Realistic Drawings with Graphite Pencils: Drawing Wine Glasses

1. Introduction: Is possible to make some really deep and detailed drawings with graphite pencil. I think sometimes the process can seem overwhelming. I want to show you today that if you follow a series of key steps, it maybe not as difficult as you might imagine. My name is Joan Chambers, and I've been making online art tutorials since 2020. I've helped tens of thousands of people improve their drawing. But today, I want to focus specifically on drawing with graphite. And how simple it can be to create some really rich, elegant drawings. I want to show you today how to create these two wine glasses. I'll start off by showing you all of the materials you'll need to complete this course, and then we can start working through the process I always use for every drawing, focusing on building up all of the richness in a series of layers. Let's get started. 2. Class Project - Drawing the Wine Glasses: Class projects, we'll be drawing these two wine glasses. Now, I've picked these for a couple of reasons. They're nice and simple, but I think they create a really effective finished drawing. Now, I have included in the description details of all of the materials I'll be using for this, and I will be going through that in a bit more detail in a second. I'll also be covering how to create the sketch outlines, but if you don't want to create your own, I have included copies of mine in the class resources. When you've completed your drawing, please do upload it to the class projects. I would love to see what you've done. Let's talk about the materials that you'll need. 3. Materials You'll Need to Draw the Wine Glasses: Let's talk about the materials you'll need to complete this course. And first up, the most important thing you'll need is a set of graphite pencils. Now note that you will need more than one. In order to create all of the richness that we need in the graphite pencils, what I'd like to do is generally draw with three pencils, a hard pencil, a medium pencil, and a soft pencil. With soft pencils, the graphite goes down looking much much darker, whereas with a particularly hard pencil, it looks much lighter, and we can use this to build up that richness. General rule, I like to work with an HB pencil as the hardest pencil, then a three B as the mid tone, and maybe a five or a six B pencil for the darkest pencil. Next up, what you'll need is some paper, but you want the right kind of paper. Because we're going to build up all of these different pencils on top of each other, building up layers, we need some paper that's going to be able to take those layers. So I always like to work on bristol board, a smooth kind of bristol board. This is quite a thick paper, and this I find is perfect for building up all the layers we're going to need. It is one of the most important things to make sure that you do get that right kind of paper. D, you'll need some way of sharpening the pencil. So I just use a standard pencil sharpener. As long as it makes a really nice sharp point on your graphite pencils, that will be fine. Now, let's talk about something that actually you will very likely have around the house. We need something that we can use to blend the pencils. I just use a bit of tissue. Just a couple of squares, I can use it to wrap around my finger and blend that pencil. Step, I will need a type of eraser. I like to use a putty eraser. This is a moldable eraser, so I can mold it into different shapes to lift the graphite in a slightly more precise way. This next item, I would say, is an optional item. This is a black colored pencil. Specifically, I'm using a black polychromos pencil. When we get to adding in the final darkest parts of this drawing, we could use something like a six B to add in all of those final details and those darkest values. I do find with the softer graphite pencils, they tend to be very, very shiny, which makes them not look as dark. They is absolutely fine, and you can, of course, do that. But I like adding in those darkest values with a black polychromos, because it is much more matt. As I say, you could use this step where I'm using the black poly chromo pencil and just use the six B. Final material that we will need is some way of looking at the reference photo. I find the easiest way to create realistic drawings is to work from a reference photo. Now, I like putting the reference photo onto my iPad. I particularly like that I can zoom in and see all of the details. But you don't need to work from an iPad, you could print out the reference photo. So you will need a set of graphite pencils, the right kind of paper, a pencil sharpener, some tissue, a putty eraser, a black polychromos pencil, if you would like, and some way of looking at the reference photo. So let's start working through the process of drawing these wine glasses. 4. Sketching the Outlines: First thing that I always need to do is create some sketch outlines. I don't want to just go straight into shading. I want to make sure that I get all of my proportions looking correct. The way that I like doing this is using something called the grid method. This is where you draw a grid on your drawing paper and you put a grid on your reference photo, and you just draw what's in each individual square. This will make it so much easier to get those proportions right. Once I've drawn out each individual square, I then use an eraser to erase the grid lines, and I'm left with a sketch. If you want to go through this with me in a lot more detail, have a look at my beginners guide to graphite pencils. I'll include a link in the course description. Probably one of the most important things that you need to take away with the sketch though is that you want the lines to be really nice and light. You want to get to the point that you can barely see the sketch at the end. You can see when looking at the beginning of the drawing, here, how light these sketch lines are, you can barely see them, because we don't want to end up with a really thick outline around our wine glasses in this case. You don't want to create your own sketch, you can use my sketch, which I have included in the class resources. I've also included a reference photo with a grid in those class resources. Now, let's keep working through the process of drawing these glasses. 