Pencil Drawing Class: Mastering Object Sketching and Shading

1. Introduction: Enhance your creativity and Art of drawing with the Pencil Drawing Class. In this class, using Pencil Drawing techniques, you'll be taught how to draw a paper bag. In an angular way. You will learn how to sketch a cherry using the method of geometrical shapes and hatching. You'll also learn to techniques of professional drawing of a metal faucet. I have taught you this class using minimal tools to help you increase your creativity in drawing and sketching different objects. I hope you enjoyed this class. Hello and welcome to a new chapter of a sketching tutorial with me. In this chapter, we're going to learn how we can sketch objects. It means that we are going to sketch objects which are shiny, mat or transparent. First of all, I should tell you that for beginning this course, which tools and equipments you need. For this chapter? You need a b2 is Sketching Pencil, a B6 Sketching Pencil and normal Pencil, one normal eraser and one to the eraser. So let's go and start together. 2. The initial design of a paper bag in an angular way: Hello again. Welcome to the beginning of this sketching tutorial chap there with me. Okay? Now for starters, I've picked this model, which is actually a paper packet. So it's a paper bag and it's very challenging for a sketching and shading. Because also the paper bags are very similar to fabric texture. So when you learn this, you can actually use the same process for creating the fabric texture. So For Beginners, we're going to create a primary sketch for this paper bag. And I'm going to teach you how you can create your primary sketch. We did an angular method. It means that I have an angle here. I have a line here with this angle. So I created on my paper as well. Then I have another line with this, with this angle over here. So again, I consider it exactly like that. On my own work. Over here, I have a line which is almost a straight. So this was my first line, the second line, and here goes, my third line is almost a straight. I also sketch my third line like this over here. This is my fourth line. It's a bit more horizontal. Just a bit. Okay. And then again, over here, I have another line like this. So I apply this line as well. Here. I have a completely vertical line. And then again, on the same way of this line, I have another line above it. And the same track. Then I have another line on the right side, which is angular. And I'll created over here, of course. And also here I have a completely straight and vertical line. Okay? Just be careful that your primary method of your work should be very, very light. Because I want you to see it better. I have sketch should a bit darker, but when you want to do it, you should create your primary sketch very lightly. Now, I'm going to add more details to my work and create my primary sketch. So I have a line like this with a curve, comes back, it continues like this, and it comes down from over here. It will be round a little here, and it goes toward inside, comes out again, comes down and again another curve. And this would be the end of this area. In this part, I'm going to finish this side of my paper bag. And then again, over here, I have another return. It's actually a fold. So I use it and I come down. And over here. As you can say, I finish it with this paper shape. Now in this part of our bag are paper bag. I'm going to create an ARC over here. Oh, it's a very curved line and at the same time, it's coming down. If you've placed your angles correctly, your primary sketch will come out correctly. So something that you should train and practice in this method and in this method of creating your primary sketch is getting the angles correctly. Also determine some lines which are placed to the darkest parts of my work. Then this part will be closed. And of course, I come up from here. We have a curve, a little curve. And then again, we come out and I go up and I'll continue to this area. Okay, So just as easy as that, I could actually get to primary sketch of this paper bag. Now, the details of our Sketching will be left when we want to do the price of and we want to do shading. So after I've done my primary sketch, I'm going to erase all the extra lines of my work. That's why I told you. When you are placing the angular lines, you should make sure that they're light enough so you can erase them later. Of course, you can actually create your work in any signs that you like bigger than your model or even smaller? Okay. For example, mine is a bit a smaller comparing to my model, but as you can see, it's very similar to the model. Just as easy as that. I have applied and executed the primary sketch of my work. It makes us a we are going to do the shading. As I told you before, your primary sketch should be light. So I'm going to use my eraser in order to make my primary sketch very light. So I won't have any extra or a specific lines in my work because I'm gonna do the shadings and it's not going to do well. If you have DO eraser, you can also do that. I mean, we can do this erasing with your eraser. Now, after we have lightened our sketch, our primary sketch, we are going to start to shading 3. Beginning of sketching and shading of the paper bag: Now, the texture of fabric or paper, we are going to use faded sheets. Something I told you about the volumes. I'm not going to work with my darkest color and start shading with that. I'm going to use my lighter pencil, which is my HB pencil. And I start shading from the top of my work. I told you why we do this in the course of volume Ising. The shapes and objects. As you can see, the light is coming from the top of my work. So all the prominent parts which are facing upwards are lighter. So I'm going to start with a very light shade in this area. And in all of these primary prominent areas, sorry. And then little by little, very patiently, I place these shading in their own placement. Then we do is have space. I'm going to start from here. And again, I start my shading. And just like that, as you can see, I am the sketching with the side of my pencil while holding it almost horizontally. You seeing my dear friends. I'm doing this with a very light hand pressure. And I'm not using any strong hand pressure while I'm applying the shades over here. So just like that, I'll continue. In these parts. I will add a bit more hand pressure because I want to show that this area has been folded without any lines. I want to show that this part is folded because we don't want any specific lines or borders in our work. I come in a little bit lower. And again, in this area, I will add more darkness to my work with the same Pencil. I consider more darkness for here. And from here, I move forward. Okay, I can increase the darkness in these parts. And just like that, when I come to the center, I'll decrease my hand pressure. For this center. As you can see, we have a strong darkness in this shape. So I'll apply it in the same shape. It's like this part of our paper has been curved in. So I apply this darkness like that. Slowly as I come down, I faded and fade it. I apply the darkness, but I'm fading it as well. And from here, okay, and I bring down this darkness as well. I mean, I'm bringing it lower. Part of this bag should be lighter because it's been actually rotated toward outside a bit more and it got some light on it. So this part would be left lighter. So the parts which are facing down our dark here. Okay. And then also I shade this part of my bag. They paper bag. Okay. Then I want to work on this part of my paper bag. It's been actually cut industry. And then over here I should go off and then come back down again on this same line. So I do it exactly as I see it in my model. Then I would also have to apply a shade for this cut area. And then these parts, again, we'll be left a bit lighter To add more contrast to my work, and these parts would be darker. Now, if you want to know the darkness of the part that you're working on is enough or not. It's it's very an easy method when you want to close your eyes a bit and keep them wide shot. And then you can see them in a blurry way. When you look at your work in that way, you can actually see where it needs more darkness. This is a very simple way and method for determining if that part needs more darkness or nut. So again, I say try to close your eyes halfway and then you can see a blurry shape of your work. Then you can determine if it needs more darkness. Okay, then I apply some are shades over here. And also on the left side. I see in these parts, I need a bit more of my shading so I can work on these parts a bit more. Okay, Just like that, from these parts. I'm going to shade like that. So I can actually separate my work from the background. Then I'm going to use my eraser and I want to create some lights next to some parts, for example, and links to these lines and on the parts which are clearly lighter. That's enough for now. Now I want to use my B6 pencil. And with my B6 Pencil, I'm going to separate this area like that. And then of course, I'm going to shade it with a very small distance where the various smallest space like that. Now, I actually guide this darkness over here toward the outer part of my paper bag. A little scene. From here. I sketch this pay per being folded and curved in these areas. And then I consider as strong darkness for here as I can see in my model's picture. Okay? And then again, wherever I see stronger darkness, I apply it. It's a stronger as it comes down, it will be a bit more or less. See. I'm going to fade it, of course. And again, I bring this darkness down. And I'll continue this way all the way through here. Deny a fly the total dark parts. So I know until where I should have this strong darkness. As you can see, I have a space between these parts, which can actually give them a thickness and give the width to my paper bag. It doesn't need to be very much or very thick. But it should exist because you can show the thickness and the width of your paper bag. As I apply into darkness and as I move on tour the central of my paper bag, I decrease my hand pressure to get lighter shades and I'll fade them. This area needs to be darker, of course. And also from here, from behind the bag. I need more darkness. So I'll continue. And I'll faded over here. I also gave a very light shade to this distance I've applied here. So it wouldn't be too much insight. Okay. Then from this area right below this cut area, I have to work darkness. I have to Actually apply darkness and very slowly I shaded toward outside and I make it lighter as I move toward outside, should be darker, closer to the line. And as I move out it till get a lighter. Just this beautiful as this. Okay. Now little by little, I add more darkness and more shades to this area. And again, as I move downwards, I apply, Let's shapes. I applied a shapes but with less hand pressure. Tried to control my hand pressure in order to create a beautiful contrast