Coloring Pages for Adults: Color this Capturing Romance Portrait | In Her Quaint Studio By Tami | Skillshare

Coloring Pages for Adults: Color this Capturing Romance Portrait

In Her Quaint Studio By Tami, Sprinkle some creativity in your life.

Coloring Pages for Adults: Color this Capturing Romance Portrait

In Her Quaint Studio By Tami, Sprinkle some creativity in your life.

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15 Lessons (2h 19m)
    • 1. Preview: Capturing Romance

      4:13
    • 2. Supplies and Tips

      11:49
    • 3. Color Palette and Inspiration Board

      5:48
    • 4. Pale Skin Tone & Rosy Cheeks

      14:59
    • 5. Romantic Eyes

      20:31
    • 6. Lush Lips

      7:52
    • 7. Wispy Eyelashes & Eyebrows

      11:22
    • 8. Hair

      9:56
    • 9. Ribbon Hair Accessory

      9:00
    • 10. Pink Roses

      6:57
    • 11. Hydrangeas

      6:10
    • 12. Leaves

      4:03
    • 13. Touchups & Highlights

      15:11
    • 14. Tips & Tricks for Evaluating your Values and Colouring

      9:40
    • 15. Thank You!

      1:04
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About This Class

The theme for this class is Capturing Romance, we will be colouring this portrait from start to finish with pastel pencils. Why pastel pencils? I’ll get into that in just a minute.

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I just want to share with you why I love colouring? The benefits of colouring are many.

Colouring isn’t just for kids, it’s actually very beneficial for adults.

Personally, I have experienced the many positive benefits from colouring.

The process of putting colour to paper is very de stressing. It puts you in a quiet state of mind that generates wellness. You could say its a type of meditation.

Colouring is a relaxing activity and actually increases your creativity even more, along with your senses and has even been said to improve sleep!

This class is a colour along with me session. A line art download will be provided for you to use.

Its not just any colouring class though, you will be learning how to colour with pastel pencils.

What are the benefits you will gain in this class?

  1. How to easily find inspiration and colour palettes for your artwork
  2. The tools that will make you colour like a Pro!
  3. Pastel pencil techniques and tips
  4. Step by step colouring process, mostly in real time with voice over explanation of how and why I chose the colours.
  5. Easily follow along with clear colour palettes used and colour codes provided.
  6. How to evaluate your finished artwork with my trick
  7. Know how to improve values in your artwork with my tip
  8. A downloadable line art is provided

Pastel pencils are convenient and easy to learn. They blend instantly and can produce painterly results without using water, wax or strong smelling oils.

Sometimes, I just want to colour something for relaxation and fun without worrying about big clean ups.

Plus I can easily walk away from my artwork for a break and come back to it at anytime, not worrying about paint drying up.

I love using pastel pencils and in this class I will take you through each layer of colour to achieve this Capturing Romance portrait from start to finish!

I use the Cretacolor Fine Art Pastel Pencil Set brand and use the colour codes for that. I highly recommend them. See the review below.

BUT, you can still use your own brand of pastel pencil brand and try to match the colours.

This class is versatile, you can even use colouring pencils, but the results will be a little different.

Welcome to Capturing Romance, Colour with me using Pastel Pencil Techniques!

Meet Your Teacher

Teacher Profile Image

In Her Quaint Studio By Tami

Sprinkle some creativity in your life.

Teacher

 I've worked with traditional media for over 7 years. My favourite subjects are painting expressive portraits and flowers. 

What Students are saying:

❝Very captivating and very informative. Excellent use of all products. Overall enjoyed fully.❞ -Jill Salinas

♥ 

❝Very helpful and clear demonstration. Easy to follow yet informative. The teacher shared a few tips and tricks that I was able to immediately incorporate into my workflow. I love the simplicity, colors, and texture of the completed project. Lovely.❞ -Keli

❝This&nb... See full profile

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Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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Transcripts

