Colored pencils: Blue Morpho butterfly paint-along with watercolor pencils | Kate Amedeo | Skillshare

Colored pencils: Blue Morpho butterfly paint-along with watercolor pencils

Kate Amedeo, Artist & Illustrator

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7 Lessons (1h 15m)
    • 1. Intro to Butterfly Step by Step Watercolor & Colored pencils

      1:03
    • 2. Stertching paper and transferring the image

      4:46
    • 3. Choosing colors for the butterfly's wings

      4:08
    • 4. First color layers

      18:45
    • 5. Adding darks

      15:16
    • 6. Deepening the darks and adding texture

      19:22
    • 7. Finishing touches

      12:03

About This Class

Hi there! I'm Kate Amedeo and in this class, I will show you how to draw the stunning Blue Morpho butterfly with watercolor pencils and colored pencils.

Paint along with me or watch the class to learn some new techniques. I will show you how to blend colors wet and dry, how to make seamless transitions and create the stunning texture of a butterfly's wings.

All the class materials are listed in your project section together with the reference image.

After you finish your project you can frame it or give it to someone special as a handmade card. 

If you are not very familiar with watercolor pencils or would like to know more about the art supplies I am using I suggest you take my foundations class first.

Most importantly, have fun! :)

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Transcripts

1. Intro to Butterfly Step by Step Watercolor & Colored pencils: uh, hi there. I'm Gay de Medio, and in this glass I will show you how to draw the stunning blue Morpho butterfly with water Glenn pencils and colored pencils. Paint along with me or wash the glass to learn some new techniques. I will show you how to blend the colors wet and dry, how to make seamless transitions and create stunning texture over butterflies. All the class materials are listed in your project section, together with the reference images. After you finish your project, you can frame it or give it to someone special is a handmade card. If you're not very familiar with watercolor pencils or would like to know more about the art supplies I am using, I said just to take my foundation's glass first, I will leave the link in the description and most importantly, have fun. So let's go to the next lesson. 2. Stertching paper and transferring the image: Hey guys. So let's start our lesson by talking about how to structural paper. So if you do not want your paper to buckle, it's not obligatory, but still, Sometimes it's very nice to work on a flat surface. Um, what I did here I have ah, canvas frame and I'm not using it for stretching a canvas for oils or acrylics. But I'm using it to stretch my paper. So but the thing is about this is that I can use the side. I can overstretch my paper, wet it very well, and then overstretch my paper over the edges and put some bends in it. Or I can use a stapler to staple it down into the wood. So that's gonna hold our people very well. And this way it's not going to buckle at all. So now we're going to start transferring our image. But I'm going to be using this. My transfer paper or if you do not have this one, will run to the shop. You can always use, uh, mental, for example, very dark pencil. Be very soft pencil to transfer your image. And what I'm gonna do is if I don't have a transfer paper with me. I can always fast with my pencil over the other side of my reference photo, but I do it very, very well like this. So I cover a large area. So there's a lot of graphite and make sure that I'm covering all the area around the image that I want to transfer. And I make sure that there's a lot of graphite. So this way it's going to allow me to transferred to image the same ways if I would put transfer paper underneath. So basically what the transfer paper is its paper with graphite side covered on one side on you put a graphite side down. Be careful that you do put quantified side down on. Then you can start transferring your image. I'm gonna place my image here in the middle hands. What I'm gonna do is I'm going to take tea, and I'm going to take my image to my paper for now. So this way I will be sure that if the paper does move, the image doesn't. I still will come back to the original tracing, so I don't have to retrace it over again to greet another drawing. So If it doesn't move this shift, it stays still put. And also, I can always check my progress here. If you feel very confident about your drawing skills, please be free to drop that women's yourself. You don't need to transfer it. What I like about transferring is that I get older details in the right places and it saves me a lot of time, because really, he tried to get into the colored pencils or watercolor paints that I'm doing. So what I'm gonna do is I will take a friend liner and I will start tracing around my image . You could also use a pencil. What I like about fine liners is that they have very fine names. And this gives me, uh, thin line on the other side. So that looks now that I see that I have some graphite on the paper elsewhere. So I'm gonna do I'm gonna lift it up with my foot racer. Just take it away. Unnecessary marks. I can also light in it. I would definitely light in it if I will. Working with water cooling, but is working with pencils. We're gonna cover this pretty much anyway. Just getting wanted graphite marks here. So now we can go to the next lesson where we're going to start adding water. But before that, yes, I wanted to say that this transfer paper, for example, if it's used too much, has some kind of a waxy texture to it. So it transfer depict of wax onto the paper, and water doesn't cover it completely. So, um, be careful with that. If you're working with watercolor, what are going pencils. You can still go over