Transcripts
1. Introduction: Hi and welcome back to
another tutorial on Emily. And in this class we're going
to sketch And Shade a Rose. This is a really good tutorials for beginners
because we're going to focus on a couple of areas that I see beginners
struggling with. In particular, we're going
to focus on Shading lightly. And we're also going to focus on having enough contrast
in your drawing, as well as those two things. We'll also be going through the basic steps of
creating a drawing, looking at Simple Shapes, finding lights and darks, and bringing maybe a little bit of your own style to it as well. So we'll keep it quite loose and sketchy as most of the
sketch club classes
2. Materials: The rose that we're
going to be Drawing. We'll talk a little bit more
about that in a moment. And you can also download
that photograph if you want to have something on a separate screen or you
want to print it off. So you can ever
really close look, materials that we're
going to be using. A pretty simple, I've
got an HB pencil. This is just a really
standard grade Pencil. I think it's a Staedtler. Nothing special about it. And then something a
little bit darker. This is a to B Pencil
and this is one of my favorite
pencils, Tombow Mono. And I disliked them
because he quite soft to see any kind of
soft pencil to v3, v4 B would be good
for those dark areas. And then also a potty eraser. Any kind of eraser just in
case we'll make some mistakes. And then some kind
of tissue as well. So we can do a little
bit of smoothing out of the shading that we do.
3. Understanding Color & Contrast: As we go through this class, we're also going to be
thinking a little bit about the value of color. So if you have a look
at the photograph, you can see that as a
yellow rose and it has green sepals and a green steam in yellow is actually a
really, really light color. It's very bright, but
it's also very light. And we'll see that in a moment. Green is a very dark color. So if we turn this
into black and white, it will be able to
see the difference, the tonal value between
those two colors. You see how Light
that yellow is. We're going to be thinking
about contrast in two ways, really, we're gonna be thinking
about in terms of color. So how can you create
a drawing that maybe gives an idea of what
the color of the subject is. We can see this
is a yellow rose, but we could also maybe see
it as a very pale pink rose. And then we can show it really rich green foliage just by having very dark values. But being, of course,
we also want to create a drawing that has a little bit of impacts
and pop in quite often. I see students drawings
that lack this. They are quite gray overall. We're really going to
try and push that today. The contrast between the light and the dark that
we can see there
4. Warm Up Exercise: Simple Shapes: So to start with, we're gonna do a warm-up in the
warm-ups going to help us practice a
couple of things. The first one is
seeing simple shapes. In the second thing we're
going to practice in this warm-up is Shading lightly. So when we look at that rose, you can see that there's
different petals that are wrapping
around in a cone shape. And there are some
wobbly lines to those. You see that you just have
some wobbly shapes to them. This one here, a
little point there. And those are really nice Drawing With
some contour drawing. We've already studied the
IJ and look at the bumps. And then up here this
one's got a few, quite a few little bumps. But before we get to this stage, we want to try and see
the really simple shapes so we can get something
down on the paper. In this applies for anything
that you're drawing. The symbol shape. When
I look at these petals, not the overall shape, we'll get to that when
we start drawing, but just the shape
of the petals. I can see this shape here. When I ignore those
little bumpy edges and try to see just
the general shape. When I look at the
next petal beside it as one that's
covered slightly. If I isolate that and see
it at a cutout shape. This is what I'm looking for. I'm drawing it for you so that you can see it really clearly. But as an artist, that's what I'm looking for. I'm looking to break it down
into really simple shapes. This one here is quite simple. It's almost like
a triangle shape. Then we've got this one up here with all those wobbly
lines are little wrinkles, but we can break it down until simple shape and the impacts, we'd also look at this one
above it, something like that. The ones behind it we probably won't worry about just now. There's one other shapes
that we could look at. And this one here, we're the front
petal folds over. What I want you to do is go ahead and draw the
shapes that you can see. Now if you've printed this out, you could actually be
drawing over top of the photograph so you can really get your heat around
them and focus on isolating. So we're looking
for that cutout. So if I go heat and
draw the very first one that showed you before, just going to use kind of
straight Sketching lines so that I can change it. I'm just going to
ignore that sepal. That's this thing here. I'm going to ignore that for now and just look at this shape. But I'll type the lines away because I want you to try and
simplify it for yourself. Maybe it comes out and
then Up a little bit here. Maybe there's quite
a straight angle there with this little dimple that we're ignoring
