Mastering Shading Techniques in Pencil Drawing

1. Introduction to the Class: Welcome fellow Shading enthusiast to our new Skillshare class, where we promise to shade your word with joy and laughter. Are you tired of your drawing looking flatter? Fear not. I am here to rescue your artwork from the depth of two dimensional to the three dimensional. Welcome to my new drawing class on Mastering shading technique. First of all, let me tell you something about myself. I'm an artist based in India and following my art passion for almost last 14 years. I have a YouTube channel with the name of artist Danke Jasmata, where I have more than 400 K subscribers. I love to work on portrait drawings in the Academic Mt. I also used to upload art classes on Skillshare as well, and this is my ninth class on Skillshare. After drawing so many portraits, I can say one thing that shading is something which is the utmost part of creating a portrait and generating the realism into that. And for that, one must understand the basic principle of sheding and how to implement them. Today, we are going to deep dive into the principle of shedding. And I promise you, it's going to be the incredible journey. From pencil to charcoal, brushes to blending stumps, erasers, sharpeners, and various kind of tools that we are going to use. That is all we are going to explore in this class. But remember, this class is not only about the technicalities. It's about to explore or unleashing your inner artist, your creativity, finding your unique style, and expressing yourself through art, which is very, very important in drawing. In this class, we have covered almost all kind of shedding like cross etchings, contouring, circulism, and various other kind of sheddings, as well, which will help to create realistic portrait, and also the artistic portraits as well. We're also going to discuss about the human portraits, about the animal portraits and the most complex shading parts like fur of an animal. So we're going to cover each and every aspect of shading, not only portraits, we have also focus on still life drawing in which we have to put a few objects, and then we have to draw it. We're also going to talk about how to hold your pencil because it is very important aspect of drawing. This will drastically change the amount of shading as well and the energy that you transform. Into your drawing. So whether you are just a beginner artist or a seasoned artist, seeking to refine your shedding style, this class has something valuable for everyone. So grab your pencil and paper. Let's embark on this exciting journey together, exploring the captivating word of shedding. So join me. And together, we will unlock the secrets of shedding. See you in the class, and remember, keep shedding and shining. 2. Class Project and Material used: First of all, thank you so much for showing your interest in this class and took a step ahead to learn this super amazing hidden technique of shedding. Now let's talk about our project in this class. So we are going to convert a two dimensional outline of any portrait into the three dimensional realistic phase. So this is the project, and whatever be the phase you want to use as a reference, you can use my reference as well where I have drawn a little kid, and then converting into it realistic one. So you can use that reference as well, or you can use any reference and find it anywhere. You may have your own portraits as well, or you can use animal portrait as well as a reference and then convert that two dimensional outlines into the three dimensional realistic phase. You can also help yourself by drawing the still life as well and then shading it and then see how much you can actually understand the shading and what about the light and shades of a particular subject. Now, let's first understand what are the material that you require to complete this project. So here we need first of all, the pencils and pencils of four different rates like HB, two B, four B, and six B. These four kind of pencils, we are going to use. The application of usage of these pencil, we will discuss in the coming section. And secondly, we are going to use the needed eraser. Needed eraser, we already know this. This is a very flexible kind of kind of eraser, and it can change its shape. To the any level and we can achieve the erasing capability of it. We may also use this normal plasto eraser. And then the last we are going to use this pencil eraser, which is very, very useful for getting the details and the highlights in the shedding process. This is a very important tool. We must have this tool. Now the next tool is the sharpener. So this is the normal sharpener. We may use it and get the sharpening of the pencil being done by this, or you may have another kind of a sharpener like a steel sharpener or this one is the mechanical sharpener. This is very, very useful for quick sharpening of pencil. So you can see here. I just put a single pencil over there. And then using the spindle of it, I just give a revolution of 23 revolution, and then you can see the pencil has been sharpened up. Then the last but not least, this one is the the shading tools. These are the shading tools that we are going to use. These are the brushes, the two brushes. One is the thick, and another one is the thin one. So these brushes are very helpful in getting the shading the equal grades. The last tool that we may use is the paper stump. This one is very useful in the charcoal drawing. And the hyperlism drawing as well. Let's talk about the paper. So paper, you may have a paper with a rough texture, cartridge paper or a rough paper, or any kind of a texture has to be there for the shading thing. You can see the texture over here. So this is all about the tools and the art materials. Hope you understand. 3. Basics of Shading: Now we are going to talk about the types of shedding. Here, there are two ways in which we can achieve the shedding. One is without the tools, and other is with the tool. For without the tools, you actually need a pencil. That's it. You always have a pencil with us, and we are going to draw anything using the pencil. And just by using the pencil, we're going to achieve the shedding in two forms. First one is the cross tching. Another one is the contour or circulism, and the third one is the raw. Now let's understand what is cross etching. Cross etching is basically the two lines, they are crossing each other on any angle, that is the cross etching in the larger perspective. And the contour is basically, we are going to create different contours of different sizes and the The bunch of it actually create a various kind of shedding, a different kind of a shedding altogether. Also, circulism is what we're going to create a small size circle or a big size circle, and just the bunch of it is going to create very very realistic shedding. So this is something which will help us to achieve a very realistic shedding also. So these are two important shedding. First one is the cross hatching. Second one is the contour hatching or the circulism hatching. Not the hatching. It is only contour shedding or the circulism shedding. Without the tool, we can do the shedding as well, and just by using these simple techniques. The third one, which one is the raw shedding or the random shedding. Here, we are going to use many different form of shedding or the lines, and somehow we are going to manage the shedding part. Third one is not that important. Now, let's come towards the width tool. That is very important for the student who really want to achieve more realism. Like hyperism or ultrasm. So here, there are three way we are going to achieve it. First one is the brush. Second one is the blending stump, and third one is a cotton bird or a tissue paper as well. So for brush, you can see