Drawing with Soft Pastels. Fierce Lion. | Ekaterina B | Skillshare

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Drawing with Soft Pastels. Fierce Lion.

teacher avatar Ekaterina B

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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

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

    • 2. Initial sketch.

    • 3. Line work with charcoal pencils.

    • 4. First layer of color.

    • 5. Background.

    • 6. Line work.

    • 7. Adding details with pastels.

    • 8. Adding details on lion's fur.

    • 9. Fine tuning the drawing.

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About This Class


Watch over my shoulder and follow along this step by step simple process that you can apply to sketching anything you like.

This class is designed for intermediate skill level but even if you are just a beginner with soft pastels, use this as  an opportunity to play and have fun. Try and see - don't let any doubts about your skills stop you from learning.

You'll see me making and correcting mistakes. It's that easy with pastels.

The goal I have for this class: to share my tips and my excitement over drawing with this versatile medium. 

If you have any questions, feel free to email me or contact me on Instagram https://www.instagram.com/art_ing_around_/ 

Be Happy and Sketch with me!



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Ekaterina B


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1. Introduction.: Hello everybody. For today's drawing him. I chose this reference photo of a lion, but we're going to draw it in a different kind of way. We're going to use very bright colors. For that. I'm gonna use my hard pastels and my boss TO pencils. Also. For the sketch. We are going to use charcoal pencils. Kermani charcoal pencil. I'm wearing a glove and also get ready with an eraser. Amen going start. Yeah. 2. Initial sketch.: So right now I'm going to use my vine charcoal to draw a sketch. Again, if you're not comfortable drawing free hand, you can just copy, print and trace on your sandpaper. Hopefully you have pastel paper already. So you can trace printed version of a sketch and you can skip this step. But I always encourage you to just do your best sketch practice. Oh, hopefully I've all the time in the world and you can just play with it. Especially it's so easy to do with this vine charcoal because it's easily erasable. We're going to cover it anyway with all our soft pastels. And just take your time and try to do the best you can. The more you draw. And the better you will train your eye to measure things just from looking at them. I couldn't draw before is, you know, before I was 40. Just I'd always dreamed about I can draw just as if something turned on inside me when I turned 40 and I decided I could draw it. So I just practiced a lot hours a day and I was just having fun. Just choose the object that you like and practice with that. The more you draw it, the better you will get. So right now I'm just slowly trying to figure out where all the parts go. And I do not know anything about animal anatomy. And I didn't go to an art school. But I'm not going to let this stopped me from having my phone. Even if I'm not as precise as many wonderful artists that took classes went to an art school. I know I'm just going to have a lot of fun and I'm just going to do the best that I can. So I encourage you to just try and practice sketching. You will see that I made quite a few. If we can call them mistakes. I just placed like a nose and eyes too far apart, knows too high. But I always have a chance to fix that. So I'm not worried about making those mistakes. If we can even call them mistakes, then ought mistakes. They just part of the process. And some people who been practicing a lot, they will be faster. And some people who just starting won't be as far as there will be slower. And it's all alright as long as you're having fun and that's done. Reason for this lesson to have fun. You can see that the eyes are, I know kinda off. It is a little hard for me to see behind the camera, but it's okay. I have time to fix it later. Right now. I'm just going to place all the lines spots and I think they should go. Then I'm going to sit down when I draw, I'm usually stemmed in ups or are known standing up. And I'm looking at the reference photo and my sketch from kind of far away. For the next video, I'm going to sit down and I'm going to work or with a charcoal pencil Dry Now. This is my vine, charcoal. And I'm just slowly looking at all the darks and the picture in the loosely sketching lines had the same time. I'm also smudging the darker areas. So this step is kind of combination of sketching and adding darks to the final drawing. Not to final drawing to the sketch, which we're going to cover with soft pastels. And it'll just add another layer. It will look like another. It'll just add to the depth of those areas then is supposed to be dark. You see how fun it is to just loosely placed the dark spots engine smudge them. And I really enjoy this paper, this Council on Dutch paper. It smudges just the right amount of pigment. You can't start anything and it stays in the area that you want it to stay. Like with a smooth paper, it will move around more. But with this vapor, it just stays in the right spot. Doesn't move too far in. The glove works really well for this paper too. I like that. I don't get my fingers bury dirty anymore. Right now I'm watching with you and I see that my nose is a little too high. It will have to lower it in my eyes a little too far apart. And the left eye is is kind of too far in little too high. But still it's starting to look like a