1. Preview: Capturing Romance: I'm always looking for ways to boost my well being and happiness and at the same time reduce stress. One of the ways that help me with this is you guessed it painting. But as much as I love painting, I find coloring the most relaxing and convenient. The theme for this class is capturing a romance. We will be coloring this portrait from start to finish with pastel pencils. So why pastel pencils? I'll get into that in just a minute. I just want to share with you why I love coloring. The benefits of coloring our many coloring isn't just for kids. It's actually very beneficial for adults. Personally, I have experienced many positive benefits from coloring. The process of putting color to paper is very distressing. It puts you in a quiet state of mind that generates wellness. You can say it's a type of meditation coloring as a relaxing activity and actually increases your creativity even more along with your senses, and has even been set to improve sleep. And who doesn't want that? This class is a color. Along with the session align, our download will be provided for you to use. It's not just any coloring class, though, you'll be learning how to color and use pastel pencils. So why pastel pencils and not just ordinary coloring pencils? Don't get me wrong. I love coloring pencils to, but the main difference is that coloring pencils are wax based, so blending colors takes a lot longer. You need to burnish the color, which means to rub. You need to break down the wax by rubbing the color in pencil to get a blended and desired effect. It's not so easy to erase colored pencil once the color is applied. Although coloring pencils also produce beautiful results, it's not as distressing as I'd like. I personally love using passel pencils because of their pure convenience and low learning curve to get started, plus their low maintenance possible pencils are mainly pigment without the added wax, making blending areas much quicker and easier. Erasing areas are not a problem. Some say they are too dusty, but I find that is not the case. I have been using them for years, and although they have some pigment that smudge, it is that very characteristic and quality that I love. The dusty pigment gives a soft look that I love as a busy mom with little space in my studio. I love her. Pastel pencils are easy to use and easy to store. You can achieve Pete Earley effects because they're instant blending with wax water or strong fumes of oils. I can walk away from my artwork and come back to it any time and not worry about my art supplies drying up or big cleaning and washing up paintbrushes. As with other art mediums like acrylic oil or water color, this class will start off by introducing to you. One can be huge. Wait to find inspiration and color palettes for your artwork. Then we will get into all the castle pencil colors used in this capturing romance portrait class. You will learn how to use passel pencils and what tools you'll need to use pestle pencils like a pro along with my tips. But you can still start using passel pencils, even if you don't have any of the tools in this class. You can even follow along with coloring pencils, but I can't guarantee the same results. Although I'm sure the portrait will still be beautiful. You can make it your own. This class is for anyone who wants to color and is looking for a way to de stress with art . This is a great way to enjoy the benefits of coloring while learning something new, like how to use hostile pencils if this art medium is new to you, plus all my extra tips on how to improve your coloring, how to find color, inspiration and pallets. Welcome to capturing romance color with me. 2. Supplies and Tips: okay, I'm using this paper today. In this class, you don't necessarily need pastel paper. You can use what you have on hand. I'm actually going to make my own type of a pestle paper by adding a little bit of Jess. Oh, just to add a little bit more of, like, a rough surface. Um, but, you know, I find that just using that this paper on its own can do the job. Basically, the more grit your paper has, the more pastoral pigment the paper will take. But because this is such a small illustration, I'm not applying that many layers of color. So this kind of paper with a little bit of Jess Oh, just to add a little bit more grit works beautifully. I like to use thes blending stumps, also known as tar talons. And they come in various sizes from thin to thick er, and depending on the area you want to planned, for example, this want to use a lot because it's great for, uh, detailed and small areas. And they also used the biggest one there for the larger areas. And I'll be demonstrating that in the class and a So the sandpaper actually came with my credit color, Fine art. Pastoral 10. And it's very useful, and I you can use it to clean your stumps and also sharpen your pastel pencils, and I'll be demonstrating that further on. In this video, you can also use a a sharpener. I love the sharpener, and if you have seen my other classes, I do talk about this a lot, and it actually came with my carbo fellow postal pencil set, and I love it, and it works just as well, with with these credit color pastels. And if you don't have any of those on hand, a knife sharpener will also do the job a little bit harder. But it can also do the job. And I love this art eraser. And again, I always say that if you have to get an eraser, you need to get this eraser. It's absolutely amazing. It's a self cleaning eraser. It doesn't leave any mess behind, and it's great. I also can't live without my Tom Bo Eraser, and in this class, I'm using their rounded tip. I really love the rounded tip Tom Bo Eraser, because it's really great for erasing those very small areas. And in today's class it is a very small illustration, and it's also great for erasing nice circles because it's a rounded tip. I mean, you could obviously use any racer. This is just a luxury item that if if you could get it, I really suggest you get it. I absolutely can't live without it. I just adore it and any kind of tape to tape town. You work in this class. I just want to mention that I will be linking, um, all the supplies that I use in this class so you can easily find them if you want to go ahead and get it for yourself. Now, if you don't have any of those items like the blending stumps, for example, you can easily use Q tips that will do the job. Not as convenient, but again. It will do the job and any kind of bull you know, for your shavings. Okay, I just want to demonstrate how to clean your blending stump this class. I use the number two a lot. I even though I use almost every size, I'll just demonstrate this one. It was a little bit dirty to buy some pigment from some previous postal color. So I take out my knife and I just basically cut away. There are actually two ways you can do this. You could just use the knife, and there you go. You just cut away at it until you remove all the pigment from your blending stumps, and that could easily do the job. But you could take you could take it a step further and make it extra smooth, an extra extra clean by taking your sandpaper. Or, if you have sandpaper, a filing file Anyways, you just file it away. And as you can see, it really does make a little bit of difference. It's smooth. This Smoothes it out even further, makes it a little bit sharper, and it just clean it off. Nuala. And just to mention, you can clean off your sandpaper by just running it through some water after and letting it dry and wola, you have a nice, clean blending stump. And, of course, I'll be using. The most important tools are the fine art postal pencils, and I'm using the brand credit color for this class. I got the 36 10 box, and it's a great selection of colors. Just perfect. I mean, I of course, I would love to get the 72 a colored box, but this will do for now. I'm a little bit of an art supply addict, so of course I would have loved the 72 box. Anyways, Um, let's move on. So I have really studied these colors a lot, and I've tested them all out. I did a review of thes on my YouTube channel. So if you want a full review on this 36 tin box, go ahead on my YouTube channel and you could check out that review. I just want a note about these colors that I love, the fact that they have the name and the code, and they have the colored top part. So it's very easy to find the colors, and I just love that. Okay, these colors are for the face. So I used Sienna town light 10 dark Indian, red, bluish purple, glacier blue. Okay. Yes. And that was for face and cheeks. And then for the lips, I used CNN again, Carmen Extra and Vermeule on dark. I'm not sure if I'm pronouncing that correctly. I just want to note that you could always look back onto this video if you want to refer to all the colors again if I'm going quite fast. But yes, these were for all for the lips and then moving on to the eyes and the hair band I used Persian blue, Delft, blue, blue, gray, glacier blue, turquoise, blue and, yes, a lot of blues. They work beautifully together, as you will see in the course and for the hair I decided to go for a light colored hair on the blondish side. So I used worker light Oakar, Dark Van Dyke Brown and Mr. And Yes, I find that this 10 has a really great selection of Brown's as well. I also will be using them for the eyebrows and the eyelashes. Then for the roses, I used 10 dark matter Carmen Carmen Extra fine and firm ver Miljan dark. I'm not sure for I don't know. I need to google that Vermaelen firm firm. I should go. Go that and then for the high drenches. Okay, um I don't know. I grew up in Canada. I could speak English. I just can't pronounce it inwards anyways. Uh, So I used bluish purple glacier, blue pea green and olive green dark. Okay. And then onto the leaves, I used blue gray, all of green, dark moss, green, dark and Peagreen. So how to sharpen pistol pencils? You need a special, uh, pencil sharpener that fits it because puzzle pencils are quite large. And I'm using the one by stay below, which works great, even for these credit color puzzle pencils. And I find that the point comes out quite pointy and great. So I do recommend that this sharpener I haven't tried other sharpeners Ali know is that this sharpener? I love it. And that is all I use. Okay, If you don't have that sharp inter, you can use the sandpaper that comes along with the credit color. 