All right in this lecture we're going to talk about different shading techniques.
Now normally in a sketch you're not going to be doing a ton of tight rendering because it's just a sketch
right we're doing a finished final drawing or painting or anything like that.
Personally for me I don't really like to add a lot of shading in my sketches because usually I'm going
to end up painting these.
And so I'll be painting in the shadows not really sketching it in.
But sometimes you just want the sketch to stand alone as itself or are you just trying to get an idea
of how the lighting is going to work and so you want to sketch it in there.
And if you're going to do that these are what I recommend doing so.
There's a couple of techniques you can do.
I have a new layer created on top of my weiner layer.
And this is the I I'm going to sketch on we're going to start out by doing well let's just show you
over here to the side first the different types of techniques.
OK.
So those crosshatching which is where you basically take a bunch of small lines and you hatched them
together like this to create the effect of volume.
OK.
So that's crosshatching.
It's used a lot of times in comic book artists will ink this way sometimes or an old like cartoon strips
they see in newspapers sometimes I'll do this.
Then there's just plain hatching which is when you only go one way like this which is one of the ones
I use the most.
There is a combination which is kind of like a zigzag where you go like this where I do that a lot of
quick it's fast.
If I'm trying to make things look really nice and clean out do hatching instead.
But if I'm just trying to really quickly convey some value I'll do the zigzag approach you still want
to keep it controlled it's not just you know all over the place but that is one way.
There's also some people kind of scribble in to get value.
It's a pretty distinct style.
It's not my favorite it takes a lot of effort and work to master it and make it look good and not just
like crazy chaotic mess.
And then the last one is to just kind of layer and strokes like this where you follow the form of the
object.
OK.
So that's the other way.
So let's show you what this we can just leave this for now we'll just make a new layer let's shade the
sky and I'll show you how I like to shade.
So this isn't going to be a major lesson in lighting but I am going to show you some basic fundamentals
so I'm imagining that the light is coming from oh probably somewhere up above here.
So it's good to define your light source which means his whole entire neck and jowl area this is all
going to be cast in the shadow.
And sometimes when you start shading stuff you'll lose some of the details.
So I like to go back over and kind of redefine some stuff to help make it pop out more.
Hey underneath his lip here it will get pretty dark in the shadow.
His eye is already kind of dark but we'll add another little Lapeer fetta underneath his eyelid OK underneath
his jaw.
There will be a little ledge of Fado as it turns away from the light.
Get some shedder on here in the back of his neck that turns away from the light as well.
Hey under here and some of these falls never darken it up by just thickening the lines.
Another thing we've talked about earlier which is controlling your stroke at the stroke of your line
that can be another great way to imply value or shadow is by making the lines in certain areas just
a little bit thicker.
What I'm doing right here on his neck and sort of really going deep with the shadows I'm just kind of
darkening up the lines.
OK.
Let's get a little bit more in here.
Under his high brow ridge you can see that I like to outline the areas that I'm going to put in the
shadow.
I like the effect it gives you don't have to do that.
That's just something I do.
That little horn will be casting a shadow so that one can get the shadows up under here underneath this
thing he has going on the film itself be casting a shadow probably
underneath these little tubes little whisker things going on on his head lips working.
You know let's work his face a little bit more is true and we'll probably get a little bit more shadow
cast on it.
The overhang of his mouth right there looks a little better to me.
So let's do some of this arm or somebody on his shoulder pad.
I'm just having in some of these shoulder pieces where the light would be less likely to hit using some
hatching down there.
Honestly probably my least favorite style to use would be cross-hatching.
It looks kind of antiquated and old it's not really quite the style that I'm looking for in my art but
I have seen it used well so don't let that deter you from using it.
Let's just why I'm not using it here because it's just not really my drawing so it's not my favorite
to use I just want to let you know that it is an option out there to dry in.
So actually probably get that from the other side.
OK.
And then you can go back and look at it and see you know any parts you think really should be a bit
darker where things really get pushed back into space.
You can go back through some do that really quick Durkan or any areas that I think need to really have
the most most châteaux going on.
His eyes are going to be one spot that I think needs to be really dark maybe some spots down here and
his arms are going to turn this whole side of him that's facing away from the light a little darker
as well.
And that's how you can do some pretty simple shading sketching techniques so we turn that on and off
he could see the difference that just kind of helps imply a light source.
So to you if you want to do it I usually honestly don't put it in my sketches because like I said I'm
going to be painting over it but sometimes you want that for the finished sketch result.
So in that case I say go ahead and throw it in there.
So that's what it is look for and I'll see you guys in the next one.