Sketching Basics: Drawing Textures with Markers

1. Introduction: Welcome to sketching textures with markers. My name is Orga. I'm Industr Sketcher and your skill chef teacher. Today, in this class we will delve into the world of textures and explore how to bring food, glass, and metal to life using markers. Drawing different textures often looks complicated and confusing. In this class, I will give you a clear step by step algorithm to make sure you can do it. We will break down the process in manageable steps together. We will walk through the process of drawing textures from pencil sketch to finish sketch reustrations. By the end of this class, you will have the skills and confidence to create stunning sketches that capture the essence of these materials. The primary focus of the class will be on providing you with clear and understandable steps to draw realistic wood glass and metal textures with markers. This class is suitable for beginners and for everyone who want to improve and refresh their skills. Now let's dive into the process of drawing. Let's begin our artistic adventure together. 2. Class project: Now let's talk a bit about our class project. The project consists of three sketches in total. I suggest you draw a wooden figure, a glass of juice, and a metal milk pitcher. You can choose all three sketches for a full immersion in the diverse range of textures. However, feel free to select variations that inspire you. You can draw only one texture you like. This project is all about personal growth and exploration. Before we get started, let's quickly go over the materials you will need in attachments. You will find the color paper that I used. You can pick up similar colors from what the ones you already have. I use touch and ooh markers In this class, you can use any markers or draw with whatever materials you have on hand. As always, for markers, you will need a special paper with a density of at least 120 gram/centimeter or your favorite sketchbook. I also encourage you to observe reference images you can find semi prepared for you in the projects and resources section. It will help you to capture the details and characteristic of each texture. I invite you to share your projects In the projects and resources section, it will be a wonderful opportunity to support and inspire one, each other together we can celebrate the progress we made and provide valuable feedback and encouragement. Let's get started. 3. Textures Overview: First, let's take a look at the general aspects to consider when painting textures of wood, metal, and glass on any object. Apply the basic principles of light shedding, but consider the material from which it is made. That is, the basic rule is that any texture is applied according to the shape of the object. If you want to learn more about how light and shadow form on different objects, check out my skill. Share class. Sketching Basics. Drawing Shapes with light and shadow. Now let's talk a little bit about each texture separately. Let's start with wood. Wood is a textured natural material. Usually wood is brown and its texture is traditionally striped. Our main task here is to show all these jagged edges, stripes, and drinks which are also often found on wooden objects. Class here, it is important to understand that when drawing glass, we will always have a lot of glares and reflections. If the glass is transparent and the drink and it has some color, this color will always be reflected in the cast shadow. Often glass is thickened at the edges and there will be darker areas. We usually see the thickness of the glass at the bottom. In faceted rectangular objects, you can see the thickness of the bottom and the thickness of the walls very clearly. In thin glass objects, you often can see the thickness of the walls, but you can see the thickness at the bottom. Now to metal, if the metal is glossy, it will too have many different light and dark reflections. It will reflect what is around it and this reflection will always be distorted. Mud metal has less pronounced glare, but it also reflects the objects around it. Now it's time to try to understand this in practice. See you in the next part. 4. Practice: Wood: Welcome to the first part. We embark on a journey into the world of wood texture. I suggest you to draw a cute wooden rabbit. We will draw this rabbit on the left because it has a more pronounced wood texture. First, we need to understand how the rabbit is eliminated. The light here is on the left and in front, the lightest part will be the central part. This part on the right, will be in the shadow. Here is where the back will be a zone of half tone. Pay attention to the direction of the wood grain. Here the grains are at an angle. Let's start drawing. To begin with, we outline the general position of our figure on the sheet. We don't have any special composition, The rabbit will just be about in the middle of the sheet. Maybe it will turn out a little bigger or a little smaller. We will see now that the rabbit is turned sideways to us. We draw it considering the perspective. First, I'll just mark these rectangles. The basic shape of the rabbit here will be the head, here are the legs, here we will have the back part of the body. We do this just for our convenience