Colored Pencils on Black Paper: WORKING WITH COLORS | Sandrine Curtiss | Skillshare

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Colored Pencils on Black Paper: WORKING WITH COLORS

teacher avatar Sandrine Curtiss, Artist, explorer.

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 18m)
    • 1. Introduction

      1:14
    • 2. Supplies

      2:58
    • 3. Colors On Black Paper

      10:34
    • 4. Pencil Strokes

      7:24
    • 5. Line Transfer

      2:46
    • 6. White Layer #1

      6:30
    • 7. Color Layer #1

      12:00
    • 8. White Layer #2

      7:17
    • 9. Color Layer #2

      17:38
    • 10. Last Details

      8:53
    • 11. Final Thoughts

      0:47
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About This Class

This is the second class in a series where I'll show you how I create animal portraits with colored pencils on black paper. This combination can be tricky for beginners and more advanced colored pencils artists alike.
I've been drawing on black paper for nearly 15 years and I have developped my own style to make the colors pop rather than sink in the darkness of the paper.

In this class, I'll will teach you an effective way to make colors pop on black paper. I'll share a list of the supplies you need and those that are helpful to have handy.
After sharing with you a few tips, we'll draw together a fox on the black paper. Take your time and follow the step by step instructions to achieve a great result.

If you've struggled with black paper for a while, or if you're curious and want to know how to use it, join me in this easy to follow class where only a limited amount of supplies is needed.

If you're interested in taking this class and are not a Skillshare member yet, I'm happy to share with you my referral link, which will give you a free two months subscription. You will not only be able to take my class, but also thousands of other classes offered here. Have fun!

Click here to sign up.

Meet Your Teacher

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Sandrine Curtiss

Artist, explorer.

Teacher


Hello, I'm Sandrine.

I'm a self-taught artist, always eager to explore new mediums and new techniques. As I learn more and more, I like to share my findings with other artists as a way to give back.
Until now I've shared my art on YouTube, Instagram, and Facebook, and I'm happy to be able to do it in a bit more details here, on Skillshare.
I invite you on an art journey where we'll explore all sorts of media, both well and not so well known. So pack a bottle of creative juice, and come along with me.

 

