Introduction to Colored Pencils: Basic Techniques for Getting Started | Jessica Sanders | Skillshare

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Introduction to Colored Pencils: Basic Techniques for Getting Started

teacher avatar Jessica Sanders, Artist | Designer

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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

14 Lessons (1h 33m)
    • 1. Welcome

    • 2. Supplies

    • 3. Characteristics of Colored Pencils

    • 4. Techniques

    • 5. Layering Part 1

    • 6. Layering Part 2

    • 7. Keys to Success

    • 8. Project Part 1

    • 9. Project Part 2

    • 10. Project Part 3

    • 11. Project Part 4

    • 12. Project Final Touches

    • 13. Project and Thank You

    • 14. 14 Magic Pencils

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About This Class

Hi, I’m Jessica Sanders, a watercolor and mixed-media artist who loves exploring art and sharing it with you!

Introduction to Colored Pencils: Basic Techniques for Getting Started

Are you struggling with colored pencils? Well, I’m here to help you get started! 

In this beginner class, we will explore colored pencils. I will help you understand more about colored pencils - from what kinds of paper to use them on, to how to layer and blend!  I will cover all of the basics of colored pencil techniques, step-by-step. I will also share my top 7 keys to successful colored pencil drawing and coloring.

As always, we will keep a fun and exploratory atmosphere, and learn a lot as we go. :-D

Meet Your Teacher

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Jessica Sanders

Artist | Designer


Jessica Sanders

Artist, Instructor, Designer

Hiya, beautiful skillsharer,

I hope all is well with you!

I tried out a fun technique last week, and, well...

I got super excited about it!! It was so fun, I just had to share it.  :-D 

I was so excited, that I turned it into a wonderful, relaxing, playful class.  

Watercolor with Me: Lovely Leaf Prints & Negative Shape Painting

Image: Leaf print example painting by Jessica Sanders

Let's make lovely leaf prints with watercolor together! 

We'll play with watercolor, and practice negative shape painting - a very important skill in watercolor painting.

