Sketching Fruit!: Practice Your Sketching Skills!

1. Introduction: Hello, I'm Emily. I'm an artist from New Zealand and I teach drawing classes online through my business that pizza room online. In this lesson, we're going to go right back to basics. We're going to cover all of the sketching basics, including proportion, simple shapes, shading, and hard and soft edges. And I'm going to try and keep it as simple as possible so I won't get carried away with the drawing, will keep it at a sketch stage, but it's going to cover everything that you need to get. A sketch that has three-dimensional form and that has a likeness to your subject. 2. Materials: These are the materials you're going to need. You will need a sketchbook. You will need an HB pencil, something that you could use quite lightly, and then you need a darker pencil like a to-be pencil. I'm using my Staedtler Mars technical mechanical pencil here. It has a quite a sharp blade. This is quite a dark one too, so that you'll be able to see it when I'm sketching. And then when we move to shading, I'm going to use this to-be. It's a Tombow monograph pencil and it's very soft, gives quite dark marks. And then you'll also need in eraser as well. 3. Our Subject: This is the image that we're going to be sketching. It's quite simple. It has some spherical shapes and it quite easy to observe and figure out. And it's also got that ellipse of the bowl as well. It's simple, but sometimes when things are simple, you don't have a lot of room to hide as well. I've chosen this one just because it's a really good one for getting that sense of form. How can you get that lemon and those lines to look like they are rounded. And how can you get the lights and the darks and the to help with that seats are full. We can turn this into a black and white image and it's just going to help us see it without the distraction of the color. It also helps us to see the value of color are the different tonal values. So you can see the yellow of the lemon is lighter than the green of the lives. You can also see that I've bought the grid up on. This is in procreate on the iPad. And we're going to use that grid to start off. I don't often use grids, to be honest. I do use this very simple cross-section. Sometimes I'll draw it, sometimes I won't, I'll just be using it in my mind. I have nothing against using grids in gridding out your whole drawing and mapping everything out before you start shading working grid by grid, but it just doesn't really work for me. I like the exit sketch on the go as well. And difficult to grid off something that you're looking at in real life. This is a kind of an easy way to use a grid on a photograph, but also to be able to represent the grid that you might be imagining in your mind when you're looking at a subject that's in front of you in real life. 4. Proportion: So hopefully you can see the grid there. I'll just draw it out for you. So it's a little bit clearer for this first stage that we go through. So we've got the line coming across here, a line coming down here. And then we've got the square and I've used that square, or I've learned that square up with the sides and the bottom of the bowl. And you can see that the width of the drawing is going to be what the width of the bone is. This very first thing we're going to do is just map out a very simple grid on your page. It's going to determine how big our drawing is. Let's bring this up bigger so you can see it more clearly. I'll draw us in a similar size to that grid as well. He's don't have to be perfectly straight lines. I'm not big on perfect lines anyway. And then we'll go seem to align this, this is the most important, actually this excess and here because we can always read outwards if we need to, we want to be able to see into things around this x axis here. I think I'm here for my squeeze a little bit uneven. Maybe these ones need to come out just a little bit further to try and get each one of these square. He wanted to get really particular with that. You can measure them. Chick these edges that they're all about the same amount should be somewhere in-between. And keep your marks really liked using an HB pencil or even a to H of your heavy handed. And we can always go darker later on that I'll draw dark enough that you can see it on the video. We've got our cross-section in here now. And like I said, this is a really good thing to imagine. Anytime you're drawing something, think about the whole composition or think about the entirety of what's going in your drawing in the unimagined with a scene, two pointers on a horizontal line and on the vertical line. And now we can start to put in these different parts. So we'll have one line here. The other one's going to just come over the edge here. And it's going to sit slightly below halfway on that line. And then we've got the lumen, which is going to cut through the center here and come out around here. But the first thing I'm gonna do is put in the bowl. So you can see it just comes up here and then we can even look at this triangle shape. So use the grid that you've got on there to see the negative space, this space here. And try to match that to the photograph. If you've downloaded the photograph, you can actually be drawing on top of the photograph as well. You know, just to kind of get you I used to what you're seeing or convince yourself of what you're seeing. Here is where the ball comes up to about here. Keep it light and sketchy. And then if we think about how far down the bowl comes in this section, it's