Coloured Pencil Series: Class 2 - Polychromos and mixed media | Imran Mughal | Skillshare

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Coloured Pencil Series: Class 2 - Polychromos and mixed media

teacher avatar Imran Mughal, Graphic Designer & Illustrator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

26 Lessons (2h 52m)
    • 1. introduction

      1:29
    • 2. Quick recap of class 1

      1:10
    • 3. What are polychromos?

      6:03
    • 4. Lightfast ratings

      5:12
    • 5. Interaction with other mediums

      1:51
    • 6. Interaction with graphite

      11:39
    • 7. Interaction with carbon

      7:42
    • 8. Interaction with ball point ink

      7:20
    • 9. Interaction with fine liner ink

      9:24
    • 10. Interaction with prismacolor

      8:07
    • 11. Interaction with alcohol marker

      6:38
    • 12. Interaction with liquid ink

      5:58
    • 13. Interaction with watercolour

      8:33
    • 14. Special attributes!

      5:44
    • 15. Complete sketch part 1

      4:31
    • 16. Complete sketch part 2

      5:37
    • 17. Complete sketch part 3

      5:59
    • 18. Complete sketch part 4

      12:38
    • 19. Complete sketch part 5

      4:28
    • 20. Complete sketch part 6

      12:27
    • 21. Complete sketch part 7

      3:13
    • 22. Complete sketch part 8

      13:43
    • 23. Complete sketch part 9

      5:45
    • 24. Complete sketch part 10

      12:12
    • 25. Class project

      2:18
    • 26. Final thoughts

      2:08
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About This Class

Always wanted to learn how to use coloured pencils? Confused with all the different types of coloured pencils out there? Then start this wonderful journey into the world of coloured pencils in my new series for beginners!

This is the second class of the series which will utilise the techniques we learned in class 1 (click here to watch class 1 if you haven’t already!).

In this class, we will look at how Polychromos coloured pencils interact with:

  • Graphite
  • Carbon
  • Ink
  • Alcohol marker
  • and watercolours!

You will learn simple techniques on how to apply polychromos pencils to the above mediums and produce small illustrations that you can apply these techniques to.

You will be able to apply and practice the techniques demonstrated on your own complete piece of artwork.

This class will give you the structured direction and make the process easy for you to quickly get started using Polychromos pencils.

This class and series is aimed at beginners with no prior knowledge required of coloured pencils – however it is very important that you go through the basic techniques outlined in class 1 if you are a complete beginner to coloured pencils.

All materials used and demonstrated will be explained and links will be provided in the resource sheet to enable easy access.

My name is Imran Mughal, and I’m a graphic designer, illustrator and artist and have worked with coloured pencils for many years. I want to make this process as simple and easy for anyone wanting to start in the world of coloured pencils.

You can get in touch with me on my social media channels and can ask me any question you like on this class and series.

So sit back, relax, and lets get started!

Follow me on Instagram  #SketchingFineArt

SketchingFineArt YouTube channel

Meet Your Teacher

Teacher Profile Image

Imran Mughal

Graphic Designer & Illustrator

Teacher

I'm Imran - graphic designer & illustrator based in the UK. I have over 10 years experience in the field of graphic design and illustration in both traditional and digital output and absolutely love all things to do with art!

In addition to my full-time graphic designer role, I am also the art wellbeing lead for my organisation where I deliver wellbeing classes and advocate mindful colouring to relax and de-stress - check out my published colouring books for adults: https://www.amazon.co.uk/-/e/B084RXHLFN

In addition to my design & illustration life, I am an active father of 3, oh and I'm naturally addicted to coffee! My illustration classes are all about getting back to basics mainly with traditional mediums and escaping away to relax with art!

