Learning Colored Pencil: How to Color a Realistic Tulip / Flower! | Alexis Cassandra Art | Skillshare

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Learning Colored Pencil: How to Color a Realistic Tulip / Flower!

teacher avatar Alexis Cassandra Art, Traditional Pencil Artist

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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

11 Lessons (59m)
    • 1. Introduction

      0:47
    • 2. Materials/Tools

      2:14
    • 3. Before Coloring

      1:31
    • 4. Coloring the Leaf + Stem Part 1

      6:09
    • 5. Coloring the Leaf + Stem Part 2

      9:37
    • 6. Coloring the Petals Part 1

      10:34
    • 7. Coloring the Petals Part 2

      6:01
    • 8. Coloring the Petals Part 3

      6:08
    • 9. Coloring the Petals Part 4

      4:58
    • 10. Coloring the Petals Part 5

      9:39
    • 11. Final Details + Project

      1:48
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About This Class

In this beginner/intermediate level class, I go through the process of how I fully render a realistic tulip with colored pencils! The great thing about practicing with flowers is that you won't need a large variety of colors. Most smaller colored pencil sets already have the colors you'll need! 

Here are some of the main concepts we will go over:

1. The exact techniques of how to use your pencils to create different effects and details

2. How to layer your colored pencils to create contrast and a beautiful depth of colors

3. How to achieve realism and avoid a 2d/cartoon-like result

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While this class is best for those of you who have some experience with using colored pencils, I believe that a lot of the concepts/techniques we go over can be helpful to beginners as well! So grab your colored pencils and let's get started!

Meet Your Teacher

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Alexis Cassandra Art

Traditional Pencil Artist

Teacher

Hello everyone and welcome! My name is Alexis and I am a pencil artist focused on realism. I started my first "official" sketchbook at age fifteen and only fell further in love with art since then!

After over eight years of practice and developing my skills and techniques, I have become passionate about sharing what I've learned over time with other aspiring artists!

If you'd like to see more video content, you can visit my Youtube channel here. I have recently started a Patreon for those who wish to see me create artwork in real-time here. I also have an Instagram account where I post all of my artwork, which you can check out here if you're interested! For more art discussion with other artists, try out my discord here!

 