and better understanding. We also form our rabbit from a piece of wood and start with the snout and then to the body. Like sculpting this rabbit. I remind you that we are not striving for perfection. We don't immerse in the nuances of construction. Now we're just doing sketching, and our main goal is to learn how to create textures. I'm putting quite a bit of pressure on the pencil to get a better view of the video. Let's add ears to our creature. And we will draw the eye at the end with the liner or black marker. Now let's remove the top layer of the pencil and outline our rabbit with the liner. Like this. Now I remove all the remaining pencil and we can start working with color. We start by making a color under layer with marker. I will take my B 113 and cover the whole rabbit with it, except for the shadow part where I will directly work with darker shapes. Now I just fill the rabbit with color. Here we can ignore the direction of strokes. It is convenient to do it with a broad tip. Now I take my B 103. You cannot sit well on my marker, but it is A 103. And I'm going to fill in the entire shadow part of the rabbit visit on the reference, there is just a dark place here, but we are going to add an outline so it's clear that there are pos and I'm going to fill those places with air 103 as well. We begin to add these 103 in shadow places here on top of the snout. And at once with B 113, I mix colors a little to get a smoother transition here. I don't just fill with color but work with such strokes because now we form a first layer of wooden texture. Then I move on to the ears and let's add B Air 103 to the body. Here we put strokes in the shape of the figure. We are already showing the texture of wood. And now with 130 is the colors. A little until the marker is not dry. Again at B 103 and our bit already become wooden. I take dark air 93 and even more, deepen the shadows. But here you need to be more careful not to over darken the pattern, the light on the ears, you can mix a little with B 103. We continue to deepen the shadows with B air 93, cover completely the shadow, part it. And then on the top of the same marker, we show the texture with strokes as a second layer. And let's set a little of the same B air 93 on the light part. I remind you that we apply the strokes in the direction of wood grains. So we show that texture of the wood on our sketch. And I mix the colors with my air 113. And again I do it in the wood cranes direction as well. And now I'm going to add a little bit more of B air 103 before the marker is completely dry. Again, with my air 93, I reinforce the texture with strokes. In some places the strokes are of different lengths and thicknesses. Vatican drinking with the Pope, a mountain peer getting French toast, Tokyo, Sukipbepetat. Yeah, I got that, Yeah, I got that. Somewhere we can directly draw the three rings for a more illustrative look. Yeah, I'm not driving here, not to close. I mean, lying up as of moist them tats here, they're doing the most of the original to come close. I got that. I got that. Now I take a more intense brown 92 and added in the shadow errors to show the texture even better. Here are the strokes I applied carefully in the direction of the jagged edges I got that day. I got that day. I got that day and now blew a bat with B A 103 and keep going with B Air 92. It always will be darker. In the place of refraction of the form here. Between the head and the body. Between the light and dark pot. Get your biscuits in the kitchen. Masha Fauna, Mission Bay. W the lid. It's viscous. Were about to break the dishes. Got the pepper with the sodium we're cooking with petroleum. Come step up to the podium and cut up the slinoliumjt. Sit down is stupid. No sitting down an more time. And of course we pay additional attention to the shadow part. Peaches off the stupid work that throw back and watch them shoot scotty pip and all mix it up like cold. Shake your buffalo chicken bran. Get your crates. Make it that you sang. Just oddity rule. He see your window? Just moodier. See your window. Now I take my darkest. B are 99. And deepen the contrast even more because the markers get lighter. When they dry, we will go lightly over the darkest area. See your way. Just sitting down a stair fit. Let me see your word. In the darkest places, you can even go twice. And now with my B 103, I'm going to mix it up a little bit and don't forget about the tail. Now we can paint the lightest place on the ear. For this, I take E 130 form. This is such a light whitish yellowish shade, paint here inside the ear now with a black marker. Let's draw our eye then Maybe I will strengthen this eye with a liner. Also, I add some black to the shadowy places on the legs. Also, we see that the rabbit has a very slight cast shadow. Let's add it for this. We need several shades of gray from light to dark. We start with G 0.5 and roll the basic shape of the shadow, it closer to the figure itself. Strengthen the shadow with G one. Even closer at G three and a little CG five at the bottom of the rabbit. And blend everything with C G three. Now I take a dark gray G seven and go with it quite near the post blend a little bit with C G three. Also, we can take our C G 0.5 and blend the shadow a little bit. But we