that for now. So just sketching it
out and then we can go over it and make it a
little bit more definite, maybe curved out a little bit. If we move on to
the bigger petal, to one, this one is overlapping. We're going to have the cutout
of this shape on one side. When I do this, I'm not
worrying about this one at all, not thinking about Up
and just trying to see this shape in here. Can you isolate that really
focus your attention just on that shape in draw around
the ages of that shape. If you've ever done
any negative space, It's a little bit
like that as well. Don't try to just draw the idea of what you
think that Peter was like. Try to see the exact shape and don't worry too much about proportion is more about the, The each of these shapes. So as I can Up here, they said CPO that
comes in front of it. I'm not worrying about
drawing that at all, but I'm drawing the
edge between that and the petal. That one. Again, we can sort of
rounded off a little bit. We've got the smaller triangle
shape at the top here. Focus on it. Isolated. Sketch the angles. Don't worry about the size, don't worry about the
proportion too much. We can get in proportion
in all the better. And just Light Sketching max. And then once you're happy with the shape that
you've got bin, you can go over and
make it a little bit defined in the small
shapes just above it. Don't worry about
focusing on the shape. Now, in the photograph that you're going to
switch your attention, your full attention
today shape above it. And it's got this V-shape here. Maybe it comes up a
little bit in around, in a straight across
both wrinkly bits. But there could be a
little bit Up here. Something like that. Could do this more one just
above it as well. A bit of a straight line here. Quite a and even curves. That should get your,
I used to looking at the subject and breaking
it down into simple shapes. We don't want to get
carried away with the idea of what Peter was looked
like or what they do. We just want to see shape, that shape, angles,
lines, itches. Nothing to do with a rose
5. Warm Up Exercise: Light Shading: What we're going to do now
is we're going to take these shapes and we're going
to practice Shading them. This is the second
part of this exercise in Shading lightly. So we're just going to
draw the same shape. Ideally, you'd be
looking again at the photograph because
that just gives us that extra bit of practice
at seeing shapes. In isolating Shapes. I'm looking at the
photograph again. Then once you've done
that, you're going to go here in shade this in. Now what do you to be able
to see my hand because I'm going to hold my pencil
as far back as I can. And I want to try and
get just the IJ or the widest part of the
lid touching the paper. And I'm just going to
go back and forth. You see my hand there. How far back I'm holding it. If you're Pencil
shorter than mine, you might even have this part inside that hole with
your hand there. You could hold it
here, but you really want to try and get the
side of the Pencil. I find it really difficult. I'll get a much sharper mark. If I'm holding it like this, then if I'm holding you
back here like this, once you've found a good grip, you can even hold
overhand if you want to, if it feels comfortable for you. Rest your finger on
the table or the page. Once you've done that,
found that grip. And then we're just
going to shade back-and-forth lightly, as you can say, very
light pressure. It's just resting on the paper. Pencils just resting
on the paper. And you should be able
to get into a rhythm. We, you can make, make better mark
that you're making smaller or longer as
you come up as Shapes. So making it quite wide here, stretching from each to each. In this I came up from
making it smaller. So you can cover a
couple of times, but very, very light pressure. And if we look at this now and then look at the photograph, we can see the skill
isn't light enough that the photograph on
screen is actually a little bit lighter than
it is in real life, but it should be a very, very, very light gray
if, if not a wide. So what I want you to do
once you've done one, is he going to do another one? This time we're going
to try and get out each to match the value as well. So it might be a little
bit hard to see this one, but I'm going to draw that shape again and I'm actually
going to look at the photograph again because
we want to practice, but I'm holding my pencil
back in the same position. And I'm just very, very lightly putting
down their shape. You can barely see it. You might just be able to
see that on the screen. And then I'm going to
shade as lightly as I can. Hopefully I can get it even
lighter than this one here. If you need to, you can
do it in small sections. So if you can't quite
get that rhythm growing all the way across, you can just do it in small little sections
moving away Up. We want the pencil to almost be not lifting off the paper, but we don't want to be
putting any pressure down onto the Pencil is just sitting
there and we're just moving back and forth
across the paper. I might do one
more layer just to tidy up some of
those white gaps. If you're really
struggling with this, you could move to a to H Pencil. But I think if you can get
this down with a HB pencil, it just means you have to have a bit more control so it's
better practice for you. It's very, very lightly.
