Drawing Texture | Learn Beginner’s Drawing Skills

1. Introduction & Tools: Hi, my name is Jen A Low. I'm a watercolor nature artist and sketcher. This class is all about drawing texture. In this class, we're going to learn how to draw four main textures. They are brick, wood, water, and metallic or shiny texture. Each texture starts off with a patterns video. That is because texture is so complex, there's so much detail in it that sometimes we cannot draw everything that we see. However, if we know the pattern, if we know how texture reacts to light and shadow, then it makes it a lot easier for you, the artists, to render these textures as realistically as possible, as well as simplifying the process. After the passions video, there will be two demos so that you can get an idea of how to render the same texture in a slightly different way. This is also a series class called Learning Beginners Drawing Skills. If you would like to start from the beginning, you can go to my profile and you'll see different classes going from level one all the way to this class which is level four. Now let's talk about the tools that we'll be using in this class. Once again, I'm just going to be using copy paper. You can also use a sketchbook or whatever paper that you can find. I really want it to be super easy for you to access these materials. Next, we're going to use four pencils. They are Hb24b, and in one of the classes I do use a B pencil. However, it's not really necessary, and two B are very similar, you can just throw that out and only use the two. The last tool is an eraser. Now this eraser is a special, very thin eraser, But if you don't have one like this, maybe just try to get a new one that has a really sharp end and that will help you to erase the little. All right, let's get into the class. 2. Class Project: This class is a follow along. After watching the videos, go ahead and choose one of the reference photos that you like and sketch it for yourself. In this video, I will be putting up all the reference photos. All you got to do is posit at a reference photo that you want to try out for yourself. When you're done, go to the Projects tab and click Upload Project. Don't forget that they are sketches. Try to keep your sketch to about 20:15 minutes. All right, have fun. 3. Warm Up Gradients: To warm up, we're going to be making gradients. That's because for texture, being able to blend and create these nice gradients from dark to light is really what is going to enhance your textures. Take a ruler. We are using five pencils, so we're going to break this into five sections. All right, so now we have six sections. We're going to start light to dark. The first pencil is H, B. As you're creating these gradients, you're also going to notice the difference in the pencils. The lighter pencils are usually a lot harder and sharper. As we start to go up in the numbers around like four onward, the pencils start to get a little bit softer and it's a lot easier to cover a surface at the top. You want to push down as hard as you can. This is supposed to be the dark. We can do a few layers to really just see, okay, How dark can the HB pencil get after going over several times? It looks like this is the darkest it will get. Now we're going to go down, we're going to just ease up on the pressure a little bit, and there we have a nice gradient going from dark to light. So we're going to do the same thing for the other pencils. Next what we're going to do is a different type of radian. Okay, so we're going to just use one or two of the pencils. We don't need to use all of them. Doing the pencil pushing down and then letting up the pressure. Let's do a slightly different one. In this case I'm just going to make short lines and lighter. Let's see if we can do another one. Maybe we'll do diagonal lines, and then maybe we'll just do some random lines. So like scribbles, go ahead and try different types of patterns. The idea is really just to get a lot of control over every single pencil, you'll start to notice the variation, how much darker and how much lighter pencil can be. These exercises are really quite fun to do and are a very good U. 4. Brick Pattern: Texture that we're going to do is brick. The first thing we're going to do is draw from our imagination using just the pattern, make some rectangles that are stacked over each other. It would be good to vary the rectangle so they don't all look the same because, you know, brick is not always perfectly symmetrical. Now we have the basic pattern. What we're going to do is we're going to fill in the entire space in between, which is usually the cement that's holding the bricks together, shade over all of it using a light shade. We've filled everything in. Usually the bricks are darker than the cement in between, but sometimes it's reverse. Anyway, in this case, we're just going to imagine that the bricks are darker than the cement in between. I'm going to go in with a slightly darker pencil and do the same thing, fill it up with a base shade. As you can see, I didn't really fill in all of the bricks perfectly with a very flat shade. And that's because I want the bricks to look like they have variation. This already looks like brick texture, right, but it's a little bit flat. So what we're going to do now is that we're going to go in and we're going to put in some dirt. And we're also going to raise some of those bricks and make them look like they have some depth to them to make them look more. Three D is not to fill in the dark all the way around, otherwise that will start to look flat again. Imagine that there is a light being passed onto them. Or the parts where there is contact between the