Learn to Draw: 30 Days Drawing Challenge

1. Introduction to Class: Once great artists say, consistency beats talent when talent doesn't practice. Most people think drawing is a talent, but the truth is drawing is a daily practice. Hi. I'm nk Jasmatiya. I'm an artist raised in India and following my art passion for almost last 15 years. And for that, I'm uploading art tutorials on social media platforms like YouTube and Instagram. This is my 11th class on sketch here. I'm mostly working on hme media, and now I'm also exploring other possibilities in paintings, in acrylic paintings and waters as well. Welcome to Learn to draw 30 days drawing challenge in which I am going to tell you about the daily practices that will help you to improve your drawing. In this class, I will show you a simple system to learn drawing in a much easier manner. That even helped me improve my drawing and shading skills. If you practice just 20 minutes in a day, I can assure that you will start seeing improvement just within 30 days. So there are seven modules in this class in which I'm going to tell you day wise practices and week wide practices that will help you to learn drawing step by step. In this class, you will learn how to control over pencil, how to understand light and shadow, how to build textures, how to create depth in drawing. And lastly, you are able to create a realistic drawing with a very simple way. By the end of this class, I'm sure that you will definitely see the improvement in your drawing, and you are going to show it to me in the product section as well. Let's begin this beautiful journey of art and creativity. 2. Class Project & Material used: Now let's talk about the class project and the materials that are required for this class. The material requirement is very basic. You need few basic pencils like HB, two B, four B, and six B. Desirable pencil is eight B if you have, and you need a normal eraser or you may have needed eraser as well. For sharpening the pencil, you need basic sharpeners as well. The most important part is paper. So for practicing, you may use newsprint papers, and for the good artwork, you need a little amount of textured paper, not a very high textured paper, but a very decent amount of textured paper is very good like cartridge paper or any drawing paper that is available in local market. Now let's talk about the class project, which is very important. In this class project, you need to create a simple s live drawing using sharing technique and task is to achieve the realism with the correct proportion. Create your own still life reference just to add some cups, jug, and some fruits and try to arrange them in a particular manner and try to draw it as it looks like. Otherwise, you can use my references as well, what I have already uploaded in the project section. The other important part of the class project is whatever the exercises, I'm going to tell you, module wise, you need to put those practices and your learning in the project section and try to upload week wise challenges that I have given to you in the first week what you need to do, and then the second week. Likewise, you need to add all these progress in the project section so that I can see how much you have learned from the class lesson itself. Let's begin a beautiful journey of learning art 3. Line Control Technique: So welcome everyone. And let's first understand the lesson one of this class. Here, we are going to talk about the line control. This is the very beginning of this class, and we just have to understand what we are going to practice in from day to five. So as I've already told you, it has been a day wide challenges, for the day one to five, you need to practice this. First of all, we need to draw the straight line. So let's understand this. We are going to draw the straight line in a very slow manner like this without having any breaking on it. No need to break it but how we are going to approach this is very important. I'm not using the wrist. You can see that. I am using the elbow and the shoulders for that. So this is how we're going to draw the slow line and then the fast one also. This is the practice that we need to do. We need to keep on doing that for the whole class and for the whole lifetime for being good artist with a good strokes ability. He need to understand this. The practice has to keep going on. So here I am showing it to you how the force has been come from the shoulder and then the elbow, not from the wrist and not from the fingers. They are strict. They are freeze, only the shoulders and then elbows are in action. Now the second practice is parallel lines. So first line, if you draw, try to draw this parallel line to the previous one. You need to draw it very straight and with extreme amount of force has to be applied over there. The lines may not be exactly parallel to each other, but the aim is to make your drawing with exact force, the line should show a forceful line, not like a weakened line. Okay. So this is the aim to what you need to achieve. The third practice is curved lines. You need to draw curves. They may be parallel to each other, most of the time. And if not, then also, it is a good thing, but we need to understand how to draw the curve lines. Again, here, I'm using my wrist as well, so you can do it in both way. You can use the wrist as well and the shoulders as well. For the narrow curves, you need to use the wrist as well. And for the larger curves with a lower arc value, you can use your shoulders and the elbow. This is how we need to draw the curve lines. Then the fourth practice that we need to do is to draw ellipse. For ellipse, we need to understand the circle that is having one diameter higher than the another one, which is perpendicular to each other. So here, this is how we should draw the ellipse, just to make our hands free and to loosen up a little bit of muscles it is just like warming up sessions for any artist who want to draw something. Let's say somebody wants to draw the portrait or someone wants to draw the draw any still live drawing, they need to understand first. I hope you understand the line control. Let's meet in another lesson. 