It see if I can zoom in and you can see that
little bit more clearly. Might just be able to see it. When we're doing a drawing. We can use tissue. Just give these a
little bit of a smudge, use a clean piece of tissue
for the very light one. Just to even out some of those masks that you
might have there. So it'd be really good to
practice this some more, especially if you're struggling with getting net Light Shading and go through and
actually shade each one of these shapes. Again, don't worry about matching the value
to the photograph. This is just about Shading. These shapes is
lightly as you can. I'm going to look at that
shape again in the photograph, this one here, which is it, that middle petal. Sketch it in. Maybe characters a little
bit if you need to. In the, And I'm gonna
go hit And Shade that. Just to practice
getting a rhythm going fist once and then back. The other way you can even go across the grain if you want to, across the, the max that
you've already made. There's something
to fill in those white gaps that you end up with. Mean, we could do it one more time if you feel
like you're getting the very lightest Shading that
you can and this one then, don't worry about
doing it again, but I'm gonna go ahead
and do it again here. And this time really
focusing on keeping your pencil lines as light
as you possibly can as well. How lightly can you shade? A little bit lazy on this one, I'm going to try and
keep those lines nice and close together. Even pressure, even space apart. Sliders you can, I'll go ahead and do these
other ones as well. And might even swap
hands just to show you what it might be like if you're someone who's
really struggling with this, I can't draw with my right hand. I'm not me. Dijkstra's. I'm
a little bit more used to it then some people I guess using my opposite hand because I
do this every now and again. Just to show you
how it might be, be looking or feeling when
you're using this hand. But I'll speed things
up, use as well. Remember the aim of this once you get down
to this third one, is to have your outline
as light as possible. And you'll shading is
light as possible as well. So you can see as
I moved over here, I forgot to keep my initial
lines as light as I could. Try and keep in mind
6. Starting The Drawing With Simple Shapes: We're gonna go ahead and
get started on the story. We looked at those simple shapes of the individual petals. But before we get to that, we're actually going to look
at the bigger overall shape. And if you try to
simplify the shape of the Rose bad itself
as much as you can. It's probably
something like this. It's like a guess,
a tulip shape. And that's what we're
going to put down first, just to get something
on your page, help us figure out how big
we want this drawing to be. I always recommend
making sure The Drawing is the size of your
hand, Not much bigger. So I might do the Rose patch to about here in
obviously the steam, you can make it as
big as you want. Or as long as you want. We don't want The
Drawing to be too big because we don't want to be
spending days shading it. And we don't want it
to be too small or we're not going to
be able to get the detail that we want. Draw mine a little bit DACA, but keep it as light as you can. Drawn to look kind of
a shape like that. Now we've got this
basic shape down. We can start to add in those
simple shapes of the petals. Remember, you're
isolating that petal, the one that you're working on, imagining that it's a cutout. I'm looking at that
front petal with one on the right-hand side
when it wraps around. And just drawing in the
general shape of it. I quite often use straight lines just to find those
really key angles. So there's quite a
strong angle up here. And I'm not worrying about
that a little bit at the top, just use I'm just
getting this shape. It's a little bit
straighter down here then maybe my tulip shape was looking at shape again. In been, I'll go ahead and put
it in this bit at the top. So it comes around here. And then it's almost like a backwards as Shapes it comes around and he starts
to kill backup. And then there's a
straight line here. Once I've got that
simple shapen. And then I could correct
it a little bit so I can see that this needs to come
out a little bit more. And I can start to put in some of those finer
details of the edge. Now, I should've
said this before, but remember we want
to try and keep out lines is light as possible, especially for this area here
because it's a very light. I'm P, so don't worry if
you have gone a little bit darker or a stock is made because on the other
side of this petal, it is quite dark,
so we'll be able to blend this line into the Shading and this
other petal here. I'm just going through
correcting the shape. If you end up with
something that isn't exactly the same proportions
of rose, don't worry. This is really
just about getting a result that has Light
Shading, has the contrast. And I'm just going to rub it out those lines that
I don't need now. My first petal. Let's go. He didn't do this main
petal in the frontier. It's quite a straight
line as it comes up. Think about where
it comes down to. So it comes down
to be about here and it's quite straight along the bottom there as
well. It straight angle. It Anglin. Isolating this
shape is a cutout. I can even just
move back and forth between this part in
this part here to try and make sure I've got the right angle and this
comes up high enough. So kids around a little bit. So we get the basic shape
down and then we can go through and make it a little bit more like what we
see come to the top here. Now, this one is
that it comes around the top and then come to this point here and
then come down and around a little bit of a
almost like a floor on it. There is a really fine
details in there. If you've got the photograph printed out on another screen, you might be able to zoom in. I'm going to keep
it quite general. Might actually be another piece over near, I think actually Just a little one. But what we want to focus
on is this edge here. What are the changes
that we need to hit? And that each, there's a few little wrinkly
things I think about here is probably
the center of the petal. With it a little point
might be come around down. And then it's put in
this triangle shape one. So it comes inside
this one a little bit. So we're not sticking to our
fish shape that we put down. That was just as a guide. Comes up to about
the same level. We could think about
where it joins into this, this each joints to this piece. We'll probably
around about here. And looking at the shape
isolating next shade, what kind of triangle
shape as it got maybe a little bit of a point on
the top, curved point. And then just going through
and editing that there's not much to that age that's different to
what we've already got. Just take a look at it anyway. So you might feel that shift between the
ways that you're looking. The first way we want to
look is it saying it in isolation is a cutout of the
store with this one here. In the second way
we want to look is really focusing on the edge now for happy with that shape. Now we can bring
your attention to the edge rather than
the overall shape. In a little bit wrinkly in here. Just give an idea of it. Don't worry about
it being perfect, but Up the top here
it does kind of pivot around like this one did a bit. So see if he can get that claw shape in the
unit comes over the top. Let me draw it on the
screen so you can see it. And then it just loops
around like that. We've just got a couple of
more shapes to put in here. We've got this one
that comes up around the top joins and
just about here. And then it's going to
come over to about here. And then we're going
to look at the shape, isolate the shape, curve to it, maybe a straight, a little
bit of a straight line here. Here. Using very sketchy marks
just to kinda figure it out. And nein, I'm gonna go over
with light pressure Still. But find the detail of that age. There's a little bit
of a point to adjust their and then I'm just going to put in this
one at the back here. So it comes around
to about here. You can actually see it. I can see it more clearly now it comes around the
back of this one. And then we want to make any corrections to their shape and corrections to their age. So it's a little bit
of a point to there. So each one of
these petals Here's a bit of a point to it. There's usually the,
the center of the petal where it comes, it
comes together. And I think that's what
this is up here to. Maybe this one comes
up a little bit more. We've got the rose shape with
those individual petals. Flip your eye between. Photograph in the drawing
and just go through in, have a look at each one of
those shapes in isolation. Again, the shape here, this little one at the top here. This one here might be
a little bit too wide. I'm not going to
worry about that. In this one. This one. This one. You just looking for anything. It doesn't look quite right. I think this one
here maybe needs to be a little bit flatter
across the top. Make sure you've
got these little loopy parts and this one, loopy, meaning they're looping
around in this one here. I, this in more detail
on there that I've lost some little ripples
or wrinkles as well.