cement and the brick, that there's some parts where there is less light and we're going to fill in the darks there. Let's start with one brick. We're not going to do this because that looks very flat. What we're going to do is we're going to fill in some areas, usually around the corners. Not always, but usually around the corner. We can scribble a little bit, make it look a little bit worn down. We have it on that corner, and then let's just go in a tiny bit on the other side. There we go. Now it looks a little bit more like it's raised and it's not so flat. Mainly focusing on the bottom of the brick, because imagine the light is coming from the top. And the bottom of the bricks are going to be a little bit darker. But you also need to make sure that you don't do the exact same thing for every single brick. Because if you do that, then it will also start to look flat. You have to be able to figure out how to randomize it and make it not look perfect. Now what we're going to do is we're going to add some dirt and grime to the cement area. As you notice, we put the dark on the bricks on the bottom, so we're going to fill that up on the top. Now it starts to look even more, three D and like there is a bit of dirt and grime on it. I'm also going to add a little bit of marks and dots here and there on the bricks themselves. Just make a few little dots here and there make some parts of the brick a little bit but not darker than the contacts or the darkest part that we put around. That's the basic formula and pattern that you will use when you are drawing bricks. Next couple of ones we're going to be using different types of bricks and we will also be drawing from a reference photo. 5. Brick Texture 1: All right, so the first one we're going to do is this very aged brick wall. There's cement that's been covered over it. Probably to set some of the bricks and the bricks are quite long and thin. Within each line, there are seven lines, we can only see about three bricks. There's quite a lot of space in between the bricks. I probably should have made more space there. Instead, I'm just going to add another line. Let's draw out the cement that is covering all of the bricks, especially this one here goes like this, comes down, covers this whole brick, comes over to this side. And then this also around here, and the bottom of that one, there's some cement coming out of this one Down here, there's some cement coming out here. And also there, this one, right? There's some cement here. Okay? There's also quite a big crack on this one. We can draw that out there. Okay. So that's our general outline. We're not going to use H B anymore this time. We're going to start by doing the darkest first. And the reason we're doing that is because this is quite complex. If we put down the darkest first, then we can get a general idea of how dark or light the other parts should be. I'm just going to go in with four because after we put in all the darks, we might want to make it even darker. Once we put down the other shades, then the dark might not be as dark anymore. So we're going to put down a lighter pencil that if we want to go darker we can. All right, so the darks are put in. And now I'm going to fill in the space between and the bricks, I'm actually going to fill all of them with the same shade. We're going to go for the B pencil. I'm going to fill all of them with the same shade, but we're going to leave out the cement because the cement is actually the lightest part of the texture. All right. Things are starting to become a little bit clearer. Now let's go in and put down some of the darker parts of in between the bricks we did with four B and we filled in everything with B. I think we're going to go with two B. We're just going to go and fill everything in. That makes it a lot. I've got to fill in this spot here that's on the brick. Now we're going to take the two B and we're going to go on the brick and start to fill them in to make them a little bit more. We're not going to worry too much about the cement. We'll do that later From the bottom. From the bottom here. We can also make the bricks a little bit cracked. Give it a little bit of grime, a little bit on the brick. Remember, we don't want to fill everything in, we just want to make it pop a little bit. Some of these bricks were quite so we can add that dirt, especially this one, there's like a crack, then it's quite dirty, we can fill in right under the cement so that it's a little bit more clear. At this point, I'm loosely following the reference and I'm just following the pattern of dark on the bottom, a little bit of grime. I'm just going through every one of them. Now, I'm going to go in with H B and fill in the cement. What we're going to do is we're going to use a circular motion. We're going to make circles like this, but we're going to make them very small. We're going to cover the whole thing. Then every once in a while we'll have a little bit of a darker one because there's a lot of little dots in between the cement. This gives it some interesting texture. Also go as lightly as possible, a contrast to where the cement starts and where it ends. Okay, we're done, but let's see if we can touch anything up. It feels really flat still, like there's not a lot of contrast. I'm going to go in and make some parts darker with the eight B, the cracks in between. Then I'm going to make the bricks a little bit darker. There should be contrast between the cement and the bricks because right now it doesn't seem like there's a lot of contrast. Even though the reference photo looks pretty plain and flat. When you, if you squint at it, it's all the same. But in order to enhance the drawing, we