How to draw & shade with stippling; stipples; or dots Video Lecture - Complete

a patient in this tutorial I figured I'd
give you guys some tips on how to use
stiffles and drawing ink drawing okay
and stippling is pretty much just
drawing with dots okay
four points now I think the first thing
you should practice when you're drawing
with staples is learning how to shade
basic forms so say for example let's
just start with a a circle alright so
say we have a little circle there like
that and of course you should practice
with drawing basic forms I said like a
circle or and not or and like a block
and a cylinder you can shade these forms
you know these types of pace that these
are the basic forms you should always
practice with like an egg you know a
cone these are simple forms see these
are very very very simple forms all
right
now in addition to this is also good to
practice using a making a value scale
it's always a number one way of
practicing shading in any technique even
when you're painting you start with a
value scale and then from a value scale
you move on to rendering basic forms and
I'm going to do all of these and they'll
take me forever but I'm just going to
give you some tips now the most obvious
thing to learn I see the thing is with
pens like these or any pen actually I
think we tend to have a habit of of
pressing too hard on it and you really
don't need to okay you don't really need
to press that harder because once you
just make contact it will leave a mark
see that now you barely see it here
because I'm using my io5 now just for
clarity sake so you can see I'm going to
use a oay t' okay now you should
practice first of all making consistent
marks right you should be able to put a
series of dots and notice what I'm doing
I'm not pressing too hard because the
thing is when you press too hard you
make it
a little bit darker than see I'm gonna
press really hard here what happens is
that the dots are not as consistent in
shape as if you just lightly tap on the
paper that's all I'm doing here I'm just
lightly tapping I'm not pressing hard is
here and plus when you press too hard
it's not good for the tip of your pen
all right so practice just being
consistent you should be able to fill an
area like this I'm just doing random
dots here okay but I'm being consistent
and what do I mean by being consistent
okay how will not be consistent on this
side see how you could most of us are
almost evenly spaced you can say here if
you're not being consistent it will look
like this you see the difference you see
the difference this is not consistent
okay
consistent all right so that's the thing
you have to practice being consistent so
now unless you're doing this
deliberately to create texture then I
can understand but if you're doing it to
shade it's good to do this why is it
important well because when you do this
you can unintentionally draw something
that you didn't intend or create detail
or suggest detail that you didn't intend
all right you can create texture that
you didn't intend it's good to have some
control over what you're doing see like
here I was being very consistent here as
being consistent now after you've
learned how to cover a certain amount of
space with a consistent amount of
stibbles then you can go on to a
gradation and that means going from an
area of dark to light all right you want
to be able to do that with Stickles so
that means now this is an interesting
trick so with suppose it's good to go
from light to dark yes you can also do
this go dark and then gradually make
them more spaced out you can do that as
well
that's nothing wrong with that but it's
good to keep things light and then go
darker afterwards
and it's good you will be tempted to
make a solid black like shade in the
black but don't do it because a black
like this is different from a black
created with stibbles why because the
black that's created by sniffles has a
certain texture that is consistent with
the rest of this type of area this will
create an area that will stand out maybe
too much and it may create a contrast or
draw attention unwarranted attention
attention that you may not want in your
drawing okay so it's good to keep be
consistent even you're creating a black
you'll be tempted to shade it in but
don't do it instead create the black
with the stipple and you can leave it
with some white showing like that
alright I'm gonna do a drawing of an eye
down here so you see exactly what I mean
now as you do that now you can go on to
creating your little value scale here
and you're basically as I said going
from light to dark so say for example
let's say I have another box here okay
like that now I can leave this one white
I'm gonna leave it the call of the paper
so here has a lowest value and it's
going to get deeper as it goes towards
blood so this has the lowest value this
may be next and it gets gradually deeper
as it goes across but notice what I'm
doing here making it all pretty much
consistent going across okay then I can
make this one a little bit darker so you
can very very this according to how deep
you want the values or how sharp you
want to change in value to be so another
what I mean is you can go from this
could be darker and then this
subsequently darker you know so you can
be successively getting darker across so
this these are relatively light values
right
and you may not necessarily want to go
completely black or not C and then you'd
apply this to these basic forms after
you've mastered this okay it's really a
fun thing to do it's very time consuming
and meticulous but the drawings can end
up looking really beautiful so how would