this is the brush, what we can use And these brushes are make up brushes which are firm. Their brussels are firm, and they are very smooth as well. So they are not going to affect the surface of the paper as well. But eventually, they actually help us to achieve the smooth layers. So let us see how we are going to achieve by using this brush. So you can see here, I'm not putting the pressure onto the paper. It is something which is very gradually, and It should be done in a very simplistic manner. So how to use the brush, we're going to discuss in the upcoming lessons of this class. And there is one more kind of shedding that we can use. We are going to use our finger as well. Those who don't have any problem of sweating on their hands, they can use the finger as well. So this is also very helpful for those artists who really want to achieve something very quick, and they don't actually rely onto the tools as well. So this is what you can use. Another way is blending stumps. Here you can see this is blending stump or Tuten, whatever the name you actually gave to them. But the results are very smooth, first of all, and in hyperism, many artists used to use it. It is very, very realistic, very effective, and it may change the paper may damage the paper as well. The patterns or the textures may rhetoriate, also. So this is something which is not recommended to the beginners. And also, if someone who don't want to actually do things very dramatically, so they shouldn't use this. And the other way like cotton bird tissue paper. Cotton bird, it should not be used, and it is not something which I should recommend to you. So I actually don't prefer to use it. And tissue paper you can also do, and there are many artists who are using tissue paper, and it is very effective for sure. The fingers is also again, it is is just like a pencil thing because you are not going to use any tools. So this is all about type of shedding. I'm going to see you in the next lesson. 4. Shading Process: So now here we're going to talk about how to use the tools to basically get the shedding. So here, I'm going to draw a circle and then we're going to use the brush to actually understand the utilization of that particular brush for the shedding perspective. So here I'm going to apply the first layer, which is very light and try to get the layer as smooth as possible. Even if we are going to use any brush or tool, we have to be very smooth and very gradual onto the paper. We should not do it rigorously or roughly. Otherwise, it will be difficult for us to maintain the smoothness and the evenness. Or the gradient of that shading. Here, I just want to add layers in a very gradual manner, in a very graded manner. And you can see here I'm just confirming the outlines of the circle so that we can convert them into the sphere. And here you can see I'm converting them into the sphere thing and just adding layers in a proper manner. I am just doing some contouring as well, you can see here. Whatever the technique you are going to use, you have to be very specific, very clear in your mind that what you are going to achieve, that has to be in your mind for sure. So I just assume the light is coming from the top. I have shown it from the arrow thing, and how the shed can play a role in it that you can see. So now I'm going to use the brush. We should start from the lighter portion. Always, you should remember this thing. Whenever you are going to use the brush, and you should follow the flow also. Whatever the flow that you have created, you have to follow. And then gradually, you should do the contouring the circulism using the brush and just trying to smudge it out from the lighter portion to the darker portion. We should not do it from the darker to the lighter. Otherwise, All the darker thing has come out onto the brush and the lighter portion also get affected with the darker one. So you should start from the lighter one and then gradually move towards the darker portion. This is the way. This is the easiest and the coolest way actually to do the shedding. And you can see here, the lines have um, have been omitted into the paper, and you can see it is a very gradual thing, a very smooth thing. I'm not putting pressure onto the paper. And then you can use if you are comfortable with the finger, you can use the fingers as well. And you can see here when you're going to use the finger, the things become more and more subtle and more smooth. So this is the way you should apply the first layer of the shedding. This is just the first layer. As you're going with the flow as you are adding the layers, like what I'm doing here. I'm just adding the second layer. So This should be the way of doing the shedding for a beginner. If you are advanced artist or if you're doing it for the longer time. So you can add all the layers in one go and then finally do the shedding thing. That is something which will help you to save some time as well. But for beginner, you should go layer by layer, and you should have a step by step process so that you should not do any mistake. You can see here I'm using a high red pencil like four B or six B, and then trying to smudge the things, trying to utilize the darker area. And you can see I'm just focusing on the belt portion, which is the darkest portion of the sphere, and then slowly and easily move towards the latter one as well. Again, I'm using the brush, you can see here and just trying to smooth the graphite thing. So this is the way we should do the shedding thing, and we should take time for that. This is very important for any shedding. You should give time to that particular shedding. Otherwise, things will not come out in the way that you actually want it. Now I'm using the brush, the eraser, and just I just highlighted that where the light is actually focusing on. This is actually depending upon the texture of that particular surface, what you are trying to achieve. So this is approach light to dark area. What I have discussed, the lightest area, I actually started started from the lightest one and then move toward the darker one. This is the way. And then finally finally utilizing that particular light area. So This is the thing that you should keep in mind, and there are few steps, a few tips that you can see here, what I've written here, that you should keep that in mind as well. 5. Shading Basic Objects: In this lesson, we are going to take an object as a reference and going to draw, going to shed it out. So I have already drawn a few outlines, which is very basic one. I've just drawn and jar, which is made up of steel. The cap is made up of the steel, and the lower portion is made up of the glass. So this portion is of class where I am actually doing the shedding. So these are the composite one. The cap is of steel and the the lower portion. The main portion is made up of the glass. So you can see here. I'm just going to fill these areas with the lines, the contour lines, the horizontal lines and the vertical lines as well. Just this is the preliminary lines. You don't need to worry about that. And then I'm using the fingers, so to get the even surface in even gray surface as well. Here, I'm adding fewre lines, few more dark areas, using the two p pencil or the four p pencil for that particular area because this is made up of steel like material, steel, or zinc, whatever you can say made up of, and sometimes it's made up of brass as well. So respective of the material that has been used, our process has to be very uniform and generic. And for the glass portion, the lower portion, we have to find the darker values and then reduce those darker values to actually achieve the highlights. So our process is like this only. You can see here. I'm just trying to get the lines And I'm leaving few of the belts. You can see here. If