From Still to Alive through Sketching !

1. 01_Introduction: Hi, and welcome to my course from still to live through sketching. I'm Archana, a full time artist and art educator with over 10,000 hours of teaching experience. My students come from a wide range of ages and skill levels. In this course, you will learn how to transform ordinary everyday items like an egg, a safety pin, and a glass tumbler into stunning realistic sketches. Each of these objects present a unique challenge to help you build your sketching skills. The egg is a perfect example of a smooth curved surface, and we shall learn the basics of shadows and anatomy of shadows. The safety pin teaches you how to capture metal, shine, and texture. The glass tuber on the other hand, challenges you to depict transparency and reflections. This course is designed for all skill levels. First, we'll go through a wide range of materials where I'll explain both the essential tools and the additional non essential but useful supplies. As an art educator, I have observed that sketching is more than just the act of drawing. That is why I will also cover the importance of posture, pencil grip, and pencil pressure. To help you get into the rhythm of sketching, I have created some warm up exercises that help prepare your hand and your mind for drawing. Even experienced artists can find it challenging to switch from a paintbrush to a pencil. These exercises will help ease the transition. Next, we will dive deep into the technical aspects of sketching, studying shadows, tonal values and various shading and texturing techniques. I will also teach you how to use your own copyright free reference images, including how to photograph your subject, transfer it to paper, and shade step by step to create depth and realism. By the end of the scores, you will have all the skills necessary to create your own realistic sketches of everyday objects completely unique and free from copyright concerns. As a bonus, I will also show you how to protect your sketches and scan your work for posting on social media. All you need is enthusiasm and a humble pencil. Let's get started. 2. 02_ Materials needed-Part 1 : In this lesson, we'll be looking at the different types of materials that we will need to do sketching. First, we'll look at the type of pencils. As you can see, there are different types of pencils and I will be showing them one by one. In the next lesson, I will explain to you the differences and how to use them effectively. First, we'll look at graphite pencils. There are many brands available in the market, and depending on your country, you can choose any brand. But here I'm going to show you Stela Mars lumograph. This is a blue set, which is the graphite set. As you can see, it comes in a variety of grades, starting from ten which is the lightest to 12 B, which is the darkest. In the next lesson, I will be explaining to you what H means B means and the different types of pencil grades and about tonal values. This is one of the brands of the graphite pencils. The other one is Durbint Academy. They also have from two H to three B. There are many other brands available too. Next, we will look at carbon pencils. I like this brand by Stadler Mars, which is the black pencil set, and it has six different tonal values. As you can see, it starts from HB, which is the lightest and goes up to eight B, which is the darkest in this brand. But different brands will have different grades. Some may go up to 12 B as well or 14 B. It depends on the brand that you're selecting. Next, we will look at charcoal pencils. Charcoal pencils also come in different grades, which is soft, medium, and hard. I have different brands here. This is also by State la Mars lumograph and I have the other one which is general charcoal pencils. They come in three different grades. S is soft. M is for medium and H is for hard. The next lesson, I will be explaining them in detail. The next is woodless pencils. Woodless pencils come without any wood on the outer part, and they don't break as easily as the other pencils which come with the wood. Next type is mechanical pencils. They come in a few thicknesses and grays, but they don't have a very wide variety of grays from lighter to darker. I generally use this for very fine precision kind of work. Next, we'll look at willow charcoal sticks. There are different brands which sell willow charcoal sticks and they have different thicknesses. As you can see, this is very thin and this is very thick. It depends on the texture and the area that you want to work with. There are also many different types of brands available for these below charcoal sticks. Next type is the white pencils, which I generally use for the highlights in the end. There are different brands. This is one of the few brands that I use. Now that you've seen all the types of pencils, please remember that you do not need to have all these materials. They are just good to know what are the different types available in the market. And if you don't have all the materials, you can just manage with a few grades of pencils and I will explain in the next class how you can do without them as well. Now let's look at the paper. There are many different brands available like Stratmoor, Canson, Fabriano Arches, Bostro and many other brands, which I haven't mentioned here. You can use anything. Let's look at what GSM or Gramig means. GSM is basically grams per meter square. It's sometimes also mentioned in pounds and it refers to the gramage or the weight of the paper. When you buy any paper, look for the GSM over here. This paper is two 50 grams/meter square. This one, as you can see, is 300 GSM. This one is 118 GSM. Weight of the paper is very thin. Then when you erase and you're working on your sketch, there will be creases will tend to develop and if you're erasing too much, it may even tire the paper, which is why you have to choose the weight of the paper carefully. Choose at least a minimum of 100 GSM for your sketches. Different types of papers like hot press paper and cold press paper. Hot Press papers will be generally smoother with no textures, whereas cold press papers come with a lot of texture. It depends on your personal preference. If you like textures in your sketches or you want a smoother blended effect, then you go for hot press. Personally, my choice for sketches would be hot press because I like to have a smoother blended effect in my sketches. There are also different materials available in the market for sketching papers, 100% cotton or cellulose or a blend of both. 100% cotton would be an excellent choice for sketching because they are very durable and they have a fine texture. Cellulose would be not as durable as 100% cotton, while the blend of both cellulose and cotton would be a balance of performance and cost. It's just material of the paper. I generally go for the cotton material papers. There are also various shades of sketching papers. Like this, as you can see, is a white sketching paper, whereas this one is a toned paper. Tooned papers are excellent when you want the highlights to pop, and there's a big difference in the contrast. So it depends on the particular sketch that you're choosing. You can go for toned or the plain wise. Size available in various sizes, A four, A three, and other different sizes depending on the brands. From all the paper that we saw, you also have the option of buying sketchbooks and having all your sketches in one place in a book instead of papers. It's all about personal preference. Feel free to experiment and find what you like best. To erasers, the first type is the normal Latex erasers, which are available in different brands. I use the Milan brand and I use this generally to erase off a big area on the paper. The next one is the needed eraser or the Pty eraser. They are also available in different brands. The name suggests these needed erasers can be needed into a fine point and they can be used for precision erasing. Realize that one particular area of your sketch has become darker than needed, then you can use these needed erasers to just roll over and lift off the extra graphite. Next is the fine tip erasers or eraser pencils as they call it. My favorite brand is the Chino eraser pencil. As you can see, it does a very good job of doing very fine precision kind erasing. It's good to add highlights or to create some textures. So other brands like the Mono eraser, fine tip, and the Tombo erasers, et cetera. The last one is the battery operated ones. You can see you can load the eraser and it operates on the battery to quickly erase off a portion. But my absolute favorite is this fine tip eraser pencil. We tend to use the big erasers for the initial outlines and sketches and for very precision erasing, I use this one. 3. 