now that we drew our cava jaw, I want you to see that the middle he is actually the closest point to here. This is the closest, this area. So I'm showing you this because when you begin to shade something, you want to keep in mind that the curvature of the shape to make it appear like it's freely. So if we were to shade this in using straight lines just like this, then it wouldn't look so natural, it would lose its three-dimensional form. But if you have another sphere over on this side. So when we create a shade, we want to follow the curvature of the object. So we had these lines, hey, they represent how the object curves, what the form is. So now if we go to shade in the subject, we want to keep in mind these lines and be consistent. So if there was a rubber band going around this side. So if we were to map out the curvature of the object over here, it would be something like this. Okay? So then if we shade this in, we want to follow the curve of chunks. Like so. We want to slowly create value. So remember the if again, we have our highlight coming from this side, then this will be lightest. This will be darkest. So you just go over it. Use a range of pencils. If you have them at your disposal. It gets gradually darker as it goes down. So I'm going to use an HB pencil. And then of course we also have to follow the form on this side. So depending on where the light is, the shadow will be more or less intense. So it will be most intense here. And these intense here. So yes, we make our value here a little darker. So I'm using the flat side of my pencil. I'm not using the tip straight down and pressing too hard. I gradually working my way up to the darker tones here, following the curvature. And it gets lighter and lighter towards the top. See how I'm moving my pencil. This is, this is what you have to do because look how we have these lines here. This looks a lot less afraid I mentioned or than this. Then we do the same thing. Button. We follow the curvature of the object. We can use higher grades of pencils to enhance our shadow. So yeah, we're just bringing together all of the principles we learned so far. We are initially sketching with short light strokes. Then we are establishing the source of light and we are adding values. So yeah, I'm just using the flat side of my pencil. I am not using the tip straight down and pressing too hard because this will create some very harsh lines and that won't look so natural. So yes, I'm gradually pressing a little bit harder down here. Ever so slightly and going over the same area helps a lot too. You don't necessarily have to press extra hard to create layers. As you can see, if we add another layer of graphite, then this will make the layers beneath it even.com. So you can practice a little gradient here with me. We pressed light fast and then we press a little bit darker, ever so slightly. And you can see this is lighter and it gets darker. And then if we go over this area again, I'm not necessarily pressing any harder, but just having more layers of the graphite just brings it out even more and makes it look.com. Now we will go through crosshatching. So this is just another form of mark-making. You can have dots, you can have scribbles. You can have anything that creates a mock. In essence, crosshatching is mark-making by overlaying parallel lines. So something like this. And then we overlay parallel lines. And you don't have to draw lines that are perpendicular to each other, but you can draw them at any angle. So you can have these one's going this way and these going this way. And you can lay on top of them to make the lines thicker. Now you can see how these examples, they have different values. Here while we lay it, it's a lot darker than this section over here. So if we try to implement this cross hatching technique on Cairo charm, so let's draw lines like so. Then we have crosses over. So this starts to create curvature. And if we had maybe a shadow over here, then these would be a little bit.com. We're going to practice this again in a second, but I just wanted to show you how you would implement crosshatching. And then you can see if we create a gradient. So something like we did here, we can also make it with crosshatching, can stop by making very light lines that are further apart and they get closer as they come down. And then we can also draw lines going in another direction. And again, they become less apparent and they're further apart at the top than they are at the bottom. And we can again layer over them. To create a gradient. Again, you can even use darker pencils to enhance the darkest points. Sorry, this here where we lay it is a lot darker than this. Over here. You will observe that the lines are further apart. The area appears lighter and this area over here is darker because we added slanted vertical lines over it. So again, if we try to demonstrate this on a circle, just do a quick study. Okay, so now we have our 2D cycle that's tried to demonstrate crosshatching on a sphere. It becomes a little more interesting this way because for this shape to look free D, it has to be carved, slurp. When we create our lines, they have to follow the clever charm. So again, if we choose our standard source of light coming from this way, then this area of the sphere is the darkest. We want to concentrate a lot of the lines close to each other over here. Like so. We can draw curved lines really, really close to each other following the curvature. And then as we get towards the front, towards the highlighted area, we make them really, really far apart. Even concentrate them a little bit more over here. Now again, we will create lines going in the opposite direction. So we will make them more concentrated on the shadowy side. And they kinda fade out as they go towards the front. And also they don't all have to be the same length. You can make some shorter here at the shadowy side. Sorry, something about the curvature is it helps to enhance the form of the shape you want drawing. So if we have a circle and we were just to draw straight lines instead of following the curvature than the object would appear quite flat. So let's try desk quickly with a cylinder now. So we have our cylinder shape. It's very quickly. You don't need to try very hard with these shapes is just to illustrate the point and get some practice done. Here we have a rough cylinder. So now the dominant curve, if you want to have a rubber band around this, if it was a transparent object, then it would be something like this. This would be the front. So when we all crosshatching, let's again have the light coming from this way to keep it simple. So if we are cross hatching, we want to follow the dominant cava Chaucer. This is the way that the shape curves. So it goes like so. And then these lines going this way would be straight because it doesn't really curve going up. So the lines are more concentrated here and less concentrated towards the highlighted side. We also have a slight bit of shadow here