you observe it very closely, I just leaving few few belts, you can say or blocks, you can see where I I don't want to get the darker values. Now, I'm using the brush and just trying to blend to smudge the values in a very very easy manner, in a very lighter manner. I'm not putting the pressure. I'm just trying to get a few even surfaces to work on. Now I'm adding the third layer, so you can see here. Again, I'm doing the work like I've already told you in a layer by layer manner. You can see here, now I'm going to use the high lighter thing, the needed eraser, and trying to get the highlights. As I have already mentioned, it is made up of glass, the lower portion. Here we are going to get some random highlights onto the tip as well. Now I'm using the pencil eraser and just trying to get the edges, the sharp edges where you can see the shine as well and the grip of the cap. That I am going to also try to get the details. Even on the glass surface, you can see it is a thick glass. So we have to show the inner layers as well, inner linings as well and the outer lining as well. You can see here how easily we have actually maintained and create a glass surface and the steel surface. This is basically a very easy example in the coming lesson of this class, we're going to discuss these things in details as well so that you can get more idea of it. 6. Types of Shading: Now, let's talk about the various forms of shedding, and the preliminary form is cross tching, which is very, very popular, and it's very important for any artist to understand about the cross ching or tching techniques. So, what is hedging? Let's understand about the hedging thing. So Hatching is some random lines, which has to be drawn in such a manner that it has to have a very quick a very quick stroke. So the set of line to represent depth. So this is something which we can define in this manner. And there are various types of hatching. First one is the horizontal hatches, where you have to put parallel lines in a horizontal direction. So this one is the first one. Then another one is the vertical hatching. So here, as its name suggests, it has to have a vertical lines which are parallel to each other. So These are parallel lines, and it has to have a firm stope. That is very important. That's why I am keep on stating this statement. It has to be firm. So the third one is the diagonal hatching. It has to have a certain angle from the horizontal or the vertical. So here you can see it. It has to have a certain angle from the horizontal line. So it has to it has to be in any direction. The angle is not confirmed. So You can draw it in any angle. It has to have any angle. It may vary as well. So let's talk about the most popular one. Which one is the cross hatching. So The cross tching is the mixture of the all different hatching, what we have earlier discussed. Like first one is the horizontal and the vertigal. When we mix them, it create a cross or a diagonal one or the horizontal one or vertial one. Whenever you mix the two different form of hatching, it will eventually convert into the cross etching. Like you can see here, I'm going to create a mesh of horizontal and vertical lines. These are also cross etchings. It should be in any form in any direction, and artists use it very oftenly by expressing the lines and then the depth of the drawing of the shedding or of the dark area. So you can see here, I'm mixing the patterns, adding them and creating a hatching of my own choice. You can see here, I have mixed vertical and the inclined one or diagonal one. So every time I'm getting different results, this is the beauty of cross tching. You are free to basically get any results, any variant of that hatching. This one is the most popular one. Both diagonal hatching, which are perpendicular to each other, and they create cross cross tches, which are known as cross tching. So another form of hatching, that is known as curved tching. So the lines, which were earlier straight, now they are turning into a certain angle, and they are curved. They are not a straight line. So that is something which we need to keep in our mind because these are arcs. These are a portion of the circle, which is known as arc. And you can see here, how finally we use in drawing. And they actually simply looks so beautiful. So many times I've shown in the last lesson where we were drawing a circle. You can see there over there. I have created some curved hatches over there. This is very helpful for still life drawing. Also, in portraits, we are going to use it. Son in the next lesson. 7. Implementation of Shading: Now here we are going to draw very different object, which is having a difficult edges. And I'm just getting some outlines of this object because it is a very different one because the shape is not very defined, and you need to have a good sense in the shading portion. Then only you can understand the shape of this object. This is why I've chosen it. So here you can see. I'm just going to draw some rough outlines of it. And then we are going to shade it out. So I'm going to start, as I've already told to the darker area, and then we are coming toward the lighter one. So this one, the main section which is showing here, it is darker one. So I started from this just getting some vertical hatches. So you can see here how different hatches help us to create a different surfaces or surfaces with a different angles. So here I've used diagonal hatches, and then the vertical hatches Then now here I'm going to use some small hatches. You can see I am going to vary all the hatches to use in the same item. Here, you can see for the circular portion, the center belt, I am going to use the curved hatches and then the vertical hatches as well. Then the inclined vertical hatches on the bottom of of this object. I'm adding it more values to that because it is already shown in this reference as well. Just try to make the thing simple. And here you can see the handle of this object is very dark. So I'm adding directly high grade pencil over there because I know the surface the color or the value is very dark, so we can directly use the dark pencil over there. No need to waste our time. You can see, I have achieved it just by using a single pencil with a single layer. But this is not difficult. The difficult part in this object is to get all the surfaces and just to make it more realistic one. This particular object, you have to observe. It actually don't need such explanation what I'm trying to give it to you, but it actually eventually whenever you are going to draw this object, then at that time, you should have a feeling like how to the values into that and how to get the lighter values, and then the darker values as well. I'm just observing the object from the from the closed areas, what are not visible basically over here. Here you can see, I have used the vertical hatches, then the horizontal hatches, then the cross hatches, and then the curved hatches. All these hatches, you can see, this one is the curved hatch. The cross hatches has been used in this particular portion, the crossche has also been used over here onto the handle as well. And the horigontal hatches has been used here also. The vertical hatches has been used in the middle section of this title. So all these hatches, you can see how I have utilized in this single object. 