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Transcripts

1. Introduction: Hi, everyone. Welcome to my class. My name is Alexis, and I'm a pencil artist. Over the past six years, I've been working with colored pencils and figuring out really the best techniques and tricks and tips for how to use colored pencils. Today, I'd like to help you to create a beautiful tulip or flower and teaches them valuable information that you can use with other subject matter as well. So feel free to follow along with my drawing or take notes, or even use a reference photo or flower of your choice. If you'd like to apply some of these techniques to, I do have the reference I'm working with available for you to use as well. So go ahead and grab whichever brand of colored pencils you own or would like to use. It doesn't matter which one it is, and let's go ahead and get started. 2. Materials/Tools: before we start, let's go ahead and go over what materials I'm gonna be using and what I could recommend for you. So I've laid everything out here. I have my Strathmore mixed media pad pencil sharpener that I like to use at what? Sorry, sir and kneaded Eraser and a stick eraser. And if you don't have all these erasers, it's OK. You can actually get details by using the sharp point of a white eraser, because that's what I use the sticker Easter force. Fine details. I also have an artist's tape I like to use to secure my paper down. If you don't have that, you can use, like Scotch magic tape or washing taper anything that's not super adhesive. Now let's go back and talk about the mixed media paper a little bit more, so I'm not gonna be doing mixed media. But I do like to use mixed media papers, sometimes just because it's thicker and has more tooth so it can handle more layers. And then if I do decide some point in my drawing that I want to do mixed media, which I won't for this particular drawing, then I'm actually okay to do that because the paper is thick enough. And if you don't have mixed media paper, any thinker drawing paper will do. And that way you don't have any damage or you don't max out on how many layers you can add , which is a problem if you use a paper that is way too thin. And finally, let's talk about the pencils, so I'm using the favorite. Castell Polychrome owes colored pencils. I have a few ranges of colors picked out a couple greens, some pinks, cream, a lighter ivory color and then a sepia, always three exact colors on the screen. But to me, the exact colors are not as important. So what is important is that you have arranged. So I do have a darker green, a medium colored green and a lighter green and a couple different variations of reddish pink and peach pink. And just what I see in the reference photo. And if you don't have a huge amount of colored pencils, as long as you are able to create some kind of radiant from a lighter color to a darker color than you are okay, if you do have a larger range of color. I would recommend using a forest green color for this particular type of drawing where you would be drawing stems and leaves and natural looking things like that. And lastly, you wanna have a nice dark color for your heavily shadowed areas. In my case, I picked sepia. 3. Before Coloring: there are a couple of steps I like to take before I start the coloring process with my drawings. One thing that I like to do is tape the edges of my paper down to my desk. You will also notice my sketch has a few details in it, besides just the initial outline of the flower and leaves. So I have drawn in a couple lines to show where some of those folds are going to go in the pedals and also in the leaves and a couple of details as well. It's a good idea to make sure that you add some details to your sketch so that you have more of a guideline to work with later. But before we start coloring, I like to use a kneaded eraser to pick up some of the graphite from my paper. And this is so that later on there's no graphite showing through. Once we actually started to color. You don't want to lift up too much to the point where you can't see your sketch at all, so you should still be able to see it. But just lift most of that graph I off of the paper And if you don't have a needed a research, you will just have to use a normal racer and just be very careful and gentle with it, so that you don't accidentally completely erase your sketch so that you can't see it anymore. No, I'm not going to erase my entire sketch yet, but just the section that we're going to start working on first, since it is a very good idea to break, you're sketch down into sections to focus on while you're coloring so that you don't get overwhelmed and also so that we don't accidentally rush through any areas. Another thing that is really good to do is pre sharpen your pencils before you actually start coloring. And that way you don't have to worry about having dull pencils. 4. Coloring the Leaf + Stem Part 1: Now that we've gone over materials and preparation, let's start the actual coloring process. So one easy way to kind of jump into this is Start by finding the shadows in your reference photo and you'll notice I'm only erased the bottom portion of my sketch because I'm dividing this into sections so that I can really focus on one area at a time. So we're starting with the bottom portion of the stem and leaves, and I have looked in my reference photo and found where the darkest shadows are. I'm just going in with my darker green pencil and kind of marking in where those shadows go . This is our base layer, so kind of like our foundation layer. All I'm worrying about right now is the direction that I'm coloring in and the amount of pressure and putting on my paper with my pencil. I'm going to talk a little bit more about that in a few seconds, but first I just want to address something. There isn't just one way to start a colored pencil drawing, but I do find that starting with the shadows is kind of a more simple way for me for this type of drawing. You could start with a lighter color and then add shadows later, depending on what you're drawing. But I do find that marking and shadows really helps you to find where everything is supposed to go. You'll notice I'm speeding my clips up a little bit here because I want you to be able to follow along and see what I'm doing. But I do want this to be a little bit more timely. So anyway, what I was saying about direction and pressure, so to keep a light, consistent pressure, the easiest