In this class for beginners, or anyone who... See full profile

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1. Welcome: struggling with colored pencil techniques. Well, I'm here to help you get started. How low my grand friends Jessica Sanders here. Welcome to my channel today. I would love to introduce you to the wonderful medium of colored pixels in this beginner level class. I'll teach you basic techniques for wax based colored pencils such as prisma, colors and polychrome. We'll talk about coloring, hatching, cross hatching, stippling and layering, and then we'll dive a little deeper in to blending those layers together. We'll also chat about the seven keys that I've found that helped me get great results for color pencils. And I think it will help you to then will reinforce our learning by creating an abstract drawing with our colored pencil technique, as in, all of my classes will keep the focus on fun and enjoyment and stress free. So let's get started talking about supplies 2. Supplies: So let's chat about supplies. For this class, you'll need wax based colored pencils. Now there are a lot of brands out there, and I'll talk about that more in a minute. But for now, just know that you need wax based color pencils, and any brand will work for this class. You will also need an eraser. It's nice to have a fine tip pin. This is just a black pin. This one happens to be a unit ball, vision needle. Or you could use a micron. That would be fine, too. And a white pin is also nice. This is Univ. All signal white ball point gel pin. You will also need drawing paper, so it's shot about that in it. My favorite paper for colored pencils is this Nina white card stock. Vellum Bristol. It's a heavyweight card stock £67.147 G. S. M, and you can get it in these really big packages to see. It's like printer paper. You can use it in your printer, but it's a little bit heavier duty. So let me show you piece of bad. This my favorite for colored pencil plus alcohol markers so it's pretty thick. You can see it's not super flimsy, but it's not super thick either. So with a nice thick card stock, and it has a little bit of tooth because it is vellum bristol, and that's important for colored pencil is to have a little bit of tooth, it says Semi smooth finish, so you can't really feel the texture like, say, watercolor paper. You would be able to feel the texture it feels, but it has enough to to grab your pigment from your colored pencil. So this is my favorite. But there are a lot of varieties of paper out there that you can use. So let's chat about those as well, so you can always get drawing paper and it comes in colors and it comes in white. And it says, for all of these different types of drawing paper here, they all say, for dry media medium surface here, dry media. So we know we have all nice, high quality papers here that are great for drawing. They have medium surface here. This one has a fine tooth surface, but all of them have a little bit of tooth. I'll tell you about this in a second. So I've used color pencils on all these different kinds of paper. So let me just show you that they will work. So all those colors here are colored pencil. So they worked just fine on this fine tooth paper. And this is a medium surface white drawing paper. Have some charcoal and graphite in here as well, but it also works for colored console. So have this color pencil drawing here so you can see the color pencil will work on this drawing paper and then there toned papers. So this one is toned tan. You could also get a toned gray and because of the layering effects of the pencils. So these air colored pencils here that I've played around and try it out with this and you can see the paper, it doesn't show through very much. So I just did some playing around with colored pencils. Here. It's not going to be a XLII light and bright as on white paper, but it does cover this tone, and this tone paper gives you sort of that mid value color that you need so you can add darks and lights to it. So that's how you would use this paper if you had another paper that I sometimes use with my color pencils is watercolor paper. And that's because I sometimes combined my watercolor and my colored pencils together. And so you can see on this be watercolor paper that I did some water color in this color and actually went over this whole area. And then I added to it some depth of color with my colored pencils and my pins So we won't be talking about watercolor and colored pencil today, but I just want you to know that that is an option. But for this class, we're just using this light vellum Bristol paperwhite card stock that has a semi smooth finish or a little bit of tooth to it. So read that on the package. You'll also notice that this paper is acid free. That means this paper's not going to deteriorate over time like some papers put. So it's a nice paper and it's inexpensive. It's great for color pencil work. While we're talking about brands of paper, let's talk about brands of pencil a little bit, so there are a variety of brands of color pencil, and I have a variety here in my studio, so I'll just show you. So the colored pencils did your Children get in school? Map pencils are actually wax based colored pencils, and they have the same properties of these artists brand ones, but they don't have as much pigment. You can use thes, but you just don't get quite as richness of color as you do with some of the other brands. Now the brands also very in softness, so Prisma color, maybe, is the most well known wax based pencil, and it's a very soft lead of color pencil. So this is my son's set, and one thing that happens with these is they tend to break a lot because the lead is so soft, but they will blend really nicely. So these air more soft than the then the pencils. I'll be using this class, but the same tightenings. Will it work for these? I have also a craft brand called Jane Davenport Magic wands, and I'm uses quite a lot, and these air, also fairly soft. Now they're not going to have the pigment load again as the Mawr expensive ones, but they'll still get the job done nicely, and then another said that I have are chameleon color towns. I worked as a desire for communion pins, and they make these really cool, double sided pencils. And so when I was designing projects for them, they sent me these pencils. Now I just have them to use however I choose. But it's pretty cool because they have a light side and a dark side, and so you could just color and flip the pencil and color and work back and forth. It's kind of kind of fun to do so. These are another set that I have, and I actually watched all of these colors out with by drawing eyes, So it was pretty fun to do. We're using the polychrome owes brand or I am for this class. You can use the brand that you have, even if it's your child's Matt pencils to try it out, the techniques will work with them. Justus. Well, you just have to work a little harder at it sometimes 3. Characteristics of Colored Pencils: way before we get really started. Let's see what the manufacturer has to say about polychrome ous. So they describe thes color pencils as high quality acid free pigments in bright colors. Unsurpassed light Fastness, soft, vibrant color lay down, water resistant and smudge proof. They have a thick lead and high break resistance due to a bonding process that the company has. So, basically, what they're saying is that these are ours. Quality pencils. They have a lot of pigment in them. His image before. If you have, say, like Matt pencils from your child there the same kind of pencils. But they have less pigment in them than something like the Polychrome O's or the Brisbane color pencils. Okay, so let's write down a few of their characteristics, and we'll chat about it as we go. First off, they are wax based. They don't have oils in them or anything like that. They're wax based, so that means they respond to pressure because that wax can melt. They are water resistant, so they will not. If you put water on them, they're not going to move. They're not going to activate or anything like that. They're water resistant So let me demonstrate that for you really fast with a little quick , one of my pencils, a little quick example. So I'll just do a tiny bit of coloring here. I'm just going toe, wet it with the brush so you can see that it does not move with water. Just have a damp brush. So if I just went it, none of the color picks up off the paper. It's water resistant. There's softness varies by brand. So what that means is some are softer than others, like really physically softer. So when you lay down, the color, depending on the softness, will dictate how