I love to ... See full profile

Related Skills

Illustration Creative

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Transcripts

1. introduction: Hello and welcome to the second class off my colored pencil. Siri's My Name's Imran. I'm a graphic designer and illustrator, and I've started this call the pencil. Siri's brought the beginners that want to delve into the world on adventure off cold pencils. In this class, you will learn about the amazing qualities and features polychrome owes by founder Castor. In this class, you will learn how far beaucastel polychrome was. Pencils interact with other mediums such as graph fides, ink, watercolor alcohol markers and a few more. We will be incorporating the techniques that we learned in Class one, where we went through Prisma color pencils, and we will be using those techniques with our father, Castell Polychrome most pencils to produce a beautiful piece off mixed media artwork using collect pencils. We will also be completing a full real time sketch using our public almost pencils on incorporating mixed mediums such as Incan graphite to produce an overall sketch, which could follow step by step. So what you waiting for? Grab yourself a drink. Get yourself a cake on save back. Relax. I'll see you on the next video. We'll start the car 2. Quick recap of class 1: Okay, let's just do a quick little a recap off what we've covered in our first class off my colored pencil Siri's, which was on Pres. McCullough Premier. Now we covered techniques such as holding positions, pressure techniques, layering techniques, dry blending techniques, wet blending techniques, adding shadows and lights on. Looking at just the general manual functions off the pencils themselves now Pres McCullough premier If you remember where wax based pencils now we're moving on to a different tack pencil now, which is Polychrome O's, as outlined in the introduction video on This is an oil based pencil. So in terms of the techniques that we learned in the first class, all of those techniques will apply in this second class. To this pencil, they're pretty much exactly the same. There's only a couple of differences, which I will outline in the coming videos, So this class will be about experiencing how these colored pencils polychrome was colored pencils, work with other mediums to create interesting illustrations and to produce mixed media artwork. So let's make a start on that 3. What are polychromos?: Okay, let's just quickly run through some of the qualities and attributes off fabric. Castel polychrome owes colored pencils. So number one These are very high quality, pigmented, oil based colored pencils. And they're also acid free. That made from a German brand called Faber Castell, which is being around for a very long time. And they produced very high quality professional artist materials. I personally been using this pencil for a very long time, and it really is my goal to call the pencil number two. They have a very good and high life aspirating on. We will explain this in a lot more detail in this next coming video, we mentioned Life Asness in Class one, briefly with the Pres. McCullough's bought the actual life Fastness off. These pencils are far superior on again. We will come to this in a lot more detail where I will be explaining how the rating system works. So Number three They are a soft, vibrant, color based pencil, which means that you get very nice, smooth lay down, I would say personally, from my personal experience, they not as soft as the prison Nicholas on. That's pretty much a given because Pres Nicholas were wax based, and these are oil based. Wax tends to be a lot more battery and smooth, compared toa oil, especially when it's mixed with the kind of materials that they used to bind the color. But this is just my personal experience that I know of this other artists who say that they're exactly the same. Some artists say that they're even softer, but again, it's all depends on how you use the pencil and your own personal preferences. So I would say that they're not as soft in terms of color. Lay down or cream in his or buttery nous compared to the pres Nicholas bought. By no means are they really tough or really released. You know, Stucki in terms of the lay down off color, they're very, very good. I would still classed them as a soft core pencil. Andi, in terms of the thickness off the cause. This is where they have an advantage over the pres Nicholas. They lead. So when we're talking about leads, we're actually talking about that color core that's inside, which we always referred to as leads. But technically it's not leads. As you know, I've explained back in them for his class. But I'm gonna go. It leads anyway, So that led thickness is three points eight millimeter. And that's quite a thick lead compared to the pres Nicholas on that. Why is that important? Well, that makes it highly break resistant on. It also makes it easy to sharpen. As you can remember, from the first class, we always had problems with the Pres. Mikel is especially on some of the more troublesome pencils where the cause off the lead would break juicer than being thin or not binding properly to the shells. But this pencil, you literally have no 99% of these pencils, I would say from my experience, the lead never break for me. They've never broken. The only time they must have broken for May was if I have actually sharpen the pencil with too much force. And if you sharpen anything with too much force, it's gonna break. But from the actual lead perspective, I would say that you're gonna hardly get any breakages in this, especially if you sharpen them properly. Andan Other advantage of this is that you can use pretty much any sharpness to sharpen them Obviously, we covered all these sharpening techniques and went through the It's different active sharp nurse Teoh sharpened Pres Mikel is with polychrome owes. You can use all of those sharpness, and you don't have to be limited to just one to get the best results. I personally still would recommend that you get a decent sharpness for this, whereas with the cheap ones, you know, sometimes the cheap ones that they're not fitted properly with the blade and you can get some type of movement. Wiley Sharpening your pencil on that can cause an actual problem for the pencil, which isn't the pencils fault. So I just wanted to make that point clear. So moving on the next point you have a very nice big color range, which starts from 12 colors all the way to 120 colors. And when I say $12 I'm talking about the sets that you get so you can buy these insects. Or you can buy these in actually luxury boxes. Oh, you can also buy these in singles on. That's another reason why I prefer this pencil over the Prisma color, because again I'm based in the UK and foot in the UK are stores. This polychrome most is the number one pencil in pretty much all of the UK art stores on they have them in supplies in singles is so readily available on their very competitively priced, you can get pencils that really expensive, especially if you buy online single pencils online, even though these are available online in singles. It's always cheaper to just go into a shop, because with online, you always got to pay postage and delivery Andi effectively. You know you're paying a lot more. But however it works, I'm gonna leave a link toe where you can get these pencils cheaper or, you know, just a link toe as a resource sheet. As I did that class one just so that you can have a look around at the prices in your areas so we can get these intense singles, they're available again in pretty much all stores in the U. K. I'm not sure about whichever country you live in, so it might not be an option for you to just go into your store. But I'm sure in Europe, because it's a German based company within Europe, the UK, this is probably going to be the most most available pencil that you can get your hands on . So for me it's an absolute no brainer. It's the color. It's a pencil that I go to where I can replenish the colors when they run out, and it's absolutely brilliant. So finally, again, they are acid free on day light, fast. So they mean, which basically means that you can use them to preserve for longevity on, especially if you're using these pencils to sell your artwork, then it's very important that they have life past ratings highlight Frustrating on. This is what we're going to discuss in a lot more detail in the next video, So let's start talking about that. 4. Lightfast ratings: Okay, let's talk about this light fast rating system that I've been talking about in the previous video. So as we mentioned in Class one, light Fastness is basically the colors ability so withstand, fading when exposed to lights. So the higher the light Fastness off color, the more fade resistance. It will be polychrome. Most pencils are highly like fast, with a star rating system that represents the level off life Fastness. This is indicated on every pencil on from the entire color range set, which is 100 and 20 colors that are available. Each one of these colors has a star based on the light Fastness rating, which is actually printed on every single pencil. As you can see over here, the stars of Divided into either three stars, two stars or one stars. Now the three star is representing maximum light Fastness, which means that you're going to get maximum fade resistance. And according to the charts of light Fastness on Faber Castell Polychrome Asses website, they say that it's 100 plus years you're going to get without this color fading. Now. Don't if anyone is gonna actually test that out, because not many people live more than 100 years. But I do trust what they say because they've been around for a lot longer than 100 years. This company on the real and from my own works that are produced, they literally don't fade at all. Now, out of all of those 120 pencils, the ones that have the maximum life aspirating off three stars. There are 100 and two colors, the remainder off 18 colors that are left. They either have a two star or a one star like. Frustrating on the two star rating represents a very good life. Asness, so therefore, very good. Fade resistant on the number of years is 25 plus years on the final one. The one star rating represents good life. Asness on. That means it's good fade. Resistance on it gives a years off five plus years off, withstanding any fading over time when exposed the lights. So why is light Fastness important? There are two main reasons on the first, and most obvious reason is that if you're producing artwork for yourself, then you would want that artwork toe last. So if you produce artwork that you spend hours and hours producing beautiful piece of artwork, and you put it in a frame and put it on the wall. You want that artwork toe last years and years, and you can enjoy the fruits of your labor S. So if if the colors fade, then you're not going to be very happy. So again, that leaves onto the second main reason. If you want to sell your artwork than the person that's buying the artwork from, you would expect that piece of artwork toe last, because they're obviously paying you for it. So you need to ensure that whenever you're selling your artwork online or in galleries or for what, where whichever channel you use that you ensure that you use materials that have a very high light, faster rating on. That's only fair because if somebody is paying money, they would expect that piece of artwork toe last. So this is the only two main reasons why, well, the importance of light Fastness in college pencils, and not just only in colored pencils, but across all materials in art. Now, if you using colored pencils just to do some coloring in on, then you're not gonna use that you're going to scan it in digitally on. You don't gonna really, you know, archive that color or keep its air for the long term, then light Fastness probably isn't that important. There are materials such as alcohol markers, even with Prisma color pencils, which are not very light, fast and even some watercolors that you can literally do very beautiful, vibrant work with. But you can scan it in digitally now. That's what I tend to use when I'm doing digital work. I tend not to use my father Castel too much, or my luminous pencils by Karen Dash, which will will be doing in the third class in this series because you're really wasting that material on something that you're not going to sell. So I would recommend that if you're on Lee, if you're going to sell the artwork, or if it's something that it's a certain type of effect that you're after, then use the more expensive pencils like thes polychrome, most pencils or the current national eminence pencils. Again, we're going to become coming to on the next class in this Siri's, so that's life Fastness covered. If you want to have a look at a chart off the the entire range of polychrome, most colors, and you can download the charts. I'll leave that in. The resource is sheets for you to actually have a look out where all the colors and the cold air available, so it's a particular color that you're after. You can just have a look at it and see whether it's has maximum, like Fast knows very good or good so it can leave that entirely up to you. So let's move on now, said the actual interaction off this pencil with other mediums, So let's get on to the good stuff. 5. Interaction with other mediums: Okay, Welcome back. Let's start off this amazing adventure off public. Romo's pencils are looking specifically at how they react on interact with other mediums. Like I've got displayed here on the screen so quickly going to run through the ones that we're gonna cover in this class. Starting off on the left, we've just got standard graphite pencil moving on to a carbon pencil. Then we have a normal big pen, and then we move it onto a alcohol marker. Then it's a multi line. Fine line s. It's just black. Multi line, I think. And then we actually gonna compare and use this in conjunction with the Prisma colors that we did in class one. Then we're gonna look at more wet mediums such as standard ink. Now, it is just a link that I use for my illustrations that I do for just normal digital scanning on Bill. Go through what this ink is all about. On day, we're going to look at some watercolors and see how public around most reacts interact with water coalesce. So let's make a start on this on. What I'm gonna do is I'm gonna demonstrate all of these separate materials on individual strips of paper so that we can do a little swatch, do a little combination and then do it little mini illustration to see how this looks. And the paper that I'm using for this entire video. Here is the Strathmore standard paper on recovered different paper types in our first class . So if you want to have a look at how the different papers react with these college pencils like Pres McCullough's, the same applies to these polychrome Most do give that video What Quick look, if you're kind of like confused on what papers you should use, But I'm going to stick to the standard Strathmore Bristle board paper that I have here, so let's make a start on this. 6. Interaction with graphite: Okay. So, firstly, we're going to go through a quick demonstration off a standard Styler to be graphite pencil on. See how this interacts with Allah. Polychrome. Well, so, firstly, what miniter is, I'm just going to do a little swatch it on the side of this strip. Just a very light swatch off Graf I And then what we're gonna kind of do is we're gonna build on this graphite with the polychrome most pencil Andi. Then we're going to see if we can have a quick little illustration to see how this can be applied in some of the sketch. With that you do now, in a lot of the sketches and illustrations that I do as a illustrator, I do tend to use a lot of mixed mediums, especially with Michael it pencil that I tend not to really use a colored pencils on their own because I just like to add a lot more depth and more interest in my artwork on. I just feel that if you use mixed mediums and you know, different kind of materials with your colored pencil work, it really, really brings them out and gives them that you know that that complete different Look, that interesting look. So I've just laid down a life swatch of graphite on. Now I'm gonna bring over my polychrome most father Castel colored pencil on for this one. I am using a green that I've got here. The actual name of this green is made green, so I don't If you can see that on the screen, I'll just bring it closer. This one's called May Green really, really nice green. On this one, you'll notice that I've got the bar code sticker on this because this was a single pencil that I purchased from the art store when my original one run out. So let's just have a look at this. Now. I've got this to a quite quite a nice point. I'll just see if we can bring that zoom back on the camera so you can just see over here the points off that pencil. This really, really nice. It's not very, very sharp on. The reason I've not kept it very sharp is because I don't want to create harsh lines when I'm blending this into the graphite. So let's just come in. It's in the swatch. Get that focus back on on. What I'm gonna do is I'm gonna lightly start with a medium pressure now, holding the pencil like this and this distance away from the tip on again, we went through holding positions in class. Sponsor do recap on them if you haven't already done so. So let's just add in from left to right. A nice light swatch off. Cool it. Polychrome most pencil and you can see immediately. The color is adding gone over the graphite. Now that's what makes these pencils so versatile and so unique. You can see that I'm just going over it and it's like it's not moving the graphite away. It's literally just adding to that color swatch off gray. So I'm just using medium pressure. So I'm just adding this on Andi. We're gonna move it all the way to the end and the lights and up. So I'm adding darker pressure on the left and then just gonna release that pressure on lightening up on the right. You can see that the actual graphite has mixed in with the polychrome most pencil on its Not muddy or it's not like, you know, your smirky or streaky. It just creates this really, really nice soft touch soft blend, which you probably wouldn't even realize that this is graph act that you're working on. He might just think this is just another public, almost dark gray color. Especially when you keep adding ways to and again, we went through layers in the first class. Oh, do check that video on class want when we go through the different types and techniques of how to actually apply layers using colored pencils. So what I'm gonna do now is I'm gonna go. I'm gonna turn the paper slightly to an angle and then I'm going to go in again. I'm gonna press down a little bit harder so that we create a slight burnish. Remember, burnishing is just pressing down harder on the tooth of the paper so that the actual color goes right into the green and the tooth off that paper. So again recovered these techniques in the first class. Eso do check them out if you want quickly or refresher. And I'm just going backwards and forwards and you can see that night now the color started to come out Now we did have a lot off graphite on that swatch, so we're not going to get pure color. So if you want to see what the pure color looks like, you just carry on over the edge off the graphite. And if we bring this color like it's like you can see over here on bringing that pure color , that's what the pure color of that prison polychrome was. Pencil ways. So we're just going in really, really like and just pressing down, gradually burnishing effectively and you can see that division lines you can see over here we have this a line where you have the graphite and it's gone into the prison. Polychrome must keep saying Prisma. Call it because it sounds simple. It only so. I'm just adding in more color with the green to bringing out that color really, really nice and vibrant. And now what I'm going to do is and then add back some graphite. So let's see how this works now. The material that we have in the public Ramos is oil based, as I mentioned in the early videos. Now oil and graph, I they'll they'll won't mix perfectly, but they will interact. And you you will get this like our type of texture. However, you can use this at your advantage, especially if you creating illustration with that is dark themed like I do or very sketchbook E type illustrations. It works really, really well. Now you can see I'm adding that graphite back over the colored part of the swatch and you can see it's it's it's quite a scratch. You look so you've got that very illustrated look, I really like this kind of overall look, and I'll show you finish this. Watch what? The actual You know how you can actually apply this into an illustration, so we'll just do a little quick little sketch so you can see I'm adding that graphite back in pressing down a little bit harder using that same position holding position and there we have it. So finally, just to finish it off, I'm