7. Simple Shapes Continued: Now we're going to put in the sepals, which
are these parts, these green parts it
can Up around the rose. And we're going to
treat them the same way we did with the petals here. We're going to try and
see them in isolation. So let's start with this
one on the frontier. Try to see the shape
of it where you can do to make a little point. We think it comes up to. But I'm also going to
make a point of weird. This bigger part of
it comes up to this. I guess there's a little
bit like a triangle shape. I'm just going to
pull a point here. Since the shape, I'm going to sketch that
shape out first. Looking at the
angles, looking for any straight edges
that you can see. It's quite straight across here. Comes down just a
little bit beneath the rose bud and comes across. And then it's got a seem
to steam to it as well. Comes up here. That's the first path. And then we can look
at this second part, which is sort of
like an S-shape. And then another east
shape on the other side. Just need to make mine a
little bit bigger here, so it comes around and been around. One. Let's go ahead and do the
one on this side here. Now make sure you've got this
angle and of that petal. Then we can think about where the sepal touches
that petal with, where it comes up to before
it gets really skinny. So it comes up to about here. And just looking at this one, this one is just
slightly higher up. So here's the front, each of it. We can look at this shape
and between the petal in the sepal and isolate bet.
What does it look like? It's like a very thin segment, like a lemon segment
or something. Then we can bring this one out. For the shape. It's got almost like a
claw that comes up here, but let's decide
where it's going to end up now I'm just
going to get rid of my original shape. When I look at this one here, this petal clause
comes up to here. A little dot there. Very, very skinny
here in the in has gotten like a half-moon
shape at the top. We could go around that and just even out the shape a little bit or look for those
unique paths to the, EH, we can add in these
little spiky things. We've got this one that
comes up behind it. So joints to the pH
will be out here. It's kinda come up to
maybe here, maybe that me. And it comes in line with
the side of this petal here. So this can come up in, in it's going to go up to that point or I've
changed mine a little bit. Sometimes there's
a balance between your markers and in what you see when you're
actually drawing it. It, it's pretty little
bit narrow here. And we've only got
two more to do. Let's put this little
one at the top here. That's very easy. Just like a floor up here in
this one over the side here. So we wanted this one, this
one that comes up here to look like it's got
that nice curve to it. It's looking at the shapes.
We can see the main shape, the inside shape of it comes up. Here. It's about equal height
to this one in the front. Comes across and it comes down and it's going to curve in to meet
the side of this one. I'm looking at just
this inside part. Then once we've gotten there, then we can add on extra
parts of this outside. Well, let's do this
top part first. Isolate the shape to try to see it on its own as a cutout. Something like that. The inner
joins straight line here. And then we can bring
in these outside edges. So it starts here and then
joins in with the curve. And it comes back
outside the curve again. And then it comes back in again. Then you end up with this
very thin thin part here, which is the back of the CPO
versus the inside of it. And then of course we've
got to put the stalking. So let's do this. Just take a look at where it
lines up with these sepals. Because from here so I could
triangle on the bottom. Steam
8. Adding Light Shading: So we've got the
layout of the rose now and hopefully you are happy
with the shape of yours. I can see that mine is not
exactly like the photograph. It's not as skinny as narrow. And if I wanted to, I could probably correct
that a little bit just by making this
line come in a bit. I want to change things too much because the United have
to change everything else. I mean, I could probably think this angle is
not quite right. It's probably more. I could move this over
if I wanted to better. I'm not going to worry about it. I think it's close
enough to a rose. If that was something that you were wanting to get correct, then we could add an
extra step at the start, which we didn't do for this
class. So usually we do. But measuring the height
versus the width. We're gonna get
onto our shading. I'm going to get rid of all of the lines that are too dark and also the lines that
I don't want lines, double-up lines or the
original shape that was there. I want to get rid of those. Try not to rub out anything
that you can have to redraw. Probably rubbed out a little bit too much of that one near, but it was just so I could
find the right line. Just a little bit
too dark in here. We start shading. I think what we'll do is
we'll start with this one. Then we can go to this
very, very light one. And now it looks
like it's white, but you'd probably
see it's a little bit darker on the
right-hand side. And we want to have
something on it, not just hit it,
it'd be plain white, something on it that we can
then fade out into white. So let's start with this
one here and then we don't have to be
quite so careful. But I'm just gonna go ahead and start Shading very lightly. Same way we did in the
Exercise using your pencil, holding it further back if
you can, in as I do this, I'm going to tune
my shading around to match the direction
of those veins that you can see on the pH of or at least had been
going this angle rather than Up and down. So that I'm already
getting a bit of the texture of the petal. Back-and-forth. I'm trying
get a rhythm vet tried to keep your lines close together. Digitally native to go