10 bucks. It actually came with this sandpaper. And the basically how you use it is I recommend using a paper towel underneath. You take your pencil pencil, and you basically just rub it against the sandpaper and you keep on turning the pencil around and around. So all, um, all corners are equal until you get the sharpness that you like. And as you can see, this sandpaper is heavy duty. And I would say it works pretty pretty well. I get a pretty good, um, sharp point to my puzzle pencil. So you just keep on going until you're satisfied. You know, just clean it off onto that. Um, towel. And there you have it. Okay, I got a Google this So the 1st 1 waas Berber Milan birth. Emilien, burn Emily on it must be this one. Let's just check normally on a no pronunciation for that I love Google. Pronounce Z ation us. Well, im Canadian technically is the same pronunciation. Wait, there's another pronunciation. Here we go. British pronunciation for millions, for millions. Okay, lets for my British friends. American pronunciation milion per 1,000,000 vermillion In this class today I'll be using vermillion. Okay, on the other one, Waas Let's see it. Waas high Trid high. My God! How do you spell it? Hydra engines High entrant. Oh, here we go. There we go. Let's go for the British hydrogen hydrate John and American. Oh, that's quite different. Hydra and John Hytrin Gin. There you go. This is supposed to be in a an art class. It has become a English pronunciation class. I just never know. Okay, You learn something every day. Okay, so let's continue 3. Color Palette and Inspiration Board: How do you gather inspiration and the right color palettes for your paintings or coloring pages or part in general? One of the main ways that I like to gather color references and color palettes and inspiration is through Pinterest. This might not be new to you, but I just thought I would like to show you my Pinterest board and you know my thought processes when I'm creating ah board before figuring out my color palettes for the next painting, click onto Pinterest. You can type in Aggie pixie and going to my profile, and then you can click on two boards, and there you will see all my Pinterest boards. I I love the fairy. Tell aesthetic princess aesthetic fairy tell romantic, inspirational pain. Teens and I like keeping up to date to color trends and then have ah lot of my tutorials here to, amongst other ah color schemes, color palette, uh, all kinds of things. So for this class, I found a lot of inspiration in classical art and romantic art from the past. So I've been collecting them, Uh, quite a few, actually. And if you go, you can go over and follow this board and I keep on updating it. And I love all these soft hues and very romantic, very faded out colors. I mean, I tried to achieve it in this class. Um, somewhat. I know with pastels, you can achieve that soft look. So eso what I really I really love the roses thes blues and corals. And I is just so pretty. So that is one board that I was very inspired. Um, And then I went ahead and made another board for this class, and I gathered up all kinds of references and and an inspiration. Um, that went into the final painting. So I called this board art project inspiration for capturing romance. And then when you go into it, you'll see all the images and, uh, illustrations, photos, colors, color palettes, Um, you know, lip references. I know I wanted to that pop of red lips cause I've been noticing a lot of classical pain. Teens. They would have the pale face with a pop of red, so I just try to get other references. I wanted a nice blue turquoise I So I went ahead and try to no, get some some inspiration on that. Then I really loved this painting. And I love the color combo of the pinks, the blue turquoise is and the blondish hair. So I really pulled a lot of the color palettes from that. And then, um, some rose references, colors, And just overall, you know, overall feeling for this painting, and you can see it here. Uh, so I got a lot of, like, even like, as for the hair style, for example, I love the floral crowns. And so this is pretty much, um, a good way to gather up ideas and color palettes and see what works together. You know what doesn't work together and kind of create an overall feeling? Of, what? Two, Your final painting. You know, that final feeling. You want to get out of your painting, and so that is what I do. Mostly, um, sometimes they keep my board secret. But for this class, I am letting everyone into my secrets. So if you go ahead, follow this board. I will unlock this when I actually go to publish my class. But for now, it's a secret board. So you guys are very, very lucky. If you're watching this video right now, Anyways, I'm just kidding. Uh, okay, so that is pretty much, um an overview of finding your inspiration and your color palettes for your paintings. So if you haven't, uh, seen my Pinterest board, go ahead and, uh, give it a follow, or just check it out. Whatever you like to do. Okay, So let's continue to the next class. 4. Pale Skin Tone & Rosy Cheeks: Okay, so let's begin. I just want to mention that I will be ah, coloring at this illustration in real time. So, you know, if you're impatient, you can always skip ahead or you can actually color along with me. I might speed up some sections, but most of this class will be in real time. I I swatch to every color in my 36 10 of credit collar. I just want to mention to that if you don't have the credit color, you can use another set of postal pencils and try to match the same colors. I went ahead and ice watched all the colors, and I'd like to just put it on the side of my illustration. It's just great to see exactly what I'm using, and it's also good to keep them as a reference. If I ever want to do another portrait and I want to use the same colors, I'll know exactly the colors I used and and for wet. So these these air, the base color palettes. And so I am going to start with, uh, basically the darkest. It's not necessarily darkest, but, um, this is the Sienna, and I'm just going to go to line around the face. So and even around the eyes, this is just going to give the face, um, a little bit of death and more of a natural tone because I don't want to see those black lines underneath. Now I'm going to start with adding the undertone color. I'm taking the glacier blue. Our skin has a lot of color underneath blues, purples, reds. And she can't see that when you're looking at a photograph but in a painting to bring out the skin tones. Um, I didn't another tone color will really make your painting pop a little bit more and again . I use a few references and, uh, if you go back to my my Pinterest board, you can see a lot of the references that I used, and I'm just gonna apply the blue around the face where it would be darker. Now I'm gonna take the blending stump and I'm going to go over all the pigment wherever I played the color and I'm just gonna smudge it together. And as you can see, the blue kind of disappears. I'm gonna add a little bit of that shading right under the neck to make the face pop out and on the size of the neck. So as I'm blending the two colors together, the skin tone is going to come out. I'm going around the hairline where it would be darker. Now I'm gonna go ahead with E 10 dark and I'm gonna play that near the shaded area and I'm gonna apply that all over the face, except I'm gonna leave a space just in the middle. - So as you can see, I I left Ah, a white space just in the middle. This is where I'm going to take the next color Tana Light. And I'm going to apply that, um, in the section, like right in the middle. I'm gonna work my my pencil outwards, and I'm I'm actually gonna blend even over the last color. So at this point, I can color over the 10 dark. I just color over my face. I'm not really worried. Even if if you call her a little bit into the eye area, doesn't do, doesn't make a difference. I'm going to apply the color even on the neck. Now I'm gonna take my biggest blending stump, and I'm just simply going to blend all the colors together. This is going to smooth out. The pigment is going to give. You're painting a smoothed out look and e I just blended everywhere. I bring the color even up to the edges by doing this year will blend. Blend all the colors together and it will give your portrait a smooth effect, A smooth result. Okay. I need to deep in the values which basically means shading of the face. And I'm going to take out the bluish purple and I'm going to add it under the neck. Uh, and then I now have to decide where I want the light source to be. So I decided to have it on the left side, so I'll just pretend that the sunshine or the light is shining on that side. So I'm gonna go ahead and darken up on the right side. So I'm going to apply this purple color. Purple is a great shading color. I'm just blending it throughout. I'm going to darken up that side with purples. I'm going very lightly. I go, Blair by layer. Um, you'll see at the end. Um, I will be applying a little bit more, uh, dropped the course right now. I'm I'm applying just a little bit at a time because I know that I can always dark in it later on. So, as you see, I just want to demonstrate that the light is shining on the left side. And so I want to darken up the right side and I play the color, and then I take my blaming stump and I smooth it out even under the lip. That way, I'm I want the lips to be kind of pouty. So on top of the lip, on the corners of the lip, this is going to bring out the lips. I'm trying to create an illusion that's wet painting and coloring is all about You're trying to create an illusion that things are popping out that is not just one dimensional. And you might think, well, purple is not really a skin color, but it is another tone color. Okay. Ah, here. Um, adding this Indian red, I'm going to add this color as a cheek color, but this red doesn't Onley appear on the cheeks. I'm going t even add it on other areas. For example, under the lips just under the chin a little bit on her nose. Giver knows some color. I think it gives a cute look, and there we go on the other cheek. I'll be applying it even a little bit on the corner of the eyes. I have to apologize. It's a little bit out of