can do the same with a blender. It will make the border of our shadow while the shadow is dry, we can add detail with a white pencil and white gel pen. My white pencil is already so tiny, but I really like it. On the reference, we can see that there is a pretty pronounced glare here on the back. I'm muting it a little bit right with my finger. You can do it with a piece of soft paper or a soft era, but I find it more comfortable and faster to use my finger. I add a little more white pencil in the light areas. Now with a white gel pen, I enhance the most pronounced highlights and maybe add some dots to add a more illustrative look to our sketch. Note that in the shadow areas, we don't add any white gel pen. It's quite dark there. It's important not to overdo it. And here I even wanted to mute a pen with a pencil. Again, it's important to stop in time. Sometimes I should tell it to myself. Yes, let's go around the eye with a liner. And go over the bottom of the legs with a liner too. If you have good color pencils, you can additionally work out the texture of wood. With a brown pencil, it will be more delicate, but again, it's totally up to you. Our bit is ready, we can move on. 5. Practice: Glass: In this part, we will study glass texture glass with its transparency and reflective properties offers a unique challenge and opportunity. I suggest you to draw such a nice glass of foreign juice. We start by understanding the lightning. The light goes on the top right. The cache shadow is on the bottom left. This area is in the light, there is a shadow and reflect from the surface. This area is lighter. Let's start drawing. We start by outlining the axis of our glass, like this. Then we mark the axis for the top ellipse. Now we show the axis for the bottom ellipse. The bottom ellipse will be smaller. Let's also mark the widest part of the glass. Now let's outline the top ellipse looking for its shape. Okay, And now to the bottom ellipse, connect the top and the bottom. To check for straightness, you can turn the sheet over and you will immediately see if something needs to be corrected. I correct here a little bit and here. Okay, now let's add sickness to the top edge of the class. Here it is. And let's draw this juice itself. Also, we show it with an ellipse ready. Since our glass is made of scene glass, I suggest you not to make an outline with a liner and work directly with markers. Let' s now carefully remove all unnecessary lines with a soft eraser and leave only a thin counter so that we can see our glass. And let's start working with color. I'll take my lightest gray C G 0.5 and carefully outline the counter of the glass. It okay, here it is. Now let's show the liquid level for this. I will take this yellow 35. And now it's important to leave the glare unpainted. We leave this place white because it will be difficult to show this glare later. And also, let's leave this glare unpainted. We can leave this rather bright glare at the bottom, this one above it, and painted to perhaps they will have to be emphasized additionally later, if the marker bleeds on them, because these glares are quite thin, let's leave it that way for now. Take our G 0.5 and continue to outline this glare. Also, we are going to show the second glare here, right next to it. And we can paint the place between the highlights with G 0.5 right now, and also added here on the left here. We have a big highlight too. We leave some place for it, but we will show it later with a white pencil because it's not as pronounced as the highlight on the right. I cover this part C G 0.5 and add it to the darker places on the top edge. And I go a little bit more around the edges of our glass. Now I cover almost the entire inside part of our glass with the same C30 0.5 The marker will dry and it will become much lighter. Emphasize the top one more time. And now I take my G one and edit right here on the border of the glare along the top edge of the glass. Right here on the border of the glare too. A little bit darker here, right here on the inside part. As I said, now I'm going to cover this big glare on the left with G 0.5 later. We highlight it with a pencil. Right away, we can blend the transitions with the same marker. Go one more time on the sides of our glass. And now let's add C, G, two in the darkest places. I'm sorry you reached the number that has been disconnected or it is no longer in service. Okay, now I take this classic yellow and gently added along the top edge of the glass because that's where the juice is reflected. Then I take a brighter yellow Y R 170 and add this bright reflection in the center. Okay, now let's leave it that way for now and start working on the juice. I take Y 35 to make a color under layer and cover all the juice. Note that all strokes I put on the shape of the glass so the first layer is ready. And now we take a darker yellow Y 30 form and start adding it where the juice is darker. In this way, we form an area of half tone, and don't forget to save the light zones. And now with our lightest yellow, Y 35. We mix the shades together. Okay, here it is. Now I take an even darker tone, Y 170, and start to form the darkest places of our Jews. And now mix it all with Y 34. We can even go over this orange shaded self with