How to Draw a Peacock Step by Step: Realistic Colored Pencil Bird Drawing | Andy Villon | Skillshare

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How to Draw a Peacock Step by Step: Realistic Colored Pencil Bird Drawing

teacher avatar Andy Villon, Artist and Illustrator

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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

22 Lessons (2h 19m)
    • 1. Introduction to Class

      2:22
    • 2. Materials

      8:24
    • 3. Initial Sketch Part 1

      13:49
    • 4. Initial Sketch Part 2

      8:54
    • 5. Adding Color: Beak Part 1

      9:47
    • 6. Adding Color: Beak Part 2

      6:00
    • 7. Adding Color: Eye

      10:14
    • 8. Adding Color: Head Part 1

      5:07
    • 9. Adding Color: Head Part 2

      4:29
    • 10. Adding Color: Head Part 3

      10:24
    • 11. Adding Color: Lower Head & Neck Part 1

      7:32
    • 12. Adding Color: Lower Head & Neck Part 2

      8:58
    • 13. Adding Color: Lower Head & Neck Part 3

      4:57
    • 14. Adding Color: Lower Neck Part 1

      9:52
    • 15. Adding Color: Lower Neck Part 2

      7:12
    • 16. Adding Color: Crest Part 1

      4:07
    • 17. Adding Color: Crest Part 2

      3:14
    • 18. Adding Color: Crest Part 3

      2:40
    • 19. Final Adjustments

      2:10
    • 20. Review and Final Thoughts

      3:04
    • 21. Student Projects

      5:22
    • 22. Thanks for watching

      0:34
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About This Class

Welcome to class!

My name is Andy Villon and I am happy to have you join me to draw today. I am a free lance artist working out of my home studio in Greenville, South Carolina, USA. I specialize in drawing animal, cityscapes and landscapes. I enjoy working with colored pencils, watercolors, pastels and acrylics. I like mixing the medias together to get the effect and look I want.

Today we will be drawing a Peacock using Prismacolor Premier colored pencils. Any colored pencil brand will do. Many times I use Caran d'Ache for my drawings. However I decided to use Prismacolor in this class because it is one of the more comen brands that many people have. While they are less expensive than other brands they are just as good. I myself used Prismacolor for many years before switching over the Caran d'Ache.

I chose this subject in particular because I thought it would be easy to draw. In the projects recourses tab I have provided you with my drawing, the reference image, the list of colors and some side note examples.

I encourage you to experiment and find what works for you! Everyones art is different and has its own flavor. If yours doesn't look like mine that is okay! Find your style.

Even if you are a beginner I encourage you to watch this class. Many of the tips I give can be used by beginner artists. Be patient and don’t get discouraged. If the drawing doesn’t come out good the first time then try again. Most importantly, DON’T GIVE UP!

 

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Here is a list of the materials you will need:

Prismacolor Premier Colored Pencils:

Light Umber

Indigo Blue

Black

Cerulean Blue

Ultramarine

Aquamarine

Peacock Blue

I will be using a mechanical pencil with .7mm lead. You don’t have to use that type of pencil for the sketching. Any pencil will work.

Eraser

Ruler

Paper: Strathmore Bristol 11x14 inch paper Vellum 300 series

Uni-Posca Marker .7mm White or White Gel Pen or White Acrylic Paint

Print out of reference photo provided in the resources tab.

If you need help with you drawing skills be sure to watch my “Drawing for Beginners - The Block-in-Method”.

Meet Your Teacher

Teacher Profile Image

Andy Villon

Artist and Illustrator

Teacher

  I am a 26 year old artist working out of my home studio in Greenville, South Carolina, USA. I specialize in watercolors, colored pencils and acrylics. I greatly enjoy painting realistic animals, landscapes and cityscapes. I love teaching and sharing what I have learned with others.

 

