Drawing What YOU See For Beginners

1. Welcome to Drawing What YOU See!: I'm Helen Robertson. I'm a painter, printmaker and illustrator. I run 7 hz Studio and I've been making art since I was a kid. My mission is to get more people excited about making art. I don't have an art degree and I'm not an expert. I learned art from elementary and high school art teachers, a few formal art classes and lots and lots of how to draw books checked out from my local library. I'm still learning are to this day. I wanted to share what I've learned because I want to see more art for more people. The more artists and styles we have access to via social media, art fairs, online shops, brick-and-mortar art shops, or your friends and family members kitchen tables. The more people will see art that speaks to them and inspires them. Everyone is creative and everyone can make art. Art enriches our lives and helps us experience the world in a different way. We all see the world a little differently. This course will help you learn to draw what you see in your style. Our communicates importance in a variety of ways using tools like proportion, perspective and shadow or shading. This course will help you learn to communicate what's important to you via illustration. We'll zoom out, talk about the basics, zoom in and jump into drawing and learning by doing. Then, zoom back out to review what we did without even realizing it. In the last lesson, we'll put together all the skills we've learned and draw an image in your style. Just a few things before we get started. As a bonus, I've created a list of 31 drawing prompts to help you continue your practice after you complete this course. Download them via the link in the about section of this course. Don't forget to follow me on Instagram and join my email list for peaks behind the scenes promotions, new artwork and more thoughts about art. You can also follow me on Skillshare by clicking follow at the top of the screen for updates and new courses. 2. Materials and Class Project Overview: Here's what you'll need. Three to four pieces of paper, any kind of paperwork. You can use a sketchbook, notebook, paper or anything you have around the house. I'll be using this notebook from my aunt. She had acute cover for one of the line notebooks. You find it a grocery store or a pharmacy. These lines can be great to provide new guidelines when you're drawing shapes. You'll need some tape. I have scotch tape but you can use duct tape, Painter's tape, anything you have around the house, something square or rectangular? I have a little gift box. Something circular or oval. I've got a little furniture pad, a pen and pencil, or two pounds and two pencils. I'll be using one new piece of paper for each exercise that you can combine exercises on one sheet of paper. Just make sure you reserve one plain sheet of paper for our traits and exercise. You'll also need this image that I've provided as a download. You can print it out or you can use a tablet with a drawing app. Optionally, you can use a light tablet or light box or some tracing paper or both. I'll be using both to make my demonstrations easier to see. But if you don't have those, don't worry. I'll show you another option. 3. Let's Warm Up: Let's start with a quick warm-up. This is just about getting some marks down on your paper to get an idea across kinda like Pictionary. I'm going to put 20 s on the clock and we're going to draw a cat. Don't think too much about it. Just draw the first thing that comes to mind when you think cat. What did you draw? What characteristics of a cat did you capture? What makes a cat a cat to you? In the next lessons, we'll lean into defining characteristics to help you draw what you see. 4. Drawing Circles Squares and Triangles: In this lesson, we're talking about breaking objects down into basic shapes. If you've ever played music, this is like learning scales are notes before playing a full song. Let's start with circles and ovals. Let's start by tracing your circular or oval object. You'll take your object, trace around it. And now we're going to trace over that line. Start out slow, and then see if he could pick up some speed. As you're tracing. See if you can notice what your hand naturally does. So you can see over here, over here, over here, I've got a little bit of a wobble in my hand. So just think about what comes naturally to you. I spent two years in architecture school. And this is a lot of how we learned to draw freehand just by tracing over something we've traced. So now let's try free-hand. Now I've done this before, so my circle might look a little more circular than yours and that's alright. So again, we can see when I'm doing this freehand, my wobbles come through a little bit stronger. So for the next circle, I'm going to lean into that and really make those lines a little wobbly. So now I've got a circular shape. But a little bit more dynamic. Looks like maybe a drop of rainwater or splash of milk. So just think about what you naturally do. If you've used the circle to trace. Try free handing an oval. Just thinking about