03_Materials needed-Part 2: Coming to erasers, the first type is the normal latex erasers, which are available in different brands. I use the Milan brand and I use this generally to erase off a big area on the paper. The next one is the needed eraser or the putty eraser. They are also available in different brands. As the name suggests, these needed erasers can be needed into a fine point and they can be used for precision erasing. If you realize that one particular area of your sketch has become darker than needed, then you can use these needed erasers to just roll over and lift off the extra graphite. Next is the fine tip erasers or eraser pencils as they call it. My favorite brand is the Chino erase a pencil. As you can see, it does a very good job of doing very fine precision kind of erasing. It's good to add highlights or to create some textures. Also other brands like the Mono eraser, fine tip and the Tombo erasers, et cetera. The last one is the battery operated ones. As you can see, you can load the eraser and it operates on the battery to quickly erase off a portion. But my absolute favorite is this fine tip eraser pencil. Really tend to use the big erasers for the initial outlines and sketches and for very precision erasing, I use this one. These are the normal sharpeners which are usually available. This one is a Durbin Super Point manual sharpener. So what you do is basically push it in and you rotate it with the handle and it gives a very fine point tip. Then the other method is to manually sharpen it with a blade. Sharpening the pencils is a tedious job because the sketching pencils, all of the brands they tend to break very easily, the carbon pencils especially when you sharpen them, you need to be very careful not to break the tip easily. I have broken a fair share of pencils and avoid dropping them on the floor. Be very careful with it. But that being said, this kind of sharpener, also the lead gets stuck inside and you will not be able to rotate it. You'll have to periodically open this part and clean it up for the broken lead pieces which may be stuck inside. The best way to go for sharpening is the manual way using the blade. How I sharpen is basically I'm a right handed person, so I use my left thumb to push and I remove the wood part of the fencer and I expose the lead outside. If you see, be very careful, nudging it with my left hand and also my right hand is slowing the process, so I don't want to break the lead. I just want to get the wood off. It's a time consuming process, of course, when you have all the different types of pencils and you want to keep them super sharp because in the middle of your sketching slow, you don't want to be doing this. Now there are different type of sand papers available. So they come in a stack like that, and they are stapled on both the ends. So once you're sharpened with the blade manually, I generally sharpen the tip with this one, so you can kind of use the sandpaper and get a pointy tip. I'll do it very gently. Until you get a super sharp tiles. If the sandpaper gets very dirty, you can just tear it off and go to the next class. You can throw this away. It's as good as new. Let's look at the various ways to blend our sketch. You can use a blending stump or a paper stump, which is also called the Torton stick. You can use tissue paper or tips or cotton swabs. And lastly, you can also blend with a finger, which I do not recommend, but it's also possible. These are the blending stumps or the paper stumps, which is essentially rolled paper with tips at the ends, and it can be easily sharpened or cleaned by using a sandpaper, or you can also sharpen it with a blade. They are available in a variety of thicknesses, as you can see. They help to achieve a smooth transition from dark to light. As you can see, it can smooth and create a very smooth gradation. Sometimes I use the dirty blending stem to pick up some graphite or charcoal and use that to fill in a space with very soft strokes, which you cannot achieve with a pencil. You can also blend with cotton swabs in a similar way by rubbing over the areas that you want to blend. Also use brushes or paint brushes to blend and also use the humble tissue paper, the facial tissues. What I normally do is I fold the tissue in half, then I fold it in half again, and then I fold it in half again until I get to this size rectangle, then I start folding a triangle to make a pointy tip. I'm basically creating something similar to the blending stem. I like to do this for a bigger area like face, the skin. As you can see, you can rub over the areas that you want to blend. It gives a very smooth finish. Working with sketching and you keep erasing, I don't like to have those eraser dust on the paper while I'm working. And I recommend not to use a finger to push away because you will ruin your sketch or you may smudge the charcoal on it. So you can use something soft like a duster or makeup brush or any other brush that you have to push it away gently. Also it's a good practice to keep rest your hand over tissue paper when you're sketching so that you don't accidentally smudge and you will also have a lot of charcoal on the underside and which may ruin your sketch. We look at an optional item, which is impressioning tool. It's a subjective thing. Some artists do not approve of using impression tools, but it's up to you. I personally don't mind using them as long as I can get the effect that I require. I use these tools which are usually sold as dot Mandala tools and I use them to create some impressions or finer details and texture. Especially for gray hair, I find it very useful. So what I do is work on the paper and make some strokes. And I create an impression on the paper. When I go over the marks that I made, you can see that the impressions that you made come to life. And when you blend it, these are very useful for creating the fur or the gray hair or the texture or the feather designs or patterns, I find them to be very useful. Last but not the least, let's look at fixtus rays to finish your sketch and keep them protected for a long time. There are different brands. I use the Crylon workable fixative. There are also other fixative sprays that are available which you cannot work on or edit after you're done spraying over. This one, as you can see, you can also spray over your sketch, and if you look at some mistake that you did not notice before, then you can always go back and add on, and it prevents the charcoal from smudging and ruining your sketch. 4. 04_Pencil pressure , pencil grip and posture: In this lesson, we will go through some basic things which may seem trivial, but they are essential to improve your overall sketching experience. For example, posture. Make sure that your hands can freely move. If you're a right handed person, make sure that you have enough space so that your hand is not restricted by any object near you. Similarly for the left handed, keep your left hand free from anything so that your hands can freely move when you're sketching. So now, the other thing is to decide which direction of your hand movement is most convenient for you, whether it's away from yourself or towards yourself. For example, for me, I find it very easy to do talk to down and left to right. But you may feel differently. It's a personal choice. So I encourage you to try different ways and directions and see which one works comfortably for you. The next thing is to make sure that your hands are comfortably rested on the table and you're not lifting up awkwardly and trying to sketch. That will ruin the flow of the lines. Let's look at pencil pressure and types of pencil grip. There are different ways to hold the pencil. The first method is to hold with three fingers, it is called the tripod grip, which is what everybody normally uses for writing. And when you hold them, you generally hold them closer to the tip. This type of hold is useful when you want to draw minute details and when you want very crisp and sharp outlines. The second way to hold is holding far away from the pencil tip. This is done when you want to use less pressure and you want to draw very loose and very relaxed strokes. When you're making the initial mark or forming the outline of your drawing, this type of pencil hold is very useful because you don't accidentally press into the paper and make an indent, which makes it very difficult to erase and correct. So it's best to start off with this type of a grip when you're making your initial marks, keeping it very loose and relaxed. The third way to hold the pencil is to hold it like this where it's called an underhand grip, where you have thumb on one side and all the forefingers on the other side, and you're trying to use the sides of the pencil and we don't want the tip of the pencil to touch them. As you can see, this type of grip is very useful for shading and filling in. Whereas if I try to do the same thing like this, it leaves very sharp outlines. This is what we don't want. We want the softer effect when we are trying to shade, which is why we hold it like this. So we approach the paper with the sides of the pencil and not the tip. Coming to pencil pressure, keep the pencil pressure very light when you're making the initial lines, keep it very loose and relaxed and when you want to draw some precision lines or tiny details and minute details, hold it closer to the tip because it's very important to control the pressure and the pressure also determines the value of your. Using the same pencil, I'm now using a two B pencil. If I try to shade, I'm now applying more pressure, and the same pencil can give a different tonal value if you ease in on the pressure. As you can see, I'm lightening the pressure you can get different tonal values using just one pencil. It's based on the pressure that you apply. More pressure here and lighter pressure here. When we make shorter lines, only our wrist moves like this. You see, my elbows are not moving. Whereas when we want longer lines or looser lines, we tend to use our elbows more and the wrist remains as it is. Like you can see, what you need to avoid is making finger based lines, which is making these kind of sketchy lines. This is also called tick hatching. You need to avoid these kind of lines. Keep it loose and relaxed. 