5. Studying the Reference Photo: Before I start adding in any of the shading, what I want to do is take a minute to have a really good look at the reference photo. I don't like just jumping in straight away to the drawing. I want to take a minute to look at all of the key shapes and details that are within the reference photo that I'm going to want to bear in mind whilst I'm drawing. Let's take a minute to have a look at it now, and I'll show you what I'm particularly noticing. Now, first things first, I'm particularly looking at the background of the picture. There's a lot of it looks like buildings in the background. I'm not going to want to draw that. On my drawing, I want to have a plain white background, which is fine. On the most part, I can just leave these buildings out. It's really just these bits here, as well as the sun or moon here. When I'm drawing this top section, the C three sections, I want to not draw these. But I will draw the buildings in these sections because it wouldn't necessarily think you would know it is buildings. It, on the most part, the reference looks reasonably simple. The wine section, it's darker around the edge and then much lighter in the middle. There's a little darker patch up here and a darker patch coming across here and a darker patch here and down the bottom. On the most part, it looks reasonably simple. Then on the stem of the glass. I think it's really just a case of drawing the patches, the shapes. So for example, it's very dark going down here and across here and very dark down this right hand side as well. Then there's this stripe in the middle. Much lighter stripe with these kind of curved sections. And then some of these dark sections carry on all the way down here. It looks reasonably simple still. It's just a case of drawing the shapes we can see. I just want to really focus on getting all of these shapes marked out in the right place. 6. Building up the Base Layers: As usual, I want to start this off by using the hardest pencils. I want to use them to both put down some base layers as well as getting everything mapped out. I'm starting off here with the two H pencil. This is the hardest pencil that I'm going to use in the drawing. What I want to do is be putting this pencil in all of the very light areas. I'm not going to worry about some of the darker areas, particularly where I mentioned around the edge of the wine. I only want to put this in the absolute lightest places. So, for example, on this first wine glass on the left, I'm particularly wanting to put down some shading in this section here, as well as this strip down here and a few of the areas down the bottom. And it's exactly the same on the other one. This area here, this area here, maybe a little bit around here and these few strips down here as well. There isn't a huge amount to this. My main focus is to try and get this down as lightly and as smoothly as possible. Now there are a few things that I can do to help me do this. First off, you'll notice that I'm holding the pencil very close to the end. I'm not holding it really closely to the tip. What this does is it stops me from being able to press too hard with the pencil. I want to be pressing very, very lightly. I don't need to get a lot of the graphite down at this point. I just want to this very faint covering. If I hold it really close to the tip, then I can still achieve the same effect. It just needs more pencil control. It's going to be harder. The other thing I'm doing is working in little circle motions or aval motions. And this again helps me to get the pencil down in as smooth and consistent way as possible. Now, it doesn't matter too much if it's not absolutely perfect because I can blend this in a little while. I do want to help myself to try and get it as smooth as possible. Before I move on to the other wine glass, I do want to get a little bit of shading on the table that these glasses are sat on as well. Again, you'll notice I'm working in these circular motions. I'm holding the pencil, but still very close to the end. I just want to be putting something underneath that left hand glass. Let's do exactly the same to the right hand glass. Again, you can see a bit better here that I'm working in these kind of oval motions. I once again want to cover that same area, so this very light patch in the middle. As you can see, it's not perfect, but a reasonably smooth and even coverage over the whole section. I can work my way down these lighter patches on the stem of the glass. Also add a little bit of shading on these strips towards the bottom, and then I can once again be adding some very light shading on the table around the bottom. Before I move on to the next pencil, I realized that I've missed this little patch around here, so let's just fill that in as well. Then I'm reasonably happy that I've put some sort of pencil down on all of the absolute lightest areas. I'm going to move on now to the next hardest pencil. This is the HB pencil. I want to use this as a way to mark everything out to get my bearings. So I can