and it's still gonna layer itself over it. So that's really cool with here. So I know we're going ahead to the next lesson where we're going to be bad. 3. Choosing colors for the butterfly's wings: So before we start adding color directly to our drawing, what I want to do is I want to test out my blues. I will take my pencils. So these are the blues that I have and I will see which covers I like the most. I don't need them to be exactly like in the reference for we're not going for hyper realism that we're going to be drawing every hair on, uh, wings themselves. Yes, but of life's wings are Harry. But what I want to do is I want to get closer to this color so I will layer but of my pencils just to see which colors I like most, which will look more vivid and which we will be able to use for shadows and for later, parts of the wings. So I'm gonna swatch these out, and I'm looking of men reference photo. I'm gonna take a brush on, and I just had some water, do it and see how it works. So, um, washing up my brush every time before a new color just to be sure that And don't pollute it with the previous color. So these are my lighter blues. I can, of course, makes them with my darker blues. And we will be doing this. But, um, what I see is that I really like the scholar to be in my lightest parts because it's blue, but it's kind of a subtle, colder blue. And I like, um, pretty much any one of these can be mixed with the darker blues to create the mid tones. So it's not a big problem if you choose a blue that is a bit different. So what I'm gonna do is I will definitely take my, um 57. So this is this color that's going to be on my highlights, mostly. And I'm not gonna makes it, I think with any other of them, because it brings me closer to this color out slightly. But you will see in the mixes with darker tones what we're gonna do. So I'm gonna put it away for my later parts, and then I'm gonna swatch out my burger pencils. I'm gonna put them in the readers. I watched them out, so I know which pencils. So they look a lot more different, as you've noticed when wet compared to when they're dry. So this color is quite nice. And this one could be our intense blues in the mid tones. Very, very nice. So, yes, for my mid tones definitely preferred this one. I don't want to mix in many, many blue colors, so I think I'm going to go with get. Was this one this washed out, you know? Yes. So I'm going to go with these three. So this is going to be my mostly my highlights. This is going to be the juicy airports mixed in together with the lighter blip. And then we're going to be adding some black. And also, I think some purple into the mix because I seek under these purpose shoes all the wings here. So I think we can add some purple big here, purple at the top there. Yes, I think I will be using this bigger purple. So all we need is a later blue for highlights. A darker blue for the juicier parts. A slightly later blue jay mix in with the darker blue, a bit of purplish on bond, color and black. I'm gonna put my other colors away, Don't make something. And now that I switched up my colors, we can start adding two colors to the butterfly. Uh, 4. First color layers: I'm constantly looking at my reference photo and I have an open also on my computer so that I can enlarge it as much as I need. So what we're gonna do no. First is I'm going to layer first, I'm gonna sharpen my pencil. So if you haven't seen my previous class about colored pencils So the best way to sharpen your pencil is inside the pencil into your sharpener if you don't have the mechanical trumpeters automatic ones and rotate the sharpener itself, not the pencil. So this way you avoid breaking your tips. It's going to less likely break your tips. And I'm a little obsessed about a very sharp edge. Is very sharp points on the pencils with watercolor pencils because basically, we're going to be blending it out with water. So it's not so very, very, very, very important. So what I'm gonna do is I'm gonna take my latest pencil, the one for the highlights, and I'm gonna leader over old butterflies wins. It's going to be a thin layer, So I want to be able to see, and I'm gonna go around these parts where the highlights are with the white or if we're going to be using if you prefer using, jumped on or wait Acrylic winking at those doubts later in so we can go over them as well. So don't worry that we're going to miss them. I drew the men when I was outlining the image when I was transferring it. It's also great exercise just to know where they are. Approximately so. And I'm gonna live here. It oh, over so later over will be adding those highlands with how were joked that well, you know where they are supposed to be. So I'm going for over it, and it's quite a thin layer. Um, I'm not pushing hard on. I'm not applying a lot with pigment onto the paper, so I'm gonna add it to the head as well, because under that black, there's still some blue shining through, even under body. So now what? We can do this. We can add water to this, and I'm gonna take a to ship. I'm gonna definitely, um, brush against the tissue just to be sure that I take excess water off and I'm using quite a large brush. This is a synthetic number 12. Some just activate. Told a pigment, you will see that the color is quite failed. But this is what I want for my lightest parts of the butterfly's wings, and we will still be able to see our image. Are we traced image so we don't lose it. Stories too, covered the graphite marks with the application of colored pencil. So for now, I want to keep them still. So I know where to place my darker darks. So I'm going over. And if you don't like the look of the colored pencil shining through, you can go over the area more times than once and making sure that you activate all the tiny parts of the pigment. But I find it charming with watercolor