a bit darker than that, probably up here
and the photograph, it's probably almost correct. They might just be a few extra
parts I'll add in later. But especially from down here, I'm gonna do another layer. It's still just
using my HB pencil. I've yet to get quite
a bit done with HB. Before I move to a darker pins, fearsome, little white areas, you could come back over those very light pressure
so you don't get a darker buildup of Shading he wanted to
match what's there. Which means you have to edit
a little bit less pressure. Because otherwise the
graphite wall layer up and you'll get double
what you had before. Now you can keep it
quiet, sketchy like that. I kinda like the linear Mac. Or you could get your
tissue and just give it a smudge at this first layer. Now, when you smudging is
very, very light pressure, you're not scrubbing hard because it's just going
to rub the Pencil, the graphite into the paper. We want to keep it on
the surface so that we can smudge it and also so that you don't damage
the tooth of the paper. Then we can go ahead
and put in the shadow. If you want to lightly
outline and you can do that but same as
in the exercise. You want to keep this
line that you drawing. I'm drawing that shadow area. You want to keep that
is the same value, is Your Shading is going to
be the same value or lighter. It's really just a
placeholder so you know where you're going
to be shading darker. And then I'm gonna go
through and build that app. I might need to come over
this with a darker pencil. I get TUV. When we look at it
in the photograph, if we were to isolate
that, that value. And you think about a scale
of one to five if you've done eating my Shading scales
very quickly anyway. You've got 123 is
like a middle gray. Terrible Shading here,
but just to show you for is a dark gray. It five is what I can't get with this Pencil would be five
would be like a like a black. If that's our scale,
12345 shadow here, it's probably, it's at least
a three, maybe a four. And what I've gotten my Shading here is probably one, a two. I know it's gonna
have to go dark if I want to match the values. So don't get to do a
few layers on there. It's keeping your
lines close together tried and not lose
the shape of it. Light petals. We're going to
adjust that a little bit. Smaller lines now and I'm not going in the same
direction as I was before. I'm just building up Shading. Can even do small circles
here if you want to. Gets a little bit darker as
it comes down the bottom. I think actually the the
edge of that shadow is darker than inside because
the inside is getting the reflection from the inside of the other petal.
That makes sense. It's getting some light
reflecting off it. So this part here is actually
a little bit darker. Okay, let's move
on pretty quickly. I'm just gonna get there.
Just a very Light smudge. I want to keep the edges
of it quite defined. And we will move on
to this one now. So this one is going to be a lightest and I'm just
putting a little bit on this side and I want to very lightly figure it out
into nothing basically. So really good practice
for Light Shading. Barely touching the paper as I come out and maybe
even sort of doing it and just a few little
flourishes like that. So that you're just
getting a little bit of graphite and you're lifting up as you're moving
towards the lighter side. Pencil just lifts off
the paper. Eventually. It might be all it
needs on that side. You see I've got the doc, each dopamine Up a little bit and I'm just feathering it out. Do this with control if
you want or you don't have to do the flourishes. Just do small circles. But as you come out here, so, so light, it's barely
making a mark on the paper. Then as you go back, it can
be a bit hard to appreciate. And in light of Graecia just going over that line to blend it could also just give it a little smash
like this as well. Okay, now let's to, what we're gonna do now and I forgot to do is we're
just going to put in this darker shadow area
down here on this petal, he see that it's almost
like a rectangle shape. Starts to get darker
as we come up here. We're going to refine
that in our next layer, but let's get these other ones. And now when you shade these and make sure your edges are
going to be the same value. They look a little bit
too dark anywhere. Then just lighten them up a
little bit with your eraser. This one needs to be
docket in this one. I'm just going to
cheek that each make sure I got that nice little
ripple in the earth. And then I'm going to shade
to the same value is at line. We don't want any
outlines on this one. When everything to just
disappear into our Shading
9. Shading Continued: I think it's probably time
to move to the be Pencil. As we go through these. I'm just going to
do a layer of HB, maybe one, and then to
going back the other way. But you can see these are
gonna be pretty similar because I can't really
get too much darker. Probably could by
pushing really hard. I'm onto my paper. I
don't want to do that. So I'm going to switch
now to a Tooby. And just in here it's
a little bit darker as it was little small circles. Show the difference between the part of the petal that's
in shadow and the Egypt. This front petal, a
little bit darker here, a little bit darker here. Unix go here and probably dark and all of this
Up a little bit actually, just very light
pressure with the to be talking a little bit closer, this one here needs to
come up a little bit too. So let's go ahead and
put in some to be here, being mindful of that. Each keeping the same shape. Remember if you outline
it to get the shape, Your Shading needs to come
up to that same value. A bit dark around here. Most of what I'm shading
more when I'm shading. This most, mostly what
I'm doing is I'm putting something in Shading and
in listening the pressure, moving to a lighter area, listening the pressure,
these bitcoins, I'm just gonna go ahead
