Drawing & Shading

1. Introduction: Hi and welcome to the pizza. I'm Emily Armstrong. I'm an artist in the teacher in today. I want to teach you about drawing shading when we talk about shading. We're essentially talking about creative partner with a pencil tones at the range of values between light and dark, all those different graves that between. And it's the ones that will create a realistic scenes of three dimensional four take you through a couple of different exercises fiercely will analyze an object to find the different times they will have a go at shading some tones and trying out some different shading techniques. And then we will work on your project, which is to shade an object from start to finish. So if you're struggling to create a realistic scenes of three dimensional form in renderings, this is the last few 2. Your Project: in this project, we're going to be shading in objects. I want you to find an object that is simple in design and is light colored, So some examples could be a coffee cup. We don't want any thing to complex with surface detail. I've got a candle here. Glass can be a bit tricky, but it could provide you a challenge if you feeling pretty confident with your shading already or a regular China Cup, and this is what I'm going to be using for the exercise. So if you want to follow along with me and use that as your project you condone, download the photograph below to something simple. We don't want to be too worried about the proportion. It's more about the shading and looking for tone. If you do want to learn a bit more about proportion, you could check out my video during in proportion. But for now, we're really looking it, shading in finding light and dark. So we're gonna place our object next to a light source, ideally a window so that were the lighters hitting, you'll have highlights. And on the other side, where there is no light hitting the surface, you'll have some darker tones in on the surface. It's sitting on your have some shadows 3. Tools: just a couple of other tools that you might want to have with you as we go along in that I will be using. But you don't need them are blending stump. So these are paper blending stunts or blending sticks. And they are essentially layers of paper really, really tightly rolled up. And you can use these to just smooth outages or blend layers together. We use these very, very subtly, and I will show you how I like to use them. And you might want to have a party, a razor with you just for eliminating some of our initial Skitch max. And also we will use us in a point to bring out some of l highlights of we lose some of those light areas, all those white areas when we're shading. 4. Testing Our Materials: to start off with just going to have a little play without pencils, a little bit like in the Mac making video, but in relation to tone so we can figure out what tones we have to work with here. This is my two h pencil. If you saw the mark making video, we started with trying to make a light and Marcus possible when it disappears into the white of the page and then slowly increasing pressure a smoothly as we can, until you get to the darkest mark that you can make with it to H pencil. And we would just repeat that without to be Pitso light as possible. This is just a quick play without materials to get used to the different pencils again and as dark as possible. You can see a big difference between those two since my two h this is my to be, and finally a six B light as I can, and then slowly increasing the pressure with which I shade on the paper until I get the darkest possible Mac, it's my six B. So as we go forward with shading an object, we're going to have a go at finding at least five different tones with a net subject matter , and we're going to want to find the lightest possible tone and also the darkest possible tone. So I have a look at these here, obviously the lightest possible tone I can make us with my two h pencil. Let's have a go it coming up with five different tones from light to dark. You can arrange this any way you want. If you want to be very Lanier like me, you can do it in little swatches, just holding you pencil quite loosely to see the easiest way to get the lightest possible tone. You may not be a to see this on the camera because it's pretty close toe white. This one here in the middle was going to be a mid grey, so I might go straight to my to be pencil here. Think about what's the middle tone between black and white, really, and I'm just holding. My parents were very loosely, so my whole risk is moving, going back over my shading until I get something that I think is a middle gray. You need to find something between my middle gray and my lightest possible time. I'm going back to my two h, finding the right pressure to get a tone, that force between those two that I've already done. But it's jumped right to, oh, darkest tone, which is gonna be without six b pencil, and it should be as black as we can get. And then we'll try to find something between the mid grey and the black, and I'm going to go back to my to be pits or Mr Be Darker than this one, but lighter than this one. I'm trying to get from the middle time the exact mental time between these two. So