focus. Um, all the other classes will be in focus. I guess. I camera. I just didn't get in focus on this part anyways, Um, all right, so then I take my blending stump and then I'm going to blend the color and I just push my blending step towards the hairline. And then I faded out going towards the nose again. Bring it up to the lip to the just bottom of the chin, and then I I roll. My blending stump, too, faded out just so the edges are not so heard. I blended it out even on the corner of the nose. Justin circling motions. And as you can see, you can use your fingers. Not a problem at all. I'm adding a little bit depth around the eyes and even in the crease of the I and the color remains on the blending stump so you could just use the blending stump to push the color around. Okay, so I'm going to, uh, deep in the shading and the values here, So we gotta get out my bluish purple again, and I need to too dark in the right side of her face. So I'm just gonna add the purple again, uh, under a chin around the neck, side of the neck, the sight of her chin under the nose. I'm going to durkin up the nostrils because the nostrils a very dark part of the face, and I'm just gonna blend it out again with my trusty blending stump. The blending stump has quite a bit of color at this point, so I blended it all together. All the colors are mixing up together, and it's really going to give this beautiful effect. You don't need to clean out your blood in stump each and every time you use it. Now, if you had, uh, like a different color, like a very if you had a orange or a great green, Yes, I would say to color it, but because we've been using it all this time with the blues, the purples. The town, the 10 dark using the same blending stump is perfectly fine. So I'm just add I'm just around the nose area. I just left it white. Okay, I'm at so with e um, Indian Red. I'm adding a little bit read just on our tear ducks, because if you look at our eyes, they do have a little bit of red there, and I'm just blending it out. I don't want it to be too harsh, so I will blend it out just to soften it up. Okay, so this is the town light, and I will be applying it to the top of the nose. The top of the nose would be, um, the most furthest from the face. So I want the top of the nose to sort of pop out, and I'm adding it just a little bit under the eye, a little bit on top of the cheek towards the nose. So I'm adding in the light again, onto her face, and I'm just going over her face with the town light. I'm taking my blood in step. At this point, I had to take the cleaner side in this case. And now I'm just blending all the colors together to smooth out the pigment, and we're just gonna take a break from the face now and move on to the ice. 5. Romantic Eyes: okay on to the eyes. My favorite part. So what I did before I decided to, um you know, go ahead and color thes eyes. I I did like a practice run just on any kind of piece of paper just to figure out, you know, how I was going to color the eyes. So that's just a tip that I would give you is to practice the color combination, the color palette before you actually start coloring. Even though it is very easy to erase, it just saves you a lot of headache and time, and I just basically take any scrap piece of paper, and I I just see if the color combinations is going to work. And I did like how it turned out. So I was happy with the results. So then I felt confident and starting to colors. I So I start out with the darkest. Uh, it also acts as like your own reference when you have the palate already ready to go. All right. So I took out the blue grey and I'm just going to darken up the iris that it's the darkest part of the eye. So here I was just referring to my little piece of paper and trying to figure out what color aided next. Yes, it was the Persian blue, and I'm going to add it to the top part of the eye. So basically, what I'm doing isn't going like dark to light. So then I just add just a few strokes of that Persian blue and then I'm going to get out my glacier blue and add a few lines of that just on the bottom half of the I. And then I'm going to take my Delft blue and I'm going. Teoh added, just on top of the glacier blue. So essentially, I was working a dark to light. Then I'm gonna take the brightest blue. I just like that pop of color, and I'm going to add it on the bottom corner of the eye. And it's going to give the I a very beautiful, um, aqua blue effect. And then we take the smallest blending stump that I have, and I'm going to blend all the colors together just so they blend seamlessly together. I'm going to just blend it out so they all blend out beautifully together. Now, as you blend you might lose some of the lines. So I'm just gonna go back in and I'd some of the lines and I'm going to add a little bit of the darkness to the iris area. Just I kind of lost it on the way as I was blending it out. And when I react thes lines, I'm not gonna blend it as much. I just want to kind of keep that darkness. So when you look at the I, you want to focus the darkness, the value, the shading just on top of the virus, where your island would be covering your eye. So that's where the shading would mostly be. And then I want to add more, um, brightness to the I. The eye that shows more is the bottom of the eye. So you have to the latest part of the I would be there. So I'm just, um, re adding the light, the lighter value just on the bottom of the I there and you complain it with this. As you know, as much as you like, you can keep on adding even removing. Um, I mean, you can you can play with the colors is as much as you like. So now I'm gonna add a little bit of shading just on the rim of the eye, and this is gonna make the I pop even more. And I think this was the glacier. Yes, is the glacier blue and I'm going to deepen the crease of the I just on top there. And by adding the blue is a really nice shading color again, it's not a very realistic, um, portrait. You have to keep in mind. I'm trying to, um, have a very painterly effect, having to take the smallest blending stump that I have. And I'm I'm adding even a little shading into the white party, I because even the white part of the eyes not so wait. So I want to add a little bit of shading even in the white ist part of the eye. Okay, so I'm going to go back with e Sienna, which we used in the face polit, and we're going to darken up the creases of the I gonna ad back some color. I'm gonna add it even to the corner of the eye. Trade Too dark in that up. Give it more of a dramatic look I'm gonna add in a little more of the Indian red, just like the tear ducks. I might have lost some of that color. What? As I was blending Now I'm going to add the highlights in the eyes. And my little trick is this Tom Bo Eraser, the rounded tip. And I am going to now start removing some of the pigment just along the I. That would be the brightest part of the eye. I'm not going to race the full white part of the I am still going to keep the little bit of shading on the corner of the eye. And then I'm gonna go in and I'm gonna add a touch of light there in the iris and I'm adding it on this side because the light is shining, um, from above the face from the left side. So I'm gonna put the dot in that corner, and I'm gonna add a little bit of white just on the bottom of the I. And then I'm also gonna add a little bit of light on the corners of the lids liked in that area up, and then I'm gonna given an angelic look by, uh removing some of the color near the tear duck and then with my notable eraser, I just clean up a little bit of the shavings of the eraser. Okay, I'm going to darken up around the eye. Now, again, I'm gonna take the bluish purple, and then I'm gonna take some that Indian red, and I'm going to add in some more color around that area to deepen it out, to add more depth, to darken that value up a little bit more. And then I took the I believe it's the 10 dark. Yes, 10 dark. And I'm going to go over all those colors. I'm gonna mix it all up together. Uh, this is another technique that you can use. You don't even need to use your blending stump. At this point, you can just, um, apply the pencils one on top of the other and basically with your finger blended out. Furthermore, so I am going to play with the color here. I'm gonna keep on adding color to that side of the face around the eye to darken it up. Add more cheek color and you can speed things up. Skip ahead. I'm going to stop talking for a bit now, and you can just watch my process, Uh, in a bit. I will be starting with the other. I okay on to the other eye. So I'm going to do exactly the same as before. I'm going to start with the darkest blue, and I'm just going to trace around the iris around the eye under the eyelid. And then I'm going to proceed with the, uh, Persian Blue, and I'm going to add the color underneath the eyelid, and I'm going to work my way down from dark to light, and I'm basically going to copy the same colors as the other. I obviously, because I wanted hopefully the eyes to be somewhat the same. Unless you wanna have when I one color and the other I different color. I mean, it is totally up to you, but for this class, we're going to stick with blue aqua blue eyes for both eyes. And then I'm adding the light, and then I'm going to proceed with that pop of color of turquoise and then I'm gonna blend it all out again. And now I will take my stump, blended all out, and then I'll just let you watch the rest. I'm going to leave it in real time. So if you want to watch the process, go ahead. And if, uh if it's too slow, of course, you can just skip ahead, all right? So I'll just let it play out for you. And the next section will be moving on to the lips. So enjoy and all See you in the next section of the lips. I'll let this play out for you. It's basically straightforward. I go through all the sections over again. Once again, - I just want to mention that we will be doing the lips next and after that will be doing the eyelashes and the eyebrows. So no reason I just for this coloring, I decided to go on through the lips next. 6. Lush Lips: okay onto the lips. So I really wanted to have that pop of a red lips for this portrait because studying classical art, I noticed that a lot of paintings had a very beautiful pale face and this pop of red red