How to Draw : Shading 101

1. Shading 101: Hey, how's it going? I'm Enrique, and today we're gonna learn how to shade anything. If you are a complete beginner and you don't really know much about this stuff. You don't know much about drawing, you don't know much about shading anything. This is for you. We're going to start from the very start, and we're gonna go through this together step-by-step until at the very end, you will be able to shade nearly anything that is with practice. So I'm going to show you all the way through the process. Let's go through what is inside this course. Okay? Number one, we're gonna go through the supplies, right? That's very important. This is gonna be mostly pencil, colored pencil. I'm going to go through that stuff with you. This is more of a soft shading, not so much crosshatching. That's a different thing. But this is gonna be more of the soft, very popularized shading that you see everywhere. Then after that, I'm going to go through basically how you handle your pencil. That's incredibly important because no one talks about that. When you're writing, for example, you're kinda like anchoring your hand like this. But when you're drawing, it's you're using your shoulder, your elbow. It's a different thing and I'm gonna go over that with you as well. And how you hold the pencil, which sounds kind of silly, but this is really, really from the beginning. Then we're gonna go over the value scale, which is incredibly important in my opinion. I don't even think you really need it that much, but I'm gonna go through it with you because I think these certain things are important about it. So that's what we're gonna do with that. Then I'm going to talk about what happens with light and form and how that works because this is pretty much the coordinate everything, right? If you learn this, almost everything's gonna become easy in the future. So we really, really want to focus on this and I'm gonna go through this pretty hardcore in this lesson. I'm going to talk about what things are labeled as far as values and lights. What is a core shadow is Halftone. What are these things and how do you make them, right? That's incredibly important. Then after that, we're gonna go through some values, basically some more light and values and stuff like that Then demonstration, which is very, very important, the most important thing I'm gonna go through, and I'm going to draw a skull for you because I think that demonstrates a lot of the things that we were talking about and it really encapsulates it in one thing. So that's it. That is the entire lesson. And if you ask some questions, I might add some more stuff to this, but that is really all you need to shade anything you want. And I'm gonna go through this with you from beginning all the way to the end. I'm a professional illustrator. I've been doing this for 15 years. I know what I'm doing and I know I can teach you to do this. So start the course right now. It's gonna be relatively short. So let's do it together. 2. Tools to use: Okay, so let's start off really quick with the tools that I think you should use. And these are just recommendations. You don't need to use them, but I highly recommend that you use them. Alright? Because we're going over pencil shading. For the most part, that's what the lesson, the courses on. So right off the bat, I like to use anything in the B range rate. This is graphite. You can buy them in boxes in cases with a bunch of different shades. You will sometimes need to use more than one. The only time I use a lot of them. Like if I go up to like 456 b is honestly, if I'm doing like a long drawing study, like a very long drunk study. But in general, I honestly don't think they're that necessary. I know a lot of people disagree with me, but I don't believe I think you just use one. I liked using a to-be or sometimes anywhere like any 4D range, you can use b as well. Something else that I personally use also, here's the sharpener, of course I like it, this little travel one and eraser. Let's talk about that really quick. The eraser I use is a kneaded eraser. In my opinion, that's the best eraser you can ever. I use. I don't know why anybody uses any other eraser. This is so much better than like the gum erasers or the any of the pink erasers that stain the paper. This is so good, I love it. You can squish it around and you can mold it into the shape that you want. And then you can start like erasing strategically is so perfect and they last forever and they usually come like a little blocks. Absolutely. And they're super cheap. So get those at any Michael's any art store, you can get them. Same thing with this art store. Michael's anywhere. They're very available everywhere. Something else that I like to do as well that a lobule on to talk about is, I'd like to use this. It's like a PRISMA color but a black, right? And I think the only issue is it's very hard to erase more or less a colored pencil. But I like it. It gives it a very finished look. And I think I do recommend this. Maybe after you've got a more of a handle on it. But the to-be right there see has much less dark. Oh, that's the B actually erases pretty easily. And there is a limit to it. So you do have to be careful there is a limit to how much you can erase this stuff. Because at some point the paper is going to give it. Something will give the paper or I don't know what. You have to stay aware of that. As far as paper goes. I use just use sketchbook paper. It's completely fine just to use that because you want to go through mileage. That's the most important thing for you can use this as computer, paper, literally write out the printer. You can use that as easily as well if you're just doing practice runs for a long drawings. If you really want to do long extended drawings, like you want to do like a family portrait, something like that. I would use graphite. I'm sorry, sir. I would use oh, sorry. I would use forgive me. I forgot the name of the paper. So either you can use either kind of card stock or you can use Bristol. Thank you. You can use Bristol or Bristol board. I would use just like regular Bristol. It's basically like cardboard but you can draw on it, at least the specific crystal and thinking about. But absolutely do that stuff. Get all the supplies is very easy, very cheap. So that was really quick. We had to go through this playlist. So let's move on to the main course. 