pencils that there are still these little bits left . They give you kind of a nice texture of the drawing to the painting, so doing one. So it depends just on how you preferred aesthetically better, like old own Helene's. As my papers stretched, you see that it's trying to buckle back. Depends that I inserted into the pre went to the paper. They're holding it down, so it's gonna be a lot flatter than it would have been if I didn't stretched paper just going around the wings and you can also try to go inch there, but its OK, we'll cover that. So for now, it's not that important. But you can try to go in the direction of the growth of the wings. So we're already creating that ship just by pushing our brush into the direction we need. So I'm quite happy with that. I'm going to take a reptile and I'm going to dry before applying any other leaders. So this basically iss he grabbed tool that is used for embracing. And you can use it for watercolor. On paper, it just creates generate heat. There is like a spiral inside that heats up and it produces or air very hot. Here, I'm gonna dried out well, to make sure that it's dry. Yes, I'm quite happy with that. So before we apply any new layers, now I'm gonna consider were I want my darkest darks to be so I see that here on the butterfly, i e. I can see it on my screen better. But here we have darker parts. And then, as it gets to the tips of the upper wings it's lighter before it gets very black. And then here it's a bit darker than the upper wing. So the lower wing is a bit darker, so it kind of mimics the mitt down here. So I'm gonna do this Anything here. But now not to lose my outlines of my wings. There is another thing that I wanted to show you. Another drink. So I have the prison color, waxy pencils, just colored pencils. What I'm gonna do is I'm gonna take my present and to go blue, where you can use a black. For that, I'm just gonna make sure that it's really sharp. So I have a very fine tip. And now I see the all my lines on the butterfly are quite dark, and I'm gonna go over the veins that I see that dark. Then just sketch does in what this is going to give me ISS the ability to see my veins even file a er more color over them. So I'm not afraid that I will be that I will miss some of my veins just because I didn't noticed. Um um, under old of pigment that I layer with Michael and pencils so and because being a vaccine pencil, this is not going to move anywhere with water application. As if I were to do it with my black, for example, Over with my doctor Blue. That is a water soluble pencil. It would definitely move. So we're just gonna have lunch here to the swing so I can clearly see it. And these pains here, I don't always sharpen it, because this is, um gold First watercolor paper. It's going to don't mind been so quite fast. So I need to sharpen more often just to get that fine tip. But it's okay for just need it for our veins. So even though I see these veins are here, they will be quite like dirt. I see reference on the computer. We will still market them darker for now and that we cannot some legs to them later with a pencil. So gonna just mark the border off the swing on and here should apps. Okay, so come blow in your paintings or drawings. I have this horrible habit. The best thing you can do is use a brush, any brush, fan brush, anything just to brush off something soft. Just to brush off the pencil bits. The brick off will crumble off while you are still drawing. Because if you blow sometimes you can and potentially spit on your drawing. So that's not something very nice. So it's OK if I don't go over my lines? Precisely. I'm also looking at my reference federal. So that kind of gives me a bit of Ah, um, anchor off where I'm putting my lines because I'm still looking at my reference photo, Wanna even though I haven't transferred onto my image and then I have these woman's coming down, I'm quite happy with that. And now what I'm gonna do is I'm gonna do the same thing with the other wing. I'm gonna sharpen my pencil again, always rotating the sharpener, not the pencil, because this consoler quite prompt breaking. So So that was the tip. And there are these lines that are quite dark between there's kind of interesting shading between them. And yes, these lines look later. What I'm gonna do is just socially parts that I don't need. And now we can layer in our darker tones So I'm gonna take my blue to lose And what I'm gonna do iss. I'm going to start writing for Blue here at the very interested in the way. And I see that there's quit white part here so I can leave that out now so I can have, huh? But have you where it is? When I had my weights, I'm just gonna go but over the edge here because it was just a millimeter larger this way because I went out with my pencil. Remember? Dubious add marks that come out from this central point that go out over the wing. This already kind of creates that movement. And then again here I see that there is a darker edge before it goes into very blood. And I'm gonna add my blue balls on this side here. Now I'm gonna use my lighter blue Just live in it up to give a little more juice to this darker blue, and I'm gonna add it over the top and just a bit further away this darker blue and also on this side being very, very careful with things that I'm doing. So because we're going to be so blind in it Out. What appendage here is I'm gonna take my brush And now, from this central part, that is later I'm going to go back in to my big mental part. So this way I have were dragging too much pigment into my lighter port of the wind. And there we go have to use a smaller brush here, just blending it out a bit. I'm gonna wash off my brush with a dry brush. Just gonna blend this Parton again. I'm cleaning my brush and going from the light side into the dark side. So you see that even though we have