4. Control Pencil Pressure: In this lesson, we are going to understand about the pressure control, how we can vary the pressure over the pencil and achieve different strength of line and different thickness of line, which is very, very important for an artist to understand drawing in a deeper manner. So here, you can see, I am using the simple pencil for that. I'm using the two B or the four B pencil for that. Let's understand what is pressure and just categorize the pressure from zero pressure 210 pressure and 100 pressure. Hundred pressure is the maximum pressure that you can apply on the pencil, and zero pressure is something which is no pressure over the pencil. So here you can see, I'm not giving any such pressure. I'm just letting the pencil to flow and very gradually, I am increasing the pressure. With a ten pressure, you can see that thickness of the line has been increased, and with 100 pressure, you can see that I have given everything to the pencil to get the thickest possible line weight of the pencil that we can get from the pencil. Let's do it again. Just move your pencil from left to right, trying to get the pressure gradually increases toward whenever we are going towards the right. So this is simple drill. It is something which is very casually practice that you can do. But it is very, very helpful for you to understand when to give the pressure over the pencil because there are many artists I've seen. They find it very, very difficult to actually vary the pressure. And they start the project with a very much of pressure, like 100 pressure. And then they think just try to change something, but they are not able to do the same. So we have to start any of our drawing with a zero pressure or ten pressure, and then we gradually increase as a pressure that we need to understand. You can do the same thing with the side of the pencil, what I'm showing you here. You can do keep on experimenting different thing. You can see here. I'm doing the shading thing with the side of the pencil and vary the pressure. So you can see not only the line practice that we can actually achieve by this method, we can also come to know this that we can shade it in a certain way that you don't need any such tool for getting the shading thing done. So you can see here this is low and this is high. So how you can actually go from low to high grading values of the certain pencil. Also one more thing is very, very important here to let you understand the grades of the pencil that we already have this pencil in our stock and try to understand this gradation thing. So let's say I'm using the B pencil and trying to get the value of the two B, so I increasing the pressure simply. So you don't need a lot of pencil. You have to understand it. Hope you understand. See you in another lesson. 5. Basic Shading Technique: Now let's understand about the basic shading and this practice that you need to do from the day six to day ten. So here we are going to understand the shading thing in a very basic manner. Let's first understand what is hatching, because many of you have heard this word already. So hatching is something a line which is from a certain angle from the horizontal. So you can see here, it may be a perpendicular to the horizontal, but it may have certain angle from the horizontal. Any line which is having certain angle from the horizontal may be considered as hatching line. So the bunch of lines, if more than one line is there, so we may consider it as a hatching. So let's understand, let's break it down in a simpler way. What is cross hatching? Cross hatching is something you add two lines which are in different angle from the horizontal and they meet and they cross each other. So the word cross actually came out of it, and it is just like a mesh. Okay, it's a mesh of simple lines and creating some grades that will make the drawing from two dimensional to the three dimensional thing. So here you can see that. It's a mesh, and just to actually express the darkness, the depth of certain things, we can use this. I'm going to tell you how we're going to use first understand the basic phenomena. You may sound it very basic things, but there are many many students who actually don't understand this. That's why I'm trying to get the things very easy for everyone to understand. Let's talk about the third one that is circular shading. So what is circular shading? We are going to create small or maybe the bigger circular ellipse. Okay. And then we're going to actually adding values. So you can see here let's took another simple example of creating a cylinder and then how I actually achieved it in a