much pressure you actually need when you're coloring. So pressure matters when you're working with colored pencils and depending on your brand, it changes. So the most soft that I know of his Prisma color, the favorite cast sale. Polychrome ALS. They're kind of Ah, a firmer, harder pencil and again they work just the same, so I'll just put lists soft. I don't know which ones are considered the hardest ones, but I know the Prisma colored are considered the softest one. So the less soft polychrome us, so you just have to test your own brand of pencil. That's the point. And knowing this, you have to figure out for yourself how harder soft your pencil is and how much pressure and how easy it is to break in those sorts of things. So the softness varies. Based on brand color, pencils are perfect. Four. Layering Most color pencil art is done in a series of layers working from light, too dark for light pressure to heavy pressure so perfect for layering. And they are blend herbal. So there are several ways you can blend the colored pencils, but it is a very important characteristic that color pencils are blend full. Another characteristic of wax based pencils, color pencils, is that they are erase a ble. Now, I'll be honest with you. I hardly ever erase colored pencils. It just is a lift. A little bit feels like work to me and for me, I'd rather just not erase them, but they are race herbal. So let me demonstrate that for you really quick here. Just gonna lay down some color and my racer. Now this is a dust free racer, so I can see that I can erase. It's still going to leave a little bit of texture behind on the paper. You may or may not be able to get all of the color up, but you can erase colored pencils. I just tend not to race myself. So that's one reason why I don't talk about it a lot. Usually when I use colored pencil, I do not erase, but they are erase herbal. So it's just something that's good. You know, you may want to race. Who knows? Okay, so let's do some examples and learn some techniques and play around thes pencils now. 4. Techniques: So now let's talk about a few techniques you can do with colored pencils. Basically, you can do the same techniques you use for Zeya graphite pencil. You can also do with colored pencils, but the difference is pressure really matters. So first technique you could do is just straight up coloring, and you could choose how to do your strokes. You may like to color in little lines or you might like to color in circles. It really depends on what you're working on. So this is light pressure and barely putting any pressure on my pencil at this point and just laying down a light layer of color. But as soon as I start to press down harder, you can see I get more pigment and more color. I'm also pressing down the texture of the paper when I do this, so this is heavy pressure and this is light and you can see the texture of the paper here, and you cannot here as much so you can see you can get really life values and really dark values with just one color of pencil. So that's one thing you can do is just to color the next technique you do is hatching and hatching is just simply lines. So laying down a series of lines, and if you put them further apart or make them dinner changes the value. So one thing about color pencils is you have to sharpen them. The point gets pretty dull pretty quickly, even in these hard version, not the prisma colors. The Prisma colors get less sharp even faster. You could even use prison colors and polychrome most together if you want to. You want to make really light lines really thin lines. You need a sharp point. She can make thin and thick lines. You can vary the pressure. You can vary how far or how close together they are. So see how these air further apart. And as soon as you started getting close together, you're going to start getting darker values so hatching can do cross hatching. So cross hatching is when you do strokes in one direction and then strokes in another direction, and where they overlap, that is cross hatching, so you could do lots of that. You could make them like this closer together. Further apart. You can also do that with multiple colors so say you wanted to use a different color with your blue. You can layer those as cross hatching, and what will happen is you'll get a color blend. So the place where they overlap, you're going to get a purple because for mixing a red and a blue right, visually, it may not like like when you're looking at as an artist, it may not look purple to you, but if you just glanced at it, your brain would go. Oh, red and blue purple. Okay, so cross hatching of various colors. That's how cross hatching work. Now stippling is another technique, and all that means are dots. So just put dots further apart or closer together and create value and shade. And I'm just tapping my pencil. If I hold it more vertical or if it's less sharp, it's gonna be give a little different effect. And as I said you, if you spread them out, you get less lighter value. You can also stippled with more than one color, and you could draw your dots bigger could actually like color a little dot, So if you want to overlap the colors again, you're going to get that visual blending, and it's going to look purple because it's red and blue dots and the closer the dots are together, the darker the value will be with them really far apart, really close together. So that stippling now another technique which these are types of campy types of layering. But we won't talk about layering in terms of blending, so I'm just going to do quick layering of one color, and then we'll move to another lesson and talk about layering and blending more in depth. So essentially, when you're layering, you start with light pressure and color, and then you go back over it. I'm still using light pressure. I feel with colored pencils is important to use light pressure for basically as long as you can, until you really want a dark value. And the more you keep going over it, the more of that paper you're covering and the darker your value will be. So I'm beginning to get a darker value, and I'm also beginning to add a little more pressure to this part of the layer. So I'm layering less here and more here and adding a little more pressure. So I would say I'm using sort of a medium pressure right now. And then I'll gripped my prints a little bit more and do harder pressure. And immediately you can see that it gets the darker value as up here. But now I have a gradation of color, from light to dark by layering. And by changing my pressure, you know, maybe even a little lighter here. Yeah, see, I couldn't leave more space go a little lighter. So I have a nice gradation of color by layering, and I didn't have to add anything extra except a little bit more color and a little bit more pressure. Now you can do the same thing with a circular stroke and create sort of the same a process . You can also do that with multiple colors, but we'll talk about that next in the next lesson. 5. Layering Part 1: four suggestions for you. When you're layering and blending, I suggest that use color lightly at the beginning that you use circular or directional strokes, depending on what you're trying to draw or color, and that you gradually build up layers and you get more pressure as you go. So as we talked about in the last lesson with layering, the same things apply. But this time we're going to use more than one color. Let's start with green and light pressure, and I'm going to create a Grady Int kind of as before, but I'm going to switch colors. So light pressure, light coloring. This is naturally a letter color than the blue that I was using. I want to just I'm a little bit more layer and pressure there. Here we go. Next, I'll take my blue, which is an analogous color, right? I don't want to put some weird color over my green. You don't want a pit a compliment over it, right? Or you're going to get great if you want Grey, that's fine. Okay, some start overlapping my green lightly coloring with my blue so you can see where there's no more green immediately, even though I'm coloring really lightly and I'm already doing a little bit of layering. The next I'll go to my sister, Magenta, Magenta, and also overlap there on my blue and take it out even a little further. So I'm working pretty quickly. You can slow down. I probably need to slow down and probably going a little too fast there. Okay, so let's go back to our green now. And what I want to do is begin to blend this blue and green. So I don't want to start all the way here the edge, because I want this to be really light. So I start somewhere near the middle again. I have light pressure and