way that I like to do this is just a color with a side of my pencil rather than the point of my pencil. You can really cover areas more quickly and efficiently if you color this way, and using the point of your pencil is great for details and fine lines and things like that . But it sometimes it's hard to keep a nice, consistent pressure while you're using the point of your pencil. So I do like to use the side of my pencil when covering areas like this. And of course, by studying my reference photo, I can see what direction My leaves are growing in like the weak on the left hand side, which is growing in a different direction than the leaf on the right hand side of the stem . And I can accurately color in that direction and really just help the overall and result look more realistic. Since this is our base layer, we don't have to worry too much about getting anything too dark. We just want to outline the general shadows to kind of give us a map toe work with later. Now, one important thing when you're working with things like leaves and a stomach so you don't want to accidentally create a curt to nish over defined look that isn't realistic. So don't accidentally do any harsh outlines around your leaves or stem in an attempt to define them. Instead, we can build up our stem by building up the shadows behind it on the leave so that the stem stands out and looks like it's in front of the leaf without us having to actually heavily define it. And I even erase some of the pencil markings that I think are a little bit too heavy. Once you've defined some shadows, you can go in with your lighter green pencil and start to color over that area that you've colored in with your shadows, your darker green and of course, the lighter areas as well. So I kind of just go in and put an entire layer over what I just worked with. And you can still see the dark green showing through. Of course, since these are early layers, I'm definitely gonna have to build up this color a lot. But the way that you layer colored pencil is over and over again layering colors on top of each other until you get a nice rich Grady in and you get the amount of contrast that you want. I'm also going in and glazing that lighter green, and this is such a beautiful light green color. I think I'm glazing it over my stem and then I can go in with my darker green again and start to work on that greedy int because there is a heavy shadow on the left hand side of the stem here. So the way I like to build on up is really just over and over again, creating layers rather than harsh defined line with the point of my pencil, which was the point I was making before. If you do that, you're going to get way too much of a harsh outline. It's best to just build up the shadows as best as you can. Of course, Now I'm just going back and forth with my darker green, and then I'll go back with my lighter green and just creating more and more shadows and layers. You can sort of see that I've built a little bit of a shadow now on the bottom part of the stem, and it's starting to really stand out a little bit. I am jumping around a bit in this section here. The reason I like to jump around a bit is so that I can see as a whole what everything is looking like now. I don't mean to jump around too much, and I have divided this into sections, as I said before, so we're working on the bottom section right now, but it does help to kind of have an idea of how the stem is gonna look against both of the leaves and just build them up together. It also keeps you from getting as bored. If I had just started and finished an entire section like the left Lee, for example, and then moved on to the rest of it, then it might be a little bit boring, so to kind of help very things up a little bit, you can definitely jump around a little in the section that you are working in. There is a bit of the leaf that is showing from the back, so the leaf is folded and there's a bit of a shadowed portion, and this portion I'm gonna go in right away and kind of use a little bit more. I don't want to say pressure, but you want to color with more pigment, maybe some more layers, to show that there is going to be a dark area there. I'm still not coloring super hard, though you can see that there's more pigment in that area, but it's not extremely hard pressure again. I prefer not to add a lot of pressure at the beginning because it prevents you from being able to build up layers later. It's kind of best to build things up, and this way, if you do make any mistakes, it's much easier to erase them. 5. Coloring the Leaf + Stem Part 2: Now you can see what I mean by building up around the stem rather than defining it. It really helps to create a more realistic look and you'll be able to see it later as I build up more and more. But for now, just having that shadow going on on the side of the stem, a swell is behind. It is really doing something for the realism now that we've got some of our base layer and it's time to start building. A contrast, I'm using the Color CP, as I mentioned before to do this and what I'm gonna do is just first of all, go in and find my darkest shadows and start adding some of the c p a. There. I'm still not gonna be using a ton of pressure, but this area that I'm working in the bottom portion is very, very heavily shadowed, so I will have to do multiple layers in order to get the look that I want. The good thing about layering with colored pencils is if you layer the brown on top of the green, then you go back and later the green on top. It definitely will look more like it blends in, and you can see the mixture of the color and the pigment. You'll get a much more natural look this way. And that's kind of why I didn't recommend using black, because it's a little bit harder to mix the black naturally in with the other colors. I really love how these natural tones just blend together so well. The forest green colors, along with the C p a layered on top of each other, just create a very natural looking shadow. And that is why I really love the CPI a color, especially from the polychrome. Oh, so it is just such a beautiful tone, I think, from the Prisma color set as well. I love to use E P. A. In place of black for my dark shadows when I can. I have talked a little bit about my techniques and how I'm getting this look. But really, the biggest tip I can give is to figure out how to do soft lines rather than harsh lines around all of your edges, and this really makes all the