in my work. Okay? In these parts, I have some darkness. Then with a small distance and small space, I apply more darkness. This is actually the Ups and downs which have appeared on the texture and on the surface of our paper bag. We are actually creating the texture, these kind of shading. And also in these parts, I need lot more darkness like this, so I apply them. Here we go. Okay. So also from these areas, I'll do the same thing and even you can see, this darkness has actually lasted for longer. Part. I do exactly as I see, it's in my model. So if I say it, going on this long, I'll do the same thing using my B6 pencils still, but because now I go to my lighter parts of the work, I'm going to switch to my HB pencil. With my HB pencil first, I go over the darkness that I've already created with my B6 pencil. So I can make them blending together and make that Shades more cohesive and smooth. And go over all those parts once. And then I come towards the lighter areas so I can fade them as well. Your hand pressure should not be too much. And as you can see in all directions, I'm doing my shading. This is important to actually apply a very light shade for everywhere for all the parts of the work. Then I come over here and I apply this darkness here. There is a dark shade over here as well, which I work in its own placement, of course. And over here I have a stronger darkness. It wants to show that this part of this paper bag, it has went in and it's curved in Ups and downs on the surfaces. So normal on our wrinkled paper. I'm just going to fix these darkness and then I can move and work on the lower part of my paper bag. You have some small darkness over here as well. And we'll do them. So try to create your shadings in different directions. So there will be no trace of your pencil on your work. So let's continue in next episode. 4. Finish shading the paper bag: Hello again and welcome to the rest of this tutorial with me. Okay. We have came up to here. And then again, I'm using my normal pencil to go over all these parts. Making my shading, I even apply to darkest spots or small curved parts in their own placement of course. And I also work on the darkness of this area. Then I will use my B6 Pencil and I work more darkness over here. Same idea, friends. Over here we have a folded area. We have darkness, lightness, and darkness again. So that's why this shading that comes continues here. It will get darker, again lighter, and then again darker. It's actually a light part between two dark parts. And I'll continue that until the end. Here we go. Apologists continue. And in these parts, we have more faith. We have actually a very full the area over here on the paper. I come up and then I apply a very light shade next to them. So they just get out of being only a line. I'm want them to be left alone as lines. I want them to be shapes and textures. Over here. I also have another strong darkness, a spot of darkness. And then I'll complete this darkness more. I come down and I guide it down. And from here I'll come all the way down to the bottom of the paper bag. And then I'll continue. Very faded. Then I want to apply the darkness of this area. From here. Based on my model. I determined darkness wherever they are needed. C. Now from here, I come toward outside. And I create kind of a faded shape of Ups and downs here, apart being curved in and a part which is more prominent. And I'll continue this way until the top part and the bottom part of this area. Then again, of course, a stronger darkness for these parts. Just consider them. And then with a bit of distance, I come down and over here I have a very strong darkness, as you can clearly see in the model. And then I come up again, I apply it. Then again, I come down then with the smallest space with a small distance from the bottom of the bag and paper bag. I drag it towards upside with a lighter darkness, but it's still dark. And from here, I get to the very prominent part of my bag, which is very light as well. They also fade this shade that I've applied here. Then I come out and from here again, I add more shadings and more darkness to the bottom part of my bank. And in this area, I should also create a shadow of my paper bag on the surface that it's extending gone. But right now, I don't want to work on that. First. I want to complete my paperbacks, shadings, and then I want to work on the shadow. Then I'm going to use my normal pencil and I go over all the parts, creating a smooth shade. For making all of my parts more cohesive and shading color. You should definitely work on the textures of fabrics and papers several times over and over again. You shouldn't just do it one time and say, Okay, I've learned it. You should do them several times over and over again. So you can get a handle of it and then you can say, okay, I mastered it. So okay. So determine this area more with my shadings. Okay. Then I moved down for this area, I have to create this dark line. This goes behind paper. In another, in some parts that it gets lighter. But again, I create this area darker and as I move up, I created lighter. These parts are actually the sides of our paper bag. That right now I'm not going to work on it. First. I'm going to finish the front side of the bag and then I go on to work on this side of it. As you can see, I'm using my normal pencil, so I'm creating a very light shading over all of my bag. This area has a strong light, so I have to keep it light, but not uncolored. I told you this area should be kept light because we have a strong light on it. And over here, I shade this area darker on the side of it. And then I faded as I come down. Okay. Then I come lower and I'll continue this shade with a bit more pressure. So I shade this area and in this way, I'm actually showing this part of the bag has gone in slide. It has a depth and I have a very strong darkness in the center of this depth. By keep a bit more light for the prominent area right next to it. And then again, I work on this darkness over here. So just like that, I come up and I connect these two parts together so they wouldn't look fake. And just like darker spots on my work. I just go over all this light area that I left over here so it wouldn't be just to white and Wooden pop out too much. But we should give it a light shading as you've seen. So I do more shadings over here. Therefore, my paper bag, which show itself much more prettier and better. Then I will use my B6 pencil in order to add a stronger darkness for here, the bottom of my paper Bank. These areas. And also over here. I'm going to work on them. From here. Also, I come toward inside of my work so I can show the depth and the dense in my paper bag. These parts are deep because they've gone inside, so they should be darker. And this contrast between these darker shadings and the light parts are actually creating the volume of my work. So it goes like that and I'll continue up to here. So wherever the darkness of stars, I apply the darkness exactly the same shape and the same way I see it. This is a depth of the darkness as, and as I move up, it gets lighter of course. And darkness would be decreased. Okay? And also in this area, I want to spread a darkness. We don't have very strong light in this deep area. I just shade all over it very lightly. And a hillshade we'll cover all of the side. And then I emphasize on the stronger darkness and deeper parts. This part is deeper so I increase my hand pressure and I apply more darkness to this area. Then this part of our paper bag is a bit folded to. So again, I implies strong darkness for the depth part, for the deep parts of it. And then I fade it toward outside. And then again from the back of my paper, from the behind of the paper bag, I create a darkness and I fade it. You should be careful about these parts as well. I, you see the full lit areas and deep areas of the paper are very important because it's difference between their shades and the prominent parts. Shades actually create our whole volume. So it looks like a triangle that my package that my paper bag has been folded and wrinkled. Ok. And then for the upper areas, I okay. Very easily I apply my darkness from here, I have a strong darkness and I give it kind of a faded look. But still it's a strong and I fade it. As I'm applying it. First I apply it very dark and then I fade it. Of course, don't want any borders in my shadings. So just like that, I move up to upper parts. Then again, I increase my hand pressure using my pencil to create a stronger darkness. And I come all the way up. It comes all the way up, up to here. It goes up, the darkness goes up, very high hand pressure. And it continues up to here. Over here we have a small lie to space, and then I'll continue my work. So basically you should create the darkness wherever you see them in your model. I apply a strong darkness. You see we have a kind of a light trace here, so I keep it lighter or comparing to the rest of the work. And then I bring the darkness from here slowly and I faded. When I get to delight our part, may very careful about the dark parts which are fading into the lighter areas. This work is actually very effective that you get to volume of your work correctly. We're almost at the end of our work. I should keep this area and lighter and I should continue on this part as well. Here, I shade this area as a line because I can see it has a line. Clearly. Over here. I have a prominent part, a part coming out, not light. And I'll continue all the way through here. Again. I add more darkness. And just as beautiful as that are, paper bag is finished. So just take an overall look to your sketch at the end. Very-very. You think you'd need more darkness. You should apply them. For example, I forgot to apply the darkness for this area. So always after you finished your work, you should look at it generally and see where it needs more shadings or when, where it needs even more light. Up to here, we've just gone perfectly so far, so good. Then again, you should choose your normal pencil and you should go over the parts which you've created. Very rough darkness. And you should go over them with your normal pencil in order to cover them and make them more smooth and softer than a guess my eraser and I create a strong light in my work. So I erase this strong darkness. The river, I have a strong lights in my work. And that's the use of wire to the eraser, creates beautiful lights to complete the contrast. And then I'm going to create the shadows of my paper bag on the surface that it's standing, gone. Right from this line, the bottom line of the bag, I start shading toward the outside in the direction, in the opposite direction of the light. I'll do the same thing on the back two and a base on this side to get the shadows. And now we're done with this beautiful sketch. So in this sketch, you've learned how to create your primary sketch with angular method and how easily you can add sketch and shapes, Matt objects like fabrics and papers. 