definitely below halfway of this square. So it might be, make it out here. And then it sort of gives us a way to place the back of the bowl. This should be a nice smooth ellipse. Work your way around until you get something that feels balanced. You can tidy up the lines if you want. If you're drawing light enough, you might not have two. And now let's go. He didn't put in this first line, this one in the scene to look at with the vertical line intersects the line. If we think about one side of the line being here, in one side being here, then this one in the middle, it's just slightly to the right of halfway across the lime. I hope that makes sense. We can also think about how does the, the end of the line, the left-hand side of the line, where does it line up with the center of the square? So each one of these could be graded up again. But don't, don't spend too much time doing it. Like I said, I'm I'm all for grids, but I also like to keep things practical, so this one's pretty good to come out to about here, I'm looking at where it occurs across. That square. Comes up quite close and it's an oval shape. So this is the bottom of the bowl. We've also got to bring in just the top rim of the bowl as well. So it's just going to come up a little bit to be out there. We can tidy that up later and we can also bring it down a little bit later if we need to. Main thing is the relationship between these, these lemons and, or lime and lemon in lines. Shaping their loose ellipse is going. And then we've got one that's going to come slightly outside and our grid, and we think about halfway. Here. You can see that this comes almost three quarters of the way across. Here. It's halfway. That would be three-quarters, but it's not quite three-quarters, so it's about there. And then we can bring this one in. It's going to come up to about here. It's going to go out just beyond our grid. Very slightly even when you don't even need to have it go beyond the grid if you don't want to have a look at where it intersects this line, it's not all the way down, it's just a small space. There. Has less than halfway down this square. Any, and get you loose ellipses going in another simple shape with this lemon here. Now what am I do for this one is just putting a bit of a cross-section to try and get the angle of it right. So we can imagine that there's a line going from the point straight through the center of it, dividing it in half. It shows us the angle also shows us that nice triangle across the grid and it will help us see the angle more clearly to Nina is going to come from about here looking at space in-between the deadline and that Lehman, the space in here In around and it comes maybe three-quarters of the way up this one, maybe a little bit more. Three-quarters of the way out of the squid is where it's going to cross. And we can also look at the shapes outside. So there's this white shape here. Look at this white shape here to try and get this side. These are simple shapes. Hopefully you can see those. Okay, I might just make things a little bit dark and it's a bit easier to see, sorry about that. Lehman. Okay, so that's the basic shapes that beginning down rub out any of the grid lines. And then we're just going to have a look at some of the angles. So regret anything you don't need. And we'll add a little bit more detail to these fruits. 5. Shapes & Angles: First stage is just getting it down on paper. In finding those simple shapes, we've figured out the proportion not by measuring the objects themselves and comparing them, but, but just by using that grid and that's another form of measuring. If you wanted to, you could also do this by taking maybe the width of that line and comparing it to the width of that lemon and seeing how many times it fits. But we don't need to do that because we've used our simple grid. So now I'm just going to go through and have a look for the axis of each one of these fruits. So you can see that the end of that line there and the other individ here. So that's sort of on net angle. This one here, it looks like it's on there. You can see the little tempo of it just about here. And now we're just going to have a look at some negative spaces in some angles and make sure we've got these shapes right. So it's quite straight here. We're going to actually put in straight lines where we can see them. It's hard when you've got curved objects. Sometimes it Theorem quite clear if you look for them though, look at this line here in the lime is, is pretty straight up here. Before it starts to curve around. Going across here is an angle comes down, an angle that goes up on an angle there as well. Keep these lights so if you can angle. So even if you can't see any straight lines, we're looking for the angles of the curves. So you might sort of think it curves up and around, but it actually gives out a little bit first. This angle here, look at how the, the curve starts and then how it finishes when it starts to change direction. So it's quite a straight line here too. So putting in those straight lines just helps to avoid making big round objects when they're maybe not completely round. And the other thing we can do is look at the negative shapes. So look at the shape of the bowl in here and see if you've got that shape. You can even draw around that shape. Really focused on that shape in the photograph and draw around what you see. I'm not, not looking at the lime or lemon, I'm looking at the negative space. Same in here, and Simon here. So I can see quite clearly that I've got something