5. 05_Tonal values : Now let's look at tone. What is tonal value? Tonal value is how light or dark a shade is. If your sketches are looking very flat, it means that you don't have enough tonal values to create the form of the object that you're drawing. Let's look at different grades of pencil and how they create different tonal values. First, I'm going to show you two H pencil later I will also show you what is the difference between the graphite pencils and the carbon pencils. This is the two H. Now this is my HB pencil and this one is the carbon type. As I said, the same pencil can create different tonal values by varying pressure. If I apply more pressure, or I can layer to create more tonal values. See the gradation. Now I'm moving on to a two B pencil. I'm ing from more pressure, and I'm going to come to pressure. Next, let's go to four B. I. No, I soning the pressure. Now, this is six B. If I want to make it darker, I can layer over it. Let's go to AP now. You see how dark the AP is compared to the two H? Now, if I apply pressure or layer it, it can go darker than that, too. Without applying pressure, you can keep going over it in layers to add more depth and shadow. Now let's look at what is the difference between the graphite pencil and the carbon pencil and why I prefer the carbon pencil to the graphite one. This, as you can see, is the Siler mass lumographeB graphite pencil, and I'm going to share. Now, let me try with the carbon pencil. If you can see the graphite pencil has a shine to it, and this one is a mat effect, which I feel brings out the rich darkness and the much needed contrast that I like in my sketches. The shine kind of reduces the contrast, in my opinion, which is why I use only the carbon pencils. I like the bold richness of the pencils because it doesn't reflect the light, and the contrast is much more vivid and dramatic. W 6. 06_DIY Tonal value chart: Now, let me show you how you can create your own gray scale tonal value chart. So this is how you can make one. Basically, I just used any thick paper and I just made 12 different squares. You can use any measurement. It doesn't matter, but have some space for you to cut out a keyhole kind of thing and for you to label them. As to what pencil you used and you can start shading inside. Here I use the HB black, two B black, four B black, six B black, eight B black, and finally, the charcoal pencil, which is the soft one. Here I have not done anything, which is going to be the highlight and you can have starting from anything, you can also add on more or reduce it. This is four he blue, two he blue, H blue, HB, and two B blue. This will be very useful when you want to check whether you want to go darker or lighter. If I'm looking at this area, for example, so then I will try to match it to see which is the value which is closer to this. I feel this one will be kind of close to this. But where is this area? If I take the keyhole and try to compare with this area, you can see how there is a big tonal value difference. For the shadow area, I will probably compare with some things like the A B. You see? I feel that they are quite close to each other, and with layering, you can add a little more darkness. For this cast shadow area, I feel that I probably go with the chart hole, as you can see through the keyhole. This is quite useful when you're beginning and you're not able to see the differences in the tonal values. It's a useful tool to have one. You can just DIY yourself with just a plain piece of paper and you can spray fixative so that you can keep it forever. This keyhole is very useful to just quickly go and check whether you're going too dark or too light. 7. 07_Anatomy of a Shadow: Welcome back. In this lesson, we'll go through some sketching jargon. First, let's look at what is form and shape. Form is a three dimensional quality of an object, whereas shape is two dimensional. Shape has only two dimensions like height and width, whereas form has depth as well, which is what makes your sketching look more realistic and three dimensional. So I took a picture of an egg on the table, and the light source was from this side. So I took a picture and I changed the picture to black and white image. And then I printed it out. So if you see in this picture, there are two areas that are clearly visible. One is the light area and one is the shadow area. As you know, light travels only in straight lines. When you create any sketch, your viewer should be able to see where the light is clearly coming from. The light source, as you can see, is from this direction, and so this is the light area and this is the shadow area. Let's look at what is core shadow now. Core shadow is the part of the object which is the darkest, the darkest part of the object, which shows the shadow area and it makes your form or object look more three dimensional and gives a depth. What is terminator? Terminator is this line where you can see. At this point, the planes of the object's surface are starting to turn away from the light source. It's like the transition from the light area to the shadow area. This clearly visible demarcation line is called the terminator. Now let's move on to cast shadow. As you know, light travels in straight lines and the light source is coming from this direction. And since the egg is an opaque object, it blocks the path of light and it cannot let it pass through and it casts a shadow on the opposite side of the light source. This is the cast shadow. The cast shadow usually gets diffused and lighter as it goes far away from the object. It depends on how close the light source is to the object. If the light source is further away, the shadow will be more lighter or more diffused. Shadows are usually not completely black except for the area which is closest to the point where it is touching the object is touching the surface, which is the contact shadow. The contact shadow will be much darker than the rest of the cars shadow because this is the place where the object is in contact with the surface it's resting on. That contact shadow needs to be a bit darker than the rest of the shadow to give a more realistic effect. Moving on to reflected light. Reflected light is the light that bounces off. Since the light sources over here, the light bounces off the surface and hits the object at a different angle and fills part of the shadow, making it lighter than it should be. Even though this is the shadow area, you can see here that it is much lighter. This is because of the reflected light. If your surface is darker, the reflected light will be lesser and if your surface is brighter, then there will be more reflected light which hits the object at a different angle in the shadow area. The reflected light is very subtle, but it can really add a lot of depth and realism to your sketch. Last but not the least is the highlight, which is the brightest part of the photograph or the sketch. Wherever the light source is directly hitting the object, that is where you will see the highlight. It's not very visible in this picture, but if you see in this photograph, the shine of the egg is the highlight here where the plane of this object is directly facing the lights. 8. 08_Warm up exercises: Et's move on to some warm up exercises. Just a five or ten minute hand warm up before you start the actual project you're working on may boost your confidence and surprise you with better results. I'll be attaching a PDF, so don't worry. You just follow along. Try to draw evenly spaced out lines. The whole concept is doing this without any ruler or anything. If it's not perfect, don't bother. Just have fun. This is to lose in your hand muzzles. This is called hatching. Now let's try cross hatching. We are basically drawing evenly spaced padler lines. As you can see, for me, I'm comfortable going from left to right then right to left. But you can test it out and see what works best for you. You can keep adding from any other direction angle. And as you can see, when we're adding more lines, we are turning the tonal values to darker from lighter. As you can see, this is lighter tonal value, and this is a darker tonal value. And if you want to make it even darker, you can keep adding as many lines as you want from different directions. Can you see the top one being darker than this one? This one's tonal value is darker and this one is lighter. You can keep adding as many as you want. Now let's try some curvy lines. I'm just making something similar to S, but I'm trying to keep them evenly spaced. Now, let's do some scribbly lines. The more lines you add, the darker the tonal value becomes. We're making it very dark. We're adding more and more. Now, let's try some zigzag lines. This exercise can be very calming and therapeutic as well. Now, let's do some broken lines. So I just lift off, lift the pencil off the paper wherever I want it to break. Try stopping and lifting off at different places to create a different effect. Four vertical lines and four horizontal lines. If it doesn't fit, it's fine. Now, if this is vertical, you go horizontal. This is horizontal, so you go vertical now. Now you do the other. This is horizontal, so we go vertical now. I recommend you do this with normal pencils and without any color because color tends to distract us from the actual exercise. Now let's try some circles, concentric circles. Circles doesn't have to be perfect. A I'm just adding some curves along the edges. Now, let's try something like a sine wave. Try to keep the spacing even. The important thing is to have fun and practice without expecting perfection in the first attempt. Now, let's try semicircles. But concentrically arranged, and now we do upside down. One, two, three. If you want to add another one, you can add in. One, two, three, four. So we are done with our warm up exercises. 