at the top. So I hope this makes sense to you. I hope it was easy to follow. I hope you have an understanding of curvature and some shading techniques such as regular shading with the side of your pencil and also some crosshatching. So yes, I hope you found this useful and I will see you in the next lesson, which is my favorite part because we will be going over our perspective. So I will see you then. 7. One Point Perspective: Hi artists and welcome. The next free lessons are actually going to be about a topic that my students usually enjoy the most, sorry, it is perspective. I hope that you will be able to combine the knowledge learned in this lesson with what you know about the source of light and shading and be able to create really cool art of urine. So let's get started. We will be drawing straight lines, so we need a rate law for this lesson. Alternatively, you can use the edge of your notebook or wherever else you have accessible. So we are going to start with a horizon line. So essentially the horizon line is the line that separates the sky from the sea when you were at the beach. So grab a pencil. I am still using the same five B pencil from earlier, and I am going to just draw one straight line across the entire sheet here I need to measure it is just about having a straight surface. And then what you need is a vanishing points. So this can be a dot anywhere on the horizon line. So e.g. let's have a point right over here on the horizon line. So anywhere on the line you can have your point, you can have in the middle, on the side, you can even have it far out of the page, but I'm just going to put mine right here. And essentially a vanishing point is any point at which receding parallel lines viewed in perspective appear to meet. So essentially everything is going to vanish towards this point. When we make our drawing is going to go towards this point over here. And this is one-point perspective. So for now we just have one.in the later lessons when we do two-point perspective, we're going to have two points on the horizon line and then we have three point perspective. We're going to have three dots. And I'm going to show you how each one of them works. But we start with one point perspective because it's the basic one. Then we will, we will step up the difficulty one manageable level at a time. Okay, So why don't we try drawing a house for this exercise. So let's start with just the front of a house. Let's just draw a squared house. Doesn't need to be anything pretty, just something very basic. We are just practicing the idea here. We're not trying to make a masterpiece. Okay, so we have the front of the house. Maybe there's a little door right over here, and then we'll have windows right over here. And of course this isn't the nicest drawing. But as I said, we are just trying to do the exercise. We're not focusing too much on the details. We are focusing on the idea of perspective. So we have our very stunning house right over here. For now. We just said the front, because we will complete the sides now using this point. So essentially the way to go about this is you want to connect every single edge to this vanishing point. So we will draw a line using our ruler and that stopped by connecting this corner and this will make sense to you in a second. So just follow me for a moment and then I'll show you where this is going. So this corner is now connected to the vanishing point. And let's do this corner now. And this third one here. And this one we don't have to do because it's actually behind the house. So we're just going to do these ones because they're visible. And now what you want to do is you want to decide how long do we want our house to be? So maybe we want it about this long. So it's a cube shaped house. Okay, so we're going to draw a line. And now let's do at the top of our house. So we have to connect this point to the line that vanishes. So what are any going as far as the line? So it meets the line about here. And then now we have our house on what this point does and what connecting all of the edges does, is it puts the house in perspective. Now e.g. if we maybe want to add a roof to our house, maybe if we try to do a triangular roof. So to find the center of the roof, what you're gonna do is you'll take your rhythm and you will do an x on the front of the house like this. And like this, we are connecting the two edges. Okay, and now what you want to do is you want to decide how tall do you want your roof to be? So we're going to put our Rayleigh right in the center. And let's say we went over to be about this big and sorry to do the front facing side of the roof we do is you just connect it to the corners. Just like so. Then what you do is you want to connect this point to the vanishing point to put the roof in perspective as well. So here we have a Rayleigh wave just going to draw a line. And you don't have to make your lines as dark as mine. I'm just making them quite dark so that you can see. But if you make them lighter, That's probably the better because then you can erase them after you are done doing the perspective sketch. So now we have to do the back of a roof. So what you do is you connect to the corner of the house. You draw the line all the way up until the vanishing point. And now we have our roof in perspective. What we can do now is we can erase those lines that we no longer need because they're not going to be visible. Because we have a root hair. Now, you don't need those lines. We don't need this cross in the middle either. So now the amazing thing about this is because everything here is in perspective. We can draw the same object behind it. Sorry, perhaps we have neighbors living behind us, so we can draw their house over here term. This is the side of the house. The roof goes up to this top of the vanishing line. And there we have it, we have our neighbors. They would have the edge of the roof. Now there is a house behind them and you can keep going. You can add even more. I'm just going to roughly sketch does yeah, you can, you can just keep growing. You can have fun with it. You can create so many drawings and just this technique. And you might notice that as things go back, they become a bit smaller because they are further away from us, so they have less detail. They appear smaller to us. They are actually the same size as this house over here at the front. But because it's in perspective and it's further away from us, it just seems smaller. So this is how, what the, so this is an exercise you can do to make your drawings look more realistic. Maybe you want to have a tree in front of the house. So here we have a little tree over here. Then you can also put the stream perspective. So here's the bottom of the tree. Top of the tree, the base. And now as we go back, you can just fill in the shape, copy it. And they have another tree in perspective. And you can draw as many as you like. You can add so many little pods to this. You can add a color, you can add a letter