8. Understading Gradients in Shading : Now let's discuss a very unique topic. And I'm going to discuss about the basic exercise that every artist should do, every beginner should do to understand how pressure actually work in shedding and creating a gradient and using the different pencil or the single pencil help you to understand the the important role of pressure. It is very important for any artist. Many times we are going to say a key. We don't have that much of pencils, and we have to use a single pencil or we have only one pencil, how to shade. So this is how we should do it. So I'm here, I'm using a very lighter red pencil, which is which is something like. You see here. In a lighter portion, I'm using the pencil. This is, is something which is very hard. Now I'm going to use the B pencil, which is a little darker from the previous one. You can see here how the gradient, how the grade of the pencil actually affect the darkness. This one is darker one from the previous one. Now I'm again going to use another pencil, which is two B in grade, and you can see here, it is very darker as compared to the previous two. You can see I am applying a same pressure, similar pressure. I'm not going to add pressure, and you can see how grade actually work. This one is the four B. This is why there are many grade of pencil available in the market so that you can use them without wearing the pressure. Now I'm using the six B pencil. I'm also going to discuss about the pros and cons of this particular thing. Six B is way more darker than the previous one. The last one is the eight B, which is the darkest from among all these what I have discussed here. You can see the black portion is more in this grade. And you can see how the gradient, how the grade has actually worked here. I've used six pencil to achieve the grade. Now, the important, the interesting part is this, whether you are able to achieve with a single pencil. I'm going to use a six B pencil and just wearing the pressure into the pencil, I'm going to achieve all these grades by using the single pencil. You can see how. So I'm just applying more and more pressure. I started with the minimalistic pressure, then adding few pressure, then adding few more pressure onto that and more layers onto that and just getting the desired results. So this is very interesting for those who actually use to create some excuses that they don't have various pencil and they don't understand the shading or they don't able to they are not able to actually get the shading thing done. Here you can see the single pencil will help you to get all the grades of different pencils. You just have to have those skills in you and those skills will help you to achieve the desired results just by single pencil. You can see I am applying more and more pressure towards the right, and here I have just apply all the pressure, what I actually can do because I have to achieve the eight B grade from the six p pencil, which is again a challenging one. But when you are going to apply the pressure, the pencil will have to do its work. Here you can see the dark values has also been achieved. The lightest value of has also been achieved with a single pencil. This is this is the simple example how changing pressure can help you to get all the gradients. 9. Various Tones in Shading: Now, we are going to discuss about how to change the pressure of the pencil to achieve various grades or gradients. So light, moderate, or mid tones or light tones, we can define in such a way or a dark tone. These three tones we need to understand and how we can vary the pressure of the pencil to achieve all of them by just using the single pencil. How to hold the pencil, which is very important. Where should be the angle. Where should be the point where we can actually grip the pencil. It is very important. For light tones, we must pick our pencil or hold our pencil from the center. Like the half of the length of the pencil and just try to do as light pressure, apply as light pressure as we should can. So this is over the hand grip, and if we change the grip, here you can see, we have picked the pencil in a different way. All of our fingers are over to the pencil, and you can see the pencil is lying, which is parallel to the surface of the paper, and we are applying more pressure. So by just changing the grip, we are getting different tones as well. This is very important for anyone, any beginner to understand how they can actually change the grades just by changing the grip or by changing the pressure onto the pencil. So this is very important. Let's do the dark tones. For dark tones, we should use the tripod grip, which is very easy for anyone to understand because we used to write by this grip. So you just have to apply more and more pressure and our finger should be near to the tip or to the lead of the pencil. When we apply the pressure, we can get the dark tones as well. Just by using the three different grape, you can see here we are getting different types of grades and which is very easy for anyone to understand. See you in the next lesson. 10. Shading Various Still life objects: After understanding the grades and technique, we are going to understand how to shade different still life objects. So here I'm going to shade this class that outlines has already been done. And you can see it's a normal class, what we have used in our daily usage. And you can see I'm using the B pencil for that particular thing to get the first layers. So here I'm going to use most of the technique that has been used for shading here is going to be circulism or contoring. Mostly in the curved hatches format. So here you can see I'm using some vertical hatches as well in the preliminary lines because the center of this class is being filled with vertical hatches, and a single layer has to be all over around the object. Whenever we are going to draw a steel object, you should keep this in mind. It will help us to get the realism when we are going to use the subtraction method over there. You can see here in this particular object as well. So you can see I am just using the vertical hatches. Uh to get the first primary lines. And then we define few values as well. Now I'm going to use the curved hatches and which is circular in nature. And following the real path, following the real texture of this material. This is steel, and whenever you are going to draw this stainless steel thing, most of the time, you should do the circular ism or the curved hatches, not the circulism, the curved hatches are more and more important or the hatches are more and more important. So this is the way we should do. And now I'm going to use the four B pencil for adding more layers. So this is the second layer in our drawing, and you can see how gradually I am adding layers so that as of now, you can see I haven't used any tool, and it came out beautifully. So even if you don't have any tool, you can get the details as well. If you have tools or if you want to get more and more realism into that rather than the artistic results, you can do that as well. So you can see till now I haven't used any tool. Now I'm going to use a tool to show you the difference than that you can actually understand. So I'm using the thin brush. It's a make a brush that I've already told you, and gradually and very simply, I just mixing all those things with each other and without having a fear of getting the things came out in a different manner. Again, I'm adding more layers. This is the process while using the brush. You have to have one stroke of the brush, and then again, you are going to use the pencil to add more layers, and then again, you do the same thing. Now here you can see I'm subtracting a few values that I've told you. First, you have to add all the layers onto that drawing and don't be feared about the highlights thing. Eventually, you are going to use to achieve it just by the brush thing as well. Now we are in the finishing stage of this particular glass, and you can see I'm using the pencil eraser to define few high lights and which came out very so beautifully. So you have to keep this in mind, try to get all the minute details in the reference image and then try to achieve them. Into your drawing as well. You can see how