He In this lesson, I'm going to tell you how to draw wood. Wood is a very popular texture and not surprisingly, it's actually quite easy to learn how to draw. I would suggest picking it close up image that requires less commitment to complete the drawing. When you browse through wood images on your own, pick those that have interesting patterns occurring around the wood not Oh there is something fun going on with color and stripes. If you see a branch or other objects sitting on the wall that Objects casts a shadow on the wall and you will need to place it to make the drawing even more realistic. In this project, you'll create textual work in the shading directional strokes.

Some paper indenting arises under rubbings, although it's also possible to create texture when you draw on a rather thin paper. Depending on your picture. Drawing on textured paper may be an option two, if the surface of the booth looks arrived, when you say over textured papers, the paper surface gives you a very uneven application. I always simplify my drawings. And you'll see me doing it here to simplify eyes or draw half the I'll capture fewer stripes by making them a bit wider. I'm using Prismacolor premier colored pencils, coin or Bridgestone vellum paper, kneaded eraser, transfer paper, and the final fix.

Please refer yourself to the color chart. I'm listing all major colors that I'm using in this demonstration. Study the pattern of the world. There are two major patterns happening in the world black cracks and brown stripes. They have different flow. The overall rotation and direction of soft golden brown lines is not the same is for the correct is the sharp edges.

It's hard to copy everything Things that is here. That's why I define the major cracks and stripes. And if I make a mistake by placing fuel lines or making some of them wider or narrow, no one would ever know as long as I keep the general pattern correct. Working on the cracks, there are many ways to color the deepest cracks in the world. You can use a combination of black and dark brown. I outline the edges with dark brown or dark grasper and mix this color is indigo blue, or dark ombre for the deepest cracks in the world.

I'm paying attention to the width of each Greg some look like thin lines. While others upgrade to wide I am trying to create a variation here. This is a very slow process when I am using a very sharp black colored pencil and I define and shade the cracks. It's important not only to define the cracks but also shade next to the line just a little bit so they don't appear to outlined I'm marking the writer Alliance was bond ocher and shades softly between the lines. It's best to keep the strokes horizontal at all times and rotating my drawing paper so it's easier to place them horizontally. I made the mistake here covering the ledge try by accident.

That's why I'm using this eraser to get into the error and erase. Remember you cannot lift out colored pencil 100% on but it's not needed here because The color is going to be unfair to like yellowish brown. So it's okay being not lifted out completely. And then I go back and strengthen major pattern that I see in the world. I'm not looking into teeny tiny details that I find in ever stripe. As of now I'm just creating the overall save of each pattern that I see of each line.

And once I feel feel dumb in this the right power and value, I will be able to add the details on top of that. If you start from the details, usually you spend time working them out. But because you need to defend your values and your shade over them, they disappear and you have to do your details once again. So it's a lot easier to establish the correct values first and then lay the details over the general layout. Also one side, the pattern seems to be a darker than the other. That's why I'm wearing my pencil for Asher to achieve that I'm keeping the left side darker than the right side.

Lines have found the nature never repeat themselves, although they're arranged in the pattern. That's why I'm keeping the brown lines very fluid and avoid making parallel lines. This is a very common mistakes that many students make by making the lines too even two parallel to each other. They basically flatten out the form, the edges must be solved, while the correct should be definite. I also want to in them some of the lines that would show up In my shading later I'm using a piece of tracing paper. To me this paper indentations you can make short or long lines depending on the image and where you are in your drawing.

It doesn't matter if the lines don't show on tracing paper because once I let go and shade over it I will be able to see them I in my paper for tiny lights in texture. In the next step you can see aware I created indentations as As the marks Villa revealed themselves after shading and these are small short lines in the lightest stripes and longer lines in brown lines. In this part of the drawing, I'm changing the pencil direction to say the vertical texture of the wood that I see in the corner over here. I'm applying this texture over the previous live say that have stripes and this creates beauty and variation in the stripes themselves. Although I add more color in the step, the majority of work is done already in just two colors, bronc, ocher and dark Kumba by wearing pencil pressure. Therefore, I develop values in the brown stripes with this colors filter before anything more.