5. The initial design of cherry by geometric shapes method: Hello again. Welcome to new episode of sketching tutorial with me. In this episode, we're going to work on the texture of the fruit and leaves. And we're doing good with hatching method. So we're doing this Shading with hatching method. And aside from that, for the primary sketch, I'm going to use a geometrical shape method. I'm going to tell you how. My normal Pencil, my HB pencil. Just be sure that the tip of your pencil is sharp enough. And when you made sure of that, you can start your work. So as I said, I want to create my primary sketch with geometrical shapes. What do I mean by geometrical shapes? See my friends, each one of these cherries can be a circle, or I can consider this circle for the inner part of it. Or I can consider my circle for the general shape of it in the outer part of it. So first of all, I determine a circle over here. I create a circle. Then I move on to create the second circle. And I also consider how much they collide into one each other with the previous circle. So this would be the next circle, which can be placed here and a bit of it as collided with the previous one. Over here, I have a triangle shape. You see? So from here, I'm going to create this triangle. And from here it goes up. And then it's reached its peak. Here. It comes down again. Looks like a mountain. So this would be the stems of my cherries. Now, as you can see, I've actually created my primary sketch with geometrical shapes, but now I'm going to work on more details on them. For example, I know that my cherry is in this direction, is placed in this direction, so I create my cherry in this shape. The bottom of Vi cherry has a bit, has a bit curved, a bit curved in part and also completed from here. As you can see, this cherry is more in front, so it covers that collided area. Then I work on my cherries, a stem which is placed here. Okay. Here we go. I also have a curved shape here. And then I also use my editor eraser to erase all the extra lines of firework. And this would be my first cherry. Then I want to work on my second cherry. And as you can see, second cherry is also on the same surface as the first one. So I start from the top of the cherry again, I have a curved part here. Looks like a heart shape. And then again from here, it goes up and comes down toward this surface that it's on. Okay. Goes up to here. This is my second cherry as you can see. And the second stem as well. Then I work on this top part of this stems. It has a small part. And then I want to create the Leaf. For creating the leaf first I consider the shape of my leaf, and I'll create it, and then later I will add more details to it. I mean, these beautiful designs around my leaf. First I create a general shape and then I'll add them. Okay? So now I've done the primary sketch of my work. Now I will erase all the extra lines of Weimar of my work. And I will lighten my primary sketch and I actually clean it. Again, I emphasize on the fact that you should not create your primary sketch as dark as I do right now. Not at all. The reason that I'm doing a darker over here is because I want you to see it clearly and vividly. So I've erased all the extra lines from my work. And with my answer, the eraser, I make my work even cleaner. I make sure there are no extra lines around it. So just as easy as that, I could have created my cherries primary sketch. This was done with my geometrical shape method. That it's very useful for creating objects until you get more professional and you can do it without them. Again, just as like my previous sketches. The first thing that I do is that I lighten my primaries sketch with my eraser. Therefore, I would not have too many lines in my work. So when I want to fade by work, they went bother me. That's why I tell you that you should never create your primary sketch as dark as mine? 6. Beginning of sketching and shading the cherry with the hatching method: Okay, then you should use your HB pencil. And I want to tell you how you can do your sketching by hatching. So as you can see, I'm hatching over here and there is darker. I'm using more hand pressure. And when I move toward the lighter parts, I decrease my hand pressure. Of course, wherever your shades and hatches are darker, the shades are darker. And wherever your hand pressure is less and there's more distance between your hatching. Your shades would be lighter and that will be this. I think the second plot of your colorings and shadings. I'm going to use my hatches and very easily I want to create the shades of my work. As you can see, I'm really paying attention to the direction of the volume of my cherry because he trusts are more, more clear to see. You should be really careful about hatching in the right direction as your volume is. Okay. And from here, I'll do the same thing. So I consider this curved area. And of course, the darkness that I consider for this area and I should work it is much more comparing to the other part. So I do my head traumas more and darker. Then I want to use more hatches and more shadings. And I totally give my shape a great volume and a great sheet. Just be careful about direction of the volume. It's very important. If you're going into right direction, That's cool. But if you go into r9, wrong one, that can ruling your whole work. So be careful about that. So in the darker parts, I will definitely hatching shade darker. Now, how can we create the texture of semi shiny objects? You can create them by actually creating very dark shades right next to very light shapes. Or basically, we should have a very strong contrast. We should have a lot of difference in our colors. And we should create different contrasts. Strong contrast by applying very dark shades. Very dark hatches. Right next, very light areas. So right now I'm just doing the hatching and I'm not working on its shine yet. Okay. Continue the same way in the direction of the cherry, beautiful cherry. Okay. So I also give a shade to this area, exactly as I can see the directions in my model. Okay. Here it goes. And I'm completing my shades with more head drink. And then I also do the same thing from the opposite direction. So I can get it incorrect. Circular shape. And Sarah Kohler volume. Alright. Now I'm going to use more number of hatches. And I add more contrast to my work. Not everywhere, but in some parts of course, you see For example, over here, I have to add more hatches to increase the shades to get more contrast in the direction of these curves. Of course. Okay. Then I also start from this area and I'll continue this work. And I add a lot more darkness in here. Okay? In here, I also have a very strong darkness right next to the strong light. I've gotten my cherry. And also in the area that the sum of the cherry is connected to the cherry itself. We have very strong, strong darkness. Here we go. Again, I emphasize on the fact that I'm shading and hatching the right direction of my cherries volume. Okay, then I also need more darkness on this lower part of my work and the lower part of the cherry. So as you can see, I'm creating very ordered hatches. And the direction of this cherry. When I say it like that, it means that your sketches and you're shapes should be also curved because you're cherry is in a circular shape. So the hatches should not be straight. They should be round too. Because if it's not, it's not going to give you that circular shape, that round shape. Okay? So I apply the darkness over here as much as I need and as much as I can see it in my model. And I'll do the same thing for over here. Alright. Then I will choose my sketching pencil so I can add a stronger darkness. Just be careful and keep in mind that the tip of your pencil should be totally sharp. So right from here, I want to work on the stronger hatches. Darker hatches, of course. And then from this lower part, the darker shades and hatches. And also right here on the top, you can see strong darkness. So I'll do it too. Okay. Then over here, I add a strong darkness for this curved area on the top of my cherry. The place that this term will be connected to it. They're doing this as sketching a style with hatches and beautiful contrast. Then again from here, I started working on the hatches and shapes that I need. The distance with the space, I come down and from here, I start adding darker hatches and shapes, forgiving more volume to my work. So I also work on the lower part of my work. I consider the same shadings and hatches. Horizontal direction as well. So here we go. And the darkness for here should be done as well. At a bit more darkness here, right next to this light area. Then you can be done. So just as easy as that. They could actually complete this work. We could complete the shading of this work with hatching style. Because basically it's an, a Sketching is style. Okay. I still have more darkness over here. Stronger ones and tear it goes. That's it. As you can see very easily. We could work actually with this, work on this beautiful cherry with hatching and we got the shading is correctly. Now I'm going to use my normal eraser in order to create this strong light in my work. I'm just erasing this area with my normal eraser. Very easily. I'm creating a very light area right in the middle of darkness. So I erase this area and I give the shine quality to my cherry. Just add a bit more to this darkness and we're done. Okay? Now we want to work on our second cherry. Before we do that, we should make sure that the tip of our pencils are pretty sharp. So when you want to do the hatching lines for the shadings should be very careful that the hatching would actually go next to each other, that they don't actually cut each other. You shouldn't be like this. Your hatches and you're shading should be parallel to one another. If you just go like that and your hatches will cut each other, crossover each other. It's not correct adult, they should be parallel to each other. Now let's move to our second cherry. So be with me in the next episode. 