not quite right here. It's pretty close. But if I follow that negative shape of the bowl in here and try to draw around, it starts to change a bit here to keep these lines light. Now we've got some shapes that are a little bit more accurate. She'll just put in one. Again, look at the shape negative space. I think maybe my grid might have been just a little bit too wide on that side because something's not quite matching up here. So I'm just going to draw what I see for now. And just check those negative spaces of the bowl. Outside the bowl here. What's not right about this? Something's not quite right. You can see that something's not quite right. You've got to just play around and figure out what it is. Look for angles again. What I've just been even that maybe it comes across a little bit more thing. It's because it doesn't quite match in with this. To come around here. You might have seen it coming. You go now the bowl-shaped looks a bit more natural in draw that ellipse. And again, if you haven't quite got it right yet. Okay, So moving along quickly, we've got our shapes in there. We've got some angles. It's put in this detail here of this little pointy part. So I'm just going to draw a circle or ellipse to represent that. And then I'm going to look at the angles again. So it's an angle here. And here. Keep your lines light, especially where there's no each little spot in there. And then we can do the same with these ones. It's a bit hard to see. So just like a dark shape in here, this little shape like that. Maybe a little dimple. Just the dark shape here. It's, it's pretty simple. 6. Light & Dark: The next step we're going to really focus on the lights and the darks. And we're going to take a two value approach or two tone approach. So we're only going to be looking for two values. So we're gonna be looking for what's light and what's dark, and we're not going to worry about the highlights. So around, about here on the lemon, you can see some white reflecting from the light source. Not going to worry about that. That's something we might bring that with our eraser later on, but we're just thinking about how to get that sits around and squinting your eyes. Squinted at now with me. See if you can pick out the light sides and the dark sides of each one of those. Some of the areas you can have to make a decision. Around here. You see that slightly darker area is darker than this, but it's not as dark as the shadows. You're going have to decide does it belong to the light or does it belong to the dark, will split it into just two values. Keep it really simple. And then maybe if we need to, we can bring in just one more like this sort of area. We're going to sketch out the shapes that we can see. So we're looking for light and dark. The easiest thing to do is really just look for the dark. And you're going to sketch it if you can in the same value. So it's definitely not dark and maybe start light first. So I'm going to sketch in this shape here, start light and then think about the value that it is. And we're only thinking about two values. So we're thinking about a light value, something that's lighter than middle gray. And it will thinking about a value that's darker than middle gray. So when we put this line and we could make it about dock, this should hopefully get you thinking about what value it is. Even when you're just sketching in these shapes, I've sketched it and now I'm really thinking about what, what value is it? Maybe correct it if you need to correct it. And then we will, when we look on the lines here, where do you see the darker shaping, the lightest shape? So say a shape like here is a bit confusing. I think there's some marks on it, but I still see a shape like this. We can also think about where the light is coming from and that might help us. So you see that reflection near the light's coming from the left-hand side, which tells us that this area here should be lit up. This theory here should be lit up as well. This theory here will be one of the shadow sides, but we're going to keep that light for now because it's obviously still catching quite a bit of the light. But here this looks, give me a bit dark and down around here, again, make it as dark as the value, you're going to shade it, this one here. Again, we've got to make some decisions. We've got dark, we've got dark, but this is not as dark as this. So for me the darkest part is like like that. And then in the bowl and most of it's like there's a shadow here. It's quite strong that we could put in. Comes around to the bottom of this one here. Thinking about the value you are going to make it in the each of the, inside each of the bowl here. 7. Block Shading: Now we're going to shade these in. We're going to shade the light first and in the dark. And we're going to do this quite quickly. So it's about sketching, it's about just blocking something really quick. I'm just going to use up and down stroke like this. You can go back and forth. You might want to hold your pencil overhand so we could go down, down, down, down, down, down. And if you get gaps like that, then you just come back opposite direction. You don't wanna go too much darker. So when you come back, you just look less pressure. You might go up, might need to tune your sketchbook around a bit. You might hold it overhand and go up, up, up, up, down, down, down, down. So a typical practice of this, or if it's, if you're finding that your lines instead of going all over the place, then you could just shade up and down using the side of the pin. So