going to do another layer off, collect over the entire thing on this will pretty much blending out so you can effectively use this as a blender when you using other materials such as graphite, because the actual dust particles that come off the graphite are a lot more than the color pigment pencil from this polychrome. Oh, so what was effectively doing is we're just blending bills. Those particles off that graphite into this watch and conceits created a lot of death. Thousands. So we've got very night dark color on. We've got that the bright highlights. And again, you can use these highlights to your advantage, which I'm gonna quickly go through now. So we've done that's watch. Just bring it closer to the camera so that you can see what the texture off that's watch. It looks like he could see right over there. I can see how that texture is, and we're going to see if we can get a bit of a reflection on there because with graphite, you've got to remember that you do. You get that graphite shine. But what this public role most pencil has done is it's actually negated that shine because we've gone over effectively with oil on DSM Binder material and so you're not getting that much shine. So this would work really, really nice when you're doing sketches with pencil. So it's just a quick little sketch on the side. I'll do a very, very loose sketch, so let's just get that focus back on. That's just cook police sketch of maybe some bushes. We have some bushes here, maybe some trees and shrubs. So what we'll do is we'll literally just do a quick little sketch and then we'll bring in some of that color. So what Minute eight now isn't gonna work on some shadows where the shadows are adding some highlights, literally using this pencil normal standard to be pencil great fat. You can try HP. You can go lights or as well, it's entirely up to you. I would stick to the actual, softer Pennsylvania living this technique because it might not really produced very good results. When you're doing the harder pencils, like the hate pencils, it's better to use the bees because they're a bit more. What would you say? You'd say that they're a little bit more softer and crumbly? A. And I think I think the soft of the pencil in terms of graphite, the better it would be when you're blending in another material using polychrome. Oh, so I just created these three little peaks. They can represent whatever you want. You can be like rocks or little bushes, as I said, and we're just gonna bring in that green color off that polychrome most on what I'm gonna do here is I'm going to use a circular motion. So if you remember, we went through some of the techniques of colored pencils in class one where we're looking at circular motions off layering down that color so you can see I'm going over with a medium pressure and I'm literally just going over that graphite with circular motions. And then I'm gonna go into this empty party where we've got no graphite on. What that will do is it will bring in that highlight so you can see that it's already bringing in a three D type of effect is causing creating more interest. And then on these on the second peak that I have, I'm literally gonna do the same. So we're just going over in circular motion, keeping the pressure pretty much the same. And then I'm gonna leave a little gap for white on the edge toe leave like, um, or extreme highlight. So again, they're going over the shadow area in circular motions on What we're doing is we're literally just covering up the whites in the same pressure. Add a bit of highlights. We believe this end here. If we leave this part, why that will create that maximum highlight on what we're gonna do is we're gonna go back in with the graphite pencil on. We're gonna literally do what we did before. So let's leave the colored Prisma Polychrome. Oh, sorry. I keep saying pres Michael has go in with the graph I so we can go in and handsome detail so you can see it creates that unique texture when you're going in and gratify and it's purely is that versatility of this amazing pencil polychrome most that oil based where it can literally move around the particles on the surface off that paper. Now we get paper is important on what? You know what surface you're going to be using this on. So I would choose a decent paper on when you leave the resource pack, as I left with in the first class for you to have a look at the reviews and papers and other people suggestions from different vendors and really to get the oven idea of what paper you should get. But personally, I think with these polychrome, most call the pencils. I think your paper options are a lot more. They're not as limited as they were with the prisma color, because with prison ical you you do really need a paper with a decent amount of tooth. However, when these polychrome was purely because of the way the binder on the color is, I think you can get away with using, you know, paper that has less to human paper that slides, for example, even Principe. But however, I wouldn't recommend you do find a lot work on Principle Plaza has that discussed in the first class. So again, I'm just gonna go over with the color and you can see how it's brought out that depth of these little kind of a little hill, hilly whatever he wanted, call them on, just adding in a bit more on the base of each of these peeps. And you've got a really, really nice bit depth on that little small little drawing. So that was a graphite. Let's move on to the next material 7. Interaction with carbon: Okay, so the second cereal that we're gonna go through is a carbon pencil. Now, these carbon pencils, they do differ from normal graphite pencils in the fact that well, obviously they're gonna have carbon in the The lead inside is made of carbon. Now, I've done a separate class that demonstrates how to use carbon pencils and you know, the different applications of carbon pencils and how the different from normal graphite pencil. So if you if you're interested in, you know, wanted to know a bit more about these type of pencils, then do check that class out. It's it's not very long class. It's just more of the introduction to how to use these pencils. So again, this one is a four B, so it's quite a dark color in terms of, you know, the level of depth in the darkness. So again, what I'm gonna do is I'm just going to create a lights, watch it as we did with the graphite, and I'm using this pencil very, very lightly because it is quite dark. Now all I'm doing is I'm gonna go in and create just a normal kind of little swatch. I'm gonna keep it duck on the left. So a little bit more pressure on the left and he's gonna move it lighter towards the right . And what that will do is again, like we did with the graphite, create of it with radiant. So what you don't want to do is you don't want to really go down hard with this and burnish because then you're not going to get any of that. Call it from the polychrome Osan. So that's about of that. Let's have a look at another color and I'm gonna use another green. Now, this is a lights agree, And it's actually called like green. It is, isn't it? So let's just see if you can bring that open the camera. So we've got light green hit. Really? Naturally. It's always like a bright type green compared to the other one that we used. So we're gonna go in again, same technique. We're gonna go in. Let's just make sure that we have I will focus on Andi. We're just gonna go in over that carbon material that we laid down on. You can see it really, really adds to that dark, dark texture. Now, personally, I think that the it takes a little bit more effort to add the Colorado Carbon Andi compared to the graphite because the graph I was a lot softer than the carbon. In my opinion, carbon is a little bit more stocky here with that fundamental great were to use, But it's just a bit more. How can I put it? It's a bit more thicker in terms of consistency. It's not that soft. Let's just say it's not as soft as the natural kind of material of graphite. So you've got to work this in a little bit harder where it comes to carbon. But again, I think the overall effect is really nice, because carbon pencils tend to be a lot more darker and black there. In my opinion, I think that the best pencil to use when you want to create riel dark blacks in your artwork. So again, So we've just gotten over that on. We're gonna turn it inside, create that second layer and go in pretty hard on the burnish on. Create a nice nice that's all swatch of color from dark to light. Just gonna go over the edge and you can see how beautiful that green is just literally burnishing. I'm not adding any layers. I'm not going in lights and just burnishing straight away, and you can see that you've got a beautiful little swatch going there on. Then, as I did before, I'm just gonna add in that swatch back with the carbon pencil to see how we have it. React over there, polychrome most, and you can see it goes on really, really not something I'm going and really like. They're not pressing down hard. It's all on. Then if we just change the angle slightly, you can see it looks really nice. And it works really nice that dark nick that that color. So what we'll do is we'll add in the polychrome most again, literally to burned out. And I would say it's a little bit more difficult to blend out because of the natural kind of physics off carbon compared to graphite again, there's not much dust on there to really blend in from that carbon, so it's a bit more study in terms of how the actual, you know, look of the texture is so just go over the edge, do a little blow on this to remove that. So there we have it. So you've got a slight different texture. So let's just look at the graphic Kittner Graphic, graphic The current organ My graphics now the graphite so you can see with a graph. I there was a much more smoother blend on with the carbon. It's less move. It's a bit more higher contrast e a bit more scratchy eso again. You I probably wouldn't use carbon to produce, you know, these type of Hillary type peaks in an illustration at use this mawr on creating more contrast areas, so I'm going to demonstrate that now. So what we'll do is just move the graphite one out away on what we'll do is do a quick little sketch with the carbon pencil on. I'm not gonna be using too much of that carbon, so I'm going to use the carbon really to outline some of the say, for example, these are just, you know, these little sticks with little ends on the end to have I don't know what they are, but I use a lot of these in my illustrations. I'm not gonna call him flowers because I don't tend to draw flowers that center drawer just illustrative things in my little many worlds to on these fantasy world so I could call them sweet sticks. I like to call these sweets a little sweet song on the under sticks so you can see that I'm just adding the actual illustration with the the carbon, I'm going in a little bit dark at the bottom because I don't want to completely black this out. So because I don't really want to blend, I want this to go in Andi, create a kind of contrast. Look So just going in a little bit dark at the bottom on lightening get out from the base of this little mini drawing. So let's bring in that color now. What I'm doing is I'm going over the back on the bottom part. I'm going in fairly dark and you can see you can see a lot more of the coolest. You've got to keep it really, like with the car. But you can't really go into dark because you're not really gonna get coverage off the color or any color mixing going on when you're creating this type of illustration. You can say you've got some nice deep color, deep, dark texture being created on what will need to do is just go over the line. So what time to do is I just go over the lines and instead of creating a blend, just create this kind of like highlight of color so you can see it creates that nice little highlighted look on just over them the old sweet heads it color over and you can see you get a little bit of blending and mixing going on and again, that looks really nice. I think that looks really, really good, especially when you're using this in the foreground off your drawing on. What we're gonna do is once we've gone through all these techniques will create our own sketch on. We'll use a mixture off these materials to really, really show how you know you can use polychrome most pencils quite dynamically in mixed media so that you have it. So we've had a look at carbon pencils. We've had a look at graphic pencils and just to put them side by side, you can see that the overall effect is very different. But again, it's very versatile because public Ramos pencils, in my opinion and are absolutely brilliant. So let's move on to their next material 8. Interaction with ball point ink: Okay, so I was third. Material that we're gonna have a look at is the humble ballpoint pen. Now you can use any ballpoint pen to try this technique outs on. You can use the expensive big pounds you can use its cheapie, one that I've got here, which I think only cosmic. 20 pence. You can use whatever you want. Try out different colors on. So let's make a star. So with I use a lot of pens, pen ink work in my drawings on illustration, so I tend to probably use, you know, more fine. Mine is an ink more than anything when I use my colored pencil art. Andi, basically, what I'll do is I'm just going to demonstrate this using some cross hatching our nothing focuses out there isn't that better? So let's just do a little swatch off cross hatching with this pen. Onda again have dawn. Oh, and look what's happened. The pens run outside, but not to worry. You just need to scratch it a little bit more. It's not run out you go. Let's just create dark toe light and let's this time, let's go in from right to left. So I'm just gonna create this dark little scribbling type. Look, Andi, I'm just gonna go in across with a bit more cross hatching. If you're interested in looking at how you know Inc work and you know the different types of pen and ink work that you can do, then do check out my class on pen and ink where I go through all the various types of pen and ink that you can do work, card and difference after techniques that you can use to do. Check that out if you're interested in that type of art. So I get I'm just scratching this over with this very sketchy type of look going in from dark toe like the other way round. So let's demonstrate this with another color. We're gonna use green again, But this time I've got a darker green on What's the color on base? Let's have a look. This is emerald green. So again, beautiful green on this emerald green on this will hopefully produce some nice results. So let's get back onto this. Watch on again. I'm actually using quite a sharp point on this show you this on the camera, you can see that the point there is pretty sharp. And I would suggest using the sharp point, especially when you're using ink, because inclines are quite quite quite contrast e on there, quite bold. So you do need a decent point on your pencil toe, you know, really bring out that color. They can see I'm not coloring in. I'm just going over this as a cross hatching start like I did with the big pen. So while it wasn't equipment was a cheapie packing, but the ball point that you know what I mean. So all I'm doing is I'm going over this as if I was drawing in cross hatching style and you could see again. This is why I said that we should have a sharp point for this because this technique, you really, really need to keep a sharp point in order to create those lines and have those white gaps . Because if you go in all the way, then it's not really gonna create that texture. But you can't go in all the way. So while there is on this side, I'll just go in without creating that texture, and you can see you'll be able to see the difference. We're just using circular motions and you can see you've got more of a muddied look on. I don't personally like that. Look, however, you can add more depth toe, you know, just using pure polychrome. Oh, so you can go over with your ballpoint pen and I'll show you that just in a second. So if we go over this, just both that dust go back in with the ballpoint bent. You can see that the ballpoint pen. It was really nice. It really, really have zone and sticks to that oil so you can go in and add on to create like that. You know, Deep Illustrated, Look. And again, you can just go over scratching over, scribble over your artwork. Really? Really To create that beautiful de contrast it comic book style sketch that you you've always wanted to create s so I'm just going to go over the color again. Just really blended out on bond. That's pretty much it for this swatch. So let's just do a quick little sketch on the site toe show how you would use this of this ? I think what do is I'll just do a quick little sketch off a many house. Let's just do it. Many house sketch on this little strip of paper. Very rough. Just to give you an indication on how we could use this on again with the full sketch that we do in this class will most likely be using ink on possibly some of the other materials. Just see how this looks. Just give this house of one little window. Give it a long legal talk with window over here on. Let's just add in some more in the lines on Didn't samore cross hatching on create a little base for it on? How about adding a little little door? A little lonely door is along. The house is stepping up by some this. All right, well, let's add in some bright Callister to cheer it up. Okay? So let's just add in that green s what it is we're going to start in from the base. I'm just gonna use those circular motions. You can see it's just adding in that beautiful green. That emerald green that we have it is a more green isn't set yet. It's emerald green. We're just adding in the emerald green. And I'm going in full color. I'm not cross hatching the color. I'm just going in full because what I'll do is I'll add in those cross hatching lines on top of that. So it's got in the four color on over here. What I'm gonna do is I'm gonna do the cross hatching style off. The actual color is self like it did before, So I want some gaps in their on. Maybe just adding some more cross hatching lines with that color. Really, really. To bring out that raw, sketched look on, Maybe just adding some color onto that roof. Really, Really. Bring out that highlight or been saying really, really a lot. Stop saying that big. So just keep repeating myself down. But I'm sure you'll let me off, right, Okay, So I'm just going in with that again with the ball point pen, and you can see that it created a beautiful, beautiful look. It's quite, you know, you could get away with thinking that this might be a digital during because a lot of time when I draw on my iPad a drawer into style on. But when you using riel materials, you've got to just remember the order off, layering down your colors on your mixed mediums. Eso again. If you know if you had laid down the color on its own and then sketched over, that would have produced a slightly different results. However, what Abdul here is added in the lines with with the in first and then I'm going over it. So I'm just darkening the sides. There you can see adding inm or rendered lines. You just see that really, really brings out that beautiful cooler on effects off. Mixed media are work with collect pencils. Now I think we'll leave that there. So there it is. So that's a quick little demonstration on how to use a Standard Bio Inc and now let's move on to the next one. 9. Interaction with fine liner ink: Okay, let's move on to our next material. This is gonna be using a multi liner. Fine, fine line in ink pen. So I use this brand quite a lot. This is a topic multi Lina. It's what a proof pigment ink. So it was really, really well with these colors on the point that I'm using. I'm using quite thick one here. I'm using a nor 10.7. So let's show you that concede that this is quite a thick point on. You can produce a very, very nice, deep, thick lines with this. So going back onto that swatch piece, let's just create a nice little Swatch, as we did before with the big well, with the by roads cheap pyro on. What I'm doing with this is I'm creating these lines, these cross hatching lines and creating a bigger gap. The further I go on, that's to create space, because what you've got to remember when Inc is that you can't really call a complete swatch ing and then go over it because obviously it's just gonna be completely black. So you've got to create rendering using cross hatching or, you know, just scribbling. It's really, really produced a nice Grady in effect, if you like. So I'm going in producing this little crosshatch swatch. So we're just gonna do pretty much as we did before. So we're gonna go in a little bit more darker to produce a slight radiant just going over those lines on. That's pretty much it for the in quick. And that's why I selected this thick point no 0.0.7 so that we can really see a difference off how it is with the standard ballpoint on. Now, The color I'm going to