our pale blue here, we're still dragged some of the pigment over here. But it's OK. We'll add weight later. So I still dragged a bit of this pigment over, and it looks a lot juicier. And now I got to be careful with the tip of my brush. I'm gonna go over the edge here when I see the edge with my graphite drawing. I'm not using masking fluid for this butterfly because with pencils you tend to scrape off the masking fluid. You have to be really careful with the tips of your pencils. You can still use it, but it's more difficult to control where your pencil tips are gonna go and just drawing around the masking fluid. It's a lot easier to add white later on. So good happy with how this one turned out. I'm gonna do the same thing with the other wings. So here I see that all of the wing, it doesn't have these highlights. I can add them later on, but it doesn't have as much highlight here on the wing as it did here. And you can see how prominent these veins already are looking. So we have that cool effect already. So I'm gonna do you gonna hand my blue all over again? A center layer Don't need a lot. Suddenly you're blue here and I'm gonna add my life earlier, later, Blue over the top. So they're going to mingle together some water here. I don't I'm not very careful with where I want the pigment to go or not, because all the wing is quite is mid value compared to this. So I'm just trying to make my strokes that go in the direction from the point of growth of the wing and towards the very bottom. And then again, as I said carefully around the edges that I drew up with my graphite transfer. Que more water. So again you can go And you can be more meticulous about these little arts of the pigment that are still stuck to the paper and look like killers been. So if you it depends on what you prefer here and you see, now we have the prominent blinds of the veins of are moving that actually show up through our obligation of color. So let's go again to this wing. And I see that here, and we have just a bit of a lighter touch blue guesstimate You can have a later because colored pencils, they weaken layer. Then why don't Bakley when they're dry? So we can still love that high lately. So they're very wonderful medium, especially if you're just beginning with water commoners for with colored pencils there a lot easier to blend in a lot faster to layer those again second extra between the two and I'm gonna blend it out. Get moving from the side here from the very top here, um, how the wind grows from the center and out to create kind of these brush strokes that even if they show up, they're going to still indicate the roof of the wing. Even if I went to get out of the border there, it's OK, because butterfly wings, that can be they have a way with texture, with a wavy edge at the bottom here. So Okay, so I'm quite happy with that. And we're just gonna turn this one around and again, I'm going to layer as I did on the first wing. I'm going to layer color here. I'm going to leave this part later before we get the darker edge. And so and just Lord in my good again, water to this head. I'm going to do the same thing I did here. I'm going to have thrown the central part on into the wing when I have to. Much big mental. My brush are making sure that I wash it out. So I don't want to drag in too much pigment into my lighted areas so we don't lose that difference of value. Okay, I'm gonna wash it out again. Damn it. And then I'm gonna go into the other side of the wing. Just gonna get rid of this hard edge that's created here. because dried out already To this end, I'm in the darkest part. It's being careful again, going over the border here to be two out of the lines. I'm just gonna feather it in my brush. 5. Adding darks: So what I'm gonna do now is I'm going to add so, uh, darks to my wing and I'm gonna be using black pencil. And I see that even though I covered my graphite works, I see that it's approximately here where we have our veins ending approximately humor. The darkest part is gonna be so layering Mind black over the blue. So what, this is gonna give me iss the blue shade underneath my black, so it's going to be still dark, but we will see the balloon coming through it. I'm going over there's being here, and I'm not blind. Too much pressure here to see that there is darkness between the wings here. I'm not applying too much pressure. Not you'll run the tooth with paper, but I'm applying just enough to put the color on two wing Someone's gonna go into details for now. I'm just starting my dark color and I'm gonna I think I'm gonna take a smaller brush again . I'm using a synthetic brush around. Understand? That is going to know the number five. So now I'm gonna activate my big meant here. Pull around the edge and I'm gonna move towards the central part of the wing. But I will stop just weird. The black ends and blurry and, uh, the black into the blue. Here there's Lynch between blocking the blue here, the wing and a dark part here where I had my black. But I want to go too much into the blue. Too much black there. So be careful not to go too much into the wing itself. So that's kind of good. I'm gonna do the same thing with my wing here, but here, I'm gonna less black. Actually, while it's still what I can and the border here that while it's still what it's gonna make it a lot brighter. The black here a lot darker than black here. Sorry, not Britain. So I create kind of this bench that I'm gonna have my black all around the inch of the second you doing. I'm going over the border where see, portends, And then this part is quite dark. So here, at the very central part of it, I'm gonna add some black and just a bit further it out into the blue here, So I dark in it to create more variety of darks and lights again. I'm gonna down my paintbrush tick off the excess water and go and activate the pigment