Transcripts
1. Introduction: For objects, each of them
having good, gentle curve. Let's bring it up. My name is syrupy
and let's work in working towards shading,
sketching, drawing. I'm bringing that
realistic effect. We just need a pencil
eraser and any dry brush. Hope you enjoy the process
of building it up, making it look as real, and studying the light, which is a very important
part of this lesson. Look forward to seeing
your project work.
2. 4 curved objects - outline: Let's begin drawing. You can move a little on the
left side of the sketchbook or your paper that you
using to make a cone. Let's make a shape
of a triangle. And below that, you
could add that curve. Make sure your pencil
is a bit sharp. This is just a quick sketch. We're not going into
detail right now. Just having our placement ready. Perhaps the colon can be
a little not too deep. After all, it's
resting on a table. And you could choose the
angle that you like. If you want to make
the code wider, you could do the same. Now, we're going to be
Aachen, a round object. This could be a bowl. Wu long round. Tried to just have
that round figure at one go with a lighter stroke. Holding the same
pencil throughout. That is the to-be pencil. I loved the to-be pencil
is just about right. Not too light, not too dark. And you could change the
pressure of this pencil. And the third object will be a cylindrical shape,
a small cylinder. And how about
having it a little, just a little touching the ball or slightly in
front of the ball. To draw the top part
of the cylinder. You could draw a line. And then the curve at
the top and bottom. Cylindrical shape
is very important. Especially if you were
to make a glass object, a glass or a coffee cup, or a ways which
is straight line. Or perhaps Alexa. This could be, you
could say that because it lets us also
the cylindrical shape, the bottom curve
of the cylinder. It's always the same as the top. Make sure that part becomes
a bit easy, is just the top. You have to check
that the curves are, the edges are smoothly flowing across, habitable,
running across. And we could add a
fourth object as well. After we do some
quick touch ups here. And the fourth object
perhaps we could have, is another cone, but a truncated cone or partial code which is
cut off from the top. This could be a wider one to
start with that same curve. Bring that line in the center. If you find that a bit easier. And then bring that
outer slumped. Same for the left and
right of this cone. It's partially cut
and it's a bit wider. We working with all curved
objects in this lesson, if you're not sure if the
curve has come up great as, as I have onshore here as well. Make a straight line as
we did for the triangle. And then check this
is our placement. You could clean it up a bit. And we'll move
towards next step.
3. Shading: I had to shift the cone
a little bit towards the right also because my earlier video of shading
to not get recorded. So I'm just creating this again. You can see the erased
marks at the back. I apologize for that. So we have are
four objects back. Once again, we started
with a triangle. If your triangle, the cone is a little on the
left, that's fine. I just took the chance to
bring it a little closer so that we could have an extra
overlapping and shading. Now, the next step is the
shading with the same pencil. Let's start shading
towards the right. We're having an imaginary light coming from the left side. Thus, it's going to be dark. Underwrite. Let's start with
the object on the left. When we do the shading, we make sure that we do not go outside the nice
drawings that we did. The sketch, the outline. So go along the shape and then add that curve
to this cone. So don't go into
horizontal line. Neither do you want to go
in a perfect vertical line. It has to be a little
bit of that curve. Swing your pencil right
to left, left to right. And to make sure you don't
go outside the cone, you could have a
darker line just ran across so that we don't go
outside the right side. We don't like to stay
in one place too long. It's good to just fill it
up with the base shading. For all. This is the same pencil. I have about three
or four of the same. If not more, have them with you. Sometimes it may
not be as sharp. Instead of spending time sharpening them out,
cutting them out. It's great to just have
the same set of to be. I'm making this class easy, but using only one pencil. There's so much you can
do with the pressure. So whenever I want
it to be lighter, I hold my pencil from faraway,
holding it comfortably. And whenever we want a darker, you can come a little closer to the nip as we are right now. The base bottom of the ball is dark because
there's no light coming. As with the right side, as it's gonna be
even older objects, right side is a bit darker. So bring your pencil
that is closer. Just checking the curve
because the ball is after all, behind the little cylinder. The cylinder as well on
the right side, swing, get across first half that line, line going straight down. But we want to make sure
that vertical line we did, we only did it
vertical but because the object is nice
and standing tall. So we did it vertical
so that we do not have our swinging pencil
marks outside. But we will correct
that vertical line in that photo blending to bring the gradation on the top left part of the cylinder is
going to be a little dark. The light is falling
on the left. Yes. But doesn't mean
that it's falling all over on the top there is a slight bit play of light here. Different tones. Same goes
for the corner on the right, have that slot, and
then swing your pencil. Keep changing your pencil. So the word should
start looking great at the first step itself. We'd like to work in steps, or I would rather say layers. So what we've done is the very basic base layer of everything that
will be pencil. Yes, we will continue
with the same pencil. But this is just to work on the lightest sections
is better to be light, then move dark right away. We've used are
fairly lighter tone. And we're playing
with imaginary light. So we can just
guess that there is a little dark here because
it's very strongly curved and a little light
towards the left side. So this is our first step. First layer to the four
objects with the curve.