start off by going down the side of the glass. I want to be very precise with where I'm putting this pencil, and that is made far easier by having a sharp pencil. I'm able to control where it's going much better. I do recommend frequently sharpening your pencils, particularly around the top of the glass, where there needs to be some pretty thin lines. It's going to be hard to do that if you've got a blunt pencil. Beyond that, I'm pretty much working in the same way as I did for the two HH pencil. I'm once again using circular motions, and I'm once again holding the pencil further back. You can see I'm still holding it about halfway down the barrel of the pencil. I can carefully map out the edge of the glass, and then once I've done that, I can then shade from this line, both around the top of the glass, and I want to be doing exactly the same around the edge of the glass. Where the wine or champagne is. I'm noticing that around the edge, it's not all got the same amount of shading. There's a similar amount of shading around the edge here and around the top, but on this right hand side, there's a much thicker dark section. So I'm going to need to add a lot more of the HB pencil around this side than I do around the top or around the left. And it exactly the same on the other glass. Less obvious, I would say, but I would say that this side is slightly thicker than this side. I'm also noticing that around the bottom. The dark shading around the edge gets a lot thinner around here and around here, is much thicker towards the top. So that's what I'm trying to achieve whilst shading in this area. I also want to make sure that where I shade where this darker area and the lighter area meet, that it's not too sharp a line. Now, I don't need to strive to make this absolutely perfect. I am going to blend this. But do you want to try my best. F here, I just want to mark in around the top of the glass as well. Now, I'm noticing that around the top of the glass is kind of two lines. So is obviously, the whole oval shape. And then around the top, there's two lines, and around the bottom, there's two lines. And on both of these, the top line is a thicker, more consistent line than the bottom. The bottom line generally is quite dark around the edge, gets light towards the middle, and then is dark again. And the same down here, dark around the edge, then lighter towards the middle, and then dark again. So that's what I'm trying to do when marking in this top section. I've marked that in I want to continue to work my way down the stem of the glass. I want to get some sort of pencil in the whole way down. Let's block in these very dark sections either side. Once again, doing that in exactly the same way as I have before, so very lightly using these circular motions. I am going back a little bit over some of the edges higher up just to make it a little bit darker, but I'm not pressing hard still. I can continue working my way around the bottom. So really following those shapes that I can see. I'm not worrying that I'm not going to get this area as dark with this pencil as it is on the reference photo. It's not about trying to do that at this point. I'm really just wanting to get my bearings with all of these shapes. So get everything marked in. It's just going to make my life way easier when I come onto using a softer pencil. 'Cause I'm going to be more confident about what needs to go where. So things get a little bit more complicated, I would say as we make our way around the bottom. So let's have a look at what's actually here. Can't stress enough that is still just a case of drawing shapes. There's a very thin light shape here, a slightly thicker shape here with a very subtle line going down the middle. I'm not going to worry about that line right now. There's then a light patch here and a light patch here. And then the darker areas, there's a line coming along here and round. There's a line coming along here and round. There's this dark patch. This comes along here, and then along the bottom, there's this very thick dark patch here going all the way along the bottom of the glass, and this line goes all the way along here. Can't stress that it doesn't need to be perfect. It doesn't need to be exactly the same as the reference, but am trying to get it as close as possible. The closer I can get this section to the reference photo, the more realistic it's going to end up looking. Although it seems very random with reflections, if you get them too far straying from the reference, they just look a little bit weird. Before I move on to the other glass, I also want to just mark in, there's a bit of a shadow underneath, particularly a dark shadow here, and then there's also a thin line going along here. Let's get that marked in. Then you can see quite quickly, we've ended up with something that does look like a wine glass. It's not got enough contrast, and it generally needs a lot more shading. But it does look roughly right and we've certainly made a good template that we can build off of. Now, before I move on, I'm just going to add there's a few darker lines around the edge around here that I just want to mark in. And once I've done that. I'm also going to add some light shading. Just on either side, you can see this is very, very light. What I want to do here because I'm not drawing any of the background with all of those buildings. I want to just help the glasses look a little bit more round. And generally speaking, if you add some darker shading, it pushes an object back on a drawing. If you add lighter shading, it brings it forward. So if I can use circular motions to just lightly push these edges back a bit, I think that's just going to help the