it's a bit of practice getting the right pressure of your pencil and you can you can go back over them. So we're going to label these. This is our darkest, says the lightest. This is a mid grey, much gray and Doc Gray. If you've got a party, a razor like this one that you can squish into different shapes might not be pink. It could be gray or a different color. Now is the time to have a little play with better as well in the way we might be using a potty racers to create some highlights if we accidentally shade too much, or if they're just really small highlights in the too hard to leave. What? So we can shape the razor into a small point and just drag across some of those tones and see how it picks up the pencil off the page? This one's quite soft. I do have a firmer one as well. That would stay in shape a little more easily. You could get really, really small point. Let's see how well it picks up this really dark graphite. I have to go over a few times. You can create textures with these as well. You can step into this with some something that's textured. What is creative pattern with my fingernails, and then you can step and it pull it off. Just watched part of the razor is touching the pizza Mac, and if you have any paper blending stumps like these here, I've got two different sizes. You could have a play with these as well. Now people love thes, and they really need to be used very sparingly. If you go too overboard with them, you just end up with a gray blurry, miss. So they really just for blending? Maybe we have two tones that haven't transitioned very smoothly. You can just use a took two. Very lightly Blend them together. They do get quite duty. If I've been took this same blending stump and went over here, you see that it's making it darker because I'm taking graphite pencil from the blending stump in its falling back on to the paper. The SC. Sometimes you have to clean them off as well. So what a lot of people tend to do is they love that. It Smoothes out all the marks in, though just go crazy with it. They usually begin to sit. Come to my drawing classes. I have to try to restrain them, and you just get a big gray miss. You lose all of your delicate pencil marks and delicate tones, So if you do have one of these feel free to use, it only were may need it, and I'll show you when we go through my drawing where I think it may need it. If you don't have one, you just have to be a little bit more careful with your shading. And ideally, that's the way it should be should be at a shade very, very light. And then lay that up with doc your layers so that they transition very, very smoothly, and you don't need to use a vending stick. Whatever you do, please don't use your finger to smudge. It's another thing that people love to do, using the oil from your finger and whatever else is on your finger to blend. And again, you just get a big mess. You can't control that. You don't have a sharp tipped like the blending stump. So if you do that, please don't do it for my exercises in my classes. So I've made a bit of a miss here, but it's just to have a play without materials and see what the potential is in relation to shading. In a moment we will move on and we'll analyze the subject matter and look for at least five different tones within that subject matter, which we will later draw 5. Identifying Areas of Tone: So we've had a bit of a play with our pencils in a moment. We're going to take a look at a subject and we're going to analyze that subject. Find a range of tones from white through to black and they will have ago shaving those times. So I've got my photograph here end over on this side. I'm going to draw a diagram that shows the different tones just to make that really clear in my head. Now, this isn't going to be a finished drawing, so I'm going to draw quite dark. Normally, we'd start off very light. We maturing emphatically. Rima shading. I'm just going to sketch out a round shape. Doesn't matter with us a bit wonky. We'll go through the process off how to identify the tones in your subject. So the first thing I always look for is the lightest area. The lightest area is going to be the part. It's usually stays the white of your page, so we now have a look at this photograph. I can see that around here. That's where the light is hitting the ball most. And there's also a reflection under here, which is were the white off the ball is reflecting back up off the table. It's kind of a strange place. You'd usually expect there to be a shadow under there, but because the light is coming through and hitting here, it's reflecting down and then back up. It's draw in the areas of what it's just an approximation, but it's going to help me see the different areas of tone. I want to find at least five different areas of time, so something like that is probably the lightest area. Maybe it comes down a little bit more and also hear a swell. Next thing I would look for is the darkest areas. This is just getting out. I used to light, dark and all the tones that fall in between, so the darkest areas would be here trying to see that as a shape. Sometimes it helps to squint your eyes a little bit, so when I squint my eyes and see a gene rule dark shape that goes