9. 09_Three methods for image transfer: Now I will show you three methods how you can draw or transfer the image reference image onto your sketching paper. So the first method is, of course, to draw free hand, using the basic shapes, which I'm going to show you now. So if you look at this, you can see that this shape is a flattened oval and the oval will depend on the size of the oval will depend on the perspective or the angle in which you're looking at. This is the glass that I took a picture of for the project three. If you look at the angle, this oval will get bigger and bigger and bigger and it'll become a perfect circle when you're looking up on the top. As you move to the sides, you can see that the oval is getting flattened out. And when you're looking perpendicular, it will become a straight one. So it's best if you take a picture so that it doesn't keep moving. If you're observing, it will take a little more practice. So it's best if you keep it at a particular angle and you take a picture of it. But you have to observe how flattened or opened out it is. So first thing you need to do is observe this and you can make a flattened over. You can make a loose outline. So for the purpose of showing you, I'm using a dark pencil, but normally, I will use a very light pencil to sketch, but it won't appear in the camera, so I'm using a fobi pencil just to show you how I start off. So you can refine it. No need to be perfect. Just refine it. If you feel that it is too opened up and it needs to go flatter, you can erase it. I go a little farther. Now observe that the next oval, which is the mid section, is getting a little wider than this and likewise. So if you see it's moving from narrow then broader and more broader. So I'm going to extend the line a bit, and then it's going to have a slightly bigger oval. And this part, this angle is more opened out than this. And then it gets broader, so the lines move a little outside. And then this oval is more to the other side, not flatted. You can make adjustments if you feel like this has to go a bit. Down. This is a central axis. You can start off with the central axis and make oval shapes, then use a ruler or you can do free hand. Then add the next ellipsis, then go broader with the lines going out. And an even bigger circle. So this is how we can draw. Then you can make corrections as to how you can see this line or whether it's visible or not. And then you can go ahead and mark the dark parts. The value changes. So you can use the value chart to see where the values are changing if you're not sure. You can mark off the paths where it needs to be light, the white highlights here. And so on and so forth. This is method number one. I will also show you how to draw a safety pin. So I will first make the head. Somewhat like a U shape. There is a straight line here, there is a circle here. There's another straight line here. So then you can go ahead and make it double. They are both parallel to each other, and it tapers into a sharp pin. Here, you need to observe how the pin is overlapping. So it'll be sometimes like this, sometimes like this. So it depends on your pin. Then you'll have to erase out the part where the overlap takes place. Then make this a double line. Then try to copy them. The next method of transferring the image to your sketching paper is by taking a normal pencil, which is not the carbon pencil. You can use any normal pencils. I'm using a two be here, and you take the print out and you just go and shade on the back side of the image. Just for the purpose of dinner. So now I have not done the whole thing. Once you do that, then you can come back and draw here over the lines that you are able to see and also mark the tonal values where you need to go lighter or darker. You can see that the image is getting transferred here. Of course, they are very light here. But if you go with a thick layer of pencil shading, it kind of transfers the graphite to the paper here when I'm drawing over it. This is method number two. And the third method is to use a carbon paper, which will be usually available in a stationary shop. It looks something like this. It has a shiny surface and a mat surface. So your mat surface has to be right under the image that you want to transfer, and you can place it over the sketching paper. The shiny side will be touching the sketching paper. Now, you can use any masking tape. But I generally remove the stickiness by taking away the tackiness of it because I don't want it to rip the paper. So I do it a couple of times on any clean surface or your clothes. And then you have to attach the printout, the carbon paper, sandwich in between, and the sketching paper on the other side. And I just go and glue it in a few places so that it doesn't shift when I'm actually drawing. So once I'm done with that, I can go and draw over the reference image. And don't use a mat pencil or a carbon pencil because you won't be able to see whether you have finished drawing the data or not. With the help of a normal pencil, you can see the shines and that will tell you whether you have finished drawing over that particular place or not. So just for the sake of demo, I'm just doing a quick one. Of course, you will have to mark everything that you see. All the transitions of tonal values, the shadow shadow, keep it loose. And the pressure of the pencil should not be too much or too less. Too less, you will not get the image there. If it's too much, it will be so dark that you will not be able to show the necessary tonal values, and it will look very too deep. So go medium pressure, and you can check it once, but don't move it. I feel I have done it a little too dark. It can be slightly lighter. For the sake of the camera, I've done it a little darker. So once you're done and you check if your editing is done, you peel off the other three tapes and then just keep one tape and you very lightly check because if you have missed out anything, you can still go back and add it. So this is how it will get transferred. Once you're done, remove the tape gently without ripping the paper. And you're ready to start sketching. 10. 10_ Project 1-Basic egg sketch Part 1: Now, let's start sketching the egg. I have an AF paper here, and I have all my pencils sharpened and ready, and I have printed out an image of the reference picture. So now I'm going to start off with a two H blue mass lumograph pencil, which is very light, and I'm now going to start with very loose blues and fluid lines. I'm trying to draw the outline of the egg. I'm also going to draw the terminator line, which is the one that is dividing the light area and the shadow area. I will also approximately mark the cast shadow area and I'm going to create the line which defines the table edge. Let me show you in close up because the lines are very light. Don't worry. I'll be attaching all the reference pictures and images and everything. You can refer to that. So once I'm happy with the outline, I can start by shading. I'm going to make the shadow and the darkest areas first. Now I'm going to take my eight black Mars mograph pencil and I'm going to start sketching the terminator line and the cast shadow so that I have something to compare against to see how much darker or lighter I have to go. Initially, I'm going to just do it very lightly. I'm holding my pencil like this sideways, so I don't want any dark, sharp lines. I'm careful to leave the reflected light area. I'm not going to go very dark there. Whereas this area can go much darker. But I want the outline of the egg to be a little crisper, only when I have to get to an outline, which defines the forms exact shape, I don't want the line to be diffused. But within the object, I don't want any sharp lines. I like to hold my pencil sideways. And you can create darkness by layering over it. I prefer not to press the pencil too much in one go to get it darker because it will affect the tooth of the paper, then it will stop accepting anymore layering. Then the paper will get really shiny when you apply too much in one