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hey i'm admin and you're observance a rapid-fire art tutorial when you add light and shadow to your line drawings you can create your subject come to life by making the illusion of kind and depth you will make a flat line drawing jump right off the page so as to shade higher you'll would like to follow three things pressure management a way to shade swimmingly and most importantly perceive how light behaves i am gonna walk you through all 3 things and then we'll shade one thing together pressure control realistic shading is done by making a series of values ranging from lightweight to dark the more durable I ironed down on the pencil the darker the strokes portraits displaying a restricted value range can end up wanting terribly flat whereas portraits with a wider value vary will pop to possess smart pressure management apply shading from one end of your volume to the opposite whereas pressing tougher and tougher till the values get darker bit by bit differently to follow is to draw an extended rectangle and divide it into many squares fill the squares from right to left start with the darkest value you can presumably create and work your way towards the light-weightest it is important to take care of a uniform pressure between each back-and-forth stroke or each individual stroke this can take some observe and concentration to develop the long-term memory type if you're inquisitive about the tools i use and need to be told a lot of about the different pencil types look at the link below some tools can create shading easier for you however you absolutely do not need any special pencils to get started as a result of you'll be able to draw and shade realistically with pretty much something that may make light to dark marks here let me show you i'm about to draw victimization this random stick I found in my kitchen once it's burnt I will use it rather like an everyday pencil my point is that unspecified pencil can do there's no reason why you cannot start shading today extremely the foremost necessary thing is simply to begin the way to shade swimmingly to shade smoothly attempt to eliminate major gaps between your strokes while maintaining good pressure management currently it's troublesome to eliminate gaps if your pencil is sharp so what you'll be able to do is wear the pencil down till the tip is boring or use the aspect of the crystal rectifier to draw thus your strokes are thicker if your shading an outsized area and need to avoid these dark stripes avoid victimization your writing grip whereas pivoting at the articulatio radiocarpea instead use an overhand grip and pivot from your elbow and shoulder to achieve for much longer strokes simply keep in mind to keep those strokes approximate eliminating gaps that may create your drawing look scratchy understanding light-weight have you ever ever tried shading one thing over and over while not it wanting even about to your subject for most beginners shading is maybe a guessing game that is all what it had been for me until I learned some basics about lightweight things just started making additional sense knowing where to properly add light or shadow can make a very huge difference

how realistic your artwork will encounter i'm aiming to use a sphere to illustrate the different elements of light-weight as a result of the patterns are tons easier to denote than a posh type such as a nose for example here we've an understandable wood attached a lightweight source coming down from the highest left we've 2 distinct aspects the sunshine aspect which is facing the sunshine source and the shadow side that is turned away at the edge of our shadow we've got something called a core shadow that is a dark strip running along the boundary between the 2 sides the core shadow is most visible on a white table because white is extremely reflective light rays return down bounce off the table and illuminates

the shadow aspect of the ball exploit a dark band thus as you'll see we've two types of light direct lightweight associated mirrored light-weight that's why shadows are seldom all black there area unit such a lot of things within the setting that light will mirror off of walls nearby objects or even dust particles floating around within the air do detain mind that black surfaces absorb light thus during this example the core shadow is not any longer visible going back to the image of the nose are you able to tell which area unitas area unit lit by replicateions and where the core shadows ar as mentioned earlier lightweight will reflect off of the many things within the atmosphere but they have a tough time bouncing their method into tight areas such as the realm where the ball touches the table this is called an occlusion shadow and this is a solid shadow that seems once a kind blocks lightweight from reaching another during this case the ball is blocking light from reaching the table the solid shadow can tell you wherever the sunshine source is coming from all you've got to do is trace the edges against your object how many solid shadows can you notice on the nose let's march on to the sunshine facet of the ball on this side there are only three things i need to means

there's the core lightweight that is that the area facing the light directly then there's the high light-weight which is actually a reflection of the light source this is often the brightest point on associate degree object the sides will seem in love matte surfaces like this wood ball or arduous on shiny surfaces such as a plastic ball ANd as unintuitive as it seems the high lightweight can change position reckoning on where you're standing the very last factor our mid-tones or half-tones mid-tones are the darkest values on this side of the ball wherever the sides begin arced far from the light supply these areas receive less and less light the more the angle away are you able to denote the core light highlight and mid-tones on the nose shade with me let's shade an apple together while not observing any reference images with our basic

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