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Transcripts

1. Introduction: Hi everyone, my name is centering curtis. I've been drawing animals with colored pencils on black paper for nearly 15 years. I love the simplicity of a black background and how much of a timesaver it is, especially with a medium like colored pencils, which can be pretty time consuming. In the previous class, we learned about the basics and how to just use a white pencil on the black paper. This time we're adding some colors to our toolbox. But the problem with colors is that they don't react the same way on black paper. Some stand out nicely and others sink and disappear with the black showing through a lot more. So in this class, I will show you an easy trick that will help you make all your colors pop no matter how translucent they are. We will draw the portrait of a fox by building layers upon layers of colored pencils to finally have a nice colored portrait that sends out nicely on black paper. I hope you'll join me in this class where you can follow the easy step-by-step instructions to create a more elaborate Portrait of a Fox, as well as learn a few new tricks. I'll see you in class. 2. Supplies: For this project, you will essentially need paper and colored pencils. For the black paper, you can take anything you have on hand. My favorite one is the black Stonehenge paper by Legion because I like the thickness and the slight texture because it allows you to build up many layers. And then for the pencils, when I used them with the black paper, I always used the PRISMA color premier pencils because I think that the white is very opaque and it looks really good. And you'll soon find out how important the white is for building the layers. So that's why I use this brand. That said, different pencil brands will work differently with different paper brands. So he have something else, try it and see how it works. Of course, with another brand of pencils, you might not have the same column names. But I suggest if you haven't done so yet to make a color chart. And that way you can look at your reference photo in and look at your college chart and pick the right colors that will match your subject. Also, one pencil is not PRISMA color. It's the turbine drawing. Black pencil. I used that towards the end. I'll also use, but not very often, mostly at the very beginning, a kneaded eraser. But what I usually use to keep my paper clean and erase mistakes if I need two or more like dab them away, it's some post-apartheid. That's the one I use. Feel free to use whatever you have. Sharpener. Also, this is optional, but I use a drafting brush. You can use a soft watercolor brush as well. It's just to keep my paper clean along with the poster Peabody. To transfer your line drawing, you can use either transfer paper or tracing paper. I like to use tracing paper with a white pencil. And I'll show you how I do it and finally end. It's optional as well. I use a fixative spray. I'll explain to you later what I use it for. It's not a necessary step. It's up to you and you don't have to use this particular one. You can use whichever one you have that works well with colored pencils. And that's about it. 3. Colors On Black Paper: On black paper, different colours behave differently. You have some colors are mixed with a little bit of white. So the color is not just one pigment, it's several pigments mixed. And they can be opaque enough that they will look good on the black paper. Some are more translucent. So the black of the paper will show through. You can still see the color, but it doesn't look very bright. This is a sunburst, yellow. So it's an orangey, yellow and white on white paper. It looks bright and shiny. On black paper, it loses its brightness because you can see the black of the paper through it. It's nice and bright on the white paper because the white of the paper shines through and makes the color pop. It's pretty light. So there's not a huge difference between the two. Red can be pretty transparent as well. It really depends on the red you use. But they definitely look a lot China on the white paper. Here we have a Tuscan red. And the problem with this color is that it's really dark. So you do not see it very much on the black paper. Greens are often really nice on the black paper. They show very nicely. And then the greys look very nice too, but a lot of them have white in them. And that's why they look really good. Now since the colors pop a lot more on the white paper than non-black paper. The easiest solution is to just apply some white on black paper. As our first layer. A very light layer will do. You don't need to push very hard on your pencil. You do not want to flatten the paper. You need the tooth of the paper to remain intact so that you can add your layer of color. Because if your paper is to smooth, then they won't grab their much pigment from the. The pencil for the next layers. So I'm gonna do it for the grades as well. You don't necessarily need to do it because they usually show very nice standard black paper. So let's see the difference now. Let's sharpen them first. So I took some random colors that we won't necessarily be needing with our project. And just to show you a variety of colors and how they behave. So now you can see that the colors that have the white underlayer, they pop a lot more. Especially for the sunburst, yellow for instance, and the sand. They all look lighter but brighter. And simply the fact of having them as a second layer is already making this layer richer. When you draw something with colored pencils, it looks a lot nicer when you build you layers rather than when you have a few layers, it makes you drawing looks richer. So let's finish our little illustration from the previous class. Well, I'm gonna do is add a layer of color now. So I have my sunburst yellow, and I'm just going to tint it is just like a wash basically. If you're familiar with watercolor is just a light layer of color. Some going, I'm going very, very lightly over it. Leaving the black show through at the bottom here. And the white shows through where the light is shining. If I were to draw another little ball with just that sunburst yellow, it wouldn't be half as bright. In fact, they would look very dull. So I'm going very, very light at first. Just enough to put some pigments on the very, very top of the paper. The paper to get flatten. I'm adding another layer, a tiny little bit more pressure my pencil. And now going all the way down here because we have the shadow. Now layer number three. Yet a little bit more pressure, still more pressure. Trying to even out the layers. But you can see that no matter how much more pressure, it still stays though. You don't have the white layer underneath that blocks the black, so it still thinks the darkness. And so this is what I call a reverse reside because for our first layer, when we start drawing our FOX, We are going to build the values with just the white. It's going to give us a base layer on which to build our colors. And it will give us a barrier against the darkness of the paper. 