something like that. And there's also another part here, which is also almost black, the same darkness. Maybe it's even a little bit darker, and then I have a look in between what are the different areas of tone that I can see in between. So here and here, probably the same, like a light gray. And maybe through here was that dot Gray and then in the middle might be how much sorry in the middle might be on mid Grey. Don't forget about the shadow as well. So here and here We've got one about three different tones there, and then I'm going to go through a number of them. I'm going to start with the lightest tone, and I'm gonna call that number one. Then I'm going to go to the next lightest tone. And actually, this here might be the Knicks. Slightest, it's not quite white to Maybe this is too as well. This here might be three. This is also a number one here. Maybe around here might be number two. So it's up to you how detailed you get. I'm happy if you just want to call all of this number one, all of this, Number one and just have five tones, but I'm probably gonna end up with a few more. So I've got 123 What's the next darkest tone is probably through here I'm just saying that is another area of tone. It kind of falls across the middle. It's very subtle, but this might be my four for Let's go with five six. This is just a little bit dark in here. I'm gonna call that seven might be sitting down here, too, moving in tow. Eight. What have we got down here? This is our darkest. It's the same as this one. So that's gonna be eight. Let's make the seven. And if this is going to be six, it should be about the same as that. It's actually dot but darker. I think so. It's cool. It's even as well. Okay, so there I've created a diagram off the tones. From the lightest light to the darkest stock. It's usually between white and black. If I wanted to, I could also bring in the background, and I could think about comparing the background to the ball. Where does it fit in tone wise it. This part here is a bit darker than the background. So maybe the background that's in here, which is number seven. So maybe all of this is number seven and in the table that it's sitting on this lighter than this. Egypt's lighter than eight in seven. First to compare it with another tone. Maybe it's about here. We're here that might before. Perfect. It's a bit darker here. See? Like I said, you can get as detailed as you want. I could go through an end and all the subtle differences between number four and number seven that four through here. It's really an exercise in identifying end comparing the different tonal values between light and dark. And this is in preparation for doing that with subject matter and in shading in those tones . 6. The Scribble Shading Technique: Now that we've analyzed the tones in our photograph or l object, we're going to have a go it doing some shading. I'm going to show you a technique that is possibly different to what you are normally used to doing when you're shaving and it's a screw Billy really scribbling technique. So please give it a go. Don't be afraid to try something new, and it's going to be a way to show you how to build up different layers of time from light through to dak without using any outlines. Most people tend to shade up and down when they're starting out from side to side. The problem with that, especially when you're shaving something that is rounded a bit, this very linear mark teens to flatten out the surface. So what I'd like to do now is just a quick exercise in trying out some different shading techniques. I'm going to switch to my to be paints, or just so that you can see what I'm doing. Instead of shading up and down, have a go at shading in all directions, and you may have to change the grip on your paint so toe hold it at the end very loosely going up and down and side to side and round and round. So this might feel really strange to start with, but have a go If I want to lighten the max, I just listen the pressure off my pencil on the paper. And if I want to dock and the shading, I go over top of what I've already done and can you see how I start to get very smooth transition between light to dark as I continue to build up layers of this kind of every direction shading it can still be done with a linear shading up and down, but you're a lot more likely to have these edges. I want to light in the mark. I listen the pressure off my pencil, and if I want to dock in the Mac, I layer it over top rather than pushing, just pushing really hard. I want to build up layers so that I can have smooth transitions between the light in the dark 7. Using Shading To Create Form: So our challenge is to shade this around object without using any outlines. So we're going to create form by building up layers of tone only. So I've identified my lightest area. We did it in the diagram, and I'm just thinking about it again. Now, what was part here is going to stay white of my page. This is the darkest area because this is the darkest area. It doesn't matter if I put a light layer of shading down there. I can build up over top so effectively, What that means is that all of this area here, excluding the white area can be one light layer of tone. Just gonna