need to cheat a little bit. The cement going to go in with two, put a light shade over all of them. Then the final touches, take the eight B, and we're going to go over just a few of them, not all of them. Okay? There we go. Now it looks like a really yucky, grimy brick wall. 6. Brick Texture 2: Okay, for this drawing, we're going to also be drawing brick, but it's slightly different, it's stones put together instead of rectangular brick. Let's just draw out the big shapes that we see first. Just go through slowly. You might end up drawing some of these a little bit wrong, but that is okay. As long as the general idea is there, then that's really all that matters. All of these stones have different shapes. All right, We'll finish the general outline. It looks like some of the in between the cement looks darker. And that's because there's dirt and moss growing on it. Some look lighter than the bricks themselves. We're going to do this slightly different. There's many different ways that you can do this. We're going to just fill in with a base shade, fill everything in, and then we'll go in and slowly build up the layers. Let's use the HB. Okay, We finished the in betweens and now we're going to do the stones themselves. You can see there's some white highlights and stuff, so we'll try to cheap those out and try to give the stones a bit of texture. Maybe like small strokes going in different directions. That's what we'll make it look like it's a different type of texture. There are some white streaks here. Try to lead those out. We'll just make some white gaps in between and that will make it look like it's a different type of texture. It's also like a weird line here. This one has a pretty big highlight of white in the middle. I'll try to leave that out. Try to vary your strokes going in different directions. That's what will look like, the textures wrapping around. Keep it a little bit varied. That will make it look like these objects are a little bit more three D, This one has a lot of were kind of like moss and texture on it. So I'll really trying to vary my pencil strokes and also the direction. Finish putting down the base shade, We're going to take the four B and go in and do things darker so that we can start to see the difference between the stone and the cement in between. And also then we'll have the darkest parts down. We will know what is what. If we also look at the pattern of the bricks, it is pretty clear that the darker part is on the bottom and the lighter parts are on the top. We're going to the same as the brick over here. We're going to fill in the darker part down here, and then leave the top part white. This whole part here is really dark. You can also vary your pencil lines, It looks a little bit different, something like that. Let's go in. This one is pretty much all around. This one on the bottom here. This one will leave out for now because that is the top part of that brick, the same as this one we put in the bottom of this one here. Now it's a bit more clear what we're going to use the two and start filling in the darker parts of the cement in between. So we're going to use the circular motion to fill that in. We're going to go into some of the bricks sometimes so that it looks like it's not all just perfectly in between because this is actually moss and the moss is growing everywhere. Try to leave some parts out. Don't fill everything with the dark so that it looks like it has a more interesting texture. That's also what will make it not look so flat. Mainly focusing over here because most of the moss is on the left side. Now it's getting even clearer. I'm still going to use the two B and go over some of the stones trying to make them a little bit darker. I'm using the small straight strokes, not the circular motion. That's also what will help to differentiate the different types of texture is by using different types of pencil strokes. Try to make those white streaks a little bit darker. This one, it just has like some streaky pattern on it. Try to put that on there. This one has a lot of dark and moss on it. It can vary between short strokes and a little swirly strokes. Two is finished. Now we're going to go in with four B And just kind of make some of those lines not so obvious. Going over the, in between the moss, try to a, some stuff out. We're kind of doing a mix between little circles and then little dots over here. It's a little bit blurry. You can't really tell the difference between what is what. And that's okay for now. Later we'll go in and try to clean that up. Just add a little bit here and there on the parts that are dark, we blur that line, it's not so sharp. For the final touch, we're going to put in a little bit of eight B, but we're also going to use this really tiny, ultra fine eraser to just bring out a highlight here. What does that do? That shows us the edge of that stone just going through and looking which edges look white enough to erase a little bit here and there to really boost the contrast. May be one right here, and then lightly go in with the eight B and do the same thing, just look at certain areas that look like they could use an extra boost. Right here, of course, this part right here, put it right next to the part that we erased so that there's a lot of contrast between the dark and light. Great. And I think that's all we need to do there is our second brick texture. 