Mastering the Fundamentals of Drawing: Texture Essentials

1. Introduction: Unlock the secrets of drawing life like textures in this exclusive pencil drawing class, captivated by the softness of fabric, the intricate veins of a leaf, or the reflective surfaces of metal. This class is the gateway to mastering the art of texture. Using only HB on basic pencils dealt deep into the techniques of shading and cross hatching to bring drawings to life. L earn the essentials of creating realistic textures and debate the subtle nuance of various materials with precision and confidence. In this course, learn the fundamentals of texture creation for different materials. Master essential shading techniques to our depth and dimension. With expert guidance and personalized feedback, build a strong foundation on refiner skills. Transform simple pencil sketches into stoning texture masterpieces. 2. Starting Fabric Drawing: Hello, and welcome to the second chapter or sketching drawing to Ty my. Today we are all going to learn together, how we can texturize something. What does it mean? It means that in this chapter, we are going to learn how we can create different textures for objects like glass texture, mat tool texture, or anything else like a fabric or cloth. I'm going to start with mat objects. The first object that I want to work on is a fabric texture, which is a t texture. It's not shiny. That's what I mean. First of all, I've got to create a primary sketch for my work, that later I can actually shade it and texturize it. T that I'm going to create is a piece of cloth, which is hanging down of a table or something. First, I'm just going to create the cloth from here. I come down and complete it. Just make sure that your primary scat should be definitely lighter or very light basically. It should be even lighter that the one I'm creating here. I'm just making it a bit darker so you can see better in the video. I want it to be more visible to you. Otherwise, you should try to make it as light as possible. Then from here, I come out a little. Place it maybe on the ground or something and he surface it even bring it in in the straight liner. Then from here on the same line, on the same level. I go all the way up and back again. Then over here, I try to have another line there. So for the last part of my work, I stop from the beginning from the top. I come down in straight lines, again, from here. I've got a shape of a triangle at the end of y week. After you make sure that your first and primary sketch is done correctly and you've done your edits, and if your primary sketch is two d, the first thing that you should do is to lighten it, then after you've lightened that, first, you start with your HB pencil in order to give it a very general shade. Then With your basic pencil, you start applying to darkness. So I've lightened my primary sketch. Now I want to start with my HB pencil to start shading. Now. In all of the textures, we do not use our basi pencil right in the beginning in any sketches. It's better that first you start with your lighter pencils in order to give a general shape to the whole thing. Then for some parts, which you've got strong darkness, you can work with basic pencil from the beginning too, but it's not recommended, you know, Let's work on the background color. The background color is the primary general shade that I give to the whole area and the whole object. That's what we call a background color. So using my HB pencil, Because I want my cloth or my fabric to be a bit different from the background. I'm using even an 11 color palette for this. In some parts I'm getting darker, but at least everywhere have got an 11 color palette in themselves. Then I also faded into the light. In this model, the light source is placed over here. This side would be the light parts, these parts would be the light parts, and these inner parts would be the darker parts of my work. Now, again, I start shading from here. Very slowly. I go up and then I fade my shadings there. I continue the same way. Then because this part of the fabric is just folded doesn't get any and be part of my because it's folded and it's not getting. What's home doing it. Again, I start applying more darkness into this area, and I would also spread it at the same time. I consider a darker shade for this part because it need a stronger darkness for over here. I've got to add more layers of still with my HB pencil. Can still work on it with that. This part of my work is more prominent. I just leave this area and with a bit of distance, again, I start applying the darkness. You see that is a little space, a little distance, between two dark parts which shod be shaded. Again from here, I start applying my darker cos. On this area is also more prominent, so it would be lighter and I try to fade in white darkness into the lighter areas. These parts are the prominent parts that I've just determined for you. From the darkness, as I move toward these parts, I should make sure that my shade would be lighter. Of course, the shadow my first area is placed on here, again, this area would be darker because it's also got the shadow of the first part over it. And as I move up, I continue my shades. Thanks. Now, considering this area for the light, I would apply darkness into this pt. I would also have more shades over here to show that this part is more curved in then I continue the same way to the lowest parts. Sage. I'm shading the whole area. But I'm just keeping in mind that wherever I can see more curved in parts or the parts which are folded underneath some other parts should be and the more prominent parts be shaded lighter. This would be the focus of work. Here it is Now, in your shadings, you shouldn't have any sodden drops or any separations. All of the shadings, light and dark should just blend together and be faded into one another. 