what an oval shape would look like. If you started off with an oval, try that with a circle. This is something you can do really at anytime. You can do it with your morning coffee while you're on hold, while you wait for a meeting to start. Or maybe if you're at a coffee shop waiting for a friend. Now let's do squares and rectangles. I've got my box here, just like with the circle, will trace the sides. And then we'll go over those lines a few times. Squares are a little bit more frustrating because naturally we want these lines to be perfectly straight, perfectly parallel. But no one can really draw like that, including me. So let's just try our best to go over these lines. And as you see my wobbles coming back in a little bit here. And I've actually extended these lines beyond the right angle. Just makes it a little bit less intimidating to try and get this corner exactly right. Plus it gives it a little bit of a stylistic flair. After you've traced a few times, try drawing free hand. Again, I've done this a few times. So if your square looks different, own worries. So as you can see, I've exaggerated these links a little bit beyond that angle, that 90 degree corner. Let's see some of those wobbles coming in. And you can see some curves starting to show through here. So a little bit of grit curve here, little bit of a curve here. That's just what my hand naturally does. So for the next one, I'm going to play that up a little bit. I'm going to make this curve a little more dramatic. Make one on this side. Hey, quite here and here. So we've still got our four sites are four corners. But it's got a little bit of a different feel to it. So think about where your hand does. See how you want to lean into that. Let's move on to triangles using our square or rectangular object. To make a triangle. We take our square or rectangular object again. And then we'll make this, we're into two triangles. So if you want a straight edge, you can use one side of your box or whatever kind of square objects you have and just kind of eyeball that angle there. Since this isn't quite long enough. Not perfect. Let's alright. So just like with the other shapes, trace over what you've just created until you feel a little more competent to try for hand. Again, just like what the others think about what your hand naturally does. Think about what's triangle feels a little bit better. If you like the corner up here, maybe like it down here. Whatever feels better to you. Alright, so now let's try free hand. I'm going to have my corner in the bottom right. And I've got my free hand triangle. So again, just like with the square, got a little bit of wobble to my hand over here. You can see this side isn't quite a straight line. It's a little bit more of an arc. So for my next free hand, I'm really going to lean into that. Going to make this arc a little more dramatic. Gonna make these sides a little wavy. And then as you can see, I've made this bottom line a little bit darker than the other. So I'm going to exaggerate that. Make this more of a base. Make this a little bit smoother. Alright, so there we've got a triangle. We can think of more complex shapes as just basic shapes of different sizes combined. E.g. a. Teardrop shape is really a triangle and circle put together. So think about more complex shapes that you can break down into simple shapes. You can even make a cat with a square, circles and a few triangles. Maybe add some whiskers and a little half circle. Now that we've got our basic shapes, join me in the next lesson to find those shapes in an image. 5. Let's Trace: Now we'll trace a reference image to help us understand more complex objects. Tracing an image is kind of like learning covers of songs. You like to help you understand how the song is constructed and how each chord change creates impact. Just a quick note that is not ethical or legal to trace other people's art to make a profit off of it. If you do trace other people's work, just make sure it's for your educational use. You can change your image to black and white using photo editing software printing in black and white or photocopying and black and white to see shapes and shadows a little more easily. Tracing can help you understand how elements of a scene or object work in context. Let's break this image down into shapes, proportion, angles and perspective and shading. We just drew circles, ovals, squares, rectangles, and triangles. So let's find those shapes in this image. We can see the tops of some circles here are the roof or the ceiling meets the walls. We have some circles here and the windows, we also have squares and triangles. And these windows, we've got an almost triangular shape with this ladder, the angles come up and we've got distorted square. Where we can see this opening comes through. We'll talk more about proportion in the next lesson, but let's talk about proportion in this image. Think about the times you've seen or climbed a ladder and the distance between the rungs. For me, most rooms are somewhere between my uncle and my knee, usually about halfway, sometimes a little