7. Second cherry shading: Hello and welcome to the rest of this tutorial with me. Okay. In this episode we're going to work on our second cherry. And of course we are going to create it as attractive and pretty as our first cherry. First of all, like our first cherry, I'm going to start with my normal pencil, with my HB pencil. And I worked from the sides of my work. And I start hatching and shading exactly in the direction that my cherry is. So continue like that. And I'll do the same thing from this lower area as well. So I shade from the top to bottom. So I'll continue like that. And with hatches, I start shading from the top to bottom and from the bottom to top. Anyways, I'll do the hatching in both directions. And I keep in mind that my lines should be rounded. They shouldn't be straight because my whole cherry is circular and rounded. Anyways. Then I going the opposite direction, of course. So from here, which is darker, I bring my hatches and Shading and I faded and leave it toward the light areas of my cherry eye, continue like that. So I'll continue my work like this. Just do my shadings and hatches. And also from these parts. I'll do the same thing. So do not rotate your paper at all. I mean, in no ways, rotate your paper because your hand should actually get you get used to be capable of working in different directions and rotating in different directions without rotating the paper. So your hand should get this ability and you should improve it by not rotating your paper while you're working on it. As you can see, I'm working on my primary hatches and shades in a horizontal way and vertical way. So from the lower part, which is darker, I'm going to have more hatches next to each other and of course darker ones. And then from the sides, again, they should be darker. So I go over them and emphasize them. And from here, the top part of my cherry, again, I should have more hatches. So I'll continue. Just like that. Okay. So just as easy as that. With the sharp tip of your pencil, you should shade hatch and enjoy it. This style of sketching, actually, the original sketching is style we'd, hatching for. Shading is very popular for my friends who do not like to fade most of their shading. If you don't like fading so much, you should try this style in this method that you create your shapes by hatching. Here it is. And I come over here and I apply this hatching on my work into direction of the volume of my cherry, of course, where it's more prominent. I would have less hatches and leave them lighter. And wherever I have the shadow of the other cherry on it, or basically it's darker. I would have more hatches. And again, I do my hatches vertically as well. So I continue my work until I get to this upper area. And then little by little, I should move on to work with my B6 Pencil. I'm going to use my B6 pencil in order to work on the strong darkness. First of all, I start from this area which has been actually placed behind my other cherry. I should create a very darkest spot here so I can express the fact that my first cherry is in front of the second one. When I darken this area, it actually shows their placement according to each other. Okay. I'll continue in my shadings and then continue the same darkness with the same pencil for the bottom part of my cherry. And I also do my hatching in horizontal way as well. And on the left side of my cherry, as you can see, I have more darkness. So I do it more intensely. Because I have the darkness is stronger and more intense. My dear friends. Just be careful you should not shade horizontally with the side of your pencil at all in this style of sketching. Because that looks like more faded and it will then be Sketching is star it wouldn't be hatching anymore. So also from the tub, I want to create the contrast with doing the hedges again. So like that. I just do it. Now from here, from these parts. I apply them as well. Okay. In these areas that I have less darkness, I decrease my hand pressure. And in this part that is more, again, I increase my hand pressure. We have a dark part right here in the middle between two lighter areas. So again, I should do more hatches to create more contrast in this area. Personally, I really loved this style that I actually a sketch with hatches. It has more joy for me. Comparing two shading and fading. It kinda gives me a positive energy. And wherever you feel like you want to just create a beautiful sketch and do it fast. This method, this is style, is really nice for you and can really help you sketching style with hatching. So I completed my work, I applied all of the strong darkness. And now I want to use my normal eraser in order to create a strong light over here. So with this very strong contrast, I can Keep this shine in my work. I can apply one more over here so I can add more shine to my cherry. So now I want to work on the stems. I'm using my b2 pencil. And from the part that they are connected to the cherry, I go up and then from the top, from inside, from the inner side of the stem is start by, had changed and I come down. I just go up and down. And I place more of the darkness on this side of this stem. And that's it. I'll do the same thing, the exact same process, and the exact same thing for this second stem as well. Just determine the placement where I should do my hatching is and shadings. And I bring it from one side, it would be darker, of course. And I fade it toward the other side of the stem. I kept both of them darker on the right side, as you can see. A very beautiful sketch and very easy one. Alright. Now I started with my B6 pencil. And I add more darkness in some parts of my stem, as I can clearly see it in my original model. Even these areas. And also these parts. These parts should be definitely darker. Okay? Then I want to work on this upper part of my work. And I apply the darkness for this top part of the stems where they connect to each other. So the only place left is the leaf of our work. That exactly as we did hatches for the other parts of our work, we do the same thing for the leaf. As you can see, I'm starting with the outer parts of the leaf, and I start hatching and shading toward the end inner part of my leaf. Okay. So here it goes. I go like this. Then I will add even more darkness into my work. Then from the middle of why leaf, I go again toward the outer parts and hatch them. I just leave a trace of light area right in the middle of the leaf. As you can see. And some parts of the leaf should be definitely darker. So here we go. Just like that. And as you could see, we've worked on the leaf as easy as that. So I have to now create these a strong glides again in order to complete my contrast and get that a sketching style. Then again, I use my pencil and I go around the light parts and add more hatches in order to get them darker. Now the only part left is actually the shadows of the cherries which are below them. So I'm going to use with my, I'm going to use my B6 Pencil, which is what? A via dark has pencils. And I start from these ending parts, the part that my cherry is connected to the surface, and I start hatching again. As I move up, my hatches will get lighter. Just like that. Also from the bottom of this area, I consider the same kind of darkness and I move toward this area. So just like that. And I just complete my shadows with the hatching. I also apply some shading in different directions, in opposite directions actually, in order to complete the shadows. And as you can see, they should be darker. So I'm going to make them darker. Just as easy and as beautiful as that. We've completed our cherries and their shadows. I hope you've enjoyed this tutorial as much as I did as always. See you in the next tutorial. And I hope that you've also enjoyed this style of sketching. It hatches. I enjoyed a lot, so I hope it was useful for you to 8. Basic design of metal faucet: Hello and welcome to a new episode of sketching tutorial with me. In the two previous episode, we had two different sketches. I told you how to create your primary sketch, one with geometrical shapes and what an angular lines. So you could actually choose which method you like and you could transfer your primary sketch to your own work. In this episode, I'm going to tell you a method which is actually useful for very complicated sketches, which have so many details, can darken the back of your model which you have, which you've printed already. So you should turn back your turnover, your paper, your models paper, and then B6 pencil or any kind of sketching pencil that you have and darken the back of your model completely. Then you place your model on the part that you want to work with. And then you fix it with your hand. And be really careful that you're paper would not move. Your printed paper would not move while you are transferring your sketch into your own paper. I start right from the top. And very slowly. I tried to move on to lines. See your hand pressure should not be too much that you leave any trace on the cardboard or paper that you want to do your actual work on? I'm just Valerie. I just very slowly go over the lines which are my main lines and I need them. I can even add some of the details while I'm going over the lines and bind the darkness I've created. On the other side of my models paper. I'm actually copying this sketch in this model into my own paper. You don't need to work on and go over all the small details. Should just work on the bigger details, the main lines and some more major details. And then later you can add a smaller details all by yourself. So I tried to keep my model very firm. So it would move. And just like that, I would add the general details after the main lines. Okay, so I work on this area as well. In this way. Now parts by part, very slowly. And we did lots of patients. I continue my work, so do not worry. So your work would be well detailed. Then I move on to the lower area, this area and coming down and both sides. And I'm actually creating a general shape for my primary sketch. Okay? Just like that, I also work on these ovals based on my model, and I copied them in their exact correct place. Again, based on my model. So here we go. I also creates some of the reflections over here on these lower parts. And then I come down all the way down to the bottom of the faucet. K. I should place it here because I don't want my model to move now. If it's hard for you to fix it, you can also use some paper tapes or clips to fix your model on your cardboard or paper while you are copying your model into your work as your primary sketch. And I come over here to this part Okay, So I'm working on general details and I am creating some of the parts knows each a small detail, but some parts I'm gonna go over them. You should a specifically go over these a strong lights because when you want to do the shading, you should be really careful about these parts and not to go into them. It's important while you want to shan't. So I am going over the strong lights. As much details as you go over right now. It would be easier for you during the rest of your sketching. But because I don't want us to spend lots of time on our primary sketch. I don't want to spend too much time on it. I just leave out some smaller details and I'll create them in this shading phase. Okay? So I'll completed like this. And from here up to this area, I drag my hen all the way down. And as I always say, try to use a colorless pen or one that doesn't have any ink. You just wanted to go over to leave a trace of a strong trace, but just to leave a trace of color for the paper underneath it. So here it is. Okay. I take a look at the sketch that I've transferred into my work and I check it wherever I needed. I add to my sketch. I'll take a look again to make sure that my work is completely copied over I wanted. And I can even add some more lines over here. Okay? Now we sweep away our model. We put it here right next to our work