the things have been gradually changed from no tool, and here I'm used other tools as well, and defining the values, defining the particular section. So this is about the steel texture and how to achieve the different textures of the materials using the shedding technique. So now I'm moving towards another a different topic here. I'm going to just let's understand about the fur as well. And then in the coming section, we are going to understand it in detail with the different objects, different subjects as well. So I'm going to draw the tail of this beautiful squirrel, and just how to do it, just to understand it. You just follow the real flow of the hair of the texture of the hair. So when you are going to follow it, it will help you to create it in a same manner. So whatever you see, whatever would be the kind of subject or anything you want to draw, you just have to observe it and then follow it in a real manner. Follow it in the similar manner, which is already there. And you can see here, I just followed the path of the hair, and I have drawn it. Don't be worried about the tools. If you do not have tools, even than that, you can achieve the realism just by following the real reference image. Now let me use a tool to help you understand how it how to differentiate the drawing from without the tools. So I'm just gradually using the brush and then mixing up all those values. And you can see that how the mist has been created when you are going to use such tools. This is just a glimpse of how to do different things with a pencil and shade it. We are going to understand it in detail in the coming lesson. So just be ready for rock and roll show and understand the shading part. I'm going to see you in the next lesson of this class. 11. Animal Portrait Shading & their Fur: Now we are moving towards the difficult part of shading and which actually seems to be difficult. Here we are going to discuss about the animal fur and how to shade them. For that, I have just pick this reference image of a cute little puppy, which is a hairy one, and we are going to understand how to actually get the shading the fur specifically. So I'm just getting some outlines. I'm just doing the free hand thing and just trying to make a similar one over here. And no such technique has been used like pencil measurement, et cetera. Just a random strokes to let you understand about the shading. So first of all, I'm just going to get the darker areas as I usually do. And for that, I am not following any exact pattern. I just want to have some dark tones. This is the preliminary tone, and for that, I'm using the tub pencil, which is very important. Here, I'm using the B or the tub pencil, which is quite a dark one and I'm just trying to get event surface also. This is the first layer where we have actually get the rough sketch of that beautiful puppy. Now I'm going to add more layers by using the four B nsel. Here I'm going to identify the darker areas. First like nose and eyes, also on the mouth. All these dark areas should be covered up by using the four b vencil. The four b pencil help us to get the darker area, which just apply the light pressure. By just applying light pressure, we can get the dark area for other pencils like lower grade pencil, it would be difficult. We have to apply more pressure, but here in four B pencil, when we are going to use the higher grade pencil, we don't need to apply more pressure to get the darker tones, and this is the advantage of using the dark tone pencils or higher gate pencils. Here you can see, I'm just identifying the teeth of the dog as well. It's just a rough idea. I'm getting the teeth. I'm not going to follow the real image real reference, not going to go to targeting the realism rather than just to understand the basic phenomena, what we need to understand and what we need to get in shading. Here you can see, I'm using the similar pencil again for pencil. This is the third layer, and again, I'm going to draw to add more layers. Here you can see eventually we can get all the dark tones in a single layer, but this is not the correct approach of making a drawing, especially for beginners. It is very important to all of you should work layer by layer rather than to putting all layers in one go. Because there are certain chances that you may damage the paper or you may went up to the wrong results. So then you don't have any options to actually correct those errors. So when you are going layer by layer, you have a chance, you have an option to actually change the values or to the areas where you need to work. You can see I'm again using the fopen cel and just having some cross etchings, which is very important. These are the diagonal tches, Let me understand you. You can see the flow of the cross etching or the diagonal tching should follow this pattern, but I'm showing here using the arrow. When you are going to draw the fur, you have to keep this in mind all the time to follow this pattern to get realistic furs. You can see I just follow the contours or you can say larger contours to add more values and they are diagonal hatches as well and then the contours as well. This is the process, what we're going to continue in the next lesson as well. Stay tuned. 12. Adding Detailing in Animal Fur for Achieving Realism: So now in this episode or in this lesson, we are adding more layers, more dark layers to get the realistic fur and how to add the details in animal fur, which is very important, and I'm here. You can see I'm following the original path that we have already defined in the last lesson and just following the path, using the two B pencil or the HB pencil for that. And you can see I'm using the side of the pencil and getting the hatches being done because when we are going to mix all these stuff, it it will create a realistic shaded values, what we can see in the near future. So you can see I'm adding layers and simply adding layers. That's it. Using the sides of the pencil continuously. S. We should always keep this in mind. Then whenever we are adding layer, the layer should be uniform and well graded. It should not be like some patches being shown. So otherwise it will damage the whole thing. So it should be uniform. Okay. Now we are using the brush, and you can see with the brush, and gently and very softly pushing the values and defining those areas where the dark values has to be implemented. This also needs to be very gradual, and it should not actually the whole thing, the whole important thing here to understand is not to damage the paper while adding layers, which is very important. Again, I'm coming up with a two B pencil and defining some edges of the e and just trying to get a few details which are important. Each and every detail, each and every stroke of yours will change the scenario. So always keep in mind that whenever you are adding these stuffs, you should be very careful. Here is a tip that you should always try to figure out the values from the larger area to the smaller area. Always capture first larger areas and add the details over there and then move towards the small details. That will save a humenous amount of time as well. After adding a few more layers, we come up to this result, and here you can see I'm using the pencil eraser to define few highlights of here like eyebrows, or some fur which are highlighted. So you can see very small details can be achieved by using this pencil erasor. This is why this pencil erasor is very important for any artist to have it in their pencil kit. Even a single detail like teeth or a tongue, which has been which is requiring to add more details. O there, these stuffs are very helpful. But always keep in mind that you should not be in a hurry to define those values. It should be very gentle. You can see a few moustache also being reflected