3. Hold the pencil like an ARTIST: Okay, let's go really fast. How you can use your pencil in general, how do we use this? I've talked about this. I have entire lessons on this. I haven't entire beginner course on this. You can go check that on how to handle like a pen. It's very, very, pretty much the exact same thing for pencil. So I'll just go over really, really quick version of it, but I do highly recommend you go check that other version out and the starter. But ok. So quickly when you're drawing, you draw like this, right? I'm sorry, when you're writing, you write like this. You're writing mostly from the wrist. We're mostly from the wrist. That's most of that work comes from Enda fingers mostly. So realistically you're anchoring your hand with your the ball of the wrist. And you're doing that, the range of motion, so very small withdrawing it is a much bigger range of motion. We're doing something like this is a lot more going on. I'm moving my shoulder, I'm moving my elbow. Right. So that is something to remember. You must remember to do that. I guess if you're drawing very small, It's not a big deal. But you're moving a lot more than you're not, you're not, you're not really anchoring this. So don't try not to do that. Try to use it like you're anchoring in a bit, but you're moving it around as long as you're not smearing something, right? That's something to keep in mind. The other thing is, if you're doing something like this, right, you're moving. I'm moving to lie. I move it at my shoulder right now and kind of engaging my elbow and Louis as well. So that's something to recall. Okay. So that's something to remember. You're going to get used to it over time. Like I said, go check out those beginner exercises. I talked about it there as well on here. Other than that, I would say I angle things. This is now very pencil specific. So when you're using it, when you're using your pencil, we are either on the tip, right? On the tip of the pencil like so or we are on the side of the pencil. And to get like more of a, more of a pencil sharpener for 1 second. This might be angled F. Right here we are on the side of the pencil. And when you do that, it's much bigger, much bigger and much softer. Stroke. Okay? Like you want to fill something in. You angle, you don't go from here and you angle the pencil. And you are literally filling that in, right? It's so much easier. It covers a bigger range of area. So that's something to remember as well. All of these things will become routine and you'll stop even remotely thinking about it after awhile. But yeah, that's mostly the way how to use the pencil. That's kind of how I use it as well. And I would say that's most people's when to use it. So really the tip edge range of motion, range of motion all is to keep in mind. Okay, that was very quick. Let's move on to value. 4. Learn the VALUE SCALE: Okay, really quick, I want to talk to you about values. A value is how dark anything is, and that's something that you need to take into account. So a lot of people and me included would have you do. I'll be honest, I haven't I haven't got a lot from the value of the value range boxes. I think they're kind of unnecessary, but I guess in some ways they do help. So that's why I'm teaching you this. And it's a good way to understand the differences in value, right? We're just going to divide this one into lake five. For somebody. Let's just do one more here. There'll be, this will be one on its own. The idea is you have white, right? Which is like a 0% opacity more or less. And then this one, you have, let's say a 100%, I'm using a tube right now. And as I fill it in, I'm filling it in totally flat. Nothing special. Right. But I'm filling it in as dark as I can make it. That's the idea. This is dark as I can make busy while using this pencil, right? It'd be like my 100% opacity. This would be if I was to break it down into a percentage, I would do it that way. There's no rules on how to fill this in. I'm just trying to get this as flat as I can and that is it. So that would be my 10%. And I guess when you do this, the idea is that you understand different values and how they look like. How would I get from here to here, right? I would go over here and do something slightly less dark. Maybe let's think like 70% opacity, right? Like let's say that's 70%. Maybe a little bit darker honestly. Because one thing that you're gonna be doing is when you look at other drawings including your own, you're going to have to be able to understand the differences in value in your eye is going to become more trained on how to tell what's darker than what, right? That comes with a trained eye. And that's something you only get through experience through drawing, through looking at drawings. I'm looking at paintings, looking at photos. Because let's just say that, sorry, That could be a little bit darker, but to figure that out, we're gonna go a little lighter here as well. What you normally do is you'd put ten, right? You go from 0% to 10% and you just keep going on. I'm just gonna do it every 20% or something