this gives maybe more of a graphic look to the drawing. So everything is going to be I liked value or a dark value, starting with a light value carrying all of this space. You see I'm not even worrying about it if I go over them lines. One thing about the aegis is just, I should've said this before, but if he was a really dark, make sure that they are the same value is the shading that you're going to be putting in minor a bit darker because I wanted you to be able to see them, but I'm just going to lighten up any of these ones on the light side. Doesn't matter so much on the dark side just for as light. So think I've got pretty close to the value in the lemon. The lines are a little bit darker overall. And if you squint, you can see that in this light here, right here, I'm going to try and go push just a little bit harder and go a bit darker. You can come back over, you can go up and down shading if you want to do this one with up and down shading, just so you can see, although it will look a little bit different, just like that. Or down, down, down. This is really good practice for PMs will control as well. Find your pizza gets a bit blunt, but it kinda works, I think, in your favor. When you're doing this, see these ones are a little bit more filled in, in this one where my pencil is sharp at. So try and make these lines a little bit darker than the lemon. And then we'll get a bit of difference between them. So that's the light. And then we're going to come in with the dark and I'm going to switch my pencils here. This is my tube paints or I'm going to use it on its side so I get the same kind of broad Mark. I don't want like a sharp pointy Mac like this. Quite abroad now, I'm using the overhand as well. It's pizza was getting a little bit short. I really liked these Tombow pencils, but they are quite soft. And this one as well. Hipaa, look at this value and this value. This one's much darker because it's the cast shadow from the line. This is, this is a bit of shadow here, probably from the lemon, but it's also just the color of their Lima. Thank you. Want to make sure it's balanced. And it might mean putting this one in. And then just get rid of some of these whitespaces and then coming back to this one and making sure it is a doc id doc. And then this one here, look at that dark compared to that one and that one, this is the darkest one. And we can refine these. So this is just the initial stages of a sketch. You could I mean, you can take this as far as you want, if you want to turn it into a more realistic drawing later you can. This is also a good lesson for understanding the process that an artist would go through. Even if they're not drawing all this out. This is what they're seeing in their mind or what they're trying to see is these big shapes of light and dark. It's tidy that went up a little bit. I have a squint at your drawing. Have a squint at the photograph and squint at your drawing. It's going to make this overall light area a little bit darker. This one too. I'm just looking at this compared to this. And this definitely needs to be darker here. This needs to be just maybe slightly darker. Okay, now we'll put some shading in the bowl and it's pretty light and here should probably keep going down, down, down just to keep the overall style the same bit darker around there. Let's do all of this light and they will put an edge shadow inside the bowl. Not actually like a shadow that comes around here. Is lighter than this dark shadow. And per be about the same as this shadow. A little bit darker and here, but let's just put in something to define where it is. Make it lighter than this one. So your lime doesn't disappear. And **** around here. It's put in the shadow over here as well if you've got to knock that one out, but it's definitely shadow down there. And here. Maybe one in here. 8. Values & Edges: So there's a very basic, simple sketch, but hopefully you can get a sense of form already from your drawing. And this is a really good way to practice in something that you didn't want to go on and do a finished drawing off. So you start off just doing a quick sketch like this. Figure some things out before you attack your final drawing so you're not having to figure them out. In that drawing. What we can do now is we can go through and refine some of the shading will just do a little bit. We're going to add in a couple more values as well. Don't, don't get carried away with this. I'd treat it just as still as a sketch. That mean this one up a little bit as I say the photograph on the screen, still treat it as a sketch. But we can just bring a few more values to give it even more forms. So generally speaking, you want to have at least three values. Five is ideal for a sketch, but at least three, because if you think about three-dimensions, You've got height, width, and depth. Each one of those dimensions is going to be treated in a slightly different way or it's going to have different light effects on it. It's going to have either shadow or light or somewhere in-between. So think about 3s now. Highlight mid-tone shadow, height, width, depth. Three-dimensions. 