by this. And also, the more you add layers, the more you go towards the darker values, the more realism you will achieve, because there will be a light and shades drama, which has been created subsequently. So you can see here I am finishing it and working on the year cap as well. And these values are dark as compared to the face values. So I'm doing the same. And we can see how the fur has been created, and what are the results that we have achieved and By this, I think you can understand how to achieve the values which are there in animal fur. And the same approach you may use in any of the animal fur, whether it is a bushy one or the small hair or any kind of hair you can achieve just by using this technique. So I'm going to see you in the next lesson of this class, where we are going to take another animal and then find how to achieve their first. Thank you. 13. Creating Shade in Eagle: So here we are going to draw an eagle and see how it can be done using the pencil. So I'm just draw the two lines, the horizontal and the vertigal, and then on this line, I'm going to draw the, the beautiful eye of this eagle. And just by drawing the eye of the eagle, it is very important to get the correct expression of the eagle because it looks very angry, and that need to be captured. Along with the eye, the beak is also very important, and then we have to take care of it. But here, I'm just adding the layers into the eyes, and you can see, try to get the details as near as possible. And with the help of pencil measuring technique, I'm just following the outlines of the fur as well. So here I'm using the two B pencil, and eventually, after few minutes, I'm going to use the four B pencil as well for the darker areas. Now I'm going to draw the other things as well, like beak of the eagle and the outer outlines, basically outlines of the animal fur. So now I'm starting the sheding part as well. And just using the crossto the darker areas, and just following the real image for that. Whenever you have a reference image, you can have this option to follow it completely. But just remember that you should not need to copy that one, rather than just to take this as a reference and then try to make your own subject. So because it will not going to help you to understand the shading process, if you are just simply copying the things rather than to just understand and have an idea how the work can be drawn. If you have no reference image, because many a times you can find this that you have no reference image of the object and you have to draw it. So you have to remember and memorize this that how the animal fur were there when you are having a reference image for that. So it will help you to understand and to improve your muscle memories as well. So here you can see I'm just following the patterns of the fur and the texture of the hair. Using the same pencil will help me to save my time rather than changing the pencil. We eventually going to lower the confidence. So just use the same pencil and trying to vary the pressure, what I've told you in the earlier lesson. So here you can see, I'm just going to draw the big leaf like fur, and we are going to finish it in the next lesson. And we will see how we can add layers to make it a realistic one. We'll see you in the next lesson. A 14. Finishing the Background: A Different Approach: Okay. So here we are going to finish and define the fur. And for that, you can see there's a black background, and here we are going to discuss about that as well because background creation is very important and different thing for drawing. So I'm using the eight B pencil for that. You can see, which is very dark eventually. And just creating a rough background, not fine, not following the path or any kind of thing rather than just filling up those areas, and then in the later on, we are going to smudge all those things. So just creating a background, a black background for that, I'm using the AD pencil, which will help us to create to get the dark values very, very quickly. So for that, I'm using the AD pencil, and then you can see I'm just trying to mix it up with the background and You don't need to follow the real thing or don't need to follow the exact thing, what I'm also doing. Just get the background for that, which I'm going to tell you how to utilize them. Now I'm going to add darkest layer in the eye. Why I'm doing, I'm just going to understand you how the dark values help us or to change the whole scenario, the whole drama. So I previously, we have drawn a puppy with a lighter red pencils. Maximum four B we used over there. But here, I'm going to use the eight B pencil, and then you will see the differences. And accordingly, you can choose your tools as well for the shading purpose. So you can see here, I'm going to use the brush, and then I'm mixing those dark values with the background thing and just trying to get the even background surfaces. So for shading and also in hyperism, saving time is a crucial thing. Otherwise, you will spoil your whole day creating a portrait or a drawing. So for that, you have to have a smart mind as well to save your time as well. In the less time, you can add or you can do more work, and eventually it will save your time for other works as well. So for that, you try to use darker pencils and don't try to go very slowly specific in the darker areas where you know that everything is going to be black as well. So you can see here, I have just done the one layer thing, and you can see the drawing has been. It looks like a finished one, and adding few more details will help us to achieve it in a much less time. So we can see I'm using the phobi pencil for the surrounding of the eye and also inside the iris of that eye. The expression of the eye and capturing it, it is very important. And if you fail to achieve the expression of the eagle's eye, you won't be able to draw it. For that, you should understand the expressions, and this is very, very important. So now I'm just following the path, what we have already decided in the previous lesson of this particular class. You can see there, I have decided or defined few values of the fur and the texture, the flow of the fur. And here I'm just following the same fur and adding the values layer by layer. And whenever you are going to draw the darker value portraits or drawing, you must understand that you should be relying on the tools as well because dark values are difficult to blend, difficult to be blend gradually or in a graded manner. So for that, it is very important to use those stuff. Now I'm doing some reverse drawing. You can see here, I'm using the eraser and uplifting those dark values and defining the highlights, which is falling onto the left of that animal. So you can see how beautifully it has been created, and nature has given all the colors, all the beauty. But the gray and the white and the black does have its significance a lot. So for achieving those stuffs, you need to have a a needed eraser for that. And you can see I'm just just observing the texture and then following it accordingly. And then I'm using the pencil eraser as well to defining more details into the single leaf like for you can see here. And eventually, we are going to achieve it in much less time. And now you can see, I am just finishing up with some rough patches of background. You can see how the results came out with a different techniques. I hope you like it, see you in the next lesson of this class. Oh. 15. Basic Outlines & Shading the eyes of Human Portrait : So now the weight is over, and we are going to do our human portrait, and this is the basic layer. The first layer, outlines I have already drawn as this is not the tutorial for this is not the class mean for outline drawing. So outline have already been drawn. This is by doing