go. We need some resistance of the paper's tooth or the surface. So it's better to layer slowly as you go. I'm purposely leaving this reflected light area. Till now, I have only used eight B. Now in the transition area, I would like to switch to a six B pencil. I'm not applying too much pressure. Now, I feel that I can go to a two B directly instead of a four B. So just a bit of the I'm going to create a highlight here just for a more dramatic effect. Once you know the basic concepts of light and shadow and all the co shadow and the highlights, you can tweak them to your liking to create a more dramatic effect or if you want a more realistic effect, you can still tweak them and get away with it because end of the day, the principles need to be applied. I'm going to use a charcoal pencil, the soft charcoal pencil of Mars Limograph because I want cast the contact shadow to be the darkest. So I'm going very dark at the part where the egg is touching the surface. And with the same pencil, I'm just lightening the pressure as I'm coming upwards. Charcoal pencils are a bit more easier to smudge than the carbon pencils and the graphite pencils, so be careful of that. So be careful not to put your hand over the part and then get it smudged elsewhere. So now I'm going to use the blender. And I want a more diffused effect of the car shadow at the edge. I don't want a very sharp line, even though it's like that in the picture. I'm going to modify that. Every time you use the blender, always remember that it will lift off some of the graphite or the charcoal from the paper and it will tend to lighten the tonal value. So every time you use the blender, remember that your tonal value will go one tone down or two tones down. So you may have to go back and add some more darkness. I want it to be a little more here. Now, I'm going to blend inside the egg. We are now looking at the terminator line here and the core shadow. If you like a very non blended look, you can avoid this step. It's totally up to you. Sometimes I use the size of the blender if my tip gets too dirty. I feel like I can add a little more darkness to this area. So I'm going to go back with the AV. I want to add a bit more here and just leave a little bit of this area for the reflected light to show. Now I'm going to blend the terminator line and see if I have to go lighter or darker. Sometimes I like to use the blending stump to push the grayness to the areas that I have not filled in yet for a softer effect. I'm going to do that. As you can see, I'm trying to fill the area with just the blending stump without any use of pencils. I don't quite like the pencil line that I marked for the highlight. I'm going to go with this eraser, the fine tip eraser, the Chino one. I'm going to just erase off the pencil line which I wanted to mark for the highlights. Another thing to avoid is to use your hand to push off the eraser dust. Instead, you can use a brush. An old makeup brush or any other brush. Dolls tool man's good enough. I'm going to go and erase the highlights a bit more. Now I'm going to look at the table. I don't want the whiteness of the remaining paper to distract me from the egg. So I'm just going to go ahead. I'm not going to go so dark. I just want a surface. So I'm going with a charcoal, willow charcoal stick. You can also use toned paper. I'm going to just blend it out. I quite like the effect of the charcoal in the backgrounds because I want the highlight to pop and not the background of the paper. 11. 11_Project 1 - Basic egg sketch Part 2: No, I'm happy with the table surface, but I want to make the background much darker, so I want the white of the egg to pop. I'm approaching it sideways. I want to be very careful just outside the egg surface because I don't want it to affect the shape of the egg. Basically, we are doing negative shading, shading outside of the egg so that the eggs whiteness is more visible. So in this place when I'm drawing, I'm using it like this because I want to be precise and I don't want a fuzzy line over there. Now I'm going back to holding like this. I'm just being careful when I'm nearing the surface. You can go randomly if you want a more artistic effect. Totally up to you. I'm going in one direction here parallel to the surface of the table. I'm adding a bit of extra darkness just around the egg. If you come inside a little bit accidentally, not to worry, use the fine tip eraser and I can fix it. But I don't want it to be so bright there, so I'm just going to use indus. Now we have done the background. We have done the background, the table surface, the shadow cast shadow, and the contact shadow, the terminator line, and the highlights. But I still feel that the egg needs a little more work. Because if you see the eggs, the outer line here is not visible, which means that the tonal values are not really matching. I feel that we can go a bit darker here. But remember, always when you're sketching any three D object, we don't want to see any distinct line like a two D drawing, so there should not be any line which looks like a clear line. You have to fuzz it out and make it look more three D. Since the light is coming from this direction and the surface of the egg is turning away slowly from the light source, it should get a little more shadow here. I'm going to add a bit more edge. Sometimes I don't really look at the reference picture. I just for me to get started. I just go by what looks good to my eye. I'm going to now blend this out because I feel it's a little too dark and I want a very softer gradation. I'm going to add I'm using the EP. I'm going to add a bit more darkness to this area. Remember, you can always layer if you think that it's not dark enough, and if you feel that you went too dark over an area, you can use the ker eraser and just go over the area gently and pull out the extra graphite or the carbon. I'm just continuing the layering a bit more. I'm not pressing the paper much. I'm just very lightly approaching it sideways. I think I missed the spot when I was doing the table. You can also use your finger to smudge the window charcoal stick. I don't want the darkness around the highlight to be very clearly visible. So I want it to be more even. So I'm just going to go and erase off a bit of this with a needle eraser and I'm going to go back with the blender very lightly. I think I went a bit too dark. I think my blender needs some cleaning now. I'm going to go ahead with this. I think I can go one to lighter over here. Sketching is a very time consuming process. So if you rush through it, you may not get what you want, or it may not be to your liking. Even a simple thing like drawing an egg requires a lot of attention, attention to detail, attention to where the light is coming from, whether you've gone too dark, you've gone too light. Now our egg is almost done. I'm just going to do a bit of final finishing touch in which I'm defining the eggs form a bit more by doing negative shading. So if you want to make the egg egg shape be well defined. Instead of drawing a thick line on the outline, you can do a reverse or negative shading to make the egg shape look better. I'm just going to add a bit of this darkness here. I'm just defining the edge of the table a bit more. I'm quite happy with how it looks now. I'm showing you another picture of the sketch of the egg that I did. Here, if you see there is no background to make it pop, I feel that this is more dramatic, which is what I would usually go for. But if you want something very subtle without any other darker backgrounds, you can experiment, see how the light and the shadow can create a very different effect and finish to the final sketch. You can play around and take photos of eggs in different lighting and different angles and you can play around and see how that affects your final output. Once you're done with the sketch, you can use the fixative spray and keep it at a distance, not too close and not too far away, about this much of a distance away and just spray it evenly and you can sign your name before that, of course. And it's a good idea to scan your sketches instead of taking a photo that will come out better. You can use 600 DPI or 300 DPI minimum to scan your sketches and always keep them protected or framed. So I'm going to show you how to spray. I usually keep it at a distance. I spray it. And always remember that you have to use this spray in a well ventilated area or keep your windows open. It's not good to inhale these products. You can see the disclaimer here. 12. 