line. We're paying attention not only to the lines but also to the negative spaces. The whole right side of lines faces more and the shadow. And the left side is, has more light. So I think I'm done with this part. 3. Line work with charcoal pencils.: We're going to continue working with our sketch, but now I'm switching to charcoal pencils. So I'm gonna start with this charcoal pencil by generals. And I will see if I like the weight feels when I use it. If not, I have probably five different charcoal pencils that I could choose from and direct commend you have a variety of them ready to. So I don't want that one. I'm going to switch to my carbon sketch pencil. And I will try working with it. Or need thin, dark lines. They're not going to be the final lines. But right now I just want to bring the sketch back to live and I would like to have a start before I start placing colors on paper. I am also fixing mistakes that I made before because now I'm sitting down to see mistakes when you sit down. I'm constantly looking at my reference photo. And I always try to draw the same size drawing as the reference photos. So I could kinda have an idea and I could measure if I needed to, the lines sizes, like right here. I'm checking if the eyes are the correct length apart. I'm not trying to be very precise, but I don't want to make him look wonky. Something. Absolutely love the when I just sketch, will or can white. I'm creating very dark lines, goes dim to be seen. When I start to blend color. Let's another an eraser. Very, very tiny, tiny point. And I'm smudging everything because I like combination of sharpness and smoothness. So making sure that the eyes look symmetrical. Although he is kind of a lightening girl. But still we want the coloring of his eyes look symmetrical. So I'm just bringing drawing all the lines I see on the reference photo. Lines that divide lights and darks in. Well, I have a chance of most so using my pencil creatively, I am drawing the lines that are supposed to look like hair roughly because lines, hairs kind of rough and horse. Is that correct or not? I can still see that the eyes are a little too far apart in we can fix it in any point. So it's not a big deal. I'm looking for a pencil that is has a point here. This area right here is supposed to be very dark zone, just getting a little more dark with my pencil. Smudging honorary thing. If you can't see right away, were cherry, they're darker to squint your eyes and just see those areas as blobs, spots. And then tried to replicate those blobs on your sketch. We could already still Brian Hearing and would be a nice drawing. I was really tempted to stop right there, but I felt why not dry at some color? This is the eraser that's not supposed to leave any mass, but it was not a good eraser. Grab a hard the racer, whatever you have. Now we use an eraser like a drawing tool. We erasing some air is as if we were drawing with a pencil. So when we are an area of hair, we using the eraser to create hair's not everywhere. Only where the hairs highlighted the lightest areas. And I'm just doing my best to create a shape that resembles hair. Brush them, just cleaning it up. Because I used the brush, it kinda erased a few wines. So I'm going to bring those lines back. Fixing the shape of his eyes and he's nose. Comparing the ingles. So draw them correctly in here and see that I raised his mouth a little too high and any lower. And you can see that the left spot on my paper that I couldn't get tradeoff. So eventually I covered it with pastels. I couldn't erase. And that's where the research didn't really work for me. Fixing the shape of his nose with an eraser and smudging everything. It's like sculpting or new sketch with charcoal and flex sculpting. And that's kinda fun. So we start with our sketch. I hope you've been with me. 4. First layer of color.: Now I have my new pastels ready. So they are soft pastels, but we call them harder hard pastels because they are harder time comparing to some other brands. And I really like them. I like because I have control with them. You have very sharp edge, which will be very useful for drawing hair on line. And I am starting with his hair, red coastal stick. And I'm applying it to paper whereas well, you will see you were a place red, just tried to do what I do if you like where you can choose your own colors. So I see this line is firing line, fierce fiery lion with red hair around his face. So read their tones into orange. So when I apply yellow, orange and yellow, you create orange. So I'm using sight of my pastel stick to apply it to paper. And I move my hand so it creates the lines like hair. So different pastel, it's no hard, fast out soft pastel. Softer type out of soft pastels. Noam just merging because this point we were working on the under painting. And we're going to place all the details on top of this to create depths. And here I'm applying purple postal stick. I'm not sure about the color. It's an experiment to me. Will see. When you blend red and purple, it could be brown, which is totally fine. But you will still see some purple in there. I don't mind playing many different colors to hire because the more colors you have, the more interesting and we'll look in the, in this yellow I chose, I wouldn't choose it again, it's too bright. It's kinda lemony. Yellow. Even does look like it right now on camera. Would choose a paler yellow. This point will read. And it's much a noodle together because it's under painting. But again, I love this paper so much. It just doesn't, you know, smudge everything, just stays in place for the darker. Shadowing areas of his face. I'm using bright blue, dark blue. You see I'm applying and blue to the areas