4. Pencil Strokes: Let's talk about pencil strokes now, our subject is a furry animal. So most of our strokes will be drawing far. And as I've mentioned before, usually the first layer needs to be very light so that we can add more layers to it without damaging the paper too early. So as we look carefully at the reference photo, we'll just draw lines in the same direction, the direction of the firm. Because if we draw just straight lines that are parallel, they're all the same length. It will not look natural. Hairs on an atom or even on someone said, they always crisscross. They can be different lengths. They're never the same. And hares also wispy. So we start at the base of the hair and we make the stroke in quickly left, lift up our pencil. That the end of the hair is a little lighter than the, than the base of it. And you can see that I'm not pushing really hard. If I was pushing really hard, will make whiter hair. But there would also be thicker. But you wouldn't be able to add a lot more on top of it. So we start building very lightened hair like this. Remember to always sharpen your pencil. So our fox has white hair in some areas. So we can keep building the white hair by building more and more layers of white. But in some other areas, it's more colorful. So we just add some hair syllabus being air, following the direction that we see on the reference photo. Sometimes it has highlights. So we add a little bit more white over it is still very light, them still going very lightly. And I'm making sure that my pencil is nice and sharp so my hair is thin and defined. Maybe some hair is a little lighter. In some areas. At some point we'll be adding some shadows with a darker color. And when we do that, we might not necessarily draw hairs. Just want the hairs that we already have to be darker. So we'll just do like we did here. We'll just tinted. So at a very, very light wash of this color. So I'm not even holding my pencil close to the tip because I don't want to put too much pressure. I'm holding it far so that I can just go lightly over my hair and just add the color to it without adding any more lines anymore, any extra here. So remember, very light wispy hair. And we build on it. Towards the end, we can push a little bit harder to make sure that they hear is still defined. Make sure that the tip is nice and sharp. Keeping the paper clean with our posts up buddy. And some area where the hair is black or we want to define the hair, the color of the hair a little bit more. We go and take a black paper and we're going to build into this hair in a reverse way. So we're going to define the hair as if we were trying black hair going through it from the other side. So again, wispy line. For the black, you can push a little harder to apply more pressure. So practice this a little bit and then we'll get started on our first layer. And just like for the CRO that we drew in the previous class, it'll be all white. 5. Line Transfer: In the previous class about the basics, I showed you different ways to transfer your line drawing. And I explained to you why I like to transfer my lines on my black paper rather than sketching straight on it. If you make mistakes on like paper and you need to erase your sketch, your most likely damaged the surface of the paper and your final drawing is not going to look very good. The finish of the paper's not going to be uniform. So of course you can use white transfer paper, but my favorite technique is to use tracing paper and traced the lines with my white PRISMA colored pencil. Now you can either trace a sketch or you can trace the photograph itself. It's really up to you. So when I flipped the tracing paper and I put it on my black paper by a white lines are in contact with my black paper and I use a not too hard but not too soft pencil, usually better than HP or B. And I just go over the lines on the other side of the paper so that the white pigment is transferred on the black paper. So I make sure I apply enough pressure on my pencil or mechanical pencil to transfer the lines, but also make sure I do not apply too much pressure so that I do not make indents and my black paper. From time to time, you can always lift your paper and the corner to make sure that you're transferring all your lines. So it was a good idea to tape your papers together. I usually don't because I line up the edges together. So if my tracing paper shifts as some point on no, and I can realign the papers and I've been doing that for a long time, so I'm pretty used to it. But if you're not very confident, you can always take both of your papers to your table. That way you'll know for sure that they will not be shifting. Once you done transferring your lines on your black paper, you'll notice that there's a lot of little white specks from your pencil. They're just basically pencil residue and it's very easy to lift pure paper. That's the only time pretty much that I use a kneaded eraser. The difference between the kneaded eraser and the postal potty, the poster has more tags, so it's a little stickier and it will remove more pigments from the paper, and neither one will damage your paper as long as you just dab on your paper rather than Rabban it. So I used a kneaded eraser or my lines at the very beginning because it will not erase my lines as much. So basically dub all around wherever I see those little white specks to remove them. And once my paper is nice and clean, it's time for the first layer. It introduces. 