Transcripts
1. Introduction: Are you ready to uncover
the mysteries of shading? In my course, all
fairs teach you the concept of tonality
with a pencil. You'll learn how to execute
tonal volumes correctly, which is the foundation of bringing your sketches to life? Next, we will delve
into mastering various shading
techniques by working on geometric shapes
such as spheres, cubes, cylinders and cones. This class is essential for
anyone looking to enter the fascinating word
of drawing as it introduces you to the
fundamentals of shading. Join us and discover how
powerful a pencil can be with just a a pencil
and your imagination. In role now, let's explore your artistic
potential together.
2. The Concept of Tonality: Hello, everyone, and welcome to the first episode of drawing
and sketching with May. In this part, we
are going to talk about the principles
and basics of drawing. Well, the most primary
part of sketching and drawing is based on
creating straight lines. Of course, as an
artist and sketcher, the movement of your
hand is very important. The simplest thing,
as I told you, is creating a straight line. Now, as much as you keep your pencil in a
vertical position, You can create better lines. If you take it totally
vertical on the paper, you can create straight lines. You shouldn't do
that very slowly. You should not create your
straight lines slowly. You should move
your heart quickly. Of course, the straight line
that you're creating should definitely have
beginning and an ending, and of course, your
hand should move from your shoulder while you
are drawing or sketching. Because if you want to only
work with your fingers, your hand will actually
create a circle shape. It goes in a curved way. Even if you want to
move it from your rest, it also creates
another circle shape. Even if you want to do
it from your elbow, again, you are going
to create circles. Sketch when wants to
create a straight lines, the hand is going to
move from the shoulder. That's when you can
create straight lines. As I told you do it quickly. Another thing which
is very important is that the surface that
you want to work in, for example, your paper or your cart boot should
not be sideways. It should be totally straight
and in front of you. You should not turn it. When you want to
start your work. When we go past the quick movement of the hand on creating
the straight lines, we get to one of the most important
subjects in sketching, drawing, painting, and so many other things
related to paint. That thing is to. We are going to work on
the tonalities together. It's one of the most
important things, important subjects in drawing. Now, I'm just going to
create some kind of a column here with
12 different units. So I've got these
12 parts separated. There we go separate
these 12 parts here. A and we've got the last unit. I've got 12 parts here. Four, five, six, seven, eight, nine, ten, 11 and 12, would be the last one. Now, what is this that
we are talking about? See, my first part, first unit is going to be the dest part of
this whole thing. This part would be the darkest
unit in my whole column. My pencil is actually applying the most pressure
it can on the paper. Again, on the second
house on the second unit, I'm still cooling with a lot of hunt pressure or better say a very
high hand pressure. And as I move on to the third
unit, my hunt pressure, is still high, but it's definitely a little bit less comparing to the first
and second part. As I move to number four, my t pressure would
actually go from too high to a pressure. So As you can see, as I'm moving forward, I'm decreasing my
heart pressure real gradually so that I can
have lighter colors. But as I said, I
decrease gradually. So I can have my shades, getting lighter more gradually. Now, in number six
right in the middle, it's something in between, it's not dark and
it's not light. Then after number
six as I move on, it's going to be in the
light palette of my work. From six be four would
be the dark palette, from six on to 12,
with delight palette. Number eight also has
less hard pressure. The ninth with
Blight definitely. And my heart pressure is
less than number eight, then I go to ten so you can
even barely see it anymore. Also 11 is the lightest color that I can create with my hand and the
lightest hd pressure. Then I leave number 12 totally white These are all 12
units of my tonality, um the tonality is one of the most important subjects
of sketching drawing. Well, in any sketches
that we have, we should definitely
have some tonalities in it and we should actually
go by the rule of tonality. Doesn't matter if you want
to create a nature site, a face, or anything
else, an object. You should definitely
have from number one T number 12 in your
drawing and sketching. For example, if you only use
from number one to five, your sketch would be too dark. If you use your light palette, it would be too light, and it doesn't even
have any light in it. If it's a dark palette, you cannot see any details. From number one number 12, we should have all of them in all of our sketches
and drawings. This is a necessity in our
drawings and sketchings. Now, if I place one of the
darkest colors or better say a very dark color
from my dark palette and put it right next to a
very light color palette. We call it a trast, for example, if I want to place number one from my dark
palette over here, Then I put a loiter color, for example, number ten or 11, right next to it. Here would be number nine. I place part number nine, just right next to it. Over here, we've got
a very high contrast. We call placing a dark
color next to a lot color. We contrast. This is a very high contrast. Now, if your sketch and your drawing doesn't
have any contrast, it means that you've
only worked with the dock palette or
the light pallete.