12_Project 2- Safety pin sketch-Part 1: And So let's move on to our second project, which is going to be sketching a safety pin. Safety pin is something that everybody will have in their house. So what you can do is just keep the safety pin on a plain white paper in good lighting, and you can take a picture with your phone and then you can zoom in, but don't use the software zoom whatever is the camera zoom that the hardware Zoom offers in your phone, you use that. I used Fix and I zoomed in and I clicked a picture, and then I took a print out of it. I have drawn the basic outline. Very lightly, I have shown in a separate video how to draw from scratch or transfer using carbon paper. So now let's start with the sketching part. I'm going to just outline the For this, we will be needing a ruler for a straight edge. So I'm going to use a very sharp pencil. I'm going to outline with a Tubi pencil, the black tubi pencil. I'm not really worried about the outline because we have a darker edge. The highlight is not on the outer edge, but it's only in the middle. So I can go ahead. If the highlight is there on the outermost edge, then we should not be using such a dark pencil. Make sure your pencil is very sharp because the whole area of the safety pin is very thin, so we don't want to go out. For the circular part, I'm just going in sections, and I keep turning the paper so that I can do it in a comfortable angle. This is just drawn free hand, except for this part where I use the ruler. This part is dumb. As you can see, this circle moves continuously. Whereas here, I created that circle, so I need to erase that part. I find the precision eraser very useful because it's just a very small area that I have to erase. So I need to make sure that it's a continuous line from there to here. So I need to tweak it a little bit to make this part more smoother. I'm going to erase off the rest of the part. There is a small bit of the underlying circle behind, which is seen. I need to readjust this circle on the inside because I want it to go straight and join there. And you can see a little bit of the other side of the metal pin. So just add that part. And there is something over here. This one is jutting out a bit. Now we will add the head of this. Refine your outlines and erase off the rest of the area. Now we are done with the outline. Let's start shading. I'm going to start with the darkest part with eight B pencil. Just notice where it goes dark here along the edge and here in this area and in this area and here and a very thin line around the out edge. I'm going to start with that. I'm going straight with my strokes because I'm just looking at the picture and how it looks like. I don't want to cause any curly lines or wiggly lines there. It's a metal, so it'll be smooth and shiny surface. Mostly the tonal values will jump from a very dark to very light only in very shiny or reflective surfaces. There's a thin line over here as well, so I'm going to you can follow your reference picture if it's slightly different, or you can use my reference picture as well. If you notice it's slightly darker on the inside than on the outside. Pay attention to these small details. You have to leave a part of the highlight over here and here and here. If you have to go darker, I just go over the part again and again with the same pencil. It's very light pressure. Somewhere over here, there is a line which connects to this. I'm just trying to draw the same shape. Now, I'm going in this direction along the curve. There's a bit of darkness over here as well. And now we're going for this area. No, the outermost edge, it gets slowly reduced. The outer edge has to be very sharp because it's a solid shape. It needs a definite outline. But within the area, it can be gradually reducing. You can see here. Now, I'll move on to another pencil and slowly decrease the tonal values. Now I'm going to see where else do I have to use AP. I feel that this areas, very small areas have some bit of darkness, so I'm going to go into that. If you want to show more darkness on this side, it depends on the lighting of your picture as well. If you want a more dramatic effect, you can also add darkness on the bottom side because the light is somewhere from the top. So you can assume that I'm sharing a bit of the inside center of this circular part. Now I'll move on to six B. I'm going to use six B in this area here, here for the behind. And I'm going to come in with a gradual reduction of the tone and value from the outage. Be careful when you are nearing the outage and you're holding the pencil sideways. Try not to go out of the line. I'm use my blender. I have cleaned one tip so that I can use this for blending, and the dirty side I'll be using to fill in an area with very soft values. So I'm going to use the clean side. I'm softly blending in. Since this area is quite light, I'm going to just use the same side, I'm going to fill it in. Look how soft it is. I quite like this effect, so I'm going to just fill it in with this. And I want this line to stand out properly. So I'm going to go on that in part. I need an EP for that, so I'm going back with EP. This area is having a highlight, so I'm not going to touch that area. I'm only going in this area. I'm not Okay. I'm removing some of the graphite for highlight. I see a white line going there, so I'm going to just use the eras of pencil to go into this area. I see that my highlight is too big compared to this, so I'm going to fill it in. I will use a six B. And it's not quite as bright as I thought it was. So I'm going to just fill it in with this. Okay. I'm happy with that. I think this band has to go a little more. I'm darkening wherever I feel I need to go darker. I think this edge can be a bit sharper. Whenever you use the blender, it will tend to tone it down a little bit, so you need to add more top up if the darkness has reduced. Every time you use the blender or the tissue, you need to revisit and top up darkness. 13. 13_Project 2- Safety pin sketch-Part 2: Okay. Now I'm going to blend only the area where the soft tonal value is meeting this edge. I'm not going to the outermost edge. I just want to blend in this area. The transition area. I'm not really touching the other areas. I'm going to erase right in the center of this highlight area. And this edge. Okay. Now, I'm just correct this inner edge. I feel that the outline is non visible and there should not be a distinct lines there, so I'm just going to puss that out. And lion. Again, I have to. Whenever I go out of the line, I need to make sure that the outermost line is crisp. Now let's move on to this area. I'm going to go with a six B on the edge. Be very careful because it's a very thin area. I'm doing the top line with six B. I'm going to have a elight in the center of this rod. Same me here. I'm going to go in with the top part of this one with six B. And in this picture, I don't really see a shadow on the bottom, but I'm going to tweak that, and I'm going to add more shadow on the bottommost part of this for a more dramatic lighting. If we don't like it, we can always erase it. So I'm going to retain the white line right in the middle of that and just shade the rest of the parts while keeping the outer line very crisp. I like that. In the end, we can also add a bit of shadow. I'm going to add some shadow on this part. Well, sturning shadow on the bottom of this part on the left left part of this. I'm just going in small section without using a ruler because a line is already there. I'm just staying within the line. Now, I need a very thin blender, so I'm using this Milan thin blending stump because that is too big for this area. And I'm just going on the let me show you here. This is the metal part here, we have done this area with the bottom area with AB. And the top area with six B, and we have left the line in the middle white for highlights. So I'm going to blend right at the junction of the highlight and the AB here, but I'm not going to the outer edge there. I will do the same thing for this side on the inner side, the junction between the highlight and the six B here within the pin. But later I will go and raise the centermost part again after I blend to preserve the highlight. Because this is very thin, I have shown you here. So let's go back very carefully. Here I want physicians, so my hold is like this. Now I'm lending the 60 edge. When I'm doing that, I can see that the highlight is getting grayed out, so I have to go back and make sure the highlight is clearly visible If I need to be extra precise, I go almost perpendicular to the paper surface. M. Keep peering off the eraser dust so that you don't get confused. I'm not very happy with the curves. I'm I just to be a little more rounder. I outlining. Twisting the curve here. I think it can be a little lighter and round up. So Yeah, that's more like it. This line has to overlap because it's making a turn and it's going from behind. So I need add that hedge it backsight scene. And I see a line in the middle. I need data at the top line. Now, let me make the six B line a little sharper. Like I did for the line. I'm going to slice out of line. No problem. Can you raise it off? You can use a ruler as well. It looks dumb. Oh. Now I think I'm going to add some shadow a light shadow. So I'm dreaming that the light is coming from the top. The shadow is going down the bottom. A bit over here. I'm using Kobe pencil. And I'm doing the shadow here. I'm leaving a small gap. Thank. I'm holding the pencil sideways. Now blend it out. That's it. You can sign your name here and you can spray fiix it to spray and you can scan your work. And you got it is done. 14. 