box, you can draw clouds, anything that you'd like. Then what you do is you just apply the principles that you've learned already. So maybe we have another source of light coming from here. Then we know that these areas, they have to be Dhaka. You add value consistently. So all the highlights and all the shadows, they have to be on the correct sides. So here we are adding some value to our roof. Trees would also be darker. On the right side. Just like this. Here's our cylinder, the base of the tree. Yeah, so this is the very basic idea. We're going to do two-point perspective in a second, which I hope you will enjoy equally. Um, but yeah, I hope, I hope this just conveys the very basics. Two-point perspective is going to be a bit more interesting. Then three-point perspective, it gets even more interesting to you. I hope you can see how you can put all of those principles together to create a drawing so fast the sketch with a light hand. Then you add your source of light, then you add shading. And we will learn about creating edges and being intentional with our composition. So these are the very basics of perspective. You can have a lot more vanishing points which we will practice next. But I hope that this conveys the basic idea very well. And now we will increase the difficulty just a little bit and move on to two point perspective. 8. Two Point Perspective: So now that we have gone over one point perspective, hopefully, two-point perspective should be a little easier to understand because the idea is very similar. We just have two dots instead of one. Sorry, our objects will vanish to two points. So again, we start with our horizon line. So again, this is the line that separates the sky from the sea when you add the beach, okay, So it says the horizon line. So this is two-point perspective. So this time we have two marks on our horizon line. So let's make them far away from each other to make this easier for us. So for one-point perspective, we started off by drawing the very front side of the house, but the two-point perspective, we can't do this because we're both looking to the left and to the right side. So let's throw another house. And this time we will do, we'll start with a line. So we'll do a line about right in the middle. And yes, so now essentially what happens is you want to connect the bottom and the top of this line to each of the vanishing points. So I'm going to make my lines quite dark saw, you should make yours lighter so that you can erase them easier. I want mine to be very visible for you, so I'm making my lines quite dark. So here we go, just connecting them like so. So again, we have to decide how wide we want our house to be. So this is the edge of the house. So this is essentially this line over here. Here we're going to try to do another cube shape house. You can do those however you like, but I'm going to draw somewhat of a cube. So this is the side of our house. And this will be the side of the house. So this is our house in perspective. This is one side. This is another side. So what's important is that these two lines, they have to be parallel to the line in the middle. So again, we would like to draw a roof to our home. So let's assume that the front of the house is this way. So again, you want to do a cross to find that the center. So it's about here. And then you mark up while you're crosses. And you can make your roof as tall as you want. Let's make this one quite tool. Then you connect it down to the edges. And we are going to connect our roof to the vanishing point. So the tip of the roof to the vanishing point here. It doesn't need to go this way towards this line because the roof goes down to the side so you don't need to do a line to this vanishing point. And then we have to do the back of this repair. So parallel to this line is the the back of the roof. Then we can do the doors and the windows. So that's dual identical ones. So these two lines, they're just going up, they're straight. But now we can't just draw a straight line like this, like we did over here because it needs to be in perspective. We're no longer looking at the front side. We're looking at it at an angle. So what you have to do is you have to connect it to the vanishing points. So it would go like this. I took, I do, you don't necessarily always have to draw these lines. What you can do is you can just, you can just fix the ovary it out to the vanishing point and then you can slide it and see the angle at which your lines need to be drawn. So e.g. now, we can move our reload this way, but it needs to just stay, stay still on this point. So now if we do the windows, Let's try this out. If we do the windows that stir the bottom of one window here, the bottom of another window here. And then we go to the top. Let's make the windows ready tool. The top of a wonders like this. And then you just do the sides. Just going to draw this cross right in the middle. But now say you want to draw a window on this side of the house, then what you will have to do is you will have to draw them Vanishing to this side over here. Because essentially if you're trying to figure out which point the lines are vanishing to, just reference back to the line that we did in the beginning. So this line over here was our first off faster line. And almost all the time, whatever is on this side of the line will vanish towards the left point, and whatever is on the right side of the line will vanish towards the right point. So again, what you wanna do is you want to add value. Create some realism. Again, maybe our source of light is here again. So this would be somewhat darker. And so would this. And maybe there's even the shadow behind the house. So yeah, These, these are the things you do. You put all of the principles together and you slowly start to build a drawing. Remember all of the techniques we went over? Again. These are just the very basics, but you can create a whole bunch of drawings using this technique. You can even use your blending stump and create some nice blended mocks like we did with the previous one-point perspective, e.g. if we want to again add neighbors, then you can just follow these lines. So e.g. with and-a-half neighbors right here. Behind us. Again, you just add value. And again, these are just the very basics, but I hope they illustrate the idea well. I hope you feel excited to use this technique. You can really have a lot of fun with it. What you can do is you can do skyscrapers or you can draw maybe a city corner. So you would have a skyscraper here and a ton of little shops on the sides. You can really have a lot of fun a little bit. Just remember add values to start with a light hand, because there will be a source of light. You can play around with it, create a lot of different drawings. Again, you can add the trees, you can add a letterbox, you can even do a puff coming out along this way and it would get wider as it comes closer to us. Like this. Bringing all the principles we learned, ad you alight, audio shadows blend well. Next we are going to be going over the final perspective pot, which is going to be three point perspective. And again, it's very similar to these two, but all it is is we just add a third point on. We can create even more interesting drawings using this technique. So I will see you in the next lesson. 