3. Finishing Fabric Drawing: We've got to make this part lighter. Let's leave it light. Then the darkness would be exactly on the contrary, starting from this lower part, right the because this area has got getting some light, but b lighter, then this part has got the shadow of this part above it. That's why it's a bit. The part would be comparing two side parts. It's just so easy you've got to see which parts of got delight, they would be lighter, and they are more prominent, and which parts are darker. I should just definitely fade this line over here, so my work would not turn into a surface. That's one of the most important things as I've told you so many times before. Let's work on this upper part as well. We do not want to forget about that. I'm just trying to up more details here. In this way. Let's move on to work on the next part. Again, I've got a very strong darkness here because of the shadow of the previous part a ping here. But I'm just trying to get this darkness as much as I can with this normal pencil of mine. I'm just trying to add more darkness there to make it better. Now, the shadow of this part of my fabric is placed on the last part of my cloth of fabric. This part would be definitely dark because it consists of the shadow of the previous part. So it be definitely darker. Then again, try to show some depth in here or some prominent parts over here. I've got some prominent parts and some deep areas. Pitting them next to each other is what makes my whole volume of this piece of cloth. Okay. Again, I wa comme to darkness again. I recharge it, but to say we are. Now I want to switch to my basic pencil in order to work in the parts, which are definitely darker and they need more darkness. So I also want to apply some darkness in the background so I can actually separate my work from the background. So from up to down, I've got this line of the fabric, in order to separate this part of my work, from the background. I do my shadings in this direction because the cloth is coming from the upper part to these down parts. The direction of my shadings to separate it from the background should be in this direction. Of course, these shadings on the edges should be darker than our cloth. They would not get mistaken together, and I can create a contrast here to separate this area. From the whole background just with creating enough contrast that. Here we are. You should not leave any kind of lines in your work, and you should fade all of the lines into the shades and into the rest of your colors. And in general, your who work sh be cohesive and we blended. Just like that. No. I also add more darkness to some parts like this inner parts. And over here, I've also got a very strong darkness into the background for separating this part of cloth from the background and also the shadow of my cloth on the surface behind it. Look at this. Se now you can understand the volume much better. Here we go. Get more separated from the background. Now, I'll do the exact same thing for this area. I work with a strong darkness I bringing the darkness in the right direction. Over here, I should have got a very, very dark background in order to separate this part of the cloth from the background, and also fade this line perfectly. I've got a dark background. Also because the shadow of the whole cloth has been dragged to this side. So I've got a dark area there that's the shadow of the whole cloth on the surface or on the wall that it's placed on. You can clearly see that Just as easy as that. I could actually create several lines there and several lights and shades, whereever I needed them. In just a bit of touch. Now, I'm just going to do some last last edits for my fat breaking cloth, that would be the end of this e tutorial. I hope you've enjoyed it. And you've learned what to do. Basically, we have shaded areas which were more deeper or where folded or contained any shadows. These parts should be colored and shaded darker. For the more prominent parts or the parts more in front of the light, we would definitely need lighter shades. So I hope you can practice on it and follow us in the next parts. 4. Initial Leaf Sketch: Hello again, I'm welcome to a new part of to tell you what may write. This time, we are going to work on another mat texture together. This time, we are going to work on the textures or a leaf. As you know, most of the leaves have a mat texture. First of all, I'm just going to work on my primary sketch, my reference. Then I want to just get a quick primary sketch of my model. It's going to be a bit curved coming in again. You can use any other different references that you've got. Can even take a leave, put it in front of you and create it. Also from here, I just come down or bring it down. And just like that, I've got the ending, bringing it back. Again, very thin, I come down. I connected to this part, creating a thin area, and then I'll continue the rest of my leaf for this side. Then again, like the fabric, I come up again. It's also got a bit of folded shape here on the end and the sharp end of my leaf. We just go there. Now, I just want to apply more details to my leaf. Now, with a bit of space. I try to shape this area a bit better. I want these edges to be sharp. That's when I'm adding this design or better say shapes on the