That paper So as I added my black while the area was still what you can see, a clear difference between Children's like the clear and Chachere. Now you can see as watercolor pencils are recent watercolours waken See that through the black Here we have our bloom shining from So it's still grades this harmonious kind of color It's not just Belle Black. So now moving around the edge of my wing I had a bit of color here because he hold much darker became immediately and then I'm gonna further out doesn't black that I added on top here into the wing So we gotta take off my again pigment off brush, wash it out good and just move it back from the other side just further it in to blend it in with blue so he could see how much darker this I know looks trying to much of black huge lifted off. So I'm gonna do the same thing with the other side using my black and again I'm gonna border here between some things I need to sharpen my pencil and no, I'm looking to see that it's approximately the same distance, the black on this wing as it is on the side. So I don't go creating a wing that has black coming all the way up till here. The doctor parts. I'm just layering my pencil. I'm not careful about my pencil strokes because then eventually will blend, um in. And is this and a fan of pencil texture so I would actually love to show through a little bit. And then there's just making sure that I have a shadow here properly. I can blend it in new with my water and I'm going home this way to be separated from the bottom one. And you just created more of a wavy think here. Just gonna go to just to create more interest. Looks just now just go creating circular motions to create that way so it doesn't have to be perfect, perfectly symmetrical. And oh my God, what did I do? Agree that another curve where there's no one on this side, So butterflies are wonderful, but they're symmetrical like everything in this world, and that's what makes them very pretty because they're not identical on both sides. If you take a closer look at them, even their markings are not identical. So just having my book, you're blending it in. So happy with that and thanks. No, I'm gonna do the same thing with this one, and we're gonna do the same as we did here. I'm gonna add a bit of money Black here in the very corner where the wing girls from and the image. Because I see it and actually wanted to be darker. That's quite good. And again here, on the very bench, just making sure that I have approximately the same distance. Okay, so now I can blend it in again. Having my paintbrush that wouldn't doing is first going from the corner into the outside to , but it's okay. And then I'm going back into the corner to wash my brush very well, back into the corner and bring it black. Okay, then what if that happens? You can still blind more on top of it. So I'm just gonna push it back in. Okay, So, um, I'm gonna dab again, paint brush against a tissue, and I will go over this edge. So again, I'm gonna went this year yet, but I'm gonna do the same thing I did here. Black just edge. So it kind of separates like that. Let's continue lending. Right? But I really love how blues showing up through the black while we're still We're when we're laying layering it. Sorry. So that's good. Good. Now, what were left to do with where was still didn't Leonie color is the body were gonna leave the wings alone for a bit. I'm gonna take my blow dryer, Just dry it out a blow dryer to heat craft door and I'm gonna handsome blue with just a hint of brutal I'm gonna had proposed the very bottom over the body just a bit because I kind of see it there on I really like way won't see pure purple. We will see just hints of it And just to make pictures here. So first I'm gonna layer it in with my blues And and But you can see that purple dear kind of disappeared altogether, but still gonna have that when you get it. I'm gonna dry it out like your I still perceive the colors. So you're gonna make sure there's dry so that is dry. And now I'm gonna layer black to the places that I see most. There are these lines. I'm not being perfect. As in the reference photo, I'm just looking for the bigger shapes that I see that I can drag the color from into the smaller shapes as well than these eyes. And now I'm gonna take a tiny brush. I think just one. This is a zero. I think you are. Yes. This this is your Oh, So what I'm gonna do is I'm gonna actually I don't have too much water on it. She can activate this black and drag it out and create these fuzzy motions So it looks kind of The butterfly's body is not sleek, it's not me and of metal, So it's quite fuzzy. But I still want that show through. Here we go and no, something eyes, head. So it still looks very harmonious with the rest of the body that we have. So next we're getting to is more black. And before I do that, I wanted to add the purplish queues here on the winds just a bit just to break up that just with them, adding them over the top where my black waas and it's kind of only the upper half of the wing that has it during this year. And to top it all off, I'm gonna add my lighter blue Not the one for the highlights, but the letter loathe. I'm gonna go a bit further deep into the highlight and at the very different over. My kids just gonna blurred into the black, do the same thing from doing this direction on and here, very bench with black. So we still kind of maintain the highlight, but it's going to be a lot more juicier. The wing. I didn't take my Doctor Blue. Let's put this in first and then we're gonna move on to lower wings. So again, from my highlight, I'm going into the central part of the way like into the very heart, like we're at the point where the wing is going from. And here I can go back from the center and out. So but not going as far as I'm going to the highlight so you can see we don't see the purple