with my to BP and soldiers because they're not
quite so important. I don't need quite
so much detail. The back here, if you can't
quite see what's happening, just look for the values. Match the values if we
can't match the shapes. So it's lighter Becky of
in it as in this one here. There's a little bit of light coming through in the
corner of this one. I'm going to make sure
we leave this up here. And in this one behind it is a little bit
darker than this. If you finding it challenging, controlling this to be Pencil. And this is a very software, it's possibly a
little bit too dark. If you're having
trouble with yours, then go back to your HB
pencil layered up fist. And I'm just very
quickly going to give those just a couple
of smudgy smudges. Check my values. Coming down the side
here of this one to define the front petal. Now we can bring
this to be Pencil, your darker pencil into this front piece here over top of what
we've already done. I'm just going to
check that edge. Make sure I've got that each defined, almost outlining it, but very lightly
and then go on and just darken up this
especially down here, you see the contrast
between the photograph, between the white petal
in the shadow underneath. The shadow underneath
is quite dark. You can build it
up a little bit. Your Shading max close together so you're
not getting lines, trying to get something
that's nice and even docker up here to probate whole thing
needs to go Mintaka. We'll see when we put the dark green pods and how much darker
it actually needs to go because it's gonna make it clear that the range
or the contrast, the relationship
between this dark. In this doc. You need to go darker down here.
10. Building Contrast: I'm gonna go heat and
put the sepals and now in it so that
we can see what's happening here in relation to
that very, very dark value. It's put in this one
on this side first, It's got a very light
line along the Egypt. If we can, we want
to leave that, I'm going to issue draw it in, leave my original
line in a drawing, another line just slightly
to the left of that. And I shade in this whole
thing with my TUV Pencil, you can holding it so that data, the side of the pencil
lead touches the paper. Can do it in patches
if you need to. Trying to keep the
pressure, even. Tidy up the bottom here. You see there's a little
bit of a light line that comes through here
in the photograph. So we're just going to dock not either side of
darken up here. Darken up here. And leaving that
little bit in-between. In this front each year
is very, very dark. It's pretty much black. I'm going to build
it out probably a couple of layers
to build it up. You see the Contrast now between the yellow rose into
the dark green here, dark coming up here. So you're looking for any
areas that are lighter, like this part up here and
you're leaving those in, then you're going dark around
them because we already got the base layer of Shading. Maybe just dark in this
part up a little bit. Now come up with top here. Very dark. This whole thing is very dark, so I'm just going to shade in
this shape with two layers. Do one, me see scribbling in window,
another one over top. Fill in all those spaces, trying keep your
chest nice and tidy. Minded, getting a
little bit messy. Bringing some of
these little ones will not be they look
a little bit like the ones flicking out
to get the point. And then you can fill in the bottom part a little
bit more to make it. The bottom one. I'm missing one, I'll do
another one down here. So flicking out a point in the camera down a little bit and create a triangle
with base of it. Why not exactly the same, but I'm just kinda
getting the idea of them. It's pretty a couple of
little ones here to flick, little flick, moving around. We'll do this one at the beck. They should take
not too much time, should be fairly quick. Now have a look at this
age of this petal here and draw that and make sure you've got a little bit of bumping it. And then we can
fill in Bank one. I'll go ahead and do
this one here as well. I'll do those quite quickly. Well, I'll speed up the video. Just to remind the unit
or base layer fist. Quite dark. Get it nice. And even in the, and look for those
really dark areas and leave in your ears
a little bit lighter. My base layer for this
one and now I'm going to really enhance those black
areas are the dark areas here. And here. This one here on
the side you see that Shapes slightly
lighter area. Isolate the shape in
your mind with your eye and shade it in probably
about a number four value. In this one here is
definitely a number five. So getting, isolate the shape, draw around it again, and then build it
up to that value that you need if you go to VPN, so there isn't dark enough. This one's quite soft, then you could go to it. Even softer pencil three V4
be even a 6 ft if you want to come up here, minds a little bit
longer than the photo, that it's a little bit
lighter just here, and then it starts
to get dark here. Just started raining. It's winter. In New Zealand. She's been raining
for a little bit, but it's just static
in really heaving. So I apologize if there's a little bit
noisy coming through. We're just going to put few little prickly
things, almost one I just pulled slightly darker
on that side as well to keep that and raised
area. Lighter. Part that comes forward a bit. It's picking up a
bit more light. It gives it a really
nice 3D form to it. Last, see for this one is not
as dark as this one here. We're going to shade it and
probably with two layers, I think that we're just going to be aware of how it
compares to this one. I'm shading these in
quite quickly and I'm probably not being as
careful as I could. Take your time in Finland, all those little gaps, which is small even map. This one has a
Light each as well. So leave a little bit of whitespace like that and
then shading behind it. Same down here.