3d is have a go at putting in a little bit more. We've got the highlight here, so that's another value that we can put in in. I just do that with the erase that and make sure you've got the right place. Pull that out a little bit. Lighter near two. And now we can add in those extra shapes. So there was this shadow area down here that's shallow, but it's not really a dark shadow. It's just for being more of a mid tone. The light is not hitting it directly. The lights obviously coming from this direction hitting this broad area, the side. It's not reaching the top or the front of the lemon. So we can go and put in a line. Think about the value of that line that you're putting in. Because what it comes down here, I think it's a little bit down there. And then just build it up a little bit. It doesn't want to be as dark as this. Keep looking at it as you do it as well. Flicking your eye back to the photograph all the time to think about with what you're doing needs to stop. We need to listen the pressure. If you want to make it a bit bolder, a bit more graphic than you can add in those straight lines again. On this In part here, we've got our light value. And then there's a dark shape here. Darker shape, not as dark as our shadow. And maybe just under here is a little bit darker. If you've got big white gaps like this part here that's going to get in the way. So you can just very lightly shade over those to push them back a little bit. Maybe I need a little bit more shading. Tricky area just here in a bit confused by it. Sort of in-between this one. In this one. It's maybe a slightly dark area here. Maybe it comes along that shadow area. And it can get rid of any big whitespaces. Lemon, I'm going to darken this up as well. The other thing we're going to talk about is Hs and I'm going to leave it to later, but we mostly talk about now and it's a hard edges and soft edges. So you can see around this line here, it's quite a hard edge of dark shadow on the lemon. Just changing the shape of that a little bit here. So when I looked at that shadow shape, I saw that at the front of the aluminum wasn't quite right. So we can put in there hard edge down here is a little bit softer. It's dark but as a bit softer underneath. And then we can build up that shadow a little bit just in there. So that shadow has two values and at least it's got one here and one here, and maybe another one in the middle, even in the shadow. If you want to get into that, it's quite soft too. Let's have a look at this one. Just needs to come over just a little bit. I quite often find when I look at the, the shadow shapes that I see quite a lot more. You're seeing it more objectively. And again, there's a sharp each hue with a top of that lemon top of it in line meets the shadow of the Lehman. Thinking about the value of building up a little bit. Move on to this line here and have a look at the values. Compare them from here to here are about the same. In the photograph. There are some markings on there we're not going to worry about that. Have looked at the ages, it's note outline around here. But when we come down here, there's a dark soft edge. It's hard where it meets the, the bowl. But you can see there's a slight shadow there, so softens as it comes up across the bottom of the line. I'm gonna put in. Use the point of my pencil. I'm still using a pre, the equivalent of maybe an HB. It's quite sharp. It's quite sharp but dark. It's actually for being late. But I'm definitely not. For b in terms of darkness. Bring that line in there. If you are using a dark pencil, if you need to get darker, I'm value, then make sure it's nice. And in shoppers shopping. So this is a to-be. You can do the same thing, bring in that line using the point of view paint. So if it starts to get blonde as you're going along, It's like a six or something. Even someone who is you can just tune, twist your pencil around and you find another each on the pencil. And they can give you another sort of pointy sharp edge. And then I'm going to shade that dark value along there. Made it sort of soften out into the value on the line. This little nub in here is quite dark, so darken it up. How do you do in soft edges? And got height h on the side, soft teetered on the side of also got lost edges. You can see between here and here in the photograph. It's pretty similar. There's not a lot of difference between those two. Also. Also maybe just here and here with its shadow stat. So light and off. This is not a lot of difference between that part of the lime in it, part of the lemon, It's just slightly darker underneath. But just making sure you've got those absence of Hs or absence of outlines. It's important to know dark outline around this line is just ever so slightly darker than the lemon. I'm just going to soften off this. Here. Says the doc that I put around the shop page that I put around, it needs to be blended into this shadow. Trying not to get too, too caught up in the small details for this one, we're trying to just keep it at overall look at value in sketching. I think this definitely needs to go dark. And when I put in that dark shadow, I can see that this all needs to be a little bit darker, especially getting rid of those little white marks down there. And maybe there's another area across here that is just a little bit darker as well. It's hard to tell if it's patterns or shadow. Just put that in as well. Maybe a little bit up here. And also just evening out in Emacs, any light paths want to get rid of those shading along here. In this a shadow under here which we forgot. So you see the shadow and the bowl. I've got a big whitespace. Just sort of thinking about why that's looked like it was standing out because it's just white underneath it. Let's put it shadow and under the attuned just disappears. So moving on to this one, look at the each, how strong this shop or how sharp edges against the lime, the back line against the frontline. And also this