very, very basic manner. Not going to add any toll for that, just trying to get the lines and the circular motions. You can see I'm showing you many different circular shadings. Then the fourth part is smooth blending. Okay. For a smooth blending, we need to understand we need to use the sides of the pencil first. And you can see there are a lot of values that we achieve over here, and this is how actually we are going to use we're going to use our pencil. And then we may add some tools as well for that. But first understand how to use the sides of the pencil. We need to light down the pencil, pick the pencil from its back and then try to get most of the graphite element on the paper. Then we're going to use this brush, as I told you. This is the make a brush, and then I'm trying to smudge all the graphite element, which is already there on the paper and just trying to blend that thing onto the paper so that we can actually get the smooth surface of the shaded portion. So the very important point over here is value in a scale. So in scale form, we need to understand the values, how we can actually get the higher values just by using the same pencil and not going to change pencil a lot. So that may reduce the time also. And then that also increase the confidence that you may have. So here you can see, I'm just applying the pressure, as I've already told you in the previous lesson of this class, how I actually enhance the pressure to get the higher values of the same pencil. Only practice shading for these days, I'm going to see you in the next lesson. 6. Forms & 3D Thinking: So here from day 11 to 15, we are going to understand the forms and our three D thinking of any object. So here you can see I have already drawn a cylinder. Let you understand how we can actually think of a three dimensional object, just from the two dimensional object, just by adding shading into that. So you can see there is a line, and then I have created a plane just from the line just by adding some values over there. Here you can see the are very simple example. I'm going to take a cone and then try to have drawn a triangle, you can see, and now I'm converting it into a cone thing, this by adding few lines and shadings over there. So you can see I'm using the four B pencil for that. You may use a two B pencil for that. There's nothing different just to understand how you can actually apply the pressure. Just vary the pressure and then get the different results for that. So here you can see I am adding values. In the first layer, I just added the value. And let's understand there is a light which is coming from the arrow I have shown over there. So there must be a shaded portion on the surface on which it is actually relying. So that's why I have created a shaded value over there. And then I'm adding values. And then in the end, I'm going to use brush for that and how actually to settle the values, how actually getting the smooth surface of that particular object that has been created from a simple triangle to a cone thing. And you can see that it is very, very simple. You just have to follow the correct process for that. If your process is okay, now here you can see, I'm going to use needed eraser. I've already mentioned this. So now for that, that portion in which the light is actually impacting, so it may have a highlighted portion over there, and then another part of that particular object, which is not getting that much of light, so it is dark. So by adding more values, and now I'm using you can see the pencil eraser for that. I'm just trying to get some contours over there of lines of white lines because this is very, very useful pencil. You can see it is a eraser pencil, and it will help us to get these values. I'm going to see you in the next lesson. 7. Shading Approach: So now treat this lesson as a bonus for you to understand two more shapes. I'm going to tell you here. First one is the sphere and how we convert the simple circular shape you can see here how I am going to convert this circle to the sphere. So I assume the light is coming from the left. And as you can see, I mentioned the arrow as well. And then I have created some hatches. That's a very simple hatches. You don't need to think of it much. Just try to lay down the pencil and pick the pencil from the back of it and far from the lead portion and then try to add layers over it. You can see here how I'm using the circular shading and the cross hatching in a same object and just trying to get the particular shape of this sphere. And trying to get as metallic as possible. And I haven't changed the pencil yet. Using the lighter grade of the pencil. This one is four B, what I'm using here. You may use a two B pencil as well for that and just trying to get the shape correct because it's a sphere, it should look like a sphere. It should look like metallic sphere. So for that, I am just finalizing its outline and then I'm going to add more layers onto the surface of it. So now here you can see that how I am actually adding more hatches and simply mixing up with the circular hatches. So you can see how I am using the both types of shedding. One is circular and then another one is the diagonal hatches. I'm trying to mixing it up with each other, not going to use a tool as of now and trying to get as close as possible. I'm continue to doing the same thing in a simpler manner, and now I'm going to