7. Wood Pattern: Now we're going to be drawing wood. Wood is really just a bunch of random lines and different darks and lights, and we're just going to make one up first so that you can see what is the pattern. Sometimes they'll have that ring, other times they'll just be random lines. Maybe we can do both. Let's have a ring here and here we're going to have lines, put down some scratchy lines. And that's really what the wood is all about. Okay, so we put down our base shade and we're going to start making things a little bit darker. For example, usually in the middle of that circular ring, It's dark. There we go. Then this particular line we can make a little bit darker, make the rings darker. Then we can randomize and make it a little bit darker here and there, not everywhere. Just choose a few parts here and there. It's really already starting to look like wood. But we can push it a little bit further by adding some small try to make sure they are the same length. Okay. And for the final bit, can just make that part a little bit darker. This is the four B there already. It looks like wood. The pattern is quite random. It's a lot of different strokes with various lengths being put together, all of them being straight. We're not using any spirals. 8. Wood Texture 1: All right, for this reference photo, we don't have any of those rings, but it's going from dark to light. And then within that gradient, there are several marks and strokes. Let's start with A, two B, and we're going to make a gradient going from dark to light, left to right. Within this gradient, there's also a little bit of white specks. We're going to make some scribbly lines trying to depict those white specks in between. Something like this. Push down a little bit harder, It's going in this direction, the gradient, We'll start to do that now. In order to make this part lighter, we're going to have to make more space in between. There we go, So now we have a gradient from dark to light and we're going to go in and make it a tiny bit darker. Now we're going to use the four B and we're going to kind of make those strokes that are kind of going diagonally. We want to make the darker part of the gradient darker. We're also going to use the four B for that. Try to add little flex and specs of something even darker. These diagonal lines are also not perfectly straight. Try your best to vary them a little as long as they're all going in the same direction. Now let's use the eight because that is the darkest one we have. We see these little marks going in the opposite direction of the diagonal lines we just put down. That's going to be the final piece, when you're doing them on this side, try to go a lighter. Just gently brush the pencil onto the paper. But then when we get over here, we can start going in a lot darker. And there we go, our first wood pattern. 9. Wood Texture 2: Al right, for this one it's a more classic wood texture, there are some rings. Then we have, we have a dark light going in different areas. The seems to be mostly in the middle and a little bit on the side. What we're going to do is using the H B. First we're going to draw the pattern that we see. This is probably stitched together wood. We have that panel there. Then we can draw this very obvious line in the middle. Draw the big one there. We have our general pattern. Now we can start filling in the details of that pattern. These lines are going in the opposite direction. We have this big line down here, which we have already drawn there like some scratchy thing here. It's making this shape. Then it goes around. We finished the random lines and strokes. Now what we're going to do is do the background gradient. This one is a little bit different from the other one that we did. Whereas it's a bit smoother and not as rough. We are going to do the same thing, but we're going to keep the lines closer together so it looks a bit smoother. Also using the HB, we're going to start from the middle because the dark is in the middle and then it's lighter on the outside. A little bit darker here with the dull side. While we are doing the same scratchy marks, they are a lot closer together. Make that a little bit darker so we can see what is. Now as we go out, we want to ease up on the pressure, making it even lighter. It's a little bit darker over here, so let's make those lines darker. And then put down a bit more pressure and ease upon the pressure, making it lighter up here. Okay, the base layer is done, the base shade is done. Now we're going to go in and we're going to use the pencil. What we're going to do is we're going to make the second layer of shading to just make that a little bit darker. And we're also going to make the marks a little bit darker as well. The marks are not perfect lines, they have a scratchy quality to them. We're going to use very tiny little lines and make a continuous line like this. But first, let's start with the second layer. We want to make sure that it blends with the layer that we already put down. So we're going to put on the pressure here and then ease up on the pressure as we go out. As we go down. We're also going to ease up on the pressure so that it's not as dark. Let's start on the bottom here. Bring it up a bit more pressure, then ease up, make this line that we see here. You see some other lines right next to it. In the second layer, we're going here and there and looking which parts are a little bit darker like for example, there is a line here and then some of the wood is a little bit darker. If we draw out that line, then we make it a little bit darker next to it, then that also gives the wood that randomness. Okay. And for this one we are just going to, it's a lot lighter than all of it. We're going to do the same thing, but just a lot lighter. There we go, that's the second layer. Now let's go in with the four B. We're going to try to push everything just a little bit darker. We're not doing any of the background shade anymore, we're just