bit higher. So that information can tell me about how tall this ladder is in proportion to how tall I am. We'll talk more about angles and perspective in a future lesson. We can see angles and perspectives all the time and we can see a few examples in this image. Because of the way our eyes and brains work, angles and perspective gives us information about depth and distance. And we can represent that with a drawing or image. Things that are further from our eyes becomes smaller and closer together. So the legs of this ladder are closer to our eye, closer to the photographer. The top of the ladder is further. That's why the sides of the ladder are the legs of the ladder that are built to be parallel to each other seem to come to a point. The further up we go. We can also see some perspective in this opening here. Most likely this is actually a square. The sides of the sides are parallel. But because we're looking at it at an angle, and these sides here, these corners here are further from our eye. It looks like these sides are coming together to a point. We'll talk about a vanishing point and how that changes your drawing in a later lesson. We'll also talk about shading and line weight in a future lesson. In this image, there's a wide range between the darkest, the lightest areas because of where the light is coming from. Natural light like the light coming through this window and this opening, create different and softer effects you can see here and here. Then you might have, if you had a very dark room with one spotlight coming in, you can see some areas of shadow. Because of the framing around this window, we have darker areas of shadow here. And you can see how this opening phase, this area here in light as well. I'll show you a quick demonstration of how I would trace this image to understand it better. You can trace any part of the image and as much or as little detail as you'd like. I've got my image set up underneath a piece of tracing paper on my light table. If you don't have a light table or tracing paper, go ahead and set up your image underneath a plain sheet of paper on top of a window. So I'm going to focus on the areas of this image that I find the most interesting. I really like how this ladder comes up on an angle. Just show us that we're looking up at the ladder and how the light from this opening hits the ladder in different areas telling us where the light is coming from. So not too worried about straight lines here. Just going to outline legs of the ladder first. You can see gets a little bit wider towards the base and then almost disappears into the light at the top. Come back in and a little bit to add the shadows, or it's further from the light source. Now I'm going to add in the rungs. I'll come back in later to add the shadow underneath on the underside of the rungs as well. We can see what the rungs they look like. They're getting longer and further apart. As we move down. You'll see this image is at a right angle. I've had that setup because that's the way it fits on my light table and in our video. But it's also a good idea to shift your image a little bit so you can really focus on the shapes you see. Because sometimes if we're looking at an image the way it's meant to be seen. Our brain can fill in the details and we miss some of what we might find interesting. We'll add in the opening here, frame of the opening. The opening itself. Add in some of the shadow with a darker line weight. We see at the top of this frame add some shadow underneath the rungs. The underside. Just to remind us where the light source is coming from. There's also shading here. As we get further from the light source. And a little bit more towards the base of the ladder. We can also see the way the ladder casts a shadow because of the way the light hits. So now we've got that raft and let's turn this off and take a look at, well, if we've got joined me in the next lesson for a quick activity to keep practicing, tuning into what you see. 6. Puppy Break!: Let's take a break from drawing for a few minutes and take a look at some pictures of puppies. You'll see three pictures for 10 s each. For each picture, jot down some feelings or adjectives that come to mind. What did you write down? Here's what came to mind for me. When you're looking at the thing you want to draw, Think about what comes to mind first when you're looking at it. Do you feel excited? What about that thing is exciting, is that the colors? Is it that it reminds you of an exciting event or time in your life? Is the combination of objects together. Think about what makes an image or object strike you as exciting, sad, or even boring. 