that are already darker. And I want to move his mouth a little more. Done. As you can see, I made a mistake and no fixing it and it's not a problem. This paper can take many layers. So never ever worry about making mistakes when you draw with soft pastels, charcoal, applying a lot of pressure to blend those areas together. A little brighter blue now. And you can look at my final drawing and see where I'm placing colours and how they change. And also you can experiment with your own. You can, or you might not have all the colors that I have. So just play with what you have and see if it works for you. Because there's paper has very, very distinct tooth. The goal, the colors, OK, very bright on it. This is an orange. And just like all my drawings, everything is an experiment to me. And I want you to get into that spirit OF experimenting yourself. I don't want to, you know, coffee's face blue and his hair red. So I'm adding summary days face-to or cures orange. And we'll see, I'll play something else on top of it. But you will still be able to see that reddish color through because it's layered kinda drawing. And again, my super bright yellow because it's her eye next to below. You can see it's turning green a little when I'm blending in it. And it's not a problem. I need a cooler color for the darker part of his face, which is the right side. And choosing this cool green, it's kinda pale green and probably has a little bit of blue in it. It's very pretty color blending it altogether. And I'm not afraid to touch the areas and make kind of muddy look because I don't need this drawing look unified. So we want to connect all the parts together and see which colors work together, which ones don't work together. I really like that my drawings are very spontaneous and organic. And they come from that moment that I'm in. I rarely creative sketch. Because for me, drawing is like jumping off a cliff. So your mind doesn't work. You just in the moment with your reference photo, creating something that comes from your heart or soul, not from your mind. I do not like bringing mental process to my drawing. I want it to be spontaneous. This is a pale yellow color. To lighten up some areas and see if fits to abroad or not. I want to see what range of colours are can use. While creating news under painting. I'm learning about the colors that will work for me. And I encourage you to play with once you have this vine charcoal. And I just wanted to bring some parts of the sketch and darken some areas. You can use it to dark in some areas it doesn't change. The color, just makes it a little darker. Pretty much done with the under painting. Or we'll be adding pair lines here and there until I'm happy. 5. Background.: Now I would like to work on our background. I picture to be a dark purple color. So I'm starting with a dark purple. Purple looks very nice next to yellow or orange. This is a square soft pastel stick from Terry Ludwig set. It's not covering the paper completely. You can still see the paper of term Robert in pressing really hard on paper. So at this point I would like to add a softer hostile stake. Maybe blue or color. Purple, just purple. Blue. And I want to connect it with the hair. So I'm using my hand and the direction of hair growth. So when I blend it in and just press my fingers and move towards his head. Now it looks like fire. And that's how I want it to look. So its working. And this is a blue color from a different set. They think it's Jak reaches and colors. And it's really blending really well with the purple and blend in with the papers so well. I'll love it. Feels so good. And again, I'm Robin towards their hair, towards the head. So it becomes part of the hair. And I want to cover my yellow paper everywhere. And because I love this color so much, I'm adding it to his face and to his right side, especially. That's the part that is in a shape. Also, it's a way to connect the background in the drawing together. Before I lose all my lines and bringing them back with my charcoal pencil. And I'll continue doing that while we were working on his face with color. Because it's really easy to erase all the lines. And we don't want to make a mistake. Lines help us see where the features go. I'm using still the same gloves. You see how dirty they are, but they still clean up very well and I have no problem continuing using such a beautiful blue color. You can see I'm smudge in it like in a direction of hair growth again on how the hair falls. It looks like the alien creature from Avatar. Even though I like working with my hard pastels, new pastels for background on this paper. I had to use this soft pastel stick from another set. Just made my job easier, faster. And you can see again, I am moving my fingers in inline with their hair. Now helix, I can lean year, American Indian. Using darker color to again clarify the edges of his face to define it. And check my proportions. Again, it reminds me of sculpting the fingers. 