have to be about bet value there my next lightest value. So what that means is I can shade in the form off the ball. It's money if it had to see to start with. So I don't want you to shade around the outside because that's effectively just drawing an outline again. Just a thick shaded outline, some thinking about the whole form shading and everything except that white area. And I can shade in the shadow as well. So we're gonna be that one layer of tone. I hope you are having a go at using the scribbling Mac. You can always go back to your side to side shading, but have a go at this. Like I said before, you have to have a bit of face that this is going to work out. And this is usually where I start feeling, especially when I'm doing this on camera or in front of students stat. Feeling like that doesn't really look like anything. So list lift this power white here, the next level of shading that I can add in once I've already got this level here. There's probably my number three. So I'm going to shade in Dhaka. I'm shading the whole ear ear of dark tones, everything that's darker than my wife's and my number one ton, some building up the layers building and building and building. I'm using my two h pencil booting up my shadow. I'm going to switch now to a too big insult because I want to increase my tones. I'm going to start heading and the's darker tones these mid grace. But again, I'm going to shade over these dark tones as well, because I can build them up at the same time, doing my kind of scribble around around side to side Mac still looking at those areas of tone and trying to see them as shapes, working on a bit of an angle here. And I see that I just kind of kept the top off. So just ahead and a little bit up here, I'm going to continue to build up my layers so the next area might be here. The Syria here is darker than the serious, so I'm not going to go back over that area here. I'm going to continue to build up this dock area closer to the top left side. So usually I would sketch a light outline. But I think this is a really valuable exercise in how to, um, Skitch tone, really, how to shade effectively, how to control your pencil. So I'm working on the shed or now shadow that falls on the table, holding up those darker parts, still using a very loose mark or lose movement from my shoulder. But I'm just making tighter circles or tighter backwards and forwards movements to build up that really dark area down here and then up here is very similar to this. This is probably the darkest area right underneath the ball and usually in your subject minute. You'll find that that's the case where it hits the table is going to be in the area of black. But this here is pretty close to this middle cheerier shadow here. I think so. Let's build it up. So it mentions that so gin shading is about comparing tones. And if you get those comparisons correct, then you'll get a true sense of form. I was going over some of the lighter parts that I've done just to not to darken it so much , but just to make it a bit dinsa, the more you look, the more you see. So I've noticed that down here is darker when I have a look at this in this here very similar. It's hard to see what is doctor and what is lighter. There is a bit of a dark line here. Now we've got this reflection over here, which is also what if I wanted to, I could go back to my two h pencil and I probation have done this at the start, but I just decided now that we'll have a look at the highlight that setting the table as well and I can shade in the tabletop and start comparing the tones off the table top with the tones of the board, some shading in everything except that highlight hits a table. This each here the side off. The each of the ball here is all much darker than this, so much darker than the highlights on the ball. And then, if I want to, I could also add in this background and make that much darker. It's probably almost the same here, slightly lighter here than it is on the ball. This is going to take a while, so probably just speed this up for you to see how it comes together. Remember, if you're doing this yourself, if you're doing it along with me in not using lines at all, no outlines, just shading. And it's partly why we're using the scribbling map to the scribbling action that makes it a lot harder to George outline. Where is if you're using a side to side shaving? You always tempted to draw in an outline because you're using a lineage, so plays me, so I'm just bringing in my six pay now to darken up those blackest areas at the moment is just not quite enough contrast between the light and the dark. So bring this in, particularly underneath here, and I'm going to have to do quite tight movements and then also around this background in this area here, a swell. I'm just using light pressure to start with, and then I can build up because building up is a way that you get that nice, smooth transition. There's no division between the darkest, eerie and the Knicks darkest and the Knicks darkest. 