See full profile

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Transcripts

1. Introduction to Class: Hello and welcome to class. My name is Andy. We own and I am a freelance artist working out of my home studio in Greenville, South Carolina. I specialize in drawing animal portraits using colored pencils, watercolors, credits, and pastels. I'm so happy that you've decided to join me in this class. Today, we'll be drawing using colored pencils. I want to share with you how I think when I draw and the methods I use for this class, I have decided to draw a peacock. And here on this screen is the reference photo as well as the final drawing. The reason I chose this subject to draw is because I thought they would be easy for beginner artists. Vague cue and draw, as well as more advanced students. While we will be sticking closely to the reference photo, we will take some liberties and add our own style searches when drawing the feathers. What are we teaching is the method that I've found works for me. And while it won't it at 100%, like the reference photo, you will be able to use these same methods and future drawings you do for the class. I'll start by going over the materials you need. Then we'll start sketching the pKa. After that, we'll start shading in the verb, working first on the VGG, and then we'll move on to drawing the neck. The last thing we'll draw is the head rest. And then we'll end by doing a film final adjustments at the end of the class, our own assigned to class, projects and heavy. You have any questions, any questions at all? Please don't hesitate to post them in the projects discussions tab under the video. So without further ado, let's start with the materials overview. 2. Materials: Hello and welcome to class. I'm so happy to have you here in this materials section of the class. And to begin, we'll be going over some of the important materials encourage you to have. And then later on had in happy ones that I'll be using that you don't really need to have with your art supplies. So first of all, one of the most important things we need is paper, and we'll be using this Strathmore Bristol board random paper. It measures, if you can see then here at the bottom, 11 by 14 inches, this is the size I'll be using. Either need to have one is PE and depending on the size of trying something new purchases when I will be using, it is the 300 series and has a weight of 100 pounds. And this paper is really third for working with current. And so as you can see, it's a beautiful white and it's smooth and perfect for working with tensors. And it is nice and sturdy. And so it's not like regular printing paper, they're printed later on. Instead, it's sturdy paper nowadays is the preferred and I've found works for me the best. You may want to do some experimenting and try different papers to see what you like and what works for you. In many cases, I use an illustration board which is safer than this. It's dry paper on cardboard, so it's sturdy and it turned on board. So it has been more warm too much over time. But for this class we're just going to focus on using this paper for drawing and sketching. We using this concern, it has 0.7 millimeter lead. And it really doesn't matter what type of things or you use, whatever you're comfortable with. I'm not going to put in any roles and say you have to use this prints were that for our initial sketch? It really depends on what you read and what you're comfortable with. In my case, I have this one because it has a nice grip. Grip it with the at the end. And whenever I need to read out the red, it has this arrow button, nice and push and it will erode more lead out of the n square. Really love this. And that's why I use this pencil. And now to one of our favorite parts, we have the colored pencil. And we'll be using these prismacolor premier and source set of 48 covers. And I work on these paths miles away. But we see here is ten. And if we look at the pack, we see are over tamer out. So that's the back of it. And in turn around and I will open it up. This is a brand new marks miles away. So here's our first layer headers. Then we have an open-ended where we were the second layer. So here's our second layer, different colors. This has a few pros there will be using in this drawing. And I wanted to point out one thing. And with a Spencer's, when you get them in a cave, see here, they come with is short arrowheads that they've sharpen in the factory. And personally, I don't like these are preferred to have a wrong pointy, sharp and small. And so this one is 10 me using peacock variety of it and I sharpen it with my pencil sharpener. And this provides me with a finer point. With an overall I found it works that are better for what I'm doing and occurring and not surveyors. So I prefer doing this to my Pinterest per decade. We'll be using today. And if you have another brand, such as calendars or fabric has stolen or their wind or any other. Those can also work. I just chose to use these in this class because I know that many people have these may be in a closet somewhere and it would be good to get them out and use them. And there are swamp, it's cheaper than as a brand. That doesn't mean that they're not correct. I have used these for many years before I moved on to using current edge. And so I know that these work and can come up with. For drawings, if you use them the right way. Okay. So I recommend that you print out the first row we working on this photo is provided for you. If you look under the video where it says Projects and Resources on arrayed in fine this photo available for you to download high-resolution. But I went ahead and printed this out to have on file and for me to ever had as I draw an announcement yesterday that covers the material like printed out and not have how is preventing add my tablets ring where I also have the firm. So either way, but my point is, have the follower Ethan, see it. Next, we're going to talk about a rotor. This is one that I use it as a t square. And it was 18 inches, right credit down to about 11 inches. And so that's what I use. You do the 80 square for this project. But I do recommend you have a ruler on and have any size. It doesn't matter, but just have one because we will be using it in a certain part of this class. One less thing that you need as an eraser. In my case, I'm using my kneadable eraser or need and kneadable eraser. But this is what I like to use it as a template for arrays that you can need. And it claims itself over time it does degrade. And New York after creditors help, moving lines and write a tapping on areas even to erase without giving up tumors. However, the material, the last thing you'll be needing is a white marker of some kind. In my case, I'm using a unique marker, 0.7 millimeters, right? And this would be using to add a few highlights and the tails to the eyes. I really know this because these frail very well the credit paint and then throws out. And you can get really fine details with this marker. But if you don't have this, it's okay either really needed but Titian to be doing if you have something like a gel pen or a whiteout pen or something like that, that can also work. You might also use some credit paint on a very fine paint first, and that's another option. Or also, if we have any wash paint, it can also be used. All right, so that concludes our materials section. We're able to take notes and see what you do need. Searches, the pencil and the papers, and the eraser. And then there were some additional items. Ten would be needed to have heavy can, such as the marker and the printed out peacock. So it's time to start the class. Sharpen your pencils and paper. 