lips. So I wanted to capture that, and I found it very romantic at the same time. So to capture that red color, it's not that I just place on red. It's actually a combination of colors. So I'm going to start out with the, uh, darkest red, which waas the the Sienna. And I am going to darken just the corner of her lips under her, her upper lip and under her lower lip. I don't apply the color on the sides of her lips. Now I'm going to take the kherman, the Carmen extra fine, and I am going to apply it to the top lip now. Usually the top lip is darker than the bottom lip, but you know, I don't always follow that rule, but usually if you look at a face, that is usually the case, because the the lower lip is usually more power here, and I'm going to just add a dash of the Carmen, even to the bottom lip. But I'm not feeling it out. Totally. I'm gonna apply the color, Uh, gonna fill it out a little bit more on the top lip. I want the top lip to be darker than the bottom lip in this painting. And then I'm gonna take the Vermeer, Leon dark. It's ah, bright, orangey red color and I'm going to fill in the lines now. And the mixture of the vermin Leon with the Carmen eyes gonna produce this break red color the color that I actually want the lips to be And just mixing them up together, um, will create a nice break. Red lip. So here I took the Carmen, and I'm just adding it to the sides of the lips just to darken it out. Just add a little bit more red, and the bottom lip is usually the lighter, uh, color. Uh, usually, uh, pops out more on the face. So that's why um, making the lip a little bit brighter or lighter? Um kind of brings a realistic look to the face, but again, um, not trying to be realistic in this painting, I'm I would like the painting to be a little bit painterly, A little bit of fantasy Romantic. I'm gonna take my stump and I just blend in the corners Just so the color is not so harsh And here I go, You know, I go back and forth I decided, you know, do we need to darken up the top lip? Do I need to add more color on the bottom lip? And so I go back and forth, you know, take my time. As you can see, this is all in real time. So, you know, this is supposed to be relaxing coloring session, and I'm basically just taking my time and enjoying myself. So I'm taking my blending stump and I'm just very lightly blending, blending in the inside of the mouth. I don't want the teeth to be the strikingly wait. So I need to make the lips pop out more So I'm going to take that purplish color to ab depth and I'm gonna add it to the Cupid's bow just on top of the lip there. And I'm gonna add it in the middle of the mouth just to make the lips seem pouty and under the lips So the bottom lip pops out more and I did added, just underneath the nose. And then I take my trusty blending stump the skinny one and I blended away. I don't want any harsh lines. And that that is the trick, even for like, that romantic look is, you know, blended all out Just so there's no harsh lines and any pigments that might have fallout. You could just, um, stroke it away with your fingers. Adam taking my little eraser, and I am bringing back the light, adding a little bit highlights. So, you know the teeth would be white. I don't want it to be so strikingly. Wait, I'm adding a little bit of highlight. There are the chin because the chin would be popping out just a bit. I don't want to take out all the shading. I want to keep the shading under the lip as much as possible. And then just starting from the left, I'm going from a small dot to then a bigger dot and then to like a more of a line, some from small to large, um, kind of demonstrating a little bit of highlight on the lip and just a little bit there on the top, on the top lip on that side of the left side where the light in my mind would be shining. So here I'm just keeping in the highlights here. I'm cleaning lip up a little bit more, and once I finish all that work, I kind of stepped back. And I just, you know, I I kind of see Okay, I I want to fix the lips. All play with the colors. I'll get out my colors and I'll just try to fix the lip wherever a I see needs color, a little bit more darkness, a little bit more shading, and I'll just go back and forth. Sometimes. You know, it's not always the way you want it the first time you call her. So I you should go back and forth. And that is about it for the lips. We will be heading now to the eyelashes and the eyebrows 7. Wispy Eyelashes & Eyebrows: okay on toothy eyelashes and the eyebrows before I begin with e eyelashes. I just want to make sure that all my shading, uh, I'm satisfied with all the shading around the eyes because once I add the eyelashes is very difficult to go back and fix of the color underneath. So I'm just playing with the color again. I'm deepening the crease with E sienna. I'm just adding a little bit more color of the Indian red just at the tear, doc a little bit underneath e i. And I'm just going over, um, the I the shading deepening around the eye, adding some more color and just making sure that I'm happy of how the eye looks before I start adding the eyelashes. So I'm just gonna go ahead and blend with my mini stump now, just finishing up with the blending and I I'm now gonna take out my many eraser and I'm just going to lighten up and add re add in some of the highlights and this is important. I want to make sure that I'm satisfied with all the highlights around the I before I add in the eyelashes. So I want to make sure that my passel pencil is extra sharp and pointy for adding the eyelashes. And this color is Mr and I'm gonna be adding two colors for the eyelashes. So I'm going to start out with the lighter color of brown, which is called Mr And I'm just going toe outline the the lid on the inside of the lid. First the lash line. And then very quickly I'm gonna flick out my pencil to create the eyelashes, and none of the eyelashes are straight. I try to flick my pencil, Um, you know, going towards the right. And then as I approached the center, it does strict it out a little bit, but I always tried to keep the curves. Um, I would try to curve out to the line, and this is not necessary, but I am actually gonna add eyelashes, even on the bottom lash. Sometimes I add lashes to the bottom lash and my paintings, and sometimes I don't, um because it's a flirty, romantic style painting I wanna achieve. I'm gonna go full out and add eyelashes, even on the bottom. Ah, and I had just just a touch. So now I'm gonna take the darker brown. This is the Van Dyke Brown. And again, I just want to make sure that it's quite pointy. And I'm gonna add a touch of darker eyelashes. And I'm just gonna Adam, all along the eyelash again, clicking my pencil here. I'm going toward downwards. Curve curved a curve, curve, curve, curve Very gently, but yet sturdy. Okay, I'm going to do the same thing to the other side. So here I'm just making sure that I'm happy with, um my shading and my values on the other I So I just want to darken it up a bit. So here, I'm just going over with Sienna over a little bit with the Indian red I have been after, You'll see me blending it all out. I basically do the same thing to this I as I did, the other I. So I am just gonna stop talking for now and let you watch my process. I'll come back when I add in the eyelashes again. Okay. Once I am satisfied with e shadows and the highlights around the eye, I go in with my pointy. Mr. And I applied the eyelashes once again making sure I curve the lines as I go, I tried to go with fast movements. I try not to think about it too much. You know, just try to be relaxed and let your your hand just flick, flick, flick. And then I'm gonna take the van Dyke brown, and I'm gonna just fill in some of those areas. Kind of go over some of those, um, lighter lashes. And this is just gonna add a lot of interest to her eyelashes because her hair is more on the blonde blondish side. I didn't want to add black for the eyelashes. So that's why I'm just keeping with the, um later Brown's. And again at the same time, I didn't want to make it look like she's wearing mascara either. Um, if I did, maybe I would have gone in with, like, a very, very dark color, maybe like a dark blue or a black. But that would be too harsh. And I again this is capturing romance, and I want the portrait to be a soft and romantic look. Okay, so, um, I'm just again, we're gonna move on to the eyebrows, so I'm just gonna make sure that I have the highlights where I want them to be before I start adding the eyebrows. So just under the eyebrows, um, it does your there's that bone, the eyebrow bone that does pop out. So that's where I do at the highlight. So I'm gonna take the lighter brown, which is the Pistor, and I'm going to start applying quick short strokes for the eyebrows. And the strokes are curved, going towards the right, and they do get smaller. As I reached the edge, have her face. I tried to make that look as natural as possible. I am going for a bushy eyebrow. It's very fashionable now, I guess. But you can choose to do any kind of eyebrow you wish. And now I go back into the Van Dyke Brown, and I'm just adding some depth, a little bit more color to her eyebrows. And I'm doing the same movements, just adding a little bit more, a little more color to her eyebrows just to make them pop out a little bit more. And I don't add too many lines. I don't want it to be too bushy. I don't want it to be the focus of her face, so I'm going to do the same thing on the other side. So I'm gonna start out with the Mr And I'm just on the edge of her eyebrows are just a few little hairs and then I think in them up as I go towards her hairline and noticed that thes strokes do get smaller as I go towards her hairline and I'm gonna take the Bandic brown again and I'm just gonna fill in. I'm going to fill in her brows with the darker and I'm just gonna go whisper with I guess that would be the word I want her Tabal, Wispy eyebrows, wispy eyelashes and wispy eyebrows for a romantic look Now, with eyebrows is very easy not to get them in the same position or to get them straight across. I always have difficulty with this, so I just take my pencil or anything straight or a ruler, and I just kind of, um, check on it. I kind of step back, and I just wanna make sure that one eyebrow is not higher than the other with them. They don't need to be perfect. So here I've just taken my pencil and I'm just trying to see if they're more or less the same. Um, they're more or less the same. They're not perfect. I see like maybe one eyebrow was a little bit higher than the other. But at this point, I kind of like the fact that she doesn't have a perfect face. I think it gives her a little bit of character. 