I'm going the same stroke, repeating the same stroke over and going to go straight over that blue. So layering and blending is exactly that. It's a process of layering, of repeating colors over the top of one another and over the top of themselves. So I can just continue to do, and I'll switch back to the blue light pressure. This is my next layer, and I'll continue all the way over the magenta. Now, if you wanted to, you can stop there, But I like for my color pencils to be really blended. So I'm going to keep going and I dont e think I'll start. I'll go back with the magenta and start somewhere in the middle of this section where they overlap light, light pressure. And then I'm adding a little bit more of heavy pressure because I wanted to be more magenta . Unless blue here and I can even light in the pressure. So this in will be light Grady in as well. So it doesn't just have to go from light to dark. You can go from light to dark to light. So we up to you really like pressure here and my strokes air further park. I'm going back to my green. Starting here with this blue is and now I'm really starting to add pressure. I have a few layers of color here already, So now I feel like adding pressures. A good thing. It's really going to make those colors blend together. I'm recording this real time. I'm sharing with your real time so that you understand it actually takes a little while to do this. It's a process. It's not like, Oh, you just do this in immediately said no. It takes some time and it's worth it, right? It's worth it. So light strokes here in the middle of the green with the blue. I'm not putting a lot of pressure, sort of medium pressure now and going back over that blew all the way over the purple. All right, so we're going to go back again to my green. And again, I'm adding pressure now. At some point, your paper will not accept any more of this wax based pencil. Your paper will just It just won't change any. It just will stay the same, and it will be like, Oh, I'm done. That's it. It has no more room in its texture in the two of the paper to accept any more of the wax or the pigment. So you will just learn to notice that over time because you'll start seeing that there's no more intensity of color coming out of your coloring. So now I'm adding more pressure, overlapping the magenta and the blue, and I'll go back to Magenta so light pressure and then heavier pressure because I want that much into to start getting darker. But as I'm going, I'm varying the pressure throughout. So moved back toward the blue I lightened my pressure when I moved toward the magenta. I'm darkening it. But as I move out toward this end where I want to be light again I'm going to lighten my pressure again. I'm still layering. I'm still laying down more pigment, but I'm not using as much. Pressure doesn't press down the tooth of the paper as much. It does cover up more of the tooth of the paper, though gradually so I'm light, light, light, light, light, light mediums pressure heavier pressure all the way to their. So we have a nice color blend. Now I could keep going. This paper will accept a little bit more, but I'm just going to leave it at that. I think you get the idea that you kind of work light to dark. You overlap and you vary your pressure. You start out lightly and then you get a little bit heavier as you goes there. Directional strokes. Let's dio circular thing 6. Layering Part 2: directional strokes. Let's do circular strokes. We can do a different color. How about we do orange and magenta? That'll be a nice color combo. Actually. Let's do yellow, orange, magenta and I'll just do a circular shit. I'm just gonna draw it right. And then I'm going to color coloring in small circles. I'm holding my pencil further bags so that you can see, but you can hold it more vertically. It's just that you can't see me coloring. If I'm holding it that vertically. So do either way works. Just do what works for you best. So I hold my pencil further back and again, I'm putting fairly light pressure so I'll just do that yellow there and I'll do the orange circular strokes, light pressure overlapping on the yellow, just like we did with the directional strokes. Except now we're doing circular like pressure when I'm over the yellow for sure, a little bit heavier pressure on the bottom, and we'll go to magenta again. Circular strokes lightly, lightly overlap that orange a little. Get a nice color grading it there, and I can add a little more pressure here on that ridge. So if we stopped there, we would have a nice blend of cover, but we can blended even mawr, and what you can do is take your yellow and just go back over. Go back over the top, that orange a little. You go back over your yellow if you want. You may also notice from the lights in my studio that there's a sheen. These pencils are wax base, and they have a sheen, a wax, waxy, shiny surface when you're finished coloring when you're coloring with them. So just something to keep in mind makes it sometimes a little difficult to take photos. Go back to my orange here, getting a nice color blend, overlapping the magenta. Just a little, A little bit more pressure than before. Go back to Magenta, starting with light pressure overlapping that orange. I can still see the texture of the paper here. That is perfectly fine. Good to know that, you know, just just letting. I'm just letting you know it's there if I keep working on it and adding more layers and more pressure. Eventually that paper kind of disappears. So we have a nice color Grady int with circular stroke. Now there's one more way to blend that I haven't talked about yet. It's essentially is the same thing, except you use white or a clear blender. In this case, I have white. So, for example, if I had colored, then I'll just color Swatch here really quick and then colors in blue. I worked my way into that green, so there's a bit of an overlap there. See toe back again with this green. Then I can use the white to blend, and I'm going to get a lighter color and a light blending color. So I'm just going to with fairly firm pressure now, because I'm I think we understand how this works. Just going to go over that and blend it now. I didn't put those blue strokes close together, so you can see there's a mix of green and blue in There. Depends on how you want to color, and you'll see this. White will lighten this blue just a little, and I can go back and add more, and then I can add more white. It's going to just tone that down just just a little, so I see little bits of pick color here. My paper from the pressure. It's OK so you can lend also with white planned with white. Just so you know when you're adding pressure to your color pencil blending that's called burnishing. So the more pressure you put, the more you're burnishing your colored pencils. Pencil work. You're pressing down the tooth of that paper. You're causing that wax in the pencil to melt a little bit and blend together, burnishing. Now there are other ways to layer and blend, but this is the most simple. Most direct way to do it is by layering, overlapping and burnishing, varying your pressure burnishing. All right, let's talk about a few keys. The color pencils. 7. Keys to Success: kiss your success with colored pencils for great results is to keep in mind thes things. First off, keep in mind how much pressure you're using on your pencil. You can vary it from light pressure to heavy pressure and get lighter and darker results. Mawr or less of the paper will show through. Next is direction of strokes. So if you color all, let me let me demonstrate this really quick. If you just color every which way, those strokes are going to show up right, and it's going to look a mess now. You may want that result sometimes, but if you want to smooth blend, you need to either color directionally. Follow the curve of your subject or color in small little circles, so the direction of strokes is very important. You need to follow the contours of your subject, or you can do directional lines or small circles. I also feel a key to great results with colored pencils is layering now you concolor everything with light cup layer of colored pencils, but layering will really bring death and life to your color pencil work. Also working light to dark, I find if you start with the dark color, you end up maybe with something to dark and something that doesn't quite work right. But if you start with light, even if it's a light layer of the same color, you're going to get better results. Blending with the lighter color is also very important for getting great results. If you try and blend with the darker color, then you're just going to get the darker