so we can keep an eye on while we're working on it. 9. Start shading: Now we should start working on our own sketch. You're going to do the shading. But as I told you before in previous episodes, we're going to start with lighter shades of our work. And for shading the lighter areas, you can use your normal pencil or HB pencil. And another thing that I should tell you is that when you want to start your shading, you should definitely start from the top. Because if you want to start from the bottom, as you get up, your hand will actually get a slides on the lower part and it will make your work dirty and it might even roaring it. So you should start right from the top of your sketch. Make sure that the tip of your pencil is sharp enough and then you can start your shading. Again. I say your normal pencil or HB pencil. Okay. First of all, I'm going to start with my HB pencil and I start from the top part of my primary sketch. Okay, I keep the light over here. And from this lower area, I start shading again. I apply Elinor darkness over here, and then very slowly I fade this linear darkness downwards. So first I Create and then I faint. Very easy. And wherever I see there is more darkness. Of course, I apply more darkness. So very carefully and orderly. I shade this area and I come down, which we have some kind of lines over here. And then with a very small space, with a very small distance from the top, I start applying the darkness and the shade over here. Let me just determined the lower line as well. And then again, I apply my darkness, my shades, dark and light, dark and light. So just those that I move forward. Darker shades and lighter shades. So I can get this design and this shine in my work. You should do this very patiently and very orderly. So you should not rush through it at all because it's a complex model and you shouldn't rush through it. Okay? One part is going to be dark, light, and then again dark. And as your pencil is sharper, you can actually work on the details better and more. Now, again, on this floor area, I should determine this area for creating these darkness and lights again. So whatever darkness that you've already created here, you should bring it down sideways in this area. And the parts between them should get a lighter shade. Just as easy as that. Okay. Here it is, and that's it. Now, for this area that I've just left untouched and uncolored, I want to place some dots and spots like these. Okay? Then I get my B6 pencil and I work on some of the lines that I've created, making them a bit more darker. So here it is. And now I got to darkness that I wanted. We're going to continue in next episode. 10. Shading of the upper part of the metal faucet: Hello again and welcome to the rest of this tutorial with me. Alright. They worked on the top part of the faucet. And then again, you should start with your normal pencil and shade from these areas and working it toward down. So you should work on this area, determine this era, and work it out. Now it a bit of distance as a one millimeters create the rest of the shading. Now because this area is very dark, I'm using my B6 pencil over here. This is the first plot of darkness. So I definitely do it with maybe six pencil and very dark. And also from this lower part, I start dragging the darkness from the bottom various slowly toward up sides. As you get to the middle of this line, you should make your shading is lighter. You should control your hand pressure so you can make your shadings light and dark while you're applying them. Alright. I move up and I work on this area of very dark. And over here I decrease my hand pressure in order to get it lighter. Again from this sides, from these edges. I'll do the same thing. I work on it. Again. I insist that your hand pressure should be controlled because you are constantly moving back and forth between the darker shades and the lighter ones. So if you don't have enough control on your hand pressure, it's gonna be problematic for you. I'll continue to darkness up to here. I do not connected to the lower line. And with a space, I come up again and I go around this area. First, it's going to start dark and as it moves, it'll get a lighter. Alright? Then I work on this side, and I work on the dark than silver here. And as you can see, all of my darkness are going to be faded. Okay, now I want to move on this side and work on this side as well. I shouldn't. One side of my work on shaded or uncolored. So I applied the darkness as much as I see over here until I get to this area and I decrease my hand pressure to faded toward the lighter areas. Okay. Just like that, I work on the dark shade and faded. And in this area, I work on it backwards and make it fader. Okay. Then I work on this, a strong darkness over here. And on the bottom part, it's of course lighter. I even have some lines over here. But this area is basically lighter. So I choose my HB pencil and I move on. The lighter parts of the work. Why do I say you should use HB pencil? Because we are working on our sketch without any fading. Equipments or tools without any faders, we should use different numbers of pencils. For example, for shading the lighter areas, you shouldn't use B6 Pencil because it gives us a rough shape. But if you use a softer pencil like HB pencil, while you want to shade, the lighter areas and lighter pencil would be used there. As you can see, you can get a very smooth shade without any Fader tools or equipment. Now, sketching courses, you should learn something. And that thing is that you can even create beautiful sketches and cohesive and smooth shades without any specific or special tools. And only with your pencils without any faders. And then of course, I can use my edit eraser to create this a strong line of light. Over here. This shine actually is what makes the texture look like metal. Then again, I use my basics pencil and I go over the top side of my light that I've just created. I applied darkness on both sides of the light that I've just created. I also create some curved lines like this, as I can see them in my model. Then again with my HB pencil. I work on these parts. I have applied a stronger darkness. So I go over all of the shades that I've created with this pencil. So I can just make them softer and smooth or they wouldn't look like a Spots anymore. Okay. Now this side of my work should also be done. I come all the way up. And from here. I work on the part that I should have my darkness. I determined this area. Over here. I have a darkness like that. And with a bit of space, I have another Darkness which is repeated over here in the same shape almost. Then I'm going to use my B6 Pencil. And I start applying the darkness from here. And then I apply a stronger darkness and more darkness from the sides and the edges of this area. Alright. I also drag a dark line over here. And then again, a stronger darkness right on the edges. Then we this space, I create this drop shape. It looks like a drop. And I connect it to this area. And I come down afterwards. Okay, over here, I'll try to copy the details, the various small details that I can see in my model. Just try to copy them. No work, don't worry. So here it goes. Alright. Then I should come over here and emphasize on these lines a bit. Darkening them, of course. And I make it more intense and stronger. And as I move up, I faded away and making it very light. Then I use my HB pencil to separate this area from my background. And in order to complete that separation, I consider a very light shade for this area. Okay? Here it is. And for here, I tried to create a soft shade and then a strong darkness, exactly like these parts. Again. A soft darkness and then a strong one. And I'll just continue this same pattern here. Soft and strong, soft and strong. Okay. I apply the darkness as I see in the small details in my work. And then I work on its site from here. So in this way, very slowly, I start shading until I get to this lower area. Again. Light shades should cover here. And over here I have a shade like this. So I created, okay. Then very slowly I move toward the light. Okay, here it goes. So I'll just continue this light shade toward the top parts of my faucet. And then I keep this light in this area. Try to not go into that a strong light while you're shading. It's better not to go in it. And later we will work on it with an eraser, but it's better to keep an eye on it. Of course, I shade in different directions so there would be no trace. And then after dad, I use my eraser to work on these, a strong lights over here. Okay. We're going to continue in the next episode. 11. Completing the shading of the upper part of the metal faucet: Hello again. Welcome to the rest of this tutorial with me. Okay. Now we are going to complete this sketch together as much as we can in one episode. So I'm going to get my B6 pencil and I'm going to work on the darker darkness of these parts, the stronger darkness. So I also have a shape like this over here, exactly on this part of my image. So it should be placed in its own correct location. And metal texture. Delight shades. The lightness are exactly next to the darkness. I mean that this strong contrast will actually gives your work a metal texture. Because you have strong shine. You have a strong light right next to the darkness so that strong contrast will actually give you the texture of metal that you want. So by tapping, I just come down like this with this dark color. And I also work over here. And just as easy as that. Okay. Now for the next part with a bit of space, I start from here, I go over this line and then I start fading the line into the darkness which is inside of it. You can clearly see the strong darkness here. So first I determined the lines until I get to this lower area. So I can get this circle shape over here inside of it. Also, I have a very strong light, has the shape of a circle almost. After I've determined that I start working and shading on this area with by B6 Pencil. Shading, good, very, very dark. And I'd be very careful not to go inside of the light areas that I've determined and separated. Okay. So I work on this dark dust. And as I move toward the light, I decrease my hand pressure. So I can guess my shading lighter as I move toward this strong light area. And also from these parts. I'll start doing it. Here we go. Continue up to here. Then I get my integer eraser, making sure the light parts are really light. And then I use my HB pencil and I go over the darkness that I've just created. So my shadings would not Astaire off and they actually become softer and smoother. Okay? Then I'm going to create small details into my work, for example, in this area, you see it very easy method that I can tell you how to create Parts like this is to first create a strong darkness. So for example, I have a strong darkness over here as the shape of a rectangle. So I place it then right next to it. I have also darker lines. Then I apply them right next to each other. And