use the brush as well and the surface on which this object is actually relying, I'm just going to add a few more horizontal hatches over there just to represent the shaded portion onto the surface. Then I'm going to use the brush. The most important thing that you need to understand and keep in mind, whenever you are going to use a brush, you don't need to add pressure. Okay. So just try to get it as flowy as possible as easy onto the paper. Don't need to put a lot of pressure. Don't be too harsh on the paper, say in another manner. And then try to get the details as real as possible. O here, you can see that. So this particular segment, it is the darkest segment, what I'm showing you here. I just give you more examples which will eventually help you in this particular class. So I'm going to draw a glass. You can see how I created the shape of it just by using the vertical line and then the inclined lines as well, and trying to get the two ellipse. And then I just imagine the light is coming from that particular portion, though another one portion is the darkest one. I'm using the same principle as I use it for the sphere, just to help you out to have some more examples, and you can practice it as well and show it to me on the project section as well. So here you can see, I use the brush and then I have come up with another layer, which is a darker pencil. Let's say, it is a six B pencil and then trying to get the values as dark as possible. Then I'm coming up with the pencil eraser to get some lines over on it, to get the metallic texture onto that. And then finally finishing it, I'm going to see you in the next lesson. 8. Various Texture Shading : Now let's jump into another lesson of this class in which we are going to talk about the texture and how we're going to achieve it by adding shading onto any object. So here, these practices you should do on day 16 to 20. And here, I'm going to draw a clothe fold and how are you going to represent? Because this one is very, very important. And many of the artists and students actually find it very difficult to get the exact texture and how to actually get the fold over the clothes thing. So here I'm going to take a simple example. And these are actually cuffling of a shirt. You may treat it like this. And then I'm going to add more values over on it just by putting some hatching thing and trying to get the values as close as possible and trying to get the hatching thing all over on the object first. This is a very important thing. First, you have to add all the values, possible values in a very lighter manner all over the object so that you can see a gray portion, and then you can actually find out where is the highlights and where is the dark portion of that particular object. So first thing first, you should do all the gray tone, simple manner. And then trying to get the darker tones over the paper by adding few more values by using the same pencil or you may use a very another pencil which is higher in grade, let's say, if you started with a two B, then you may use four B or six B for the next layer. Okay, so this is how we should do that. And then we are going to add values over on it. You can see how I'm actually finding out the blocks first and then adding values onto these blocks. And the rest portion of this particular shape has not taken care. So the portion on which we have actually add values that are going to help us to find out the highlights. So this is a very crucial thing that every artist should understand and try to implement the same process, what I have told you here you can see, as of now, it looked like a two D thing and with a very deoriated shading. But when we are going to use tools to get the values, then you can actually understand how things has been transformed and the real texture of the clothes actually came up. Many of you artists also think that how actually you can also achieve the drawing in that realism. But initially, you may struggle with that. But by time and practice, you can actually achieve that. So here you can see, I am going to use the brush, a flat brush, make a brush, and trying to get the surface smooth. Okay, trying to get the shading smooth. And then I'm coming up with a needed eraser to find out the highlights. This is very crucial thing. When you are going to do this now, then you understand your object is actually coming out of the from the two D plane to the three D plane, actually. But you have to have a good understanding of using this particular needed eraser tool. Here, actually, the skills are very important to get it correctly. I'm also doing in a simpler manner. Every time I use it, I just create a tip of it just by my own hands and then trying to get to it again to remove some dark values. And then I'm adding few more higher values by adding pressure onto the paper with a similar kind of a pencil. Let's say four B here. And in that way, if we go like that only now, let's say for 10 minutes and 15 minutes, we can actually get the real texture of the paper. Over here, you can see that. So this is how we should approach cloth folded clothes. Now, coming up onto another object, let's take another object. I'm going to take a metal ball over here. That I'm going to do it very quickly. It is just another object to let you give a simple hint of another object and with a different texture. This is very important. Cloth does have a