color. But if you overlap and layer the lighter color, you will get a nice, smooth color blend, sharpening your pencils to get fine lines. These pencils as you color with them the lead. It gets worn away, and it's not sharp anymore. So if you need fine lines, then sharpen your pencils and it's very important to have a paper with tooth. A super smooth paper is not going to work well for colored pencils really need a drawing paper or something with a little bit of tooth or grain to it? So these are my tips for getting great results with color pencils. Now let's move on to a little project 8. Project Part 1: for a project for this class. Let's just play around with our pencils will just create an abstract drawing, and we'll use our different techniques to fill in spaces. So it's really simple. All I'm going to do is I'm going to take my pen. I'm going to just draw some overlapping circles. So I'm kind of loosen up here. I don't want to be messy, but I don't want it to be to structure right. I wanted to be nice, lose abstract shape. You draw the lines that you like to draw. I like to do circular kind of things like sort of overlapping circles. And I'm mayor may not color in all these spaces, and it's just fun to create that kind of thing. This one is kind of large. You may want to make one smaller. I think she wanna continue that line around a little bit more, I assume, and maybe even draw shape through it. So nice fund shape there. Now all I'm going to do is take my color pencils and practice my techniques so I will feel some spaces with some hatching or cross hatching with some stippling. I'll do some layering and I'll practice blending light to dark. I'm going to keep in mind the keys to good results. I'm going to watch the direction of my strokes. I'm going to work on layering. I work like two dark blend with lighter colors. If I need fine lines, I'll sharpen my pencil. And I am using my paper. That has to, and I'll also pay attention to my pressure so I'll keep those things in mind. And if you want, I have a little hand out for you. And if you want to, just keep that nearby when you're playing with this, it's a great reference for you to just try out this project. So chat with you as I go and we'll see how it all turns out. This is not designed to be a masterpiece. This is a practice sketch to learn my techniques for my pencils, right, so now I get to pick whatever color I want. I also want to create some highlights here, so I'll show you how to do that as I gos. Well, haven't really used this screen. So what if I used this yellow and this green and let me just do let me just start with some hatching and I'm just going to use the plane hatching in this section and you can pick the section you want to dio and turn your paper as you need. Teoh. I'm just going to find a little space and do the hatching. I think this would be a nice space for hatching, and I think I will have it further apart in the middle. So I'm going actually pretty carefully with my hatching not too quickly and getting it closer together as I moved towards the end and all my my strokes may not completely fill up the space. I'm OK with that. So we're putting extras there and I'm turning as I go around the corner so that if it's the contour off my line, some keeping in line the direction of my strokes, how far apart they are, or rather how close together they are and getting them closer and closer together as I get to that small space. So its wider here is going to stand out more and it's darker and closer together. Here, it's like it's further away. Now I'll go back with the yellow and do a bit of color blending, so I'm going to just put strokes in between. So I'm using the hatching. But I'm also sort, creating a pattern and putting those strokes in between and then working my way down, impeding that same process, so have sort of a glowy spot there. Now I want to make these edges even darker. And how can I do that by putting my hatches even closer together? Or I could go to darker color. But I think I'll just do hatches closer together here, and I'll just color in that little spot. It would be solid here at the edge and then goto hatching. Now my pencils getting dull, and I want some really small fine lines, so I'll just sharpen it with. Just have a wooden pencil sharpener. It's probably best not to use electric so much with ease if you can, because you'll lose a lot of your pigment and that sort of thing. So just try and try and use a hand sharpener if you can. So now I have very fine lines, and I could just fill in fine and sharp, and actually there are a little bit darker because they're so fine and I'm adding also a little bit more pressure and I'll just dark in some of those lines as I g o there working my way around. So speed up this part of the video and then I'll be back and talk to you when I move on to the next technique. How about that? So that in s so I'm happy with that hatching there. Now let's do something different. Different colors. It shall continue this green. But I'll move from this green too. The blue, the dark blue. And so I kind of am going to continue this color. But this time I will do stippling. So I'm going to start just by coloring this part because I want this to be the darkest part . And I cant add more pressure and layer that color if I want to. And then I'm going to go lighter. And then as I go lighter, I'm just going to start doing stippling and adding in dots there it's a really small space . I probably won't fill in every space on my drawn but so in this area want them to be further part and then I'll get them closer together as I get down here. Can you hear that? Tapping sound? Okay, now move to my blue. And I'm just going to do stippling with the blue right over where I have the green leaving more space in this center area. So it's lighter and making more dots here whose darker area and just go really fast now. So you get some nice stippling results there. Now I'm having fun. Guys, this is that I love blending color pencils, but exploring these other techniques is also really like it's freeing. It's just like that's just fun, right? Okay, so now I have done to techniques I've hatching Well, actually three, because I have some layering here hatching and some stippling here. Now let's see. I have this blue Let's move from the greens to you the purple. So I have a purple color. Use the colors that you like, this one's called light Ultra Marine and just going to pick another area to work on. I am actually you know what? I like this sort of how the color is continuing around, so I think here I'll do the green to the blue. But I'll do different technique. How about we do I'm just gonna go straight over this line. How about we dio Kareen following the direction of my lines here with coloring very lightly so you can see lots of texture through the paper very lightly. Here, this is where or what my lightest, brightest spot to be. I'm sort of thinking that these corners where they meet, they go down or get further away. That's that's why I'm doing it that way. Um, so I'll go all the way light here. Now it's my blue and getting coloring lightly in that corner and overlapping there a bit. So I have a transition from green to blue. So here I had a transition from yellow to green and then from green to blue And now on this edge, all transition for marine to blue again. It was kind of cool, right? And I'm just doing this by layering using directional strokes. I want to be darker here as before. It's a really tight space. Might need to sharpen my pencil. Now I'm going back over this area with heavier pressure. Just here at the end. Words dark. Here we go. Nice. Now let's go back to are green again. I'm using heavier pressure here in this corner, going to go right over that other line. It doesn't matter to me whether it shows or not. It's still going show. But it doesn't have to be like perfect, right? Fun and enjoyment. Guys, we're here for fun, enjoyment and for learning. So this is a great way to learn about my colored pencils is just too. Explore all these techniques now I'm going to go back to lighter pressure here, but I'm also still layering, and now I'll stop there. I want this area to be the lightest. I'm keeping that in mind, going to go over here to where this blue is an overlap. That blue area who had a nice trip, Boise color and lightly, lightly, lightly go toward this area here where it's going to be the lightest and brightest. So now I'm really combining my blending techniques and stretching my blending muscles. If you want to go with that little more pressure here, where it overlaps, let me go back to the blue four minutes. So I just switched back and forth