8. Sketching and Shading an Object: So now it's time to have a go at sketching and shading an object. I'm going to use this cup, and you can download this image and follow along with me if you like. What we will do is we'll start off with an initial Skitch, but we're going to keep it really, really light. And then we're going to use the shading techniques that we've learned to build up our tone and to create the form using the shading mawr than L Skitch. So to start with, I'm going to very lightly sketch out the cup, the shapes of the cup, and we could bring in a little bit of our proportion skills that we didn't in the video during in proportion. It's a good one to watch if you haven't already. So what I might do first in relation to proportion is just make a little market the bottom where I'm going to start drawing the bottom of the cup, and then I'm gonna decide how big I wanted to be. I wanted to come up to about here. It's my height. Gonna take my height measurement with my paint soldiers, smacking it out with my thumb and forefinger the distance from the top to the bottom, and then I'm going to compute it to the woods. Let's say the with along the top, and it's about one one and 1/4. So that means that in my during the woods along the top also has to be one and 1/4 times the height, and I can have a look at my angles. So it's always a good idea to sketch the curves and as angles first, and I'm drawing very, very lightly. I made these max a little bit darker so you could see them, but especially when we're gonna be shading. It's really important that your initial lines are very light, because in some areas, such as here around the handle around this room, where the light is hitting, there's no dark outline. And if you have a dark outline in your drawing, that's maybe come from your initial skitch. Or maybe you just think you want to define the object more by putting a dark heavy lying around the top. What you're effectively doing is flattening out the form so you lose all that lovely dips that you've created with your subtle shading in comparing of tones by putting a big, dark outline around it. So you want to start off really light in this lesson isn't about proportion, so I wouldn't worry too much about it. But if you have done the proportion drawing in proportion video in him as well put those skills to practice my team to do a lot of it by I. But I'm still as I'm doing it by. I am still thinking, you know, this part falls about 1/4 of the way up the cup, this point here and a lot of my form. No, sorry. A lot of my proportion does that she come through when I'm shaving as well, because I see the areas of tone is shape, and it's a bit like a jigsaw puzzle. You start matching up the different areas of tone, the different shapes of tone, and you might see okay, this part should be larger than I've made it here, and that starts to correct your proportion as well. The very first thing I'm going to do, like we didn't know exercises identify the very lightest areas, and they are actually here underneath the cup where the surface of the couple's reflecting off the table. There's a very small highlight around the room. I might do that with an eraser, and there's some square highlights or sorry rectangle highlights here and those I am actually going to just kitchen. It doesn't matter if they have a very light outline around them, because that light outline will disappear when I read in this shading here this tone. But it won't might outline off these highlights to be any darker than that tone between the highlights. Otherwise it's gonna show up. This here is also very lunch. If I compare it to the highlights into the reflection on the table, it's slightly darker, but I might treat it is pretty much what. And if I want to do very, very carefully, Mac that and I could. But you have to make sure it's gonna disappear when you put your shading over the top. So all of these marks are making now need to be lighter, then any shading I do. I'm going to work with a more linear shading technique, something that you might be a bit more comfortable with. Most people start off shading with a site, decide money a gesture. But even though we're gonna work side to side, try and keep a really low script on your pizza and keep the peace so moving right from your shoulder. So I'm not shaving like this because then I'm going to get divisions between my areas of shading. I can't shade a large area once when I'm shaving with my head stop on the page and in a very touch minutes. So I think identified my highlights. Everything else can be shaded in a light, very light value off gray. So what? Even my next darkest value of Grayer's after the white. I can shade all of these other tones in with that same turn because I build them up afterwards. And if you've got in a razor, much wonder, have that handy for these areas here, I can already see. I've got a little bit too much line work here, and I'm probably going to have to raise a little bit of a highlight here. This is where I've very largely sketched in those highlights, shading around them in the handle. They also shade in the shadows, so, trying to see this as a shape it she comes right out to here and there's a darker turn. I'm just going back over my light layer of shading and making it not darker, but just denser. So there's some areas of Piper that I've missed, and I want to feel those. Oh, no, I want to have a nice even layer. And I'm