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Observation Is Key
Observation is one of those things you just have to learn if you’re planning on being an artist. Whether you realize it or not, our brains are constantly processing information and evaluating whether it is correct or not. It’s some pretty amazing stuff, until your non-artistic friend comes up and politely reminds you that “there’s something off” about your drawing or painting. Typically, they can’t put words to it, but their brain is telling them something just isn’t right. 
This is why observation is an artist’s greatest tool. As an artist, our brains were uniquely wired to pick up on small details. Sometimes, we too can’t explain why our drawing is “off.” But with some thought and observation, we can typically figure it out.
So what does this have to do with shading? Well, everything. Shading is one of those art concepts that relies solely on observation. It changes based on your perspective, your light source, and—something most people don’t think about—the object itself. So today, I’m going to teach you 4 ways to train your brain to observe the key elements I use for shading.
But before I get into those, let’s briefly talk about shading in general.
Two Methods of Shading
There are two main methods I use for shading: smooth/gradual value and cross hatching.
Smooth/gradual value: This is a smooth transition from dark to light. You’ve most likely seen this before. I prefer this method when I’m trying to communicate smooth surfaces, such as metal or even a balloon.
Cross hatching value: This method isn’t as well known, but I’ve seen it gaining popularity in recent years. With this method, you use lines in random or uniform ways to convey value (or shading). I prefer this method when I’m trying to communicate texture, such as on a flower petal.
And here it is: 4 tips on shading, based on my observations.
1. Light Source
The first thing we need to think about is our light source. Ask yourself these questions.
How many light sources are there? 
Typically you’ll only have one for a drawing or painting, but sometimes you can have two or even three, such as if you’re trying to draw a still life. So keep that in mind. I’m going to concentrate on using just one light source today.
The next question to ask yourself: is the light source harsh (or extremely bright)? If it’s bright, your shadows will have sharp lines that are very dark compared to your light source.
Is the light source soft? If so, your shadows will be less intense, with a gradual, dull gray appearance.
2. Don’t Just Think Shape
You’ve most likely seen the basic shading tutorials on circles, triangles, squares, etc. These are pretty straightforward and easy to learn. The problem is when you try to jump from a basic shape to a realistic flower, pet, or person. Suddenly, you feel lost. Once again, observation is key.
Think About Texture
Everything we touch has some form of texture. Even a delicate flower petal has tiny veins that swoop around it in intricate detail. Remember that shadows help us communicate these textures to the viewer. I love using crosshatching for this reason—it’s a simple way of training your brain to see texture and apply it to your drawing, like in the example below. Here I placed swooping, round lines to communicate the curvature of the petal, and to show how the light flows around the object.
Think Dips and Valleys
This brings us to our next question: where are the “dips” or “valleys” on my object? Sometimes I like to imagine myself as an ant crawling over my object. Crazy, I know, but it works for me. Let’s say I was an ant on a flower petal—where would the petal fold or bend in on itself? How deep is the fold? All these questions are crucial for understanding how dark and how sharp my shadow should appear.
3. Overlapping
So now your drawing or painting is starting to come to life. However, there’s still one more aspect to consider.
Is there anything “hanging” over my object? If there is, it will cast a shadow. The next question to ask yourself is: how high is this item overlapping? Depending on the height, this will tell you how sharp and how dark to make your shadow.
4. Don’t Be Restricted by Color
As an artist, don’t limit yourself to the norm. Think outside the box and take chances. When you’re thinking about shading, don’t just think in gray scale. In real life, shadows are rarely truly gray or black. Remember that color hue can also communicate value (or shading).
For example, let’s say you’re painting a brilliant red rose. Instead of using black to tone down your red for the shadows, consider using a blue or purple. I discovered this approach from a Photoshop tutorial by another YouTuber years ago, and I’ve used it in my watercolor work ever since.
Also, don’t fall into the trap of only thinking about shadows when you’re shading. Consider your lightest tone, too (your highlights). Light creams or yellows are great for communicating the warmth of your light source.
And that’s it! The four tricks I use for shading. If you like these tricks, please make sure to like and subscribe. If you have a trick for shading that I didn’t mention, please make sure to comment below. As always, guys, it’s been a blast—keep shining out your awesome skills.