edge here, very sharp against the whites. There's a lot of contrast this, I'm going to put that in. You got to make sure that the line that you put in or the outline is only as dark as your value. Shaded value is going to be. You can use this to see if you find any, any areas or in discrepancies. And the shape is something not quite right here. Shape with their front line. But I'm just going to leave it for now because I think it's a little bit too late. We've gone too far. I think what is this? This is just a little bit too high app should be more about here. And then it gets set a bit of a different curve, actually, not too hard to change here. And shade that in trying to keep that nice sharp, crisp edge against the front line. Get rid of any whitespaces. And near to this, each down here is quite soft as it blends into the shadow. Is soft shadow underneath the line as well, which you start to see as you come around the side because this part of the line is light. And then we've got this shadow area coming through here. So as it comes around, Jordan with your pencil, the value you want it to be. Maybe something like that. And then shaded and looking for something in between this one and this one. Something a little bit wrong here I, it looks a bit strange. I'm just going to look at the negative shape of the bowl. It's what it is there. This is a shadow area in here. It's helped me find the shape of that bowl a little bit better. If we look at this lime and the bowl in the photograph, the lines much darker than the bolt. So I've got to make a decision. I can either lighten this ball up where I can darken up the lime. And I think I'm just going to lighten up the ball a little bit. I saw that because I was looking at the edges. So looking at this age around here of this lime in thinking about how it compares, thinking about the type of each that it was. And then I noticed was it's too similar to the bowl and needs to be darker than the bowl. I'm just going to build it up a little bit as well. So this one here, this is at darkest ones that really go for it on that one. If you layer too much, you've probably going to get into trouble with not being able to layer anymore. You sort of Gamma up the tooth of the paper and you sort of get to the limit of how much the paper that can hold, how much graphite on the paper can hold. So just be aware of that. But you can always just do lines to keep building it up a little bit. 9. Balancing The Drawing: Now that we get to this point, we're really just balancing things in refining things in, we probably wouldn't take it too much further in this drawing, but I want you to just have a look at your citrus fruit and new drawing, see if anything's stands out as maybe not quite right, but first off and then use the photograph to see if you can discover what it is. And then look at the photograph and look at your drawing. Look at the photograph, look at your drawing. Try and see if you can figure out anything that needs to be adjusted in terms of value. So this line is still just a little bit too light. Maybe it's just in this dark path here. Beef that out a little bit. If you've got any little paths like this that you haven't shaded properly, see that light at the end it's going to go against your, the form is going to break it up. So you got to pay attention to those small areas as well. Is a soft edge here. Soft shaded line. Maybe slightly lighter on that edge in through here. So we could bring in this kind of shape. Then we can look at the details on the bowl, so it's a little bit darker back here. Are a few little highlights. Highlight in there. It's not white. It's great, but I just bring it out and then shade over it again. And of course we've got the dark room of the bowl, which is just the detailing on the bowl. It's not it's nothing to do with shadow. We can put it and I just keep it really soft. You don't want it to overpower the rest of your drawing. But it's also good practice for getting these soft shaded lines and especially on a curve. You pretty fun one direction, it feels strange. It's quite hard for me to go that direction. So I'll come back this way. Excusing the side of your pencil slowly if you need to. Very light over here, I'm always just disappears into the tabletop that there's more of a shadow on the side and it's also going to be just slightly darker on this side is it's quite hard to see in the photograph. It's quite hard to tell the difference, but this side and this side are different. This one will be lighter. And we can do that by looking, if you look really closely, it is bright white here and it's not as bright white over here. Then is a shadow underneath the ball. Think about the each, each theory. What kind of edges is at hard? Is it soft? Dark? Is it light? It's quite soft because it's formed by the shadow. And it's also thicker in the middle. And then it starts to Ethan as you come around. 