difference in the world. And it is something that I had to practice a while to get the technique right because my earlier colored pencil drawings were not exactly the most realistic and had a little bit more of a cartoonish feel. And I kind of had to work my way away from that and learn how to color and portray softer lines. And it really does make a world of difference to practice this technique of it. Another really important tip that's often overlooked is make sure that you are giving an equal amount of attention to each portion of your drawing. So no matter where your skill level is with realism or colored pencils you're drawing is gonna look a lot better that each area has the same level of realism and you don't want to rush through anything. So when you're drawing something like a flower, you might want to rush through the leaves and the stunt to get to the flower petals sooner . And, of course, that's amore exciting part in the fun part. So you want to just naturally work on that part more. But if you do rush through anything, it's gonna show in your end result. It's just gonna make your drawing look less realistic when you could have achieved a higher level of realism just by having an equal level of realism throughout your work. And so you will notice. I'm spending a significant amount of time working on the stem and the leaves, and it will take me a while, especially because with the tulip, the leaves are so big compared to other flowers. But so you want to make sure that you are giving an equal amount of attention to each area of your drawing. Okay, I do want to talk about the stem a little bit more, so I'm starting to build up more color on the stem and previously, it just how to shadowed area that was very heavy. And then a lot of highlighted areas. I am going to go in and start building up more color by kinda glazing the colors over it and making sure the shadow behind it is super defined. I think the stem is often overlooked, but it's a really important part of making your drawing look realistic, and it does go up and connect to the flower petals as well. So you do want to make sure everything has a nice transition and look seamless. We will go over how to get a nice, seamless transition between the stomach and the pedals. By the way, when we do get to that point, while there is a heavy shadow on the bottom left hand portion of the stem, as we move up a little bit further, the shadow is actually on the right hand side of the stump, and it is very beneficial to pay attention, of course, toe where all the light is hitting in your reference photo and pay attention to the little details like thought. So for this section, I am going to be building up a little bit of a shadow on the right hand side of the stomach , and I believe it's going to change again as we get closer to the top portion of the stem. Of course, since the flower is moving and this is a very flowy and natural reference photo that I'm looking at, my favorite part about this big leaf on the right hand side is the fold. So on the right hand side there's this very shadowed portion that shows the backside of the leaf, and then there are these barriers beneath it that have different directions the leaf is folding up into, and I really loved portraying this. I think that it's so much fun to portray something like this. It just does take a little bit more work, and it is a little bit time consuming. I did find extremely fun, and I did take a while when my sketch to make sure that I got all of those moving areas correct, as long as you pay attention to that. I do recommend, of course, in your sketch, making sure that you draw on some lines to indicate direction so that you're not as confused. Later on when you go into start coloring. If you are new to colored pencils and you're just starting out, I would really recommend kind of doing a swatch sheet or a practice sheet and practice layer in your brown and your greens together to see what kind of shadow effect you can get and how well you can blend the colors together. And you can do this with any color it really and try and see how you can get um, more of a shadow by using a brown tone or whatever tone that you want, because it really is amazing how colored pencils blend, but it is something that takes a bit of getting used to. If you're not used to using colored pencils as a medium, I need to give the left hand side leaf a little bit of love because I've been ignoring it for a while as I've been building up all of my shadows on the other leaf in the stem. So I'm gonna go in and start adding some more color. Of course, this isn't going to take me as long because this leaf is a lot smaller. I do want to point out that there is a sharp point that this leaf comes to at the top, and I just want to mention that when you have a sharp point and something like a leave, don't go in and create that point with a hard line or very much pressure with your pencil. You do want to have a sharp pencil, but you want your point to kind of just fade out and look like it's getting very, very small. So you want to use a light hand with your sharp pencil and just very lightly indicate that area. No for the rest of this lesson. I'm actually just going to let you see how I build up this leaf on the left hand side. The same methods that I talked about with the leaf on the right hand side in the stem, of course. But I want you to kind of observe and see what I'm doing. 6. Coloring the Petals Part 1: now we finally made it to the actual flower petals, so that was a lot of working on the stem and the leaves, but it was definitely worth it. The first thing I want to mention is we want to have a nice transition between the actual stomach and the pedals. And so I'm using the light green to kind of nicely transition upward into where the pedals are. And I don't know if there's a name for that little area between the stem and where the pedals start. But that's the area that I added some green. And then I'm gonna go ahead and, of course, erased my sketch with my kneaded eraser. I don't recommend erasing the entire thing at once because you might actually lose sight of where your sketch even was. So I'm just going to start with the left side of that very left pedal so similar to the leaves I am coloring in a linear kind of fashion. But of course I'm gonna follow the folds of the pedal, and the pedals have a lot of details and variations, so I'm going to be very careful. I think working from left to right is