going to think about my next area off tone, my next layer and my next darkest layer. And it's this area through here find comparing tones is some of that same tone over here definitely in the shadow inside the cup. So those are the bits I'm gonna focus on next, and at the same time, I'm shading over the even dark areas because I want to build those up as I go. It really helps to squint your eyes, especially if you're looking at an object that is colored. We're squinting at. It helps you to break it down and toe black and watch helps you to see the broader areas of time are moving to my two beeping. So now end. I think I'll probably speed up the video here just to quite a bit of the ground wick, and then we'll have a talk about the room and how to get bet. Looking like it's quite soft and doesn't have a big sharp point on it. Enough trains at stopped drag do that was else. No someone. My No, I'm not saying just switching back to my two h because I feel like the Serie here's and quite it's enough not dark enough. But Dean's There's a few gaps in there, and it just looks a bit where she washy. If you are someone who is quite heavy handed than you might do a lot of your shading with your two h pencil so that you don't accidentally go to dot as soon as you switch to the to be, you're taking things up a level in terms of tone, everything gets a bit darker. I can also use A to H just to stop enough some of the inches of my shading because it's a very fine pointed pencil. Get a little bit more detail with it, then you can with a 22 BP it's with It's starting to go blunt, and when it comes to the room here, the way to tackle that is just to look really, really closely hit your tone. If I look here, it's Ah highlight. It's much lighter than it is underneath it, and maybe just above it on the room over here, it's light and then gets a bit darker all the way along. Really, Even here, it's a bit lighter than it is there. So I need to make sure that that top Yuria off the rim is lighter than this part here. Except for here with the highlighters, it's actually a little bit darker. On top of it, it's super subtle, but it's those really subtle things that make the difference. And again, it's all about comparison. You're looking at one tone and you're thinking, Is this darker or lighter? Then the tone next to it all the part next to it. I need to shade it in some war, or have I gone too far and I need to erase a bit. We know shading over here. Before I noticed that I had the shape a little bit wrong because I was looking at the shape off time. So I do have a little bit of each to a race just here, from my initial sketching and its speed this up a gin or we will be here. It's a I just heard something. No, some My I'm not saying everything. - I was born on way too. So I have. So this is a really good example of where I'm looking at the shape of tone, enjoying or shading that shape and net could effectively help. My proportion might help me realize where I've gone a bit wrong with my initials. Kitching. I'm also only shading up to the room. I'm not sure shaving right to the edge because that's a different tone value there. It's much lighter. I don't want to have any hostages between a dark tone, a lot like tone. At least I can see them and I can't see any age between here and here. It just transitions very smoothly. So I have to really control the pressure off my pencil, maybe go back over some areas and when I'm getting to that each where I wanted to blend, just treating it very, very lightly. It might also be where you bring in some of that scribble shading because it because it cleans things a little bit more easily rather than creating a linear divide between them. So you can see how long this is taking for me to shade just one cup, and it takes a lot of patients in faith, which I keep mentioning in my videos, just believing that if you're looking in your comparing that, it's gonna work out, even if it doesn't look correct straight away, I quite often like to compare drawing to learning and playing a musical instrument. For some reason, people think that artists can automatically draw in a. Sure some of them have more talent. But it's a little bit like saying you can play chopsticks on the piano, so that automatically means that you can play Moonlight Sinatra on the piano. It's not true, and it's the same with during. Just because you can pick up a pencil in Make some Marks doesn't mean you can draw something realistically. It takes practice a lot of practice in a lot of time. That same way musical instrument does, And even though you might not have that natural talents, you can still learn to draw the same way you could still learn an instrument. It might be harder for you, but if you were committed to it and you put in the practice time and you have basic coordination. I guess then you can learn. It's just learning. A lot of it is just learning skills. That's why I don't like it when people say that they can't draw because I could say, Well, I can't play the piano that I know that if I practice and I really wanted to, I could play more than just chopsticks. I'm getting to the point where I'm feeling fairly happy with it. I haven't really included this highlight because