3. Continuation of the Concept of Tonality: Now, one of the other ways and other methods to practice
under tnalities is like this. You keep your
pencil in your art, and then with a very
high hunt pressure, you start creating
the shades there. You start cre and applying
the darkest shades. You place number
one tonality there. Then as we move on to the other side of the
paper, as you can see, I am gradually decreasing
my hand pressure in order to lighten
the shades and get to the absolute light area. One of the most important
hints of here is that your colors should not be separated or dropped
suddenly out or say, this is the wrong one
I'm going to place here. You said, I'm just giving
you a wrong example. So do not do this. You see? I just I was just working on a very dark palette and here, I just dropped the art
pressure so soddenly. So I've got a very
visible border right here between the
dark and light colors. So you don't have any control
on your hund pressure, that would make
this wrong example. It would look like this. Another thing that can
also have your problem is that never this corner and ending part of your hand
should be on the paper, you see, and you
shouldn't just drag your hard very art on the paper. Just keep it a little bit loose. Let's see together, when I'm
applying this darkness here, Now my hand is totally
stock on the paper. Now when I want to move
to the other side, my hand cannot move. As I want to move my hart, there will be a space here. Then there's a space will actually ruin my
concentration and my control on my hard pressure in order to create
the lighter shades. Keep your hard a little bit
more loose on the paper. Don't don't stick it on the
paper, leave it comfortable. I'm doing a right one again. You see, I'm just having a very high hard pressure
in the beginning, and I'm not in a hurry at all. Don't rush through it because that may also ruin your work. Slowly, I just decrease
the hard pressure. As I move on, I am placing my hard
very loose on the paper, and then gradually I'm decreasing and dropping
the hard pressure, not to create any
separated borders or any sudden drops of
shades or hard pressure. Right. Some of the
rules of practicing these tonalities is that
while you are creating it, you shouldn't pause at all. You do not give your hands
and rest and you do not pause while you're working
on this tonalities. You do not take your pencil
off the paper at all. At the end of your work, when you finish
your tonality once, you do not edit it at all. It means that you just
create this tonality once right from left to the right from the
beginning to the end, it should be correct. You should not edit it anymore. You should only do it once. It might be a challenging
practice for you, so don't expect that. With the first or second try, you just create it perfectly in all and totally correctly. So you might need so
many practice on this. Another thing, is that I
should mention to you, some of the students when
they want to ditnality, they start from the darkness. They try to drop gradually
the hard pressure. Then instead of
making it lighter, they make it the smaller. We don't want it to be smaller. This nalty in the dark palettes, it would just become smaller instead of getting
to the lighter palette. This is also totally wrong. These two are totally correct. This is also wrong. Another common
mistake in creating ities is that even some of these students were
a start like this, creating the shades
perfectly in the beginning. But they might have
some problem in creating strong darkness
or a strong light. Then this sternality only consists two or three
color palettes, you see? I only have one and two, six, and seven, and ten. It doesn't have 11 12. It doesn't have
two, three, four, S. This is another
wrong tonalities. I hope you've enjoyed and
learned from this part, practice it a lot to get a hand of this and follow
us in the next part.
