Note: We don’t need to place the HB layer down first because it really is very obvious where the shapes and various tones are in this drawing. The HB pencil can fill the surface too full too quickly if we aren’t careful. Fig. 36b. Fig. 36c. Fig. 36d. Shade the tiles and leave the areas in between blank (no graphite) Step Three: Continuing to make your way down the building you will eventually arrive at the tiled areas on the curved wall. You can shade the tiled areas by leaving the white grout areas between the tiles as the blank page (see Fig. 36d insert.) This is easier, neater and more effective than attempting to erase the white lines back out later.
Treat each little tile as an individual and important shape in its own right. On the left side, each tile should be shaded with a slightly darker top left corner as the light source is in the centre of the wall. Take a good look at the tiles themselves in the photograph and drawing provided for ideas of where you need to place the light source on the tiles (see Fig. 33 and Fig. 35.) You will notice some changes in the tones and you can use this information to change the texture and tones in your tiles. Step Four: Begin to shade the rock wall by first of all applying a soft HB layer working in just a small group of four to six rocks at a time (see Fig. 37.) Outline the Rocks carefully in varying degrees of light and dark tones then add the textures and markings before further shading the rocks with your 2B and 4B pencils. Continue to make your way across the area until you have finished. Fig. 37. Shade the rock wall Step Five and Final Step: Complete your drawing by shading the area on the right side then go back over your entire drawing firming in all of the darkest tones. Use your eraser to lift out any very light areas. Your drawing is now complete and you can frame your artwork to impress your friends, family or work colleagues. I am sure they will be surprised at how clever you are with your new pencil drawing techniques!
Extra Bonus Project: Transfer and shade ‘Frangipani Dreams.’ IMPORTANT: It is strongly recommended that you purchase a sheet of quality watercolour smooth paper for this project. In this section you are given the step by step process to shade the drawing ‘Frangipani Dreams’ which is not a part of the course, it is purely for your enjoyment and extra practice. Please see a photograph of the Frangipani reference photograph (see Fig. 1.) The gridded outline drawing which is the artistic interpretation of the photograph and the drawing you would be completing if you studied unit one ‘Draw’ (see Fig. 2.) For the purpose of this exercise you are invited to transfer the drawing using the graphite transfer technique taught earlier in this course. Fig. 1. Photograph of Frangipani IMPORTANT INFO FOR THE EXTRA BONUS PROJECT: If you have purchased the soft cover version of this book you can download the image files for the projects at this link http://drawpj.com/book-resources/
Fig. 3. Completed shaded drawing of ‘Frangipani Dreams’
Instructions For Shading ‘Frangipani Dreams’ By this stage you will have completed the transfer of your outline drawing, onto a smooth, good quality paper which is essential to the success of your shading stage. You are now ready to apply the pencil strokes to fill in the image and create the optical illusion of a solid 3 dimensional drawing of a bunch of Frangipani. The majority of this stage will be completed using the smooth shading stroke. Once all of your shading is correctly in place, you will then use the cotton bud technique to soften the image. The shading process: Remember that shading should be built up in layers. Do not immediately darken the area to its full strength of tone. If two tones that lay alongside each other are the same and you risk losing your drawing, choose one of the shapes to be slightly darker than the other by pressing a little firmer with your pencil. Working from light to dark work your way through the image, make sure you leave the white areas as blank page. If you start to lose the shape of the highlighted area then carefully erase back with your putty eraser. Use your putty eraser as a drawing instrument (or if you don’t have one you can use a normal plastic eraser but you just won’t have quite as much control over the process.) If you do happen to have purchased a putty eraser, it’s important to remember to continually prepare it by moulding in your fingertips as it becomes filled with graphite very quickly. What Pencils to use In general, use your HB pencil for the first layer of shading. If an area is to become darker later on, you can begin your shading in that area using a 2B pencil pressing softly at first. In areas that will become very dark by the end of your shading process, use your 2B pencil for the first layer then 4B after that. Do not use a 2B or 4B in an area that is meant to be very light. Always leave the paper as pure white in the very lightest parts.
Step One: Make sure you have transferred your image to quality drawing paper before you begin the shading step. Begin shading the areas as you can see in the drawing (see Fig. 4) Notice that there are some dark areas and also areas that are left blank. Fig. 4. Shade in the medium level tones
Step Two: Once you have shaded the entire picture lightly and placed in the basic medium level tones, you can then concentrate on completing the shading on the leaves. Work on just one leaf at a time. (see Fig. 5.) Fig. 5. Shade the edge of the leaf Fig. 6. Erase little curves along the edge Using your HB pencil and pressing a little harder to achieve a slightly darker tone, shade a strip just along the inside of the leaf edge. This means that you will leave behind a fine white line and have a wider band of tone along the side of the leaf. Use your putty eraser or a thin slice of your plastic eraser to draw little curves along the inner edge of the strip of shading you just did previously. (see Fig. 6.) Using your HB pencil, apply enough pressure to achieve a level 3 tone and shade little curves just under the erased white curve to define the white area. Tip: Do not use the point of your pencil with a hard line. Instead, use your pencil prepared with a chisel point to shade the smaller areas. Don’t use the flick motion, just shade. Once you have done that you can then fill in the remaining spaces between the white vein lines. Gently outline the area first then simply fill it in. The vein lines can be made narrower now, and become more defined. See the finished drawing for more information.