to do that, I'd have to shade in or the background. And I think that's going to take a lot of time and might be but boring for you. But to bring that highlight out, we'd have to bring in a light layer of shading the insane with this top room because the the top part of the back room there is lighter than the background in its light of in this inside surface of the cup. I'd have to bring in a Dhaka shading for the background. For this to really have that form, you see it's starting to happen on this edge here made that line there a little bit to duck . I'd really like to show you what happens we knew outlines something and how it flattens down. But I don't want to ruin the during in the example shading. But you can kind of see it a bit there. It loses that around us when there's a shop docked line next to it, because there's no sharp that line and the object that I'm looking at. So I'm just gonna stop in that off may even need to bring my razor and see Getting people to stop during outlines is one of the hardest things. It's such a habit. It's really hard to break, and I wonder if maybe it's because it really quickly defined something when you put in outlining, so you don't have to have that patients in face. It's going to appear eventually that it's gonna work. You can put in a dark, heavy outline and you've got something, but you're never going to get that accurate sense of form three D form, and sometimes you don't want that, and I'm not saying that all during tech to re really accurate, But it's nice to be able to draw accurately when you want to, so I've just been away and come back in. Noticed a few things, took a little break. It's a really good thing to do because it helps you see things fresh there is. You may have got caught up in what you were during, or just noticing one part and missing something else. And you come back and you see the overall picture again. So I noticed that in the middle here wasn't quite dark enough. And I also had a dark patch here that I've erased a little bit just cause it was too dark. So I'm going Teoh talking up in here. I'm going to do a bit more work around those highlights here. Maybe a little bit more work on the table. Just make the shading here a little bit denser and finer, and I'll speed that up so that you can still see what I'm doing. But we won't be wasting peeps of time just watching the shade, and then we'll go over some of the things that you can do within a razor or with a paper blending stump. If you've got one, I can't. But I can just Okay, so I'm reasonably happy with that now. I feel like there's still a few areas that are not quite right in the way I'm looking or gauging. That is, I keep looking at a tone, something on here and then thinking, Is it supposed to be lighter or darker than this area? And it's pretty a bit. It's supposed to be about the same, so I might have gone a bit too dark just there. Here is a lighter or darker than say this part, and especially when you get to that lip, it's really tricky. You've gotta pay a lot of attention to it. Is it darker here? Been the inside of the cap, or is it lighter? And it's darker till about this point and in its lighter, so changes. So that's the way I'm looking. When I'm shading, I'm flicking my eye from one area to another. Thinking, Is that light or is it darker? 9. Using an Eraser and a Blending Stick: Okay, So a few things I could do with my razor in my blending stick Firstly, I can rub out or these skeleton lines that have still got floating around That was so light that there, bill even noticeable. But just to clean things up very carefully, take those out. And because they're so light, they're really easy to raise and and you won't see any trace of them. The other thing I can do iss anywhere where I may have gone a little bit heavy with my shading, and it's supposed to be light. So perhaps these highlights right here. This just in really tiny highlights. I might have to bend in front of the camera, but to get those What I've done is I've just used a point on my A razor in picked up those little points there. I could do the same with these areas if I just want to clean them up, these highlights here, or maybe around the room off the cup, as I mentioned before, you know, this part of the room is what you won't actually see that defined. And this I put in the dark background. I just noticed that the shape of that in a part of the cup is not quite right. Just bring this up a little bit. Well, these tiny little things make a difference to the form. And now with my lending stick. So like I mentioned before, I think they should be used really sparingly. Maybe just for areas, say, with light grey blends into the white. And what that really smooth transition. I just stopped in the shaded area and Russia cross where I want that transition to bay rub across. You don't want to go crazy. Another reason I might use it is if I want all my shading to look flawless. And if you watch any of my other videos, I quite often say that I like things to have a bit of life in a bit of energy. So I don't mind that these pizza max and there I think that's kind of nice. It you can use them to given emotion to a drawing. Depending on how you use them, you can use them