8. Hair: for this portrait, I decided to go with a dark, blondish hair color. Ah, the two darker colors were will act as the low lights and the shading and the two lighter colors will act as the highlights to bring out the blonde strands out of her hair. Let's say and I did a little practice swatch just to see if all the colors would work together and I find that they worked really nice together. So I'm going to start off with E Van Dyke Brown. This is the same colors that he used for the eyelashes and the eyebrows. And I'm gonna work from dark to light, and I'm going to add this dark to outline the hair. I'm going to use it as a shading color. Uh, wherever the light wouldn't be reaching, for example, beside the pedals near the hair line, uh, framing the face. So I'm going to apply right into the little spaces in between the pedals. I'm gonna apply just a little bit beside the leaves in the corners, hiding a little bit shading near the pedals where the hair would naturally be darker. - Okay , so now I'm gonna bring out the Mr Mr. Um Now I'm gonna fill in pretty much almost all of the hair. Um, this is the main color. This is a great color, actually, for blondish hair. And I'm just gonna fill out all the strands with this color. I'm just using straight strokes down. Kind of like using coloring pencils, just coloring in, even going over the van. Dyke brown blend coloring in all the weight again. You don't need to fill in all the weight, because again, once you used the blending stomp, the pigments are just going to blend in perfectly and instantly and quite quick. This is why I love pestle pencils. He just few strokes blend away, and it's done. So I'm just gonna fill in all things whole entire area. Okay, I'm gonna go in with The Yorker dark, and I'm This is like a mid tone to her hair, and I'm going to start, um, right on the edge of the middle, and I'm gonna bring it outwards. I'm not gonna totally cover all the hair. This is just going to give a little bit more, um, interest and depth to her blonde hair. I'm just filling in some of those spots. I'm leaving some some of the best er showing. I don't want to totally cover it. Okay, So I'm gonna take my medium to bigger ah, blending stump. And I'm just going to blend, um, all the colors together, and as I blend away, the darker color is gonna blend seamlessly into the lighter color. I wanted to look smooth, and I'm just see how the trends the transition is quite smooth with when you blend with a blending stump way darker, Van Dyke will blend nicely into the MR. And then the Oakar Dark is blending quite nicely into the other colors. And then it just produces a really nice hair color I find okay. Before I move on to the last step, I'm gonna take out my need, Herbal art eraser. And I'm just going to clean off some of the edges. Where the color, Um, some of the pigment might have fallen off, so I'll just go over the ribbon roses just so the color isn't mixing too much when I start at the blue and for the ribbon. Okay, so now I'm gonna take the last color. This is the highlight color of her hair. This is the color that's gonna make her hair pop. And this is the okra light. It's, ah, quite a braked, yellowish, uh, color. And I'm gonna focus more on the left side where the sun in my mind would be shining on her face. So I am going to focus a lot of that color on that side on the top. Um, I'm gonna add just a touch even on the other side and even a little bit just there on the top of the other side of her head. Not as much, Not as much, but still a little touch. Um, a little highlight does make a nice difference. And then a little bit like around her face, where her hair would be falling around her face. Um, I apply Theo. Okra light the bright yellow just on the curbs. But once I apply the the highlight color of the hair, I'm not gonna blend it in. I'm just gonna leave it as is, um, Just that pop of color, not blended, has a little bit of texture. And, um, if I blend it in, it will just kind of lose a little bit of that pop of color, so I'm just gonna leave it as is. But I will go back with my van dyke brown and add some strands of hair just to add more flowy. Look, um, right now, her hair kind of looks like it's just sticking to her face. So I'm just gonna add a little bit of extra, you know, flying hairs to make it look a little bit more natural. And yeah, basically, really To make it look a little more natural, not so stiff. So I'm just going to add a little bit of squiggly lines, kind of following the curves. And I'm just going to continue applying lines kind of off off of the edges of the other lines, So just be free with the lines. Take a deep breath and be quick with your lines. Curve them out a little bit, let them flow a little bit outside of the of the main lines, and that will give the hair a more natural look. So I'm just gonna clean up around the edges and we'll move on to the ribbon next 9. Ribbon Hair Accessory: Okay, so we're going to do the ribbon now. And the ribbon band hair band, whatever you wanna call it are the same colors as the eyes. And I'm gonna start off with the lightest color. I'm just gonna block out the highlight first, just to make sure I don't dark in that area out. And I'm adding the highlight there because that is where we said the light was coming from . Once I block out that color, I'm going to go ahead and get out the blue grey, which is the darkest blue. And I'm going to trace out the the hair band, and I'm going to start adding the darkest values first, all the shading first, and that will be all along the petals, the rose along her, her hairline. And I want to, um, create, like, a curved the illusion of curve nous. So if that makes sense, um, so I'm going to start out with the darker color, and I'm going to transition into the the, uh, deft blue or a Delft blue. And then I'm going to at that blue a little bit overlapping the blue grade, and again, you do not have to totally cover in all the white spaces Now, just so I don't smudge all the work I did with my portrait. Ah, I just take a little paper towel and put it under my hand so my hand doesn't get too dirty . Um, but then again, it's the pastel. Will not come off, is just, um I just don't want toe. I just want to sure that I don't smudge too much of the face with my hand. Uh, so then I'm gonna go on with the, um, turquoise blue, and I am going to apply it a little bit over the Delft blue. And as I do that, it's creating sort of a new color. And then the lightest, which is thehyperfix arts. I'm gonna go with the Glacier Blue and I'm just gonna play that on top of the turquoise blue. And then this is where the magic happens. I am going to start blending that dark into the light. It's gonna make a beautiful transition and is going to create a really beautiful blue for this hair band. And I wasn't really inspired to put on this hair band. Um, from a lot of the classical paintings, uh, that I was studying. A lot of them had these beautiful blue headbands, and I just thought it was so romantic. And I just I really wanted to incorporate that type of accessory into this portrait. So the hair band is sort of taking on the color of the eyes. It's a little bit more turquoise than the eyes. I find it very pretty, very, very, pretty romantic. So, as you can see, I blended away trying to keep the highlight intact just to have that illusion of, um, a curved, um headband. And, um, I'm imagining that the hair band was tied in the back. And so coming for coming, like, sort of from the side is the the ribbons that would be falling and blowing in the wind very romantically. So I'm gonna do the same thing. I'm going to take the darkest blue we're gonna outline, and then I'm from the from the neck. I'm going to pull down the dark blue here. I'm just cleaning up the edge. I think some of the color might have a little bit of pigments might have came off from from when I was using the stump, but see, just with a needle eraser. I was I was very easily, quickly able to take off a little bit the dust that might have fallen off, but there wasn't too much. As you can see, my face is still beautifully intact. I think I'm gonna take the Delft blue and I'm gonna, um, color into the blue gray and bring it down, Bring it down. And I was I'm bringing it down the curve of the of the ribbon. I'm going to try to focus the lighter color there, So I'm going to add in the turquoise, keeping in mind to keep the curve like light and white. As the ribbon falls towards, um, like into fall towards the end of her neck, I am going to add darkness. So now I'm going to go into did the Delft blue. And then I'm going to add the highlight color, which is, in this case, the Glacier blue, and I'm going to add it at the edge of the where where it curves. And then again, I'm going to the same procedure here. I'm just going to speed it up. In this case, I just take my bigger blending stump and I'm gonna blend all the colors together, making sure that each color trends is transitions into each color smoothly. It's quite interesting when I do speed it up just to see how the colors blend in so beautifully together. It's actually quite interesting to see it when I when I look back at it, Okay. As you see on my blending stump, I do have a little bit of color on that blending stump. And so now I'm gonna use the blending stump as sort of like a coloring tool, and I'm going to add some of that blew onto the neck. Um, why am I doing this? Well, first of all, I want to add more depth to the neck and it's going to act, um, sort of as a shading color. And, um, I'm theblaze loop of the ribbon is sort of reflecting back onto the skin, So I'm going to, in my mind pretend that the blue, the color blue of the ribbon, is reflecting on to the skin, so you will just give more interest to the portrait and a little more dimension. And usually, um, clothing. The color of your clothing will reflect onto your skin so here. I'm just trying to emulate that that effect. Okay. As I finish up here Ah, we are going to continue on to the roses next, so I'll see you in the next class. 