going to go in, bump up all of those lines that need to be a little bit darker, starting in the middle, because that's where we see the darkest. There are some random marks here and there because this part is a little bit darker and it's almost finished. It's pretty much done, but it's looking a little bit flat. Let's go in with the eight and just do some of the lines here, bumping up everything that darker, just a tiny bit. This part here is not exactly darker. I just want to show that there is an obvious difference between this panel and this panel. And there we go. Our second wood texture is done. 10. Water Pattern: We're going to move onto water. There are two different types of ways to draw water. That is, because water is fluid, it doesn't always look the same. You can have calm water and then you can have waves crashing into each other. Let's break this one into half. We'll have calm water on one side and then waves on the other side. The pattern for let's write calm up here. It's a wave and the further away from us it gets these lines end up looking closer together. All right? Something like that. Now let's do waves. Waves are more of higher and they might be sharper at the top. Not a perfect triangle, although some are, but a lot sharper at the top. Then you'll see the line go diagonally across, creating this triangle in between. Imagine this is another way. Here we go. Then we have that line going here, maybe there's another one. And then we have another big crashing wave up here that may move into this one. I think we should do that again. Let's do the wave on the top. We have a big crashing wave here. Then maybe we have some lines going this way, and then some lines go this way. There we go. And then let's do the same on here. We have our crashing waves, and then we have our smooth water. Now when it comes to shading, it's going to be using gradients going from dark to light. Usually at the very peak there's going to be a white line and that's going to be the sun, the light hitting the water. Then it's going to be very dark and slowly fade into a lighter gradient. That is because the water there is deeper, it looks darker. Let's use the HB and we will demonstrate. What I'm going to do is I'm going to make a little line like this. This is going to be our light part. I'm going to shade dark next to it, leaving that light part out the same as here. By the way, we're using H, B and then slowly fade to light. We're going to do the same for these lines, I'm going to draw them out. And it's going to be darker up here. Then we're going to shade all the way to that line right at the top. And then shade all the way to that line. Blend it out a little bit. Okay, let's do the same for A here. We can also make a little bit of a pattern so it doesn't have to be exactly a straight line. It should also be shading in the direction of the water, the way the line is actually. This one should have been this way. That's because the water is moving and crashing into each other. It's not always going to go in one direction. Then as it goes further out, we don't see the waves as much. We can just leave it and fill up the whole thing. All right, now we're going to go in and just make it a little bit darker, kind of get rid of some of those very obvious lines. So this is the four B. Okay, so that's the general pattern for crashing waves. Now let's go for the less rough water. Now, this one is going to be a little bit different. It's going to be a little bit, there are little bubbles of light at the top of the wave. Okay? And as we go further, they're going to be less and less obvious. Maybe they become straight lines instead. Okay, Now what we're going to do is fill up everything with one gradient and we're going to start from dark and go to light, but we are going to leave out those little bubbles that we made. Let's start on the top because it would be easier that way. Okay, now we're going to go in with the two and we're going to try to make it a little bit darker at the top of some of those bubbles, and try to make it blend. That is the general pattern for water. There is a very strong contrast between dark and light. The lines are overlapping each other because water is always moving. And we use gradients to show the depth of the water as well. 11. Water Texture 1: For our first water texture, we're going to be drawing calm water, but we have these bubbles of light in between the lines that are crossing lightly. Draw out a pattern that we will cover up using those diagonal lines that are crossing over each other. Some long, some short. There we go, the lines are a bit more obvious here, the ones that are crossing over each other. Now what we're going to do is we are going to shade it, going from dark to light, and we're going to leave those little white bubbles out. This way is a lot easier than drawing out the bubbles and then filling up the outside since we're sketching, especially because the water is probably moving all the time. As long as we get the general pattern and idea down, then it doesn't need to be exactly the same. I'm going to go in with the two B, I'm going to start on the bottom and I'm just going to fill it in, leaving some parts out just like that, a little bit bigger than others. So let's pick a big one here to get a little bit longer up here, make sure it still looks like they are overlapping each other. The water seems a lot calmer as it goes further out, so those bubbles become a little bit smaller. All right, so that's the base layer. Now we're going to go in and do the second layer and make things a little bit darker, but we want to still make sure that we see this that we've put down. We're just going