going to help me to make sure I don't miss anything. So I recommend kind of working from one side to another or one pedal at a time. Of course, I'm still going to focus on pressure and direction, just like I did when I was working on the leaves. So I'm focusing on what direction I should be coloring in. And I am using the side of my pencil again to cover a wider area rather than just the sharp tip of my pencil. And I'm still gonna use a light pressure as well as I start. There are some areas that are more harshly dark and then some areas that are light. And it's not always a super smooth transition. So I'm also gonna keep that in mind as I'm working. And just for your reference, I'm using a light pink tone as well as more magenta tone and that a kind of peach pink tone that I saw as well. So those are the three pinks that I have picked out to use for the flower petals. Now the flower petal kind of folds over a little, and there is an area on the top right now. the top left hand side where there are some lines going inwards like a horizontal direction . So that is kind of the edge of the pedal on the left hand side. And I'm using my peach tone to go in and I'm coloring in the horizontal direction. So I am gonna have to switch my style and the way that I am coloring throughout the pedals because there are so many different details that are kind of doing different things. Of course, I'm gonna build these details up slowly. I don't press super hard to begin with because I don't want anything extremely harsh. And then I'm gonna go ahead and transition from the bottom part of the pedal up toe words where those details are. You can start to see it all coming together a little bit. Now. I'm still keeping a nice, soft kind of edge to everything, and I don't want anything to be too sharp, just like I did with the stem and leaves. I also have to mention it really is fun to use tones like this when you're not used to using tones like this very often, it's kind of rare that I get to use all of my pink tones, so this was a lot of fun. And anybody else who is more used to doing like pencil portrait's and things like that where all your tones are a little bit more natural probably understands how fun it is to pull out your bright colors. Every once in a while, there are some very highlighted areas to within the pedal, so those areas I'm going to leave almost white. I actually haven't ivory color. That's an off white tone. You can use a cream as well if you don't have that. But I like to use that to kind of glaze over the highlighted areas a little bit so that they're not completely white. Of course, right now it doesn't even really look like a flower petal. You kind of have to build everything up before it's gonna look like a flower petal. It's just gonna look kind of like odd forearms, I guess, and weird colors and flower petals when you're working on them. You kind of just have to focus on the actual shapes that you see, not what you think the flower petal should look like, or how you should color it. Now I did mention that cream color, and I am gonna also be using a cream color That's kind of yellow toned because I did see a little bit of that in my reference photo. I'm gonna mix that in with the peach tone a little bit, and I am going for a more smooth result here compared to the leaves and stem where I wanted a little bit more texture. So I am gonna build up the colors a little bit more and try and get a nice smooth result before I move on to the next part of the pedal. In order to do that, of course, I'm gonna build up some more of my pink tone and my magenta tone, but I still want to make sure I do preserve that highlight at the top. - I move on to the second part of this pedal, so we're still working with the same pedal here. I have just divided it up because this pedal was so big. So much of it is kind of showing, but this part of the pedal actually has some details that are very linear. They kind of just looked like linear like, almost like hair or grass strokes. So I am going to kind of emphasize that and not smooth this area out too much. And I'm using my magenta red color and those details move up all the way, kind of towards the top of the pedal. I don't want it to be too linear. Two straight. I want them to have a little bit of a curved look, so it looks a little bit more natural. But I do still want to emphasize that there are lines here for the details. Now, Prior to this, I actually did a colored pencil drawing of a tulip that was a bit more smooth and didn't have all these variations. And maybe it was just the angle or the photo or something. But I wasn't really having to do all these details and linear things, So this was a little bit exciting for me to actually experiment more with texture. So here is where things get a little bit tricky sometimes. So where the pedal actually folds a little bit at the top. I want to be very, very careful around this area. We want to accurately create that pedal fold because as I said before, sometimes the little details really help everything come together. So I'm careful. There's a little point that you can see. I kind of outlined with my dark red pencil because that area is very, very dark in the reference photo. But I've outlined where that folded so I don't lose sight of where it is. And for now, I'm just going to continue the process of coloring in that pedal. So besides those line details, the rest of the pedal is pretty much just white, like a white highlight and a bit of light pink. So I am just going to do that. And then, of course, darken up my line details with that magenta red color, which I think is absolutely gorgeous color, and I absolutely loved using it for this portion. Now, as I dark in this up, I still want to make sure that I'm creating strokes that look natural. So I kind of like to flick the pencil on the paper rather than try to get a really precise line and press the whole pencil down into the paper. And I would get way too much of an unnatural looking line so I want these lines to flow more so I'm gonna flick my pencil and just do a little bit more pressure. And I always recommend doing that for drawings where you have to do something a little bit more linear because you don't have to be super precise with it. You kind of just want it to look natural. And as long as you get that right, the lines don't have to be super perfect. And back to those details I was talking about. It is important to make sure whenever you have a