like this would be like let's say, or my AT, Right. This way my 60 and this will be my on my 0, and this will be my 75500025. Rather do it that way. Then this would be the lightest. And as far as like the stroke, I'll teach you that in a little bit. But right now we're not going to talk about that. His work has a stroke. It doesn't matter. I'm just trying to get the goal right. Don't worry about how I'm for the moment for this exercise. Don't worry about like, oh, I got to get every corner of this right. That is something you can think about. But I wouldn't be too held up on that because it kinda holds you back. That's kinda the issue I have with a lot of exercises like this. I feel that they can be, you can get mixed up. You can be a little bit to analysis by paralysis. So if I was to look at these, they are mostly distinct. But I would say if I was to squint my eyes, which is a great way to kinda look at this. If I squint my eyes, look at this, this part of my box a little bit too dark compared to this side. So I need to make that the same. So I need this right here. Just kind of go over with another little bit of seasoning right there. My teacher used to say that all the time seasoning, right? A little bit of seasoning there. To kinda flatten out and make that a layer that's a little bit darken that edge tube, but I'm gonna, I'm gonna have to let that go. I might even have to pull it back a little bit with an eraser. With this one, we're just going to dab it as cool part about these erasers. Right arm. Cool. It just make it as even as you can, right where human. And I still see a little bit dark, but I can I can dab up back a tad bit. Not that much because I wouldn't I wouldn't press too hard on it. Literally just be pretty light on it. Okay? So when I squint my eyes, There's a distinctive value here. Value meaning how dark it is versus this value. It's very distinct. It's different, cool. This is different than that. These two, I think, are a little too similar. So let me see what I can do. I would I would just I might darken this just a tad. And in doing so, it's going to, it might actually affect the rest of my chart, the one via the one next to it. So go right here using the side of my pencil by the way. Right on. Going over here. Still see if I was good. Mine's a little patchy, right? Yeah. And you just do that. It's cool to kind of show this attention to detail. But the point is, they need to be distinctly different. That is distinctly different than that. It is this is distinct enough from this. I believe. This is distinct enough from this. We could even go a little level like a little level. Another passenger little bit darker here on this one. I mean. So it looks nice, It's good for that. But I would say I like learning that stuff through the actual drawing. Usually more often because I only, I only did this exercise maybe once or twice ever. But it is good to demonstrate, to show, it is absolutely good for that. And I did have like charts of it. So it is good to see as far as making it though, I do recommend you make this. 5. MOST IMPORTANT Edges: Okay, so let's talk very quickly about edges. Edges are incredibly, incredibly important. So how do we use edges? So what are they? What I like to do is I like to do a 12 or three method or you can do soft, firm and hard. So really quickly. When you're drawing something. As far as the line goes, this is a hard edge, right? Hard edge, line, hard-line, firmed. Little bit fuzzier. Imagine you're looking at something and they put it out of focus just a tiny bit, a tiny bit. And you might not even be received. The differences between these lines aren't and I'll try to make it more obvious. Let's say that is affirmed. And let's go to a soft soft edge. I'm feathering it out. Doesn't look like a line straight up. It looks like this blurred line. So right now let's just write them. Hard, firm, soft. You'd be using this forever pretty much. But remember these, and I'm going to tell you what they are, what do they refer to? So we'll talk a little bit more about light source in a second. But after this button, this lesson to score really quick. So let's just say you have a light source. Say it's a light, a lamp. And you have something with hard edges, it's going to create like hard edges in the shadow box. If you have a box and it's being lit up from here, let's say this is gonna be light. This might be a little bit dark. Basically, these two sides right here are going to be in darkness like pretty much, right? They're gonna be in shadow. I just fill it in really fast. He stayed with me on this. So these are filled in. Let's just fill those in, right? This edge of this box is the edge we're talking about, this edge. So let's just do a zoom in of that box. If you were to zoom in, let's just say like right here, right, Let's look at that. Zoom in, right? If you're a zoom in on that, like that's over here now. Okay. Really quick. This is that Zoom in, right? This is the edge right here. This is the point at which it goes from being light to being dark. Meaning that's in the sun or that's in the light. This is in the dark. That point is the edge. And this edge is hard. It's hard because the surface is so hard, right? It's a square, It's a box that is a hard edge. Right? If we go to soft, Let's go to soft edge. It'd be something like, let's say again, we have our light source coming down. Let's say here though. Let's say it's a ball, right? That's the simplest one to use. A ball like our light source is coming in from here. So there's gonna be maybe light on this side. Let's say most of this is gonna be dark. Okay? There's a difference here. What is that? The ball shape, right? So what's going to happen here? Right here on this edge, that