in here and there and trying to add in depth in certain areas. If we look at the reference photo, it's mainly on the left side where we can see a couple of darker waves. Now we're going to take the H B and we're going to fill in those white bubbles because it will make it look a lot smoother. As you can see in the reference photo, only those really shiny white parts are on the left side and everything else is just a lighter gray. Go in with the HB and fill in, leave some out or the sparkling shine. Now that we fill those in, it looks like we've lost some of the detail and the four B lines are becoming too dark. We're going to use the two B and try to bring some of that contrast back in. Go over the parts where we have the four, just get that looking a bit more blended. There we go, I'm going to use the four and make this shape a little bit less like a line and make it look a little bit more fluid, the same over here. There we go. And now we have what looks like calm water. 12. Water Texture 2: For this next one, it's a bit rough, rough sees bigger waves. We're going to have the lines going this way. And then we're going to have a diagonal line going this way. And then we're going to have a line going that way. This is the rough outline of the shape that the waves are making. Now we're going to go in and make the smaller waves. We're going to go in and make the smaller waves following this pattern like this. A smaller one, smaller one here. Then here in the middle we have a few little rough ones. There's a line going this way can erase that out now. Then we have a big one up here. Sure. We have some small little ones that are not that obvious over there. All right. The same thing at the top of each triangle or each wave, it is a little bit lighter in the middle. Here we have calm water. There is a lot more lightness to it, and it's not so obvious where the dark parts are. In this part, we're going to make some random little lines and random small triangles to get that information there. Then we're going to make it a little bit darker up here and use the same technique on this part as on this part. We're going to start by using the two and put a whole base shade over everything. Don't forget to leave out your highlights, so we're leaving that one out. I'm also going to leave this out. There seems to be a line here, so we're going to leave that out as well. Now going in this direction, it's a bit straighter. I'm going to make some little scratchy lines, leaving some spaces white. Maybe a more obvious triangle here. We still want to leave that white. Leave it like that. It mimics some waves. We're going to go to the top here. In this case, it's pretty dark down here, but white at the top. We're going to leave that out like a little triangle of white here, The same over here. Let's leave that line. Then there are some white lines here up here. We'll leave a little bit of white. But it's mainly the top part here that's white rather than the bottom. That's because we cannot see the top of this wave, We can only see the side of it, okay? Then at the top, it's a little bit lighter. We are only going to put some darker triangles here and there where we have mapped it out. And then a few random lines here and there. As long as it looks lighter, it's dark light, dark light. Let's go in with the four B. We're going to start to make everything a little bit darker, specifically starting around where the wave starts to turn over. We're adding a little bit of dark and light here, but not too much because it's a lot lighter here. Maybe some cheer where there's this really white line. Just show the contrast between the two. Then right up here, it's very dark. Try to make that line very obvious. Okay, we're just going to go in and make all of this wave a little bit darker. The same with this one. Using a slightly lighter hand though, so that it's still is. Then just make some random strokes here and there. There we go. And for the final touches, we're going to use the eight very lightly here and there just to make that wave even that is how you will draw a more rough wave texture. 13. Shiny Pattern: For shiny metallic texture, there really needs to be a high contrast between dark and light. It's also going to be some mid tones in the middle, but the darkest being black and the lightest being white. We're going to start by just putting a mid tone color down. This is the two using a very light hand, putting down the midtone. Next we're going to go in with the absolute darkest, which is eight B, and we're going to put that in the middle. Let's kind of blend it out by using the two going over, we can make it even darker in the middle, really pushing down. Then what we're going to do is we're going to add a little bit on the sides and that's going to make it look like the shine is wrapping around. We'll go for a slightly darker pencil, the four B very light on each side. Perhaps this line is not as wide at the floor. Be over a little bit to try to blend that a little bit more. Perhaps this part is a tiny bit darker than that part. Let's see if we can make it a little bit darker down the middle. Let's add a little bit on this side. It's quite hard. There we go. That is the general pattern for shiny metallic texture. There is a very high contrast between dark and light. 