fold or something like that that you do show that there's a shadow underneath there because realistically, that is what would happen. And it should show up in the reference photo as well. But sometimes it's an area that we tend to ignore because we don't want to bother with those, like petty, kind of annoying details. But I do want to mention it's important to make sure that you have shadows where they should be, because I also makes it realistic when there is a light source. Of course, there are gonna be shadows when something is folded, no matter what everything is looking really nice so far. But one thing is I do need to build up my contrast a little bit more. So I'm gonna go in and kind of add some more dark color to that area where I had horizontal line details. I'm careful there. I don't want to accidentally create anything that looks too unrealistic. So my lines need to be soft and a little bit curved, not completely straight, of course. And then I'm just gonna go in and continue adding more contrast through the areas I've colored already. And as I mentioned, I need to build up my contrast. I also want to make things a little bit more smooth. And to do that, I can use my lighter pink tone and kind of glaze it over everything and just make sure it looks a little bit more smooth. So I get a nice, smooth texture and nothing that looks too rough or greenie. Sometimes when you build up the shadows, you realize the highlight might be a little bit too white. So I went in and added a little bit of pink over the highlight so that it still looks like , but it matches the overall coloring a little bit more 7. Coloring the Petals Part 2: there is a little bit of a pedal sticking up behind the pedal I've just worked on, so it's just a little bit, but I don't want to forget about that portion. So I'm gonna go in and start to color that a little bit of courses won't take me as long because there are some pedals kind of in the background here. But I'm still going to take my time and make sure that I accurately color in those back pedals. And as I do that, I also need to build up a little bit more color where that pedal folds the pedal that's in the front section, so there is a little bit more of like a dark red color here. I do want to kind of emphasize that and build up that contrast a little bit more there. I am going to build up this contrast a little bit and still make sure that nothing is too harsh. However, there are some very kind of dark areas going on where that pedal folds, so I am going to try and make them as dark as I think that they should be, according to the reference photos. So they are gonna look a bit dark. And then I'm just gonna go on out a few extra details before I move on to the right side, - and now we are moving on a bit and we're going to finish off this pedal. There's a little bit more of a fold going on here on the right hand side if you didn't see that in the sketch already. So this area is the same pedal, and just the folded portion of it have to be so careful with the folds because I think that it's easy to either over defined them or kind of portray them in a way that doesn't look like the fold of a pedal. So we have to be very soft with our technique here. There is quite a shadow that's built up behind that fold as well, and we will have to remember to kind of build that up. And also I'm working a little bit down and trying to kind of get the stem to transition a little bit better up into the penalty. I did notice some green and not area and some pink moving down towards the stunt, so going to try to transition and now to build up the fold itself. It's kind of similar to that area that has those horizontal details on the left hand side. So I'm going to be doing some more horizontal lines with my peach colored. So my pink, peach colored pencil and just sort of building up the detail and again the direction that your coloring and really matters at this point because you wanted to go in the correct direction of the reference photo. No, I think at this point my pencil is actually getting a little bit dull, and I could have had it a little bit more sharp. So again, it is good to have your pencil pretty sharp. It was sharp enough to create those lines. Those details, But do keep in mind if your pencil is to Dole, you won't be able to get fine line in detail, and instead it's gonna be a little bit more like a blurry line or a greenie line, which is great for some things, like covering a large area, but not a great for if you're doing fine detail and if you do have that issue, then definitely make sure that you're sharpening your pencil enough, especially if you have a wax based pencil like Prisma colors, which tend to kind of deal down a little bit faster. And they're harder to keep that sharp point. The polychrome most amusing actually do keep quite a sharp point, so I don't have to sharpen them as often. But it also just really depends on the type of pencil that you're using while I build up the fold on the side of the flower petal. I also want to make sure I pay attention to the detail. So, for example, there is that highlight. That kind of comes before the very edge of the pedal. So I'm gonna pay attention to that and make sure that I do include that. And then I will go in at a little bit of contrast with my darkest, pinkish red tone, Of course, until I feel that the colors all look right. I do still have to work on the bottom a little bit, though, so let's work on the bottom a little bit and kind of build it up before we move on to the next pedal 8. Coloring the Petals Part 3: I'm going to smooth out some areas of this pedal and then we're gonna move on to the pedal directly to the right of this. And that panel has a very heavy kind of shadow. Cast it on it from this first pedal, it is totally out of the light wherever the light source was in this photo. So this is gonna be really dark. I am going to use my magenta red color to start working on the shadow. But when you do work on a super dark shadow, it's a good idea to create ingredient for when you move away from the shadow into more of a mid tone and eventually highlight. So I'm working on creating a bit of ingredient, but I do want to emphasize how dark that shadow is. As his area started to develop a bit, I noticed that I needed to do a little bit more work on the bottom half where the stem connects to the pedal. So I'm doing a little bit more work there. I will go up and do a little bit more work on that hidden