Line shading

This is probably my most used form of shading, I find it helps to add shape to the subject as well as shading. By adding angled lines to darken an area you can also create cross-contour shading in the same style as cross-hatching. Stippling is using little dots to create shadow and depth. Like all the others, the closer you place them, the darker the shading will appear. In my practice I drew a rectangle and am attempting to take it from really dark to really light. Using that rectangle or a circle is a great way to practice any of the shading techniques.

What I really want to convey is that it is not about having a super deep understanding of stippling or hatching. I tend to move from one to another, using them interchangeably and using whatever feels right for the project.

I recommend doing a practice page like this one so you can try them out, having some different nib sizes, and then just going for it. To put everything into practice I added the tulip to the top of my page. I used my Molotow blackliner 04 nib for the contour and a for the shading so I can do very precise hatching. Since the petals and leaves are different colors I want to show that by shading the leaves darker.

As the artist, you get to decide where the light is coming from. Here I've decided the light is coming from the upper left. I started with contour shading on the leaves, creating shadows under the blossom, where the leaves come to a point, and at the bottom right - furthest from the light. On the blossom the inner petals are a little darker. Overall the blossom is lighter to show both proximity to the light and a lighter color.

To finish it off I added some cross hatching to darken the deepest shadows. For my final practice I decided to draw a seasonal flower, the paperwhite. Like all my drawings I begin with a guide, add more details in pencil, and create a contour drawing in pen. Still working with my 04 nib, I added shading to the stems of the flowers since I want to keep them quite dark. The shade line may be produced in straight lines by drawing the line twice over, and slightly inclining the pen, or by opening the pen points a little.

For circles, however, it may be produced either by slightly moving the centre from which the circle is drawn, or by going over the shade part twice, and slightly pressing the instrument as it moves, so as to gradually spring the legs farther apart, the latter plan being generally preferable.

Figure shows a German pen, that can be regulated to draw lines of various breadths. The head of the adjusting screw is made rather larger than usual, and is divided at the under side into twenty divisional notches, each alternate notch being marked by a figure on the face.

By this arrangement a uniform thickness of line may be maintained after filling or clearing the pen, and any desired thickness may be repeated, without any loss of time in trial of thickness on the paper. A small spring automatically holds the divided screw-head in any place. With very little practice the click of the spring in the notches becomes a sufficient guide for adjustment, without reference to the figures on the screw-head.

Another meritorious feature of this pen is that it is armed with sapphire points, which retain their sharpness very long, and thus save the time and labor required to keep ordinary instruments in order for the performance of fine work. An example of line shading in perspective drawing is shown in the drawing of a pipe threading stock and die in Figure Shading by means of lines may be used with excellent effect in mechanical drawing, not only to distinguish round from flat surfaces, but also to denote to the eye the relative distances of surfaces.

Figure represents a cylindrical pin line shaded. As the light is supposed to come in from the upper left-hand corner, it will evidently fall more upon the left-hand half of the stem, and of the collar or bead, hence those parts are shaded with lighter or finer lines than the right-hand sides are. Two cylindrical pieces that join each other may be line shaded at whatever angle they may join.

Figure represents two such pieces, one at a right angle to the other, both being of equal diameter. Figure represents a drawing of a lathe centre shaded by lines, the lines on the taper parts meeting those on the parallel part A, and becoming more nearly parallel to the axis of the piece as the centre of the piece is approached.

The same is the case where a piece having a curved outline is drawn, which is shown in Figure , where the set of the bow-pen is gradually increased for drawing the shade lines of the curves. The centres of the shade curves fall in each case upon a line at a right angle to the axis of the piece, as upon the lines A, B, C, the dotted lines showing the radius for each curve.

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To change the shading from rows to columns, select the table, click Design, and then uncheck the Banded Rows box and check the Banded Columns box. Tip: If you want to keep a banded table style without the table functionality, you can convert the table to a data range. Color banding won't automatically continue as you add more rows or columns but you can copy alternate color formats to new rows by using Format Painter.

Use conditional formatting to apply banded rows or columns You can also use a conditional formatting rule to apply different formatting to specific rows or columns. Here's how: On the worksheet, do one of the following: To apply the shading to a specific range of cells, select the cells you want to format.

To apply the shading to the whole worksheet, click the Select All button. In the Select a Rule Type box, click Use a formula to determine which cells to format. These formulas determine whether a row or column is even or odd numbered, and then applies the color accordingly.

Click Format. If you layer the lines more closely together, it can create darker tones, whereas leaving more space in between the lines can create lighter tones. Cross Hatching A similar technique to hatching but involves lines crossing and overlapping each other at various angles to add a very unique texture to your drawings. To shade lighter areas, just go lighter on your strokes and create more space in between the lines, and to darken them just to the opposite by shading the lines closer and adding more pressure to your strokes.

This is also a very easy technique that you can use for fabrics and fine lines found on the skin. Scribbling Scribbling is a fun and fast way to shade your drawings. Erratic and unrefined lines are used to achieve the value that you want to portray on your subject.

This can be great for shading subjects like plants, trees, portraits, and still life. This can also be a great technique to convey realistic skin as you can easily control the lightness and the darkness in areas where you need them to be. Just remember the harder your pencil strokes are the more value they will add to your drawing. Contour Shading A technique that embraces the shape of your subject creates an interesting result. Contour shading can go in any direction or angle that you like.

This technique is best used for subjects that already have pre-existing lines along their surfaces in real life such as the human lips for example. This method greatly enhances the volume of a subject creating a three-dimensional shape to help your subject pop out from the paper. For artistic use, pencil grades from 2h to 6B are ideal. This gives you enough options to achieve the results that you want to see in your art. Pencil tips also play an important role in how your shading technique will turn out.

The finer your pencil tip is, the sharper your lines will be, and the softer it is the wider and softer your pencil strokes will be as well. Pressure is also something to keep in mind. Remember that the harder you press down on your pencil the darker your shading will appear, and the more densely you will shade the smoother your shading will be.