14. Shiny Texture 1: Our first reference photo is a part of some armor. It's shiny and it's a little bit polished, but it's not completely shiny like a mirror. There's a little part of the armor of the arm part we're going to leave out. This armor is wrapping around, that's what's making those round shapes. It's very dark on the left, it gets a little bit lighter. Then we have this streak of bright, completely white down the middle. It fades into the mid tone, and we have a really dark streak right next to the light streak. And then we have some lighter mid tones with dark in the middle. We're just going to draw it out lightly so that we know generally where to put what this is, the arm part, and we're not, we're not going to fill this in. Let's just have a rounded line here. Rounded line down here. That tells us that the armor is going this way. This streak is in the middle. And we're going to have the darkest streak over here. And then we have some lighter dark in between the mid tones there. This goes out like this. Okay, we have our general outline. We're going to start by putting in the base shade, which is the mid tone. We can use the B for this, because the arm is wrapping around. We also want to make sure that our pencil strokes mimic that as well. I'm going to leave out those darker parts there, Fill this up, make sure that the line is still obvious. So we're going to go a tiny bit lighter here because that's right next to that bright white streak. Then we're going to do the same thing down here. It's a little bit light down here. Then it gets a lot for the sake of the camera, I'm not moving my paper. However, when you're doing this at home, feel free to move the paper as much as you want. Don't strain your arm in a bunch of weird shapes. Make sure that it's very easy for you to draw. Okay, so we have our base shade down. Let's go in with the eight B and start doing the darkest. We're going to go left to right. We're going to make it really dark over here. And then ease up on the pressure and blend it in with that B. It gets a lot lighter down here there we have the basic down, and then we can start going in even darker in that corner to really bring out the contrasts. Now let's go in and do that middle part. We're going to start by using a lighter hand. Just fill that whole thing in so you know which part is dark and which part is mid tone. This part here as well. And then we have some streaks down here. Two streaks like that. And it's like totally dark down here. This is another part of the armor. Okay, now that we have that information, we're going to go in a little bit. They try to make it as dark as possible. There we go. And then we're going to go over with the four B and try to blend some of that in just to give even more contrast. We're not going to do everything because we still want that midtone. But here looks very white when actually in the reference photo it's not. So we're just going to fill it all in with the four B. Then on the sides here, for example, it's a little bit wider in the middle, going to take the four B and then fill the rest of this in. And the same on the side here and down here as well. Let's fill that in a little bit more. Take the tiny eraser and just erase some things out. There we go. Even try to push the eight even more here in the middle. Try to get it as black as possible. Blend a bit more with the four. There we go, that's our first metallic texture done. 15. Shiny Texture 2 : All right, moving on to our reference photo. This is a part of mix or mixing alcohol, making drinks and this is the top. We're going to use the HB to draw out the Otto. And we're not going to draw this part here, we're only going to be focusing on this part here. For this, we're going to draw out the shapes we see. Then there's quite a bright, there's one dark line here, a couple of dark and light in the middle. That's what this is going to be. This is the first one. We have that little part in the middle. Then we have another one. And the rest here is pretty much bright white. We can move it over a little bit. It seems that perhaps it's a little bit too much to the left. Here on the side, we have some, what we are seeing is that these three are the bright whites. Then we have the midtone and we have the darkest in the middle three here. We also see lines for this part of the bottle. We're also going to fill that in, starting with the H B. Let's fill everything in. Get all our mid tones down. Yes. Don't forget to keep following the form. We're gonna leave those out, the eight and start filling in the darkest part. We have a lot of dark right here. It's also wrapping around here. We have this whole part here is dark and it also wraps around that section. It wraps around down here. Just add that in very lightly. This whole section here is also quite dark. And we're just going to add a little bit here and there for this one. We see there's quite a few dark lines here. Okay, now we're going to go in and make it a little bit darker. Now we're going to add those streaks that we see. Let's go in with the four B and make things a little bit darker in certain areas. So down here, this one also has some streaks. Let's add those in to the white. Add some streaks into the mid here. Let's just fill up the side of the bottle. Why? I think we can push things a little bit darker to really add that. She. There we go, we are finished. Our last texture. What we learned to draw shiny metallic is that there really needs to be a strong contrast between dark and light. There's also very sharp edges that also really helps with the contrast. 16. Final Thoughts: Congratulations, you made it to the end of the class. I hope you enjoyed drawing different types of textures. And that you learned how to use the pattern to render the same texture, but perhaps with slightly different variations. Now please don't forget to upload your class project and leave a review. If you found this class helpful, you can go to my profile to see more classes from me. Thank you so much for following along and have a great day.