I'm using light colors to shade between the stripes establishing the general light values I see in the world. This type of shading connects the stripes and and creates a unified appearance of the world. I'm using Spanish orange with a very light touch to continue shading the light parts in the world Notice how I keep overlapping the colors and going over the brown stripes creating color variation. Because I'm working on white paper saving the highlights and the white areas by not coloring them is essential to realistic drawing here. Therefore I need to work around my light areas with care. I can always shade over the lights later, but I cannot erase them once colored I use sharp black to harden the edges The cracks and you see me varying their width and length.

Next, I constantly keep reestablishing the deepest cracks in the wood. And then I continue shading with light colors like yellow ochre, Spanish, orange and actual over the lightest parts in the world. My shading is very nice and even. And when you look at up close, you'll see very subtle transitions between the tones. It happens because I keep pressing on my pencil evenly and it creates a smooth transitions between the tones As you can see, I'm using the same Yellow Ochre right in the center of my image and I keep increasing my pencil pressure doing so. To blend the colors even more, I am paying attention to the edges making them very nice and soft.

And then I extend this color into the uncolored part of the board I decrease my pencil pressure to make the lightest transitions. At this point, I began building up the values and the strength of color. And I keep applying the same colors over and over again, but I keep increasing my pencil pressure to match it with the values that I see in my reference picture. And as I keep shading the radial stripes, I keep the edges very nice and soft. Here you see me changing the pencil direction to make a different kinds of texture. I'm using up and down and even strokes to create the breaks in the world.

And then I rotate my pencil and keep shading in a different direction to create nice and parallel lines. Bone ochre and yellow ochre mix very well to produce this very natural yellow that we see in the world. At this step you can see that I laid out the general pattern of stripes and cracks and I already established the basic values of light and dark shading this very few colored pencils to make a crack if you're really sick, what you need to do is to darken the inside of the craft Usually it's darker on one edge and a little bit lighter on the other. If the crack is small, you won't see the difference. But if you draw wide cracks, you would see a difference because you need to show that you go into the woods. And that's how you can show it by making one edge darker than the other.

But another thing to make it look real, is basically I'm covering one of the sides this value and leaving the other side white. And usually it's a very small space, sometimes you have to indent your paper to leave a very thin line. And other times you don't have to do it. You can erase it or just Just shade around the space to make it happen. If you study the woods, you'll see a color comes to this crack completely. But then when you look on the other side, there is a little white space that you have in here.

If you haven't indented the paper, if your color is light you can erase to create that narrow white space that you see. But that's what makes the cracks appear really fit. You basically want to have some color on one side and then have the crack and then skip this piece. Leave this teeny tiny white area on color and then you say Visio pencil Once again this creates the illusion of the crack in wood. And basically you need to study every single area to see how a light affects every not every crack in the woods. And just look for those patterns look for the value in color on one side than the correct itself and then skip the space to leave it white and color the rest.

As I keep coloring this light area, I might see some paper in the invasions I've done before. And those would be teeny tiny white keeps in the paper. If you haven't done the paper indenting you just have to say it sparingly, so you leave a few white areas in between to show the texture of the world. The space around the knot is the most interesting. And you have to spend more time working on this area as opposed to the rest of the picture. Because this is your focal point.

That's why it's best to have the strongest color and the most amount of details in the center of the image. And then let ever everything feed and not put as much detail as you can put in the center of the image. So from now on, I will be Picking a single crack and then erasing white line next to the crack on one side of it only and then saving to one side, keeping the space and shading on the other side. You also need to remember that those white lines repeat the shape of the crack. Here I'm darkening the various and more contextual details that were in every corner of the drawing. I'm creating more focus in the center and the right center Have the drawing blurring out the rest slightly.

I am establishing the largest cracks and I'm drawing out new ones with a very light pencil pressure. And to do that I'm going over the general shading and I am creating you smaller cracks by drawing them over the stripes. The lines are uneven and irregular You can intensify some of the cracks, make them a little bit more prominent. Just remember that all of them need to be different in terms of width and length and it's very hard to keep it this way. Some of them need to be a super fan, while others need to be wider. I'm shading this and 90% warm gray to map out the details the grave details that I see in the image Once again, I'm not aiming to repeat every single detail.