just as easy as that. So you'll become a professional sketcher and painter when you can actually see your sketch or C or model, very simply when you see it, simply observe it a simple shapes. You can create it faster, simpler, and even better. So again, I searched my pencil and write from here, I start applying the strong darkness. These are very small details. And I'm doing right now. As you can see, I have a rectangle in one color and I shaded. Then with a distance which is space, I apply fairly strong darkness here. And then I create a lighter shade comparing to this part. Then again, here, I have darkness as the same design and pattern that I have in my model. So here it goes. Okay. So I do my shadings and I add the details, smaller details that I still need. And that's it. Okay. Now we've worked on this part as well and it's finished. And we can move on to the next part. Then I want to work on this lower part of this area indeterminate with this dark line. And then I gave my work this curved shape. And now based on my model, I apply the dark shades from one side toward another. And then slowly as I moved toward the other side, I decrease my hand pressure. Just as easy as that. So here it is. So work on it. And just as easy as that, we could get these details that some might say they were too hard. But we could have got them very easily. Then with a space from the top, I start the rest of the shading. And I have a dark triangle shape over here, almost like a triangle. And a small darker spot over here. And after that, the whole top part of the faucet and the tab would be finished. Okay, Again, I do the same process here. I follow the same procedure. First, I look at my work very generally, I determined the darker areas, the lighter areas. And I see them simply. So I can work on them better. Then. I apply a very general and light shade for this area. You see this area is not dark at all. So I just leave a light area here as the With a one millimeters, I leave that area light and then I worked on the rest of my shadings. Okay. Then I'll have a strong darkness for this area. I'm going to use my B6 pencil for these strong darkness is a strong dark spots. I have a pattern like this, shade like this one. And from here, I create this patterns and designs with my dark pencil. Okay? With a bit of this sense, I work on this area trying to create a darker shades. And then I repeated again with a small space. And over here I have a circle, spot of the darkness and a shape like a drop. So try to get all the details more simpler. Again, I say you should look at them simply. For example, I said this detail looks like a circle and a drop. You should do the same thing. If you look at them simply, you can create them easier and better. Okay? Then I will use my HB pencil and I go over the parts over here and I add more darkness to this part. Okay, I have a very strong light here and I'll keep it. Again. I say I go over Shading with my HB pencil to get my shadings softer. Then I use my edge eraser in order to create a strong lights. In this part of my faucet as well. Again, I darken around it so I can give my work that shine that I need here. So we've finished the top part of the faucet, as you can see. And now we want to work on the lower area. Just let me finish up some ketchups. Day would be fixed. And here we go. And that's it. So let's continue in next episode. 12. Shading of the lower part of the metal faucet: Hello again and welcome to the rest of this tutorial with me. Alright, now for continuing this, we are going to start working on the rest of our faucet. I'm going to use my B6 pencil. And I want to determine the area that I want to work on. On the lower part. Just let me sharpen the tip of my pencil before I start. Now from here, I will come down and I make a curve line and look, continue it up to this area. I have a light area over here and then again, a darker line over there. So as you can see again, I'm applying dark line and a light line next to one another. And just as that, I create these straight lines with a strong contrast next to each other. And of course, as always, I keep an eye on my models. So I will create this design and pattern based on my model. Over here, I have a triangle shape. With a bit of space. I create my line again. I have a design like this. Like for example, there is a reflection of something on this part of our faucet. Again. I'll repeat that process and I'm almost finished with here. Then I get my normal pencil and I give the whole area a general light shade, very slowly and very lightly. Okay. Here it goes. Hey, apply their shading in their own placement very orderly. And then for this area below this patterned area, I want to work on the rest of the faucet. Okay. As you can see, this is a very light area and that's why I've created a very light line. And as I told you before, in the rest of the parts, you should start with applying the darkness. So this area is no difference. Therefore it, right from the beginning, I want to start first on the darkest spots and dark areas of my work. Okay? Then write firm here with a bit of space. I should just start from here. And I should apply these dark lines. So next to them I can create the shine. Okay. Then over here again, I go a bit sideways. Yet I apply this darkness and I just keep some light parts inside of it as well. I don't totally go dark. And it's not because I wanted to create them randomly. As I told you before. I'm keep going. I keep going back to the model and see wherever I have light or darkness or any details. I can apply them precisely into my work. So again, with this space, I have a darker shade here that I create a slowly. From here, it turns back, turns around and I've kind of a dark line over here. Okay. So we apply details of the work as well. So the darkness with going their own placement and the lights would be in their own placement. Okay. Then I want to work on the next part. And from here, I want to work on this pattern, on this design right over here. And also over here. So this area would be left light. And again inside of it. Every other part will be dark and light. And I also go over it with a very light shade. So it wouldn't be uncolored and it wouldn't be too much inside. And then again right from its sides. I want to apply stronger darkness. These parts are absolute darkness. So without any fear, without any hesitation, I am going to shade this area completely. It very dark color. Then I come to her, decide toward right. And as I come to this part, I have a line from here. Coming up. Again, I preserve the light and I darken this area completely. Okay. Then again, we'd a bit of space. I apply the darkness surrounding the slight. Little by little. I'm completing my shapes. This is sketch my take a bit of time from you, but it worth it. And you shouldn't rush through it. You should go and shade every little detail. You should go little by little in your work and create every small detail in order to make a magnificent outcome. So design do even slower and more patiently. Okay. Now I'm going to use my HB pencil or might normal pencil as you know. I will work on these parts which we've worked with lighter shades. So I'm just dragging it over all the shadings to make them smoother. And better. Also drag my pencil on the lighter parts to creating a very light shade in order to separate it from the background. Now, I know leave any parts to white. So little by little, I move downwards. I should complete both sides of my work as I come down. So both sides should be developed. I shouldn't just complete one side right down to the end and then leave the other side. So I give it a light shade over here because it is a light area, as you can clearly see in the model. Then I want to work on the lower part of my work Of course, as usual, I work on the dark parts of my work. And first of all, of course, I'd be shading these three ovals in my work because genuinely they are the darkest parts of the whole area. The sides would be darker. And as I move toward the center of the wall, it gets a bit lighter. I just have a light line of shine in the middle of this overall, I tried to keep it and Nazca to darken that area. But in general, these three ovals are the very dark areas. Okay? And of course, I use my HB pencil and I go over these parts to make the shading softer, smoother and more cohesive. Alright, just doing some complimentary work over here. And I fade it here. Okay, Then I move to the second oval. And after separating it from the rest of the background, I shade all of this area. C. Very easy to do so because it's socially dark. So just like that, I'm very slowly. I do this. So my dark shade would be very soft and organize an ordered. I should be really careful because I don't want my shadings to get out of the line. So I get my B6 pencil and I go for the darker shades. Of course, as always, as you can see, it's darker on the top, inside of the overall, of course. Circle. Can be both. And I give it a general shade. Ride down to the bottom. And then again, I use my HB pencil to shade in the opposite direction because I didn't want to leave any white dots or spots inside of my work. Okay. Then I get to the third and the last of all that I have. Here it goes. And completely and slowly. I shade this area and cover it. And I should create absolute darkness inside of it. Dad, I'm going to use my B6 pencil in order to do that. Okay. Then I want to work on the next area. I start from this upper parts. And then with a bit of space between these two parts, between this darkness and the bottom part and the top part of it, there should be as little space. And then in-between, as you can see, I'm creating a Spots by tapping and creating the shades and darkness. And very easily I finish it. You should just be very careful to follow the patterns in your work while you want to create these small details. Okay? So first I'm going to complete this side as well. And then I can work on the lower parts. So I determined the light border here and then I shade the risks of the area. Okay. And with my HB pencil, I can even make this shade softer. I would also add some more darkness to this area. Then from here, I will create softer and smoother shades for my work. Of course. So here it goes. Okay. Then also from here, I tried to continue the shades and even create some more dark patterns like this. And then again with this small space from the oval eyes start shading again. And I also have some more darkness in this upper parts. And these are some very, very small details that actually, these are the ones that make your work unique and spectacular. So don't forget about them. And just as easy as that. We could actually create this area that might even look too complex at first sight. But it's just all about to details and controlling your hand pressure and paying attention to your model. And then for this area that we have a twist and turn, I just consider some random lines. And I'll do the same thing from the other side, should complete these lines. Okay. So here it is. Okay. Now let's follow the rest of tutorial in next episode. 