glasses look a bit more realistic. Just add in these little curve shapes before I move on, and then I want to do exactly the same to the other glass of wine. So we can go over this a little bit faster and once again going around the edges. And once I've mapped in the edges. I can then think about adding that shading. Again, using those circular motions, holding the pencil further back, and just pressing very, very lightly. Once I've shaded in the very dark wine section, and then wants to think about marking in these lines around the top. Once again, there's kind of double lines around the top. It's exactly the same as on this left hand glass. It's a thick and more consistent line around the top. And then the second line the underneath line is darker in either outside edge, and then it gets lighter towards the middle. So again, around the bottom, darker around either outside edge and lighter towards the middle. So I can once again mark that in. And whilst I'm here, I'll add that same light shading to try and make the top section look a little bit more rounded. I can work my way down the glass. So once again, looking at all of the shapes that make up the stem. For example, there's this kind of lighter patch here. So it's dark along this top section, lighter strip, and then it's quite dark along here, and then there's a lighter patch here as well. Is then pretty dark around all the edges around here? And there's this dark kind of arch going over here. And these dark sections extend all the way down to around here. I want to avoid this light patch and avoid this light rectangle. Can shade all of this in. I do also want to add in some of the reflections of some of the buildings that you can see on that lighter patch. So these buildings here, you wouldn't necessarily know that they're buildings. I just want to draw some strips going upwards in a kind of similar way. It doesn't need to be perfectly the same as this. What I'm actually drawing is much smaller than how far I can zoom in on the reference photo, so I don't need to get as huge as amount of detail in. But I do want to get something in there. And then I can draw my attention to this bottom section. You'll notice here that there is a dark line that's kind of just coming underneath this bottom light patch. There's also two kind of squiggles coming down on either side. And then this bottom section is really very dark with this lighter strip going through the middle. So a very dark section all around here. I'm going to want to mark that in. Drawing that in. The last thing to do with this pencil is very lightly draw in the reflection. And I'm pressing so lightly to do this. I don't want it to be looking very hard. And then once I'm happy with this, I can think about blending all of these areas together. Now, to blend this, I want to use a tissue. And what I'm going to do is just wrap the tissue around my finger like this. And then I can very gently rub the tissue against the paper. Want to be doing this with circular motions in a similar way to what I do with my drawing, and I can't stress enough that I'm not pressing hard here. I want to be very gently starting off on these lightest areas. You'll notice that I'm particularly focusing on the central wine section on both glasses, and just very lightly, as I say, using these circular motions to blend this. I want to keep it light, I just want to make it as smooth as I can. Once I blended these absolute lightest areas, I can then think about blending the rest of the drawing. Main area that I want to be particularly careful of is where the wine is meeting the blank empty glass section. So I don't want to really smudge that line. I can help this by starting off blending the top section, the lighter section, and then blend the underneath section. I also want to be very aware that if I'm getting a build up of graphite on my tissue, I should rewrap the tissue around to different parts, just that I can always be working with a clean section of tissue. You find when you're working with two H and HB pencils, it doesn't really build up too much at this point. It's when we're using three Bs or five Bs, a softer pencil, that I'm going to want to continually rewrap the tissue around my finger. So I can just keep working my way down the glass. I'm not going to worry too much if I smudged the edge of around the stem. As you can see on this left hand wine glass, I have smudged around the stem. It's kind of bled a bit onto the white background section. But that's okay. I'm not worried about that. I can always fix that a little bit later with an eraser. So once this has all been blended, it should look something like this. 7. Building up the Contrast: Chapter, I want to begin building up some of the contrast on these wine glasses. So let's focus on using the three B pencil in this chapter. This is not my softest pencil, but it is a lot softer than the HB pencil. And what I'm doing here is pretty similar to what I was doing in the last chapter with the HB pencil. I want to once again go over all of the slightly darker areas. So I can once again focus on starting off going around the edge of the wine area. Now again, it's exactly the same as the last chapter. I want to focus on having a nice sharp pencil so I can really control where this is going. So I want to frequently be sharpening my pencil. You'll find that it will need sharpening more often a softer pencil like this than a harder pencil, it just wears down faster. Notice that although I'm not holding it right by the tip, I'm also not holding it really far back. I gradually I'm starting to work my way close to the pencil because I need to be a bit more precise here on where I'm putting the pencil. I