3. Initial Sketch Part 1: All right, welcome back everyone. I am so happy to have you here joining me so we can together draw this week. We're going to learn a lot from it and built a beautiful drawing together. Alright, so what I've done is I've placed some markers here and here, and in the middle is where our draw the FECA. And on the sides I'll have some notes and also some indications of colors I'm using. I have it listed out here and how also have this scanned and provide it as a photo resource area so you can download their vote without further ado. Let's start drawing. So I have my pencil here and what I want to do is I'm going to take my rotor here. I have my t squared and I'm looking at a thorough this day. I'm estimating the angle of the head. So I'm imagining the head as if they were a Chrome. And you know how we have those curves. And they haven't had access through them. Where they spin happens. And they haven't faced her ear. So similar to this, this, imagine this as the peacocks head, and this right here is the axis. So when I draw, I imagined the high, whatever I'm drawing. So in this case, the head and it'll go right through the middle. So I'm looking at the angle of this, which should be the angle that I wanted to to me and I think it should be right there. So this would be where the point times a week is imagining as if I went right through the head and came out in the back. So this is the peak here, the frontal them beak and this is the back of the head, right? And then we need a second line to represent the neck. And it's true that the neck is curved and we'll draw that in later on. So I'm looking at a photo and estimate the neck is about angle right about there. So our trauma 99, this just helps me visualize the structure of Berg of the body. Helps me visualize what's happening and I can build around this structure. So basically this picture, this as a wire frame to frame and within bird and everything else, right when building reign of a wire inside. And then you build the clay Manon around as a wire structure. So we're going to start modelling. Or maybe you could say Scrum, obtain the head. And now say the head is right, or the front of the head where it means the weight is irrelevant there. So what I'm doing is I'm analyzing the curve of the head and I guess you would say the forehead. And it comes up at about this angle. It froze. And then it kind of stops and curves around. And then receive a look at the back of the head. The 10th is nice angle like this, curving around within its impact Pines Here are always an arena trusting and modifying purse metrics, right? And then look at the back of the head and where it meets the neck. I think it's about right here. And it comes in Embed. And then the neck goes back later on. But for right now, and we're gonna do is we're going to keep curving around. My current bit further down. Curving around and write about hairs will meet the b. I'm going to go ahead and draw this. Hence we can visualize it. Alright, so the head is basically an egg with this, with this. Line, which represents the axis. So we can imagine as shrine coming out. And if we were in the minority of the hand image cannot be somewhere right about here coming out. So that's added and more sorrow and add the neck area. So I'm looking at a photo and there is a glitter of the neck becomes half edge of the bottom. So all transit curves trending down like this. Then if we look at this angle and a photo, we see that it comes forward at about that angle. So that in and we don't want it to be a hard line. We wanted to. And then just grind this town gender and down and I could use my rotor. But this B-natural and peer Hard nine, what I'm seeing as it curves in a hair and then goes back out and I have my kneadable eraser to erase some of these 9's item name. And then this pushes out a slightly. So it's almost as an S curve going around like that. Now we need to draw the back of the neck. And for this we want to visualize a cylinder. So now I need to know how to do this, but I'm going to do it for any c. And now I'm going to do is draw a basic. I'm a cylinder right here. Right? So looking at the back of their neck and it goes out and basically this angle and turtleneck going from here and it curves out. So it goes in, in a new and very shallow U-shape. So we run it well. As if it were you having the highest point right here. Our retina and we have maybe too much of a curve, I think swam on upon mounting this. And so are we moving this over with some running ACO realm? But what I'm going to do is keep this line going around curves and it has the same shape. We find an hour, the S curve that we find an friend. Switch on, curve outward. And then down. And then, and now. Okay, so we're going to go back and we're going to draw the beak in the front. Even imagine the bank has a cone, so V then the cones and the side of the road construction. And that's the basic shape of a vague. So we want them imagine a big draw it out here as a cone, as flowing out has here. And this is very standard. I'm just drawing it as if you were cone. So this is as if we were looking rosy tone and restart road and these are the other side and this curve, I'm the opening. And then I might plain texts tiny bit. Alright, so we would have the top and this is curving around. Okay, so that's what we're going to draw here for the peak curve, the pizza. Ok, so we look at the photo and you see that it occurs turns right over here and it has an ever so slight curve to it as it goes to the front. And then it keeps going on a bit past this point. And then it curves up and around. So it has a bit of a look at the front of the pig. And then curves around this a. And then we want to draw in the separation of the page. So I want to start here. And then normal pack, I'm just drawing this line. So in that terms and around mimi bit more. So we have that. So we have the upper big and then the lower IQ. And it can hit in more by an hour by the emperor make. All right, so I know that so far. And now I want to draw in front. So this is basically where the nose is. Right here are the now straw. And its basic shape of that shadow area may see a nice u. And then this front of the wave angle for going in this direction and flows downward as a coach or wrong, the face of the impaired. And smart triangle here, switch router in and goes out to the area where this bottom or the top of a matrix, the bottom, right. And then we, I'm going to adjust the height of the beak here. So what I'm gonna do is Purvis around a bit more. And then from the area, the volume and the paint get curves up and around here. So I'm just going to shatter. They send a bit for our reference, we can imagine it under. All right, and then my number, just this array similes lines. 4. Initial Sketch Part 2: So now we're going to draw the eye. And if we look at a photo, I is increasingly and align with our nose triangle right here. So I'm going to follow that as we only have this line of the axis. So I'm going to follow it to right about here, I think is where the eye is. Maybe a bit further back. So right about here is where the eye. So I'm going to start drawing my circle. So that's our basic I. And then we can, if we want, we can draw the pupil in where the drivers. So we'll draw that in right here. And we're going to draw in some of these white areas that we have a round eye. So I'm just going to draw a basic shape going up here, meaning the trumpet I. And then we have another section above the eye. And then we have this, it's kind of a comma down here. So we'll try that in and it goes around high. So those around here, and then comes to Khomeini random here. And then it, this front part of that white spot angles forward. All right, so then open it in a way it follows the line of the neck. So we'll try that n. And then this also comes how the names either Stein, knaves I and we curve and in reading material and refund reference where they sense to this. We see there's a small space in between. And when atomic and find where this white area in and out of nowhere, this one is no created. Okay, So now we're gonna do is we're going to draw these feathers. The head is a very classic peacock. So we're going to extend those from about here and a curve ever so slightly. And I'm going to exaggerate a little bit. And I want to point out that even becomes aware of this white spot days in a year that running compared to where they where the feathers come out and the back of the head. So I think they're right there. So I'm going to try this out. And if we reference where this line where this one ends, where this length of this feather is, where the link for this one is. We say that it is forming an angle like this if we look at our reference image, alright, so now we're just going to draw a simple shape and we don't need to be very complicated about this. And it curves around and down. So I'm going to make a few adjustments manner I have the basic murder drawn in. So I want to do something to the head right here by ten, then you'd have an Ovid. And the other thing I want to do is send out the snap grid so it isn't quite so safe. And what I'm doing is I'm rightly turcica and similes primes or the outline and lightning, remember pitch, so they're so dark corner robotic Nan, the current control. Alright, and the last thing I would like to do is add a straight indication of where this shadow that's behind the eye. Here's a bit of a dark blue area around here. So I'll just draw that in. And then also, I wanted a bit of a bride in this region, there's a shadow and the edge of that follows the neck and this angle going down and to the left. So we'll be covering is just throwing in and rhythm in the occasion. Drawing the sediment very, very soft lines to show where this shadow pieces present reminder. And then there's one on the front of the head. And then there's one bit of a shadow that comes up around here. So what I wanna do is lower the eye pit. So there's shadow, stands up into the white area around here. And it's kind of like an eyebrow. So it curves around with this red edge number I. So there's our drawing for the pink car. And now we're going to start covering it in using our setup PRISMA color pencils. So we're gonna work on that. And I want to provide a scan with this pKa thin and black and white on the project's resources page. So you can download that had been one to see the outline that I drew for your reference swap provider that all right, so see you in the next video. 