4. Deeper shading and blending: Let's bring in that
darker blending. Swiping right to left, shrinking, get
across for our corn. Noted that we are
using the same pencil. The only thing I'm changing
is the pressure of the pencil pi one to
add the darker sites. So a little extra dark
towards the right. We want to hide
that slanting line. We did as a precautionary
that we do not go outside using the same pressure. And as we moving
towards the left, a bit lighter, very light. And coming to the ball. Any object, whenever
there's a shadow or not. Even right at the bottom, even though there's
lots of light, the darker side of
the object will be at the bottom because that's where the light is not falling in. The sunlight is coming in front. Yet we will still see
a slight darker tone. It may not be as dark otherwise, but it will be dark compared
to the rest of the object. Coming from the bottom, the ball, we made it
super dark at the bottom. But that's when we have
to bring that blending at that part where the dark
and light are meeting. I'll go with a
fairly less medium, less pressure so that
I get that blend, which is very important
in our shading process. It's easy to sketch
out and draw, but shading is where it
takes a little extra time, but gives a fairly
realistic effect. And this is what's
going to help. When you bringing in colors
later on with watercolors, where we move from
light to dark. Acrylics, where we get
that blending as well. Spreading the paint with water. Oil pastels bringing
in darker or lighter and lighter blender
oil pustules. So here, light is coming less. You could take a sharp eraser just to add that extra
curve in case something has gone out by mistake and any dry brush
to clean out the flakes. For the edges, It's nominally best to use a sharper pencil. So let me make sure
we do not go outside. The object has been moving towards the
lighter part of the ball. Pencil pressure is lesser. Same goes for the cylinder. And as we completing one
object to the other, Let's give a little shadows. Well, so the ball, it's behind the cylinder, so it's mostly getting hidden. For the cylinder. Let's darken it further
on the right side. You could go slumping, but make sure you swing
your pencil as well. Slanting is so that we know that the light is
coming on the left. We know it's dark the right, but we're not going
to go just vertical. We have to go in direction, which is adding to the curve of the object a straight line, once again with a
very dark pressure. And then once again
add that slant. So you notice how the
green from the light to dark pencil marks the graphite from before are
getting blended with the extra dark pressure
that we're adding. Swing your pencil. As we moving towards
the left, it's lighter. In the middle. It's a middle tone where the
dark and the light meat. We don't want that very sharp
line which hides the dog, which shows the dark
and shows the light. We want that middle ground. And as with other two objects, the cylinder is also
very dark at the bottom. Moving to the colon, the partial cutout gone. Dark on the left.
Again. These objects are just drawn a bit
from imagination using our idea of light. This is just to get
you started with the deep shading process, which I hope it's building up. Wherever it's dark. Once again, pencil is going
along the shape of the slant. We don't want that
vertical line, but we want to hide it. Ring that dark pencil, not the dark pencil. I mean, the dark pressure
of the same pencil. Drag it towards the left. From the dark, towards
the light on the left. We still see that sharp line. We're going to press it, but this time in the
swinging direction. And then the lighter
pressure comes along, swing it so that we get the
natural curve of this object. It blends in, bringing it
that dark towards light. That natural gradient effect. Find the edges. You could use
your sharpened pencil too. Make sure nothing is poking out. And it's smoothing. And then dark again
at the bottom. One can just spend time, minutes, ours on it, just to make it look
as real as possible, as 3D as possible. With the magic of one pencil.