different texture, and metal bowls does have a different texture onto its surface. So for any metal objects, we just rely on the hatchings not mixing up with another technique, let's say, circulism, et cetera, we just going to follow the hatching thing. Maybe it is a circular hatching or maybe it is a vertical hatching, you can see here, I'm using the vertical hatches as well. And then just trying to block it down few darker values and mixing it up with the lighter values of bunch of lines. So when I'm going to do this, when anyone going to do this, they will definitely get the results as close as possible. And it's about time, how much time you are actually going to give it to your drawing. And if you give a good amount of time, you can actually get the results done if you follow the process correctly. You can see I'm using the brush as well, trying to get the values a little dilute with the paper, and then I'm going to use brush, ins which I'm going to show it here. This is how we should actually create the texture on the surface. 9. Hair Shading Bonus: Well, let's understand the last texture. Here, I'm going to show it in this class. So here I'm going to draw the strand of a here, and let's understand the texture that is actually needed to draw the here, which is, again, a very complicated one. And in the right, I have shown you one example. It's a curly strand, and another one that I am drawing here, this is less curly, but it is a wave that is actually we need to see how we are going to approach it. So I just bifurcated the highlighted portion and the darker portion. And in the same manner, I'm going to follow the path. So I'm going to use the four B pencil, you can see here. I'm using the four B pencil for that to get the lines correct. And it's a curve lines. You can see the lines are curve in nature and follow the actual path of the here. And now I'm adding more values, just trying to pressurize the pencil, pressurize the pencil, not pressurize. It's pressurizing the pencil. And uh Then onto another surface. What I have already mentioned, the darker values. And then I'm coming up with a brush thing trying to mixing up all these values with each other. And you can see how I actually mixing up with each other, smudging it up with each other, not going to getting the hard pressure just with the brussels of this brush and trying to mix all these things with each other. You should also do in the same manner very patiently. And then I'm going to use the pencil eraser and trying to get the highlighted portion and follow the actual path that already been drawn and just trying to add highlights onto the surface of this strength. We can see how we are going to do that. And when you are going to achieve Inw you will find it very easy. The moment you achieve it, you find it, this is not that difficult. But when you see and imagining something that is very difficult and not going to do that, then you find it very difficult. So whatever you see in your daily life, just trying to draw it and see how the things are actually working for you. So I am adding more values in the darker values. You can go up to the NE level, the most blackish value as well. But that is what you need to see that practice is all about how much you understand from it. So when you understand it, you don't need to go far. Okay, so this is how about the hair. And again, I'm coming up with this brush this pencil eraser, then trying to add values. Hope you understand the hair textures. I'm going to see you in the next important lesson of this class. Stay tuned. 10. Creating an Object: Now we're going to talk about a real object shading technique and how to create an object, a real object, and then how to shade it out. So this is the practice that we need to do on a regular basis to actually practicing about the outlines of any object and then how to shade it out. So this is a day 21 to 25. And for this particular week, we are going to understand this how to actually draw any object, which we can see in our real life. So here I'm going to draw a cup, a simple cup, a tea cup and how we are going to achieve it, how we are going to get the outlines of it, you can see here. I just have drawn a vertical line, vertical axis and just trying to get the symmetricity of this object in the left segment and the right segment as well. And then trying to get the handle of this cup. So this is the shape, outline shape of this object, which may seem very flat when we are going to start it. But when we are going to add shades on it, you can actually get the real cup shape. So for shading it out, I'm going to use a four B pencil and you can see how I'm going to draw how I'm going to shade it out by using the vertical hatches and the circular hatches as well. So the technique is the only thing that will help you to achieve the real object. And rest, things are not that important. So any object you can take, but the technique that I've already told you that has to be uniform. And with a minor or minute changes, you can actually get this particular thing done. So you can see here, I have used two pencils. One is B pencil and another one is four B, what I'm actually using right now and trying to add more darker tones onto the subject. And similarly, I'm going to use the brush for the smooth blending of this graphite values and trying to get the even surface all over onto the object. If it is a lighter