the pencil measuring things and other stuffs. So again, I'm just going to start with the shading part and I'm going to initiate the first layer of I. So I'm starting with the I and using the to B or B pencil for that, and just getting the outlines as well using the HB ncil. And this is the HB ncil, what I'm using here. And you can see I'm just adding a few details as well. This is this is the drawing of the kid, and it is a lot rama drawing. And you can see the innocence is there in the reference image, you can see, and our whole challenge while shading is to get that innocence and simplicity of that phase that should be there in our drawing as well. So just doing the ase, the pupil portion first, and then moving towards the upper portion, by adding a few more layers using the lower grade pencils, which may be HBB, or to B pencils as well. Then after in the second layer or the third layer, we are moving towards the dark layer pencils as well. And in the end, we can get up to the six B or eight B pencils as well. So you can see in the eyebrow as well, I am just doing some garage etches, and this is the first layer. So you don't need to worry about the finishing thing. Just try to add layers first and get the things settled down. Then you can only observe for which area you need to work a little bit differently or for which area you need to add more things. For that thing, you have to have patience. Those things you can't see in the first layer. For first layer, you just add layers in any way, just try to keep it very light so that any changes, if needed, can be changed. Again, I'm using the same pencil. For left and right eye, you should always use the same pencil. Otherwise, the results may different and subsequently it will create a mess for your drawing. Don't allow those particular things to be happened. And just to add few layers of cross or diagonalizing. You can do it in any way. Uh, eventually, they are going to mix it up. So don't need to be worried about that. You just have to have a rough idea of this particular portrait or where you need to work, which area has required more attention and which area not at all for the matter of concern. So the first and foremost area in any portrait, which are to be deal with in a very precise manner is I, for sure. And if you are able to capture the beauty of that particular eye or realism of that particular eye, up to the level of 60, 70%, you have done a lot in that portrait and you justify the thing in realism of portrait. So that is very important that you keep in mind all the time and just try to to give it a 100% in the particular section of I. So I'm using the brush you can see here, and I'm just adding or mixing the things so that more layers can be applied. And you can see whenever you are going to use the brush, you can see that a certain change has been achieved, and that change, that particular change can be a very fulfilling thing, or sometimes it is a very fearful thing as well. It may change the whole scenario. And sometimes you feel like I have to do it all along, and you have to start it from the zero as well. But here, I think we have achieved a good amount of realism, and we don't need to do it again. Our rework is not required over here at least. And you can see the first layer has been achieved. Then now we are coming towards the second layer and the third layer as well. Just going to have a rough idea of the forehead as well and just getting the vertical hatches over there. You can see you in the next lesson of this class. 16. Shadingb the Nose & Lips: So here, in the second part of the portrait drawing, we are going to add more layers to finish more features. And here we are going to focusing about the nose, the lips, and the cheeks as well. So I want your attention all over here, and this is the second lesson of this portrait ring thing. And here you can see, I am adding again one more layer onto the eye, what we have left in the last lesson. We are going to start with that particular thing. And you can see I'm using the four b pencil. As I've told you, we will gradually enhance the gradation of the pencil. Our higher grade pencils will be implemented. So here we are going to implement it, and you can see here Just a very gradual thing. And you can see now I'm using the circulism technique as well. Many of the area in the small area, using small circles to filled it. You can see here, I've already zoomed it, how I'm using the small stuff, small, small size circles or contours to fill those areas. And here, I'm just having an idea how the eyes can be seen and just subtracting a few values using the needed eraser. And you can see how beautifully it reflect when you use a highlighting tool like eraser. So I always say this that eraser is something which may be used for the highlighting stuff rather than for the erasing stuff. So for any artist, it is very important to use eraser in an intellectual manner, in a intelligent way. So whenever you use it like that, you will achieve the results, something like that. You can see here, a very, very interesting realism has been achieved inside the eyes because I have created some glass like effect onto the eye as well. Reflection. Has already been achieved just by putting some highlights using the eraser. Now I am moving toward the nose part, and you can see it is a kid's portrait, so the nose and the lips should be very soft and gentle. It It is under process thing because the God has created like us. These things like nose or lips, all those features of the face are not being developed. Over night. So it take time. That particular thing should be shown, should we keep in our mind before creating those portraits of specifically for kids as well. So you can see I'm using the brush and just mixing up all the areas surrounded with the nostriils. And a small highlight has been left over there. You can see, just to let it keep it into the three dimension. Now I am again using the circulism technique. I'm creating a small size circle to create a very defined, very minute shading thing. For larger area, you may use cross edges, vertical tches, any kind of tches, as well. And now you can see I'm using the raiser and I've created a small line, small vertical line with a tip with a strong tip of highlighted portion, you can see, and eventually we have achieved the nose, and the three emenion of the nose has been achieved just by the particular highlight. Now I'm working on the lip portion as well, and you can see here I just following and just following the pattern, the texture of the upper lip. In the upward direction, you can see the strokes are in upward direction for the upper lip. And for the lower lip, it is downward direction. So always keep that in mind. Whenever you are going to draw the portrait, and whenever you're going to draw the lip of that particular face, you have to keep that in mind. Upper lip should have a upper direction shading and the lower lip should have a lower direction hatches. So the direction help us to achieve the realistic lip. So for other things like cheeks, chin, we are just filling those areas with the cross hatches, diagonal hatches and various hatches thing. And eventually we are going to mix all those things just by using the brush. So accordingly, we are working and moving towards the finishing part as well. A small size brush will help us to achieve the realism, and it won't let the things came out from the border. So small size brush really help us to achieve those particular details. Now you can see I'm using the thick brush and gradually, I'm going to change those values into the dark values from the lighter values. And you can see I am defining those beautiful cheeks of this small kid. And I think we have done our part with the second layer, and the third layer will help us to find the to find the real realistic portrait. Here you can see. I'm adding a few more details just by using the pencil eraser over the lip portion, the lower lip portion, and you can see that when I'm going to do that, it will help us to achieve the realism, the realism or hyperism in a different level. 