Tips on Shading Black; White and Grays with Pen & Ink Video Lecture - Complete

everyone so in this video I'm going to
share some simple tips with you and how
you can distinguish
you and I'm going to use the drawing of
a scarf I'm actually going to imagine or
render it as three different scarves now
of course I have to take you know a
moment to thank you guys so much for
support in the book it's meant so much
for all the support all the feedback
I've gotten whether it's on Instagram or
YouTube or Facebook even via email I
thank you so much guys and for those are
taking the time to go on Amazon and left
a comment it means a lot that you guys
do that and thanks so much for that
support
so when I talk about local value I mean
for example let's think about a bananas
like a yellow banana and a green banana
imagined the yellow banana and green
banana but in black and white so now you
have a banana that's green and one
that's yellow so even if you're seeing
this in black and white right a
grayscale photograph you will still be
able to distinguish them because the
local value of the yellow banana is
heron Leal iter
than the local value of the greens
yellow is lighter than green or blue the
thing is you have to be able to in pen
and ink to be able to vary the
properties of your strokes to be able to
show that so like in my book I discussed
some properties of lines for example the
spacing of line you can vary that can
vary the directions of lines you can
vary the weight of a line and you know
you can also layer your line so for
example if you're shading a say for
example this is the green banana right
NSA we're having light is coming from
this side so that means we're going to
have this one being light and this is
going to be in shadow this is going to
be enlightened this slide is going to be
in shadow now on the shadow side of the
green banana is going to be see my light
strokes or pretty close and especially
if I'm going to use cross hatching then
I can even deepen the value some more
now in the light areas it may not it's
not going to be as light but I'm
definitely going to use some chokes
there as well
see some distinguishing the shadow side
from the shot beside in light and this
is a cast shadow from this banana now
with the yellow banana we're going to be
using lighter strokes and for the light
area I may not even put any strokes at
all and I may just leave it just like
that
what I'm communicating then is that this
is lighter than this is so this has a
lighter local value than this does so
and that's the thing that I'm going to
try to share with you with the scarf by
having one scarf or actually maybe I'll
do three so one would be like a light
value one would be a middle value one
would be a deep value and what I'm
essentially going to do is using
different types of strokes so with one
set of chokes I'm actually going to make
them really close and with the other set
of chokes I will vary that so it
communicates a little bit lighter see
that and then there can be a third set
of chokes spacing them out now the
tricky part is you have to still convey
light in shadow so in other words you're
varying these sets of lines from shadow
to light the see sets of lines from
shadow to light while still
distinguishing all three so so use a
little exercise you can use actually you
know do this with with spheres or any
simple forms that you actually have or
you can actually find forms like this so
let's say we're going to have the this
case we're going to have the light
source coming from up top all right and
we're going to be distinguishing the
local value we're going to be
distinguishing the light and shadow and
we're also going to be distinguishing
the properties of the lines to
communicate them
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so the first car from going to treat it
like it's a mid gray value and you'll
notice that I'm not going to leave any
of the white spaces uncovered I'm going
to pretty much be putting lines
everywhere and what that does is it's
almost like coloring it before actually
start rendering the light and shadows
and that's something I usually do before
I actually start determining where the
light is or where the light source is
and where the shadows are going to form
I actually cover the entire area with a
series of strokes and then from there I
start focusing on lighting shadow and so
on so it's also important to notice that
the the strokes that I've put down to
indicate the the gray tone of the scarf
also our cross contour lines so they
actually follow the curvature that I'm
sensing and even the the lines that
follow that indicate light and shadow
are also following across contour as
well so if you have to accentuate you
know the form as well as indicate light
shadow
now this second scarf is going to be the
lightest of all of them and you'll
notice that the lines are really sparse
almost use no cross hatching they're all
just hash marks and that's to make sure
I don't keep in the value too much and
here you actually see a lot of the white
of the paper showing through
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now this scarf is going to be like a
deeper gray and what you'll notice is
that I'm putting down like a series of
strokes and this will help to create
like an undertone and then I'll start
building the cross contour marks over
that and what that does it helps to make
the scarf a lot different value and also
by you know combining that with the most
closer marks and overlapping marks it
creates a deeper value
so this last scarf is like a solid black
so what I'm doing is I'm leaving out
like white lines that would actually
help to kind of like describe the shape
and contour as well as kind of like give
it some definition so you know if it's
just solid black without any of these
lines it will just be flat so I have to
actually either leave out these white
lines or actually use my white ink
general tend to actually create some
contour for it to have some shape okay
guys so hopefully you found this useful
and you consider this a really cool way
to challenge yourself actives varying
the different properties of Ashok's i'm
also it's a really cool way to practice
restraint one of the most common things
and pen and ink drawing is the problem
with over rendering and you have to
understand that sometimes you have to be
able to restrain yourself and hold back
from over rendering certain areas so
like when you're dealing with areas that
are like lighter in local value you have
to be aware that your strokes cannot be
the same way as when you're rendering
somewhere else you have to be able to
restrain yourself and understand that
okay you know what if I want to convey
this as lighter then I will space my
strokes out I'll use less strokes and
stuff like that so it's really cool
exercise I use it all the time and
hopefully it's something that you can
apply to your own work as well alright
see you in the next video and thanks so
much for watching and remember to give
the video a thumbs up
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