7. Measuring and Drawing In (Or Out Of) Proportion: Let's talk about proportion. Proportion tells us a lot about function distance and importance. Let's look at some examples. Proportion can communicate function, e.g. this T-Rex is probably doing more damage with its hind legs and teeth than its front legs. Proportion can communicate distance, e.g. we can tell the houses closer to the top of this image are further away because they are smaller than the houses at the bottom of the image. Proportion can communicate importance or significance, e.g. the deer and this image is significantly larger than the horses, even though in reality, horses are generally taller than deer. This tells us the deer is more important in this image. To translate proportion from an image or object to paper, you can use your pen or pencil or finger to measure. Let's draw the pen or pencil you're using right now. Alright, so such a pen or your pencil down or lean it up against something really my tongue up against my box. Use my pencil. What we're gonna do is we're going to map out your pen or pencil on your paper. So let's make a little mark. We start. Now, we're going to use our thumb as a measuring tool. Sometimes it helps to close one eye to do this. So I'm going to hold up my thumb. Close one eye from my angle. First look at the cap of the pen. From where I see it. The cap runs from about the tip of my thumb to my knuckle. So I'm gonna make that mark on paper. Now. I'm going to measure the rest of the pen from the cap. It's about three times the length of the cap. So I'll mark that out on my paper when 23. Now we're going to look at the thickness of the patent. So again, using your thumb or your finger from where I sit, That's about half the length of my thumbnail. I'll mark that out on the paper. And then looking at the bottom, it's about a third. Mark that here. Then I noticed that the cap is a little bit thicker here than it is at the top. Measure that again, it's about half the width of my thumbnail. So now we can pretty much connect the dots. So for now, we'll just use rectangles. There's cap. And then do your best to draw all the way to the end for the rest of your cotton. So now we've got the basic pen shape mapped out. Now look at it and see what you notice about the differences between the pen as you see it in your drawing. First thing I notice is I have this moreover, even rectangle. But really the pen cap is a little bit broader at the base. So don't worry about erasers. We're just going to make these lines where we brought them right over top. So I'm gonna make this a little bit more of a truncated triangle. That looks a little bit more realistic. The other thing I noticed is for my angle, cap is a little bit rounded, bottom of the Kappa's little bit rounded and add those curves in. And I notice bottom, my pen is little curved as well. We're going to add that in. The other thing I noticed this, this tab has some ridges going to add in this ridge here. Use my thumb as a measuring tool. That's about half my thumbnail. Mark that in. And again, this has a little bit of a curve to it to from where I'm sitting. There, you've got your basic pen. And we can work on stylizing this a little bit, these lines a little heavier. Then think about what's important to you about this pen. Maybe you really like the shape of the cap. We can exaggerate that a little bit. Exaggerate the size relative to the rest of the pen. Make a cap that's little bit bigger. Maybe the pen feels really warm to you. We can extend that pen all the out. That current in the bottom. And my pen has a little clip on it, can't see it from the angle I was working on. But you can always add that in. So this one drops out to most about it, this line, this other curved line. And then the length of that, about the length from the tip of my thumb to my knuckle. There you've got a pen. We just learned a little more about how to communicate important seizing proportion. Now let's dive a little deeper and learn how to incorporate angles and perspective. 8. Using Angles and Perspective: This lesson will focus on using angles and perspective to communicate information about how you see an object. Angles communicate perspective or where the viewer is in relation to the object they're looking at. You've probably seen how long straight roads or train tracks seemed to almost angle together to come to a point on the horizon. That point is called the vanishing point or convergence point. We can communicate that same sense of distance using vanishing points and drawings and paintings. Let's pretend we're standing in the middle of a long straight road and drive what we would see to get started. Alright, I'm gonna pick one point on my paper as my vanishing point. I'm going to make our mark right here. Now I'm going to draw two lines at an angle to make an upside-down V. Don't worry of these lines aren't completely straight. So think about the times you've looked down a long straight road. Usually these lines don't quite come to a point like we have in the paper. So I'm going to pick another spot, one on either side of that vanishing point. I'm going to meet it up with my original line. Now that's starting to look a little bit more like a road. Now, we can add in things to make it look more like a road. Can add in the line division. Just kind of eyeball it. He finds will look longer and larger the closer you are extending these lines here compared to this line here. And then I'm going to lean in to the wobble in my hand. Maybe this is the