4. Drawing and Shading a Sphere: Hello again, welcome to another
part of this tutor that may We are going to
continue in this part. Let's see. After we have
worked on tonalities, we are going to see
how we can shade an object and create a volume
with different methods. The first shape which I'm
going to shade over here is a circle or basically a ball because I want to
give it a volume. It would become a ball. First of all, I just
create a circle. And we tried to make it neat and perfect circle. All right. Now, If you have created
your circle T dog, just use your Duraser like me in order to make your primary sketch lighter
because we don't want to have any problems
while shading. Then use your H B
pen start shading. If my it source
would be here and it's shining on my
ball from there, this part would be the
lighter part and this part would be the darkest
part of my circle. In the beginning, start
with your normal H pencil, and to start your shadings. You see, I'm just trying to start with very small
on short hatches here. My shading is created by
small and short hatches, very close to each other. Well, as my hatches, which are basically lines
cre next to each other. As my hatches are getting
created closer to each other, the whole shade would
be smoother and softer. As much as I increase the distance and the
space between my hatches, my shade is going to
be rougher and it would just be out of the
softness and smoothness. One of the other things that you should consider
while shading with hutches is that your shading should be in
different directions. I mean, if I'm applying this layer of
shade in this direction, the next layer of my shading would be on the
opposite direction. The opposite direction
of my previous layer. Now, as you can see, I've used my HB pencil to first create a very very light
general layer of shade. It's almost nine, ten, or even 11 tonality. Now, little by little, I come from the light to
pallets to the darker parts. As I place more hatches and shadings on top of each
other, layer by layer, the darkness of my
work by increased, and I also increase
my heart pressure in each layer comparing
to the previous one. Specifically on the edges. See, right in the edges, my hard pressure is higher. As I move toward the light, I try to decrease
the hard pressure. Again, I say, it's a
very important point to make sure you hatches
or close to each other, baking a softer shade and also shade in
different directions. These are two of the most important hints
and shading an object. As I move more toward the light, I obviously decrease
my heart pressure, and of course, the focus
of my heart pressure. The focus of my darkness
will be in this area, which I already told you is
the darkest area of my work. So I try to concentrate darkness here with
concentrating and focusing my heart pressure the All right. Here we go. And as I move toward the light, I decree my hand pressure. Well, as much as my HB pencil give me darkness. I keep up with it.
So I get all of the darkness that I can
out of this HB pencil. And when it was not
enough anymore, I can switch to a darker pencil. But now I'm just still
continuing HB pencil. Definitely make sure
that you do not create any specific lines of frameworking on the
edges of your work. In none of the
sketchings or drawings, we've got any specific lines or border lines or frame lines. We create the edges by shading and We're creating the contrast, we separate the objects from each other or
from the background. But, as I told you, on the edges of your object that you are
sketching or drawing, you should not use any frameworking or
any specific lines. You just have to do them, create them with shades. No. The HB pencil wasn't giving me enough
darkness anymore. I've just switched to
my sketching pencil, and then with this, I'm going to apply the
stronger darkness. As you can say, I'm
starting the darkest parts, and then I am moving
to the lightest parts. And as I told you in
the previous part, in all of our sketches, we should have from number one tinity until
number 12 or 11 so. Now I've got to add the darkest cool
palettes into my work. That's why I've also switched to my sketching pencil because it gives me such greater darkness. We just make sure that I am
controlling my hard pressure. Then I want to apply the
most darkness over here, or the first and
second color palette, which we've got in
outwit and here will be the absolute darkness that I
so bring it into the work, Watches or shades bet to say. Trying to make this area
as dark as possible. But as you can see, even
between my colors changing, I did not have any borders. This darkness that is created here would also create a shadow on the ground
or on the surface. So The shadow would be placed
on the bottom of my object, or better to say
below my object. It would be starting very dark as it's the
closest to my object, and as I move out, it gets a bit lighter, and it would also be dragged to the opposite
direction of the light, or better to say toward the
direction of the darkness. So I just spread the
darkness to left. This distance
between the ball and the shadow as much
as it would be, the more it would be, the
more space we've got here, the distance would be here. My shadow would be more stretched and
longer based on that. I can also use a bit
of my normal pencil in order to create the lighter
part of the shadow better So we've got this shape. I'm just completing
the shadow here. And here we are.