edge. It's got sharp edges. So it would be continuous until we've reached the end of it. We go, then I would come down again. As you can see, I can even add some lines in order to create those vine shapes inside of leaves. You pay attention. If you look at a leaf closely, you can clearly see these vine shapes from just going to show an illustrate with these lines here. All right. Let's just completed on adding more details to make it look better and more realistic. Than from here or do the same thing here. Do the exact same thing, but on smaller scale. Again, I would actually like to remind you that your primary sketch definitely be getting darker over so it would be more visible to you. Otherwise, it beer Okay. I'm just going to go up to here. Here we go. As easy we've created and made our primary sketch. Now we can easily to do the shading. All right. So we've got a very neat and clean primary sketch, very important to the rest of your work. So right from the beginning, I'm going to still use my normal pencil or HB pencil, in other words, I'll start shading with that. So Right in the beginning, I'm just going to give it a background collar as I've already told you about, it means I give it a generally light shape to the whole thing. Then I can later de craze or craze some parts of it. Just giving a background collar, to separate it from the background. My hatches are long, but they're still close together. Really close together, and they make a very light shade for me til I get to here, I've got to change the direction of my shading, moving to the opposite side. Well, in the next step, you say my dear friends, mates. Might sons here is coming from this side this side. The light is shining there. This part would be the darkest part. Actually, underneath each of these vines, I would have darkness strong darkness. These vines are prominent, so they would beer, but below them, would be strong darkness. I start right from the bottom, and then I start darkening right beneath and below these vines. Not the vines themselves, but the area beneath them. Then I start dragging and fading the darkness I've got here do. They should be faded downward. I would also add some more darkness for the edges of my leaf surroundings and the edges of my leaf. Again separate it better from the background. I come inside. There we go. Bring some darkness from below this wines. Then I bring them down and at the same time, I tried to fade them into the light or better taught the light. Here we are. Then for the upper areas, I'm going to just repeat the same process there. Just going to follow the same routine. I'm just going to do them for each one of these. Also, going alongside this stem of going. Again, with a bit of space and distance, I would be this area. Working on these fines we've got here. Here we are. All right. Now, as I'm applying it, as I get to these bigger parts, I tried to create smaller vines and smaller details for these big areas where my just like that. So easily. 5. Leaf Shading: Then I would move to work on this upper area. But again, I'm doing the same thing. Here we go and then in this area, I'd be completing this darkness here. I work on these ending parts of the leaf, which also is not really neat, and it's a bit messy. It's a bit disorganized. As I told you, I tried to create some smaller vines in the bigger areas with my shades, not creating any specific lines. As I've told you so many times before. Moving up to the next one. Here we are doing get again. Just like that. Light, I'll just try to increase the darkness here. I can show that the sleeve is turning a bit towards inside. Now, I just tried to work on some small veins, again with the shades, and then of, I'm moving to the next one, starting the shading underneath the wind. And continue that also to the edges. He we've got it. Just like that. Now, I come up for the next part. Again, I tried to work on the curves, I tried to keep the curves, Dt want to just shade straight, doesn't make any sense. Whatever I can see, my leaf is prominent, obviously, the darkness would be decreased. Here, I've got more of it. Here it goes. Extending the side as well. Don't forget about that. The Stem The stem's edge also be darkened. Now, for the rest, I just tried to repeat the same thing. Just remember, it's very important to control your hard pressure. Also get your hutches done perfect. Man they should be to create a soft and smooth shade. All right. Here we go. Also in here, we are going to do the same. As you can see, Of course, for the last part, I'm going to just shade very lightly. Now I want to work on very general shades here, for example, I want to have some darkness here, or I want to have some compli dark shade, I want the darkness to be in this area. Right, then I will start working on here. Now I will switch to my basic pencil in order to get darker shades. First of all I'm going to work on these edges of my, which, as I told you before are all sharp. See completing it and over here as well. Again, sharp edges for the other side. And now, I tried to work on the vines for this folded and bent area again so easily. They should be this organized. They shouldn't be too neat or too organized. It's a bit messy and chaotic maybe because that's the way the nature works. Right also over here, I walk to out more darkness into the stem, and then fall here. I tried to even use more darkness. I would also work on the stem of my leaf. Now I want to work on the second half of my leaf that it's definitely twisted and also got folded or bent. I'm going to use twist because it also has turned a bit. So I'm going to create the vines, and at the same time, I'm just shading underneath them. Here we go. As easy as that. Don't miss any of the wines or any of these parts, please. Now, I'm going to use my t the ted rubber. Then with my tted rubber, I'm just trying to apply some very light some very strong lights, better say these parts, as you can see, my lights are being created as the shape of lines. So With these straight light lines, I can show the prominence of these vines and side of my leaf. I'm using my etic rubber in order to show the prominent parts by creating these it lines. In addition to that, I should add to the darkness for this part. Let's follow for the rest of this tutorial. 