Y 34 to mute this bright shade a little bit. And I add a little bit of the same color in the center of the top edge of the glass to soften the orange a little bit there too. And I gently add quite a bit of the same shade along the sides of the glass. Now I take my darkest shade, Y R 23, and show this bright stripe at the bottom of the class. It, as you can see, this stripe is very noticeable. And also, let's add Y R 170 at the bottom of the class. Okay? And now with the darkest shade, Y R 23, we go underneath the very bottom of the glass like this. Now with the lightest yellow, 35 blended a a little bit and with the same tone. Go again over the light areas. Now take Y 34.1 more time. Go with it on the zone of half tone and strengthen this border in the liquid a little bit more. And before the marker is dry, let's add G one to this border to make it even more noticeable with the same C one. Let's show this shadow in the left part of the glass. Soften that transition with C G 0.5 Now I want to add some gray to the base of the glass, something like this. Also I go over the top edge of the glass, again bringing all the shades together and one more time on the control of our glass. One more time on the top edge of our glass just to show its thickness and make it more pronounced while the markers are dry. Let's show the cast shadow. I take my C G 0.5 and slightly draw its shape before the marker dries. Let's gently add Y 34 to this shadow because it is reflection of our juice in the cast shadow. Let's carefully add our darkest Y, R 23 under the glass. Now blue it with y form. And on the top of it, again with strokes, add our CG one. And now with a blender, we can blue a bit borders of our shadow. And I want with my Y R 23 to emphasize at the very bottom of the glass. Also, we can intensify this bright line on the juice a little more. I think we can even enhance that reflection at the top a little more too. Now I take my white pencil, or rather what's left of it, and start handing the highlights on the right side with it. As usual, I used the pencil with my finger, it's more comfortable for me. And let's show this big glare on the left also, let's show these small glares here. And this glare on the left side is more pronounced, so I think we should emphasize it a bit more. Also, we go over the reflected light areas on the sides of glass tomb. Now we strengthen the glare on the surface of the juice. Here you need to look carefully at the reference and notice where the glares are. This is not always easy to catch because class objects often have a lot of very different small highlights. But we don't aim to 100% repeat the reference. We need to show the texture of the glass itself. That's all now with a white jail pen. Let's add the brightest highlights. There are a lot of them on the top edge of the class. Also let s show bright highlights on the bottom of that glass. We also can add white pen along the brightest glare here. And somewhere we can show these white bubbles on the juice. And add some white dots to make our sketch more illustrative. Now I see that I want to emphasize the left edge of the big even more. And we can still go over the top edge of the glass with a pencil to also. I see that the upper counter is a little bit floated, so I take my G one and correct it with the same CG one. We can also go over the shadow again because the marker has dried and now it's much lighter. I think that at the base of the shadow, we can even add a little bit of C, G two now. Okay. I also want to correct a bit this bright line at the top of the glass because the marker has dried and this line has become too big on the reference. It is more delicate. If you already got it seen, that's great. Well, I like it better now. I think we managed to capture the texture of the glass. I remind you that when drawing glass, you need to pay attention to a lot of glares and reflections. If the glass is transparent and the drink has a color, and this color will always be reflected in the cast shadow. Usually the thickness of the glass is visible on the sides. Here we have a very thin glass and we see the thickness mostly at the bottom. Let's move on to the metal. 6. Practice: Metal: Welcome back. In this section we are going to work with metal drawing. Metal surfaces with their reflective shine and intricate details can be quite challenging, but we will try to deal with it as a reference. I've chosen this nice milk pitcher. Let's take a close look at the reference. We see this big white glare and pronounced almost black stripes on the sides. The part on the left is more in shadow. The handle is all in the light. We have noticed for ourselves the lightest and the darkest places on the reference. And we can start drawing. We start by drawing the center axis, then outline the base like this. Now mark the top part. It is a little narrower than the bottom part. We will draw this tip later. Now we begin to form the upper ellipse. That's how it is. Now we go to the lower Eps. It's even more open. Okay, now we connect the upper end, the lower ellipses. To check our lines, we can turn the sheet over and correct something if it's necessary. That's it. Now let's draw the tip of the picture. It's torn away from us, so we draw it a little in