6. Line work.: So I'm going to try to use this pencil crater color, supposed to be really, really dark black to bring some lines back and fix areas that might have been erased by me rubbing the paper so hard. You can use any charcoal pencil you have. Just bringing back some lines, the sketch. So we don't make a new mistake. In editing lines. Two parts are whiskers. Whiskers commode helps you see if you're correct with your proportions. It's like building blocks. You making sure you're placing the right ones in the right place. And you can still manage everything in the lines will stay there because of this amazing paper. Of course, we want to work on the eyes as soon as possible because eyes really helped us create the illusion of realism. And we're getting very close to working on the ai's. Different artists. Different artists will tell you different things about which pencil is the darkest, which one will like to use for their blackest areas. And I'm trying them all and I don't really seem to notice much difference. So just use what you have and it's going to be fine. Nothing will be as dark is pastel stick. So some point I'm going to use pastel stick for the darks around his eyes. Pastel pencil or even charcoal pencil won't be enough. You can see at this point I'm just trying to make sure I have correct proportions. My hair isn't the right place. If the eyes are in narrowed place knows in the right place. Because this area is not as dark as I'd like it to me. I can easily place my charcoal, pencil and darkness a little more. It doesn't, again, change the color. You can still see it's blue, but it makes it darker. Even though this paper is amazing for pastels, it's so rough, it's hard to cre tiny details on it, drawer details. So we'll do the best weekend. But don't expect the eyes to look as amazing as a wood Luke on pastel mat or smooth, smoother paper. I hope you're enjoying this flesh of colors. I am. 7. Adding details with pastels.: I changed my love because now we're going to use postural pencils and work on details of the drawing. I want my glove to be clean. So we'll start with his eyes. There's a midtone xyz I see dusty kinda rose color. In, even though my eraser made some mess. Left eye, I can easily place my pastel on top of it and it looks great. You wouldn't even know that there was a problem there. His eyes are not going to be super realistic because it's a kind of stylized abstract drawing of a lion. And we just do the best weekend. Have highlights darks in it. The IRS's and that would be it. And it will still look beautiful. Rose color. Pencil. He is, right, I will darker because his face is turned. Also, it's really hard to create realistic details on this particular paper. Little purple, top of his white part of his eye. A little lighter outline on the bottom. And I'm using kind of purplish grayish color to highlight. And that's where I need my black pastel stick for the outline of his eyes. Because as I said before, nothing will have as a rich pigment. I'll stick no pencil can replace pastel stick. I don't want to use pure black for the I, the outline of the eyes. So I will add a little more blue or purple on top of it. Also, I'm going to use pastel stick black-owned for his nose and blue on top of it. Just to keep in line with the colorful drawing. Blood could look beautiful as well. Some editing, some areas of blue on top of the block. To cover larger areas. Use side of your stick to create lines. Just use the corner of the stick. Bringing back the highlights with a pale yellow. 8. Adding details on lion's fur.: We're going to continue working on the details from using this pinkish color monkey's hair. Because it goes better with a blue and purple. Rather than read amusing side of my stick and move it just like the hair falls in the picture. Creating choppy lines. Rough choppy aligns. A little paler yellow than I had before. And because it'll want to draw each separate hair, I create like a thicker line in a pool, thinner line from it. So as if there are bunches of hair together. And I'm gonna smudge altogether to create the illusion of volume. And pay attention to the direction. It's kind of chaotic and you don't want it. Each hair pulling in the same direction. You'll wanna look messy. If you're not sure, just keep looking at the reference photo and follow the direction of the hair on the reference photon. Well, I still have my yellow. I'll just add some highlight. His face. This is a butter yellow than I used before. The other one had some kinda lemony color. This is much, much It's kinda calmer. Yellow. The other one was screaming. Looks gorgeous, right next to that pale green. Because he's right side of the face is in the shadow. We do not want to use yellow, some using TAM kinda pinkish tan color for the highlights on that side of his face, including the lighter areas, areas around his eyes and back to yellow on the left side around his eyes. We want to create this illusion of perspective. We don't want to be too realistic, but why not add a little dimension to our drawing? It will look more impressive. So yellow highlighted areas. Again, this puzzle of Graaf, hair on lion, some blending them together. Now I'm going to use my pale green. Got a little duller with older blending so we want to make it pop. So I'm adding this color and some areas mostly to his rights out of phase. And then we'll use the same color but darker to create dimension. Shadows on the right side of his face. Hearing there on the left side. Just to create this folium, move his head of hair. This is a darker version of the same color. When replace it right next to the lighter colored. It makes it look more 3D. And in that shadow arrow area, we're placing some hairs. This darker green to make the ghost kinda look of hair. Is hair there, but we're just suggesting that there's hair, but we're not going to make it look more care to kernel or suggestion. Burning blue. And I'm making those choppy strokes on paper to suggest that there's hair there. But I'm not drawing hair yet. A wheel with pencil with dry now with the sticks just covering bigger areas in suggesting that there's something there. 