5. Drawing and Shading a Cube: Now let's work on
the second object. This was our first object. I also want to have a
second object here for you. But this time, I want to
have square cube for you. I first create a square, then I turn it into a cube, and then I would
give it more volume with the shading the
proper shading, of course. So strike to give
it some dimensions. If my lot source, I want to clase my
lot source over here. So it was shining on my first
object in this direction. And in this object, I want the loiters to be
totally above this cube. So it is shining straight down on this top surface of my cube, and it would make it
the side of my cube. The front side would
be the darker side and this side would
be the mid side, it would be something
between shade. It's the mid side means that it's not too dark or
it's not too light. So it's mid shade, almost all six tnality, which was right in between the dark palette and
the light palette. The top side would be
with the light palettes. This front side would
be the dark palette. Because it's a
very dark palette, I start using my H by pencil in order to shape
this area totally dark. I only start with big shades in both different
directions in order to feel or whiter spots. As you can say, the distance
between my hutches are more, so you can see that my shading would not be
very soft or smooth. It would be rougher. Compare it with
our first objacy. This shading would
be definitely. This but be the first
side of my square cube. Now, on this side, I've got a mid shade and
means that it wouldn't be too dark or two lights. I've worked on my previous
side with my sketching pencil. Sorry, if I've set
the wrong name. Now for this time,
for the mid shade, I'm using my HB pencil
or my normal pencil. Again, I'm applying the hatches with more distancing
between them. What it's going to be lighter
comparing to my first. Side. Now, the third
side will be this spot, which is totally light, but I just give it a very light color just in order to separate
it from the background. That's all the purpose for shading this side
very very lightly. Just to separate it
from the background. All right, my difference. Something that I should
tell you about is that in order to separate my
sides from each other, I haven't created any lines in between them or
any frameworking, what I've already told
you in tonality as well, and also into object. Just by creating different
color palettes in the first, second side, on the third side, I could have a I could actually separate
these three surface, these three sides from
each other without needing to be to create
any specific lines. If you do this, if you
create a framework, very dark framework like
this, it's totally wrong. It's not only about the objects. It's about all the
references that we use to create our sketches. We do not use any
frameworking or lines. Because when you use lines, you are making your object into a surface volume mised object, you see, If I even
shade it here for you, my cube doesn't look
like a volume anymore. It would look like
just a surface. We cannot have any dimensions
or volumes in them. So make sure that you do
not use particular lines or frameworking in your work at all under no circumstances. Makes the whole cube looking like a
surface, not a volume. That is why in all of our
sketches and drawings, we do not use any
lines or frameworking, at or no way. Let's have another object
created, but not here. Let's force in the next spot
and see the third object.
6. Drawing and Shading a Cylinder: Hello again. I welcome
to the continuous and the rest of the
tutorial with M. All right. Let's work on the object now. Over here, I want to have
a cylinder this time. So I'm going to start
first with an oval, would be the top of my cylinder. Just an oval. And then I create the
body of the cylinder, bringing two
straight lines down. Here we go. Right or bring it
down and over there, I've got another curved
line like a semicircle, or better say a semi
val in this case, to finish off the cylinder. Now, I I've considered my
light source over there, this would be the shining
light on the cylinder. How would be the
shading for this? First, let me just lighten
the primary sketches, lines for my basic cylinder. I would not have any
frameworing, as I told you. Now, this time, I want my shading to be
in circulary movements. This same I'm not
hatching anymore. I am shading with circulary
movements I'm creating. Very small circles right
next to each other. And try to give more color
to my cylinder with them. So don't forget the circular
hand movement there. Or also the same thing
on the bottom part. Basically, the left side of my cylinder would be
darker, obviously. With the darker parts, I'm going to use more hand pressure and
in the lighter parts, I'm going to use h
pressure just as this. Same my dear friends. The right p, I've
got some light, so the left part would
be definitely darker. I'm basically doing the
darkest part over here. Just like that. Again, I'm doing it with
circulary movements. As I move upward and as I
come to the light area, I try to decrease
my heart pressure, but I keep doing my shading
with circular movements. Okay Ever on this corner, I should basically have
absolte darkness here. On this corner, I've
got absolte darkness. I just continue like that. Then I try to fade this dark
color to the light area. So again, I'm using
seculary movements here. Then over here, I've
got strong darkness, which I'm going to apply specifically on the
edges of my cylinder. You can clearly see
that just like that. Without having any specific
border or framework. Just with my shadings, I try to even fade the
lines that I've got there into the rest
of the shades. Just like that. And so easily also do some
of it on my top side, the top part of the
cylinder, But again, I tried to be
darker on the left, and as I move toward the right, toward the light source, I just try to make
my shadings lighter. Here we go. Then I switch to
my basic s pencil. And then with that, I consider stronger
darkness for my work. Then after that, I try to use bigger circular
movements so I can fade my colors into one
another more and better. Over here, I've got absolute
darkness in my work. So I to it as I see it. Now, If the darkness and the shade of my work
is on the left side, so the shadow would
also be dragged toward the left side because I told you that the shadow would actually be dragged
toward the darkness. As it is closer to the
object, it would be darker. Below this absolute darkness, the shadow would also have
the absolute darkness. But as it spreads out and moving forward,
it gets lighter. Just as, we've got a cylinder with its shadow
just underneath it. Try to keep in mind
all of the points that then try to make these shadings of the
shadow more cohesively. Okay?