still want to be pressing lightly. But where I'm marking the very top of the wine section, for example, I really want to be accurate on where I'm putting that now and have that pencil control. But it is very important that I am still pressing lightly. If I want to be making an area look a little bit darker with this pencil, I want to go over it more times rather than pressing But I still want to be working through this in these circular or val motions, because I do still want this to be as smooth as possible. Now, in addition to going around the edge and adding that darker area in. I also just want to add a little bit of shading to a few of these areas where I mentioned, it is a tiny bit darker like this section up the top up here to the left. It's not dark, but it is a little bit darker than the rest of the wine. Particularly looking at this patch here. Then work down all of this right hand side. Again, I just want to make sure that where possible, the transition from the dark edge into the lighter wine is as soft as I can make it. I am going to blend this again, so I don't need to worry too much, but it is going to make the finished drawing look better if I can try and make it reasonably smooth. From here, I want to work my way down the stem. Now you might notice that I'm not adding any of those lines around the top of the glass, around the C three section. Because I'm going to blend this pencil a little bit later on in this chapter and because this pencil is a softer pencil than the previous ones. If I add all of the lines around the top of the glass, I think it's just going to end up looking really smudgy. I want to save adding any final details up there until I'm moving onto a pencil that I'm not going to need to blend. So that'll be in the next chapter. I can pretty much work my way down. Go through exactly the same process as I did before, so blocking in some of these darker sections. And I'm just really looking at each area. Again, noticing where is a bit darker, where is a bit lighter? I can't stress enough. It's exactly the same process. It's just that this is a softer pencil which is looking darker. So it looks like it's making more drastic marks. But I'm really just doing the same thing as there was before. This is all made ten times easier because I marked everything out with the HB pencil, as well as the two H pencil. And so I've kind of got a template that I can work on because I took my time marking out those last areas. It means that this section is much, much easier. Although, as I say, it's not as dark as what I'm doing here, I can at least see what needs to go where. So I want to work my way around the bottom of the glass. There's very dark strip along the bottom. Before I move on to the other glass, I also just want to add back in this shadow along here. It's the same shadow, again, that they marked in in the previous chapter. But some of these shadows, I think just need to be a little bit darker. So I can go over these with the softer pencil, and it just helps to let them stand out a little bit more. Do the same on the right hand glass. So going around the edge of the wine once again, using those circular motions to try and make this look smooth. This section is looking a little bit lighter when I'm doing that. That's just the way that the light is reflecting. Is in actuality as dark on this right hand glasses is on the left hand glass. I work my way around the edge of the wine. I just want to add in any extra shading that I can see towards the middle. So particularly looking at this darker section here as well as along the bottom along here. Then once again, I want to work my way down the stem of the glass. So filling in all of these darker shapes, blocking in the darker shapes. Then I can focus on this section around the bottom of the glass, again, filling in these same shapes, which, as I say, is again far easier because we've got a really good, although light template. It just kind of gives us something to work off of. Then I can again add in any shadows that need to be a little bit darker. Particularly, there's a line going between the two glasses in the middle here, as well as the shadow or the reflection, I guess, underneath this glass on the right hand side. So this point, I'm pretty happy with my slightly darker layer. I once again want to think about blending this. Go to blend this again using a piece of tissue wrapped around my finger. Just like in the previous chapter, I want to really be keeping an eye on if the tissues getting quite a bit of graphite on it, I want to get a new clean section. I don't want to risk just smudging the whole thing. But I'm not too worried about making some of the lighter areas too dark because I can always lighten them up in a second. I'm not worried about how smudgy it looks around the edge of the glass. You can see it's looking quite messy. But that's okay. That doesn't matter. So let's do the same on this glass on the right hand side. And then by the time it's blended, it looks like this. So what I want to do from here is take my putty eraser, and we're going to tidy everything up. So I'm starting off by going very carefully around the edge of the glasses and getting rid of all of those smudges. So where the wine glasses were smudged where I blended it with the tissue, and it's all smudged onto the white section. I can just generally go around with this erasor and tidy that up. Kind of like to mold it into a little bit of a point, and then that just gives me a bit more accuracy on where I'm using this. I'm happy, I've gone around all of the outside of the glasses and it's looking much tidier. I then want to focus on if there's any areas on the actual drawing that