9. Fine tuning the drawing.: For the last part, we go into years plus tow pencils to add all the final details. So I am switching to pastel pencil. By car industry. It's a pale green. Just policing it. That color wherein think are needed. Where already pleased that pale green before with a stick, I'm just using pencil to create the hair. To draw the hair. I am not drawing each separate Hair. I am corner Workin really fast. I'm not I'm sticking my pencils always on paper. So Karla, zigzagging in paper. At this point, I'm lifting it off paper to create separate hairs, but I'll do it on only in some places. Like this point seems to be important. So I'm lifting my pencil paper. But most of the time we'll just kinda scribble. And it's much a little bit of red. Back to his hair, his fears fiery hair. As an accent, it works. But it wasn't good as a main color. So like the violet color better. Sum over a Dani's face to bring two together his hair. So he's faced doesn't stand out by itself without any warm colors. Or read. Just ended in a few places. Credo color, yellow pencil. Working very fast. I'm not lifting the pencil of Faber in a moving in a direction of hair growth as I see it on the reference photo. I'm pressing harder on the hair part, so I would create separate strands of hair. And you see how many colors were handling these hair. There's blue and purple and violet and yellow and orange and red. And that's why it looks so beautiful and full. And we'll probably add some charcoal to it. To the darker areas. Pink. I love this pencils, looser content pencils. They're so easy to work with a leave beautiful lines on paper or on any vapor. I would never tell you to buy a certain set of pencils. But I would totally share with you that I love pencils made by current does and by content. Those are my favorite. But I have different brands and usually don't even pay attention which ones I'm using. I just need a color and a goal for color, known for brand. Sometimes certain brands won't work on Zorn papers, but you have to play with that and figure it out yourself. And I'm back to my charcoal pencil. Some areas that we'd like to look more defined. Right there. There's a little separation and use nose in. The only way to create it. Excuse me, is by using a pastel stick with a charcoal pencil where adding contrast to his hair. And negative space. You can see I'm coming from negative space into his hair and his eyes to work more defined. I just sharpened my charcoal pencil and I need to get close to the eye. So I'm using back scratcher to place my hands-on so I don't to rest my hand on it. So I don't so much what I've already drawn. Because now I have to use very precise strokes to the line Sony's around his eyes. So I need more hand to be a very stable. You can easily place a piece of paper there too, and it will totally protect the rest of the drawing. This is white pastel pencil. I am bringing the highlight. It can see as I pop right away with a highlight and a darker lines around is I. And that's how we make care look fuller. By editing. Darker areas are next to them, very bright colors or bright light colors. Just suggesting that there's hair they're drawing individual hairs. Those are areas where the whiskers grow from. And that's what we're going to do now. We're going to add whiskers. I have my pastel chalk. White pencil by generals. Holds the point very well. So it's perfect for adding very thin lines on pastel drawings like hairs, racecars. I'm starting with that. Although not always Cruiser, we'll be white. We want some other colors there to be bold, make a competent strokes. And this is pale yellow now. Green, very pale green. And, and have a chance I just, and individual errors here and there to create interest. And this is white pastel pencil. There isn't really good white pastel pencil that I've found that creates white lines. So I'm just kinda lightening up some areas with it by placing it on top of other colors makes them lighter, but it doesn't really leave white lines that are anyway. For the highlights, I will use stick, a pastel stick. Just smudging the series that I just drew in. Pale yellow. Strokes. For hair on top of darker areas makes the drawing really pop. More colors, more interest. And this module, it'll, it's a peach color for the eyes. As I already said before though, right? I should look a little darker because of facing away from us. And highlight on the left, dy will be much, much brighter than on the right side. This is a white pencil. And I'm just using it to for the eyes. This is not a pastel pencil, it's a charcoal pencil. So it holds the point a little better. But it doesn't draw white lines. This is the white pastel stick that I was telling you before about. The Four Highlights. Editing it in the middle of the left side makes it look rounder. Oh, and I didn't finish drawings. Whiskers. And we'll come back to that. It's living on even spots on paper because of nature of the paper. And it's perfect for this type of hair. Choppy, kinda rough looking air. We need to connect the whiskers to his face. Not to forget. Now I'm just trying to add some darker areas on the left side on the right side to keep his face in the shadow. Now with a charcoal pencil, just draw some black lines to connect whiskers because you'll look darker against his face. And then the local white Office phase, when they're hanging. We're almost done. Just a few more areas. Fei on his pair. And I don't want that black spot right there, so I'm just going to cover it with yellow. And you see how paper is not allowing me to smudge or blended evenly. Just absolutely perfect for this type of hair. It's not really good for realistic drawing, but for this type, it's perfect. A little highlight on use nouns using dusty rose color. Fixing some areas of his nose, smudging some hairs, so don't look too sharp. And I'm ready to sign. I hope you enjoyed this lesson and I can't wait to see your, your own drawings. Thank you for watching it.