grass at the side of the road. Add in some little circles. Gravel on the side of the road. Just a little bit more texture. So see what you wanna do with your road. Angles can also communicate importance by showing or not showing various sides of an object. Let's draw a house. First. We'll draw a square. You can trace your square or rectangular object if you'd like. I'm going to do mine freehand. So we've got our square. Let's add a triangle for the roof. I'm going to use the center line as a guide point from the top of my triangle. Now we've got our house. So let's add a little more character with some smaller squares for some windows. At our rectangle for the Thor. Now we've got a simple house. This perspective is the facade or the front of the house. We'd see it if we were standing directly in front of the house, looking directly at the house. This tells us a lot about the house, just as it is. We've got two stories. We've got an attic or maybe a top floor with some sloped ceilings. So now let's add a vanishing point and learn a little bit more about this house. So just pick a vanishing point to the right. Now we're going to take the perspective as if we were standing closer to this corner of the house. So we're gonna take this corner here, will extend a line out to the vanishing point. Take this corner here, extend that to the vanishing point. Let's try that again. And just like with our Rhode House, doesn't exactly come to a point. Obviously civil choose a spot in the middle are a little bit further out. And we'll make that the back of the house will do the same thing with the roof. We can use the same vanishing point just for simplicity. And then come down here, see where we meet. Back at the house. We'll make that the end of the roof. So now we can see a little bit more about this house. We can add some rectangular windows. Again, we can use the same vanishing point. Have those windows disappear into the distance. Maybe we want to do that for our door to choose a point here. Take it to the vanishing point. And we'll add an a door. And now we've got house. Perspectives and angles are a lot to take in. The key points to take away is things that are further from your eye or closer to the vanishing point. Now that you know that you can play around with angles. 9. Using Line Weights and Shading: Line weights are my favorite thing to play with. Line weights or the thickness of your lines can communicate so much about what you're drawing. We can represent shading with different line weights. Let's go back to our basic shapes and explore line weights and shading. For this section, you can follow my lead or try out your own style. Go back to my triangles and as you can see, your eye is drawn to the thicker lines. We're going to experiment a little bit more with light weights. I'm going to make this arc thicker to balance out the other side. So now that we've got two thicker sides of the triangle, really stands out that this one is thin. Heavier lines make it look a little bit heavier in terms of weight as well as line weight. So let's try doing something much thinner. So we'll try and replicate this triangle, but with very thin lines. Try this one little bit straighter and edge. And then we'll try one. Replicate this top one will come back and make all the sites dark, heavy. So this is something again, you can do while you're waiting for me to start or waiting in a coffee shop or a friend. Just play around with the line weights and see what you like. See how the shapefiles in terms of balance. Maybe you want to add some wavy lines. See how that feels. Or maybe we want to add a thinner triangle inside. To contrast the heavier line weights on the outside. Let's add some shading to communicate depth and a sense of space. Let's practice a few different kinds of shading. Instead of shading that's realistic and blended, we'll use some lines to approximate shading. Looks a little bit more stylized. So we'll try some lines as straight as you can. Try to evenly space them or try adding in a few at irregular distances. What that looks like. Now we'll add in some perpendicular lines. So this is called crosshatching. Makes it feel a little bit deeper. Shading can see what happens if you put thinner lines in-between. Thicker lines. See the difference between this side and this side. This looks more shaded. This looks less shaded. You can even fill in a shape completely with lines that are very close together. You can go fast. The Lions makes them a little bit easier to draw. Straight. Then let's add some crosshatching. Just so one-half, just to see the difference between the cross hatch side and the side where we only have one direction of lions. Experiment. See what you like. Maybe try different shapes, can try a triangle. Just pretend that only one side and a shaded. See what that does to the field of the shape. Now, we're going to see what it looks like when there's light source on something that's roughly a sphere. So I've got this cute little bat figuring. And we're going to use his belly to look at the shading and where the light hits. So for