use for this one is a light blue color, and I don't see what the name of this is. I think this is called Sky Blue, So yeah, this one's called Sky Blue. So if this is something that you want to follow and use the same Kalis I'm using called Sky Blue So let's just go in with the sky blue on this time I'm gonna do is I'm not gonna cross that. I'm literally gonna really lightly just filling these gaps that were produced with the think so really lightly going back and forth with very light pressure. You can see that cooler is going on beautifully now the it's important to make sure that your, you know you give your ink work a slight rest and let it dry. Basically. Otherwise, it's just going to smudge. A lot depends on the quality of the pen that you use ink with fine liners like Like I said , with the Coptic ones, these they are quite expensive. However, they work really well under water proof. You can even use their Sigma Micron pens, which are also used in my daily sketches. But this pen, I think, works really well. Now you can see I'm going over the pen on. The actual color itself is going over the ink, so what it's doing is it's effectively fading out that ink. So this will really have to some death work when we're adding back some of that ink work. So I'll show you this just quickly at this watch of color, when are adding we're not adding cross hatching colored lines like we did with the big before the Beira keep saying back the buyer open before we literally just covering this swatch of thinking. I'm going in a little bit harder for adding that final layer to really bring out that cooler. Now let's have a look at how the ink is gonna look. Now, this is where it becomes really nice, in my opinion, because I love dark sketches. You can see the ink beautifully. It literally just slides over that oil pigment color of the polychrome owes. So really produce that beautiful, beautiful in clock. It can go in and you can add in some stippling effects. Teoh. Really add some death to that sketch that you do in. We can go in, turn it to the side, do a little bit more cross hatching work. This is probably my most favorite style of work doing cross hatching with ink and colored pencils. You can see you wouldn't even be able to tell that that was a call it pencil swatch. Would you probably think it could even be Water Collateral Inc or past or work? You just wouldn't know because we go in over on the oil based polychrome. Most pencil just allows this ink to literally go over it on outline without having to worry about any smudging. So what will their is? We'll just create a little illustration little drawing on the side to demonstrate how or how you would use this. So I think that this one, what we'll do is let's just do a little flat little house. So we'll just do a flat house with a flat roof on. What we'll do is we'll outline this, create a little base for it. They can see that I'm not adding too many lines off this right now. I'm gonna do is I'm adding the stippling so it's out in the stick. Blink Unless I didn't a few render lines, maybe give it a circular window on a little door here. So add in two more quick little details again. I'm not making this into a really detailed sketch in just making this as a demonstration drawing. So just a few more stepping spots here in that and then what we can do is adding a few more lines here. So I did a little bit more dark under here for a bit of shadow under that roof line, so that what that will do is that I'll create soon interest. Now, what we're gonna do is go in with that blue collar so should move that out of the way as we did before. I just give it a few seconds just to make sure that it dries on. What we can do is slowly start going over these areas to get that beautiful, beautiful blend of color. Now you can see sometimes if you go in immediately, you can get a bit of a blend off. The ink on it can create like a slight smoke you can see over here. If I had waited, maybe another 2 to 3 minutes, then I wouldn't get that's much. But you can use these type of blends and like any of these little gray smudges to your advantage, what they effectively do is it can add in shadows where you, you know, where you just want slightly old hints of shadow, and then you could work in some highlights. So what I'm going to do now is go in again circulars and I smooth light, circular motions. You don't want to go into hard immediately. You want to build on that illustration? You don't want to wipe away that in quirky, literally just want to go over it and create that pastoral like effects. So we've gone in with the blue on we're gonna do exactly the same over here. I mean, by all means, use as many colors as you want. I'm only showing this color because it's that demonstrations I'm just using one color on what we'll do is we'll leave. Leave that small circular window white on will go over the door and complete blue on the sky of the sky was talking about Skye political, That's what This guy is just the roof that will flat roof off my funny little styled house I've got here on Good. Just feel that. Okay, so let's go in with some detail work now using the color. Now we're having fun out with. This is it's just so much fun doing this. Well, I find it really, really fun, and I'm sure you will do as well when you go over this in your class and practice. So I do suggest you do try out these techniques with these different materials and you'll find out that, you know well, you might not like a certain material how it's turned out. But again, it's all experimenting with this pencil and really delving into that world of colored pencils and to see you know what you can produce with it, but it's not just about coloring in its about producing our work and coloring in. So here we have it. All I'm doing is adding some stippling and can see how beautiful that looks, adding in some cross hatching lines over here on, then, just going over the illustration again. So you really give that outlined, sketched, graphic novel style look, So we're just going over these lines again on If you want to add in some more dark we can and do some cross hatching and the little door here. What I'll do is I'll just literally call the color this incompletely in black, and you can see you've got pure black going over on you. Just you just not limited. It really opens up that world off mixed media artwork with these and call it pencils. So that should have been a bit more detail. Well, I'm gonna end up acting, load the details and go on forever, so let's just stop there. So you've got that little illustration on my spring over the one from the Cairo the buyer oink that we did, and you can see we have a slight different look, it's completely it. I would say it's completely different. You've got a lot more contrast with the fine line up over here, and you've got deep contrast going on with the cross hatching, whereas with the actual big pen, it's just a slightly different looking more scratch here. More sketchy type look. But either way, I would test both of these out on. Just give it a go and see what you like to do. So let's move on. So the next one. 10. Interaction with prismacolor: Okay. The next material that we're gonna use is our Pres McCullough. Premier. It must be thinking, Why am I using Prisma? Cull it, premier Because we were able to come that in class one. But the thing is, you don't have to just use one type of pencil. You can use both prisma color, which with the wax based on the polychrome morse, and I'm going to demonstrate this. So the color that I'm going to use here for the Prisma color is my all time favorite color that Palmer Violet, which I'm sure I mentioned probably 100 times in the briefest class. So what we're gonna do is we're just gonna add this a swatch over here just going in really light on. I tell you what. I've been using public grow most now in this demonstration so far, and I've just added this prisma color. There's an absolute difference that I can understand anyone who says there's no difference . It really, really is a difference in consistency that the prison psychologist goes on so buttery and beautifully. It's like, you know, it's just like powder going on on a piece of paper using a pencil. It's just beautiful. However, it's still, you know, it's I wouldn't say You know that that prison, Michael, is that the best pencils in the world? Because it all depends on the usage of what you're using them for. So if you're gonna use, you know, for a selling your out where definitely definitely don't use pres Mikola because it's really not fair to the to the buyer if you're selling. You know, if this there are work that they've spent their money on, fades away. So unfortunately for selling you out where Pres Mikel is just not the ones, however you can use them. Azan interaction with these polychrome was which is what? We're getting a demonstrator. So we're starting this little swatch. I'm not burnishing in too hard on the left here. I'm gonna go in quite hard on the left, just adding that, you know, burnished, Just see whether we can add more quality that burnish. So we're moving back to the side on the color that I'm going to use from the fabric Castle polychrome most is this beautiful color here on its this kind of purplish shade, it's actually called magenta, so it's pure magenta and If you're from the digital world, you know C m y que You've got magenta in there. Andi, let's add this on. So again, I'm gonna start off right at the end where I burnished that prisma color. I'm gonna go with the polychrome most vacancy, hardly using any pressure here at all. And it's already started adding, Kalitta, that swatch so I have already burned is quite heavily, but you can see it's already I think that's watching. I'm just gonna have the color red at this bottom level here so that you can see how it looks compared to the pure Prisma color now just governing in Cirque circular motions. And you can see that it's just it's like using another pres Mikel pencil literally. Add on now, why would you want to use Prisma Color on and you know, adding colors from here. Well, you might have you know, certain colors in prison, a color that you can't produce in public ramos or you know, the other way around on. It is no harm in adding more color and mixing them up again. If you usually producing for digital, you know, to produce these type of colors it. It's great because you've got such a huge array of colors. You can really work, you know, work wonders. With these, I would say it's probably going a bit too far. Work wonders with Kalispell. Yeah, I truly believe that. So I'm just adding in that color on, Let's see how we interact when we add in. Well, when we add back that Prisma color, you can see that now. This is what you'll notice the wax based color compared to the oil based. Now I'm going trying to go over the oil based. The wax is slightly sliding off at all, kind of really being a bit smudgy. So if we add in that wax, so I'm just going in circular motions, they were adding in that wax. And for me, I don't really like that look of adding the wax over the Prisma collapse. Sorry, the public crow most so if we go back over with a public road, but you can see we get getting a bit more death with that polychrome or so preferred adding polychrome most to the Prisma Colak. That's that's why should is that from the start to mumble jumble, don't right So it's just it just gives that kind of crispy ear more deep look, whereas if you go back in with the prisoner cover, it kind of muddies the color off. But but you can trust that you go out trusted. You contest this out yourself. If you've got like, you know, a small sets at Prisma colors and you got some polychrome was you just test out the coolest asi what affect you like you might like this effect again. It's all subjective art. Always, there's there's no right way to do anything. It's what you like and what affect you, like all we can do is we can teach each other. You know, the best way to produce a certain result on it's really that journey isn't you know. I'm getting all art therapy. Feel philosophical now. Answer well. That will have to leave that for another class. So I just added in that deep, probably Kromer's, he concedes. Beautiful, isn't it? What a beautiful effect. So it's just shake off about quite a lot of dust there of color. Shake the African, see the dust on there. So let's just get rid of that just because we don't want it to interfere with our lovely illustrations on what can do here is I can just do maybe a little illustration to demonstrate what you'd use the sin. So I'm not really creating any specific illustration here. I'm just doing the little maybe a cloud say this is a cloud A round nice cloud in the sky Using the pres Mikola on going in really lights And maybe just adding some highlights with the public crow most and just change that effect. I do love using these pres Nicholas. I mean, I love using public Ramos as well, but I just wish that they make these Prisma colors light fast cause if they did, I spend much more time with Chris Nicholas in the art with the I produce. So we just created this well, many cloudy type, fluffy type thing could even call it candy floss. So let's just have a look at this so well, it's just adding that color so that you go see, just blends in so nice, so perfectly it blends in and can produce some absolute gorgeous effects with this. So we're just going in really, really like I'm not burnishing or anything like that. I'm just going in really lights to produce that deep, beautiful you of color. On what? One of the advantages of using actual materials like this compared to digital are is that you just can't get that texture with digital out. Because obviously with digital, I always stays on this screen Limited, printed out on they never really prints out how you want it, toe. Look, I don't care what anybody says, but it really doesn't because rial materials, the physics of riel materials are always gonna be more deep and you know it is. You can effectively draw and touch the final result as you're doing it. But with digital trying to produce something like this in digital, you can get great results. Don't get me wrong that I'm not against digital. That's all, in fact, that they were a lot of digital art. But I've always preferred the rial. Not really. Aren't that say the rial materials the more traditional riel physical materials compared to the digital just because you can actually see the result as you're producing it, especially if you're, you know, into framing your are selling garage. So and what I'm doing here is you can see I'm just muddying that color with that prison Mikola going in again to muddy it because it's more appropriate here. On another thing is, look, you can see that Prisma color it started wearing down pretty much immediately on with the polychrome owes. It really holds its point, which is one of the advantages are polychrome was You can go in, you can get a lot more color out of it and you don't have to keep sharpening its again. So just going in again, adding in some more detail. And I think we'll leave it out that I think you've seen a national demonstration of how these two types of pencils interact with each other, and you can decide that they want to use this in your final artwork in your sketch for this class or if you don't Alvey, that's up to you. So what we'll do is work on the next material 11. Interaction with alcohol marker: OK, now let's look at some alcohol markers. Teoh kind of interact with these polychrome most pencils. Now, I've got a pro market here, so if you don't have these, you can use any marker. Just get any cheap marker, even get highlights because they're alcohol based as well to just get highlighter. Andi, just do a little swatch like I'm doing care. I'm using a blue on. We can test out this material with our polychrome most pencils and just creating a nice that'll swatch with these with this highlights that I'll be living in a separate class on how to use, you know well how to use alcohol markers and create mixed media artworks with then. But for now, we're just doing a quick little mixed me get swatch sample. So with this one, I'm gonna use a darker blue from my polychrome owes Faber Castell and this one's called. It's called Delft Blue d E l f t Delft blue. That's an interesting name. To be honest, I never noticed that before, so let's just go in with this now. You can see that the alcohol marker is pretty much dried immediately. You've got quite a lot blotchy Nissen there because of house. You know, the streets that I used to produce that swatch. So if you if you've got that Snow Street you can easily add in that public robes, they can see how I'm doing this in circular motions and you can see there's no botch Innis in this at all. It's absolutely beautiful. Now I'm going in over that marker, really to add in some depth and shadow, and you could just look at us. Gorgeous isn't saying I get really excited about my colors, but it just is. I mean, if you know these materials that they're not that expensive, if you just buy maybe one or two markets and one or two pencils on the results that you can produce from them just absolutely amazing. I'm just going in with that public Ramos going and really lightly using that same hold using a sharp pencil on Let's just carry on with this and what I think what I'll do is I'll leave the end over here just for pure marker on. We'll start burnishing. Let's go in quite hard over here to produce that beautiful Grady in and what I'll do again is I'm gonna add in the market over the public promise to see how that effects the overall , the material itself and whether it actually works or not. But personally, I really, really like this affect. I don't tend to use this a market too much with my public almost pencils, but only now and again, I probably I do when I'm trying to achieve certain type of results. But you can see that it really is beautiful. Gorgeous, gorgeous point. You can get that seem that's been going on over there on Let's add in some more marker, so I'm gonna use the other side of the market. Nothing. Use that chisel tip going to use the three actual bullet point over there on. You'll notice that the blenders that we used in the class one exactly the same as these college marks the pro market blenders, and you can actually use this to blend. So I'm going over and you can see that it's blending that polychrome most into the color of the marker, which is just beautiful. And look at that. That's just gorgeous eyes and say you very sparingly. I'm not going in very hard or you know, trying to do big coverage. But all I'm doing is I'm just adding some texture with that marker over those lines of the polychrome owes. And then we're gonna do vice versa to create a beautiful natural texture on on this little swatch air and will demonstrate this by doing a little illustration. You can see it's creates a really, really nice texture on. Then again, with my blue is going to go over it, so blend it out to smoothing it out on there. We have it, so it's very soft. This is It's a very soft, subtle Grady in that we've created with the marker on the polychrome while standing. I think it looks absolutely gorgeous. So let's do a quick little sketch as we've been doing with the other swatches. So if we have say, for example, let's just do maybe some line work care again. We did something similar using the colored pencils that we did before. Just a little line work. It could be just a basis on may be sudden, like a reverberation type of river hair or just a stream and lake, just with that market alcohol Marca on. Maybe just having these little sweet sticks that keep talking about your thinking, that what is he going on about? Sweet sticks, What sweet sticks. But that's my little artsy fantasy world that I'm always drawing sweet sticks that wherever you live in a place where you can just it s so there you go. So let's just adding, I were polychrome most and you can see we're adding in beautiful color that I mean, that's just gorgeous. You're not going to be able to do something like that on Digital Melayu. You probably can, but where's where's the fun in that? You can actually see the materials. You can feel them. You can even smell them because obviously you've got alcohol market. You can smell the alcohol marker, but I do not recommend you. Go ahead and do that. That was just a silly little joke, right? Okay, let's just carry and can see how beautiful that Brenda's can you see on even with the pencil of the colored pencil. We can add in some lines, and you can see how the lines go over that marker. It automatically creates a beautiful blend and concede creates such a nice, seamless look and feel. And all I'm doing here is I'm just adding in some color over these dot C suite heads, and it creates so much dynamic it's going to create such a dynamic look doesn't say often illustration omitted beautiful, especially when you do in a Children's book illustrations. I think using you know, this technique here ons using this mixed media really works well, and I think it can