13. Continue shading the lower part of the metal faucet: Hello again and welcome to the rest of this tutorial with me. Okay. Let's continue this tutorial together. And this time I want to start from this somewhat and finish on the right side. So first of all, you should start with your HB pencil, makes sure the tip of your pencil is totally sharp. Then from this upper part, from here, we'll start our shades. And just like that, we come down. And I'll continue all the way down until this part. Okay? Now from here you see we have a shape like this. So right on the side of it, I come down and I'll connected to this line, almost all connected to this line. Okay? Now from here, I create a very light shade and I moved toward the inner part of my work. I fade it actually. Okay. Then from this linear area and this part of my work, between my sketch and my background, little by little, I apply my darkness and I fade it. Okay. Just like that. I come down as you can clearly see. And then I'll continue this until this very last part. Over here. Again, I move up and I make my lines cleaner and neater. I keep this light area. I determined the part where I should have this a strong internal darkness. But as you can see, and again, as I say, try to determine different parts of your work. Keep the light parts by going around them and work the dark parts. Of course, we work on the lights later with our eraser, but it's better not to go in it from the beginning. Okay. Now over here, I create a faded shade. And then from here I want to work with my B6 pencil in order to create this strong shade better. And over here I have a line. And right from here, I fade it. Okay? Then again, I make this shade more elegant and neater with my HB pencil. And again with a bit of distance, I start shading this area is light, so we should keep it light. And this area at the time determining right now is a very dark part. It's absolute darkness actually. As I told you before, I'm going to work on this. I'm going to work on this part. So based on that, I can work on the other details better. Okay? So just like that line comes to this area. And then in general, in this part we have absolute darkness. And of course, because it's absolute darkness, I'm going to use my B6 pencil and I go over the very dark areas and I shade them completely. Just try to keep this light part in the middle. Light and unshaded. And then very easily you can work on these very dark areas here. And just as easy as that. Okay. Over here, again, I would have a very strong darkness. I pass through this area and also over here I apply my strong darkness. And I of course keep this light area for my work. Because I have to keep the contrast in my whole work in order to showed a metal texture that I want have to show the Shi'ites. Okay. And then in this area, there is another light in the middle and there is a strong darkness surrounding get. And that is what I'm going to apply over here. Okay. Here we go. Then you should pick your HB pencil. And with that, you should go through all over these parts once in order to make your shades smooth, ER, and softer. As usual. I even go over these parts to make softer shapes. Okay, so it's gonna be done in all of these parts. And here we go. Okay, now I want to work on the details of my work. I mean, very small details of my work, For example, first I want to start with the details of this area of distance from the edges of my darkness. I create a line and going through here says should be almost as the width one millimeters. So not too much, of course. And then I'm going to apply medium shadow. I mean, an average shadow on this area. It shouldn't be too dark or too light, as you can see. Again, I emphasize on the fact that the best method to do this is to look at your way and you look at your work simpler and easier. And then you can actually work on that. For example, if you look at this area, it might get too complex for you. But if you look at it simply, you can just have a shade underneath and then bring out your very small details on top of it. So when you learn how to look at your work easier, you can actually work any kind of complex sketches and designs that you see. After I'm done, I again go over it once with my HB pencil and then I will use my eraser to create Some light details. For example, in these parts. Also here. And all of these parts. Okay. Then again, with my HB pencil, I try to do the rest of the shading on the smaller details. I come up all the way to reach this area. And as you can see, I'm working very faded in all of these parts. Here it goes. Okay, now I want to work on this part of my sketch right from here. I'll consider the rest of my work to be done. As you can see, I'm working on details now. I've determined some of the lines in advance, so there won't be any troubles there. But for creating this smaller details, I have to pay more attention to my model. So as I said, so over here, I start with applying the bigger shapes. Then I can work on the details, on the smaller details amine. Alright. I keep this part of the light and I just give it a very general shade. So I'm generally shading this area with my HB pencil. Then I switch to my B6 pencil. And I apply the darker spots in this general shan't in order to give it more volume and more shape. And come up then with a bit of space and distance. I'll do the rest. So I'm exactly applying the same design and the same pattern that I can see my model. This is very important that you keep one eye on your model. Then again, little bit of distance. I create a line, initiate it. And again another one. As you can see, I'm creating a pattern in my work. And it's exactly as I say it. Then of course, I will use my editor eraser to create the shines and the lights in the middle of our shadings. And it's done over here. I come to this part again. I keep the very light area and from its surroundings. I apply my shading, my darker shading of course. And for this area, I would do the same thing. I have a light here that I keep. And then generally I shave the rest of the area. As you can see, I'm shading lightly, but still. You see this area is very, very light, so I will not use the same shade on this area. Actually, from here. I tried to apply the same shade and the same pattern as I see in my work. And I go up just as easy as that. Whenever I tell my students that you should do it as easy as that, my students tell me that it's easy for you. Teacher knelt for us. But the point is that it's actually really easy. It's so easy for me. If you pay enough attention to your work. You can clearly see to patterns. And even the primary sketches would be made in the simplest methods that I can actually use the phrase as easy as that and just like that. So I also tell this to all of my students not to look at your designs and your sketches, too complicated or too difficult for yourself. You should just go for a little bit easier and take it easy. Creating these beautiful paintings and these sketches is actually like solving math. Some of us work on different and harder equations to get the right answer. Let's go for an easier and faster way. The thing, the method that I'm teaching you right here is the easier method. If in this kind of sketching, not look at your work, work, you know, easy and simple. It, it would get too hard for you and you might actually get repelled by it. So the first thing that you should know is that you can create your sketches in the most simple way and the easiest way possible. While I was telling you about my students, I was working on this area with my B6 pencil, applying the darkness. Okay. And then I'll continue up to this area as well. Okay. Now I'm going to use my simple Pencil. I'm going to use my normal pencil, the a tree pencil. And I start shading these areas very slowly and very carefully. I consider this shade. For this area. It's a light shade. As you can see. We have a very light area that we don't go over with our Pencil. But this area which is next to it is a bit darker, so I'm going to apply a very light shade on it. Should just follow your work by what you can see in your model. Okay? One side of this shade is a bit darker than the other side, as you can clearly see. So I consider it in my work as well. Here it goes. Okay. So it is just like that up to these parts. So continue in the next episode. 14. Extreme contrast and ultimate detail: Hello again and welcome to the rest of this tutorial with me. Okay. Let's continue our work. We were on these parts and we were actually shading these areas right from here and here we're applying some darkness upwards. Now for this part, I want to create a shade like this. So I'll work on it and continue up to these parts. See my dear friends. I'm actually only paying attention to the geometrical shape of my darkness. For example, I can see a triangle here. So I create a triangle. Over here. I can see two circles. So I create two circles, one bag and another one is smaller. That I actually guide each one of them downwards like this. So very nice Lee, and simply I come up, Okay. This is actually kind of a reflection of the phone or the cell phone dad had got this picture. So I applied the darkness the way I see them. And then I color upwards. Okay. Then I continue to the rest of my work, to the rest of my sketch. This area would be lighter. And it goes like this. I'll continue upwards. Okay. In these bars we have various small geometrical shapes that I'm not going to overdo them. I just simply make them and move on into next steps. I'm just creating these small details as much as I can see them. And I do not get fixated on some of them specifically and leave the others. I also shade over here, I'll ports. Okay. Then I'm going to use my eraser in order to create a very small light over here. And then again from its surroundings, I create a shade. So delight will actually show itself better and more. Because when you darken its surroundings, it will show more. So that's the end of this part. And here it is. Now I want to work on the upper parts a bit more. I have another light over here as well. Then I'll consider a very strong darkness. For here. We also work on these geometrical shapes here as well. Then I moved to the right side of my work. So it goes like this. And I'll continue up to this area So I also want to work on the details of this area. I have some strong darkness here that I try to apply. And over here, I create this drop shape that I can see, clearly see that. And then I used a very light shade for this area. Over here. It looks like this. Okay, now let's complete this area as well so we can move on to the right side of the work. So I do not want to work on the pattern over here specifically to much. Considering those kind of darkness, we apply the Shines because we don't have to work in that much details in this style of our