shades, it may reflect the lighter tones, and if it is a hard and dark shapes, dark shades, it may create dark tones. So by adding more layers, I'm using the six B pencil layer, you can see, and just trying to get more dark values of the surface. And then I'm using this pencil eraser to actually highlighting a few values of the cup to make it more realistic. You can actually use it and trying to get the values as real as possible. Maybe it may be contorts, it may be curve hatches, or it may be the shaded values of this object. And this is how we finish this up. 11. Draw With Shapes: So in this lesson, we are going to talk about the outlines of the subject. We have taken a very different subject, what we are taking in the last lessons of this class. But here we are going to take a bird and animal and how to actually get the outlines. So you can see, I'm just finding out with the shapes, first, the small circle, then the large circle. And then I created a line that is actually intersecting the circle to get actually this is known as the rhythm line. And then I am going to getting these details like eyes and then the bird's beak. And then the other details like where is actually black and where is the gray, where is the brown and where is the white colors into that particular sparrow. So also the leg portion, you can see how I am going to actually getting into details just by adding few lines into that and simply getting these details and then a little bit amount of the background as well. Then I'm starting up with the eyes thing. Finalizing it, and then the back portion of that bird, I don't know the exact name of the scientific name or biological name of that particular section of that bird. But what you can actually see here, I'm just trying to get it as close as possible as mentioned in the reference. So whenever you are going to draw, just start with the outlines by adding the details and starting any kind of your drawing. Let's say, it's a human creation or let's say it's animal. So start with getting the shapes of it. Like here, I have drawn a small circle, then a bigger, larger ellipse, and then try to connect these shapes just by getting the larger shapes and then find the rhythm into that. This is very important because if you are not going to get the rhythm into that particular drawing, you won't be won't be able to actually get the realism. So this is very, very important for any artist to find out the rhythm line to get the correct posture of the drawing. And now I'm moving toward the shedding part. I'm darkening few values just by adding four B pencil, and then we may use six B pencil as well for that. So start your portrait with the B pencil, as I've already told you, and then simply move towards the 2b4b, and then the six B as well if needed. Also, you can use the crosshatching, what you can see here. I'm just crosshatching all the values like diagonal hatching, finding the gray values into that drawing, then adding more gray values. And finally, when I'm going to get the highlights, I'm going to use the pencil eraser. So this is easier method as compared if I leave that white portion and add the dark portion that may have more time taking and will not able to give that results, which is actually required. So whenever you want to draw any animal or any bird, let's say, start with the shapes, outlines, and then finalizing the values, second point, and then adding the shading portion, what I'm doing here. And in the end, you should go with the brush or with any other tools that you may have for the shading of that or for the smudging of that object. And then the end, you may use pencil eraser or any kind of eraser, let's say, need eraser to find out the highlights. So this is the procedure. Okay. Always remember this process in your mind when you are going to draw, that would help you to actually get the results as close as possible. So you can see here, I have already drawn this, and you can see how I actually finished it. As of now, I haven't used any kind of tool. So you can see you can get actually good results without using the tool. But if you want more realism into that or you want some smooth results. Okay. So you may use I'm using here. You can see I'm using the brush, the same makeup brush, and then I'm coming up with a needed eraser to actually finding out the fur of that bird. Or any animal you want to draw, let's say you want to draw a fan or you want to draw a tiger or loin, you may use these techniques. This will help you to actually get the fur of that particular animal, which is, again, a very important for any kind of texture, let's say, you want to draw. So you just know how to achieve this as well, okay? So you can see here what I am actually doing. Um to get the exact detail. And then, again, finalizing these values, adding some backgrounds. You can also experiment with the background as well. Like I'm doing, I'm just creating some hatches over there. Hope you understand meet you in another lesson. 