9. Three Point Perspective : Welcome back. So this is the final part of the perspective lessons. Here we will be learning how to draw in three point perspective. Again, we have our horizon line right at the top. Like so. We want to add two points on either end. We want it to appear as though we're looking to the left side as well as to the right side. But this is a free point perspective drawing, so we will also be looking down. So let's just add a cross right at the bottom of the paper. Now we will draw a dot somewhere in the middle between all of these three points. We will again draw a building. So let's start with a roof. We will be connecting this dot to the left side. And we are going to be connecting it to the right side. So now what you want to do is you want to decide how wide you want your building to be. So we're going to be doing a flat roof for now. So I want it to be between this side. Between this point. I want it to be up to about here. I'm going to connect my line to it. And then I am going to try to make a similar amount and connect it to this point here. So now this section over here is the top of our building. So now we have a roof and two-point perspective, but we want to connect it to the three point perspective to make it appear as though we're looking down. So to make the sides of the building we refer to the point at the bottom. So we're going to be doing this line in the middle first. And however long our line is that the time ends the height of the building. So let's make this boat in 3D, 3D tool. Let's leave about a centimeter space between the bottom vanishing point and at the bottom of the building. And now what you want to do is you want to connect the AVA three points to the building. And this one go down to the vanishing point. Now what you want to do is you want to do the bottom of the building perpendicular to this line over here. So 3D building should look like this. And this. So we made our building a little bit too long on the sides, but that's okay because we can just erase that. Now, our building looks a little bit wonky. That's because it's kind of, I guess, like bird's eye perspective. Because we are working on this small piece of paper so the vanishing points are close together. But if you do this on a big sheet of paper or you even make your vanishing point like way off the page, then this will look a little bit more natural. But it's okay because we can still make this look realistic. So you can e.g. add windows. So remember you have to keep using your point over here. And we will just draw windows on this building and still using this point. And then perpendicular to this line over here. We connect our windows. You can shade in the side of your building. And they have it. I hope now you can see how this building is starting to come together. And let's shade in the side of the building to you could go ahead and add windows, but For the sake of time, let's just do a very quick illustration. And what you can do is you can add even more buildings, so you can have another building here on the side. So using this line over here, let's do the side of another building. Another make cutting it to this point. This is the top of another building. And then you go ahead and connect it to this line as well. So these look 3D, 3D, elongated and stretched out, kind of unnatural. But I hope that this just illustrates the basic idea of how to draw with three point perspective on maybe you can make your own drinks on your own. And I'm sure it will turn out a little bit bad than this, but, but yeah, I hope, I hope this demonstrates I'm free point perspective. Well, here's another building machine to make this one a little bit darker. Maybe you can even use an HB pencil if you want to enhance the shadows. You can just keep going. You can make so many more buildings. You can go to the back, you can go to the left. Again, you can add shadows. Would have very long shadows because of how tall they are. And maybe you can use the blender. Again, just like with the previous ones. You can also have neighbors behind here. Like so then you connect it to this point. Again, as it gets closer to the vanishing point, it becomes smaller. So this is pretty much it. There are many excellent teachers here on Skillshare who teach this topic in more depth. If you would like to draw more complete drawings in perspective, then I definitely recommend diving deeper into the topic. But you can definitely get by making a lot of drawings using the basics that we just went over. I really hope you enjoyed learning about perspective. As I said, my students usually really enjoy learning this. So I hope you that too. And now we will be learning about composition. 10. COMPOSITION: How To Make Your Art Stand Out: When we refer to composition in art, we refer to how the elements of a certain drawing are arranged to give a certain effect. E.g. you may be painting a flower, and if you put the flower in the middle of the canvas, that is a choice of composition. Maybe you're painting a basket of fruits. So the way you choose to arrange those fruits in your final piece is the composition. So a good way to understand how to create a good composition is the rule of thirds. So imagine this is your regular A4 piece of paper. So then imagine that you fold this piece of paper into freeze. And you do so horizontally and vertically. When these lines over here, meat, these are points of interest where they cross over. So imagine now that we are drawing a land and a tree. So somebody that wouldn't really know about this rule of thirds principle might put the tree right in the middle and they would have some land. But that is not interesting enough for the viewer because it looks too simple. But now let's move on to this section and let's draw a tree towards the right side over these points of interests. So we have a tree here and it goes down. Now imagine that we put maybe some hills in the distance over the left side to create some balance. So now if we quickly add some value here, just very quickly shading everything in. Again, imagining that the source of light is coming from over here to make it simple. So I'm just adding some very quick about a year. See how we made this beautiful blend. I'm holding the pencil at this angle. We're drawing using the flat side. And there is a very smooth, beautiful application of the graphite. Now if we want some precision, we hold it closer to the tip of the pencil. Yes, we have a bit more of a balance and this guides the eye through the image very beautifully. So you can see how there is a clear difference between this image and this image, even though they both have the same