6. White Layer #1: With this first layer, we're going to use exactly the same technique as the one we used for the first layer of our crow in the previous class. So we'll only be using a white pencil, very sharp, and we're going to establish all the values. Feel free to use the black and white version of the reference photo. It might actually help you find all the values. When you look at your Fogg's, you'll see some white fur. So you know for sure that this area will be nice and white. And then you also have the different colors, some being lighter, sum being darker. That's part of your values. And you also have some of the firm that's in the sun and some of the firm that's in the shadows. So that will account as your values as well. When I work with this first layer, I usually go a little bit all over the place because my eyes, my get tired in one area trying to figure out where to put all the marks. So when I start being a bit crossed eyes, I will just work in another area. So that's why you might see me jump from one area to another. But you can start with the white fur and establish all the white fur and then establish the lightest areas all the further it is touched by the sun and then progressively work around the colors, sort with the lighter colors and then go to the darker scholars at the end. For this first layer, I apply very, very light marks, a Google very softly, push on my pencil at all. When you work with colored pencils, you're going to build layers. You don't push right up on your pencil because otherwise you will flatten the truth of your paper and then you won't be able to add any more layers after that. So you go very light. You block in all your shapes with a white pencil and you keep your eyes on the reference picture at all time. So in order to make nice marks and not have to push too hard on your pencil so that you don't flatten the paper. You need to make sure you sharpen your pencil all the time. Your tip needs to be sharp. That way the pigments will go within the nooks and crannies of your paper and it will not flatten the texture if you tip is too thick. So we'll stay mostly on top of your paper and you mark will be a bit lighter, so you don't really see me do that, but I'm constantly sharpening my pencil off camera. The reason why I do it on cameras that I'm trying to avoid doing it over my paper because when I sharpen my pencil, I often have little pieces, residue and shavings that fall my paper and I'd have to constantly clean the paper. So I always do it off camera away from my paper. Also, in-between trapped earnings, I will take my pencil by using all different sides of the tip. It kind of keeps the pencil sharper a little while longer. That's just a little trick, but it doesn't last very long. System sharpen your pencil. And as you get used to doing it, it'll be automatic. Don't even realize that do it anymore. So that's a nice habit to have. Now, all the pauses you see me take as I make my lines, it's because my eyes are constantly going back and forth from my paper to my reference photo. I'm constantly looking at my reference photo to make sure that I'm putting the right marks at the right place. So this first layer to me works as a reverse. When you work on white paper, there is a technical agrees I, you can use it with oils or watercolor and other mediums. Basically like, let's say for watercolor, you might just do a value study in gray. Then once you add you colors over it by transparence or you shadows are pretty much already established. Now I'm doing the same with white, except it's all my lights that are already established. That, and also it helps to colors like we talked about earlier, really popular more and not sink into the darkness of the paper. So again, we're just basically establishing all the values of our fox, but not with their shadows, just with the light. When you're working on the white firm, you can already right away at several layers of the white because it's mostly gonna stay white. You can add a little bit more force on your pencil when you do that after layer two or layer three. But just don't go too far because we're going to add some grace for their shadows. But you can make sure that it's wider than the rest of your firm already with this first step. So now that our values have been established, it's time to start adding some colors. 7. Color Layer #1: Now there are values have been established with a layer of white pencil. It's time to add the colors. So it will be very important again, to look at our reference photo and try to identify the correct colors. This is when a color chart is very useful. When you get a set of colored pencils, make a color chart. That way, you can easily find your pencils if you're not very familiar with all of them just yet, some colors you'll find right away and some you're going to have to mix to make them look more like what your subject is like. So for this font size, so that in some areas that are lit by the sun, the colors a little bit washed out or not as natural. So I decided to use a Spanish orange, which is an orangeish yellow and address some hair over the white, the top of the IRS and at the base of the ears. I'm still keeping my layers as light as possible, but I might have to play a little bit of pressure to make the color shiny little. So I'm lucky my reference photo and I'm adding that color throughout the drawing wherever I see it. At some point I realized that I put some Spanish shallow in the wrong spot. I didn't observe well enough. And so I put some where the hair was supposed to remain white because it's very brightly lit right there. So I use my poster buddy and I needed it a little bit to soften it. And I formed a little point so that I could debit in the area where I needed to remove that orange. It's not perfect. It did not erase all the orange and hadn't expected it to, but it removed enough that I was able to add some more white over it. You still see a little bit of orange through it. But since we're gonna be building layers upon layers, doesn't really matter because in the end we will not see it anymore. In the back of their head and on the neck, there are several cream colors that I tried to build using the actual pencil has so that it was also on top of the nose. A few. Then to still build those light colours, I used a badge and kind of blended lightly with the eggshell, still drawing lines, wispy aligns in the direction of the hair. And then lastly, I use some Bash Sienna and I focused mostly on the cast shadows that I could see