6. Completing Leaf Drawing: Hello to all of my dear friends. Welcome to the rest of the storal My on the ending part of it. Now, in this part, my dear mates, I take my basic pencil on my hand, switch to my basics, and now I'm going to work on strong darkness on my work. For example, these parts, especially on the bottom of my leaf, I've got a stronger darkness. I'm going to use my basics wherever I need them. Okay. For these big wines I've got here, I need more darkness underneath them. Also, pay attention. If you just use the light in no darkness, not enough darkness, it's not going to make enough contrast and it's not going to show the prominent parts as much as they sh. Always remember if you want to show some place is prominent, just adding light to that is not enough. You should darken its surrounding to show that it's more prominent compared to its surroundings. That's why we usually create this contrast in our work. Here we go. Now, you say my dear friends, that how contrast will actually make your work more attractive and more realistic and also um Also going some lines out of the darkness that I've created here. I had created here. Again, for this upper part, I do the same thing. Goo to cate the harmony and cohesiveness of this whole thing. I want it to be cohesive. The darkness of f is much more because this part is actually curved in and it cannot get too much of the light. When I add the darkness to this area to the amount that I want it to be, can clearly see the d to curved in port while the leaf is being twisted. Also in here. Going to add some more darkness. Just enough of it. Don't forget about these parts. Now, let's work on these ending parts of my leaf there. Now over here. I also got another dark shade in this shape. It's got a bit of special shape. I'm just going to follow it through. Following this following the shapes, moving on. Again, I work on the winds. Here we go. Now, for this part, we try to just add more darkness in order to get a better volume here on the fact that it's been twisted in and it cannot get. Much light. So here. And we are going to be done. Then Jeffy Don't worry about it. You shouldn't just rush through it. Please don't just do it. You should enjoy it, and you should also be careful working on it, especially if this is the first time or the beginning of your sketching or drawing. I've just sharpened the edge of my rubber. I just need some more light lines over here. I'm just going to do it quickly. We can also use a cutter to create these small vines, so we can actually use a cutter to get a layer of shades of our. It to say several layers with a cutter. Then we can work on it more and gather even more details. Here we are. I also need some lights. Not too, but I need them. Over here, I need strong and more lights comparing to other parts. All right. Now, my leave is Don Opa here. Now, the only thing left for my leave obviously would be These shades on the edges. Now, from here, I start applying a very strong darkness right t on the corner and right from the edges. Then I try to spread it just a little and fade it in order to create the shadow of my leaf. I continue with my order pencil, B six, getting stronger darkness, and as I'm moving out, I'm just trying to spread the darkness and making it lighter. Here we go. Then I switch to my HB pencil. And with that, I tried to make better fates. I mean, I tried to fight them better on blender darkness on the light together, even softer and smoother. We've got here a noice shadow for our noice leaf. We also tried to create some, some sharp edges even in the shadow to express the shape of my leaf in its shadow. We also tried to fight these areas as well. Just a t of shade would be enough for some places. The stem. Can I switch to another pencil, shading these parts one more time. These are the last touchs of our work because we are practically done with it. Easily we could create a beautiful leaf on its shadow textures I hope you enjoyed it, I practice it, see you later. 7. Initial Sketch of Shiny Metal Shoe: Hello to every one of you, my dear friends. Welcome to another tutorial with my. This time, I'm going to show you how you can create shiny textures or metallic textures. Glasses or actual metals, which we call metallic, or also water glass or all of the things that are shiny. Let's start together. The first sketch I'm going to work for you is actually about shoes. Want to create a glazed ny shoe. First of all, we've got to create a primary sketch, and then later when we want to shake this thing, I'll tell you about the principles for shiny texture. First of all, I create the set, which I have my sheet on it, it would be a square cube. Here, I've got a square cube. Very easily. I create that. I've got lots of practice on it. I've got my squared, then I transfer these side lines in order to create the cube part of