Pencil Rendering

Here another video by miandza with pencil rendering.

How to Draw the Nose

Watch this video.

Shading: Pencil Exercise

Watch this video about shading exercise. Read and try product from the bottom of this blog under sponsor links. ^_^

The Five Element Shading

Watch this above video.

Shading with Colored Pencil

Watch this video.

Inking, Coloring and Shading

Here’s the best video.

Enjoy with it.

Shading in a Face Drawing

Here’s video on how to do nose shading

Built tones with cross hatching, shading

Let’s enjoy the show.

Techniques of using pen and ink

Above about pen and ink techniques for fine art drawing.

A pen may seem like a basic drawing tool, but artists can get a wide range of effects from using simple pen and ink techniques. There are five general pen drawing techniques that can be used to add texture and shading to a drawing. These methods are simple shading, stippling, crosshatching, contour hatching and random hatching.

How to Do Shading with Pen and Ink

Shading with a pen is a little different from shading with a pencil. Here's how to get a nice shading effect:

1. Hold the pen in the center, as shown in the first illustration at the end of this article. Note: Click on the picture to enlarge it or to see more detail.
2. Lightly press the tip of the pen to the paper.
3. Sweep the tip of the pen across the paper in a back-and-forth motion.
4. As the shaded area gets lighter, drag your hand across the paper so that there are fewer strokes in one area.

What is Crosshatching and How to Crosshatch Using a Pen

Crosshatching is the process of making lines in one direction and then overlapping the lines with perpendicular lines. Follow these guidelines for creating crosshatching in pen and ink:

• Draw vertical lines on the paper and then draw horizontal lines across the vertical lines.
• The closer together the lines are, the darker the area will appear.
• The further away the lines are separated, the lighter the area will appear.
• Don't worry about the lines being perfectly straight. Wavy lines will add energy to the drawing.

See the second illustration at the bottom of this article for an example of crosshatching.

Random Hatching and Contour Hatching Techniques

Random hatching and contour hatching are variations of the crosshatching technique.

Read more at Suite101: Pen and Ink Techniques for Fine Art Drawings http://drawing.suite101.com/article.cfm/pen-and-ink-techniques-for-fine-art-drawings#ixzz0qDCu0kAG

The basic of shading

 

Here about basic of shading.

There are several stages to, and types of shading. Let’s start with a simple circle.
1. The first type of shading and the best place to start for beginning pyrography is positive/negative shading.
Positive/negative shading is used for branding irons, metal cut outs, scroll saw patterns, etc. You really only utilize one shade, and that is the dark. The shadows are really the only thing you are drawing.

Here is a pyrographed picture of my son that utilizes this type of shading as an example.

2. The next type we will talk about is hatching and cross hatching. Hatching is a technique used in mediums such as ink to give the feel of shadow with lines. Cross hatching uses lines that cross each other. Two of these figures illustrate the point simply, and the third shows that depending on how detailed you get, you can really get a good feel of shadow, and still with only one tone of color.

The snake sketch was an ink drawing done with no lines other than “hatch” marks. The sketch of the rose and lantern was an original sketch in ink used to create the pyrographed piece “Revolution”. It illustrates the use of hatching and cross hatching to shade.

3. The next type of shading is another used in monochromatic mediums such as ink. It is another good method for pyrography because like the other methods, it uses only one tone. Pixilating, also known as “pointillism” or "stippling" is a technique for shading by using many small dots at varying distance to create the feel of shading. This technique is time consuming, but it creates such a unique texture that even when more advanced shading is developed, this method can still be the most effective way to shade textured surfaces such as fur or cloth.

This picture is a wood burn which used pointalizing to shade the trees in the background.

4. The last method of shading, and the most difficult to master with pyrography, is “smooth shading”. It is the most realistic shading effect, and will look the best on smooth surfaces like skin.

The second illustration shows how you can calculate a shadow by drawing lines from the object parallel with the direction of the light to give you an idea of where the shadow would be cast. Another note is that we have eliminated the outline. A picture will always look better when you can eliminate the lines that are unnatural.

The illustration of the cube is to show how the same light source would affect a different shape. The top is the most direct surface to the source of light, the front of the cube is in partial light, and the side is completely shaded. Flat surfaces are usually easier to shade.
Smooth shading is an effect created in pyrography by varying the speed you move the burning tip across the surface to create the different tonal values. Speed (rather than temperature or pressure) is the most effective way to create this effect. Of course lower temperatures will help you get a smoother transition between values, but don’t be cautious or afraid to burn dark, as you will find the lighter values will fade over less time than the darker ones.

Rendering shading technique

Above about shading technique.

This vase has been modeled as a symmetrical pattern of vertically-oriented surfaces - tiny flat patches which approximate the round shape of the vase. In this image, each tiny surface is shaded separately with a different gray value based on its orientation to the light source.

By introducing a technique called Gouraud shading, we can smooth out the appearance of the vase and hide the individual surfaces from view. The shading is varied on each surface in proportion to values calculated at the edges and from neighboring surfaces.

Phong shading improves the apparent realism of the rendering still further by introducing highlights. The way light reflects from real surfaces depends on how shiny the surface is and on the angle you are looking from. Most surfaces are not shiny, but have a more dull or "matte" or "diffuse" appearance.

Can you tell where the light is shining from? The surface of this vase is just shiny enough to reflect some light directly to the viewer at certain angles, but around the sides the appearance is much duller. Light hitting the vase at flatter angles is scattered more evenly in all directions.

In this last image the shading technique has been extended to let some light pass through the vase - for transparency. Note that the reflection highlights are still there, even if they are less visible.

These shading techniques (and more) have all been incorporated into the generalized rendering technique called ray tracing.

Tight cross hatching

 

Here’s about tight cross hatching.

Tight CrossHatching- using the ideas from loose crosshatching, this shading method takes it a little further. Tone is built up through repetition and a soft touch. This shading method works really well for animal fur I've found. It's not perfect and some paper tooth will show through.

(tight crosshatch shading example)

Drawing shade with pen or pencil

How to draw shade with pen or pensil? Here are the tips.

This section will give a few tips on using your pen or pencil to draw and shade. It is a good companion to the "Shading and Rendering" tutorial.

Here's a very simple illustration, showing the fundamental way of rendering in pencil. The "slinky" stroke is a unique way to describe a certain kind of pencil stroke. Ryder calls it a "slinky" because it goes back and forth, back and forth, just like that childhood toy, the Slinky. This is the basis for much of the rendering and shading in pencil and pen. It's as simple as that! If you are unfamiliar with drawing with this stroke, practice it in your sketchbook. It's fun!

Here's an illustration showing the "crosshatching" of a pencil stroke. It's very simple principle—you just do the "slinky" thing in several different directions, one over the other! (I have put arrows over the different directions of my pencil strokes.) Each different direction adds more tone to the shading, and gets it progressively darker, and darker.

Some more examples of pencil strokes. The example on the left shows how a dark dark tone looks. One bears down a little harder with their pencil, and gets the darkest tone they can while using the "slinky" stroke. They do this going several different directions. Voilà! A very dark (even black) tone.

The example on the right is a more strict crosshatch. It isn't so much of a "slinky" stroke (one lifts the pencil up after making each line) but the same principle applies.