10. Pink Roses: okay for the roses. So I decided to go with the classic Pink Rose. And again, I was really inspired by classical paintings, which usually had these beautiful cabbage type roses. And I'm just gonna place a paper towel under my hand, not to ruin my face. And I'm gonna start off with the darkest, read the matter, Carmen in the center, and I'm going to create that darkness in the centre, creating that depth. And then I'm going to just drawn some lines around the center and around and around we'll start off with the darker red, and I'm just gonna go around the rose around the center. Now, this is not a realistic rose. I just want to create an impression of a rose, and then I'm gonna take, um, the medium red, which is a little bit brighter. Is the Carmen extra? Fine. I'm gonna fill in those the white spots that I left behind, and I'm just gonna go around the rose and fill in those spots, and then I'm just gonna go over. I'm gonna go further away from the center and start creating bigger pedals. Just the impression of bigger pedals with that color And now I'm gonna take the 10 dark, which is essentially a light pink. And I'm gonna fill in the white areas, the the the large pedals. Um, it's sort of creating a sense that the pedals are, um are facing the outside facing the sun are kind of going outwards with the lighter pink. And so I'm just gonna fill in the weight with that. I'm sort of observed going over a little bit of the of the other colors, and then I am going to take the bright Vermeulen dark and I'm gonna add that papa color right in the center touch here, a touch there and that that is going to make the Rose pop out even more that I'm gonna take my skinny, uh, blending stump and I'm gonna blend in all the colors together. Basically, I'm just gonna blended away. I'm keeping some of the lines. I'm keeping some of the lines blending, blending, blending all the way and is going to make a nice, beautiful soft rose. It's sort of all comes together once I blend it out Now, I just went back in with the 10 and I'm just I didn't work pigment around the pedals. I'm just I just want to add more color, Bring out the rose a little bit more. Now, at this point, I'm going to add a little bit more definition to the rose petals. So I'm gonna take my car, men, and I'm gonna go all around the rose, and I'm going to suggest pedals by leaving little lines all around just to give the pedals a little bit more definition. And I just go in around and around a little bit outside of the pedals where I previously didn't have the lines. Just a little, uh, sort of like triangle shapes, just to suggest that there more pedals. Now I'm going to move on to the next rose, and I'm going to pretty much repeat the same steps going to go in there with my darker, uh, read. And then I'm going to fill in the spaces with the brighter red, and then I'm gonna fill it in with the the light pink the town, and then I'm gonna blend it all out. I'm gonna add even the great verbal on two just to give the rose a little bit of highlight and a little pop of color to make the roses stand out a little bit more. So I I will just stop talking now and let you watch the rest of the the process. And the next will be moving on to the Hi hydrate Hydra JIA's. I think I said it right. All right, I'll see in the next class. 11. Hydrangeas: don't you just love these little purple flowers? So I went ahead and I swatch doubt my my pedals just to see how would look. And then I came up with this color palette. Now, height, hydrogen jizz do come in many, many types of colors. But I find with this portrait the light violet with would work really nicely complement to the roses. So I went ahead and decided to go with the purple eso I'm gonna take out the bluish purple and there's gonna act as the main petal color. But within the pedal, there are other colors. And if you look on my Pinterest board, I really studied the pedals and the petals are not all purple. They have a little bit of blue, a little bit of green and yellow. It's a mixture of all kinds of colors, So I'm gonna try to produce that same effect. So I started off with the bluish purple. I went onto the glacier blue And then I added, the Peagreen, the pea green is gonna make the pedals sort of come alive. And I'm gonna take the skinniest blending stump, and I'm going to smooth out all the colors making sure that the transition into each other nicely and you don't need to blended out so much to lose the lines, just the color that's within the pedal. Okay, then we're gonna add the center of the flower. So I'm going to take out my all of green dark, and here I'm just gonna make a dot and then I'm going to make little lines all around the dot going outwards. Now, I'm just assessing my flower, and I feel like I need to add in some more color and breaking it up a bit. So added some more Peagreen. And I just wanted to make the pedals a little bit bigger just to line up more to her face. So I did go in, and I'm just trying to make the pedals just a little bit bigger. And I'm adding the purple and the blue. I'm just going in with my stump again, Okay, So looking at it from afar, the penalties seems to be sticking their so stiff. It doesn't look natural at all. So I get it got out my van dyke brown, and I'm going to just put in some hair strands on top of the flower. Okay, I'm going to continue on to the other, uh, pedals. I will speed it up and let you just watch the process, and I'll be back in just a second. - All right? Um, upon looking back at my my pedal, I found that it was a little bit too dark, and I wanted, uh, this little small pedal to pop out more. So I'm gonna race the pigment. And as you can see, I can simply get out my notable racer and take off the pigment easily. I'm gonna take out my Peagreen and make it that mostly that color. I'm not going to make it as purple as the other flowers. Hopefully making the flower pop out a little bit more because I found it was getting lost being purple. So I'm just gonna go in with a pea green and redo the a little flower. Now, as always, a racing the previous color of the little flower. I did remove some of the pigment around the hair, so I'm just gonna go back in and at a little bit of the darker brown and just define around the pedals and re add some of that color back into the hair will be continuing now onto the leaves. So see you in the next class 12. Leaves: okay onto the leaves. This is the color palette for the leaves, and I have some darker shades that will represent Theo Decker part of the leaves, and it doesn't necessarily have to be all green to get a painterly look. I find mixing up the colors really does add a little bit of interest to your artwork. So I start off with the blue and I just added just on the edges of the leaf. And then I go in with my olive green dark, and I'm just I'm just stroking in some lines to to represent the lines of the leaf. And then I'm going to go in with my moss dark, and I'm just adding in lines, lines. Lines are not really coloring it in. I'm just adding lines to represent the lines of the leaf. And then just on the top, I'm going to add the pea green and that is representing the lightest part of the leaf, the leaf that would be mostly in the area, pointing more towards the light. And then I'm going to go over the whole entire leaf with the olive green, and then I'm just defining the leaf a little bit more with the blue just on the bottom. I don't really want to add that blue to the top, because then that would cover the pea green. And I do want to keep that lightness on the top. And I'm adding lines lines to represent the lines of the leaf that I'm going to go in with my blending stump and I'm going to blend out the edges, but not too much. I still want to keep a little bit of the lines, and I'm blending it out just a little bit outside of the lines just to give the effect of the the leaves, the outside edges of the leaves. So I'm just giving a little bit more texture to the leaf. Now, I'm gonna go onto the the other side and do the same process to these leaves, so I will just let you watch the process. - Now , there was a little bit of fallout, so I'm just gonna take my little eraser and simply clean out some of the edges. And I'm gonna take my need, herbal eraser and just take off some of the pigment that might have fell out as I was blending. Okay, we're gonna move on now to the last touch ups and highlights. See, in the next class 13. Touchups & Highlights: all right. I could finish here, but I just want to make a few touch ups and I want to add in somewhere highlights just to make this illustration really pop. So I'm going to get out my Sienna, and I'm just gonna dark and out a little bit more and the nostrils under the lip under the chin. I just want to define the face a little bit more. And I wanted darken up the right side of her face. So I got out toothy, bluish purple, and I'm going to just add a little bit more shading on that side, a little more pigment and just right there under her chin, a little bit touch under her lip. Just define even the, um, the chin a little bit more. And then I'm going to just out a little bit more color a little bit around her nose. And this is the Indian red. I'm going to just add a little bit more color on her cheek. I think I'm gonna add even Yes, even a little bit, even on the other cheek, just to give her a little bit more life. And then I didn't feel likely. You know my blending stumps, I. So I just got out some Q tips just to make the process a little bit quicker. So I got out some clean, acute tips, and I'm just simply blending out the colors. Make sure that all the color is blended nicely to give this portrait a nice, soft look. And as you can see on the Q tip, there was a little bit of color there, and you can use that as sort of like a coloring tool. So I'm just blending in the shading, making sure not to ruin what I had before. And then I'm blending out the color and just a soft knitted out just so the color transitions beautifully into the rest of the face. And then I'll just do the other side of the face. - I'm gonna go in and just add in the highlights again, and I'll get out my little eraser and gently not totally