12. Stilllife Outline Drawing : So now we are heading towards the final project of this particular class. Here, I'm going to talk about the outlines, how we are going to draw the outlines for this still life composition. And I'm here using this reference. You can use your own references as well for that. But here we are going to talk about this reference. So you can see there's a kettle. First of all, I'm going to draw the kettle, and for that, I am actually using the lower grade of pencil. Let's say you may use B pencil or to be pencil for that. Here I can use the higher grade pencil as well depending upon how much pressure that I need to apply. If you understand the pressure, you can actually draw this as well with any pencil. So you can see I'm using the shapes like circle sphere, and then I'm going to achieve the particular When for knife, you can see I have used the rectangles. So that is what you need to understand in this whole class, how to actually find out the shape. And after having that idea, that exactly the shape that we need to understand about the object. And then you just draw the object with the shaped things. So this is the process of doing it, and you can see here. Now I'm going to draw the glass, the wine glass. And for that, again, I'm using the shaped thing. Maybe it is a vertical, it is a cylindrical one and hempord at the bottom. So that is what you need to understand when you are going to draw any still life drawing. Or even in the portrait as well, you can use this technique to actually get the exact outlines of that object or any shape. And then I am coming up with the darker values, thick lines with more pressure on it, using the same pencil, but adding more pressure, putting more pressure on the pencil so that we can actually get the perfect outlines. And then I'm actually achieving the exact outlines. You may also feel that if you are going to draw this and you may feel that outlines are not that perfect. So at that case or even after drawing so many things, then you find out that it is not in the correct proportion or the perspective is not correct. Don't be worried about that because practice is all about it is all about the practice, and practice is all about to make you understand drawing in a better way and you may polish your skills. So keep practicing for that. Don't be demoralized if the initial shapes are not that correct. Okay. You may see here that I am drawing the outlines very light with a very light pressure. So if you add more pressure, that may find you difficult to change the any error, change any error. Let's say you draw something and it is not correct and you applied a lot of pressure on the pencil, it may be very difficult for you to actually correct that values. So always try to draw it with a very light pressure. And then simply now I'm actually adding some shading. I'm using the four B pencil for that. You may start with a two B pencil slowly and then add more higher grade pencils like four B and six B. If you have good knowledge of applying pressure, you may use with a lighter pencil as well or higher pencils as well. It is depending upon the experience that you gain actually while drawing these still life drawings. Okay, now I'm adding more values. I'm referring the drawing, and then I'm trying to get correct values. So basically, when you are going to draw any still life drawing, the whole idea is that first, you have to draw the outlines of that particular subject, and then gradually and easily adding values by using six B pencil and four B pencil or let's say two B pencil as well. In the darkest area, you may use eight B pencil as well. But depending upon the process, what you are actually trying to do with the drawing. And then here you can see I'm using the brush, make a brush, and then simply and very gradually, I am trying to actually smudge the values in the drawing. And this process actually help you to gain values on the paper, and gray scale values on the paper, and that will help you to find out the further layers where to apply and where you need to remove the particular highlights. Okay. So here you can see I am not actually covering the highlights, and I am gradually adding values. I'm using the Pobe pencil for that, and simply I'm adding values. Keep on adding the values. And this is the process that will help you to actually, um, make a successful drawing. Okay. So this process will definitely help you. The process will always same. So that you keep in mind. Start with the light objects, light pressured object and finding out the shapes in it. And then gradually, when you are confident with the outlines, then gradually you start the darker scale values in the particular drawing in the segment, and very slowly you should go towards the higher values that you always keep in mind. Don't be in a hurry or in a rush to actually achieve the darkest value because once you fix the value, dark values, especially, you won't be able to change it out. So that you always keep in mind when you are 100% confident that the values are okay, the shape is okay, then you find out in the darkest value here, I'm using the six B pencil, and then also I'm going to add the AB pencil as well. So this will help you to actually draw the segment going to see you in the final 13. Shading & Finalizing Stilllife Drawing: So here in the final project of this class, and this is the finishing portion in which we are going to talk about the details, the minute details, what we need to add, and what we need to reduce from the particular subject or the still life. First of all, I am adding more layers. Like in the previous lesson, I'm just trying to get more gray scales. So here is the process. You must understand this also. You may use some other techniques as well, which is parallel to this