change right here from light to dark. This change is going to be, the transition between light and dark is going to be gradual. It's gonna be slower because this isn't a hard edge. This is literally a ball that this light is going isn't, it's gradually losing light as it goes over. So let's zoom in on this area. Zoom in on that. For a zoom in on that. Come down here. Let's just say we erase that arrow a little bit too far down. So if we're zooming in on this part of the ball right there at that point at which things change. It says something like over here to the side of the ball. Like this is the shadow. I'm sorry, this is the edge. This is like this is dark. But again, because the light is gradually rolling over this object, It's not just stopping because the corner just changes the corners there. This one's a ball. So what's going to happen is it's going to be gradual, so it's gonna be fuzzy. This line will literally be fuzzy because it is gradually traveling over the ball and gradually losing light over there. So this edge is going to be there is no hard edge because it has to do with the surface that it's on. It's going to be solved. At least that's how we represented in drawing, represent like a soft edge. 6. Parts of SHADOW: Let's go over really quick about how light works. This is how I think pretty much every drawing and everything. Really quick. We're going to have a little darker right now. I'm going to go with the black colored pencil. It's going to give you a little bit more of it shows off it on the paper. So now think of a circle, right? Let's think of a sphere which is probably the most easiest and most basic of thinking like a sphere. And you have the light source, let's say raining down on them from wanting. There's going to be hearts. So let's just say it's coming down and let's put a circle here. It's coming down like this angle, like added a little bit, not for behind it, a little bit at it. And that's kind of our typical light source we've used in Australia. And you're going to have different parts to the shadows and the lights. So we're gonna go, that'll be a highlight which is going to stay the widest. We're going to see. It's going to roll into shadow, let's say around here. This area is give me the half tone. This is gonna be the core shadow, and this is gonna be the shadow and reflected light. I'm going to jump into all this stuff. And then on the floor you're going to have the cast shadow. Okay. So let's go over and describe each one of those. I'm kinda what they are. So again, you have the light raining down. It's only going to touch this side. It's going to dissipate a little bit. And let's go over it really quick. So we're going to fill in the cast shadow and shadow just real quick, just throw a light a light seasoning over it. I told you you had a teacher that would say that it's seasoning, like seasoning. And I'm just calling it flat. Nothing too dark to light. Just thinking flat. And that's a good way to kinda get an all your shadows when you're doing any sort of shading. Just put them in flat and then manipulate them after as far as what's gonna be dark and how dark you can make something just kinda flatten them out. If something like that. Right? Yeah. Half the circle and shadow and you have the cast shadow on the floor that again, this object put down. What tends to happen is a couple of things. Light bounces from everywhere. There's gonna be light from all over the place. It's going to bounce, especially depending on what color the floor is. But even if it's really dark, it have to be really, really black for it not to bounce up, but it still will bounce up. Light is going to come down here, rain all over the place. And it's going to bounce into this shadow, or at least, I'm sorry, around the outside of this. And it's going to bounce right back into the ball. So it's going to bounce. Light is hitting all this, the area around the floor and it's going to bounce into that ball again. What that does is it makes this value a little bit lighter than the shadow wrapping around it. And that's shadow we call cast shadow. Let me demonstrate. So we're going to go over here and I'm going to, this is how you'd kind of display it in a drawing. Instead of making this lighter, you're going to darken up the transition area, right? The soft area of transition. You're going to darken that area up, form a little bit of a soft and band at the transition point. And that's what we call a core shadow, that softband of transition. You see that a lot in figure drawing because it takes place a lot of figure drawing. You can use it all out and illustrations. It looks very nice. It's very pretty too. That's another thing. Very pretty breaks at the shape makes it a lot less flat. And that's something that as what we call a core shadow. I use it a lot. You're gonna find a lot of illustrators use it a lot, maybe overusing, to be honest, that bar and black because this area is being lit up by all the reflected light coming in. Alright. On the light side, we do divide that usually into half tone and highlight. Halftone would be something like, it's gotta be lighter than anything in the shadow. That's got very, very light like right now, see I'm barely touching the paper. Barely touching the paper, barely touching the paper. And in all intensive purposes, it leans a lot more on the side of light, right? Of like maybe the, maybe the local color on the object and the ball itself. But let's just say it's white or beige or something. You can have very, very little and you might not even be able to see it on the paper right now on this camera. I don't know if it's even gonna pick it up is a very light seasoning. You go half shadow. Sometimes you don't need it. Some drawings don't need