5. Adding Color: Beak Part 1: Hey, welcome back. So we're going to start off working on the big area. And for that, we're going to need our tensors are Prisma harder for me. And start off today, are we using the right? Um, we're looking at a reference, there's a better night round this front part and the upper big tramline and very lightly they in some color. And I'm being very right. And the raven pressing in at all. I'm just throwing around this edge weight and blending it out. Slowly. Blending out, the curse of it fades away. And then right around here, I'm noticing there's a bit of a shadow or raise some grounded ON and using a bit harder pressure and to lay in some shadow. And again, I'm slowly blending it out. Okay? And then now and ever more and French rate here. And there's a minimum shadow, shadow area right in here. So I'm just adding a very thin, There's my layers very slowly. But I wanted to first actually unwinding is my kneadable eraser and turn down the spine service in some permanent. Okay. So here we are. Egn with a lighter number. We're going to shade in a stripe right around this edge. Being very softer, that is. And I think are taken to the very edge right here. So this is the edge of my being. And it's a blending out to the white. And this white area will be adding some that in a minute. And we're also going to land right on this bottom part of the week where the upper and the lower brief divide. And then one is shading of it right there. And an embedded with this round. We're just building up the shadow and the coverage and are turning right around here. Our too much, too little bit. Okay. And looking at the reference photo, we notice is there is a dark shadow, rounded here that curves around and goes up and around server and add that in now using our endosome. Well, and I'm not adding very hard lines, I'm just adding a bit of a layer here. So for a change or layers. And then up around HER2. And I want to fade it out as I hit this part over here, because that's very white. And come back and add a bit more layer around in here in the front of the beam. In a way I'm. Mixing these two creditors together. And then this shadow upon the upper be read here, we're going to turn to them that event and we're sorry, and blending it out to the rest of this blue line that we just added. Now, just remember enough to ragged monitor and have it fade out. All right, So while we still have our engines are real, we went over a 100 and bottom link. So reminder, shadow that had been building up our shadow right here. And where the two parts of the big divide into two. I'm going to harden my line here at the bottom of it. Save it if their division, and I'm not one to do this everywhere. Trusts and inspiring part because it does have a very much shadow there. And I'll bring it back to the very black has a big cheer. When we're thinking about this in three dimensions and how light, which will becoming kind of from that care respect to this week. Shadow, to indicate a nice division of the two parts. Have the bait. Aright. So again with our ended up, we'll move on to layer in some up here we have a bit of a hmm right here. So we have this kind of crime that comes down here, and then it turns and goes back up like this and comes down. And then PPACA are noticing that. And I'm layering that in one way that I like to do this is I'm noticing, I'm not just looking at it as a base, but I've noticed in various shapes and forms, some are abstract and just to murdering them in a different light tones to farm the beak. So that's what we're doing. And and in summary, here, for the snowstorm has a very hard line right here. We want to make that stand out. And we're going to shade as XN right around here, have ever ways, again not to strain. And we'll add, some will appear to enter the peak as well. Alright, so we're gonna add a bit more tone, write it on here, and I want to keep a nice bright area here if as we have a nice hard highlight here that we're getting from the light coming this way. Scholar leaves that are very light and very light. 6. Adding Color: Beak Part 2: Okay, so now we're going to switch over to our black colored pencil. Then I want to start by hearing in interpreting up some of this and this will do is is revealed supervisor blue and the printers sandals. He didn't want to go real hard and add our nine or anything. We're just slowly building up our layers. I didn't really want to bring this down and move it around in here where we have this area that has a shadow. Or maybe I should say cast shadow. Now an added more pronounced trends around in here and there's this cast shadow. Alright, and we have a few very minute areas that are a bit darker around in here, Moran, who's in with our black. And I think this needs to come down a risk to have a murderer curve right here. Score do that, modify that, and then so okay, reinvent them. State hurrying, notice something that needs fixed and it's fine, you know, go fix it. Okay. So when I work in this nostril area and wind to darken up this whole. And one thing I want to point out is epsilon times. I do though in a circular fashion and some varying pairs like this final pose. And other times I do though from fat and processed mRNA hatching format events. And you need to find your way of doing it. Whatever works for you. Alright? And we're going to deep inner shadow right around here ever so slightly. And also the shadow underneath. I want that to be fair division. The peaks to mind. Maybe modify this a bit, darkening it up right around here. And I'm going to go end for final project and dark enough the point 100 and then add smaller. It only imperfections and shadows that are cast here, giving it some character. I'll bring out this shadow here. More of a curve as halves down and end as a whole. Okay, so that's our peak. So just to review, we used right number as a base to give it some color and value and start her shading. And then we went in with our light, indigo blue. And if it's more values here whenever some shadows. And how here the nasal nerve, so down here in the bottom peak. Finally, we went back and added the shadows, add more shadows and cast shadows. And relays are a nice shine with this. Remembering that our light coming from this direction from the right and it's hitting similar is areas and then peak and causing a nice reflection and here, and over here, right? So next we want to work on AI, and we'll do that in the next video. See you then. 7. Adding Color: Eye: Okay, So I'm landed ON either smile back and first I'm going to start out my shading in this pupil and even press hard to layer in this area. So we wanted to be really flat and really dark. All right, and now we're going to add an even number. The shorter the point is. And we're going to add in some of the area around the eye, right around here. And then this is a shadow around AI. And so we're just turning that up, making that appear character are so being sure that our eyes a nice circle. And then there's a nice hard shadow up here that appears to be cast shadow with hazard the eyelid. So we'll add that in and it kind of cuts the IR bed. And then the inner product, I am an ad and this where the Chair Jackson is where V and a human. And I'm basically drawing a triangle minus 19 in the middle. And now I leave it like that for now. And then when it's taken up this bottom part and there is embedded and Lipp under the eye. And then you can see a very cen, white screen on an IV that in right here. So I have two lines that curve around one here and the inner part and on an outer part and in a very thin white area in-between. Okay. Now minus switchover in our light and shade, this area in red here. And I don't blend together with the plaque and pay for we have a nice bit of a contrast there with her plaque in a darker brown. That's mixing together with hammer back. And then we'll start shading in around the painful, so eminent a little bit later down in this lower part and not Turker up in hair. They are prepared. So I'm pressing my ladder and harder at the top. This part out here is getting more right? And so this has a bit of a shadow, so it will appear. And then how so since this area is lighter, red in here and the understanding and the photo, there's a bit of a brain and extends to read there and stuffed it fades out. Scroll to that. Alright, and so I really sharpen my pencil to have a nice white. And we're going to work on these white areas around here and down under there and I. And so we're going to have very softly aaron some hairs and rewind a very softly layer in some feathers. And I'm using my black of course. And when it focus on knowing the edges and what I'm doing as a very gentle