remove all of the color, but I just want to soft highlight. So I'm gently removing some of the pigment and adding a little highlight just on the top of her cheeks, just where her face would be the most full and then the mutable race there just to just to blend out that highlight just so it doesn't look so round. And I just wanted it was a little bit too white. Eso I just I just lightly lightly added a little bit more pigment and just lightly, lightly blending it out with the Q tip. It's a very subtle highlight, very subtle. Now. I just wanted Teoh define to the hurt, like at the edge of her eyes and a little bit of her forehead. So I just went in with the Indian red. I'm just gonna define her face a little bit more here, and I just I felt like I need to re add a little bit more highlights. I just go back and forth until I am satisfied. I mean, it was beautiful, just as is, But just that little touch more of those little, uh, sparkling highlights just around her eyes. See how the faces somehow popping up just a tad more and just the edge of her nose right on her cupid Bo just on top of her of her lips there. That's why I love this A racer. You can really get in there and, uh, erase really, really tiny, tiny spots. So now I'm just adding a little bit more pigment to her lips. I find that her lips were not as bright as I liked, so I do add a little bit more color. And here I'm adding that bright orange the ver Milan and see how that group with lip is popping out just a little bit more. Yes, I'm I'm liking it. I'm liking it a little bit more, and I'm just adding that that orange Vermeulen color a little bit on the roses. So when you're looking at your painting, whenever you add a color somewhere, sometimes you gotta look back and see where you could re add the color somewhere else just to balance out your artwork. And because I made the lips brighter, I decided that I want to make the eyes just a little bit more braider, too. So I went in with the turquoise and I added a little bit of that turquoise in the eyes as well, And so then I decided to add a little bit of turquoise even in her headband. I'm just adding a little bit more color and shadow to her hair. I just want to define her hairline. It just a tad bit, okay? And I'm just going to whiten up around the eye and just brighten up the highlights in her eyes by using my mini around it eraser. Just the last bit of highlights. Um, I just want to brighten up the highlights, even in the lips. So now I'm just cleaning up the face, just fixing some of the values, the light and the darks, and with my notable eraser, I'm just going to clean up the background. And I think for this coloring project, I'm gonna leave the background white. You can color the background, any color you'd like. I just I I couldn't decide what color I wanted the background, so I just decided to leave it white. And I think it's it's pretty just as it's leaving it white. But if you want to color it a different color, why not? So I was just cleaning up around the edges, okay? I wanted to dark it up the bridge of her nose, and I felt like I needed to darken up the values there. So I took my Indian red, and I'm just putting a cat of color just in between the eyes. I kind of want her to have even more like a dull phase. So, like a little button nose, and I want to emphasize her little button nose. So I'm going to darken up the bridge of her nose, and I I add a touch of that Indian red. And then I apply a little bit of the 10 dark on top, and the two together adds a nice a skin tone at the same time. At the same time, they blend together to create a little bit of, um, a little but more shading in that area. And then I decided to take more of that Indian red and just starting up around the eye area . So I go back and forth, a kind of step, take a step back, and wherever I I think that it needs a little bit more color, a little bit more shading, I go back and forth and I just take my time and I I think I'm coming to the point where I like the final results. I'll just blend it all out one last time. Just using a simple Q tip will also do a job and my final cleanup job with E Nable Eraser. I'll just at that last touch of highlight just a tad, tad bit. I don't want to take off all the pigment that it just applied. Just the last bit of little highlights here and there. Not too much, just a tad cleaning up the face, making it look as romantic as possible. Ben, I need a little bit of that Sparkling highlights just around the edge of the eyes, I think really makes the eyes look angelic and going over all the highlights. Once again, I really like the highlights to pop in the eyes. So the more you erase, the more that you will take off the pigment and the more the highlights will pop. 14. Tips & Tricks for Evaluating your Values and Colouring: I think I'm done. But my mind is playing tricks on me. I've been working on this illustration for quite a long time now, and it looks pretty nice to me. But by using this trick, the camera will tell me the truth. So what I do is I take out my cell phone and I'll take a picture of it. Then I'll go into edit it, and there I can actually see just a little details that are a little bit off. Like, for example, for some reason that I was a little bit darker, I'll switch it and just to see if the eyes are a little bit distorted or I'm saying that maybe one eyes to subtitle the bigger and I edited. I turn it around horizontally upside down, and there you could really see if your face is symmetrical. All the little flaws, um, things look a little bit off. So that is my number one trick to just to check on your illustration, to see if it's looking a little bit wonky or not, and even to see, um, if you know if you want to correct some of the color green, so I want it. Go back and just, um, fix the eyes. Um, I want to apply more darkness. So I got out my Sienna, and I'm going to apply a little bit more darkness under the rim of the I there just so when I is not darker than the other. So I'm going to just adjust my coloring. And the great thing about pastel pencils is that I could go in there, erase, reapply the color to go back in a race, reapply and adjust, and no problem here. I'm just suggesting a little bit of the shading inside of the eye. I don't want it to be so white, and you don't have to strive to be your illustration does not have to be perfect at all. Um, if one eyes a little bit bigger than the other, you know what even better it will give your character even a more interest and personality . I'm feeling like I need to just darken up the right side of her face. I want to emphasize the shading, so I'll go back in to my, uh, face palate, and I added some more sienna and Indian red, and I'll just find that out again. I don't wanna, um, got too much on the eyebrows or the eyelashes. Although I can add re add them. That's not a problem. So I feel like I want to just make her headband a little bit darker. I wanted to pop out a little bit more on her hair. So I'm just gonna go back to my hair band palette and Riyadh a little bit more pigment from dark to light and blended in just as before. So you could do this yourself. Ah, go back into your coloring and adjust things. Riyadh color Take out color where you wish And, um, you know, just take your time and just enjoy the process. - My second tip to check your final artwork, uh, to check your values, your final light and dark values your shadows and your highlights is to take your phone again. Take a photo of your final artwork. And once you take the photo, uh, go back into your, um, where you store your photos and then in most cameras most, um, cell phones, you have that function where you can edit your photos so top pinto edit, and then most cameras will have this function where you can change the the colors, different colors. So this is the original, and then here you can change it to different color. So I will go into the black and white options. And there you can really see the values. You can see the highlights, the shading, and they're looking okay. I probably could have darkened up her side of the face even more. But I'm just gonna I'm going to be think of satisfied with the values here. The lights are of it later than the in the dark. So I think I'm gonna I'm gonna say OK, I'm going to stop there. Ah, that's another tip. Sometimes you just have to know when two put your coloring, passel pencils or our supplies away and call it finished Art project. I know, at least for myself, is very easy to criticize your artwork and not feel satisfied with your results. But I've learned over the years is is just too no one to put away your art supplies and call an art piece finished and just be proud of your final results and to not keep on going back and trying to fix things obsessively, I use these two little tricks with my phone. And after I I see the little things that are not really satisfied with, I'll go back, I'll correct them and then I'll stop there. I try not to obsess about it because he will make yourself go crazy and we don't want that . This is supposed to be relaxing coloring session. And once you, you know, tweak your artwork, I would just stop there. Put it away. Call it a finished artwork. Take a final photo of it and share it to the world. Give it to someone as a gift, Keep it for yourself and just tap yourself on the back and be proud of your artwork because you made it, You did it, and congratulations. 15. Thank You! : Thank you for joining this capturing romance color with me with castle pencil techniques. I hope you enjoyed the lesson. I hope you learn something new. If you haven't tried to puzzle pencils before, I hope you give them a try. I have included links to all the products and supplies used in this class in the project section. If you have any questions, you can post a question in the community section. And if you want to keep up to date with my new classes, be sure to click on the Follow button. And as always, you can find me on social media. And if you enjoyed this class today, please consider leaving me a review. Your feedback is always appreciated and very helpful how I could improve and give me some ideas for future classes. Thank you again for joining this class. Please share your projects in the project section. And I look forward to seeing you again in my next class. Bye.