freely. You can just switch back and forth freely. There's no rules that say, Oh, you have to use it this long. And if you pick this up, you have to do all of it with this one. No, go back and forth. Really? However, you need to let your artwork show you what it needs so overlapping that glue. Now I'll go back to my green now I'm using more pressure overlapping there. But as I work toward this light area, I'm using less pressure. So I want less pigment there. All right, that's a nice, nice color bloom there. I think now, because I want this area to be really light. But I wanted to look blended, although to my white and just go ahead and use that lightly over my green, and that's going to blend those colors there. But keep it nice and light Now. I could be using circular strokes for doing this, but I'm just using the directional strokes works just fine in this case, going over the edge of that green. I'm doing it lightly right now, but I will add more pressure like way. So now I'm actually layering the white and the green together lightly with the green, a little heavier with the white, creating a nice soft blend. As I mentioned before. There are other ways to blend, but this is the most direct way I think requires the least supplies and all of that. So have a nice color blend there and have this really sort of circular, green and blue thing going on. But I kind of want to explore my other color, or so let's just see what we can do now Let's see. I started to move to the purple earlier, so I think I'll do that now. So I'm still going to continue with my blue. But I'm going to put some purple in there now. But the white up The nice thing about this case is I can press it down on one end and out pops the color up. It's made to be able to do that. It was kind of cool. All right, so what should we do next? Are we having fun yet? So this is a really big area. No, what? I want Teoh, If anything with that yet it's pretty big. This is another really big area, so I'm seeing like this area and this area. This one's like ooh, all the way around and then this is a small area. This is an area, so I can pick and choose my areas. However I want to and this is just a fun exercise for me. 9. Project Part 2: so done patching. I've done some stippling and I've done some blending. I still need to do some well. The blending and layering kind of go together. I still need to do some cross hatching, and I can do areas of light and heavy pressure. This is more layered and heavy pressure, right? It's really are blending technique right on. So let's see. I think I want to try the cross hatching and I'll be honest with you. Cross hatching is not something I do a lot of, and although it's really, like, sort of therapeutic when you do it, it's also to me a little bit intimidating in that I'm not blending because I tend to love to blend color. So let me sharpen my pencils. Let's do cross hatching now. Like I said, I'm a little intimidated by this. And so I don't want to do a huge area. What if I just did this section here, so let me just do it little lines and then I'll skip a space and then I'm do lines in a different direction, and I'm doing really light pressure going over that line. That's kind of in my way and notice in this area again. They're further apart because I want this wider area to be the one that's most lit up closer together there. I think I'll switch colors. And this time I will make my strokes in a different direction from the ones I just did. So let me go this way with this one, and they're going toe overlap the others. So just do some overlapping. And I think I'm camera. You're not really gonna be able to see maybe a lot of difference in these lines and stroke . So making further apart here, they don't have to cover up the whole entire line, do they, um, switched directions and I lost sort of my open area there. That's okay. I can bring it back by making these more digits. Selimi, switch directions again. So cross hatching switch back to this prints and I'm gonna make, like, darker strokes. And now I'm going to just be less thinkI less thinking and more. Just make some strokes going in different directions. If they cover up the entire section doesn't matter. I do still want this area to be lighter, so I will make my strokes more dense over here. so you can see I get sort of an X pattern in the areas by going in different directions. I can make my hatching, Kurt, because by minus curved, I don't know how happy I am with this hatching business. Just so you know, just in case you're wondering, I don't know I loved Stippling, though I don't know how much I really like this cross hatching. That's okay, though. This is about learning, right? It's about pushing our boundaries, figuring out what we like and what we don't like. Like a lot of little lines there. Maybe I consume an so you can see that better. It's almost a solid color over here in this area, but not here. So I want this to be more dense, made my lines really close together. Now, at this point, I don't think you can even tell used multiple colors. So I will definitely have toe do more purple in, please. Okay, so that's kind of messy. And I'm not like it said. Not too sure. I don't want these areas to be darker. What if I go back with some magenta and add some hatching there? Cross hatching, remember, we're doing cross hatching. I'm just going to go straight over what I already have their but go in different directions again, leaving more or less space and less pressure. You see, I'm not very good at staying in the lines. Look at that. So maybe I do want to race. Kind of like, No, it's outside the lines, actually, probably instead of erasing, I'll just would think enough that line, that's That's usually what I would do. It's kind of situation. Okay, so that makes this darker. I like that better again, a little more catching a little more closer together. There. Don't go back to my darker balloon. Go back over so you can even lay or you're hatching. If you wanted Teoh, I just wanted to color to be different slightly. All right, so that's not bad. I still have my lights to Dark's not not necessarily my favorite section. I can erase a little very carefully when we got outside the line. Like I said, I usually don't erase. I just go back with my pin and picking up that line, and you'll never know unless you were watching me like you are right now that I had colored outside the lines. Okay, so we've tried all the different. Have we tried all the different techniques? Well, I can do a light and heavy section. How about I do that? Let me do I don't want to blend it. I just wanted to be a light section and a heavy section. Light pressure, heavy pressure. So this will basically be a sample off all the techniques I could do with my colored pencils. All we learned in this class, I'm sure there are more. But for this class, right, So liked light light. Let's go for a neutral color. This is burnt on. Born, burnt Oakar. Sorry. Burnt ogre. So let's make this a neutral color and make it really light. This little section right here is calling my name. I can do circles. Let me do circles. It's a small section so color in circles and do really light really light pressure. And I'm probably not I'm not. I'm going to try not to do more than one layer just to light pressure, even super light pressure here in the middle. Where again? The wider part. I want it to be lighter and brighter and a little tiny that heavier pressure here, but still really like pressure. And this looks golden brown, right? It's pretty pretty. Okay, light pressure. Now let me use the same pencil and do an area of heavy pressure, and I feel like it's too big oven Aaron. Yet let me let me actually continue this section here and then I'll do heavy pressure here so immediately, I'll go heavy pressure right there. So as I'm doing this, I'm practicing the techniques on practicing, learning how much pressure to use with my pencils so you can practice and learn how much pressure to use with your pencils, right? It's different and I have a small tip. I'll just turn the pencil so I get in that little space. Here we go. So heavy pressure like pressure. Nice, nice, nice. So far, so good guys. So far, so good with our little practice project 10. Project Part 3: So now I've done every different type of technique that we covered in this class. Um, I've even done a great get type blend here because I did this light to dark. We use the white different glinting. Now I haven't really done like a color mixing section. I could do that other than the blending which I love the blending. I love the stippling. What if we did an overlap of stippling and blending? Let's try that. Let's combine some