elements, but the composition is arranged differently and more intentionally. And this is why we gave us a nicer effect with our image. So this is a very general basic principle and there are other interesting variations of this composition. So e.g. if you change the orientation to portrait like here. And then what's interesting is if you observe portraits of precedents, you might notice that the heads, I'll usually to the side slightly. They may look something like this and their bodies would be here. And what you might notice is that the eyes are almost always in line with the first fad right hand. There are other ways to lead the eye free to painting using composition. You don't always have to use the role of fads, a lot of landscape painting Z is a composition in the shape of an S, e.g. in one of my other Skillshare classes, we drew a beautiful landscape and you can see the portfolio or the S curves. This guides to nicely for the image and these it through the focal point, which is the harm. If you would like to try pastels, I recommend that class. We went over the entire drawing process and the outlines of the whole drawing. I'll provide it to print so you can even treat it as a coloring exercise. Another interesting composition you see a lot is the triangular composition, and you see this a lot in classical paintings. A good exercise for this lesson is to take a look at some classical paintings and think about the highlights, the shadows, the composition, and think about what makes it appealing or maybe unappealing to you. Start to look at the world like an artist and think about how we can apply these principles in your own work. 11. VALUES & CONTRAST: How To Use Them Intentionally: Welcome. I hope you are enjoying the class so far. Now we will be talking about contrast. We will discuss how to make certain parts of your drawing intentionally stand out and how to use values to create such effects. So if we have another bowl is sitting on some kind of table here. And I know we went over this already, but I'm just going to do it one more time to illustrate my point a little bit better. I'm starting out my circle using a lot of short light strokes trying to build up my shape. Here's a good cycle. So again, if we have our source of light coming from over here, the bull will roughly be shadowed like so. It's going to have a dark shadow on the bottom and lighter at the top. So going to look something like this. Okay, So if we had a source of light coming from the top-left side, then Alice failed would look something like this. It would have a darker shadow over here and a lot of highlight here. Now you may notice that this area over here stands out because there is a lot of contrast. This is very dark and this is very light. And now if we have some kind of surface, then we have a shadow over here. Something like this. The shadow is darker closer to the sphere because that's where the least amount of light gets in. So let's try to bend this a little bit. So now that we have a shadow here, we can see that this area over hey, no longer stands out because it blends in with the shadows so there is no longer an edge. So using values we have lost the edge over here. This is a very prominent edge between here and here. Because there's a, there's a sharp change in values on this area here is very dark. But imagine now that we actually have a pretty dark background. So let's quickly shade this in. And you will start to notice something quite interesting. So now the shadow of the sphere over he has become a very soft edge because it kinda blends in with the rest. There isn't a sharp change of values. But now I might actually be attracted to this area here because there is a really sharp contrast. This here, this highlight is very light, and this is very dark. There's a bigger difference between this, this highlight than there is between this and this shadow, DC. So the eye is attracted to high contrast and sharp lines. The idea is that you start to lose edges if the values come really close together because the background is quite dark and so is the shadow of the sphere. The edge almost blends together and it looks less sharp than the highlight. So this is how we can use something like this intentionally to guide our view or to a certain part of the drawing that we want them to focus on. This is valuable to know because I noticed that a lot of artists starting out, they like to draw lines, e.g. if they draw a nose, they start to draw harsh outlines of the nerves that don't really come across as realistic. So this might be a nice head, but this doesn't look real. If you take a look at my nose that run our harsh lines anyway, it's mostly just shadows. So you might notice that there are shadows here on the sides, but there are no harsh lines. The outline, the nerves. If you were to draw a nose, it would look something more like this. So say we're looking at a slightly side profile. This will be a very quick drawing, but just to illustrate to you, it would look something more like this. You would have values instead of, instead of sharp lines like this, you would, you would build up very slowly. Like this would not be one harsh long line. It would, it would be a collection of smaller shadows. You might also find that you have some highlights in certain areas. Maybe something like this. Yeah, this is just a very quick study of a nose, but I hope this illustrates the idea that you wouldn't necessarily start a drawing like this. You would, you would actually stopped by adding a series of shadows and highlights. The hash lines give more of a cartoon effect, which is okay if that's the look you're going for. But if you are aiming for realism, then it's much better to draw soft values instead of outlines. A beneficial exercise would be to practice creating a controlled gradient. So try to go from try to go from dark to light without any harsh lines. Once you get better at controlling the intensity of your pencil marks, then it will be easier for you to create these controlled values on your portraits. So this is it for this lesson. I hope it was helpful. And in the next lesson we are going to be drawing from still-life. 12. STILL LIFE STUDY: Put Your New Skills To Practice: Hi artists and welcome back. In this lesson we are going to be talking about drawing from still-life. This is great practice. So grab a random object. Do you want to draw such as a cup, a plan, maybe your desk lamp? I want you to keep it simple at first so you can practice all of the basics before you move on to complicated details. So I will be drawing a cup and I will have a picture of this displayed somewhere on the screen. Feel free to either draw this cup with me or maybe you want to pick an object of your own, but it's just important that you keep it very simple so that we can learn all the basics fast. So once you have chosen your object that you would like to draw, the first thing I want you to do is decide the orientation of the paper. Are you going to be