pedal in the back as well, and just make sure that all my tones kind of match. I'm adding some of that cream tone because I didn't really have as much there. But I noticed that there was some in my reference photo and I'm building up where the point comes in the pedal. I don't really know exactly what it's called, like the tip of the pedal. Now that I've done this, I'm actually going in with my green color again that we used for the leaves and stems to further define the stem connecting to the pedal. There's a little bit of that dark shadow, and then I'm using my light green to transition a little. I want to make this transition as smooth as possible and realistic as possible, because it is again one of those little details that really helps everything to come together in the end. So I am adding some final touches for those areas as well, and then using my eraser to create a couple of highlights. Sometimes you overdo an area, and you just need to pull up highlights, so it especially as you build up contrast, you might realize that you have too many dark shadows, and you didn't mean to do that so it is a good idea to use your research sometimes and pull up some much needed highlights. At this point in the drawing, we've moved past what I think is the hardest part. So the start of the drawing, of course. And then that first big pedal. And now we really just have a couple more pedals to finish. But when I get closer to the end of a drawing, I want to be careful not to rush through it, because I get kind of excited that I'm closer to the end. Sometimes it's easy to just want to rush through it, and I'm actually just gonna take my time on these last couple of pedals. It's not a huge area to color, so I'm going to take my time and not worry about finishing this too fast. I've just been working on this transition from the dark pink to the lighter pink in the peach and the cream of the top, and there are some line details at the top of this flower petal as well, and I think it has really helped me to divide up the pedals and not just work on each pedal . One by one, but also I work on a section of a pedal. So for this panel right here, it's actually the same pedal. It's hard to explain, but it's actually the second to last pedal that we're going to work on. Even though it looks like there's three pedals left, there's actually just to the one I'm working on right now and then the one to the very right that kind of curves over. So this is actually another big pedal, and there's kind of a line that goes down in the middle. That kind of splits it up a little bit. And I'm choosing to work on this section by section, even though it's just one pedal, because it really helps me to notice what details are in that particular section. And I'm just gonna work on darkening this up and you can see there's a lot of contrast going on in here. So this is gonna take me a little while to kind of transition everything and get everything is smoothed out and just is another reminder again. Of course, it's gonna help to have your pencils very sharp. While you're working on details and small areas like this like, for example, I'm working on that very top of that pedal that's hiding in the bag, and I had to make sure my pencil was nice and sharp for that. 9. Coloring the Petals Part 4: I'm now going to go in and actually developed that line. That kind of splits that pedal. So it is one pedal, as I mentioned before. But there is this line in the middle, and at the end it's going to look like kind of, ah, highlighted area. I'm gonna use my sick eraser to help pull up some of the highlights, but for now, I'm actually going to put that line in there because there is quite a line in the reference photo, and sometimes you see a line. It's actually a harsh line, and you do want to put a harsh line. But where you don't want to put a harsh line, of course, is like, as I mentioned before, the edges of the flower petals or the edges of the stomach, the leaves, because there wouldn't be a hard line there. But sometimes in the details there might be. But even though this is kind of a bold line, I don't want to make it completely, perfectly straight where even or anything like that, because that'll take away from the natural aspect of it. Each time I'm working on a new area, I kind of end up going down and working on that area where the stunned meets the pedals because I'm trying to develop that area and make it look like thes pedals are all coming from the same place. So sometimes there's areas that you actually realize that you have to keep going back and working on now this particular part of the pedal that I'm working on right now, it's actually going to get pretty dark at the end, and it's going to be really kind of saturated with color. But the reason that I'm building this up a little bit slowly and kind of taking my time with it well, first of all, I want to make sure that I don't accidentally like damage the paper by pressing too hard. So I could still out additional layers, of course. But also I find that when you at a lot of layers of different colors and then you slowly dark in an area up your end result is a lot more like dimensional and less flat, and you really get a deep, shadowed color that you want. And there are still some line details here, and you can see there's areas that are lighter and sometimes you might need to go in and pick up some pigment with your eraser. If you accidentally cover up a highlight, its just as important to preserve your highlights as it is to build up your shadows, of course. But these pedals are all coming from the same place at the bottom here. So of course, there is going to be a little bit of detail at the bottom where the pedals are kind of growing upwards. I feel that the flower is really starting to come together at this point. So this is kind of like an exciting point. As I'm looking at this, I like how it looks. And sometimes a drawing might look a little bit weird at first or when it's in the earlier stages. But at this point, I can really see it coming together. I am now gonna work on the full details at the top, so the pedal does fold a little bit at the top, and I want to work on that. I use my cream tone and my peach tone to kind of render that area. But what really makes it stand out is that shadow underneath that I'm using my reddish pink tone to portray. So I added a little bit of that reddish pink tone underneath, and it really helps to make it look like that. It is a