of our techniques now, so I will actually, I will use the same color, the same neutral color. And I'm going to just do this big area here. So I'm I'll speak this part of the coloring up, and then I'll come back when I'm ready to explain anything new. Right now, I'm just laying in the color way . Okay, so I have a nice area where I've laid down color. It's not really blended is just lighter and heavier pressure, but not a smooth blend. I just want to go in with a darker brown. This one is called walnut brown, and I want to add stippling to create depth and texture. So now I'm using to second well, three techniques. Really? Because I have a light pressure, heavy pressure. And then I'm going to use stippling over the top of that. So really dotting in. I'm putting a lot of dots in this little corner. Am I going for perfection? No, I am not. Okay, so a lot of dots. And then as I worked my way out, I'm leaving more space between the docks. This is not rocket science where it's measured space, right? It's You have a feeling or you move the pencil in such a way that there's just more room between the dots. You can hear that tapping. I think so. I see it actually does. You make it sound. There just don't have even more space between dots here. So now I have an interesting texture, I think, and doesn't show up a lot because the colors are similar. That's what I want. Actually, so more space here, actually unstoppable the whole thing. And as I get over here tapping and closer together, as you can see when I'm tapping closer together, or rather as you can hear what I'm tapping closer together, you noticed that it goes faster, right? But when I'm tapping further apart. It naturally goes slower because I'm moving the pencil more. So that's something to keep in mind. Let me just go in, which is block even in stippled more. But I already have the brown stippling. So still no even gonna take as much of that. And maybe even just color this part. So it's really dark and then gradually becomes the stippling widgets or more dark, that may not carry this black all the way throughout. Remember, you can do the little circles if you want. Makes little bigger dots. Of course, you can always just make lines with your pencils. All right, so that's kind of interesting. Reminds me of a cookie like this area. Looks like a cookie. See the little dots in here? All right. So nice. Typically falls when I use my colored pencils, But we still haven't done the overlapped color yet. We do that the yellow and blue, and we'll get more green, right? So I would just start with my yellow and where I think up with that in this section. So start with him to start with my yellow in the middle, coloring lightly go all the way to the corners of my little section Here, Down that little spot. I'm going pretty quickly. You can go slower, Remember, you can go slower. A little stippling outside the lines. There doesn't matter. No, Keep on going. So now have, like of yellow, yellow And I mean it this blue and a heavier application actually here in the corner. So I'm already putting down quite a bit of pressure. Corners will be mostly blue. So quite a bit of pressure here. But as I worked my way out and do less pressure so less pressure, even last pressure. That's pretty much it there in this area. Heavier pressure, little lighter pressure, even lighter pressure following the contour directional strokes, you could use circular strokes here if you prefer. And I'm not leaving an even line. If you notice if you leave a straight even line, then it's going to really show up. But if you make it sort of uneven in, jog it, it's gonna show up even less. All right, let's go back to our yellow now and going, Teoh, Just use sort of medium pressure here and I'm coloring in the yellow. Yellow is super bright so I don't feel a need to leave it whiter. Just wanted to be bright, so I just go right over that area. Actually, this yellow and the public Ramos seems to be a little softer and some of the other colors. So let's just get right straight over that blue. Give us a green. I still have a pretty well defined line there, but over here, I don't So something to keep in mind learning as we go. So I do a little bit of white really light pressure here with the blue and also my strokes for a little further apart. And I get more for consistency there more of uneven blend back with you a little over tough . Yes. Oh, that's pretty. I mean, that's pretty. I think that's pretty So I didn't use any green here, right? I only use yellow and blue about a nice color. Makes their nice nice, Nice. Okay, so let me turn this back to my original orientation here. I really love this color blend. You'll have that blue to that green color blend. Yummy. Right? So I think I'll color one more section when just this section right here 11. Project Part 4: I think I'll color one more section with just this section right here, and I'm going to do with the blue but purple and the magenta. So I didn't use my owners and reds this time. It just didn't really go with what I was doing as far as a color palette. But that's okay. You don't have to use all of your colors. Just want to use all of our techniques that we've been learning. So this little section here and I think I want to be darkest over here, so I'm actually want to start with my lights color. I want to start with my light color in this light section here coloring really lightly again. You could use a little circular strokes just because of the areas on coloring I'm using. Directional is drugs. So on a nice layer effect Been lightly, lightly, lightly. I can't even hardly see the transition there. That's what I want in this case, really lightly coloring. And then over here, the same super light, super light pressure, barely laying down any color and then a little bit more pressure as I go. Not much, because this is the first layer all right now, let's go too much in tough. And in that little space, these kind of continues around. So there's a little bit of a method to my madness, lightly, very lightly here and overlapping that blue. And also here, a little heavy pressure there at the intersection, then lighter and lightly, very lightly overlapping that blue trying not to leave a hard line. Now I could leave that just like it is, and it looks pretty nice, but I love the blended color that you can get with colored pencils. So guess what, going to the next layer? And I'm leave this area that light the slightest area here, overlap it a little because I'll dues in the end to come back with white. So this is still pretty light pressure, maybe a little heavier than before. But not much of this purple color now could actually take this color and go over the entire section to really unify it if I want to, and I might do that at the end. We'll see. All right, there's that and then we're going to our blue again. I'm really coloring lightly, but I'm overlapping. My ultra Marine and his purple are magenta rather rain, so it's looking pretty cool. Now I'm just going to start a little more pressure here in this area where you see the little the texture of the paper, some putting more pressure, making that nice. It's solid color. But as I work out, I'm doing a little bit lighter pressure. I want to leave sort of room and tooth for this blue. Don't go back to the blue now and overlapped with that magenta Nice Jarque purposely color there a little more pressure Probably about a medium pressure here. And them worked my way out Toe lighter pressure soon as you can see, is ongoing. Pressure is really important when you're using colored pencils. So a nice gradation there. I think I want to be even a little darker blue. So I'm going to add even more pressure. I'm really burnishing this section, lending those colors together but lighter As I worked my way out back with this gente now also burnishing with the magenta Nice, heavy pressure Oh, look, I got all the lines again. I'm really not gonna stay in the lines, guys, but I love doing these sort of abstract circle. Thinks there a lot of fun to do and it's great. Way to practice. Colored pencil, Right? So heavy pressure over here. Let's work on this side a little bit. Have you pressure lighter pressure back to our blue. I'm saving that purple for last. You know, if you noticed that or not, But this will draw Green. I'm saving it for last now, because I'll go back over with that. So less pressure as I worked my way out More pressure. And I want this colors to be the same. So I'll go back over in the same sequence. So back to my magenta, straight over the edge of that blue There have a nice, really nice gradation. This little line is bugging me. See, you guys taught me to erase. I