14_Project 3 - Glass tumbler sketch-Part 1: So I took an ha glass cup and I put it on a toned paper like this, and I took a picture in good lighting. So the lighting is coming from the side. I just took a picture with my phone using a portrait mode, and then you can see that this is a normal photo. What you can do is you can change the filter and make it black and white like this. So the same photo, I just changed the filter and made it black and white, and then I printed it out. Then you can draw out the image or you can transfer it using carbon paper. It's up to you. If you want to start off by sketching from scratch, also, you can do it. So once the image is on your paper, I basically mark all the major tone and value changes where there is light shining, where there is darkness and all those things. Now we start seeing how to sketch. So you have your reference image on the side. I'm going to keep the black and white image to avoid any confusion caused by the color. Now, let's start shading with the darkest part here. As you can see, I can see some dark parts over here. I'm going to shade this part now. I'm using an eight B pencil, and this one is a pencil extender. If your pencils get really short, you don't have to throw them away. You can still use it with a pencil extender. These are very useful. As you can see, these lines are getting a little fuzzier as it goes into the white shadow. I'm now going to go for this line. This is a very crisp line, too. You can turn the paper as you'd like so that your hand feels comfortable in whichever direction you feel comfortable, you can turn the paper accordingly. Now I'm going for this area. If you can see this area is pretty dark, here and here. Observe the tonal values. You can use the tonal value chart if you're confused, whether you have to go darker or lighter. It's always better to go lighter and then top up if you need more darkness. I find it easier to go slowly with respect to darkness and not go all at once. You have to notice the small nuances where there is white reflection of the light. Leave those spots. I'm now going into this area, which is right over here. Now, let's do this area. There's some here. There's something over here. I'm gonna go put this part down. Okay, now for this bottom part, I'm going to change to six B. I'm going for this area now. You can see I'm using the AP, but I'm not applying so much pressure. I'm just going lightly. You can also change your pencil to six B. I'm just leaving the spots where the light is whitest, the high light areas. Don't worry too much if you can't tell the difference between the tonal values. You can initially use the tonal value chart and compare and trust me, I also started out like that. I didn't know whether I have to go darker or lighter, but it comes with practice and observing. And somehow something will not look right if you have not done the correct tonal value. So it will automatically occur to you. Maybe I have to go darker here and over here. Now I'm going for this area. And a slight kind of a fuzzy line there. Now, let's move on to this area. There's a small break there. I'm gonna go with this down here. Now we're going to this. It's a little bit more pronounced on the lower end. And I'm preserving this whiteness here, so I'm going to leave that there. Now, I'll move to the top part. Keep comparing with the reference picture. Makes it easier. I'm going lighter into this area. I feel I need to add a bit more here. I'm not yet coming to the shadow yet. Now, let's go for this part. I'm sorry I keep training the angle. I'm doing these two parts now. My pencil is pretty brunt, so which is why I'm not holding like this. Of course, this is a nicer way to hold. You're bigger areas where you don't want the sharp tip of the pencil to make strokes. Once you are comfortable with the concepts, then you'll figure out your own way. So what I do is normally I just look at it as a shape. It looks somewhat like a triangle. Don't look at it as a glass. Just look at each thing as a shape, try to mimic the shape. Which is why sometimes turning the sketch upside down helps you to sketch with your right brain. So our perception will not affect our sketching. And a bit darker over here. Don't worry right now if it looks screwed. I'll come in stages. I will move on to this area. If you see there are two distinct reflection spots there. So I will just skip that, and I'm doing it very softly with no pressure. You see this part is also kind of. Now we can move on to ya. I'm still using the six B. I'm not applying any pressure, keeping it light and easy. I'm just going to continue and make this cool area. And you see this very soft edge. So I'm going to do that very lightly. I'm going to see where there is a break here. We're going there. We don't want to have it like an outline, then it'll look very toy. I'm going to give this edge here. And if you see it's majorly white, except the top I think we can do in for these ones now. I think I've forgotten to add this highlight. I just mark that now. So don't forget if you forget something, it's alright. You can always add it. Don't think of it as a complicated picture. Just think of it as a bunch of shapes put together. And it's just a pencil sketch. You can always erase. You can always go back and add. So just take the fear out of your mind. So now I'm going to do this area. And this area. I have a few strokes here and there. It doesn't have to be exactly the same as in the picture. Nobody's going to compare it with a reference picture. You can easily convince that this is a glass. You can bring realism and tweak it a little bit here and there. Nobody's going to know if one line is missing. Okay. I think now I will move on to the whites so that I can see. There's no right or wrong. I'm going to do the whites so that I know between the EDV and the white, what are the mid tones. So it'll be easier to compare. 15. 15_ Project 3-Glass tumbler sketch-Part 2: This is the fun part. I'm using the white coal pencil. I just love the white on a tone paper. The effect just comes to life. I'm going in for the very obvious ones first, which is this over here. And wherever the lines are very sharp, make sure that you make a sharp line. Wherever you want the blended out effect, you can go with a blender and blend it out. You see, there's a part where you can see the lines behind as well as this. So that is the sum. We can go back and add the darkness again. Now, I'm just gonna go. Here, the white is not as white as here. So I'll tell you how to make that a little dull looking purposely. So for this area, I'm holding it a little far away. So my pressure is lesser and the whiteness is also not so much. Just gonna try to copy the shape. Now, you see this kind of a distinct shape. Here I want those soft lines. So I'm going to do a scooping action. So wherever I want the ending to be soft, I press in the starting and then I let go of the pencil. There's a line over here, which is criss. But that line has to be surrounded by a sharp eight B pencil. I'll be doing that a little later. This whole band has to be pretty a slight gap in between here and there. So we can go with another carbon pencil over this, the black pencil over it over the white cod. I'm going to go with these two here. And there's a small bit of an oval shape here, a flattened oval shape here, but it's not very bright. So it's going to go very dark there. Here is a very bright spot two bright spots here. After which it gets a little fuzzy. Oh. Now I'm going to go in with a blender and I want to make the strokes a little smoother. Make sure you don't use the dirty part of the blender on the white coal because then the highlight will be lost. I'm just going over the eight B and the six B parts that we did. Another tip would be to not blend both these areas together because I want that line to be crisp. I I I go ahead and do the whole area, it's going to become a big mess. So I'm just going with the same tonal values and blending within that area. Suppose this whole area is only eight B, then I just do that separately. I don't want to mix it with the other especially if the line has to be crisp. I'm only blending the areas where I want the transition to be smoother and softer. Now, I'm going to use the blender, the residue on the blender itself to shade some areas. Because when you blend, picks up some of the graphite or the carbon so we can use that to create a softer transition. So in places where I feel that it's not so dark, I can go ahead and fill it up with this itself. If I run out of it, I can just go over and blend another area and I pick up more and I can go ahead and you see these areas where you would probably shade with a HB or a two B, I'm just using this. See, now I'm I'm running out of it lollies. I'm just going to pick up some of them there. Because these areas are very, very soft and you just have to cover the toned paper's color so that you don't see any of the browns there. But I like the effect of the toned paper and the white pencil. If you don't like it, you can as well use gray paper gray tone paper. Or if you don't have tone paper, you can give it a background with a charcoal and then start off. But very lightly because we don't want the whites to be made dull. Okay. Now I'm going to go with the tobe pencil. Fill up the areas which I had left out. 16. 