17. Shading Hair & Finishing the Portrait: Now in the last topic. In the last lesson, we're going to talk about the finishing of the portrait. And you can see the highlights has been reflecting in the reference image onto the cheek of this beautiful portrait. So I am just doing the same with my drawing and I have created a small highlight over there. So these are small detail help us to create a portrait in a realistic manner, and if you don't follow those stuffs, follows those things, minute things. I won't help you to create a good portrait. So always keep those stuffs in mind. Now I'm moving towards the jewelry part, which personally, I really don't like to finish all of those because it is a very much time taking process, and it's slow down the process, the whole process. But here we are just trying to get in a symbolic manner, and there is a crown you can see on to the top of the head, and just trying to get a few details of that. Our main motive is to to get the details of the face of the portrait features of the face. But all the other stuffs are also really useful. So you cannot skip those details as well. So now I am going to finish the hair as well, to initiate the hair with a lower grade pencil and then finishing it out. You can see here and just adding first layer by laying down the pencil and just getting the first grade here, you can see that. And eventually, we add more and more layers and in a different direction so that it is similar to the cross tching thing, but with a thick strokes, And now you can see, I just want to get the fringe of here. Fringe here. You can say that. And with the similar stroke, I'm just finishing those stuff as well. And then adding more layers by using the same pencil, but I don't think that this pencil will help me to achieve that dark values. So we have to add different pencils as well. But first of all, we are going to use a brush to smug those values and then see how more pencil we need to add. So after having a first layer of brush, I think that we need to add more layers and more dark value. So I am doing the same using the four p pencil and then the tip of the pencil to actually get the more dark value and how actually we can achieve it. You can see that. Even if it is a darker pencil, but I don't think that it will help me to achieve that dark value. So eventually we can see that more dark values if that is required, we will add more higher dark values like six B or something like that. But first, we have to smudge all these stuffs so that pain surface can be opted. Similarly onto the other side of the face, we are going to add more layers using the pencil and then see how much more pencil grade is required. So every time you are going to do the shading thing, you have to keep that in mind and then decide according to your convenience, to how much higher grade pencil is required or how much high grade pencil you want to use. But it has to have some dark values, and it should justify the portrait as well. If the eyelid or the iris or the pupil of the eye is that much dark. So here should also darker in the same manner. This is what gradation is required. This is why you need to learn about the gradation process, that equal grade should be equal dark grade of value should be there everywhere. Monolithically. It should not be like hair is lighter or the uh the pupil is lighter or why subverts of that. So this is why a six p pencil has also been used over here. And now you can see similarity in the black level in the blackness of the the basically as portion or the hair portion. Now I am working toward the jewelry part as well again. And then I'm defining few of the few of the pearls and the corals and the different type of Ratana So this is something which is a very patient full work, and you need to have a lot of patients to achieve that. And so over there, you can see there's a mad, big size madic, so that also need to be to be finished up. And all these details need to be added. But I don't think that this is a part of the learning process because it's something that you can do it by your own. And no such a specific technique is required for that. You just have to follow the real image, and then keep on drawing those stuffs like pearl, emerald, or different type of jewelry things like gold or silver, platinum, different, different aspect diamond, also. So you have to follow the original image. Now I'm using the brush to have a smooth surface over there, and then I'm going to use the highlighted thing like pencilator, or something. You can see here like that. So this is the way you should finish or you may have, I think you may have a better way to finish those stuffs because this is not the learning process and this is not our subject here. So we are not focusing them more and more rather than just finish it up in any manner, and then just focus about on the real topic. So let me finish these stops as well. Now I am moving towards the forehead portion, and here you can see I'm going to create a il, which is also there in the reference image. This is the vaso basically, and then you can see how I have done that, using the high thing, pencil eraser. You can see, and then I just removed a few of the dark values over there, and then you can see the highlighted portion has been came out. And then you can use your creativity, actually, to add colors onto them. And it will definitely change the whole thing, and it will turn around so many things. You can see here, whenever I'm using this red pencil color, you can see the beauty has been has been eventually enhanced, and you can see the the yellow ilk as well. So this is just the thing that if you have a reference image like that, you have to do it accordingly. So that is why I'm doing it over here as well, and you can see the final results like that. I hope you understand the whole process. I will see you in the conclusion. 18. Conclusion: You made it. Congratulations, my friends for completing this class. I hope this journey, through the fascinating word of shedding, has been both enjoyable and entertaining. Throughout this class, you have learned a various aspect of shedding, like cross htching, diagonal htching, vertigal hatching, and different forms of contouring and circulism and the realism from basic to advanced methods used by artists and professionals. I hope you have discovered how shading can transform your brain, adding depth and texture. I'm sure that you have learned those skills which are required for achieving realism. Whether it's in portrait still life or animal portraits as well. But remember one thing, mastering shedding, it's not about the technique. It's about unleashing your creativity and creating your own style as well, which is known as your artistic voice. You have embarked on the path of becoming not just an skilled artist, but a two storyteller. I request everyone to complete your project and submit the same in the project gallery session so that your fellow classmates, and I also can see them and give you encouragement and feedbacks. I hope that you enjoyed this class. If you did, please make sure to leave a review. And if you are interested in learning further about portrait drawing and various different techniques in drawing and painting, you can watch my other skate classes as well. I have provided feelings in the descriptions of my relatable ska classes. Goodbye, my friends. Keep practicing and keep shining. And I hope that I'll see you in my upcoming Skillshare classes as well. Dara.