very bright on, but we do perceive it a bit slightly when we look at it here again From my highlight. I'm going into my black. The father I get it again. Passive. In another time, I just got a blended into the highlight here, being careful not to go too much or the highlights, so I don't lose it. Okay, so that's good enough. I think I'm gonna do the same thing. A better side again. From the highlights into the point toward the wooden grows from And then from here again, you can go from here Out. It's easier you can turn your picture. Can emotions towards you. It's a lot easier. Teoh towards you. Then away from it. And there we go. We still have the highlights, but we have a juicier color buildup. Um, here, that wing and here I'm gonna go again from the highlight and to my black 6. Deepening the darks and adding texture: Uh, okay, so for now, I'm happy with that. And what I'm gonna do is my darker blue here at the bottom of the wings just going over the years juncture, Try sidled paper drawing with it. And here corner. So this is going to be our darker blue. It's You see, the values darker than this blue was going to be our kind of highlights again going using the brush. So, um and I'm gonna use the same here to this corner here, to the edge. So we're creating more interest, more difference in value. So we're not done yet. We're still going to be creating a personal shadow for each segment of the wings that's gonna make it even pop even more. And I'm gonna blend it in again from the lighter part in to end It took If I go over, the body can create texture with and here again from the later part of Dr These brush strokes also create this interesting texture you see going. It's not just a plain, so it's interesting. So don't agree from my So I'm not worried about going where the black We still have group under the black here and we're gonna go with were black over again. So don't worry about that for now. So I'm quite happy with this popping blue I'm gonna do is I'm gonna try it. And now I'm going to add some, um, later points. I think I'm gonna try. Has this might work so we can use the blue that we used for highlights is this one? Or we can use the front lighter blue. Um, this is a number 15. So, um, it's just, uh, cooler version off because this one's closer to the rent. If you get it. And this one is going to be just a cooler version of our blue just a different later, I'm gonna sharpen it. Pencil number point to be sure it's sharp. Okay, So what we're gonna do is we're gonna create a bit of texture here, so I have my lines there dark and I'm going to add a bit off. Lighter strokes is better flow. They consist. Actually, they're very furry, so we're going to just create a bit of texture over the top. Does different in color, Linda later part because I like how, um that's like it looks those folks look, and I'm not gonna let it this We just had strokes. Just texture here. Really vicious. So this and I'm gonna choose. You can see that it has a different girl. So, uh, what I'm gonna do is I'm gonna take my bush. I'm gonna want it. This is just a family. She's actually it was in a sector for meals. What I'm gonna do is I'm gonna just the lines like this totaling so it doesn't want it'll completely, but it pulls just certain lines through the wing, so creating more texture. This is the thing I used on When I paint for its very cool I'm creating for how it looks all the lines gives it the love more steps. Then immediately just pull my brush through and you see that I didn't blend it all entirely . It just takes some part of the pencil leaves the others going back and forth. I just I wonder here, So quite happy with that. I'm gonna I'm gonna dry it. And now, before I start adding texture, Teoh each vein on the window, we have want to have more black onto the tips. Just so we created the higher contrast is going to be more pleasing to you. I'm not going old away until the border here, but I'm just going, like, across the very edge. And I'm gonna be pulling the car around and the other side this contrast No, but I'm gonna activated. The second layer of black is gonna look a lot darker. What I'm gonna do doesn't get closer. Gonna dry up my brush first and drying Bush Washington Just there you go and continue this activating the pigment, trying out and then just furthering it into and here and the last part here. So now we're gonna do the most from party to work and add some definition and some highlights. That's gonna be very cool drying off and going over these. Here we go. So that's very cool. I'm just gonna be sure that it's dry now. What I'm gonna do is I'm gonna intensify the darkness of the lines and I'm gonna use again my vaccine pencil for this just intensified these things to make me look a prominent and just a bit so they stand out. Be careful to a sharp pencil. So just that we separate two wins. This isn't into go. It's not black, but it's quite dark for me, too. Compared to being precious about these lines. I'm not doing exactly the same results in just one thing. So they do. We always stick enough, Actually, let's look a bit. I'm also constantly Sharpton suddenly onto paper. That's great. Good. And now what? I'm gonna treat iss. I'm gonna take a white. This is just colored pencil. Wait, This is by fiber Castel. It's not. There's old Peca's prison like a little weight. I'll show you the difference in a second in the shop in it. And I'm gonna add these highlights because if I were to use a very bright white, I'll show you the prisoner. So this one is not just a peek, but with Chris McClure. Wait. You can see the state that saying with my fabric Castell white. But it's OK, even if you have just a person of color pencil or if you have only the white of the watercolor pencils, they're not. Take a swell, so we can use just water pencil. Wait, so it depends on the brand, actually, so