doing a portrait or are you going to be doing a landscape like we have here? So to decide this, I always look at the ratio of the shape we are drawing. Like this cup fast. We're going to measure the width. So from the edge of this handle to the edge of the cup. So the width for me looking at it is about this wide. And the height is of course, much shorter. So for me it makes sense to draw my cup in landscape mode and horizontal. So the first thing I usually start with is IMAP out randomly where the edges of the shape are going to be. So first I'm going to do the top of the cup and I want it to be somewhat about him. Our cup has a handle here on the left side, so I am leaving room for that. That's why the cup is kind of shifted slightly towards the right side, but not too much. It's still kind of like somewhere around the middle, but we just want to make sure that data, we're going to have space for the handle. So this is the top of our cup now, and we're going to assume that this line is correct. So now when we draw the remaining lines, so we're going to compare everything to this line over here. So how does the width of the top of the cup compared to the height of the cup, I would take my object and I would measure it again. See, okay, it's about stole from my perspective. Competitor. It's about the same width. It seems. It seems like the width of the top of the cup is almost similar to the height of the cup. So now I'm going to measure this line. And we know if we keep a hand here, that the bottom of the cup is going to be somewhere over here. So I'm making a mock and then I'm going to follow the COVID Sean. And I'm looking at the image too because I want our drawings to turn out the same. This object has a bit of a curvature at the bottom. So I am not just drawing a straight line, I'm following the lines that I see. Okay. So we know that the lines are slightly slanted there, a slight angle of the cop. It's not like a straight downwards angle. What kind of goals? It's Lance slightly on this side here. So I am going to factor this in. And I'm just being very loose with my lines. I'm not committing to any details for now. I'm just drawing the very general outlines. I'll even make them a bit darker so that you can see. We have a small opening of the cup somewhere about here. So of course we have to draw this small lines. So yeah, we just want to find the relationships between the lines to create proper proportions. So if we made the top-line bigger than the length of the coupled, also have to be bigger. And also you have to get the foundations correct before you move on to adding the details. So this is why weight creating all of these faint lines to build up these fundamental outlines and find the right shapes because you don't want to commit with one thick line. You don't want to commit with like one thick line and then not be able to erase it or adjust it. You want to build up very gradually. Um, I get the framework correctly before you go into any details like e.g. imagine that we started with the handle and we finished the handle before we moved on to the rest. But then you found that if the handle is a certain size, then you wouldn't be able to fit the rest of the cup into the picture. So then we'll have that progress would have been for nothing. So yeah, it's important that when you start any portrait that you do, all of these measurements fast to save yourself the time and make it, make it easy on. So anyway, um, yeah, we're just making these small adjustments. I can also see that I didn't make this curved enough in relationship to this because this is a pretty big cough, so it has to follow the curvature here at the bottom as well. So yeah, you want to build up gradually because in the beginning we are guessing where the lines are and we want to give ourselves a lot of chances to get it right. And if I wasn't doing this in front of the camera for the class, I would take a little bit more time to make this as accurate as possible. So be patient with the drawing. Take your time to make the drawing as accurate as possible. So anyway, now we're quickly going to do the handle so you want to find out how far it goes in relationship to the cup. So we can see that the handle actually it's almost, it's pretty much twice as wide as this opening over here. So we can take the measurement of this and roughly double it and then bring it over here. And we know that our handle with and somewhere around this point. So then we want to be able to see, okay, where is the top of the handle and whereas the bottom of the handle. So at least on the picture I have provided because of because of course, this changes depending on which perspective, depending on the perspective that you are looking at it from. But at least on the picture, it seems to be pretty much in line with this over here. So the top of the handle will be somewhere around this point. And then to find the bottom of the sandal, I would like to see where it connects to the cup on the image that I have provided, it seems to be about one FID, the height of the cup. So if we were to divide this into fads than it would be somewhat on the, on this line. So now we have the box where our handle would be. And now all we have to do is fill in the shapes. So it seems like it's a cough. And this seems pretty straight. Then it steps down. Here. You also want to be able to observe the final details like the distance between these two sides of the handles seems much thinner than over here because of the perspective at which the photo was taken. So you want to look at all of these little details and see, alright, This is like there's less distance between these two lines then between these two lines. Okay, so you want to be able to observe these details and factor them in. So now it seems we have the general outline of our shaped correctly. And you can use this technique with anything, you can use it with faces, landscapes, anything, anything that you draw, you just have to find the relationships between the lines. Alright, so now that you have the sketch roughly accurate, you want to shift your focus to values. So take a moment to observe where the darkest and lightest values are. So maybe the darkest shadow is the shadow underneath our object, or maybe the darkest shadow is here on the side, or maybe hey, on the inside of the cup. So it seems like for our image, the darkest point is actually the inside of this cup here. Because you can see that the sunlight was coming from the left side. So this area over here was blocked most from the sun, this section. And then the lightest points they seem to be. On the other side. So this area over here is very light because it's, the sun is coming right at it. And also over here it's quite light. On this side here. And also the handle, the left side of the handle. So the way to go about this is I would usually fill in the darkest point. So this over here is definitely the darkest. Then we also have quite a significant shadow underneath the cup. And