feathers that are less hairs, so their feathers out. So I start with my pencil at a point and then drag it out. And how away from the paper. It is nice that are feather around in here. Whereas it fades out and feathers out. Okay? So we're gonna do that. And these are very small and we're not pressing too hard way. Treaties gray. But I'm obtained to use black. I like using black and gray, sometimes. Noticing that these feathers and then come up and out from this point upward for correction. And I'm focusing and I'm living right around, ran it on and hair and bitter, very much more feathers that are in shadow around the edges. So that's our first layer in revenue. We're kind of running here in the curve around and they exist again leaving the center, right? And then these feathers in the further reading that have either, but I'm not going to add to that. These feathers go in a circular motion around. So we're going to add that in, focusing on the edges of this white area. And there is a bit of a crest or shadow area around the hair where the muscle of the eye folds round and farms or wherever remain. So we went and hit lag. And we're just adding a few heroes crave hazardous along. And here in the center, it has we want to know, we want our terrain as it's growing and firstname and a son. And I'm going back and add a field. Darker hairs are feathers variety around the edge to give it a nice contrast. Okay? And then nobody can do is we can go in and do some even softer hairs and hair. So it's not pure white. And then the center area right in here, some contrast. Okay? And then what I'll do is I'll take my kneadable eraser and headed the times to remove some of that, some of that back and bring back similar weights. Okay. And we're going to take her weight class for marker. And that has previously we've had some letter with a gel pen or something else, even use that. That's fine. But we're going to add this highlight red in here. That's listing of the eye. And that'll make it more real. And what I may do is come back in a minute and add a second layer. Once this first layer dries. 8. Adding Color: Head Part 1: Welcome back everyone. So right now we're going to start working on is a head up here, shading it in with our blues. And where I'm going to do first is take my kneadable eraser and this line right here. Alright, So we're going to do, is we're going to use this Corelli and, or I should say beryllium. And I'm just going to add a base when they're on and on here, shading it in very lightly. And going back and forth with my strokes, trying to Diane, nice, smooth their career. What I want to have is a, even have this glue on it on head to struggle with. Alright, so miner takes you to right about here and apps for now so I can focus on this area right in here. Okay, and so now we're line numbers on the feathers. And I want to point out that this is my style of drawing feathers. And there may be more and there are more accurate ways of drawing them. But I want to teach you my way through it. It works for me. I use. So we want to have a nice 0.100 and pencil. And we're just going to use the same cranium, blue. Adding hairs are feathers scientists, you can say either one and pairing them up. So I'm doing something similar to an idea into here. And adding fine hairs or strokes. Have my pencil. And now we're drawing these feathers to flow harm and around. So we're going to go up, pointing this way and then curve around the head, prefers the feathers and around the head, peta and adding my feathers. Now we're on pace to a random and that are there nice and uniform. And instead random Sinatra server just filled it in with this grill. So what I'm doing is I'm faraway the curve of the head as I go up and around and having my little feathers fill up, firing this shrine and around. That's it. No one's in this area. Start to veer off kind of a nail, right? And then downward direction as they get over here. And are we joining some of these feathers around here? And again, there's his church to the second layer of our shading that we'll be doing. And right in here on the very back of the head and they fell out of it because the hairs are the feathers there stick out ever so much. And are we moving on to our next corner? 9. Adding Color: Head Part 2: Okay, and now what I have is how trauma moraine have very beautiful blue. And again, we're going to go in and start adding layers of the squares and the same style that we did the previous one with a Serbian blue. And we want to be random about this and not have them. They are organized. One, some here, some there. Once overlapping the other ones. Going back to your domain or neither and Weiner's spots take you see here. And I am pressing fairly hard to hit nice hard lines. And then these feathers are throwing how to compete here too bad. And they're wispy and they stick out a bit. So we want to be sure to include is that all right? So that looks good to me. We have our nice furrow and around the head and how to swim and I imagine they're fluent permanently. And then a plaque and around and down and they fill out. Okay, so now I have my indigo blue. What I'm going to do now with this indigo blue, his own start defining symmetric shadows. Some chemistry. We said that there was a bit of a shadow right around here. So we're going to start and getting that by adding hard times right in here and building up our layer. So I'm not going n has thick with their lines as I did with the previous cultural moraine and cerulean blue. Instead, I'm going in and various locations and making them darker, have nice shadows and dark feathers. I want to leave some light areas to mean reflections and reflected light and where the highlights are on the feathers. And an intensely Common Era of this. And they go boom business and I wanted to leave some areas by it. So what I did was I added a bit more layer hair. Blue array defined my edge and add a shadow. Because recurring around in a light's coming from this direction will have a shadow over here, 100 and theft. 10. Adding Color: Head Part 3: And, and now again, we're going to use our black. And we really want to go in and find some other days, hard shadows. Heritage press hard to get those facts really GI and I'm added more on this left side that I am on the right because I want there to be more definite shadow on that side. And as a kid over here, where the highlight is more prominent, I wanted to focus on some of these dark areas. To my I've already added marks. Same same one there, one here, one here. And I'm going to go in and define those Hamlet more. Just came from those shadows land instead of creating shadows on as an offender's. And define those a bit more. But again, being very satellite dish on this left turn right hand side hat, it's curving around. I'm going to go in and some of these areas and permit more. And looking at the photo, I'm noticing there's a hard shadow and maybe it's not a shadow. And the settlers right along this nose. And I wanted to go around this edge right here, where this white feathers high and a range of find that edge a bit more by adding in a few nines feathers with my black console. And I'm also going to do that. I'm proud at the end of this at 0 comma white spot right here, and add a darker area there. All right, so now I have a moraine. So I'm going to use this color membrane to invite the and values. I am going to press that on you. I'm going to go over this area and add a soft there, a place chest to give it a 10 transits car. And I'm not adding feathers as we did with the previous layers. And I'm just cayenne and having a nice for layer. And it helps to put in some nowadays facts and contra moraines. And they've OK close. And it helps to put in them to get there. And I'm focusing more on this area, this half hands and face. And I'm not adding has sex with my layer. Over here on the left or on the right is say. And I was to have this allowed Homo n and Three layers. Few hairs have this haha moraine right along this edge. Okay? And so I'm going to grab my husband marker and add a few hairs. How wide or wrong in here, and you don't have to do this, but a B12 and by 22. And so we're just going in and adding a few strokes to give it a nice white highlight. And this fat over the head. And you may not need to do this. In my case, I do because I have heard a bit dark and I wanted to have lighter feathers that are glistening in the sun. So how I'm going to do that, it is totally up to you. I'm focusing on this area kind of going down and curving in to this white spot right here. And I'm not going over here too much. And I'm not going in to merchandise chart area and compare either. I'm really focusing on this area but care at a pace and write some really wide weather zone guy another table dried a bit. I'm going back and adding the second layer nowadays. Okay? So we're going to give that a minute to try and we'll be right back. Okay. So now that that's had time to dry, I'm going