on the jaw and mouth. Then I use a pencil to add all the light yellowish hair all over the fox. So where there was no previous layers, you can still see the black of the paper shining through but will build on top of that. But where we've already established some hair, it's blending together and it's starting to show some volume to the hair on the back of the neck, for instance, and its blending with the previous layers as well. The next layer is built with a yellow ochre. It's a slightly brighter yellow. And I use that where the colors look a bit darker on my photo and also in the shadows. And that's a color that will find throughout the fox. Next we'll build the orange is a little bit more so with the golden rod adding more to the darker shades of color and the shadows. And then we'll do the same with the mineral orange, especially in the more orangey areas of the firm. At this point we're going to start working on the neck area in the front. So again, we're starting from the lighter colors up to the darker colors. We start with the cool grade 20%, and we draw the highlights. Then with 50% who start filling in the darker shadows, even on the cheek and the muzzle and adding some grey between the lips will make the mouse look more natural and stand out a little bit more. And then we add our cool gray 70%, filling the even darker shadows. The coal grain 90% will be mostly for the area between the jar. Was a little bit more define for this grant, we're not drawing any hair, just tempting it, just supplying a very light wash dark in those areas and make some highlights pop a little bit more. So it's a very light application with no pressure put on the pencil, and you can also use it for other shadow areas. So this completes our first layer of colors. At this stage, it doesn't look very good, but we're gonna keep building on it and define the details a bit more and add more contrast and build on our values more to make it look really good. In the end. 8. White Layer #2: It seemed to do our second layer of white. And this is going to help us define more details because we have lost quite a few with the application of the color. And at this point we can also whiten the white firm. So we can start applying a little bit more pressure, not too much because we still need to add more to it, but adding a bit more pressure to our pencil. And again, keeping our pencil tip really sharp will help us add new white fur and I keep it defined. Now you see in the Air France stance that adding a second, third layer actually really build some volume. And a really gives a sense of a lot of hair growing in that area and that they're all going in different directions and it looks pretty natural that way. And the back of the neck, we can see that the light is shining through the hair a little bit wider. And it's easy to see that the hair is going in all different directions. So make sure that you're not making all the lines parallel. Gotta make some going up and some going down so that it doesn't look uniform. Also the hair on the brow is very defined so you can add more pressure on your pencil so that you can actually see those lines of hair really nicely, then don't blend into the rest of the firm. Also feel free to rotate your paper as you're making your marks so that it shows more comfortable. I try not to do it in the video, at least not very often, so that you can see what I'm doing better and also so that it looks better when I speed up the video and I don't want to make you guys dizzy. You can see that on the muzzle And the cheek, I'm actually applying a lot more pressure because this hair is white and I want to make sure that it really stands out. Okay. Adding some lighter colors on top of the darker ones like we're doing on the neck find stance. It really helps to give an impression of depth. So make sure you continue to look at your reference photos all the time so that she can use it as a reference for all the highlights you're working on right now. And then we're going to build on top of this. 9. Color Layer #2: For this new layer of colors, we're going to mostly use some sand, yellow, ochre, golden rod, CNN Brown, although grays and some black. So we start with the sand and we're going to cover the White again, not everywhere, but where the yellows are the lightest. So I'm still observing my reference photo very carefully to make sure where to add it. And at this point I can add more pressure still, although I'm still going to add some layers on top of it. So I don't want to burnish by drawing. In fact, I never really burnish the drawing and never pushed so hard that the colors start to shine a lot. But I push enough so that it starts blending the cause together. So now marching on the eye and I start adding the colors to the iris, the yellow ochre, and I put a light layer of it only where the colors shown, it's mostly black. Then I go with a very light layer of sunburst yellow, as did the same thing to the other eye, but we barely see any color in that one. Just a little bit in the inside corner. I follow with a layer of mineral orange and paying attention to the pattern of those colored blocks on the reference photo. And then the Tuscan red. In the Tuscan red, I'm going to put it closer to the center of the iris. I'm going to live the outside of the iris. I'm gonna try to keep it a little lighter with the oranges and the yellows. Then I tried to define the highlights a little bit more with a white pencil. And finally a used a black pencil to add all the shadows and the pupil. So because I am going to add a lot of details with that black, especially around the, I am going to have to make sure that it's very well sharpen because there's not much room for the tip of the pencil to fit in. So do not push very hard for the pupil and the iris. I'm trained to fit the color into the Tuscan red, kinda like a gradient. I noticed that there are a few hairs sticking out. A little bit of golden rod, the 234. And I define them with a black pencil. Eyes very carefully on the reference photo. Make sure I define everything properly. I draw the right shapes and the right shadows. The eyes are very important so I try not to mess them up. Okay. And they used 70% tear duct because it's not really why. It is great. And then I use the white to add some highlights on the little hairs that I had previously drawn with golden rod and also