I say like a basic form like this you
know I'll just do this one as an example
of course a block is going to be easiest
because it's pretty much just joining
straight flat planes like this okay
just draw depending on where you've seen
the light coming from the light is
coming from up top here this will be
lightest this would be middle value and
this would be the deep Alex using three
values when you're doing a form like
this like a sphere here first thing I
would do is separate the area of light
from shadow all right and then I would
lightly outline the shape now I'd use
less dots to outline the form that's the
part of firmness and light okay to make
it consistent with the light and shadow
pattern and then in here you can even
start filling in the shadow area so I'm
not even doing any gradation yet all
right right now I'm just separating a
light from shadow then after this I
start darkening the area between the
light in the shadow area so this is like
the shadow core or the shadow board as I
call it start targeting that and you can
even you know if outline to the cash out
if you want so here's a little cash out
of here of course with cash shadows the
deepest value is at where that the form
makes contact with the surface is
resting on its gradually lighter as it
goes out towards the the edge of the
cast shadow and see what I've done here
is pretty much lay out the overall
pattern of this thing and then from here
it's just a matter of building up on the
values deepening them additional
techniques that I'll share with you is a
little trick you can actually vary the
tips of your pen as well so say for
example this is a point eight you could
use a 0.05 or a light or a smaller tip
in the light areas see I made a movement
mistake there you can in the light Eretz
and that helps to create a a wider range
of values for you and then you can use
like a larger tip and the shadow here is
C this is a one and it will kind of you
know help you to get the shadow filled
in a little bit faster than actually
using a small point so that you can do
that if you choose but you have to be
very careful because you can if you're
not if you don't do it carefully enough
you can actually make it too obvious and
then it may create some inconsistencies
in your drawing and you may not
necessarily want to do that another
interesting way this is this is like an
advanced challenge if you get to the
point where you're really comfortable
you can challenge yourself to you start
shading with a pattern like for example
I'll show you here you couldn't start
using instead of just putting the the
stiffles randomly you can now start
using patterns and this is really
challenging because when it comes to
creating you know gradation and value it
can really be a little tricky to handle
and it can you you know gives a really
interesting feel to your drawing because
the pattern will start is you know
drawing the own sense of design to it
alright and you can you know keep
building on this and so on alright so um
I'm gonna do a drawing down here just
flesh it out in pencil really quickly
and then just give you an idea of how
you can proceed with doing a drawing
you
all right so there we have a load
and I and I think I'm going to use the
point eight because it point 0.005 would
take forever alright so um first what
I'm gonna do is just to walk you through
a minute first outline everything so I'm
gonna start by outlining the drawing
just to give me a sense of where things
are because it's good to keep things
confined because if not your drawing can
quickly spin out of control so it's good
to have an idea okay where are things
because the thing is that's why it's
good to have a plan any process in your
drawing and ironically people who think
that you're having a plan or process
will keep your drum contained or
restricted but it really doesn't
actually it really allows you to remain
in control and also it comfortably
enough to keep things consistent but it
at the same time it frees you because
you know where things are so you're able
to take a chance without feeling even
lose everything alright so I it's good
to have a process but um you know once
you're not you don't plan every single
thing you just plan a general layout of
where your drawing will go and then you
know you just play with that from there
alright like for example with this see I
did the pencil drawing I have an idea of
where things are going to go but I
really don't know what this drawing is
gonna look like when I'm done okay and
that's the exciting thing about drawing
is good to have a process but don't plan
every single thing that's why I like I
generally advise good to draw from
photographs you know but it's always
best to draw from life that way you have
more control over photographs when you
use them
I think that's pretty much it so that
just gives you an idea of how you can
you know develop your drawing gradually
just using small points and if you
notice in certain areas I'm like
creating a little pattern see like that
see so this kind of like say for example
I want to create like crow's feet you
know you can create a little spiral see
I'm using the line of balance here and
then you can go into that and create the
different gradation so make them closer
here and then as it goes out see they
get further and further away from each
other and that helps to create a form of
up gradation as well and not only
gradation but it describes the form see
that's what I did here it's not only
creating gradation but it's also
describing the curvature of the form the
fleshy area right above the eye alright
so hopefully that gave you guys some
tips and then you can try it out
you