really don't like to race color pencil that. OK, now I'm going in with my ultra marine and working on this connection with the blue area. This is a very light pressure again. And you can fill in every single area of your circle if you want to. I just personally don't want to. So a little overlap. I can even go all the way over to wear that blue Imogen to meet with this ultra Marine and then light pressure here. Skin light pressure overlapping where I was before. Go back over that if I want now I'm using a little heavier pressure, but as I move out again, it's really light pressure. It's a really light area here. I want a little bit more pigment there, one a little bit more with violet color. Do that now, coming with my white and just going to burnish this with the white. Really? So that means heavy pressure just to blend that out. Make it look nice. Cymbal ended, less texture. More blend really pretty. Now people make amazing artwork with colored pencil. So many realistic, amazing color pencil things. It's just not me. I do like to draw with color pencils. I like to use them with alcohol markers, and I like to use them with water colors, and I do like to do some of this coloring. I like to draw faces and things with them, but for the most part, I'd rather do something that's rather abstract. But this particular abstract let's has practice all of the techniques that we've learned in this class. We've covered every one of these techniques. In this practice drawing. We focus on our keys two great colored pencils and I think it looks pretty fabulous. Now I'm going to do a few finishing touches. I'll just finish this little drawing with some line. 12. Project Final Touches: I just finished this little drawing with some lime work. So I have a pig. Mom Micron have a very fine point. Ballpoint pin. And I have some larger pins and white, and I'll just re reinforce some aligns with my pin. Essentially, some thinking I would like to have some heavier and something our lines, so I'll even fill in some areas. Way, way, - okay . 13. Project and Thank You: thank you so much for joining May for introduction to colored pencils. Help! You've learned a lot. I hope you enjoyed the process and you don't take it too seriously. And I really appreciate you being here. Please don't forget to leave your questions in the comments or leave your reviews if you enjoyed this class and to submit your project. So for this class, I suggest that you start with a warm up and try the different colored pencil techniques. Try Allegis one color. Try it with two colors just to get a feel for your pencils and how they work, how hard or soft they are and practice different types of layering, hatching, cross hatching, stippling. Practice your pressure. I for me, I think pressure, learning how to control your pressure on your pencil is the most important part of colored pencil art. That's my that's my own opinion. Other people may have a different opinion, but I feel like pressure is super important. So try out the different techniques for using your color pencil tryout, layering and blending by burnishing. So try these techniques and see how you like it and see how your own pencils dio be sure to keep in mind these keys to great results with colored pencil, your pressure, your direction of strokes, your layering working lights dark, blending with lighter colors. Sharpen your pencils for fine lines and use the correct paper paper with a little bit of tooth. And then, after practicing and learning your techniques, just create a little abstract drawing. Take a pen, do some loopy scribbles, pretend like you're in second grade and you're just making some marks and then take those spaces, pick a space and fill them in with different techniques that we learned in this class. I can't wait to see your wonderful, beautiful colored pencil projects again. Ask me your questions. I'll do my best to answer. Thank you so much for joining you. I'll see you very soon. 14. 14 Magic Pencils: I have one more kind of colored pencil that if you've been following me for a while, you've seen me using the's pencils. They're kind of rainbow colored pencils. They're called magic pencils, and I have several different kinds and also have a rainbow pencil. So it has different colors of colored pencil pigment, if you will in one lead, and I have a variety of colors, and I used these quite often, and they're just a lot of fun. They come multiple colors in one a pencil, so that's what makes them really cool. And as I said, if you've been following me for a while, then you've seen me using the's kinds of pencils, especially these particular ones right here. And the reason I do that is well, for one, it helps me loosen up. As I said, I rarely rarely embraced colored pencil. And so if I use them to sketch with, I don't have the mind set that I have to erase it or make something perfect. So these multi colored pencils are just a lot of fun that I've been using them for a long time, and so that I would share just a quick look how used them recently. If you may have seen in my sketchbook now, this is another paper that you can use with colored pencil. It's just a mixed media paper, and I use it for my sketchbook. So here's a just a quick sketch is inspired by watercolor by life on Instagram, and she had a little challenge of a character she designed and draw this in your own style . So this was my quick sketch based off of her character, and I used this pencil. You can see all the different colors in here, so it's lot of fun and there's no racing. Everything is loose and sketchy. And then more sketches. Here. This was playing with Grady Radiant color, just random, right? So I use it as a regular practice in my sketching. So this girl here is done with color pencil. I'm pretty sure I did that with the rainbow pencil, this one's colored pencil. So I this little Emma if you've taken my Eiffel Tower class, I did this with this rainbow pencil. I think, in any case colored pencil, no erasing. Even though it is erase herbal, it's just a different mindset. So for example, if you have your normal graphite pencil that you're used to say doing math with you do math with this pencil two plus three equals five right in. You wrote instead, two plus three equals four. So your race the four and you fix it right, you're just programmed. You've used just a regular graphite pencil so much in school and life you just programmed automatically. A race is just you don't even think about it. You were race, but with colored pencils. Well, for one, they usually don't have an eraser on them, right? And so you can't just flip it over and erase it. But also, just seeing the color on there just makes you have a different mindset, and you're not focused on erasing and correcting as much more ongoing overline. So I did this sketch with the rainbow pencil, went back with some water color, some pasta pins. Now, this is not like some fabulous sketch, right? But it was a lot of fun, and it was a loose and free kind of practice, and I like some of the results that I got with the watercolor and colored pencils, so you may have seen also my abstract blossoms class. I use colored pencils over the top of water color notes. Here's another little sketch again. I used a multi colored pencil and I've just done tons of sketching with colored pencils so that I would loosen up and not erase. So I thought I would share these sort of special multicolored magic pencils that I use in a lot of my daily art practice. A lot of my sketching I do with a lot of these kinds of things just anyway. I confined to loosen up to not be so focused on perfection to not worry about erasing, to learn to accept my own lines, my own sketching, which in turn informs my style Right then I do those things in my daily art practiced and so I just thought it was shared these fun pencils with you. I think you can see like thes two out of this set are my favorite there the shortest, right. They last a long time there, big and chunky, they're easy to hold, and they just lay down some really pretty color. So I just thought I would just take him in and share that with you. and, uh, just just thought it would be fun and that you might maybe you can pick these up, like in a set of three or maybe individual rainbow pencils online and just I just encourage you to try the multi colored pencils. Play around with other color pencils. You can combine them with lots of meat, different types of media, from alcohol pins, like coping markers to watercolor. And they just all work so nicely together and they play well together. So speak. So anyway, I just thought you might like to see my magic pencils just for fun. And yeah, thanks so much.