my angle which is little different than your ankle, I see darker shading here. I've got reflections from a light source here. And a little bit of shading on this side. So let's translate that to the paper. I'll make this an oval, even though it's not quite an oval. Let's simplify it a little bit. I'm going to trace where I see the shadows. Again, just approximate it. I'm going to mark out where I see the light source reflecting most prominently right here. And then I'm going to mark where I see a little more reflection on this side. Now we're going to fill in the shading. Looking at the shaded side, we can see a little bit of variation in the darkness of the shading. So for my ankle looks a little darker over here. So I'm going to map that out and write here. So I'll map that out. So these spots are where I want it to be darkest. This is where I want it to be lightest. And this is gonna be somewhere in-between. Let's start dark and work our way to light. I'm going to draw lines very close together. Add some crosshatching. Do the same here. Now I'll add in these parts with lines that are close together but not crosshatched. I'll even go over the cross hatch part, blended in a little bit more. Kind of go over the crosshatching here. Now I'm going to look at the depth and the darkness of these sides and lighten it up. We're going to use some very thin lines that are spaced a little bit wider apart. Going around the spot where I see the light reflected both strongly. I'm going to try and connect these doesn't need to be perfect. There we have a stylized shading of all that. Figuring. Line weights and shading are good things to practice while waiting for a bus or waiting for a friend and a coffee shop. In the last lesson, we'll put together all the skills we've learned and draw an image in your style. 10. Class Project: Draw A Mug In Your Style: Now it's time to put together everything you've learned. I've set up a scene that I'm going to sketch and I provided an image of that for you. I'll also show you the scene onscreen so you can draw along with me or you can set up your own scene with objects around your house. This is a no pressure sketch, is all about making marks on your paper the way you want to make them. I'm going to take 10 min for my sketch. And I encourage you to set a timer for yourself. You can take 10 min with me or you can pause anytime to take longer time sketches take the pressure off of producing a perfect final product. It's about seeing what you can create in a finite amount of time. Then you can look at what you made. Think about what you like, what you want to improve or change, and try again. Before we start the sketch, thinking about what you've learned about your style over the past lessons since you drew your CAD, are you going to lean into a less steady hand and use wavy lines? Do you like exaggerated shapes? Do you like heavier line weights are lighter line weights. You have an idea of what you want to try. Okay, let's get to sketching. I've said one of my favorite mugs on top of sketchbook inside a filing box for us to draw. You can also set up your own scene at home if you'd like. I provided the image is the download and it's also on the screen for you to follow along as I draw. I use this box because it has a blank white inside, which makes it easier for me to focus on the object I'm drawing today. I'm just going to draw the BCG. But if you want to add more time to your sketch, you can add in the notebook if you'd like, or dry whatever you have at home. I'm going to put 10 min on the clock. And we'll start by measuring the distances of this bug. Will measure the distance between the opening, the top of the opening, and the bottom of the opening, the width of the cup and the length of the sides of the cup, as well as the length of the handle. I'll put 10 min on the clock and I'll explain what I'm doing as I'm doing it. Put on some music for us. Awesome too as well. Alright, let's start. I'm going to start by drawing a square. I'm going to measure the distance between the top of the opening of the cup, the bottom of the cup, the outsides of the cup, not including the handle. So I'm gonna use my thumb as a guide from the top of the opening of the cup to the bottom of the cup right down the center. That's about halfway through halfway along this bone and my thumb measure that on my paper. Now we're going to look at the width. So a cross, again in the center of the monk. That length is little bit shorter. Just past my knuckle. Mark that on the paper. Try to be as equal as possible. Get it right down the middle. There are four points. So now let's freehand align doesn't need to be perfect. Connect those points. And now you have the rough volume of our cup. Now we'll fill in the details. I'm going to measure the distance between the top of the opening to the bottom of the opening. This looks like an oval because of the angle we're looking at it. Even though if we were looking at directly into the cup, we would see a circle. So this distance is just short. The full length of my thumbnail. Hallmark that in now