work. We continue like that. So here it goes. I come for the next part of the work. And I start to do the shading as I want. And we work on the various small details in this way. Now, area, I have a shape like this, that over here it looks like a cross. And then it's generally shaded and dark and light this. Then with the small distance from this area, I come down and I work on here. And again over here I have kind of a phone shape. And then I'm going to use my B6 pencil in order to create these small details in their own placement, easier and better. Because as you can see, we have a lot of strong darkness here. Keep in mind that the tip of your pencil should be very sharp, especially when you want to work on these smaller details. Okay. Now I'm moving to the next part of the faucet. And from these parts, I try to create the shades and shapes. Actually create the shapes with the shapes. And I give a general shade to this area. Just give it a very light shading. As you can see, I'm applying this shade very slowly and very softly and very lightly because I don't want any Ralph shadings over here. And as I told you before, here, I should have a general light shade for now. So that how it goes So because I have a strong darkness here, I again switch to my B6 pencil and I start working on the darkness of this area. Then I tried to keep these circular lines, as you can see, which goes like this. Okay? Then again, with a bit of distance, I create a dark shade like this. And it comes into a Y shape. It goes up and again, over here, I have some very small dark lines that over here we can see a pattern. You don't actually have to copy these small details and small patterns exactly as you've seen your model. Because you're not working in a hyperreal sketch. Just trying to create some circles if they look circle, or just get the general shape out of it. So do not push yourself too much and denote fixate on them. Just take it easy and move forward. Okay? We also have a light here and here I'm going to create more shadings in this area. Continue this darkness all the way down. Okay. Then again with debits of this, since from this lower part of my work, I create another shade connecting to this area F there. Then I will switch to my HB pencil. And of course, I go over the darkness and the dark parts to make them softer and looking more cohesive. Here it goes a little by little. We're getting to the end of this. And I hope this was really useful for you. I have up to here you've enjoyed as much as you could and you've learned how to create the texture of metal. Okay? So we've got to simple sketches and simple textures, the beginning of this chapter. But for texturize objects, we could actually use a complex sketch like this one. Based on my own experience, most of the students have troubles applying these kinds of small details. So I hope that by discourse and by this chapter, this problem has been solved for you. Okay? So from here I have a shape like this, goes back again. I have dark shades. Then again, I'm going to use with my basics pencil in order to create this very strong darkness. Here it goes. So I'm going to use my HB pencil as well in order to make this shading of this area all cohesive and smooth. Er. Then I want to work on this ending part of the faucet. We're almost finishing our work here. I had too much darkness. I had to use my eraser in order to take some of it off. Okay. So right from here, I'm going to shade, and right below this, I am going to create this oval. Let me first create this oval. Okay? And then I determine the area that I want to work on, which is actually this area is the label area. And I also have a light over here. First, of course, I determined the lighter areas, I separate them, and then I start to darken in their surroundings. Now from here, slowly, I try to work on these lights and shavings. Okay. Here it goes very slowly. I move up and I place all the shades wherever I see them. So here it goes. And then I get my Sketching B6 Pencil in order to greet the darker darkness, of course. And I'm going to create them as the spots of darkness. Okay, So that's it. And let's finish our work in next episode. 15. Completing the drawing of the metal faucet: Hello and welcome to the last part of this tutorial with me. Okay. We're going to start together and I'm going to start with my HB pencil and write from the tub. I start shading right from the surroundings. I determine the area that I want to work on. I can separate by sketch my faucet from the background. And I'll do that by considering a very light shade for these areas. So here it goes. I tried to create all the darkness that I have on these parts. And I'll do the same thing. From this top part. I come all the way up. And again, I said I'll do the same process on this side as well. I just tried to decrease and increase my hand pressure based on what I see in the photo. See over here. I had some coming outs that I use my eraser to erase them, of course. Then I get to this part. I'm not want to work on it right now. Android from the top, I start applying the darkness that I need. See. Over here, I have a light area that I'm going to separate, of course, and determine this area for the lights. From here, it comes to this side. And from here it goes up. You see, I'm working on this part. It's a curved light created here. And this area is a part that I should totally work on its darkness. And on this side, I'll continue this until I get to the bottom of this area. Then we this small distance, again right next to this line, I create another line on the same way and the same level. Okay. Now, again from this bottom part, I determined the dark area. And then very slowly I fade this darkness. And so it is. And as I get to this area, I do not create any shapes because I have a very light area. Now for this part, I tried to create a very strong darkness, linear deck darkness, but a small one. Then with a turn, I go toward behind the faucet. So I finish this area as well. And now the only thing that I need to do to finish it is to shade this area. So first I get my B6 pencil and over here you see I have a light, so I of course separated and then apply a very general shade for this area. It's not too dark and it's not too light. It's just a general background shading. Then I go over on it again and I apply the parts which are definitely darker So just like that, I work on the strong darkness with my B6 pencil. Now, I also determine, and I also consider a very strong darkness right next to this light. And I have here. Then with my B6 pencil, I can plate this area with my dark shades. Okay. It goes like that over here. So I'll continue. And I also apply the darkness over here. As you can see, these parts still need to be darker, so don't be afraid to add your darkness wherever it's really needed. You should create your dark shades. Exactly as intense as you see them. If you don't create your dark shades as much as you want, our, as much as you should. You can not get your textures and your volumes correctly and well. Okay, then I'm going to shade this area very lightly. Again. Right from here up to here, I have dark shades, very dark shades. Okay. Then I come all the way down. And from here I go opting in, continue my work. And here I have a shape like this, which goes just like that. And as you can see, while I'm doing this shading, I'm carefully keeping the light areas untouched and uncolored. I also have to apply a very strong darkness over here, Just as I can see it in my model. And keeping in mind that I have to leave these parts light right in the middle of the darkness. So right from here in-between, I still tried to shade. Here we go. And then also from here, I apply some kind of light and darkness like this. I tried to create them. Again, I say as I see in my model. Okay, Now I reached to this totally light area. So when I want to attach it to this area, I have to fade my darker shade. I'm going to use my normal pencil and shade this area from the darkness toward the light and fading it as I get toward the light. Lighter shades. Okay. Then again, I start from this side, a very light shade would appear here. So I'm using my normal pencil in order to create that. Here it goes. Okay. Try to keep in line and tried to control our head pressure. Ms. Lee, It's generally light. Over here. I have a darkness as a shape of a triangle. So of course, I play it. I apply it, sorry, its own placement And also over here I have kind of an L shape darkness. So I've got to work in that to here it goes. Okay. So just as easy as that, I'll continue. And then of course, I'm going to use my eraser to work on this area to making it totally light and white. And it would show itself actually more. Then I want to work on the rest of its small details. Over here, I give a general shade. Here I have a very strong darkness. And very, very, I have this kind of light circles. I go and darken all their surroundings. They would actually show as well. It can not see a light spot in a light background, so I have to darken their surroundings. And creating all this strong and weak shadings here. And stronger and lighter ones. Here it goes. It's like that. Then again, I use my normal pencil to give a very general shale to the rest of the parts which are untouched. So I'm just using my normal eraser to give a very general shade to all of these parts. I'll do the same thing for this area as well. Some parts definitely should be darker. So our economy bit. And I also go over this area as well. It should have a more general shading. Okay? Now over here again, I work on a general shading. As you can see. It's almost light. So it's more on this side and on this corner. And as I move up and toward a center of it, of course you can see that it's getting lighter. And then I start working on the alphabet and these letters and numbers. So I can create this label on my faucet. And as it goes towards the upside of the label, the clarity would be less. But you do it as we see it. So if it's unclear, you can also make it unclear. Again, I'll take my eraser and I applied a very strong lights in their own placements. Wherever I see them. I use my eraser to create the strong lights. So our work is almost done here. I should just do some more Touch Apps and creating small details, very small details. For example, over here, I should work some more darkness. And doing the same for this area. All around this rounded circle. And here it is. Makes sure that you erase around your work with your eraser to make a clean outcome. And I also go over this part with my normal Pencil again. I forgot to apply. I have actually forgot to apply these shadings over here. I just figured it out now. Okay, so just as easy as that. So easy piece of cake. We could have actually finished this beautiful sketch. This chapter was about texturizing and this was actually the most complicated sketch and model of this chapter. So I hope you've learned all of them. And you've enjoyed this course