5. Final touch ups: It's always great to come back. Once again, take a break, have a cup of coffee, and come back and see your work. You'll see another perspective. You will see perhaps it's
already done, it's complete. Or we could add that extra cherry on the
cake. How about that? Sharpening the edges, defining the little
darker sections a bit more so that it comes out
right at, right at us. Especially for the ball. It's got that curve. It's got that blue
shadow with the back because there are two
objects in front of it. The work was looking
grid anyway, but with the same to be pencil. Just bringing in
that extra blending, extra gradation, and
smoothening the entire drawing. With the cone as well. Maybe started. It's great to user. Keep changing your pencils. You can change the way
you're holding the pencil as well for that extra dark. Hold it. Get that group. Earlier we were using
the tripod grip. Now we're just holding
it like a stick. Adding the extra bit of shadow. If you see the photograph from the last video and now you
see a bit of a difference. We can guess that
that shadow is for the cylinder on the right. And this, of course
were the cone, which is the only shadow which
is completely seen here. Since the object is
right on the right side. I hope you have the eye to just see to do a
fine quality check. Auditing, whatever
you may like to call it, check everything. Even though it's a
very small work, It's been in front of you for so long since you started
with the first drawing, the first bit of outline. You still see it with another
I see from a distance. But those cone, it could
have been a little sharper and the top just
doing an extra cleaning. And with any clean dry brush. The fine tuning
and bear done now, whatever it's extra is just
to make it super impactful. And there we go. We'll be enjoyed building it up.
6. Protecting your artwork: Here you saw, I'll
be bought about our four curved objects
with one pencil. I hope you could follow through the flow how we move
from dark to light. Changing the pressure
of a pencil. Work is finished. What do we do with it now? It's in your sketch book, it's in your paper, or you want to keep it
inside a folder. Great. But what happens is when
you close your sketch book, alright, you don't need
to see it anymore, but after a few days
or a few weeks, you will see a bit
of a smudge mark, which is not nice
because you've done so much hard work for your
pencil, shading, drawing. This is a complete drawings. As a reminder, it's always
good to keep checking. What is a drawing? A sketch. This is a drawing.
It's complete. It's got the deep shading. Sketch would be if
I were to just make the outline or
some quick strokes to bring out the dark sections. Just a very rough golf, but not into so much detail
as we did right now. So that would be a sketch, but this is a growing baby
born into the details, studied the light, the curves, the shadow, how the
object is dark. When it's in front of each
other, especially dark. How the night is playing a
strong role. Coming back. How do we protect the works? We have a fixative spray. It could be any brand
from your local art shop. It protects not just
a pencil, charcoal, and soft faster as well, while pascals mostly not
soft and you use it, give it a good shake. Instructions are normally given. Don't use it in a
very hot environment. It's pretty hot in New Delhi, so I have the air
conditioner on for that. Otherwise, it would be a bit of a toxic smell as well
and may not be a vector. And it has to be held
about 30 centimeters away. So after giving it a good shake, It's got a bit of a
stroke smell as well. And we are very mouse,
I guess, right? So let's just read it. I can protect myself from the smell. After a shape I'm
going to spread. The smell is still
pretty strong, is better to do it outdoors. And I've given it a spread, is going to drive in
a couple of minutes. And I'm good to close
my sketchbook and start with a new work
on another page. I'm not too worried
about nine, smudging. Work is safe if I
were to touch it, right, Not right
now, but it's wet. It should dry up soon enough, evolve to touch it. If I was to add some
more pencil shading over it, it cannot be done. I could add extra here around, but not so much here. Why am I do it anyway? It's protected. So let's leave it at that. That's a very handy
fixative spray, which I hope you'll
consider with drawings, with lot of pencil,
deep shading. I hope you enjoyed in creating these objects and
drawing them out. Getting the curve right. Playing with the
pressure of your pencil. We made it easy here. Just one pencil that's about it. And a paintbrush
and your eraser. Three things along
with your book. No ruler, Noah, extra pencil, no light, no dark. All we have to do is play
with the pressure lines. So I look forward to
seeing your projects work. Pick up all four. Okay. Fine. If you want
to do do want to do all four pickup
couple of Damocles, one in front of the other. Either way, you can
play with the light. How about having the light on
this side? It's up to you. Let's see where your imagination takes you absorbing the light, understanding the
flow and tradition. Look forward and ask me any
questions whenever you have.
Surbhi Bahl, Art tutor