achieve some beautiful results. So there you have it so well, just literally just going over to create this little illustration off sweet sticks and honest on a kind of better we just have a riverbank or something or whatever. So I was just dark in this area here on If we go in with the marker again, we can just see that we can just add in some of these rendered dots some stickling going again, and it creates a bit more depth to it. So we just go in it with some ST marks on there. We have it so that absolutely beautiful on. I think what we can do now is move on to the next four 12. Interaction with liquid ink: Okay, so let's look at Inc now. This is colored ink. It's from ICO line. I use this a lot for my Children's book illustrations, which I have to digitally scan. So these are not, like, fast at all. So I would not recommend using this ink. If you're producing work to actually go ahead and sell or if you want to frame it yourself , you know, keep it for yourself for many years to enjoy. So this is just an ink that is good to do. Fill a work with on It was really now. So let's see how this ink react with our public from most pencils. So just gonna quickly do a little swatch all the same, just with a normal brush go in quite like do a little swatch. You go see a little fluff there. That's a problem with these liquid inks. You're always gonna get a bit of fourth in, especially when you're using the same brush that I will be using the same brush all the time. Make sure you clean your brushes. So I'm just gonna do this little swatch off yellow. Kara, what? The name is of this. I think that's a look. It's yet it's called a light yellow so quickly else watch on. What we'll do is we'll wait for that to dry before we go in, because the last thing you want is you do not want your ink Teoh be wet purely because it's gonna mess up. Your polychrome are. So let's just wait for that to dry on. Just like that, it should dry and will be ready to add on the next color. Okay, so now I want Inc has dried. It only took a few minutes, pretty much one or two minutes for this to dry. So just test sets during count to make sure it's dry. It doesn't come after you. Don't that make you pencil and we can go in with our public Carmel's. Now I'm gonna be using this beautiful orange color here that got on the name of this one is dark cadmium orange. So from the sets, whichever said you have with you bought singles. This is the orange that I'm using for this. So what we're gonna do here is we're just gonna literally This is slightly different now because we're using a liquid color on with liquid Obviously it's going to be difficult. Add more liquid on and then going with color because you're gonna get, you know, wetness, which is going to start causing moodiness in the actual overall artwork. So to avoid that, I would basically either use this. It's called. First, just create your swatch first and then work in your pencil. So and you'll probably have to do this with a couple of colors. I'm just going to use this orange and maybe use a darker orange toe. Add this on to demonstrate this. So all I'm doing carries I'm just going over one little side, small circular motions and you can see that the color is attaching to that Think very well , and we have no issues there at all. So I'm just going to start slightly, create a darker streak of color, and we're gonna go over it again, and I'm gonna really, really release the pressure as I keep moving towards the right hand side so that we can create a blend of quality conceit. It's really, really gradually going in from Dr Life on. I'm just going to repeat that process duck, and it's up a little bit more to show you how to bring out that death taken. See, it's such an advantage using colors like pink. Because if you've got a lot of coverage that you need to do and you need a base color, I would recommend using ink. Well, no, I would recommend using ink if you working digitally if you have available. But what we're gonna do is we're gonna look at watercolor next. Onda watercolor would probably be even better to use. But I just thought I will demonstrate this ink. If this is the type of material that you have available to yourself, they can see that I'm just ritually just adding in that beautiful light, light hue of color using the polychrome most. And it is just, you know, such a great pencil to use because you can create such beautiful, beautiful are working colors and look at how gorgeous that color is. Orange in yellow being added on. So just finish it off at the end. Here, I'll just go in a little bit darker. I'm holding the pencil quite far back for this. And remember, in the positioning techniques holding and positioning techniques that we covered in Class one it's important to keep a light pencil, especially for going over in coral over watercolor, which will we'll see in the next on a swatch that we do some going in a little bit more harder towards the end just to kind of like, you know, square off this swatch so it looks a bit more nice. You can see the pure color over here and how the color has blended. So you got the pure color of the public. Ramos. I'm gonna go in and burnish really hard. Now hold it a little bit more towards the tip, and you can see that it's furnished pure pure calories over here. And it's slowly, gradually going in over that yellow pink. And we'll just bring this out a little bit more and you can see that it works beautifully, doesn't it? So I'm not going to do another little illustration here because we've got to wait for the ink to dry. So instead, what I'll do is I'll just do the illustration on here. So we might have again. We might have some foreground off our drawing, so we'll just create this Little is little sweet sticks. Onda. We may have some little sweet stick heads over here that we can add in so you can see how easily can add in that detail in your illustration using these pencils when you've got ink as a base color, so it just really, really adds, you know, to your options, you can use multiple colors. And again, I'm gonna demonstrate that on the next Swatch when I use watercolors. But, yeah, it just works. Absolute wonders. I think I got accepted again. Works wonders again. I really think it does. This pencil is so great, really produce different types of art. So what we'll do now is let's move onto the next one. 13. Interaction with watercolour: Okay, let's look at the final material that we're gonna do this mixed media technique testing on on. We're gonna be looking at water cooler now. Watercolors. You can get these in many different shapes, sizes and brands and types. I I always use Windsor and Newton. More tickle is now this one over here that I've got here. This is just a student grade. Little sets lie up, wins a color. They tend to do a student grades and they do professional grade. I use the professional grades for my actual watercolor illustrations that I do make to sell on. What I'll be doing is I'll be doing a complete separate class on watercolor. So do you check out that that bought for this sex of this class said that public Romo's. What we're gonna do is we're just gonna create a little swatch of color with these watercolors, Onda. And then we'll see how we can add the public Ramos as we did with the ink. So we're just gonna go in with a little bit of yellow to create a little swatch on. Then we'll see how this bats and reacts on what type of you know color illustration. We get so just adding that pure yellow watercolor I'm gonna add in maybe a little bit of orange to mix it up on. You could see how beautiful that blend of cholera is Now. I'm gonna go in a little bit dark on this side, really, to bring out some interesting hues of color. Let's maybe added a little bit of red, so we have a little bit of it's a Marine ish red, and then we'll see how this works. Just gonna wash it out a little bit. Brendan and Colors. And then again, for what we've got to do is when using particle is just wait until the article that dries out. Andi, before you apply your pencil work to avoid the pencil Gangel wetted muddied on. I think that's about it. So let's wait until this and color dries up and then we can test it out. Okay, Now the water color swatch has completely dried out, so we're ready to add on some off polychrome Oh, school is now. What going to do for this one is a minute used to Callisto. I'm going to use like the like the shade on a darker shade to really bring out this illustration And the colors are amusing from my fabric Castel Polychrome Most are we've got there Venetian red on. We have the burns. CNN So he's a very nice colors. They work really nice together side to make a start on this one. So let's add in the lighter colors I'm going to use this Venetian red color. So all I'm gonna do here is if you could see the swatches dried. I'm just going to use the bottom part of that swatch toe. Adan the color. And I'm gonna illustrate this over that watercolor like I did with the ink. But I'm not going to go in and start blending yet, so I'm literally adding in some detailed work. So I'm just creating these lines is little pattern at the bottom, and he can see that it works beautifully. It's like there's no color there at all. That's how easily the actual color girls on. And then what I'm gonna do is I'm going to use them circular motions. Teoh really added a bit of more solid color from the base of these eyes and you can see as that color goes over the watercolor. It starts changing in its look compared to just a pure color that's on the paper. So at then, obviously, because it's darker. The couple with watercolors darker the color is gonna go over that dark color. And you've got this beautiful like sort of edge off that color that really changes the texture and feel off this swatch in illustration and drawing. They'll call it whatever you want. I'm just gonna call it to Swatch so you can see we've added more from going in again in circular motions, adding in that cool it. And it really looks like that we've added this beautiful edge on this little illustration. I mean, I'm just drawing these lines into it. Could be like the edge, the foreground off, off a sketch on. We could possibly have some against, like a river or a bit of water. And near a bank. Obviously, water is not gonna be read. Well, it could be read in your fantasy world where he can have it any color you want. So I just added that now, on going over it again, in them circular motions, not burnishing yet, in fact, not burnishing. That's all. I'm just going in, creating these layers, going back and forth, rob away that dust and now I'm going to bring in the dark cholesterol. This brown coal is burnt sienna color. Now you can see we're adding that bird right at the bottom and concede that we're blending this in. Obviously, we've got in quite heavy with the red, so it's not gonna blend in straight away. But it's just that edge that we're after in this kind of demonstration. So you can see that the how that's adding a bit more depth and another layer onto this drawing. It looks like this like cloud cloudy type of puffs behind this kind of base that we're creating with a brown on behind that we have, like some the stringy sticks that I've got these they're sweet sticks that I keep referring to So you can have that color. Let it overlap with circular motions. Andi going really likes at the bottom to create a bit of difference in texture just to demonstrate this tear on. Then what I'm gonna do is I'm gonna go over some of them sticks to add the heads, the stick heads, the lollypop sticks in whatever you want to call them, and you can see how beautiful that brown goes over the water cooler. Now I'm really, really using light pressure. So over here it used duct pressure. As you can see that the brown men on fairly duck and then writes it. I'm using very, very, very like adults with that brown and you can see it's like it's just blending into that background so soft and subtle it just looked beautiful, and it looks like it looks a lot further in the background so you can see more more of these little round sticks. These round dots. It's already creating that kind of division of depths off foreground, mid ground and then just fading away into the background really lights on. That's the advantage. Again. I'm gonna keep going on and on about these pencils, how great they are because they really are. And I'm going in dark so it looks like there's a division. We have some darker ones in the mid ground, and then we have them lighter ones in the background so you can see how this interact with other materials, and it's just wonderful because you don't have that separation off color. It's purely a blend on interaction, and it's just so smooth. So if we just increased the intensity of these little lines that we've got here, it makes whole illustrations seem that we have depth and layers going on over here and effectively. We just got water cholera as a watercolor washing the back on. We've just got light pencil renderings at the fronts and some color blending going on. You just used very, very light lines to represents those dots that go up that back and you can see just finish this off with adding in some red does to give a bit more depth and interest because that's will. Ultimately, that's where it's how to attract the viewer's eye towards your illustration and make them look and think about what you've done on. That's what really is, isn't it? Is just communicating or kind of creating a responsive feeling in a person on that about it . So you can see we've created that beautiful little sketch recycled minute sketch, isn't it her using the watercolor on the polychrome elves on That's about it for the swatches off materials and how they interact with these amazing pencils. What will move on to now is another very interesting facts. So I'm gonna keep you in a bit of suspense, and I'm gonna tell you right now until we cook on the next video. So let's move on to that one. 14. Special attributes!: Okay. Now I'm gonna be revealing the two most amazing features off. Father Castell Polychrome owes colored pencils. Now, I've made you wait for quite a while until I reveal this. But I tell you what, it's gonna be worth it. So a couple pencils here have got a little bit of paper, and I'm gonna tell you what that first actual beauty is. Can you get it? No, I don't think you can. Oh, you probably can. Look, this is what it is. So the first attribute off these pencils, which I find is absolutely amazing, is that they are smudge proof. So let's test the south. Now. Faber Castell Polychrome owes on all of their branding. And like if you go on to the shops, the art stores if you see their pencils, they always list all the kind of attributes of the pencils on one of the main attributes that the list is that it's smudge proof now. Smudge proof. Why is that important? Well, it's obvious, isn't it? When you're making a beautiful bit of illustration work or are working using pencils or whatever medium you using, the last thing you want is for your work to smudge when you kind of maneuvering your hand over it or if you accidentally just hit the color with your finger or something like that. So let's just test this out. So what I'm doing is I'm just putting down some color really quickly, putting it down quite deep, burnishing slightly, doing a bit of layering and overlap just to give you a bit of a swatch to test this out on . Now, remember, when you're putting this color down, you're going to get a lot of like color dust coming off getting at the particles off that dust. Now that dust is obviously gonna move. So smudge proof doesn't mean that that just isn't gonna move. So what, you've got to kind of do it you've got to, but literally just color in and then removed that door spa. Just giving it a little shake or just, you know, just blow it away. So I'm just gonna get a little shake on. You can see you've got them just this over there, so give it a little shake. Get rid of that access on. Let's put this to the test so this should not smudge. So is it smudging. No, it's not so much in it. Also, that's just brilliant. So, like, if I've got my hand found leaned over it so I'll just move this to the other side here If I've leaned over it and I'm just carrying on my older drawing and I just slightly tilt my hand forward and I'm like, Oh, no, I've just smudged it. But no, you haven't smudged it. So that's a greatly or feature. So that was the first attributes. That is absolutely amazing about these pencils. Number two. Now, this is one of my favorites this, and I'm going to reveal this on this side. Okay, So what's this second attribute that keep going on about? So let me just to do a little quick under sketch, and I'm going to slowly reveal this tear, so let me see if you can take it. Guess what do you think it is? I'm just doing some of these lines. Maybe do some of the sweet sticks that under in Oh, can you not wait any longer? Can you guess writes. I'll put you out of your suspense. This pencil is waterproof. So when you've laid down the color, the call is going to be completely waterproof on. That is absolutely huge in any type of illustration or out with that. You do that your calories waterproof. And let me demonstrate that. So, for example, I've got little illustration here just quickly or sketch scribble off my superior super duper sweet sticks I keep talking about on I've just laid this color down really nicely dark, burnish lightly or fade away over here on say, we have maybe a little bit of red against. Just use a red and blue on. We just got a little bit of color here. So you've got a little bit of illustration work care and you've designed this beautiful little illustration and then all of a sudden you think in Oh, no. I should have put the background color on first. I've got all these gaps, Or does that mean I'm gonna have to go in between? Well, the answer to that is no, you know, because this is waterproof. That means that if you have water color or any liquid type of material which I'm going to show you here with my beautiful little watercolors, this should not go or muddy the color that you have. So let's just get a little bit of a swatch going here. Let's just create a little wash off. Say, yellow. I'm just gonna create that little wash of yellow on. What I'm gonna do is I'm literally gonna apply that over my illustration on now, this better work. Otherwise, it's gonna make me look like a fool, isn't it? Right. Okay, so So what I'm gonna do is that's what I'm going to do. And can you see that? Beautiful. I mean, just look out that the pullers not muddying it's not mixing or blending or becoming horrible. It's just literally waterproof. And that's absolutely amazing. So that's again. That's a huge advantage of these pencils that you've got waterproof material pigment in them. Well, it's not really the pigment. It's the binder material that binds up with the, you know, the chemical process that they have when they put it together. Well, whatever is whatever the technical feature is off this material, it's a waterproof. That's all you need to know on. If you ever run into this issue where you know you're not doing your background on, you've gone ahead and doing a beautiful illustration. You just want to get a nice little light background in to just see why it will look like. Then you can easily do that with water colors. So they have it. Folks, too. Absolutely brilliant attributes off these amazing pencils on. I think we need to move on to the next one. 15. Complete sketch part 1: Okay. Welcome back. Now it's time to start our sketch using polychrome. Most call it pencils. So what we've done in these previous videos is go through. Some of the interactions are polychrome owes. Call it pencils with mediums such as graphite ink. Watercolor on. What I'm gonna do in this sketch is I'm going to try and incorporate as many of those techniques and materials as we went through as I can. Also bearing in mind that the first class that we did on Pres Nicholas we went through in a lot of detail, different types of techniques, off blending, layering on many of the things that we went through. I'm going to be applying a lot of them in this sketch. So again, as I mentioned at the beginning off this class, if you haven't already watched or, you know, you know, kind of like, well versed with those type of techniques and I would suggest you quickly go through them in that first class. I mean, you don't have to do the entire class. Just have a look at some of the videos where I describe those particular techniques. If you don't want to watch the entire class and then apply those techniques using these polychrome most pencils in this sketch because this is pretty much exactly what I'll be doing. So the first thing which is really important is decide on a paper that you want to use. Now, I would recommend that you go for a watercolor paper. I am going to be using the blocking food Hot pressed watercolor paper. Now, I went through this at this paper in the first class. I do check out the types of paper video from that class where I go in detail about different types of papers that you can use on. The reason I'm going for watercolor is that I may later on decide while the progress of this illustration is happening is that I want to use some watercolors. Andi. So they therefore I'm able to use those watercolors without room ruining the illustration on. That's what I suggest you do as well if you're gonna like, because you don't know what's at some stage, you might think Oh, I'm not gonna be using the colored pencil, the pres Mikel, all the polychrome or sorry to do the background. I want to use water cooler And then, if you know, go article the paper, then you're gonna struggle, and it's gonna pretty much Ruben your illustration. So let's not get into that problem. So secondly, the another important thing to do is also have a strip off scratch paper or just another piece of paper that you using, which is the same as your sketch paper on. The reason for this is so that you can actually test out the colors before you apply them to the illustration, because you can never plan exactly how what call is you're going to use until you start drawing. So it's always a good idea to have a little a strip of paper where you contest out the colors on, see how they're gonna look before you actually apply them so that you don't, you know, ruin the results or, you know, you don't mess up your illustration on. Then you got reverse back because there's no real razor for chocolate pencil work. So without further ado, let's just quickly go through what materials are initially going to start with. So I'm going to be living a small little sketch using standard graphite pencil. I'm going to be using this to be stable a pencil, which we demonstrated on in the previous videos on. Also, I'll be using my in Kleiner, which is the topic multi liner, the no 0.7 thick 0.1 Again. We went through this in the previous videos of how it's interacted with the public role most pencils on. From that point, I'm just gonna base my sketch using these two bits of material. And then I'm going to be adding in the polychrome most and using the textures and blending on then later stage when we're coming towards the end. I may or may not use the watercolor paints, so let's start with the sketch now. Another important thing is that I think you should really work on something small. I mean, like, I've got this small strip of paper here. You can see that it Z not very big. Instead of going on a huge a three size or in 16 by 12 inch sheets of paper on doing really detailed sketch and then doing the colors, you might end up wasting a lot of color because it might not turn out the way you want again. This is a beginners class. So you're just learning at this stage in learning how to apply the materials on. Do a nice little sketch, just toe start your basic journey on colored pencils. So I would suggest again, just do find something small, maybe an a six sheets of paper, or on a five, or maybe just having a three sheets of paper like I have and just cut it into a small little piece. 