Lightly edge Jordan. Shading behind it all the time. Any lines that you
draw have to be the same value that
you're gonna be Shading the same
value or lighter. You don't want
them to be darker, so you draw a big dark line
here or here in the notes, it's really going to show up. So give me an example of it. I'm going to draw
this line here. There's quite dark
on the inside. If I shaded that, then you can still see the outline
which we don't want. So I need to make sure that
shading in that line, Mitch. Guess that's it. It nice seats or 3D form
when we can get the Shading. Lights in the darks
and the right place, little bit darker and here
leaning out a little bit. In this part here is quite dark. Draw the line and draw the
chin and then just shade it. Dot through here and then comes a little bit
darker down here. Just tidy up this pops with me. See in mind. Look
again at the shape. Nice blend here in the
photograph that goes from dark to a little bit less dark, but you can't really
tell where it changes. So that's again, we want to push harder here and then lessen the pressure as you
come up towards the lighter area till you're
barely touching the paper, just layering up and layering
up until you get what you need is put in this
dark shape in here. Which shape? It's going
to give this Light. Each to see Paul here, we can draw quite dark
on the other side of it. A little bit of light just
here and it's part of it, simple. The inside of it. In a dark shape. Have a look again at this
shape is you're drawing in the outlines of
it. Being shaded in. There's a few values and
I'm going to shade it all one value, like a dark gray. And I'm just going to look for the darker parts,
darker up here. Leave the slightly lighter
parts docket right down here. While we're still
using this to VPN. So let's go ahead and put
in the steam as well. I'm not even going to use
a HB layer on this one. I'm just going to put the
two steams not so important, that can be more sketchy. But if you do want it to be, if he ever really smooth
style and you do want it to look same as everything else. And then you could
do an HB layer first to the darker
triangle shape here. And then it's dark
and down one side. I'm just going to tidy
that up a little bit, much just like that. And then maybe putting some
of these details you see is a little bit of dark shading down here when we start
to shade it in line. This has to be
much, much darker. Then just darken up the steam
as much as you want to. Like I said, it can
be a little bit more faded out if you want to, because it's not
the main feature, I would get this part and
here nice and dark In thing. I'd also just look at
this age in this H, that is light one and
this light one here. It is a Light age,
but it's not white. Down here. I've still got mine white. I need to just get rid
of that a little bit. It's really standing out. And even Up here it's not
gonna be white because it is a green highlight on green. But it should be
lightened in this and it's where we're going to start to balance things
out a little bit. Here needs to be darker. It's going to bring out
that Light eat chicken. Drawings all about refining
what you put down first. It's not going to be what
you end up with at the end. Refining and balancing. This one here was it needs to be pushed back a little bit, made a little bit darker
11. Refining The Drawing: Okay, last thing we're
going to do just about finished is just make
sure we got no outlines. Some of these areas
like this one, it's an outline that
needs to be shaded in. And we'll also going to work
on this front petal here. Please just do this for now plus one and get
rid of the outline just by adding the shading at the
same value as the outline. A little bit darker on one side than it is on the
other side. I think. I'm just going to a
little bit more work with the HB pencil. Make sure I've got everything in the right place before I then go here in builded up
with the two bases, quite a strong angle there. This shadow. Then as we come around here, this shapes of shadow just with the petal is
wrinkled a little bit. This part, this wrinkle
here is casting this race paths Cassian
little bit of shadow. Not the race paths are
picking up the light. That's just with like a like
a little bit of a scribble. Doesn't matter if you've got
a bit of texture in there because we've got texture
on the petal bit. You see I'm following the
direction of that texture. So a little bit that
comes down here. Now if you were wanting to
spend a lot of time on this, you could zoom in and pick out these little highlighted parts. Make sure you've got those
in exactly the same place, in exactly the same shape, but I'm just giving an idea of them in even just that
looks quite nice. It gives it a little
bit of a ripple. But then we need to
build up this one here. Let's patch good layer
of shading there. Trying to keep your
lines close together, but you can do one
more pass over top of them if you've
got lots of lines, very light pressure when you
do that so you can pass. Keep the texture and we'll just give them a little
bit of a smudge. I'll leave these ones
because it's quite nice. It kinda crepe, feel
like crepe paper. And now we need to
build this app. So keep going with you to keep
going with your HB pencil. If you getting dark enough max, and if you feeling
like you don't have enough control with your to
be Pencil to keep it light. So we can just keep building up, do another layer buildup, buildup for a few. Comfortable with the to-be
Pencil that you've got. Then you're going to come in
with it and you're going to go as dark as you
need to down here, it's quite dark, so I'm going to do it in a couple of layers. One layer, feather out the eachother so it blends