in with my alcohol moraine, and I'm going to blend some of these white spots on the edge and lightly cover them with my mom moraine. I'm doing this helps me Glynn summarization. And we're on the edge where I don't want it to read quite as bright as it is with your right. You're saying how much fading in there, starting phase a bit, then branch. So does Nav search hard light line where the white feathers top and in the end, we're focusing appear on top. And over here on the edge. Over here. We'll go down to this bottom area down hair. Then I'm Asian, I'm Guy and again, I'm being very light. I don't want to scrape up the paint. And you can even go in and touch a few of these tan and this grower area and B12 truck and them up a bit. I'm just going in and touching them. And there are blending in very nicely like this effect. Okay, So stop right there. And I think we have a nice example of a curvature. However light coming in and hitting in this upper part and the head. And then this area here is tar, and then more of a shadow. And then we have a slight feathers that we added with a marker and darker one to using black and ended on Grossman and shadows town hair. And then also used as a alcohol moraine. After adding a layer of Pashto marker, we added at coat her bathroom moraine over some of these white swatch to blend them in. So that's going to wrap up for this copper area shown in the next videos. We will be working on the lower part of the head and the neck. So metering that. Right. And so we'll see you in the next video. See you then. 11. Adding Color: Lower Head & Neck Part 1: Okay, So in this segment we're going to work down in this area under the eye, between AI and big, and also down on the neck area. And to start out, we'll be using our cerulean blue. And again in a similar way to when we did appear on the forehead and top of the head. Whereas Rhonda know n and add a light coat, this blue. So when I do this type of shading where I'm just Irlen, end with 100, get a base layer, has low and up and down, back and forth motion. And I'm trying to fill in on of the white sweater, any white spots left and filled in the cracks and crevices and wind up to the edges around hair. And adding this rotated a nice even coat. And I'm going to keep on going down, taking this layer downward and to the neck and throat. And around here there will be Chicago. And the algorithm is O ahead and fill this end with our blue cerulean blue Delhi about right now. Just show this entire area has a nice base layer as same color. And before I go any further, I'm going to take my kneadable eraser and erase some of these areas over here on the neck similes lines of the sketch. Only because I don't want them to show up. I'm just going in with a second there, Then fairing in small cap ceci and white where there's white showing through trend and it allows those areas filled in. And right now, I'm going to go in and add a second arrow over here. And in this spot, in this triangle here, I'm going to darken it up a bit. I'm adding a bit more pressure with my pencil. Try and hit this area trucker. Okay, So that looks good to me. So now I'm going to take a pencil that is called peacock blue and very applicable because we're drawing a peacock. So I'm going to write it down over here. So this area right in here has a very dark hairs, then some very, somewhat light ones that we're going to go in and do. Similar, very fine, very thin, and very small errors that committed upon head. We're going to do that. And then here, going in a downward and to the right direction. So we're imagining as if these feathers were flowing out of this nose area right here and going this way. So in a way we want them to point to my right and down order with and we'll keep on adding rows down here and a net carrier. So move down. Doing a similar stroke has rated up here on the side area. And again, we're still throwing in this downward and to the right emotion. And as we join up here was a stressors that are flowing in this direction we want. We're adding right now to me that and I'll be throwing together in the same direction and a downward motion. Okay? And as we did to this range and over here, we, when they feathers here to throw down or even more. So were these were flowing like this and this angle. We went place over here to throw more this way. So at a more steeper angle. All right, so we've got that done. 12. Adding Color: Lower Head & Neck Part 2: Okay, so now using our initial value, we're going to go in and really focus on this area up near the line and near the big end around I reading that in with our blue. So we're going to do is similar, no matter, you know, nine and on feathers. And we want similes and durability from N to the white. And combined with that. And again, on a sharp pair throwing into the white. And we're also going to go 10 here and add some are not as many as we ended up here in this area. But we are going to add some fasteners to give them nice shadows. And I've seen this again. Be sure your pencil is nice and sharp. We need a nice, fine point to be able to tell this array. And we're going to add a shadow, a very deep shadow, and I read it out here. We're going to add that in here on the neck. So you see that the line I'm drawing I guess has second I need to say. And, and here. I didn't know bringing that up. Here. Imagining there's a fit of a division for see in the photo would never have little crevice or a shadow right here. So we want that to stand out of it. And then previously we've drawn a sublayers termination dark feathers around and air in a new shape. Showing using our ended on room. We're going to add that in. And I believe it's shaped films are a bit more. So I'm going to extend it some more. Alright? And I trust to really sharpen to my indigo blue vision, we're going to add some very fine feathers along the neck and lower head region. And I want them to be very sane. I don't want this area down here to appear as dark as the shadows in this area here. So I'm not adding in as many partners with indigo blue, but I didn't want them to read present. And as I get over to this right-hand arrange and I'll add less and less refresh our light is coming from my right. So the main purpose of the light will be over this way. So I'm going to add just a few here and there on this right-hand side. And more as I hit over to the left. Okay, so now I'm going in with my black pencil. And women are really coconut similes areas around and hair starting with this area between the eye and the nose, add-in very thin hairs, focusing mainly on this area percent the right and the sad I As you can see, I'm not adding it completely solid layer of math. I am allowing the road show up in some areas. But as I go down this way to this area here, I'm going to add less hairs unless feathers or the blue will show more. Nasa doesn't and photo right there, then we're going to add a truck. Shadow is black, right? And on this area here. And we're blending it out as we go down. So we have this nice 9, it's very directly here, and then it fades out and lens and to the vibrant blue for the weight. And I'm noticing there's a bit of a hard edge right here above this upper make peace that extends from coined. Add that in right now. Right. So continuing with my black town hair and neck area where I already added to the end mill. We're going to be adding this rack here and this region as well. And there are some blending it out. So right around here and fades out into the nice lighter blue. And then I'm going to add a few of these black feathers very sparsely around in here, wrong in this region. And then I'll stop right about here. Right now we're going to focus on this shadow in here. We're going to add a substantial amount of black to give it a nice theme. Shadow or dark feathers right in here. And ammonia will extend this areas is storage area ever so much. And this red here. And then I want my WACC to fade out. So I don't want to have a hard edge rack. So you see how I get a nice fade as it transitions from black area here to rather Brazil over here and my London there. Same thing down here around this edge. 13. Adding Color: Lower Head & Neck Part 3: Okay, and so one thing we want to do is take our white harsh commander then adds very fine hairs around air down to money just to hear Tan, some highlights. So that's enough, his heir and down here and add some of those. Okay, So while the white tries, we're going to take our soiling, um, and feature for that. So this white, we're going to go in and add, if it appears, we're going to add this eyebrow right in here. Alright, now we're gonna take our integral. We'll add some hairs that curve in a question form up and around like this. Imagining if they were coming from the center and curving around. All right, Now we're going to switch over to our flag. And so, and we're going to add a hearing and writing on AI at the edges. I want that to be very dark and then fade out to this blue up here. So right around here is where I'm adding to black. Right now 90, extend this over a bit more. Write it on here. Well, okay, So we're going to have back over to our pKa. And what we wanna do is go over lengthy Samaritan when we did appear. We don't want to split of the white noise and blending the white out and the surrounding blue. So I'm leaving these feathers right around here and otherwise very white. And then they get per hour as they fade up in an upward direction. Admiral too soon and similar down here, going over it lightly. And allow us to have my peacock to this upper region, haven't forehead. And just touch these feathers and add a bit of this shade of blue to them. Okay, so I want to leave these bacteria are why do without any of this, because Brill and we're going to stop there. So we'll see you in the next video to start working on the neck region. Who see you there? 