I'm just looking for major breaks in the woods and I'm trying to make a few cracks that make it look more real. Just remember once you have a crack you how you need to have the white space on the other side of it. So either indent your paper or use the eraser is the correct assignee. You want to indent your paper before him Also the cracks themselves should have a little bit of warmer color that you see in the world as well. So it connects and unifies with the texture of the world. That's why I'm using burnt ocher into the color some of the cracks.

And the pattern here changes and you can make it by staging in a different direction, trying to call this texture. Basically, it's dark, light, dark, light, dark light, but the strokes needs to be even to resemble the texture of the road in here, and also they need to stay on the course. For every single line that she seems here, and then you could go back and connect this even if it's getting lost because there is a definite pattern of stripes, brown and yellow stripes. You want to connect them as well. Now I'm shading this yellow ocher in the actual in the light stripes and evenly which happens in between the brown stripes, skipping over the paper to leave some white paper untouched. Apply this light as the colors to make the lightest transitions between the middle tones and the highlights.

I'm also mapping out the wood pattern in the top right corner with 70% French gray. You see me working on the bark which is located in the right top corner of the reference picture. And I'm filling in smaller spaces between the stripes 70% French gray has a lot of color in it and that works really well mixing with the natural warm Browns my strokes and edges remain quite soft. But at the same time they add to the structure of the ward. This is seven right, which is a lighter, warm grey. Basically I'm creating darker passages and I'm escaping over the light the ones that I could say with the lightest gray.

If the area is gray, I'm creating texture by making random short strokes but just the reason resemble the texture of the wood that I see in That image and once I see the line, I soften it a little bit so it becomes part part of the image. So it reads as a crack because if you just placed the line it's gonna look like a line. You always have a little bit of shading going. This is a very slow and tedious process. Once you establish the general layout of light and dark and stripes themselves, you just work on the details one thing at a time and it could literally take hours to imitate the texture with the stroke and it changes once in a while. While most most strokes after isn't all, some, some of them are vertical when the wood breaks in a different way.

I am enhancing the texture in the white stripes that's located in between the brownish stripes and I'm making short and uneven strokes to do this Some of the graphs need to go into the brownish stripes as well. So they feel like they're part of the would change texture here. That's how you continue working on one area SSI, preserving the general shape and curvature of the stripes. You always think about it at all times. And if you outline something you always need to shade right next to keep the line soft on why on the one hand you have a sharper edge but at the same time it doesn't look like a line. You still have some shading going on I'm doing magic tape lift out here.

It could happen at any stage of your drawing, I'm just noticing that I need to do a few more lift outs to make very thin light lines. They are not going to be white because I already colored a lot of space but at the same time, they're going to be just a little bit lighter and giving me additional sense of texture that I want to establish right in the center of my drawing. And then I just kept building up the color and deepening the values in this area. I also keep outlining some of the cracks and shading right next to them for softer appearance. As you can see, I keep adding the texture on building it on top of my general shading. You can't really start doing texture right from the very beginning, because it's just going to take you longer, you need to blend out and do some people indenting but then make a general shading and then after that, start building the texture.

I'm keeping Adding a lighter colors in the light stripes with the yellow ochre and XL to knock out the white because I want to have a highlight to be the brightest and everything else needs to have some color going and shading generously by overlapping over the brownish stripes. This unifies and intensifies all the colors Bark, you want to create the illusion of bark, what you need to do is to outline the edge darkest shadow right next to it and you want to create the illusion of bark this the shape of the edge itself. But another thing is to watch out for is to see how shadows have formed over here and that the bark catches the light on this side. So it needs to say white or be very light. Therefore what I'm doing I'm adding some gray on this side of the park and seating close to the Leaving that space white for now.