16. Complete sketch part 2: So let's start with the sketch now. My card a basic plan for this is to do a rough sketch on it's gonna be again. It's going to be one of them fantasy, stale sketches that I usually do. So I've decided that I'm probably just gonna do some hills here a z the mid ground. So I'm going in a really, really light with my pencil. I'm going in super light because I don't want to go in dark yet, So this is literally just doing the outline. Now, by all means, that if you want to follow and do exactly what I'm doing here, go ahead and do that. I'm gonna try keeping this sketch a simple as I can. I'm not gonna try doing too much of detailed working it, because it literally which is doing a beginner's class on way later on. And I may do some classes at a later stage where we go into how to do proper sketching and , you know, look at sit looking perspective and you know all those fancy things. But again, this is just a basic class on how to just get started with what we call it pencils So just doing some of these some of these little shapes the peaks off like little hills on. We may have some, like water here. Well, it Well, it looks like water, but it might be something else. Well, I guess you just have to wait and find out. This is just one of my little fantasy worlds that they will do a lot of these fancy type drawings of fantasy Dream Lands and Dream houses. Cares again. What more would you want to dream about? You just want to live in your own little fantasy. Will fancy island with beautiful houses in Bolt's right. Okay, so let's just drop in some little structures here that represent houses. Andi, basically, that's all we're going to be doing a nice little house over here. How about giving this a little chimney again? Very, very sketchy. Very rough. No. Hardly any detail on this at all. What we're gonna do is we're gonna build in the detail after we've added in some color. And that's why I intend to do build in some of that detail with the my fine liners. Andi. Again, let's just maybe put another peek over here on How about a small little boat in the foreground? Nice little simple, dingy style boat with maybe a little house on it. Yeah, why not? Okay, so just got a little bit there. Andi, let's how about have some of my classic candy stick thingamajigs? All right, let's just put these and I'm just indicating where these are gonna be. So these does my stick sweet sticks that I like to call. So not no, not much detail in it that also gonna literally do that on that pretty much much it. So it's just added maybe a couple of windows here just to remember to add in some windows on. I think that's about it. So what I'm going to do now is I'm gonna go in with my pencil on using the side of the pencil with the graphite. I'm just going to start shading in some of the areas where I want the volume and darks and lights and shadows to bay just to give the overall picture some type of a kind of like in a three dimensional perspective. So again, we're gonna go through perspectives and things like that in my upcoming classes, where we're gonna go into, you know, details, sketching and how to sketch with detail. This again. All we're doing here is just constructing some darks and lights to give some form to some of these made up shapes. Because that's what it really is, isn't it? It's just a maid or fantasy many seen that we have over here on day because we want to really apply some of them techniques that we went through in our previous videos. So I'm gonna try keeping this riel time. Obviously, if you don't want to watch me do this sketch, you can fast forward onto the actual coloring part. That's no problem. But if you want to follow their step by step, then you know you can follow me on, do this. So what I'll do is I'll probably stop talking now on. Just put in some background music, but we'll still keep it real time so that you have a nice pace. Toe follow. Okay, so now basically added in some dark areas, it's kind of brought out the image a little bit more, so we've got a bit more depth going on 17. Complete sketch part 3: So what I'm gonna do now is I'm gonna have a look at some Call it So what I want to do here is I want to get some blues So I've got some blues here, Andi From my polychrome most range we have three blues I've got like a light blue I've got a kind of mid blue and then kind of a purplish blue Well, actually go for a darker blue because we want to create a bit of a range in values. So again we went through values and colors and how to use complementary colors and out of blend things. So do check that out in the first class. So we're just gonna actually go straight into this. I'll tell you what Colors amusing. So this one here is a lightsail Oh, blue, beautiful color that life they love blue. Then the next one, The mid value is just a standard fail Oh, blue. Then our dark value that I'm using is going to be this that nice blue that we use before in one of the demonstrations off the materials. It's that Delft blue. So what I'm gonna do is I'm gonna start working on this water watery area, and I'm going to start going in with the public. Ramos light blue color Really, really likely over here. So you can see over here how I'm holding this pencil. So I'm literally holding get pretty much halfway down the actual barrel of the pencil because I want to keep it lights on. We're just using these side movements. So if you can hear that on the camera everywhere, relight, hardly putting any pressure on this at all, and we're just coloring in. So there we go. So I'm just going to carry on doing this, go around that boat area. It is going to make sure that I get most of this kind of water based area dog in this light shade so that we can start adding in a bit more depth with the mid tones on the dark color . And again, I'm not pressing hard because I do not want to burnish, cause I'm gonna bring out a lot of the texture of this using the ink pen that I use later on. So let's continue with this. - Okay , Now let's move on to the mid blue guy. Will mid blue pencil here on. We're just gonna slightly start grading this with the mid blue. Using this on the end of them kind of peaks for the bases Hit the water. Very lights. Not pressing hard, that's all. Keeping everything nice and light one day into them, creating this kind of like streak off color going through to kind of represent waves. You can see some of the whites of the paper. What I'll do is zoom in a little bit so you can see some of the white over here. You've got the white showing through the paper. That's the type of effect that I want for this. So we'll zoom a bit out again. Aunt will carry on adding more and more color as we go under these shadow areas way, Nadine. The darkest value with the dark blue again, we're just gonna add the dark areas under the shadow areas off the peaks That way. Okay, so I've done the base color off that water type thing. Let's just move out. Show you like the entire picture to just added that watercolor, not water call. Have just call it that watery type are funny things. They answer, right? So what we're gonna do is we're gonna move on to these peaks. So basically, the idea is to just get that base color on there using the different tones and values to create just a basic Colette layer, and then we're going to start having the detail. 18. Complete sketch part 4: So for these little peaky areas, where I'm gonna decide is I will bless Go for greens. So we have a nice were a couple of greens here on What we'll do is we'll test these greens out to see which greens are gonna work best. So bring over my little swatch sheets on. Let's do a zoom in on this Just make the out of the way for now. So again, we're looking at values. So we've got some duck while you've got mid tones on, We have some lights of values. Now, I've got some more greens, but I think these will probably do so for me Dark. I think I'm gonna look at this. So I've got a nice dark green here, So if we just go in with the dark, I'm happy with that. I love this color. This is this is one of my favorite Kalis Dix. I think it's called Olive. Yes, it's called olive green yellowish olive green, which is an absolutely beautiful colorist. You see if you can get the zoom in on that Andi, as you can see that this is a three star Kalis it it it's got the maximum light Fastness, this color Absolutely beautiful. So I'll just show you here on the swatch. Move them pencils out of the way so it doesn't mess up our focus. You can see that. Oh, that's a beautiful call. It's such a beautiful 30 greeny color. Absolutely beautiful. I think that's gonna work really well. CFP So we'll keep this on. Let's see, for our life's a green light to have a look at this one. This one is the earth green, Yellow, This is called Earth green Yellowish. Very good. So have a look at this. Just add It's on here. Yes, Perfect. Right. So what we'll do is I think we'll go for these three comets And if we need to duck and any further, then we can even dark and with our dark blue. If you remember from the previous class, weaken darkened colors with complementary colors, you conduct and colors with, you know, the similar time type of color families. So you can really get a bit of good, very incidents. I think we'll use this color as well. This is the This was that nice? This is an indigo. This is dark indigo and this is again a three star rating. So it's a very nice qualities. So what we're gonna do is move this. Watch out the way. Let's get back to our drawing. So we're gonna start in. I'm gonna use the base like collect. So you use I would like to screen Teoh. Really? Get that color in. Someone's gonna zoom back out of here on What we'll do is we'll go in with the light screen circular motions just like this. We've got a nice, beautiful circular motions going and really, really lights on and let's see how this turns out. I mean, I know that, you know, just trying to get the right colors can sometimes be a problem. And sometimes people find that really difficult to choose the right colors. But it's all gonna happen with practice. If you practice with these pencils and practice with the color ranges that you have, we'll do some color mixing like we've been through in the first class. Then you're gonna automatically start getting, you know, a feel for colors on. Once you've got that feel for colors, you're going really, really be able to apply those colors. I mean, just look at nature. See how the colors work in nature on how the different variances involve use really, really produced such beautiful imagery and artistry that's naturally there on. Do you know you can always use that kind of knowledge to add into your drawings? Obviously, I personally I don't do realism or anything like that. More of a fantasy artist. I like to do my own little kind of fantasy world that have set probably a 1,000,000 times, but you do learn from what you see, so that I would just suggest Just try. I mean, you don't need to produce that perfect bit of artwork because it's never gonna really do that on your first few attempts. It's always going to be like a trial and error. So just keep practicing, do small little drawings every day and just experiment with all these materials with graphite with ink with prisma colored polychrome. Most Andi, see what results you get. You will start, you know they will open up a different worlds here. So I'm living. Here is circular motions adding that base color, and when they do the same over here on these peaks that got so again, we're just adding in that base color, so that lights a shade so that we can use some of that to bring in some highlights. Andi, we'll just continue doing this. Okay, so all the base color of the lights has gone down, and again, I've kept it very, very light here. You can see how it's blending into that graphite that we had laid down underneath in the shadow area. And that's what the whole point waas of going through those techniques to kind of really show you some of that interaction of these colors so you can see that you've got this knife darker area and it's so smooth. Graphite works beautifully with these pencils again with the carbon pencil that we went through before it was a little bit more harsh. Lines were a bit more harsh, a bit more scratchy. So for this, for my illustration here, that probably wouldn't have worked very well, which is one of the main reasons that shows graph and to be. To be honest, I pretty much only ever use graphite, hardly use those carbon pencils when I'm dealing with colored pencils. Those carbon pencils were great on their own to use really dark out. But as a blender type pencil with colored pencils, they only work in certain illustrations or, you know, when you want to achieve a certain results. So I'm doing now is I'm just going to go in a little bit more harder with the with the same color. And that's kind of added a little bit more value and variants to these peaks to bring out some of those details again, We're not gonna We're not going to bring out the details and sketch them out with the colors. Were just using the colors pretty much to fill in our areas. And like you create a bit of form, the detailed work is gonna come in with the ink, so that's gonna come pretty much at the last stage. Allow the seconds and last stage of this process of again. We're just using them circular motions, keeping it really smooth and lights. We're not going in hard. We're not burnishing. We're just adding this as different layers, and this is effectively This is the second layer that's going on on. We're adding medium pressure first. It was like pressure on. Now we're adding medium pressure and you can see that it's already started building some form. You can see that three dimensional aspect where you've got that light going in and hitting in on. You can just see just It just looks really, really, really nice and soft works very well on. Hopefully we'll just continue giving base. - Okay , so we're gonna add in some of this beautiful olive color. Now, Teoh, bring out some more of this design. So what we're gonna do is here. If you can see here over, just bring this in a little bit more, right at the base of my little peaks that I have over here. All I'm doing with this olive calamity just going in and creating these little cross lines just to add in a little bit more detail so you can see because it's a distinguished color, it's a different color from the lights of green that we have. You can see that details already started to come out. It's absolutely beautiful. To do this technique, you would need a sharp pence. Also, make sure that your pencil is sharp. If you're gonna follow this technique in your sketch or wherever you're going to use it in this case, Just keep your tip a sharp. I wouldn't keep it super sharp, but just keep it sharp enough so that you have a little bit of a chisel which can literally bring out these soft. We're kind of contour lines, if you like. So we just carrying on doing that? We're not doing overkill on this. It's just really, really liked at the moment because we're not really building in detail yet. We're just adding some of these lines that had some texture on it to create a little bit of interest on make our administration less What? So we're just gonna continue doing this on this side again? We're going in from the outside and just adding it to the base on it looks really, really nice. So we'll just continue David, that okay ? And now I'm going to do is I'm just gonna with the same pencil very lightly in circular motion. I'm just gonna create a little bit more depth of color on, had more value to my peaks. Really, really like keeping it extremely extremely light. So it looks like we have some detail of some Foley age or some kind of like circular kind of weeds just literally coming out of the these peaks. So we're just gonna continue doing this. Keep adding in that circular motion, which is very, very light pressure. Just give some detail on visual elements of this illustration. Okay? Now have pretty much finished on my coloring off this initial based level off the peaks and the water area. 19. Complete sketch part 5: I'm gonna add a little bit more color now to these sweet stick bush time things that I've done over here about the houses and the boat. I'm gonna leave right towards the end, so let's carry on with that. I think we should add some, maybe read or maybe pink onto this to give it some of visual interest and create some color harmony. So I've decided. Let's have a look at the swatch off these colors. So this red here, that's a nice, bright red. That is that I think that it's too bright, that one. So we're gonna leave that? How about this? Let's look at this one here. We have a nice That's so that's so that's probably even more brighter. I think I'm gonna move on to maybe a slightly darker and yes, I think I think we'll go for this one over here. So we've got nice read here. This is a one way around. This this one. What does this one say? This one is a I was there in crimson. Oh, beautiful. Out of in crimson. Reminds me of Bob Ross that altering crimson. So we've got beautiful out there in crimson over here. I really like that just to get out of it. Close. There's nice dark value there. And then let's see what this pink is like. So for this pink, we have a medium flesh else. So this is a flesh tone, this one. So this might want me. Yes, that works beautiful. So I think we've got a nice little based calling for our sweet sticks is So let's move up to the side. And that starts off with the lighter like to pink. So let's go in on with this. I'm just using slight motions going up and down just a filling these spaces that indicate that there's something there. Like I said, most likely going to be my sweet sticks. But I'm not gonna be putting too much detail on this, because again they're sketches at demonstrations, sketch using the pencils. It's not a complete piece of artwork. So we're just gonna go in. I'm going to do the same for all these areas where I have these elements. I'm just gonna go into the pink on is getting certainly emotions really, really small