need tidying up or need lightening up maybe. Probably, in my opinion, the most obvious area to start with is the light patches on the stem of the glasses. They started off looking very light. They're looking a little bit too dark now. So I can just very gently use the pat eraser over these sections, blending it and molding it into a sort of more flat section. I can just very lightly brush it against the edge. And you can see that that's lifting a reasonable amount of graphite. It's just getting that section back to as light as it is in the reference. I can then re mold the putty eraser and move on to the next section. I also want to brighten up some of these strips around the bottom of the glass. They look pretty light in the reference voto, and they're not looking as light in my drawing at the moment. I also just want to lighten up this area along here as well. It's lighter towards the top. I can also tidy up. There's a few areas around the bottom that I think could just stand to be a bit lighter again. That's pretty much all I'm doing with the eraser. Now, I can press very, very lightly and just remove a very small amount of graphite. I don't want to go overboard here. I don't want to undo everything that I've done. Now, on the champagne or the wine section, I just want to lighten it up a little bit, but not too much. So I'm dabbing the eraser here, and you can see that that's just lifting a little bit of the graphite, but nowhere near as much as on the stem of the grass. It's just lightening it up a tiny bit. I'm particularly focusing on lightening this central section. I don't really want to do anything around the edge. Do the same on the other glass of wine. Again, starting off by dabbing the eraser on the middle section and just lightly brightening this area up. All over, only on the lightest areas I can see on the reference. I pointed out a second ago, some of the darker areas on the reference. I want to now be lightening those opposite areas. Once I've gone over this top section, I once again want to lighten some of the areas going down the stem of the glass. So particularly this section again and some of the lighter patches towards the bottom. Now I'm able to use the eraser at this point because I'm not planning on doing any other blending now. I wouldn't do this if I intended on putting another layer of pencil down and blending it with a tissue because it would mean that I'd have to do this twice. I can do it at this point because I'm only going to use one more pencil from here and it's not going to be one that I'm going to blend. It's going to be the final section where we add in the detail. Just going to add a few last little touches to the top. Then I'm happy with the amount of raising that I've done here. That is it for this chapter. 8. Adding in the Final Details: Right. Let's add in all of the final details. Now, to do this, I want to use the darkest pencil that I'll be using on this drawing. So either the softest or the darkest. Now, it's completely up to you what you use. I'm using a black polychromos color pencil, and I'm using that to add in these absolute darkest areas. If you don't have one, then you could use a five B pencil or maybe a six B pencil. I just personally prefer using the black polychromos because it comes through mat, so it makes the darks look really nice and dark. Now, I'm starting off with this pencil going around the top again. I mentioned, I didn't go over any of these lines with the last pencil with the three B pencil because I didn't want to risk smudging anything. But because I've now done all of the blending I'm going to do, I do want to go back over and make these lines around the top much crisper, so I can go back over this with the black polychromos here. I'm just really focusing on what I can actually see around the top here. As I mentioned before, it's got these double lines, and the top line is darker than the bottom line. I'm also noticing around the edge that there is also some double lines around here. So down this side here, you can see quite a thick line, and then there's the thinner line right at the very edge of the glass. There's also this line here. And along the top here, there's this little section in the corner. So that's the kind of thing that I'm looking at that I'm then wanting to add in. Most important thing to do here, and I can't stress this enough is to make sure that you have a really sharp pencil. It is probably the most important at this point because there's so many of these smaller fine details to add in, and you really want to make sure that you can control where the pencils going, which is only really possible with a sharp pencil. I've done that top section. I want to go back over the edges of the glass here really make these areas look a lot darker and pop a lot more. So once again, working in these circular motions, I still want to be trying to get this as smooth as possible. And I'm noticing that the darker areas around the edge are really dark, pretty much jet black on the very edge of the glass, and then a little bit lighter further in. So that's what I'm trying to do here. Although I'm still pressing lightly working in these circular motions, I can go over an area more times if I want to build up more of this black. As I say, this will work exactly the same if you're using a five B or a six B pencil. You might just need to sharpen it a little bit more often than I have to sharpen this polychromos pencil. Because I generally find that the softer graphite pencils just wear down a lot faster. So I can work around the edge of the wine section. Once again, it's really exactly the same as what we've been doing up until now. I will add an extra line