perspective. And let's move on to the handle. It may be a bit tricky because the handle doesn't have a simple shape. So we're looking carefully at the reference and roughly repeating the shape of the handle. We're not doing any complicated constructions here. Our main goal in this lesson is to deal with the texture of the metal. I even perhaps lower it down a bit. This is how we roughly outline it. And now we can begin to sculpt it shaped around the corners and correct something somewhere, something like this. Now we remove all unnecessary pencil lines. Again, I want to suggest you work only with markers without outlining with liner. Maybe later we will let it somewhere we will see. We go straight to the color I take on E and outline our picture. Done now we can take C G 0.5 and pay the entire handle it. Now with the same C G 0.5 we can outline the boundaries of the big highlights. Here we'll have a bright dark. The location doesn't have to be precisely in the same place as on the reference. It's important to show the texture of the metal Now limit the large light glare that it expands to the bottom. The brightest glare we have is the center. And we can fill the rest of the right side with the G 0.5 Now let's take C, G one and mark the bright highlight which is located in front of the darkest place on the left. Now we bravely take C, G seven and begin to form the dark highlight. Also, we show this dark stripe at the bottom of the picture. We look at the reference and roughly repeat the shape of this dark high light, and we move on to the dark glare on the right and outline its shape. I make the highlights smaller than on the reference because otherwise they won't fit on my sketch. But again, we don't have a goal to perfectly repeat the reference. Now we take G five and we are going to use it here on the left. Here on the very edge of the picture between these two parts on the reference is the slight part relative to these two colors. We show it with C, G, three. My CG three has dried up. I'm going to switch to another one and continue to blend the shades for smoother transition. Adding a little bit of the same G three at the bottom part, I take G five and once again intensify the darker areas for more contrast. And with CG three paint on the tip. Now we C, G five, add shadow nuances on the tip. Mix a little bit with my CG three. And once again enhance the shadow places with CG five before the marker dress and with the same CG five, I showed the small dark glare on the top. I showed it with the same strokes as in the reference. Now I take CG nine and deepen the darkest places even more because when the market is dry, they become lighter. And I want to add more contrast. And now I blew this edge with C, G seven, just a little. Now I will let a little of G five and then blend it all together with G three. Then on the right side of there, we can also go with G three, but very carefully. Okay, now we take G nine and intensify the dark glare on the right side. It has such a clear border, so we don't blend anything here. We can go with the same marker on the bottom part just to give it more contrast. Now again, marker is dry and I want to strengthen the left dark highlight even more like this. Let's take G three and show this highlight. I'm not blending anything here. Reached the number. It's been disconnected, it is no longer in service. Please check the number and try your. Now we need to show the reflection from the handle. Let's outline a shape with CG five. If you're afraid, you can draw it first with a pencil. I show it straight away with marker. Note that the reflection of the handle will have a slightly distorted shape. Okay, we have outlined it and now we C, G three pains this reflection. Now let's take G five and start darkening it. Note that again, we apply strokes to the shape. And with C, G seven, we deepen the shadow areas even more. And with C G five, we carefully smooth transitions. So now with C, G three, we will go over the right edge of our picture. And with the same marker, we go over the bottom edge here on the right side, we can add a little more of the same G three. Now we take C G five and add it a little bit on the right edge. And with CG one before the market dries, we go 0. Cg five once again, and then add a bit of CG three again. And now we take CG 0.5 and blend it altogether. And also, I want to add g one for an even smoother transition, and with the same CG one. Let's work on the handle and darken it a little bit and we can adjust the three a little so the handle becomes more visible. Let's set the same CG three in some places on the handle itself to make it more contrasty. There is quite a transition here. And here this part is also darker. And now we G one. Soften all the transitions a bit. Now let's take G five and very carefully show it the counter of the handle here. At the top of the handle there is quite pronounced shadow. Let's show it. And I add a little G five here and right here at the bottom. Now let's take G three and slightly blend these places. We're still applying the strokes in the shape of the handle. Now we C, G one soften transitions even more. Let's take our G seven and show these dark areas between the handle and its reflection. And I add a little bit of the same shade