light coloring in when I'm going, we're not going to burn near shore, you know, going in for deep use were literally keeping this as light as possible on the final little element which is here. Just call it that seem very, very likely on. I think there might be one here that's trying to hide away, right? We'll get you out to your little sweet stick, Just get you out. Right? OK, so that is don't. What we can do now is I'm gonna be adding on that deeper, clever, altering crimson. Beautiful, right. Okay, so let's just add this to the different areas to give a bit of contrasts only starting in from the base, we're moving into the top, so it's just carry on. Doing that and again, thes colors just blends so beautifully. I mean, you don't have you hardly have to do any effort for them to blend again. That makes them so, so unique compared to other colors. I mean, if you if you ever buy cheap penciled crowns, pencil grams, pretty colored pencils, then you're gonna you'll notice this difference immediately with the cheap things like you can get a you know, for a pound you can buy 12 pencils for a pound from the pound shop or, you know, for £2 for a set of 2030. Whatever. You just don't get that you just don't get the result. You won't be able to do what I'm doing, kid like blend so easily mixed these in with other materials because they just that because it people because of the price. I mean, you get what you pay for, don't you? That's just kind of the way life works. Doesn't say you don't pay for something good quality than you, pretty much not going to get that good quality. So let's go in on Let's do do a little light blend off that lights of pink We're not We're not burnishing were literally just going in really, really light. I just want to make sure that we have a nice that's all blend going on there again. Blending of colors was covered in class one. So do you check that out if you want to get a refresher on that or learn some different types of techniques? I went through in a lot of detail in class one, and again, all those things applied, Sir Pres Nicholas and Polychrome else. They're all interchangeable techniques. So that part is don't we've added our little Tink sweet stick details and call it the men 20. Complete sketch part 6: Let's just get a bit of a zoom back on that so we can see the entire picture. And yes, it's looking OK. It's looking not bad at all. So what I'm gonna do, just give this a little quick wife away from dust and what we're gonna do is the fun part now. So I've got my think, Lina. The multi liner. The no 0.7 inch, no 0.7 inch. You know, 0.7 mil. Oh, I'm just getting so excited with this during that. I'm saying silly things. Right. Okay. So what I'm gonna do with this now is I'm gonna slowly start building in the details. I'll zoom and as much as a count on the camera on with this, I'm going to be using, like, little hatching lines to bring out some of these details. You can see I'm working very wary, controlled and in a life fashion. We're not outlining anything. We're just adding that little bit of detail to bring this out. And I'm using a technique called stippling. Get We're just adding some staples onto this little peek just to bring out that detail, and we're gonna continue doing the same here. so just adding that sent. Remember, we're not outlining anything because this isn't like a graphic novel illustration. Really? Just gonna outlined everything will keep things really sharp. I want to keep things a smooth on loose as possible, but I want to add in some detail with this ink on the ink just goes on absolutely beautifully, and it maintains the kind of structure off the color. It doesn't blend away that color. You can still see the color coming out, and then we can go in even darker with these blinds. So what is go in a lot darker. Just add in the teachers. I mean, you don't have to do this in your sketch, you know, toe adul, this detail, the reason idea this is just is just my style of drawing. I love adding in detail work using incline. It is just my favorite method off creating artwork. I just love that roof old school, you know, very kind of illustrated dark style of art. But again, you don't need to do this. If you don't want to do that, you can just you could maybe just do this with a darker public role. Most pencil or you could do it with a pet were, you know, uneven, thinner, fine line over a big pen or anything you want. Really? It's entirely up to you if you if you want to follow this step by step and absolutely go ahead on. Do this in your project on di Dio, post your project and let us all see how amazing your artwork is that produced. But again, weaken door or create or design whatever you want using these techniques. It's just really about getting these techniques as a practice for you in your kind of tool box. If you like Teoh really get, you know, delve into this old world of colored pencils. So all I'm doing here is just literally just going in with my staples, just adding in that little bit of detail to give some form on. I'm gonna try not to overdo it, because I do have a tendency to really just flesh out details as much as I can kind of get lost in this little world. Oh, yeah, but I'm gonna try keeping it us, you know, short and sweet as a captain, because obviously we just doing this as a demonstration on Here's the most cross hatching on the base on, we'll just tilt the paper. It was a good idea to tell the paper rather than to force yourself to have to do a line that you're not comfortable doing. It's always about making it comfortable for yourself, cause arts isn't art isn't meant to be a stress. It's meant to be a de stress, isn't it? It's meant to be therapeutic. So if you don't want to be getting stressed about things and even if you get something wrong, there's no point stressing about it. Just relax, Andi. Either do it again or just see how that mistake you know, nothing's really nothing's are mistaking up. I would really reiterate that and say There's no such thing as a bad are or a mistaking. Are these just learning experiences on every everything you do everything you learn from, it's just adding to that beautiful journey that you have in art. I mean, you might not like drawing landscape you might like doing. I don't know wildlife for poor trips and things like that. By all means do whatever you want to do personally am a landscaping tied fantasy landscape artist Maurin Sadak type of cross hatching work as you. You know, I'm sure of the drill that into you by now. But again, if you want to try this out Good go for it. I would I would recommend you try different things always. You know, try different things. You never know what you might like. So let's continue doing this. So I'm gonna just continue doing this. Going to stop talking now about getting dry on. I'm sure you're fed up of listening to my voice and you just want to relax and just watch this are being formed. So let's put the music on. Okay? So don't as much detail. Well, I've stopped myself from continuing with what has again. Like I said, I'll be here all day doing this detail because it's just so addicted. Well, it is for me anyway. So what I'm gonna do now is I'm just gonna continue that same type of work on these little sweet stick areas to zoom in a little bit more on. What we'll do here is will just add in more cross hatching type, darker lives going in from the bottom, going all the way to the top like so just creates a more visual interest on with this one. What we'll do is we'll just do a little bit of outlining across the top, so really, really bring out that form. And so it kind of divided up from the work that we did on the little peaks that we have over here. So again, it's going in the dark lines, routing upwards and then just lightly around those sweet had sticks that we have just to create that illustrated look again. It's very much old school Illustrated art that you get, you know, like Alice in Wonderland style work. This is kind of the type of work that I like. I love doing. Andi, this is what we're gonna try achieving in this short demonstration. What? It's not really that short is it has been going on for quite a while. But the reason I kind of wanted to do this in real time is so you can follow what I'm doing . Sometimes when them, like some of the feedback that had from the first class from some students, was that you know, you have to keep rewinding back when they were doing the thing, actual video onto kind of eliminate that I kind of put myself in the students shoes as well . And I would if I'm trying to learn something that I would want to do it step by step and it's just much easier. Just watches that bastard because you can always fast forward kind here. You don't always have to watch every single step book again. If that's what you want to do, then go ahead. No problem at all. 21. Complete sketch part 7: so again, just doing some finishing touches here, just adding more and more detail. What we're gonna do now is we're gonna look at these houses that we've done these little three houses and this little boat house that we have. So I'm not going to go in with the color first. This time I'm going to do the outline. First on that is to demonstrate that initial technique that we did with the pencil work and the the inquiry when went through the techniques and we added color to see to bring really bring out that difference. And that's what I'm going to try achieving here. So I'm just gonna literally outline the house, so I'm just gonna keep it really leaves, outline it so that we have some some kind of guidelines to work with. And let's just do a little outline of this window. Maybe just pull the old across the name on the chimney here, Nice little design, and then we're going to do the same with these houses. You know, this big house head, nice little outlined, and then in front of that rebuilt another small house houses houses only. So carry on again. You don't have to be super accurate in your drawings to practice colored pencils because we don't appear to produce masterpiece perspective. Perfect drawings out. We were just concentrating on how color is used. Toe add to a scene toe to some artwork. Onda help specifically how these call it pencils work, really? To get a practice on this material and really to grasp hold of some of these skills and techniques and then the detailed work can come late around when you've mastered how to print. Use these pencils because you don't want to waste your pencils trying to do detailed work. Well, you know, perfect work and then be disappointed. And then it's just a waste of, isn't it? So basically without lines, then we'll keep it simple. What? I'm gonna do any cross cross hatching on that yet We're gonna do the same for the boats head, so just keep it really, really lights on the outline, adding a nice, thick outline border. That may be just some detail here and a little bit over here, right to the end that on then, just a little bit on that. The too many house I have on this tiny boats. So we've got that here on. Let's just keep the doubt. That's a window in the middle. Keep things the same on. We're pretty much done on that little mini outlined. Now you're probably thinking that Oh, there's loads of these little scratch lines from pencils all over the place. So if you want, you can rob these out, you can raise them personally. I like to keep them in because it just gives that authentic illustrated look, so I'm just gonna keep them in. But by all means, you confront them out if you want to, to keep things nice and Nate. 22. Complete sketch part 8: So what we're gonna do now is we're gonna add in some color now, and I'm going to go in with pure collect from these pencils on a thinking winner Go for an orange. So let's get some orange colors out. So we've got these two. Let's have a look at these. So what we got here? We've got a dark chrome yellow, which looks really nice. Then we have a dark cadmium orange, so just bring that back on the on the camera on again. What we're gonna do is just a quickly toe swatch check to make sure that they're not gonna look too crazy. S o there's that light orange yet that I think that's gonna work really nice and then get one for the dark. Yep. Got a little bit of dark orange. They're very good, I think while also do is add maybe a lighter shade of yellow just to balance things out of it. So we've got again. We've got dark tone, mid tone and then a light tone and a light yellow I've got here is a just a standard bog standard. Cut me and yellow. So there it is. That's just have a look at this on the swap. Will this work? Absolutely? Yep. It'll work. Let's get started with this. So move. That's watch. Out of the way on. What you do is we're gonna go in into these houses were gonna go into these hours. L love to go into these little houses. I wonder what's cooking. Eso Let's have a look. Let's just slowly at this color on, I'm keeping it light. I'm not burnishing at all, but what I'm going to do is a minute of a full color on this little house and you can see like some of that graphite is mixing in with the color on. That's not a problem, because again, I want to keep things looking nice and old school illustrative style. I think that gives it a nationally so effect. So we're gonna just add a little bit off yellow to the base of the house on. Let's continue doing that on this one. Really nice bright yellow that cut me and yellow very, very nice. You always want to choose colors that, like in a work well together on again having an understanding of colors, it comes with time and practice so the best way to practice is just literally Call it color things in. Just do a little scared, Choi. Even if you have a coloring book because loves gardening books out these days, I don't coloring books, all sorts. Just start colluding a page from a coloring book or just, you know, draw Little House or just put Just call it. Generally just color in a page with different colors on. It's always sometimes the good at its a la the colors that you have just to do. A swatch of every single color on that kind of gives you a bit of an indication off. You know how your color is. So let's do the same for this. The alehouse, belts, boathouse, whatever you wanna call it. So we're just adding that yellow, and you can see that some of the blue that came over from the watercolor that I did on that adds, and you can see just blend straight away into a green, which again it just adds to the authenticity of like old school coloring. You know, we don't want everything to be super clean. Otherwise, you know what's what's the point? Well, that's just my opinion, but I like to have things nice and ruffins sketchy, and I nearly broke my pencil then. So let's have a look at the Midtown. This was the mid tone orange that we chose. Was this called him? This was called Dark Chrome Yellow. Beautiful. So let's start adding in some shadowy type areas over here. Bring out some of that color. Really nice, but a depth just here. You can see him just blending this color in in circular motions, like blending pencil to pencil. We've got somebody. There's also some advanced binding methods. Again, you can use alcohol markers to blend the colors. On day, there's a siren outside. You know, whenever you do in a class, you want nice peace and quiet. But you know, you always get these nobodies. Is that constant all the time? A. That's just life. So there we go. We've got a nice bit of at the Lend going on there, so I'm just going to continue that same method across here across these other two houses. On that way, we'll have a really nice look. So, again, is there is 1/3 house, very light, no burnishing involved in keeping things nice and lights really to bring out that vibrancy of that of the deep yellow that we have. So a little bit more pressure across the tough I must move to this little boat house had in the orange, medium orange color the mid tone on Finally, What we can do now is adding our dark orange on this could be added in so really bring out those dates, cells and just going out this in on the corners here blended sit in circular motions around the sharp edges. And we have a lovely blend going on over there so again on this side to do exactly the same on these edges go win really lights across that window and then in circular motion, we just blame that out. We don't want to completely cover it because you want to maintain some of that yellow. We just blend it out nice and lightly so that the color is nicely dispersed. So again, on the third house here, under the roof on the side circular motion, blend away on that corner of that window. Circular motions. We just blend it out, blend away from the color, and you have a beautiful little grade in going on there. So with the little dingy boat house, we just do the same. Go into the orange around the corner of that window, and that's about it. So just look back. Always look back at the are once you've done it, so we can have a kind of overall view, a bird's eye view of the whole scene. Sometimes that can bring in some new ideas that you might want to try out. So we've got a nice little scene going on over there. So all we need to do now is we need to do the roofs, the chimneys and this little boat. So let's decide on some colors. So you have some nice greens, blues, yellows on reds. What we can do is we can bring in maybe a sharper Red. I I think I'm gonna be using this magenta. If you remember, This is a magenta that we used in the techniques videos in the previous videos, which is an absolute beautiful class. So when you use this magenta Andi as a lighter shade to accompany it, I think what we'll do is we'll use a light pink and then for the light pink. What I'm going to use is this medium, medium flush, I think it says Flash. Sorry, flush. Medium fresh. There it is to bring on the camera. There's that zoom medium flesh. So let's start adding this in search. Zoom back in. So what I'm gonna do is really lightly with the medium flesh. Now that's a right on the edge of that roof. Do that for all 33 or four little house reefs cleaning the built E little both See a little boats, right? So carrying on that and now we can do some lovely cola with that magenta Really like that Mogens to collect. Commit that decide on Let's go in with this magenta. Now for this I need to sharpen this pencil because it's slightly blunt now. So what to do is I'm just gonna quickly sharpen the pencil just using my standard Start the shop again. Sharpening techniques were explained in a lot of detail in first class. And check that out from literally using that same technique to bring out a little bit of a chisel on the end of this pencil so you can see now you can see that little chisel at the end of that pencil, right? That beautiful. So all we need is to bring out some of that detail of that house roof. We just need to go in with that chisel point and start flushing. It's out. So there we go. Going in quite hard. Also, that edge keeping within the line off the reef. And again here quite hard there. And then I'm going to blend out circular motions and then blend out again from here, into that pink. There we have it. Don't. So we're gonna do exactly the same with this. Nice, sharp on the edge. All that reef blend out into the pink. Circular motions Do the same again till the paper. If you need Teoh, usually need to have caused a little smarter. They're a little smudge. Don't like them Smokies. Right? So sharp on the bottom side of this brave and then blend out. Likely very lightly into that pink. Very good. So again, on this one, doing exactly the same thing. So basically. So there we have it. So we've just call it in our three roofs, and we just need city. The last bond on the small little mini house. We're just going in on the edge on the inside. Andi will go in on the edge of the outside here just to add some visual interest on. We don't need to blend out because it's quite a small house. So they only a few more elements to color in over here. So what we'll do is, I think, will do. How about a purple? So not used? Beautiful Purple luck way. So we've got this lovely purple here on then I think we'll use some balloon. Now. These are Let's have a look at these coalition. We've got a What's this called? Go the other way round. Keep thinking. Get all funny now Answer so well. Let's look at the blue. So the blue is It's called a zoom. There it is. It's called blue turquoise. Well, that's a fancy name, isn't it? Bluish turquoise on. Then The purple is just standard violet on these pencils. Very blond. Should have really sharpen these. Before I start to the questions, I Well, there you go. There's a lesson for you. So you need to ensure that you sharpen our pencils before you start your sketch. Just avoid having to keep giving this while you're doing it. So again, just using the standard shop now on. Let's just get a quick little sharpened on this on on the other one. Lovely Joe Play on. Let's start with the coloring. Okay, pencils sharp earned. Let's have a look at them sharp points. Look at that. What a sharp point that is again. This is the advantage