I would say that these two are the darkest points. Really is just this line right underneath the cup and this section over here. Then we know that these are the highlights, these sections. So the idea is that we will now compare the remaining values to them. So we know that this area over here cannot be lighter than this area over here because these are the most intense highlights on our, on our cup. So now that we have the darkest and lightest values of the other remaining values have to go in-between them. Also, the highlight color is the lightest turns, so it might be close to the color of the paper, but everything else has to have a value and be filled in with the pencil. So be mindful not to leave anything the color of the PayPal. And likewise be mindful not to make anything darker than the darkest part of the drawing, which is this section and the shadow underneath. The little trick I do is I squint my eyes. And this actually takes out all of the details and just keeps the simplified values. Try this right now and see if it helps you pause the video here for a second and try to strip out. So now that we know where our highlights one quickly going to do is I'll just fill in the entire rest of the image. Because we know that this is going to have some value. And I find that people starting out and I also did this myself, is I overuse the amount of paper that I had left. White. Like I was very afraid to press down my pencil. And I just love my drawings were lighter than they are actually supposed to be on the head then on this, as you can see, i'll, I'll put some examples on my screen. When I wasn't pressing hot enough of the pencil and I wouldn't be too many areas white. And you may notice that even the lightest points, they are actually rarely the color of the paper. I just, I think it's good practice to do a very thin layer of graphite pretty much everywhere other than the very highlights, because it's harder to fall into the trap of all we using the white of the paper. I'm even going to do a very, very thin layer over the highlight because as I said, the highlight is never actually that light anyway. Now you're just going to see like we have a pretty dark shadow over here. So I'm quickly just going to follow the rough shape of that and also the rim of our glass because it has these details. These details are darker than the, than the color of the cup itself. So we're just going to mark this. So here it's quite dark. I'm just, I'm just adding value here. I'm comparing the values to each other. I'm not going to make anything darker than this section over here and this over here. And I'm essentially staying in-between the lightest and the darkest values. This section over here is definitely quite dark. Because again, the cop has some details and they they show up to be very dark. See, I just fill this in with me. We're not overthinking this too much. We're just filling in the details. We're being very loose. So we're following the college on our object here because the cup is rounded. So I'm trying to be mindful of that. If you have this tool, It's amazing to use because it really just gives you such a nice smooth transition between, between your values. So if you do have this blending stump, definitely use it. It's great. It's one of my favorite tools for sketching. I can see that there's quite an intense shadow underneath the cup, so we're just filling this in. And you can see how by adding the values and the highlights, the cop is immediately starting to come out, come off the page. And it looks it looks quite free dimensional. Yeah, we just, we just keep on building on the values. So this is still quite dark. We lost some value here. I'm just building layers, adding more graphite and pressing that they had on hand. I also lost this shadow right underneath the cup, so I'm trying to add it back in. Yeah, when sketching, definitely switch between pencils. So when you're sketching a HB pencil is great because it's not too dark. I'm not too light, but when you're making shadows, It's great to use one of the higher B pencils like six. This is an eight B. Yeah, just sees the darkest pencil you have. And I like to use the darkest one because I find that it's easiest to move around later when we use the blending tool. Like if you tried to use a HB pencil or a to-be pencil than this, just it doesn't move quite nicely as a pencil, nine B pencil would. If you do have these high LB pencils, then that great to use in this way. They're also most versatile, sir. Even if I'm not trying to create a very dark value, while I do is I just press very lightly. But you can also have very dark values by pressing very hard. Whereas if you tried to do this with an H pencil, you can't really get this value. Norma, how, howdy press or how many layers you add. I like to use my B pencils a lot when I'm, when I'm actually drawing, I find that I don't really use the H pencils as much on the same during like really, really fine details. You can also use your tools. This has kind of blend it a little bit too much. So I'm going to add that highlight back in there. And also this section over here, it's definitely a little bit too dark now. This there is a highlight here which I didn't previously observed. So yeah, we can just use our eraser to add this back in. And this is a light highlight to see. Yeah, this is a very quick study by Hope that it illustrates, illustrates the point. Well. Of course you can spend a lot more time on this. But yeah, this is just the basics I wanted to show you how to measure proportions and how to think about values. We can also, we can also add the background slightly. So I took this picture on the floor. So there is a bit off color to it. Slight by years. So you can fill this in. And then you can see the thing that we talked about in the previous lesson about edges. Where you start to lose certain edges. So maybe this would have, so right now probably the area that stands out the most is this because there is most contrast because this is very light and this is very dark. And even though you have a shadow that's pretty much the same intensity hit on the bottom. It's actually quite dark all around it so it doesn't attract your eye, just doesn't match, sir. Yeah, remember the eye is attracted to contrast. This is something you can use this intention to lead, to lead the eye through the image. I hope you enjoyed this. I hope you found it helpful. And as I said, you can, you can keep on adding to this. You could spend more hours on this and make it look like a picture if you want them to be. I hope this just covers the basics. I hope you learned something useful and I hope you enjoyed. And I will see you in the next and final lesson where we will talk about proportions. So I will see that. 13. PROPORTIONS 101: Hi artists and welcome back. In this final lesson, we will be talking about proportions, so we will make comparisons between objects within objects. We'll try a grid technique and then we'll do a proportions