on the handle itself. Here, here, here, here, and here again, darken the outline of the reflection a little bit more. Darken a bit here in the middle of the reflection, and blended all with C G five. Now I want to add a little bit of contrast here on the handle with the same C G five, but just a little bit, we don't want to overdo it with G three. Blurry little bit. Pre work strokes which we put on the shape this way we show the texture even more. And at a bit of the same G three again here on the right side. Now let's look at the bottom of our picture. It has this pronounced line at the bottom. We will draw it with C, G five for convenience. The sheet over this line starts from the side shadow. I draw with CG five. Only two to emphasize it even more line please. Now from it, I show a line that goes along the bottom. This line is quite seen. Pay attention to it. And now we see three. We go over this line to blew it it little bit. Well our picture is settled on the surface now. I'd also like to blend G three a little bit on the shadow part on the left. There are not so sharp transition here. Now with C G five, I will once again emphasize this dark place on the tip of the picture with the same C G five. Mark the upper cotter of our picture. It's time to work on the inside part of the picture. Everything here is quite dark. I start to make an under lay with my C G five on the inner part of the tip, there is a small light place. We leave it unpainted for now and cover the rest with CG five here. We also leave a place for the glare. We will do it later with C three. I apply strokes vertically, just to show the tabs. Okay. Now I take C, G three and paint glares with it. Well, we have made a color underlay and now we will darken the inside part of the picture. I take my C, G seven and start to dark. You can see this shadow on the left very well. So let's show it then, a lighter area. Leave this part and further deepen the shadow areas. Again, a light piece and further all in the shadow emphasize the upper contour a little bit. Now in the darkest places, we can add even C, G, nine to add more depths. And look on the handle, the markers have dried and are noticeably lighter. So I will go into the darkest places with the same CG nine. These are places where it attaches to the picture. It here again, we deepen the shadows on the inside part. Now I take C, G five and blue transitions, and my CG three, I mix the shades in the lightest place before the market dries completely. Take CG five again. And with the tip, we draw these horizontal lines that we see here showing this texture. In fact, this has the same ellipses. We just repeat the shape of the picture. And we can even add these lines with CG seven on the left side. And with the same C G seven. I want to correct the top contour because the marker has run out a little bit here. I also want to strengthen the CG seven, the line at the bottom because when C G five dried, it became clear that it wouldn't be an S this play closer to the tip, I emphasize now with this dark shade. Let's add a little bit more of C, G seven on the handle for more contrast. So in general, our picture is almost ready, but we will add a bit more details with white pencil and a white gel pen. Take the white pencil and add it right here on the highlights on the inside part of the picture. I'm going to dim it down as usual with my finger, see if there is some depth now. Now, let's add a little more light on the handle and here on the left side. Right here, we can light on the tap a little more because the markers smudged here. Okay. I take a white gel pen and go with it along the top counter to show this bright highlight. Let's set a white pen right here on the handle just to emphasize this glare even more. We can also use the pen to correct if the marker has run out of the outline. And we can even use the white pen here on the left to enhance the glare. Now we can take a blender and go over our biggest glare. Just to make it a little more mat, the blender will dry and become much lighter. Well, our metal pitcher is ready. Now you know more about how to show the texture of metal. 7. Final thoughts: Congratulations, we've reached the end of our creative journey. I want to commend every one of you for your dedication and the progress you've made. Throughout this class, we explored the captivating world of class wood and metal textures. I hope you've gained variable techniques to enhance your artwork and bring these textures to life. Remember, practice makes progress, keep sketching, keep experimenting, and let your creativity flourish. Art is a continuous learning process, and I encourage you to seek further inspiration and growth. Explore another texture drawing, or try different mediums to expand your skills. I want to thank you for joining me on this artistic journey. Thank you for sharing your projects. If you enjoyed this class, I kindly ask you to leave a positive review and share your experience with others. Your feedback helps me as a teacher and helps other students to decide what class to take together. Let's inspire and uplift the creative community. I wish you continued its success on your artistic past. Keep creating, keep learning, and keep practicing. I see you in the next class.