And I'm gonna stay on this side. And of course you can create more breaks and details in here. But that's how you can create the illusion of bark you need to place the saddle having a better sharp edge and then just leave this space white. You can come back and see that very likely if it's in the shadow, but that gives you the idea how you need to approach drawing bark. To make the architecture on the right, I'm using a combination of Grace 20% cool gray for the lightest, there's 70% French gray for the middle values and 90% warm gray for the shark details, you must outline one edge only to make it the darkest. I also make tiny, sharp lines for texture in the bark on the right.

I keep extending some of the cracks into the stripes as well to make continuation of these cracks going from white stripes to brown stripes to white stripes again. My shading is soft, which makes the edges appear not very sharp but at the same time they're different. From the average texture you see in the brown stripes, I carefully observe every corner of my reference picture to add these details. As you can see, a lot of it is just freehand drawing by looking at the reference and simplifying the image and just recreating my understanding of the pattern that I see in the world You see the indentations that I've made before those white drives come from me pushing the fan over the tracing paper. So when I keep coloring it, they show up a lot more. If they're not in the right spot, for some reason, you just you can just sharpen your colored pencil and feel in that line.

But I think it works beautifully in the texture of wood because it's very similar to what We usually see in the world, whenever you do peeping dancing, you want to make those strokes appear like part of the texture. So you have to practice for a little bit on a scrap piece of paper and then do the same in your drawing. What we have in the black lines are all dark and light areas. And if they get colored by accident, which you could do, you can use your eraser. And make if you list out like soft, least this way you caught this pattern of dark light, dark, light, dark light, but your life is not white. It shouldn't be like gravely you can achieve this kind of texture by doing lift out this The eraser.

A lot of times they also need to rotate your paper so the lines around, up and down because it makes it a lot easier to see following the direction of the texture of the board. You cannot do cross hatching here you want to keep the lines parallel to the edge of the paper and it just makes it a lot easier to create small details and fill in cracks or what have you rotating the paper. I'm switching gears to a different corner. They're trying to find the lines for texture and the reinforcing some The largest crabs make a few magic tape lifta for additional texture usually cracks a thin out on the edges. And this is important to repeat in my drawing because most of them are very thick right in the middle and then as I keep going to the right or left they just stay out and disappear into the woods itself.

To get darker, reddish brown color in brown stripes I'm using a convenient have black raspberry and bond ocher working in horizontal strokes darkening the pattern. I want to see the stripes curving with uneven texture so they would look unnatural. Whenever you draw if your stripes look straight are two parallel to each other, they would would look like a stripe Short that's why I'm using a very light pressure in 70% French gray and brown awkward to make tiny lines in the light stripes for texture. They should mean though is there previously in in them then tiny white stripes. Here you see the final touch ups and enhancements that I'm doing right in the center of my image. I see a bunch of an even a lines going around the center and I'm just sharpening the edges to make them stand out more next gen shading of the stripes I'm intensifying colors in the warm brown stripes by layering Yellow Ochre burn talker and Spanish or French and Spanish orange adds this beautiful warm glow to the world and it would never hurt to edit just for color variation and the overall unity in the world.

One side is slightly darker than the other. And that's why I'm using brown awkward to shade the darker side of the stripe. To make an illusion of a crack, I studied how it catches the light darkest value is the correct itself. Next, I have the highlight right below each crack and the darker value at the top of the crack. by absorbing this light and shade, I create the illusion of the crack in the world. No blending is necessary in this project Do you to the subject itself and the fact that I'm shading on Bristol vellum paper, which is a very smooth paper.

This just a little bit of texture. That works well here. I'm making very light strokes to create these small lines that I see going around inside The triangle as I'm making these final adjustments in various and color, I hope you you'll feed attention to the fact that I keep changing my pencil direction very often to describe the curvature, a shape and general direction of the object. I'm stepping back to look at my drawing from a distance to check the contrast and I'm making adjustments. And then I use a spray varnish outdoors to fix my drawing against the smartest and you realize and this step completes this demonstration, browse images online, go to pixabay register and type in wood texture and browse the images just to see variations and patterns of wood and try to pick the photograph that looks interesting to reproduce that has good light and interesting pattern of wood.

Thanks for watching. If you have any questions, please let me know. And I'll see you in our next lesson.