technique or similar to this technique that may be known as gray, uh, not the gray one, but the subtraction method. Okay. So over there, what we are going to do we have to put all the gray values on the paper, certain dark gray values, and then we start subtracting the values from the drawing itself. So that way, we can actually reduce the certain values and create the portrait or create the still life subject. But here we are not the same doing that technique, rather we are actually adding values very gradually because it is more big nerve friendly and there are very less chances of getting things wrong, rather than in that artistic technique, it is possible that things may got wrong or you may fail in the result. But here, the chances are very low. That is why it is more comfortable with the beginners rather than that is for the pro level artists. So you can see I'm using the horizontal hatches as well in the platform as well. And let's say this is a fruit, and I'm going to get the details, get the darker values. So I use the vertical hatches and the cross hatches. And then I'm actually mixing them just by using the tool, let's say, a brush or anything else. Like, we can use our fingers as well for that. But you should always keep in mind that when you are going to use your finger, it should not be sweat, and any certain kind of oil or anything should not be there onto your hands or fingers. So this is the process, what we need to do. Here, you can see, I'm using the brush horizontally and trying to smudge whole value. Let's say, there's a fruit behind this kettle or there is a fruit, which is here in front of the kettle, and you can see how I'm actually adding layers and then finalizing these values just by adding few details like there's a knife there. And with that knife, you're going to going to put some values, dark values which can create this object as a three dimensional object. The last part of it is using the kneaded eraser. What I'm doing here right now, I'm actually subtracting the value, like I said earlier. Here we can use the same technique. Also, we can use the pencil eraser for some minute areas or some larger areas, we can use this needed eraser or smaller area, we can use pencil eraser. Okay. So you can see here. I'm using pencil eraser for the minute area where only a few details need to add to add, and the larger area, we may use that kneaded eraser. And here I'm going to use the darkest pencil, that is six B pencil or eight B pencil. Whatever is there with you, you may use them and then try to get the darkest value possible value, darkest possible value of that particular portrait, let's say, still life. So this is a procedure that we need to do all the time. And likewise, we can actually achieve the results as well. And in this way, we may successful just by doing this technique. And there's a very less chances of failure or something which went wrong with that approach. So just try to follow the technique, the procedure, what I have already shared in this class. And I hope that you will definitely love this technique and the results that you actually get. You may share your results with me in the project section of this class. And you can see here I'm just creating some curve hatches behind this object as well just to make it more rough and vague. Trying to some artistic effect as well. I hope you understand this whole process. You can see how I'm using the hatches is to create it more expressive and not just the realistic one, rather it should look more dynamic in the artistic range. So thank you so much. I'm going to see you in the conclusion of this class, and we're going to share our experiences. Thank you so much. Take care. Happy drawing. 14. Conclusion: Alright, folks, you have completed your class. And first of all, let me congratulate you for this achievement that you have completed this class successfully. I'm sure that by now, you have learned that art is not or drawing is not about the talent. It's about practicing in a right and correct man. It's about understanding, practicing and sharpening your muscle memories. If you continue practicing in this way, only for ten to 20 minutes in a day, you will start to see real improvement in your shading and drawing skills. Just remember a few points. Make your basics strong, observe more and draw more, then stay consistent. The third point is very important because let's say you start drawing and then day one you are very energized and you keep on drawing. But the day wise, hectic things are going on, you may be not able to do it consistently, but this is the key. You need to get some time, at least 15 to 20 minutes in a day to get practicing. Your journey as an artist is just beginning and every small step you take will bring you closer to mastery. I am super excited to see your projects in the project gallery section of this class. So don't forget to upload those practices on regular basis. If you want to learn more from me, you can watch my other ska share classes as well. And just related to this class, you can actually see other classes, which is much advanced from this particular challenge class, and try to explore portrait drawing as well in my BgnersGuide to portrait drawing class. I will be uploading more classes on Skillshare, so I'm going to see you very soon with my new upcoming class on Skillshare. Keep practicing and keep shining. Take care fox.