it. Some paintings don't need it. Sometimes. It's kind of a decision thing, but it does make things look more dimensional because that counters not highlight which actually put a line around it, which normally you wouldn't put a line around. The highlight is literally where it's just the white of the paper. That's it completely hotspot right there. Right where that focal point of the light sources, those areas are not as prominent on a square. This is a circle and this is the easiest thing to kind of display these concepts on, would be a circle. But if you go through a square, it's a little, Let's do square right next to him. Here. Cube, I mean, sorry, Q is sphere. A cube is 3D. Square is flat. It's just having something like this. Some stuff out of the way over here. It's a little bit easier here. Let's say that we have exact, so let's say we have the exact same view. It's a little bit from the front, coming from the front downward. Okay. Not coming from behind because it'd be totally dark. And something similar this side, we don't have edges. There's no core shadow here either. Because this side is going to be flat into usually plot. Let me show you. So let's call it as flat. And there's one side, the farthest side. There will still be. And let's just say the a cast shadow will be something like this, the cash-in on the floor or something like that. And let's fill in our man hold on. With that. Yeah. I guess we'd have to it's coming in from the front. The cashier will be behind. Forgive me. It'd be something like this behind. And I got to erase that area right there and see if I can read it. But I'm using the colored pencils so it's not going to come out. So ignore this, pretend this is the floor. Ignore that. But this is a cast shadow over here on this one because it comes from the front. Excuse me. Alright, right there. You're still going to get bounced light coming in here into this area. So something you can do, which is the equivalent of the core shadow is kinda darken up this edge up top, just a little bit, darken it up just a bit. And it creates a similar effect on a square. I don t think you'd call it a core shadow though. But you are replicating. Light bouncing off the floor and gumming near the bottom of their shape. Right? By doing that, you're darkening up the top a little bit and letting a great aid out. For the top over here. You can throw, let's say halftone, very, very light, very light. Maybe like a 10%. On that scale, maybe 10% last, maybe 5%. Very, very, very light. Right? You could do the same thing on top. And the highlight could be over here on the edge right here. You can leave it totally white. Like when it reaches this side of the box, right? You go from using a 10% down to 0. Same thing over here. You could do 10% and maybe down to 0 with the strongest light is going to hit, and it's usually the nearest point. So this is called reflected light. Core shadow, reflected light. Half tone. You can say local color, which is the color of the actual object, right? That could be some to use. But it's really going to work. We're trying to think of it as like a white ball essentially highlights cast shadow right here. And even in the cache shadow, There's a point at the bottom of the cast shadow where it's not really going to pick up any light. Right there. Right here where it touches like regular touches gonna be very, very, very little, very little light. And they call that ambient occlusion. Right here, right there where it's more something touches and there. So there's going to be almost like it's just like a dark line, almost like not really aligned but when nearly a dark line where there's very little light getting to that point. And they collect ambient occlusion. You see that a lot in video game stuff and illustrations we'll talk about in the demonstration about where I'm going to use it. But very, very just kind of a great tool to use essentially with that dark right there and see how it makes the rest of it pop. Immuno occlusion is such a big part of illustrations. The same thing I'm mixed. One thing different. Think about your darks in your lights because once you have something, everything is based off of a comparison. Everything is based off of comparisons. So for example, let's just say this looks, see how this right here, it looks pretty dark. Kinda it's kinda dark compared to that. But what if I do this? I push really hard. All of a sudden, that dot is unbelievably dark and it changes the dynamic of the rest of everything. So everything is a balancing act of how dark you going to make this compared to this, you wanna make it too dark. Because sometimes it'll just change the entire drawing and you have to kind of fix the whole thing, right? So if I do something really, really dark over here, I'm going to have to pull up the rest of it's kinda have it makes sense because all of these are within a range of value, right? All of these losing their value, and that's it. This is how I shade everything by the way. So let's move on to the other part. 7. Demonstration of Shading: Okay, let's go over really quick demonstration on this. So remember, these things are representations written, that's what you're doing. So what I'm gonna do here is I'm going to go right in. I'm using a colored pencil this and by the way, so that's more visible on the page. I'm going to go right in here as far as if you look at the inside part of the eye right here from this photo, seem like a very hard edge right there. And that's what we're going to talk about, hard edges and soft edges. And pull out before it edge. Down here. A little bit of a start to get softer goods in the light. But what I'm looking at is pure edges. Over here. You're going to find warm, a firm edge. I'm going