you need to test them out on different colors. So if I do the same thing with my watercolor pencil, so you can see it's not as opaque as let's see where our weight is. Is this one with me? This is great weight compared to that quick wit. So just to keep it persistent issues the water going pencil and I'm gonna have this light edge here just to increase the car trust. And then on each vein, as we have the darker side to Where's the shadow? I'm just gonna add a likeness to it so that it looks more three d and again have the shadow falling this week, I will have a shadow of each frame Also in here to the left of treatments. Sure enough, at this point, if I'm using my white pencil, that is from watercolor set. I will not be using water on top of my better flying because I just washed away. It's gonna be just passing over. Don't pledges. Please do not belong. Your drawings. Trust me going to learn the hard way. I always do that. Okay, so I'm gonna just tackle the veins first here with highlighters. It doesn't look as bright, but the darker parts we can see how much it's Danto, how much more definition gives to the way It's really cool. Looks like pressing very hard here. They wanted to go. I don't want it to go too much too right here to take attention away from the highlights. I really want the highlights to be the star of the show. So I'm gonna do the same thing here. I'm going over the top Egx. I'm constantly rotating methane. So just to be sure that I have a tip, I find Tip on. If not, I will just sharpen it just a bit on this one. I'm gonna go on the other side mint, just to get more variation. And I see that there are these textural strokes. So with my wife that can create the structural strokes are going just to give it a bit more texture into dark reports. So I'm just doing these ellipses, that half ellipses you can see that kind of gives the wing texture because the ways of butterflies, you don't believe it. But there, Harry. So they're tying to 10 years covering the wings, and this gives us this texture that we want, um, bottom here and this just a bit. So I'm just gonna birth here just to separate from itself again. I'm passing to the other side and what it is, I'm gonna veins. You will see that the highlights that way were and there was a highlight that goes a plane that is light internally that it wasn't the highlight that we have with pencil and the highlights that we had when Geltman or with critics are going to look different and again here is here. I'm gonna go to the very bench, intensify that contrast between the shadow, humbling in between going on and no one minute cycle things so you can see the difference between how it looks with the hardline title to the game. And this that isn't the charities thin again, sharpening my pencil constantly because on the old course, watercolor paper dolls. Quite fast. But it's OK. We can always shop in it. So I see that there are these tiny veins that are linked on color. Don't go through here, and I just haven't done this side, okay? And what I'm gonna do now is I'm gonna add a bit of texture here as well as I didn't hear. I'm just creating these marks. I have circles just to give it the more texture. So this we were creating more dressed in the drawing, A lot prettier, please into. So I'm quite happy here. Then let's go to the body as well because we're here. My weight. I'm just gonna go in, create these feathery motions like, created the body. But I don't want it to be flat. I want to have, like, tiny Here's on it. So I'm just going around the body and defining. We can see that there are sections the body is and so I have my darker part. Go with my weight over On top of it, I go with my weight under it. So we create these later in their perceptions. And then there is a There is a bit here, and it has these attachments here. There got indicating what have been going to them, and I'm gonna so them with my head I'm gonna add but off indigo blue for the contenders and should make sure that's very sharp, though, so I don't create the intense that are very heavy. It's not the most que So now what I'm gonna do iss I see that already, Edges Here There is a dark line in between these So sketch that just, like very sharp, very dark justice. You just just a short notice. So it kind of goes into the black even though the black part of this because And also here in between these big is small and what I can do I can take my white and just at the bottom of it, just give it a bump just to make it stand out More was if it's a crease in the wing, Here's what I'm not doing it very hard. I'm using a very light pressure on my pencil. Just like to make it to wait just to give it a slice like highlight to make it more stable to the There you go. You can see already how much interest to the wings? Uh, 7. Finishing touches: Okay, Uh, so now what we're gonna do is we're gonna start adding that were highlights the white words in the reference photo. I see that there's some red from the wings here. I will not be adding the red. I just don't want it to look to colorful. I like the blue field off the butterfly. You can definitely at the red to do that. If you're adding the red on top of the black, so we have black don't. But if you have the black activated with water, so it's quite dark, you just gonna dry it off so that that's completely dry. And you can see that if we have read on top of it. Well, Nancy, very good. Is that gonna be his bright has read if you put it here on the paper. So what I would suggest you do issue could use some white at the bottom. Depends on the pencils that you click on the West that you have. So put the white and then I can go with my rent over the top, so it's gonna be a lot greater, so I'm gonna be a small mark. All right. And go over with my way read. Because I don't want to add red to this butterfly. What? I'm gonna do