into the layer underneath. It's quite soft or
use your tissue. And then I'm gonna do another
layer leaving this easy. There's a little part just here. In the photo, is a
little pat lighter, gone up, gone over
with that layer. And now I'm going to bring
over the staff labor. I'm going to leave
that little path. See there I'm just
kind of moving away. Is I get close to their age
or just not going as far. You see I've left that
little highlight area there. Comes up a little bit. So none of this should be white except perhaps a couple
of parts up here. Everything else should be gray. It should be a light gray. And in some parts like here should be at least
a middle gray, maybe even a little bit darker. I can see my whole front era he and definitely
needs to go darker. I'm gonna do a layer with the to be very, very light pressure. It's a dark pencil. And I just wanted to use
it lightly following the direction of those
textures and patterns. And then smudge to get rid
of some of those lines. That's getting in now, probably could go a
little bit darker, but I actually kinda like it. That value, it feels
really delicate. I've got the shadow
here, but can you see the shadow here that is being cast by this Seaport is another little part
of a mark your essay. She got a curved each to it. Follows the shape of
that a little bit. If you want to, you could very, very lightly outline it. We want it to be super soft. And then shade and shadow. I think that's a
little bit darker on one side than the other. But it does blend really nicely into the value of
their patients. So we need to just go
around the edges with a really soft touch
and feather it out. I keep saying furthering. What I'm talking about is just almost like little scribbles, but you are listening the pressure as you move
towards the light area. You can do this with
scribbles like this. You could do it
with small circles. You could talk
with side-to-side. Whatever technique works best. But the main thing is you're listening the pressure
as you come towards it, Light here it until you basically lifting the
pencil off the paper. Just going to build this went
up just a little bit more. Maybe comes in a bit
darker here as well. And then it gives you a little
bit of a highlight there. And then we need
to just darken up. Well, I need to just darken up my shadow here just
a little bit more. I'm balancing the values now I'm looking at where it's
not quite dark enough. Remember it was a
little bit darker along that each of the
shadow and I don't need to do that if
you feel like it's going to disrupt
things too much. Because quite a nice effect of that reflected light in there. Anyway, you've got a lot of texture and you
don't want it. You could use your tissue. When you use a tissue or
any kind of blending tool, you do lose contrast. So I've kind of lost a
bit of my shadow there, especially when you're
using a soft pencil. So you might need to
come back over again.
12. Review: Let's go back to our main ideas that
we're focusing on here. We were looking at
Shading lightly. So I want you to make
sure that you've got areas of very
Light Shading like in here that was actually white but we hit it just
disappears at this here would be a lighter CRE
or Shading and then Contrast. So have you got
these dark enough? Mine could go darker. Probably I'd need
to get a Pencil. Let's try this one. This one's a 3D. See if I can go a
little bit darker so that we are addressing
the color, these dark green. But we're also getting
Contrast and now Drawing. It's not just like
a big gray blob. Sounds terrible. But sometimes when you up-close and you're looking at your drawing, you're
working on it. I'm just going to darken up
these paths in here as well. In this path to make
this each stand out. But what is going to say is sometimes when you're
working on your drawing, you think you've got Contrast and that you think
it looks great. And then you take a
photograph of it. And it looks really great. Part of that is your
camera usually. But it's also that you
just gotten too close to your drawing and
you haven't really taken into account the
contrast of the values. Even if you don't
have high Contrast, It's always nice just to put in a little bit more
contrast than you think. It's going to.
It's going to make your drawing pop and
surely stand out. And it's going to
enhance the 3D form, which is usually what
we're working for, working towards in a drawing. You might notice, you can notice by looking
at mine or you might notice when looking
at yours as soon as you start adding in
these dark areas, the whole thing just
looks way better. Has more impact. It has more depth, which is what's
really happening. These dark areas provide
depth, especially in here. And under here. Shadows
13. Summary: I hope you've enjoyed
this tutorial. It's called a simple subjects, but there's a lot in there. And I hope that you can take some of
the skills that we've covered and to your
other drawings, especially Shading lightly. In contrast, creating maybe
even more contrast than you'd think you'd
just giving it something, at least giving it some
black points somewhere. That's really make
your drawing pop in, give it a full range of values rather than it just
all being quite gray. And the other thing
that I hope you take away from this is just being really aware of how light
or dark your outlines are. We knew Sketching. We want our
outlines to be the same or lighter is the values that we have been Shading
and next to them. I'll keep working
on this imperator. Thanks very much
for joining me and hope to see you again
in another class.
Emily Armstrong, The Pencil Room Online