to actually reflect that's gonna be a little bit fuzzier. Right? Because of that curve, it's not a corner, right? It is a corner, like if you think of a skull, but it's not safe. It's not like the corner of a box. It's a little bit of a corner like a rounded organic. That'd be a good firm. Maybe you can even consider it soft down here at the bottom, but that's definitely more of a firm. Pulling back here. It's a little bit harder to actually go right here at the top. We're giving an approximation here. I'm not going to try to get every single angle on this. Most of this for demos of pulling down here very, very hard edge. Obviously there's a little bit of firm two hard edge there pulling back in underneath. And pretty much just all of its hard underneath there. It's a good example right here would be on the the nasal part right of the skull. The reason I like going over skulls is because there's so much of the edges stuff contained in this. And there's so much that's easily demonstrated. So I'm gonna go over here, go to the soft edge right there, pulling up. Again, making that edge soft. You got him with his degrees to this stuff to inner part of the kinda the brow there. And then I'm pulling out over here. But that line down underneath here, hard edge. And I would say the bottom is pretty hard as well. Then you can pull up a bit here. Right here, mostly just kind of toying with the shadows. I'm really thinking a lot about the darks and the lights right here. Pulling in right here, a little bit of firm, more of a firm here. And this is kind of where we're kind of experimenting on, like, what is it? This is our decision-making rights. So this is, could be a soft right here around the edge, but around the lipid, the edge there. But what I'm seeing right there is more of a firm proportions, obviously incredibly important, but that's a whole other thing rightly now we're just talking about the actual edges and shading. So just kinda keep that in mind. So I'm going to kind of push through this stuff. And normally I'd be measuring stuff out a little bit more. But for this, I'm just giving you the shading aspect not going over here. I'm going to see there's this little ambiguous spot and this is where decision-making really comes in. From artists. The artists. I'm seeing a very, very simple, I forget what it's called right here on the skull. Forgive me, I knew it in the skull drawing lesson. But this dimple right here is very hard. And there's kind of this ambiguous stuff over here where it can be simplified, but it can be also like for example, one artist will think this and get on. We'll think of that, right? And that's what every drawing, but right here in this cheek, there's this kind of gray zones, like you can simplify it several different ways. So I'm just gonna do it this way right here. The pills soft right there. I'm going to move down here to the tooth cylinder. And right here is going to be relatively soft. Going to go in right here. And you see these little soft edges, too. Soft and hard edges right here where the gums are. Right above the teeth, as you can see, like right above the teeth and the gums. That's a great example of those kinds of areas of life. A little bit of soft, little bit hard like hard against soft. Right? Because the top of the teeth it's gonna be pretty hard, right? The very top of the teeth, but where the gum starts rolling around, there's going be a little bit of softening. Rolling down here. Kinda gonna go over here, more of kind of a straight line. The more like the dark area they're going to continue down. I'm continuing to follow the shadow, really this because I like working within the shadow right now and I think that's kinda what I'm going to stick to. So like I say, there's different frameworks. Sometimes you can work into line art layer right here since this whole thing and it worked through shadows. Down here. At the bottom of the tooth cylinder, something of the top row teeth, the bottom row teeth. And then kinda that you see this area below. We're rolling, it gets pretty soft down here to like incredibly soft. Then that's kinda rolls around the chin area, more, kinda slightly apart over here. And let's shelf and it goes now. Let's go over here to the top of the temple over here. And gets, this is super, super, super soft so much. It's a larger range. Roger, curve the area, right, the forehead. So it's clearly going to become much softer. Right? Go soft all the way to the head. So let's start making sense of these, right? I'm going to start putting the edge line over here. So for example, I'm going to just go in and straight up, find the edge of that skull on the far end. Just make sure this makes sense. Going up here, the forehead, it's gonna be a slight curve right here as it rolls into the top of the head. Over there. Remember that there's, this isn't a skull drawing lesson, but one thing is people try to give somebody a smaller back of the skull. I'm not sure why that is gonna go over here. Pulling down, down over here. Curve again, just going like straight up line art edge right here, the tooth cylinder, the top of the gum line, down right here, the edge of the teeth. And down for them. 8. END- You are Amazing: Thank you so much for completing this course. This is just the primer, but this is going to get you very far and everything you need shading wise, I want to thank you very much for making it this far. Most people never complete any program and much less this far. But thank you very much. Check out my other programs and I'm here to help. So if you have any questions, leave them below, and I will make entire videos on these questions if you ask them. Thank you, and I appreciate it. Please leave a review and I'll see you soon. Okay.