of these polychrome owes pencils. You can get absolutely beautiful, sharp points. So let's do a quick little swatch off this color. See what color looks like. Yes, I've really liked that Blew that Blue is brilliant on. Let's have a look at that purple. Yeah, I knew I was gonna like that because I just love purple on. Look at the blank. You look gorgeous, Ben going on this. So let's get on with this. Let's do the boat first. So let's add in. I think we'll out in the blue. Let's start off with a base blue on just at this color green. Look at that color of water. Gorgeous color. What's this called? Bluish turquoise, isn't it? And it's a three star as well. Isn't it so very nice very nice color. This I've got to say I feel like just clearing the whole thing. Any of its collection. So nice rights. Okay, Doke. Let's just carry on. I don't believe that a blue And then that's add on this purple from the top Andi The unknown early No, you don't. With the coloring side of things So that should blend that purple into the blue He but quite dark And bring some blue back in the blue Here and there you have it. You have a beautiful blend. Ah, purplish blue. So let's just do the same for the chimneys Just adding that purple having the purple hair add in the purple in these little top opponents. Andre will do the same for this one here. Purple him on on the top of violence. And then we can just add in that boy for that thing that those in the middle don't you know what that's called? And I think that's enough for that again for this world. How did that blue element And there we have it, folks. So I was color elements off. This sketch is pretty much don't 23. Complete sketch part 9: she can see that on the screen. Got nice, balanced image. They're not call it would not call it the Sky Area s. So we're gonna leave that towards the end. But what we're gonna do now is now we're gonna come in with a little bit more detail using our fine liners. So let's find the multi line again. So they get beginning to be using our lovely no 0.7 mil multi, Lina. And let's go over some of this work, so just get a little bit of zoom in. No, there we go. So we're just gonna go in, create some details going over the cooler, and you can see how easy that is toe detail to the actual color again. That's one of the advantages off using these amazing pencils. Just add some dots, represent layout, the panels, and we can do the same for the chimney area. Adding some dark here with the pen going all the way across, That'll do. So what we're gonna do is gonna do the same for these two houses, and then we're gonna move on to the boat right then. So the detail has been done. Detail work done Now what we can do is maybe, just maybe, we could add in some water coalesce. So I think I've decided now that want to add in a little bit of water cooler. So before we do that, we're gonna obviously need some water colors to sell its gets our water cooler veins out and see how we can add a little bit more death to this work. So a little bit of water also have a brush over here. What we can do is you can just literally at that water. Now it's just plain water that I'm adding on to the you know, this water area off the image and again because it's waterproof ink. Well, so we waterproof polychrome house, the colors waterproof. It's not when it smudge. So what we can do is mixing a nice light wash off blue without nice that night. Believe going on over here. Nice little bit of blue. So what When there wasn't gonna keep mixing this until I get a decent water wash? You don't have to leave this in your picture. If you don't want to, you can literally just leave us. Leave it as it seriously can build in some more layers. I want to use as many of these techniques that we've learned to kind of really incorporate the main, the drawing that we've got. So I'm just gonna literally adding blue actual thing do on only broke my water cooler trade . So basically, all I'm doing now is I'm just gonna have this blue in really, really lightly of them Streaks of blue in. You can see it really gives it that third time mention if you like, Should I say all the dimensions to just go in really makes it look a lot more like water, doesn't it? Which is shaking this end, shaking that water, getting them water spots in. So look at that. I mean, but you didn't expect me to use water coolers in this class with these these pencils because obviously the colored pencil classes and say, Boy, it's just because it's so dynamic on The whole purpose of this class was to kind of show you. You know, you can do so much with these pencils. You don't just have to use the pencils in isolation. You can use them with so many of the materials, so really bring out the effects. So there we have it. So we've just added a little bit of water from water cooler. Andi, look how beautiful that looks. So there it isn't, folks. 24. Complete sketch part 10: I'm going to do now is I'm just gonna added so I really, really liked line work on with, um, or thin a very, very thin pen. So I've got here a standard Pickman macron, nor point North five lead. Now, this is an absolute minute point. This is one of the small this point that you can get in these pens on. What would you do with this? Is I'm gonna literally just creates, um, cross hatching lines that go on the top part of this just to add insult. Lybia texture. And this is usually my style of work. Why they visit just kind of finished drawings off with a nice bit of texture going in the actual background off the drawing, and that just makes it look slightly different. Gives it that you know, that old school look off, thinking on in crafting it's just absolutely amazing. Look, in my opinion, you don't have to do this at all. By no means you don't need to do this if you feel like you can, even if you've got watercolors. Didn't even do use watercolors for the So we're just continuing our little lines that we're gonna put in the back again. Like I said before, you don't need to do this if you don't want, so you can just go in lightly. I mean, what I wanna do is when I actually do its light slightly all color that goes over these lines with the pres McCullough. Not the prisma Colette that I've said Prisma calling outside That must have said this 100 times in this class. It's the public. Romo's doesn't say. I mean, I don't know why they always begin all these amazing pencils with the same letter. Polychrome Most critical. Well, they both colored pencils on that. What? He could use prison. Look away if you want. Well, I'm gonna I'm gonna stick to Polychrome was because we're concentrating mainly in from Polychrome, most in this class. Onda. Again I mentioned before we're in the third class that we do off this. Call it pencil Siri's. It'll probably be the final class in this corded pencil. Siri's, I'm gonna most likely do the current dash. Luminous pencils, Andi, we'll look at a different style of our with those pencils, literally to give you a good, well rounded kind of beginners. View off how to, you know, deal in the world of colored pencils. I mean, you could weaken, do a lot of advanced with pencils, Really advanced work again. Because this is a beginner's class. We're just gonna literally stick to the basics. So there we have it. We've got actual it'll kind of sketchy background with some lights line work using a very, very fine liner on. What I'm gonna do now is I'm gonna literally with a really light touch. I'm gonna use a very light color to just color in that background. So let's have a look at what, like Aloes we have. I mean, we can even use gray graze a great color to use eso. I've got this great hair. This one over here. What's this one called? This one is a It's a cold gray three. Now, public almost come in. So many colleagues of 20 colors in total. On they have a nice range of grey. So let's just test out some of these grace. So I've got that's a nice gray that So let's just have a look at a few office that this one's a slightly darker grey. So look at this darker grey Yeah, that's gonna be a little bit too dark for the effect that I'm doing. So I think this first initial gray that had a look at it should be fine. But I do have a more warmer tongue of grace. Ls just look out, lads. Yeah. So I think what we'll go forwards will go for the 1st 1 So I like this grace of again. This one was called Cold Grey three. If you want to use this and you have this in your pack or if you have this pencil, then go for it. So with this one, I don't want this for this technique that I'm using. I do not want to use a sharp point on this because I'm just going to do this for background color, and I want it to be really likes. You can see with this. The point isn't very sharp. It's quite a rounded point. And that's ideal. Perfect for what I want. So for this, I'm going to be holding the pencil quite further back literally towards the end, off the pencils, about the end of the pencil place. I'm just gonna hold it like this on use the side of the pencils Tilt my paper to the side. And just like this, we're just gonna lightly color this and very, very, very light. You can see that that color comes off quite easily. I'm just gonna keep it. Really, really. Night. So I'm gonna do is on top of the of this kind of sky look that we've got I'm going to use. It's great. So we're gonna grade it gray from the top, and we may blend this into another color, which comes closer to the horizon line. So what minute it was going to just keep it gray all the way here from this area. So this this area from the edge of the top paper about up to here, I'm gonna live in gray in this nice little grade on going to keep it very lights or just going backward and forth with a very light touch. You can see it's bringing out some peaks. So what? When it is, I'm gonna try shaping out some background kind of mounting type area so you can see that you can already see them forming on. This is a great technique to use without having to have have to physically draw the peaks into the background because what you want to do in an illustration is have that separation between background, mid ground and foreground. And if you don't have that separation, it's quite difficult to distinguish you know which everywhere of your artwork refers to what on then, you know, move your eye around the peace or, you know, have the user move there. I around the peace is very difficult to navigate, and it can become a bit like it's complicated. So to avoid that complication, we can just add in a very, very, very light background here, and we're just gonna form these background peaks. And I think that I'll give it a really nice look. May know, even, really need to add any color to these peaks because if we conform them efficiently, or should I say effectively, then they should work on their own. So, just like that, one day we may just adding in mawr off this color really, really like Now I'm gonna go for a second layer on going to just go across the page with that color you can see. I'm adding in a bit more of this collapse, and it's really coming out. Is looking really nice with those kind of like, you know, cross hatching, hatching lines. Should I say the ones that we did really like? That's what the gray will work really well with. It works well with ink, and you can see that the lines, if the rays going over the lines and that just makes it look so much more soft and subtle, that background and then it kind of creates the illusion that you've got these peaks in the background. Don't they can see them on the camera very well, but while there is, I'll bring them closer up on some don't. So, again, we're just going across to create the those you know, the very basic shapes peaks of these little mountain. The fluffy things are in the background against the fancy little world that I've got. So you know it can represent anything, can't it? So try would try this little technique here that I'm doing here. It really will add a bit more death to your work, but if you don't want to try it, that's no problem. If you feel like you know, you might ruin your artwork by David This then you know, don't Don't bother doing this. Just believe it as it is because I've used I did this technique all the time. So I'm quite constable in, you know, experimenting on again. This isn't a final piece of artwork. This is just a demonstration. So, personally, I would say give it a go. Don't Don't be worried that you know, Elise, you don't such a beautiful illustration and then marry you think you know I don't want to ruin it. In fact, I would save room in your illustration because you're gonna learn from that. And then your next illustration that you do is gonna be even better, isn't it? So, yeah, that's probably not gonna sound my good advice, but ruin your illustration, then he can improve. But if you don't make those mistakes, then you're never going to really improve than I. So let's just try them in this. What we can do is we can add maybe a little bit more death to this color so we could add another color. And I think what we'll do is we'll just add maybe a kind of hints of blue this great because what the blue will do is it will work. It's a complementary color in terms of the CIS. Similar shade to the water on that will work quite nice. So let's add in a little bit off light blue on. I think what I'll do is let's just test that blew out on a swatch before we add it on. Remember, very important to test out you call it that will be to duck. So we need to find a mid blue or a very light blue. So we could possibly use the same believe that we use before or we could use a complete alternative. Collect. I think we'll stick Teoh. Yeah, we'll stick to this move. Or actually, let's have a look at these other grace we could add. Yeah, so what we'll do is we'll add, will add a school darker grey. So let's up this darker grey that we looked at before, and what this will do is this will just kind of increase those Tom's from the top part coming down so you can see this very, very light and if it effectively add another layer off background so it looks like there's another level of peaks in the background. So I think that I work quite nice. So you can see over here we have the white fluffy things in the back, and then you've got some lights of grateful for things. And then now you've got some darker four feet things. So we're talking about three for three today. Outweigh. So let's just carry on with this. I'm just gonna continue. Keep it very loose. Don't go into hard. Andi think that'll work really, really nice. So you can see we have some type of pattern emerging from the back ground, and it just adds to that detail, doesn't it? Just really adds to that detail, and it brings out the overall interest off this off this piece. Otherwise, otherwise, the drawings can sometimes be flat, Carly, But there's nothing wrong with flat drawings. If that's type of look that you're after again, I'm going to say this again. Art is about what you want. Think something to look at, not what other people want. If you're trying to please other people. Yeah, and then you're gonna keep trying and you never gonna pass because nobody's ever satisfied with anything. That's just life isn't it? Anyway, I'm going to stop going on with Mr Health about pointless things and let's concentrate and just look at what we've done, so that's pretty much it. Let's get a quick little zoom into the image and let's frame it up in the camera in the lens on There we have it, folks. So we have our little illustration. What we can do is we can add in some more details so we can use our thicker 10 to just literally add in some details on that water just to give it a little bit of interest and to make it maybe a little bit more realistic. Obviously, we're not doing a realistic drawing here. This is just a demonstration of like a fantasy drawing, but it's always nice had in a few extra details, cross hatching details, stippling just to really bring out the overall look of the drawing and to kind of complete it in one way, Teoh not leave things on complete, but sometimes leaving things on complete can be a good thing, can now count this. So I'm going to do is keep just adding into more of these lines to kind of represent the flow of that water on that, pretty much it. So I hope you've enjoyed this sketch. I know it's been a long one, but my whole point of doing this sketch like I've said before, was so that you could follow along where you could see what I'm doing and when I'm doing it . But if it's something that you didn't want to do, you can easily just fast forward. You know, to the parts that you want to practice on, go ahead and practice and do try out this project because learning something is great boat . If you just learned techniques and don't practice, and then you're gonna there's no real point is that practise the techniques and then do a complete piece off our work like this. Andi, it will really, really help your journey in college pencils. So let's just move on to the next video on around up this class 25. Class project: Okay, welcome back. So now we have covered quite a lot of little techniques in our illustration. Videos on it's time Now for you to get your pencils hands start practicing. So for your class project, while why I suggest you do is if you have all these materials, such as carbon pencil, graphite pencils in Kleiner's big pens, alcohol markers, even with Prisma colors or some water color. And think you don't have to have every single one of these products to be able to do this class project. But the mold and the more you have, the better it will be for your experience. So I just want you to like Abdon over here. I want you to practice doing a swatch mix the color in on, do a little illustration on the side. I mean, if you want to do exactly what I've done here, by all means, go ahead and do that on once. You don't that on. Once you've had a nice little practice with these public grow most pencils, using them with other mediums. Then I want you to start your own sketch on. That can be in any form at any size, but I do recommend going for something small like I did with the demonstration sketch over here on. If you want to copy or you know you want to follow every single step of this sketch, then please go ahead and do this on. Watch the sketch from beginning. Pause it, rewind it fast. Forward it entirely up to you. Once you completed, you sketch. Do remember to post it in the posting class group on this class s so that we can all see your amazing, beautiful artwork on. Please do give this a go. I mean, if, like I said before, if you don't have access to all these materials on, you've only got maybe a few pencils. Then just use those fuse pencils to come up with a sketch. It doesn't have to be as intricate or, you know, as detailed as this. It could be a complete basic sketch. Just do a little house or you want to be a fancy. So do give this a go. And if you haven't watched the first video the first class which was using Pres Nicholas and the various techniques of blending, layering, etcetera then do give that a go on. Then give this a go and try both in sync with each other. So I really hope you try this out. I hope you've learned something from this class, Onda. We will now hopefully move on to our final thoughts. 26. Final thoughts: Okay, Just a couple of final thoughts now, on what we've learned in the class and what we've kind of learned over the course of both these classes in the Siri's. So in first class, if they've gone through the first class week went through pres Mikola pencil. When we learn basic techniques, absolute beginners stuff. And then in a second class, what we did was we looked at Polychrome Wells as you've just gone through in a little bit more detail, with a few more complications with mixed media on textures to see how you can bring both of these techniques into a complete sketch. So I hope you've enjoyed this journey and colored pencils on. By no means has this ended because we are going to continue that Siri's into Class three, which will be released later on at a future date. And we will most probably looking at luminous pencils by Karen Dash on, maybe look at abstract art and how to incorporate such pencils in that type of genre. So I hope you've learned something from this. We covered a lot of things on. We did go through a real time sketch, and I know that was quite long, but I hope you benefited from all the steps and procedures that I went through to produce that sketch off polychrome most on mixed media arts. So thank you so much for your time and support. And please do give the class project Go on, post your beautiful pieces of art in the project Gallery on Also, follow me on skill share because I've got love classes that are going to be coming up that are in conjunction with illustration art on. We're also gonna be moving into graphic design because, you know, as I said before, I'm a graphic designer and illustrator on I'll be covering both of these areas in a different way so that you can learn on have the best possible experience. So do follow me and skill share. Keep sketching. Sit back, relax