it, and transfer actually transform it into a cube. Now I'm going to place the shoes on this thing here. Right over here, I've got the front of the shoe. Again, I come from here, I go to the left side a bit. I try to make my line st not c. From here, now, I've got to have a c so my line is coming up. On then with a very beautiful vermin shape, it goes up very nicely beautifully. Then I extend it still going up. Now, the ending part of the shoe would be here. I'm sure you are guessing now that this is a high heel. This would be the bottom of the hel here. I take it up to attach it to my actual shoe. And I'm just going to complete the hell area. My heels all getting completed. From here, I come up again. And this be the thickness of my as well. I've got to be curve here. I just want to edit it a bit. Now, right from here, It will also get just a bit of curve in order to contain your foots hell. It will be curved a little coming all the way up. Then from here, I will sharply come down. It will drop sharply. Then from here. When I get to the toe area, it will be broken again and going down with a curve coming up with another one. Goes up. And then from here, I attach it to the tip of my shoe. The sharp tip of my shoe, actually. So that's it. That's my high heel shoe. I'm just going to edit the shape of my shoe, but you can do the same thing. So pay lots of attention to your primary sketch and before you start shading, try to edit wherever it needs. Should also work on this other side of the shoe. I should show that the shoe has got a volume of some kind. I'm just getting the other side of it, to show it has a depth. It has a pot between it. And it's got volume. The rest of the volume would come with the shades. Don't worry. I got it. I be bringing this down, also working on this cube a little bit. Don't be afraid to use your rubber, whatever you need it. So I just clean it. I clean my sketch. And I finish the hill area. I just edit it a bit. Just like that. Here we go. Almost. So just skip up. Then it goes down all the way down right to here. Now I want to do the second shoe. This would be under my first shoe. I'm just trying to get two ses in here. On this would be the hill of my second shoe underneath my first shoe. And the crossing each other somehow. Then from here, I've got the top of the hill starting off the back of the shoe. Then over here, I've got the exact same opposite shape of the curve. It goes to the exact opposite side and direction, just goes in the curve part is facing down. Then again, I finished the area. Well, what I'm trying to do here is basically recreating the first shoe just in another direction, just in another position. See? Try to create them as identical as you can, that are part of a pair. I get this beautiful calve over here. It should be a little bit higher than this. Let me try that again. I bring it a little bit more in, and then I come back again to outside. Then over here, I've got my straight line moving toward the tip of the shoe. Now let's work on the next part of the shoe. Try me over here. Separating the two parts of the shoe, hill on the rest. I've got the hill shape out of it, so not worried about that anymore. Now I've got to create the upper part of my shoe. Again, it comes with a drastic drop here, coming down little smooth curve, and from here with a sharp point, the sharp tip. I'm going back to the cave. So the bottom of your shoe should be totally straight on that area. Don't forget it. And over here, I come toward inside. And here it will be I work on the inside of the shoe right there. We can see less of its inside because it's more tanned comparing to the first shoe that we've worked on, we only create the part that we can see on the other side, which is mostly on the toe area. Or better say the front of the shoe. So here you've got it. Now I've got the primary sketch of my whole drawing of the shoes. I'm just going to use my rubber and edit my work a little making it, you know, whatever I needed, it needs that. You know, point to it. Don't be afraid to edit your work all the way through till the end. But it's better if you get it really right in your primary sketch, so you wouldn't have to edit it. W shading just gives you a head start and better outcome. Even can work on the previous, the first little. As you can see, again, I tried to work them as identical as I could. As much as your first and primary sketch is nice and clean, and the shading step and the shading part of your work, it will be easier for you, faster for you and you would face less problems there. Just hard a bit of problem for this smart of the hill. So I do it again. As I told you many times, just be super sensitive about your primary sketch. Don't rush it. Just take your time with that, and be patient. Should work slowly, but softly, smoothly, and carefully. Do not just let your mistakes move through the next stages. Do not slip it. Don't slip and sk on your mistakes, edit them. The minute you see them. Makes you a better artist. All right. We almost don't even with the editing. So that will be it for our primary sketch. Don't forget all the tips I've mentioned to you. So we are going to continue working all this in the next part by shading it and giving a noice texture so follow us in the next part. 8. Shading the First Shoe: Hello again, and welcome to the rest of this tutorial, what may. Let's work on the shading of this beautiful drawing. Well, my dear friends, because the texture that I'm going to create is shiny. So first of all, I'm going to determine the parts of my work that has very strong