to give, like, a C just energy, or just show the Mac off the paints or the Mac of the artist. But if you didn't like that there's two things you could do. You could get a much smoother paper than this. This is just cartridge paper, but you can see from my shading that this texture that's coming through I could get a super smooth, super fine paper if I didn't want any of that to show through. I could also go over with my blending stick, working from light to dark in very, very lightly blended in and see. I start to get Max here if I don't have a nice, clean blending stick of it. She got a larger one here, so let's just try this one. But can you see how that's starting to smooth out those those lines and even the texture of the paper? I still want to keep the tonal difference, though I don't want all this to go the same gray. So that's why I'm cleaning this off and starting from the light again in working that back into the dark area. And I should be still looking it the cup while I'm doing this so that I'm not just kind of making things up. I could do the same up here if I wanted all of that picture to disappear, so I've just done a little bit. It's not the ideal paper for getting a really super smooth texture, and it's muddied up this each a little bit. So just use my razor to sharpen the edge back up, using a point that I've created with the party a razor. Now I do want to use the blending stick around these highlights. That's when it really clean around here. And it's such a light layer of pence or such a light tone that I could get away with using the blending stick and feel fairly confident that I'm not just gonna end up with a big miss . I kind of feel like I need to do a bit more of this now. It is addictive, but really just a unify, because I've started doing it here. So now I've got slightly different textures, and on the table would be a good place to do it. I want it to seamlessly blend into the shadow just around the edge of that shadow. I can kind of draw with with the paper stump just by picking up a tiny bit of the pizza, rubbing over a bit of the pizza when the in extending that outwards of it. There's one other way that you can blend your shading a little bit more, and I did it when I speed up the video just before and it's to go back over your to edge. So my two HP answer was lighter than this shading that I've done here with my to be that it'll just help to fill in the gaps and help to smooth things out of it. You've got more control than when you use a blending stitch. So this lip here is looking just a little bit, you see, So I might very carefully going with my leaning stick. Dear thinking. Sure, it's nice and clean underneath the lip is actually slightly darker, then shading down here so it doesn't matter if I get a little bit of extra graphite 10. Summary: I hope these exercises have given you a good base from which to progress your own shading technique and to produce a sense off realistic form in your drawer ings. I just like to summarize a few of the main points that I think a really important for shading, So the first thing is to look for your areas of light and dark. First, what's the lighter Syria? What's the darkest area in computer? The tones in between. You could always do a quick diagram like we did in the early exercise, analyzing the areas of turn. When you start off your skitch, keep it super super light. I can't emphasize that enough. You don't need to use any outlines. As soon as you define a dark, heavy outline, you flatten out the object. So unless you can see a dark outline in the object that you're during, don't draw a dark outline. Your initial skitch is light. It's just to give you an idea off where you're going to be shading the general shape in proportion Off your subject matter. When you start shading, start from light to dark, so obviously the highlights or any area that you want to be white will stay the white on your page. The next lightest tone. Start shading with your to H and shade all of the other tones with the same pencil, because then you're going to get a really nice slow, even transition from light to dark and new, darker tones as well. We want to have smooth transitions between the tones. We don't want to have a line where you've shaded light and then you've shaded gray and then you shaded dark. If you shade the initial areas of tonal with one light layer off to H pencil first you're going to get a much smoother surface in. The last thing is to have some patience. I know it's hard in, especially these days, where things happen so quickly and we're always looking at new things. To sit down and draw for an hour or two hours is is challenging for a lot of people, but you can sit down for 20 minutes, give yourself that time and then go away and come back. I have patients to build up those layers slowly, to really look for the tones and compere the tones as you go. If you rush it. You not going to end up with accurate on three D looking for? If you want to learn a little bit more about drawing and you haven't checked out my other videos and feel free to do so, you could also follow me. If you want to keep up to date with new videos, it will be coming out. Thanks for joining me today in Heavy George.