16_Project 3-Glass tumbler sketch- Part 3: I think this has to be a bit sharper. I want this curve over here. I want this curve to be visible. I'm going to erase the part where I went in. And the cow. It kind of shows the contour of the glass. And you see that there should be a sharp line of darkness that accends the contour. And I'm going to go ahead and add the darkness that I have Mr.. Now that I have the white, it's more obvious. I'm doing these two areas. Now, S I can go this. I want the eight piece to be dull behind the white reflection area, and in the gaps, I want them to be darker. Now I think it's time to go edge so please. This, you have to be careful because you don't want to change the shape of the glass. We don't want any sketchy lines because that's the initial part, then you should have a clean outline mouth. I'm going in for this line now. I'm reading this, that there is a small line, a thin line just above the white. And that's important. It's all about observation. Sketching is all about observation. Seeing the contrast with respect to this, should it be lighter? Should it be darker? Now I'm going to fill this whole area with booby. I'm holding it far away and approaching it from the side. Here, near the outer edge. I'm a little more careful. I don't want to go on to the line. Now, let's blend. I'm going to use the sides of it. Because it's a bigger area, it's faster and smoother. But we don't want to blend the outermost edge because the line has to be crisp. Now, let's add the shadow parts. I'm going with an eight B pencil this cover and it's important to have it diffused with the shadow, so it should go lighter as you move further away from the object. And since it's a transparent object, it casts a shadow, but a very, very light shadow. I want this part to be a little darker. There's some whiteness over there. I want to go with a white co very lightly. I want to go into the area of the black. And I want this to start off with a sharp line and then be diffuse as it is. So now I'm going sideways with a pencil. Then there's a distinct whiteness here. And a sharp. It's bright, but it's not very it's only sharp here, but it's very fuzzy here. A few strokes are I want this curve to come out the same shape. Now I can see that this is not dark enough to bring out the whiteness on you. We have a lot more work to do on the car. Let's do it in stages. One here. I can see I missed out thing yeah Now I want the dark part here. I wanted to go into the white part of it. And you can faintly see the edge of the cup. Go sideways and very light on the pressure. So in between the whites, there is a shadow part. You see, the same shadow is also continuing inside. In this part. This is the place where the shadow is starting up. Where the glass is touching the surface. If I want the white to pop, I have to make the background a bit darker. So I want to add those little darker lines in between. In this edge. Now I can see that it has to go way darker. This whole area. And the contact shadow here is pretty dark edge of this glass. Now, what I'm going to do is basically add more gray areas and have the contrast and check. If this is not popping well, then I need to add some more white coal or I have to darken the background. So I'm basically going to be doing that. You can watch me. I will speed up the video because otherwise it will take too much time. Gang 17. 17_Project 3-Glass Tumbler sketchPart 4: Now, I want this part of the glass to be blended in with some whites. Even though I've added the two B here, two B and the eight piece, I want some of the whites to see through. So you can go over the pencil with your white code. I'll mix with the black and make it a little grayish. If you want it pure white, then you have to erase it and then go over it with a white. If it's not that bright, then you can go over to create a gray. So we're going to continue comparing with the picture, and we are going to be blending and we're going to be adding some more highlights or gray mid tones. At this stage, you may feel like it's already looking quite done, but don't stop, keep going and keep comparing with the reference picture. There's always scope for more improvement. Now, when I'm doing the shading of the shadow part, I'm also doing the same way like I showed you the strokes, push away like a scooping action press and let go, press and let go. The ending will be very smooth. Because if I start here, the ending point will be very sharp and you can see the bear you started off, but we don't want that. We just want it to just go and blend into the surrounding. So as you can see, I'm just filling in this part with the blending tool itself. I'm going to add a bit more over here. Every time you see I look at a new spot that I missed out earlier. So it's okay to go in a random order as long as you keep observing with the reference picture and making the corrections. Take your time with this. It's unbelievable how a small simple cup from ICA can be sketched to look exactly lifelike. Initially, I used to think that sketching still life was boring. But now they are one of my favorites. Even though I've sketched a lot of humans and sceneries and nature and animals, I still find still life kind of interesting. Especially where I have a lot of bites to pop. I find that very interesting. Here I'm doing it very lightly. I'm going to blend with the two B. Now I'm looking at the reference photo which I took in color. I actually kept the glass on the same paper and took a picture. I feel like we have to add a bit more whites in the bottom area, which is what I'm going to do now. Especially here and here, there is some mixture of white and the blacks. When you mix the coal and the pencil, I feel like it also creates a blended effect. Just like how the contact shadow is the darkest at the point where it touches the surface. Similarly, the light reflection also is more pronounced at the place where it starts or where it's touching the surface. Is Now, I'm going to go with the charcoal and blend out the surrounding, then I'll come back and fix the last bit. I want a very fuzzy effect outside and I want the shadow to blend in with the background. I'm just using the willow stick and just very roughly. I don't want it to be darker than the subject or cover up the subject. Now I'm going to use a tissue paper to just kind of smoothen out the charcoal stroke. I'm doing this now because I don't want it to distract me. I want the shadows to kind of blend in to the surrounding smoothly. But you have to remember once you put the charcoal, you need to be careful. You hands may smudge the rest of the pain which Now I can place the tissue and rest my hand over it when I'm making the final corrections. I feel it needs to go darker here because I can't really see the pop of the wipe. More go darker around the thing? So I added some more layering and removed some of them. And wherever I felt it has to go darker, I made it a little darker and wherever it has to go lighter, I made it lighter. Now it looks almost done. I wanted to show you how you can do these soft strokes over the wide, free stroke. So you can start here wherever the line is going in this direction and you can just make those soft lines. Here I see a line going from here. Keep it loose and quick and do the scooping action like that. Yes. Note the angle in which you're doing the line. It should not be at an odd angle, so it has to be parallel to this. I also wanted to mention another way of adding highlights. If you feel like the white coal is not enough. There are other ways to add highlights to give the last pop effect. You can use these kind of acrylic paint markers. I have this Posca markers or you can use the gel pens, jelly roll from Japan. You may be having some similar items in your country. You can look for them. I'm going to add a little bit of extra whiteness in the parts where I feel it's not white enough, which is mainly over here. I'm going to add a bit more. You can doored with a broader one if the area is more. If it feels too sharp, you can just smudge it out a bit with your fingertips. Edge to be very sharp. You can also do the same similar strokes that you did with a pencil. Just note that these are not erasble so you can practice somewhere else before you go over the sketch. And also be careful when it's wet. Don't put your hand over it. I'll get transferred to another place, just like I got my fingers stained now. I'm going with these wenches. This is the absolute last step that I usually do after I'm done with everything else. So if you make one area brighter and another area is equally bright, make sure you go over it so that it's consistent all over. If you just do it in a particular area that will pop too much. So we don't want that. I'm now happy with this. Now I can sign my name here and I will spray the fixative and I will scan my work, and I always keep it covered and protected. Either you can keep it in a folder or you can frame it. You're done with your Project three. 18. 18_Final Thoughts: Welcome back. I hope you're enjoying the course and having fun bringing your sketches to life. If you would love to see more of my work and updates, make sure to follow me on my Instagram and Facebook. Also, if you have any questions, feel free to email me at this ID. I would love to hear from you. Keep practicing, stay creative and happy sketching.