Pen & Ink Drawing Tutorials | How to create realistic textures (Part 3) Video Lecture | Develop Drawing Skills: Basics to Expert - Art & Craft

okay so this is part three - the drawing
realistic texture series that I've been
doing now in this one I'm going to focus
on developing textures over a spherical
form in the first video I did it over
cubes the second one I did it over
cylinders and now I'm going to do it
over spheres now the thing is the whole
idea that I'm trying to drive here is
that texture without lighting without
following form it's just a flat pattern
okay for a texture to be effective it
has to conform to the form it has to
conform to the form that it's actually
covering so if you notice when I did it
the cube
I had it follow the cube when I did the
Sun ahead follow the Sun and now with
this little sphere I'm going to have it
follow the sphere as well so what I'm
going to do here I'm just going to draw
like a a pile of cubes of stairs okay
now we have this done now so before I
actually start rendering them what I'm
going to do is I'm going to discuss like
I did before let's discuss the light and
shadow pattern on a sphere and how light
affects that right so if you have a ball
like this and you have light shining on
it and I say that light is shining full
it doesn't matter I tend to like using
like from the upper right because it
produces good value patterns okay when
it's a little bit up to the front and to
the side okay because that way it's
affecting all three dimensions at an
angle so it creates really nice Valley
pattern so I'll explain that no no
tutorial but in any case the value the
shadow border the board of the shadow
normally follows a form around there
okay so in other words all of this
area is in shadow close to where the
diameter of the ball is however it's not
necessarily the diameter because it
depends on the position of the light in
other words if you have a ball like this
and the light is the light sources more
behind that in front then the shadow
board is going to be is going to have a
convex shape like that so this will be
in shadow and if the light source is
more in front like this and it's shining
on this then the shadow board is going
to be more like that
all right like a little quarter moon so
it's important to be aware of little
things like that okay so in this case
I'm having I'm gonna have a shadow on
these texture balls I'm going to have
the shadow be around here just to you
know for models sake okay for example
sake so it's pretty convenient and you
know when you're shading a ball or
spherical form right you know that the
gradation in value or it goes from
shadow to light but not sharp like this
it would be gradual so it's important to
imagine that the texture is getting
lighter as it goes around so that this
is that the gradation that you should
have in mind this is how it's moving all
right it's getting lighter as it goes
towards the lens one there'll be an area
of shadow and you'll be an area of light
to the gradation at the border it would
be gradual from shadow to light it will
go from from deeper values deeper
texture to lighter texture and it would
be very smooth not a sharp line like
it's a box or an edge okay your picture
it as an edge but you smooth it out now
when drawing with pen and ink what does
that mean
well that means for us to do that we
have to manipulate or adjust our strokes
to reflect that so that means in the
shadow areas our shocks may be closer or
tighter and in the light areas that
would be lighter less pressure more
spaced out and less dense not as layered
as here so those are some of the things
I'll do in a shout-out here and I'll
gradually change as I go towards this
point all right the texture will get
lighter and the thing is as I had
mentioned other tutorials in light areas
you see less because the light is so
strongly lit in this area it's bleached
out now here
things are blurred and and not as clear
as air is in light so that should
reflect the texture should reflect that
you shouldn't be able to make out
everything that's going on in shadow
because you generally can't because
there's a lack of light
however in areas where you have a lot of
light
you also don't see much but because it's
an abundance of light so in other places
you don't see much where you see the
most is right here where there's a
transition between shadow and light
light and shadow that's where you
actually see the most so um I guess I'll
just go random but you'll see how the
main thing is I'll focus on creating
that volume where ever they move from
shadow to to light
and I think a tendency if a lot of
people went wrong with pen and ink is to
over render so it's it's almost like
sometimes you have to stop yourself and
not draw what you think you should you
know sometimes you have to trust that
less is more
just even if you feel like filling in
details just leave it you know if you
look at some of these areas see if I can
zoom in really close if you look at some
of these areas I deliberately just leave
certain things blank I just see that
leave the scribbles I just leave it
there and it still you know conveys that
sense of light and shadow because in
truth when we draw things that we or
what actually just based on our vision
when you look at things and things that
are brightly lit we cannot make out the
details because there's too much light
too much reflection there and that's
what you have to try to emulate in your
drawing when you want to create
realistic texture so hopefully this was
helpful and you guys got some tips that
you can apply to your own drawings and
remember to check out the if you haven't
already check out the other drawings
that I did of the series before I did
the cylindrical form and before that I
did the cube and I think the next one
I'll do from this is applying these
actual textures to maybe doing a still
life and then after that maybe just
applying it to drawing the figure we can
make a person's face or arm you know
take on whatever of these textures you
may want to apply and the thing is you
have to apply the same principles just
have the texture follow the value
pattern of the underlying form and
that's pretty much it