10. Reviewing Your Drawing: The last thing we're gonna do in this drawing is just a little bit more balancing. A bit of a review that we always do in these classes. Like I said, you can take this further if you want, but I want to keep it at a sketch level. And the last thing we do is just to really squint at that photograph. Squinted at drawing. I might squint at my drawing first actually and just have a look at and think about, well, where are the lightest areas? So I've got here, here and here in the bowl and then look at the photograph. And those are lighter series, they probably are. And then do the same with the darkest areas in a probably got most of the darker series. This one could be darker. But the other thing you can do is squint back and forward between the two and see what stands out. So when I do that, I see that I've got this area here, which is quite light. Is light is this value. But in the photograph, if we identified those values, Let's see if we can do that now. So we've got this value here compared to this value. So if I draw them out, can you see the difference between those two values? But in my drawing, they're about the same. So I need to make sure this one is dark and then this one, sorry not to use my dark pencil here. Bring it in, maybe make it a little bit more defined as well. It's quite strong coming out of there. Make sure your outlines and docket in your shaded values. In looking at underneath, there is quite a soft edge. So I'm comparing this to this, to this, this part, to this part, to this part. You see what's missing in my drawing? This part here should be darker than this part here. The moment is lighter. I need to bring in some darker values there. And maybe you can see the shape of dark shadow that comes around like this. And just go around and look at your teachers as well. Have you got the correct each had each. There were another hard edge. Got a soft edge to the shadow here. And it's soft under here. Probably need to bring this shadow around just a little bit more. Again, a little bit darker when it into this one. And then it gets lighter as it goes towards the outside of the ball. Shouldn't be anything white. And here, because it's not white. It's very light, but it's not white. Tiny little gaps don't matter too much and this is a very big, so these gets here are quite big and they make it look whiter than it is. Then it should be. Here's quite wide. It's going to tidy up at top, but because their age and looking at that one should be darker than this. Do not completely sure about this Frontline. I think maybe it does need to be dark at overall. Maybe it's just got a slightly dark at each around the top there. Little bit of shadow just there. You've got one of these Tombow Mono erasers. They're really good just for fixing it. Really small areas. I'm just going through and figuring out any small errors that I can see. The more you look, the more you're going to see. I could keep going on this for a long time, but I think we'll leave it there. 11. Take It Further: If you did want to take this further, I mean, you can just keep building up values. You could also use your, use a piece of tissue to smooth things out a little bit. And be very careful about doing this because you don't want to erase what you don't want to merge those values into each other to match. And also if you take this and then put it on a lighter area, you can get darker values. So using a new area. And it will give you a little bit more smoothly smoothness. It'll take away those, those lines that we've been using for shading. And the reason we were using those lines was just to get something down quickly. We could spend hours doing tiny little circles, but those broad strokes cover a lot of ground really quickly. In here, the shadows. It's quite soft and nice so I can be afforded push it a little bit harder with my tissue there, then smudge it. Just be aware that if you are going to continue with the storing and build out more, the more smudging that you do, the more it fills up the tooth of the paper as well. And you might find it difficult to lay a pizza over top. I think it fills it up and it probably also just damages the paper a little bit as well when you're pushing hard with the smudging. So just keep it. Just a really small touch, really light touch when you're doing it. Then we could erase L grid as well. Mono Zero eraser, really good for just tightening up edges, especially if you get bit smudgy like I do. You see my hand there. Tend to get paid a lot being left-handed. Tidying up these H's over the corner of an eraser. You can cut a little bit off and eraser as well. Especially when we've been using that line, shading or hatching. Sometimes you go outside the lines a little bit and this can just clean things up and make it look really tidy. Maybe not so much about making it look tidy, but just refining the edges to better reflect what you see in the photograph. Just lightening up this part here as well because it's really bright there. I think there was just no smudging. And an actual fact that the table java is slightly darker than the bowl on that side. So there's maybe you could use a bit of smudging, find a bit of your tissue. Its duty. Smudge a bit at the table top, and then use an eraser to bring out fit, light each of the ball. Just refining this fat totally. The more you look, the more you see. It's lighter in the photograph. It's lighter here than it is here. And mine is actually the opposite. It's lighter in the bowl. Then on the lines and darkening of the shadow here, There's quite dark underneath the lime and then it just quickly disappears. And in here as well. 12. Summary: I hope you enjoyed the lesson and hope you learned something from it. It's good sometimes just to go back to basics and really focus on the essentials that you need. So you need proportion, you need to shape shading, and you need at least three values. Or actually, you could get away with just two values and you can have a really decent sketch that shows the form of the subject that you're drawing. Thanks very much for joining me and I hope to see you again in another sketch club class. See you next time.