7. Drawing and Shading a Cone: Now, let's start working
on our fourth object. This time I want
to work on a cone. An easy way to create our cone is that first
we create an oval. Then from both
sides of our oval, we go up to create
complete our cone. That's how you can
create a cone easily. Just go from each
side to up and make your cone complete. Just like that. Now, let's see how
we can shade it now. If I've got my light source
over here from the left side, shining on the cone, this part would be the
lightest and here would be the darkest part of my work. So I'd be starting with a normal pencil in order
to create the shadings. As you can see, I'm
holding my pencil and my hand and I'm dragging the side of its
tip on the paper. So I'm using the side of my pencil tip to
create the shade. As you can see only the
side of the pencil, the side of the
tip of the pencil, is just create halo
and trace of shading. This is good for when
you want to have very soft and very smooth
shades on your work, and obviously as I move up, I also decrease
my hard pressure. Because it's in the
shape of a cone. The direction of my shading should also be in the same way. I mean, I cannot use
straight lines for it. It should be a bit curved. This edge should definitely
be much more darker because it's the furs spot
from the light source. I go on the edge, then I start shading again. And as I told you because I'm using the side of my pencil, the side of its tip. My shades are, really,
soft, and smooth. Then I also sat on this corner. This corner has got
so much darkness, and I've got such a
strong darkness here. That's the focus of my darkness on the right bottom corner. I've got absolute darkness here. But as I move toward the light, I try to fade it and gradually turn it
into light to shades. As I move to the other side
and as I move up as well. I should make the
light even a bit more lighter and I even erase
that line over there. I do not turn my
work into a surface. I do not want that. I want it to be a volume. That's how I continue. Also on the bottom part, I need a bit more darkness, so I just try to add it. Here we go. Just working on these shades and these
dark shades over there, emphasizing on them,
making them even. I can also get more darkness
to the whole shape. All right. Now. As over here is the shadow of my work and
it would be obviously dark. I drag the shadow toward the darkest corner to the
right corner in this case, and then making it really
near to my object. Then as I move and I spread it, and I drag it out, I make it lighter. That's how we can
work on the shadow. Right, very slowly. I try to also create the shadow
in curved lines, shading, even the shadow where curved lines to get the shape
of the cone on the shadow. I should emphasize
on the darkness a bit to over here specifically, closer to the to the bottom. T just like that. And over here, these parts, I've got even more darkness so the shadow should
be dark as well. So I increase the darkness
over here a bit as well. Then I switch to
my basic pencil in order to get stronger
darkness wherever I need it. But again, as you can see, I'm using the side of my pencil. That doesn't change. I'm still working with the
side of my pencils tip. So I can get very soft shades
here even on the shadow. Se. Naturally, the
darkness is increased. I can even work on the
object itself a bit, increasing the
darkness over there. In my objector that
would make it. Right. Now, this was our application of the cone. We've also drew a come together. So I hope you've enjoyed all of these objects and creating it. Just be careful while you
are working on your objects. Pay attention that you should definitely not have any
specific lines in your work. It's very important. If you've got any
lines in your drawing, be sure that your sketching
would not look good, and it would be not nice and it would not
even look natural enough. If you want to have
a good sketch, just try to work on
different objects, eliminate all the specific
lines and learn hard to create a volume on separate areas with just
a difference in shading, and creating or contrast. You do not need any
lines or anything. I hope you've enjoyed it as much as I did
and learned from it, so I will say you in the next part with
the rest of tutorial.
Mila Keller, Drawing Artist and Cartoonist