along the top here though you'll notice that there is a kind of double line. Here? You can see it along here, so I want to be adding in that second line. And then I can move on down the side and add a bit more shading. So these are the kind of extra details that I'm needing to add at this point. They're reasonably minor, I would say, they're not huge differences, huge things that need adding. You just really want to be looking at the reference photo and looking for any of those odd little extras. There's going to be a reasonable amount of shading to add on the stem of the glass here because so much of it just looks like blocked in black to me. All of these sections down the side are pretty much just black. I just want to avoid that area towards the middle, which is, although still reasonably dark, it's quite a lot lighter. I can block in these areas, and it's really just making what I've already got here look darker. I'm not making any major changes. I can also work my way around the bottom of the glass. Again, just going over those really, really dark areas. So much of the work is already done at this point through building up the layers of the slightly harder pencils and from adding the light back in of the erase, there's really not a huge amount that needs to be done on this final chapter. We're just finally increasing the contrast a little bit more and adding in any extra details. The details like, for example, where I said, I can see a very subtle line running through the middle of here. That's again, the thing that I'm wanting to be adding in this chapter. Pretty much the first glass finished. Let's do exactly the same to the glass on the other side, really looking for any of those extra details. So I can start off by going around the top of the glass. I'm noticing that there is again a kind of double line along here with the more left hand line quite a bit thicker. This side, I'm noticing that there's a reasonably prominent line up here, then it gets very light towards the middle, and then it gets darker again. And beyond that is the same that I pointed out earlier. The line along the top here is a more prominent line than underneath. This, again, is quite dark around the edge, gets lighter and then darker again and the same around the bottom. Prominent line around the top and then darker gets lighter and darker again. And that's what I'm doing where I'm going back over these lines that I did with the HB pencil, making those same areas more prominent. Then work my way onto the wine section. Again, you'll notice that at the top of the wine section, I've put a double line along here as well. I can't see it on the reference photo, so I do want to include that. Then I'm just going to work my way down the glass of wine. All the champagne, maybe it's champagne. It's this part that I do really like because I do think that it all comes together. It just really pops. You always like doing the final detail section. All of the work that we put in on building up all of the layers just suddenly comes together. Again, on the stem of the wine on the right hand side. A lot of it is just blocking in and going back over what we've already done. I do want to take a minute to add a little bit of extra fine details on the reflection of the buildings. On this section here, they're generally darker towards the top you'll notice, and I can just add some very light flicking motions with my pencil. But I'm not needing to add a huge amount of detail here. As I've mentioned before, I can zoom in a lot more on my reference photo than I can on my drawing. The drawing isn't a huge drawing. There's only so much detail that I can actually add. If you added loads of detail, but you couldn't see it at kind of a normal viewing angle, then I think it would just be wasting time. As I work around the bottom, I'm once again, noticing that the odd strip here has kind of double lines. So this section here, you'll notice that there's that dark line that's going through the middle. On the most part, I would say that that's the main detail that we haven't added in that I wanted to add in. Once I work my way the whole way down, the last thing I want to do is just tweak the reflection and the shadow a tiny bit more. So just going very lightly back over what's already here. I'm not needing to press hard here. This is a reasonably light section. I just want to help the shadow to pop a little bit more. And then that is it. 9. Summary: Right, and that is the end of this course. I hope it shows you that maybe it's not as difficult as you might expect to build up the graphite to make some really nice and rich drawings. So I always want to start out by drawing out my sketch outlines, making sure that I get the proportions, right. I can then take a minute to have a look at all of the key details in the reference photo, anything that I want to be bearing in mind whilst completing the drawing. Then I can start working my way through the different graphite pencils. I always want to start with the hardest pencil, and I can use this to map out the key shapes. Once I'm happy with those key shapes, I can then blend it all with the piece of tissue, and I can move on to the next pencil. I want to gradually work my way through the pencils getting softer. I can then use the eraser to add in all of the lighter areas, really brighten everything up before adding in the final details, which in this case, I did with the polychromos pencil, but you could do with the six B pencil. Hope you found this course helpful, if you have, please do leave a review. Do upload your drawings into the class projects. I would love to see what you've done. Happy drawing, guys, and I'll see you in the next course.