I'm going to draw an oval. Keeping the outsides of the oval within the outsides of my square. Can see my hands a little bit wobbly as it usually is. That's okay. Cups got a little bit of a wobble to it. Now, I can see as I look up my cup, the bottom of the cup isn't quite a straight line. That's more of an arc because it's going to be the same width across as it is at the opening of my cup. Now I'm going to measure the distance between the bottom of the curve where it comes up to meet the sides of the cup. Take my thumb again. And I see that that distance, it's about quarter of the length of my thumbnail, which is just a dot here. Measure that on the other side as well. Just about here. So we can make an arc or we can draw an oval. Because the opening of the cup is gonna be the same as the bottom of the cup. Can try and match that normal as best we can. Or you can make it look completely different, totally RTO. Now we've got the sides, top and the bottom of our mug. Now let's add the handle. Again. We're going to measure the top of the handle. The bottom of the handle. The whole length of the handle comes down about a quarter of the width on my thumbnail from the left top corner of my mug. And it stops just about a third of the way down my thumbnail on the bottom, mark those lines. And as we look at our handle, we can see it's almost a semicircle. So I'll draw in a circle. But first we need the furthest point out. Measuring from this side of our monk to the very outside of our handle. That's a little bit longer than the distance or the length. My thumbnail. Now I can draw a rough circle to connect those points. That is the outside of my mug handle. Now I'll add in the thickness of the mug handle. The thickness about a third, the length of my thumbnail. Add a little merch. And I'll add one here as well. And add one here on the outside as well. Now again, I'll draw a circle to connect those three dots. You can see this is more of an oval, but that's okay. So now we've got our handle. There's about 5 min left on the clock. Let's come in with a heavier line weight to mark the outside edges of our handle, inside edges of our handle, outside edges of our mug. Now we've got our mugs shape. Now, we can add in some shadow. If I take a second to look at my mug, I'm going to map out where I see areas of shadow. I see the darkest areas of shadow here. By line weight is already pretty dark. So I'm going to add another sliver. And I'll fill that in with some lines that are fairly close together but aren't quite a solid line. I'm just gives a little suggestion of the gradation of shadow. I see. I also see as the mug curves around further from my light source, which is coming from the left. There's a shadow on the right side as well. This cup has a few dimples in it and we can add those in or not. I'm going to ignore those for now. And draw what I see. I see this coming in a little bit of an arc because that area in shadow isn't quite as dark and deep. This, this area. I'll add in some lines that are a little further apart. We can leave a little space for the rim of the cup if we want. Maybe we can even add in that rim light hitting it that gives it its curved shape. Just give a suggestion. For that lip might be the inside of the mug. I see some shadow on the left side because the light is coming in from the left, hitting the inside on the right. Again, sketch out that shape. It's a little darker than this era here. So I'll add in some crosshatching. Now we've got about 2 min left and I want to add shadow to my mug handle. As you can see. When you look at your mug, you'll see just the top on this section, but you can actually see the inside here, inside of the mug handle. To make that clear, you can add more shadow. Where we see it. Here. Can add some cross hatching. We want to make it a little deeper. And then we can show where there's some shadow here. My line is already pretty thick, but I'll add a few more lines to it. Nice lines here and here. Almost connect, but not quite. Now, we've got about 1 min left. So I'm going to look over my monk, see if there's anything I'm missing, anything I want to add. One thing I noticed is there's an area of reflection, my mug handle here. So I'll quickly add in some very, very light lines to make that distinct. And my last action will be to add again some very light lines, the inside of the cup. Because that area is then more shadow than the outside of the mug. With our last thirty-seconds. Take one last look at the mug. See what you like, see what you missed. I see a little bit of shadow here. Yeah. And a little bit of shadow here. A little bit here. I'm going to ignore the dimples in the mug for now. We can add more of the dimples in later. If we want to add time. Time's up. Please share your sketch on the class project section of this course page. 11. Final Thoughts: Thank you so much for taking my course. I hope these lessons helped you find your style and identify your unique way of seeing the world. Here are a few tips and reminders to keep in mind as you continue your art practice. Keep practicing. Okay.