light. For example, over here, I've got a very strong light. I got a heavy strong light, and so I should separate it and determine it that I would be careful while shading that I keep this light and I do not shade over it too dark. Another strong light that I've got here would be in this area. All right. So I should also pay attention to this part. So I'd be shading carefully and not darken it. I call it too much. I have to make it smaller. Now it was too big. We come to here, just like that. Now, what I've got here over here is f of strong light. I sh also determine some areas for that. We've got it there. And all the way to here. These are all the light areas Now I've got to start working on the shades. First of all, I'm going to start with my basic pencil, and over here, I've got absolute darkness, strong darkness. Trust with an easy heard, I use my basic pencil to create that absolute darkness in this area. Right. Just like that. And of course, while you're working, if you've seen that anywhere in your primary sketch, you've got problems, you should edit it like this part that I've edited and it should have been more curved. Even while you're shading, you should also pay attention to your primary sketch if it's good enough. Or if it's got any problems, they actually would show themselves more shaded. Yes. All right then. We are moving on this. Now I just use a bit to distance here, a space, and again, I'll start through here. Now, again, I start working on the surroundings of my work, and I start applying strong darkness that I can show the depth of this area. All right. Here we go. Then also from here. I'll just do the same thing. Then I also apply some dots and spots there so I can show that this part of the s was s. Now I've got my HB pencil, and then my HB pencil, I start shading the shoe itself, the outer part of the shoe. But I also can use my basic pencil in order to create a strong. When I got to the lighter parts, I can use my HB. These parts are totally dark again. Again, I'm using my basics. As I'm getting towards the light, I try to light to it a little. Who we are. And up to this point end of the shape. Now, one thing that you should consider while shading the shiny objects is that you are going to set very dark palettes right next to very light palettes. This strong and contrast will make your shiny. So I all of the shiny textures and shiny objects, we've got very strong contrast. See this difference. Here, I've got a very very dark palette, a very dark shade right next to a very strong lot. Again, I say, this kind of contrast will make your work look shiny. So if you want into getting that texture, this is what you got to do. This is what you have got to do. So, I'm just going to talk in this area. Here we go. I've been shading it. And over here, I've got the bottom of the shoe, which got to absolute darkness. What? Here, we've got it. That's it. It's only took before you should be careful in keeping that area light. But it should be a little bit highlighted. It shouldn't be left white, though. So try to take it. All right. Then I use my basic pencil in order to create even darker shades to some part of here. Hey, we are. That's how it's done. Now, for this upper part, I'm going to use some lines and the only place, the only exception that we've got in sketching and shading is this shy the only place that we can use specific lines like a framework is our texture. But be careful of that too, you should not just destroy your volume. The lines go into the shadings and creating our contrasts for s. That's why we could use them. From here, I go up and I continue. Now, between these scratches that I've created here. Again, I tried to highlight, so I've got the shine even better. So right over here, I've got absolute darkness, and I'm raising it up, taking it to the side, right over there. Then well, I shouldn't have that much of darkness anymore. I just faded very slowly, very smoothly. Then I should have got some strong and absolute darkness over there as well. Then I also get it f here. Alright. Who we are. This part of the light will be left alone, and F here again, I start applying my shades. It needs some darkness and some lights. That I'm just going to create the w that you are watching right now. So just follow my lead and go into places that I go. You'll get the M. 9. Shading the Second Shoe: Then I just consider a very loight shade for this area. As I said you don't want to leave it white there, but it would be very light. Then for the hill area, again, I did the darkness as I see them in their own right placement there. And also, over there, I'm coming down to complete the hell no Now, with my normal pencil in order to control the darkness better, I work on these parts a bit because they are not too dark, so I prefer to go at it with my normal pencil that would do the job. All right. Then I also want to create some strong lights in my work with my rubber. So moving on this area. Then it looks good. At All right. Over here, I've just got to do a very light shading, and then also create the shadow of my hill on this coupe set. You should not forget about these shadows. Even my cube can be shy, you know, this upper part would be aca. This would be the placement of my order hill. So I just tried to work on a bit too. Again, it can be even and be placed here. That will look better. Also from here basically the hill, we've got some shadow on our square cube there. Now I've got to apply a very general shade for my square cube. Then as you can see, I'm doing it by creating es Here we've got them. I'll