14. Adding Color: Lower Neck Part 1: All right, so in this video we're going to go ahead and work on this inner shadow on the neck. But first what I'm going to do is use my eraser and erase these guidelines that we drew previously. And our survey, my hedge. Okay, So I'm wondering, start out with my real nice cerulean blue. And I'm going to shade all of this area. And if you read even go ahead and shade on of the skin, prep for the video second, when it's just shade in this left-hand half of the neck swap straight out by doing that. All right, and now we're going to go in and change to laugh peacock grill. And we want peace feathers have done in this area to grow as if he would come in from this in our net area and failing out and down. So out and down and down. So that's how we're going to draw these feathers. And these are point out that they are a bit rounder and when we try and protect head and neck. So even though hadn't draw those longer and they want to go out more than the other ones. So nice. Feathers that are growing and feathering out. Thanks John. Strokes going down the neck as we approach this side. And add a few more up in here. Thickening of this region and having a darker layer and character coat. So that's what we want because we have a nice shadow and it's in a triangle. So it forms from here, one side's going down to here, and then back up to right about here. And it kind of curves, right hearing them say that in the photo. And the one that keep on going down was my shadow with this peacock pill and extending down here, adding a tracker area. This shadow on the Internet and it froze out and then it fades out as it gets over here and they lend it poem. So we're going to have more feathers around here. And as they hit over to this region, they fade out and get lighter as the shadow decreases. Alright, so that it doesn't for the flu for now. Now we're going to switch over to an integral blue and then add another layer. Switch trailing. Prepare. Now we're going in the same direction, which are feathers as we did previously. And as we detailed here, we fade them out. So it latter was her pressure and with her amount of feathers or amount of lines that we're drawing from, it are going to increase it over here and on the internet. It as we have a temperature out of here. And in this region here we're going to call in and add a few lines here and there to give us some feminine form. I don't know. N is Martinez heart of coders. I did over this way. All right, and so now we're in a proactive related by the shadows. And we're going to focus right now on this region up in the air around the neck. Related pen is shattered that we did have an air. We did leave a few little spots here and there, here. And so we're going to do the same thing over this area. Remember in earlier was this triangle form right in here. So that's what we're going to draw. And we're going to add even darker shadow. And the arms are getting rid of all of our wheel around it here. Around this stage, we're really dark. We went to really add depth to our drawing and form. So every deadline push the shadows. And what I want to do is I'm going to extend to Malays blues, have them sayed into our blend into this upper throat neck area have been here. So I want to add a few hairs of brac and they're having that. So note that ODU has what I want. All right, so we're going to keep on going down, going down with our black working this not as thick as we did up here by the Stones, substantial amount. And we're going to fade away, has higher pleasures rigid over to the right over here. Fading out and blending out. But we're going to have more and more hard and darker lines or on the left. All right, scholars headed over here. I'm just adding a few lines. Even see some here, some feathers. I'm living right around in here because we have that night fell in over our net and some of these feathers are sticking up and glistening in the sun. Okay, the evidence really is like, I'm very happy with this. Alright, so now we're going to move on and we're going to work on this right-hand side. So see you in the next video. 15. Adding Color: Lower Neck Part 2: Okay, So pack. And we're going to do is we're going to turn some others edge with a kneadable eraser and remove that line. More regional ones that show up in our drawing. And we're going to leave a hand, have it there. And I think that's good. So now I'm going in with Cerium Brill and again, adding a nice fine code of this and you may have already done this. I'm going to go ahead and add this. All right, Now that I got, I'm going to go in my peacock blue and add some lines from Panther's with this. And I don't want to be too thick. I do an add these in, but I didn't want it to be too thick of a forest. So I'm being somewhat light in careful about this to be have a medium pressure and not go overboard with my amount. Now feathers. And these are continuing the flow town down and down and to the right. We were to remember that these feathers and flown over and around the neck and in different areas they flow in different directions. And as we get further down on the neck, right around here and we're going to turn and fro even at a greater angle, turnover. And again, similar to what we did over here, we want these to Iran and flowy. So there are flowing down the neck and around it. Right now that talk first today or in an unwanted effect of here around this edge where I wanted to blend in with a stroke area. And I'm going to add more of these lines so that it simply blends and fades away. So Zagat over to the right, how are we adding lesser days when moreover to the left? And one pays to blend together. And I really want to have the sun glistening offer these hair surveys feathers over here on the right. So I had even less of those feathers over on that side. Moreover, here on the left and some areas that are white and right here there's one, go in and read here, touch nose and a robot. So they aren't. So wait and zoom, right? Okay, so now we're going over to our integral. Brazil, hired a shrimp in it, so I have a nice sharp point. And again, in his own bill, and I'm going to start in and then this area together. So I'm adding a few and then fading out as I did over to the left. Heading several here on the edge. And then less and less as I go to the right. All right, and I'll add a few more around here, just showing then those two areas together nicely. And I see a few white areas then we messed around here that have been designed heads, What's my console so they don't show up. We know on any hard designs we want this to be nice and have a nice curves. And we're blending these two areas together right along in here. And now I'm gonna take my blue and 90 over some other series, just adding a nice there is to turn down some of these highlights. And thus we need is our thread concern. So we're going to grab that one and we'll go in, add a few shadows drawn here along this edge that we're blending out. We don't want too many. Okay, so that looks really good. I think I'm very happy and pleased with it. However, it's turned out so far. So the next area we have to work on is this number crown. So we'll be doing that in the next video. I'll see you then. Bye. 16. Adding Color: Crest Part 1: Okay, So as you my way our test, we take our needle and just erase these lines. It will have is m. Okay? So ways to have these lines here, but there are less prominent and they won't get in the way they were on. So what we need to start off with is our night and we're going to know it. We are going to originate from here and just draw lines, railway lines to ride around, enter. And they're kind of bending and even draw them straight if you want. It's up to you and I'm trying don't fit up composed of protons. And some win-wins have one re-used more pressure with our pencil and others that we will add a variety. Okay, so that's about all we need. So now we're going to pick our blood and we're going to have a nice thing sharpen. And I'm going to add some bit of character, some shadows. Today's brown lines