better. There's I'm gonna just my highlights. And with my particular wait, I will go still, we can use our watercolor until wait, but this is moral bake. But if you do with your water gold pencil away, you can still get quite like highlight here. So these are the highlights that I don't want to be. I don't want to be as prominent as the ones on the edges of the off the wings here. There are some white highlights on the wing here, here in the corner like that when there's a that goes up white on to get another side. Waiter, highlight your little shape here, here in the corner. And then some shapes that go like that. So they are a waiter, but they're not bright. Wait, So now for my bright wait, what I can do is I can use my jump in or my acrylic marker. Oh, my gosh or my think. So it depends on what's blood you've got. Um I will go with wash. Oh, get stuck. So what I'm gonna do is I'm gonna put a lot of it of my gosh on the paper here. And I'm gonna take my zero brush, gonna pick up my gosh just as much as I need it. Just to be sure that I don't have too much. And I look at my reference and I see that there is Why touches here even larger like that With my zero brush, I have a lot of control. Core marks dynamic. So adding my And if I see in the reference everywhere, that there is this line like this land and we drew in the other fold off the wing at the bottom of a double B the white marks so I can have that My reference. I'm going everywhere, and I see this crease line. My white one of it. So this is pure wash. I'm not adding water to it yet. If I wanted to have, uh, more subtle highlights, I would add water to it would be less opaque. So here we go. And I'm gonna do the same thing here on this side. I'm trying to follow the reference, but it's not rocket science. You can follow your own gut how you think it looks prettier. So the first highlands I'm doing are these another on here? And then there are too big to pick up lobbies. Okay, so this is my first highlights. And now I'm gonna move on to this way. I'm gonna do the same thing. First. I'm gonna go with these highlights here at the very edge, and then we're gonna move closer towards the central part of the wing. Kind of a little line here, like that, and we're gonna move on here. So this is my thickest paint that I'm using. I'm sure gonna turn that around just to be sure they're having the full control of my breast strokes. Man almost smashed. My gosh. So there you go. So you can see how much brighter these white highlights look compared to the boy pencil that we were using. So what I'm gonna do now is I'm gonna add a bit of water to my gosh, so to make it less opaque and I'm gonna add these, just test it. Still your pick watcher. I'm just gonna have these highlights that I see here. Still, unless you can see that they're less opaque here, then the ones at the very edge of my butterfly Swings. Change can use a bit of tissue. Just have it off. Take a bitch. It's going. Have to kind of juggle this opacity here. There we go. So that's one highlight. And then on the edges here, I see that there is also this highland that's not very opaque. Um, that goes here. Romney's. So there's gonna be less so picked on the ones that we use just plain wash on. I'm gonna do the same here. Just add a bit. I had already my white there, but just a little bit more interest to the wings and whatever that is you now piss again. I'm using my gosh, that is mixed with water and intensified. But this highlight making more prominent. So and here's okay. There's this circle on the ends here and now, also with my deluded grocery gonna have the second round of highlights. So I see that there is one. They're quite lobby. They're not around shapes there, just like the gloves and the closer they get to the end of growing, they become smaller. Get here. I'm trying to look my reference closer they become those more than get. And now again, I'm gonna makes it a little Ticketless moral pink, And I'm gonna add a bit more too much. I think I could use even, really went down. So for this actually have course, I'm gonna add more highlights here. A lot of water, a second round of violence and with my pure caution, just gonna add a bit more bullets to the head slightly and create kind of this texture that is not leaving the body on. And to be honest, I am quite happy. I think I could make these highlights like more. Right. So just gonna have a bit more white. Not on all of it, but just a little droplet of paint in teach globe like that. More interesting. So again, I'm not striving for perfect realism here. Start to create a pleasing image of about Okay, I think that now we're almost done. The only other thing there would have is pure Gosh here. Just don't this It's just make this definition between the two wings even more visible. Trying to go into a dark, too much pulling. It looks like this. So, yes, I'm very happy with my butterfly. Um other took That I will give you just before we finish is if you didn't go out of your edges, for example, if you want to clean them up, they also use your wash for that. So if I say I want to clean up this edge and I don't want to raise it just another bit of gosh here and cover it up. So that's gonna create this crisp edge for me, you know, just over here, just in the places where I see that there is a bit until coming out, just being careful that I don't go over my butterfly and just a bit here. So we cover that those tiny mistakes so much is so take with So they're real. This is our butterfly. I hope you really enjoyed, um, this lesson. I really would you come out with a wonderful butterfly off your old that you will be able to frame and put on your wall or create wonderful card for someone? And I really, really appreciate it that you dedicate time to this lesson and I hope you learned a lot and I will see you in my other classes by