continue and in several different directions, I just keeping I keep and until I get the darkness that I desire for this place for this area. I got to do that. Here we are, and we are getting it. Don't over than much over. Not over this part. Just do it over and over again until you get the cool that you would like that. All right over here, I've got even more darkness right there. And right over here. I've got some fractures on this cube that I want to show, and I can show it like that. It's cracked or broke. So here we are then. Moving on. Even emphasizing on this crack a bit. Then I erase this area. After cleaning it. I use my basic again, and I try to fade the darkness toward the rest of the work. Spreading that dark shades through the rest of the area. Can also apply another st darkness right over here. That's it. And justice Easily, we are done with this part and the first part of the show shading. I hope you've enjoyed it to here, and let's continue with the rest of this tu in the next chapter. 10. Completion of Shoe Drawing: Hello again, and welcome to the rest of this tutorial what may. All right. Now let's work on the other pair of our shoe so we can work on it and finish our shading. In the beginning, just like the first pair of the shoe, the first part of the shoe. I'm just going to determine the placement of the light, so I would not lose them in any case. So very easily, I just put them in their places. All right. And also very easily, I'm going to keep them because now I know where they go and where they are. Here we are. Also, these parts have got a very thin area, and also, obviously, and here I've got more. These are the placement of my light areas. Come all the way up to here over here on the tip of the shoe on the toe area. We've also got some light. And again, from here, I go to the bottom on the very tip of the shoe. All right. Here we are now, with my bas six pencil, I'd be starting with creating strong darkness here. See. Over here, I've got absolute darkness so with a very easy heart and comfortable hand, I'd be placing absolute darkness in this area with my B six pencil. Also, I try to get this shapes over here in order to show that sewing line, beautiful, sewing line on the shoe. I need these patterns. And again here. I can see some more lights there. And if I want to start from the tip of this show on here. I've got a bit more shade. The very pointy end of the shoe. Very pointy tip. All right. Now, let's get back to work on this area. I'm just trying to follow the lines beautifully. I just go on them whereever they take a turn or do two, and I curve them enough to get a beautiful shape with my shade. That's very important. Right. I also drag it up to here getting this part. This area is the darkest part of my shoe right over here. Except inside of it, this area is the darkest part of my shoe, so I easily use my basic pencil in order to get this darkness here. A just like that to here very easily. I've got to light to that, and I'll take it to here. Now, from here, in the back of my shoe, I add more darkness right there Just like that. I've got it over. So I get to this part right above the hill. These parts are going to be done beautifully. Trust me. Whenever you feel like you need to sharpen your pencil, just do it just as I did right now. Now I've got two parallel lines over here, and I keep one part light and I apply darkness to this thin area. Then I bring it to the bottom of the shoe right all the way here. See, I can get darker. Also in here. Got it. I also have a very light shade in this part. Not too dark. Keep in mind that your pencil should be sharp enough, especially if you are working in the thinner areas. I've also got some mid shades here. I mean they are not too too light. That's what I call the mid shades. A medium shades. More comfortable with it. Here we go. U on the hill. This is where I've got lots of darkness, especially on the bottom of the hill, specifically there. I tried to take it all the way down. Then I finish it the ending part of the hill. Like this. As you can see, I've got a big chunk of light here. This is what I'm talking about. I'm just going to cover parts of it with my shades, but not all of it still live some light that because in our ill, we need this contrast too. We need it to show that shiny tee as we've talked about before. All right So easily, you've got to be beautiful shoes or a pair on a box. Now, let's work on this area of the cube as well. I'm just giving it a very general shape now. Then I can even work on this side again one more time to keep it to make it. I just felt that this part needs more darkening and also in here. I've got some lines going up on the come down beau, Amazing. And also the shadow of the shoe itself on the box. You don't forget about that, though. It's very important part of you shading. The shadows are also very important. We've got another one here from the shoe this time on the ground. I'm just going to shade it beautifully as well. Ok. Again, I'm working on the bottom of the shoe one more time. Then I also give a very light shade to this part of my work. Just a layer of very light shade in order to not leave it white because that would be just not working, not natural. When you give it a very light color, just a t, it would look beautiful and very nicely done. We are also finished with this tutorial. I hope you've enjoyed it, my difference, and It was somewhat useful to you, so just practice a lot, do it over and over again. Don't give up and see you in the next chapters with other sketches. Keep up the good work.