by random temper them. And having some courage to do it for hadn't started in them. But it's coming up here on top. I'm dragging down as well. Alright? When a deep and similes a bit as well, add a harder line near the top. And now we're going to choose our blue. And I know that in the photo it doesn't appear as blue. But I think it would look nice. And we're going to add it. So very others around air enters like this, very thin and very soft, not adding too much pressure. And once it is, is they're going after these errors are strands. And it's down to about there and here, the resin stays brown and black lines. And then our visitors, Herzl ended 0 and somewhere out on either side. Okay. 17. Adding Color: Crest Part 2: All right, So next we're switching to our iridium and are going to draw these feathers air. So what they do is they fill out this chroma, find a bunch of different patches of these feathers this out, making this shape. You see here. So that's knowing when to add this is a bit better. I want to have a bunch of these shapes in here, all around here. So each of these strands are hairs or have one of these blue FE, things up a bit. We went to, we should add one and everyone. And some a bit more than anyone. Had an, a small empty spot and another end. Hi. Okay. All right. Now we need our peacock blue and we're going to go ahead and do the same thing, adding a nice there of this. And we're going to use our middle blue. And I'm going to focus on the bottom. And these two had some blue shadow. Hi, out. 18. Adding Color: Crest Part 3: Alright, and then I'm going to check my indigo blue and just had a night with code in this town around Here's my minor Thompson offenders. And the strands. For then to the other. There is a bit of a shadow around here. Some line add that end right here. Okay, so finally what we need is how are black pencil and rely names and then our shadows around the edge of this as a male heirs, our grandfathers. So we're just kinda doing this for our Harriet down and air have failed well extend and a top PR now many. Our main focus has add a nice shadows down and Aang and hair. So we're just going around hair, adding those in. And then the amount. And we went to a really bright in radio up here and then back around and hand. All right, and the last thing is we can take our pencil and just trying to them seven days, they stung hair. Adding a murder by line says Mary, half an inch from them below, downward. So a same wherever line, because it is in shadow up here. 19. Final Adjustments: All right, so to finish this drawing, we're going to go in and do a few minor tweaks here and there. And right now I have my black. And so and now we're going to do, I read up here and drag, and it is an op-ed. I want to have a nice hard shadow up here. And so it's almost as dark as the edge of the eye. And wine array in this bottom area down air without any black. Because that is receiving more light annualized to have my back and add exhale air feathers here. Just going in and adding them along this edge. All right, that looks good to me. So we can, but we want to take a marker and we're going to turn to this white spot to lighten it up even more of a nice bright white spot here. And then private here we are on a human urinary tract here. I'm going to touch remedies regions at the vertebra right here. That's listening in the sun. Maybe it's a bit miced. So that's why. And then I'm going to take my indigo blue ones. This white is try and just turn it down a little bit and blended out into the rest into the surrounding area. And that's enough right there. Okay. We're good. 20. Review and Final Thoughts: Okay, so we're done with our drawing of our peacock. I hope you had a time and enjoyed this. We learned about, first we learned how to draw the head by drawing our lines guide axis through the body or further neck and through the head. And then we go ahead and be thinking, I was a big cone and the head as a horse circle. And then we drew the neck, picturing it has a cylinder. And then we started adding our clutters. We started with the high. All right, Amber, as we see over there and lie. And then we were trying to bake, adding some browns in here. And then these are blue, followed by some black and these shadows around and then now storage area. And then we started working with cerulean blue up in the head. We were to have in our feathers up and around. And we also blend it in a term moraine and integral grill. And then we used our pass a marker to add some highlights on it. So we use this marker. And then we came back down. And when town is area then it here and worked with the white, adding our black and lightly touching it at fine feathers of white here and there. And we wanted that silver added to it. And then we started moving on with her pill. And in different tones of blue ultramarine cerium Lille in around here are showing you a marker. To add our white areas are highlights into the same in here. And then for the neck, we added our sodium Blum, Blum, Blum. And it is nice team shadows tab the curvature of the neck. So then we finished that up and add a light amber and black to add our strands up here, leading, leading to our tubs of feathers at the very top that wraps up this drawing. I really hope you enjoyed it. I know I did. I had a great time at, in this image, a very pretty using this style of drawing feathers. So in the next video, we'll be talking about our class projects. So I'll be assigning them and discussing, I want you to do and what goals our new set, right? So I'll see you in next video. 21. Student Projects: All right, welcome to the student projects part of the class. And to start off, he will need a printout here, peacock that we did in class. Or if an MI, wherever you would like to draw, you can draw wherever it's up to you. But we need a printer and error also can either be in black and white or color is totally optional. But what is a printout that we can see and a pencil. And just so you can see what I do, I'm going to use my a marker. And what are we doing here is I'm going to go in and just note some of the areas where the shadow. So for example, branch here, there's a shadow and I'm going to draw it in and find these different shapes and my printout of my animal. So here you see I'm drawing these different random shapes. This one a crown. This Turks likely serve to through something. So I'm analyzing and the photo. And then when you start thinking As an animal or wherever it is, n instead, analyze the shapes, turn everything into geometric shapes. And really fairly so right here we have this here. And here we have this shame for the page. And I'm just drawing and tracing it. Over here we have this dark area where there's a shadow. So it is going in drawing and analyzing, finding different shapes, different forms. And this is something that I knew when I draw in incomes me. Now item coronary time and trace head out and stayed in my mind. And I think about what I'm going to draw a four. I try and meditate on it in order to construct and have an accurate prediction. So use that shadow underneath As well. So this is where I'm new to do with your picture that you want to draw, analyze it, and really understand the form. And I'll provide a scan of this in the resource is part of this class so you can download and studied there. So next, I'd like for you to choose an animal that you'd like to draw. Something other than a breaker. They will read really femur. Remember wafers are the similarities with the feathers that we drew on our pKa, predatory cat or anything else. Now it doesn't have to be a bird. It can be any other animal with fire, even without for Medina, recommend you start with one, with four. And that's precursor, the similarities will be Theta. And this project has to drawing an animal with, for Neil find very similar ways of drawing fur and feathers. And I had talked about in this class. So don't overwhelm yourself. I recommend only choosing maybe a portrait phase of an animal. So focus on their head and don't worry about doing their body. Just choose a portrait photo and just start shading in and start coloring. And please, if you have any questions at all or any concerns, don't hesitate. Comment down by row in the discussions tab. So really focus on layering. And when you think you've added and go in with some more colors and add some more, get some really nice texture to the nice shadows. Shadows, highlights, fail animal, and try to have us, the viewer feel that in your drawing later, really seeing something real. So that is your second student project. 22. Thanks for watching : Thank you so much for your attention and for watching this class. I really enjoyed creating it and making the drawing for it IOP, you will share your drawings with us here on Skillshare. You can keep up with me and my artwork on Instagram ads and they see vision and on Etsy at and these are to 2D.com until next time. Thank you and have a great day.