practice at the end. Sorry, to compare between objects. So let's assume I have an apple in front of me. This is a rough apple. And I also have here, I'll make this.com. I have an apple in front of me, and I also have a lemon. So assuming that the apple is drawn correctly, I now have to keep in mind that the lemon has to be proportional to the apple. So if the lemon is only half as tall as the apple, I have to draw it out like so. There would be how a lemon here. This is comparison between objects. Of course, you can shave the sin, but you also have to compare proportions within object. So how tall is this apple compared to how wide it is? How tall compared to how wide? And if you make the Apple shorter, you also have to maintain the ratio. So if the apple is roughly an inch tall, it also has to be the equivalent amount of the width. So if you, even if you scale it down, you have to keep the ratios in mind. You have to make the same, this ratio the same as this. And if you had practiced the still life study with me, then we would have gone over this briefly. But this is just the summary of it. So yeah. So when you draw a picture with a bunch of different objects within it, you have to draw one fast, too fast, make sure that all the proportions live in it are accurate. And then what you do is you compare the remaining objects to it. So it's just like painting or any other medium with color. You put down the first color value and you make sure it's as correct as possible. And for the rest of the painting, the remaining values rely on the initial column. So this is sometimes a difficult thing to get down, but it's incredibly important to make things look realistic. So spend some time on this and don't feel discouraged. The way to go about is to draw very gradually and find these lines that Phil and look right? So if you are drawing from still-life or a photo, use some tool to compare the relationships between the lines. So I like to use my pencils. But you can also use a grid like this. Like, I'm sure you've seen other artists use. So the way this works is you draw a grid over a photo and an identical grid on your PayPal. And they are measured out very precisely. So you know, Okay, this bottom of the basket is in this square here, and this fruit is also here. Like so it looks something like this. I like this method because you want not looking at the whole overwhelming subject. You're looking at each little squares separately and trying to replicate it. So if we do this little exercise together, we can see that the basket runs for somewhere towards the middle of this grid here, but it's slightly to the left. It's in the middle of what kind of to the left side. And then it almost goes to the top. Then we have what seems to be like a melon. And the age just take each squares separately so he copy down all of the shapes. You see. They have a little basket goes around here. And then you have your grapes. I don't know. This is a very rough sketch, but I hope this illustrates to you how to use a grid technique. So the way I would advise to get started on this is to start with simple objects that don't have a lot of measurements going on. Like an apple is a good place to start, or even they cut a face is quite difficult because there are so many things you have to compare and a lot of measurements you have to make. And another thing about faces is that people are extremely skilled at recognizing them. If something is wrong with a face drawing or there is a slight miscalculation in proportions, then people will recognize this immediately, especially if you are drawing someone that you know or a celebrity whose face is familiar. So I would start a little bit more simple and first drawer things that don't require much measurements. And then I would work my way up towards more difficult things such as faces. Or if you do want to draw faces, a grid method might be very helpful to you, or maybe you can even try tracing in the beginning. Also faces, It's much more crucial to get the proportions correctly. We can draw a lemon or an apple and everybody knows what they look like, but they don't really have individuality. So they come up in a lot of different proportions, shapes, sizes. So again, if we go back to our apple and lemon example, we want to stop by drawing the bottom of our scenes or say within a half, an apple and the lemon is going to be right over here. Sorry. Now what we have to do is we have to figure out how tall our fruit saw. An apple might be. This tool, and the lemon might be three quarters of the height, roughly, say somewhere about here. So we can draw a line on the top to the term and the height of the apple. And then this also influences our width, sir. So maybe the width is the same as the height of the apple. So I will object would be within this bulks, our apple would be here. And maybe the lemon is the same width as the apple, is just a much shorter. So it would be something like this. Here's a lemon. And who is going to be our apple? So yeah, the first thing you want to do is determine the width of each object and the height of them. And then after that you can start adding in your details. Yes. So I hope these lessons will very useful to you. I hope you learned a lot about proportions. And thank you very much for watching. Let's just move on to the conclusion where we will discuss the class project and thank you so much for watching. And I will see you in the conclusion. 14. CLASS PROJECT & THANK YOU!!!: Congratulations, we made it to the final lesson. Thank you so much for taking my class. If you enjoyed it, I would be very grateful if you left a positive review, a comment or a project, your interactions with the class help it show up on Skillshare or other students may find it if you have any questions or would like me to clarify anything please ask below and I will be more than happy to help you. For the class project. I would love to see any exercises you completed with me, maybe the sphere drawings or the still life study. I leave feedback on old projects, so definitely upload yours and I will give you some further constructive guidance. I have more classes here on Skillshare. If you'd like to get into drawing with soft pastels, I have an introductory class when we went over all the basics, such as how to blend and layer pastels. Or perhaps if you have an iPad or an iPhone and would like to try the procreate drawing app, which I would highly recommend. I have an old terminal themed class for that too. While we went over all the basics and revealed cool tips and tricks and hidden features of the app. Don't forget to follow my Instagram victory Amoco at all. My website Victor, I may call that column why I actually recently started an art blog that is all from me. Thank you so much for taking my class and following along. I really do hope that you learned something useful. I am really looking forward to seeing your OT and answering any questions you may have. Thank you so much again and happy creating.