on the island. Despite my eyes are pretty much done. So it seemed to work on the knowns. I had previously established the widest highlights, but and I used to feed them into the black of the nose. And finally, I used a black to define the actual shape of the nose as well as shadows. And so I played back and forth. Goods are gray and the black and the white until I find the correct shape. Always keeping my eyes on the reference photo. Oops. Okay. A black pencil that's between the lips. I've dropped back into the white and the gray. Did the same pretty much everywhere. Inside the ears, just defining all the hairs. Then it's time to use the dough and trying pencil. Pencil, but the finish of this pencil on the paper. Since I've applied enough pressure on my PRISMA kala black pencil to make it look shiny on the paper, it kind of stands out a bit too much compared to the rest of the drawing. So over the black areas, I apply the Darwin pencil to cover the shine. And then I use a paper towel to blend it in. And I will also, because there is some pigments that are left on the paper towel, I will also go over the shadow areas like the neck and then under the eye, in behind the ear. It's going to help me add some depth to those areas because I will build stronger values there. Next, I am using the CNI Brown. And it's another instance where I do not draw the hairs a denote draw those lines, but I gently tint the hair where the hair is a bit more red and darker. So it's essentially another light wash that I'm applying over the lines that I've drawn before. And I make sure to keep the pressure very, very light. Time to work on the neck again. So with my cool gray 50%, I'm working on the shadows again. I like to cook raise because there are a lot software, they're Premier and so they really make those areas. I'm working on land very nicely, almost like butter. And it's very easy to add layers upon layers of different shades of gray in those areas. So with the 20% build on top of it and really make those highlights pop. And once more and make sure that I follow the direction of the hair. It's not exactly like on the reference photo. I'm never trying to add every single hair in the very same place. I'm only giving an impression and not putting the right here at the right spot is now going to make here Foxx look like an elephant, for instance, so good or look like a fox. At this point, I have added a lot of layers. F applied a lot more pressure on that pencils, and I'm starting to lose the paper tooth. But I still want to add some details to my drawing. So before my final layer, I'm gonna apply some fixative if you want to keep your drawing that way and keep adding a few more details, it's fine. It looks great already, but I usually add some fixative because it will add a little extra tooth and then I'll be able to add more pencils and finish up my drying the way I like it, use whatever spray you have that works well for you. Just a light layer is enough and let it dry it long enough. So read the instructions on your spray bottle. And once that's dry, we'll start working on the final details. 10. Last Details: The fixative is finally try and I took the opportunity to take a nice break away from the drawing in rest my eyes, the drawing looks a tiny little bit darker, not very much studied as bad as when you use fixative on pastels, for instance. But it doesn't really matter because now I'm able to add more pencils and now I'm going to work on my final details. So I'm going to be able to establish really, really nice whites and blend the colors into each other. Now I can push as hard as I want on my pencil. Again, I try not to burnish the colors, but I'm glad that I think some fixatives has allowed me to darker colors. Right? So I'm really working on this highlights that really pop. So I'm essentially lightest areas. Okay. Mm-hm. Mm-hm. I'm adding all the same color. Previously. Everything's blending very well and it's softening everything. The first looks really soft. And when you think of it, we've basically drawn the same thing, the same Fox, the same colors in the same spot over and over again, five different times. We did the first white layer, the first layer of colors, the second layer of white, the second layer of colors, and now the more detailed layer. And now it's time for the whiskers. So this fox has black whiskers. So I make sure that my black pencil has a very, very sharp tip. And then I'm going to observe where each whisker starts, tried to visualize it and then as fast as I can and draw long wispy line. If I go too slow and I hesitate, the lines gonna be wavy and crooked. And it doesn't really matter if it doesn't go exactly in the same place as on your reference photo, it only has to be a little bit curvy going down and not too long. Also you don't have to add every single whisker are quite a few in a lot of them we don't see. So remember to add the little whiskers over the i is n for the other side of the face. Now the problem is that we can't really see the black whiskers on that side. But it's kinda weird to only put whiskers on one side. So I use the cool gray 20% and I drew just a few waste goes on that side. And it just gives the impression that the light is shining on none. And that's why we're able to see them. I do not put any pressure on the pencil because I don't want the lines to be too bright. So that's about it. Trying to clean up the paper a little bit with my drafting brush and my post-doc. And then I'm just observing the drawing one more time, comparing it with the reference photo and just doing a few touch ups here and there. But I just need to know where to stop. And I did a few on the highlights on the brow. 11. Final Thoughts: This concludes our second class on colored pencils. I hope you enjoyed learning more about how to use them on black paper, ended it all makes sense. I know that colored pencils can be tricky to use on black paper. And if you have any questions, please don't hesitate to ask him here to help remember to share your progress as well as your final drawing. If you decide to keep practicing and draw another animal, please feel free to share this extra drawings with us to, I'm looking forward to see you in my next class will work on an easier project this time. Thank you all for joining me today. I hope you had fun drawing this little fox helps you soon. Bye-bye.