folded pedal, and now I'm kind of working downwards from that. And you can really see that line that I added in the middle that splits up the pedal. It looks more natural. It definitely does, because I was kind of making a point not to make it two straight or too bold. So keep that in mind as well. If you have to do any line details that sometimes it helps to have lines that are very imperfectly and not a lot of pressure on your pencil, it really helps to make your lines look a little bit more natural because even the lines that I do have in this flower total on the other flower petal on the left as well they all kind of look pretty natural, and I think that I did a pretty good job of that in this, so it's definitely something to practice because I definitely struggled with that before, so let's actually go ahead and finish up this area right now, and for me an area is done when it feels done. So I'm going to continue, of course, working on it until I feel like it's accurate and sometimes one area might take a little bit longer than another. 10. Coloring the Petals Part 5: Now we're getting close to working on the other half of this pedal. I've added in all the details. I've built up all the layers on the left, and now I'm going to kind of work on that transition between the two. And when I'm working on transitions, I'm really careful. Make sure I spend enough time working on it so that it kind of looks natural in the end. And I have this line that goes between the two pedals and then I have kind of a second line to the right hand side of that. If you could see that and I'm going to kind of build that up a little bit, the way that I like to build up lines or spaces is coloring around it. So I want to leave that particular line pretty highlighted or white. So I'm actually going to color the right side of the pedal with that peach tone and just skip over that little area that I have left for highlight. And then, in the end, Rosal, it's going to look like that area. Is that split part of the pedal or the highlight? In another case? Again, there's a lot of line detail here is I'm focusing on the direction that that's going in and just building up those colors. I really didn't expect to have so much line detail while working on this to live, because I did do a to look before from a different reference photo, and it did not have very much line detail it all. But everything is kind of different. So if you prefer not to use a reference photo that includes a lot of line details, that helps you to start out, then that's OK as well. You can see what I mean by I'm avoiding coloring in that middle area that is going to split the pedal a little bit. So I'm gonna avoid that area for now. And I don't have to color super perfectly around it again. You don't want your line to be two straight, but you do want to make sure that you leave a gap between if you are trying to build up ah highlighted area by coloring around it, and not necessarily just by erasing that area in the end. What you actually can't see is that I do have more of this pedal to color in So that pedal on the right hand side that I have blank still that I haven't colored it's actually smaller than it looks. I'm drawing the line right now, and you can't really see my sketch underneath cause I have picked it up with my kneaded eraser, But I can see it as I'm drawing it. So there is a part of this middle pedal that I've been working on that I haven't quite got to yet. And I actually chose not to work on it. While I was working on the rest of it, the pedal. I really wanted to divide it up into sections, and now I'm going to kind of render that area so that I can completely finish this pedal. It was kind of a weird way of doing things, but hear me out here. This puddle had a strange kind of odd shaped, and that middle highlight that area that splits the pedal moves around a little bit. So because of that, I didn't want to mix up my sketch or anything, and I chose to work on things section by section. So again, this is the same pedal. I'm just finishing up this pedal and the area that I'm working on right now. And then we can safely move on to the final pedal afterwards. And sometimes the pedals air just shaped very strangely. And you can choose how you want to divide up how you color it, of course, and you can choose what sections you want to work on first. But for me, it has really helped to do this left to right. Of course I'm right handed. If you're left handed, maybe it would be better for you to do right to left so you can see what you're doing. Still, but I think it really helped me to just divide this up into different sections. So I don't get overwhelmed with the detail, especially in something like a flower or something, where everything kind of blends together a little bit more and you can get lost in your sketch as you're working, we have finally actually made it to the very last portion of the flower, that very last pedal, which is exciting because I know that this has kind of been a lot. You probably already got the gist of it just because I've gone through the other two pedals . But this very last pedal is a bit smaller and it was really fun to work on. I started by adding that cream tone to the bottom and top because they are kind of a lot of highlights in this. So that's why I added the cream tone to show that there's highlights. What I'm going to do now is actually go back to my leave. That's covering next to my flower petal and I added a little bit of a lighter layer at the top of the leaf, exactly where the pedal in the leaf kind of overlap a little bit, and the reason I did that was to create a lighter line between the pedal on belief. And that's a detail that you will be able to see the result of once I actually finished coloring the flower petal and then I just added a couple more fine details to the leaf itself and then we will go ahead and start working on the pedal. The last petal is going to be really quick in comparison to the other two cuddles because it's just a lot smaller in the shape of it's easier for me. But There are some very light highlights. The bottom and top. As I mentioned before, I'm going to be careful to preserve those areas. There's also that round folded kind of edge on the right hand side, so the pedal does fold over. But it's in around your way than the other pedals have folded over. This is a lot of fun to color, at least for me. I actually put a little bit of a shadow right underneath where it folds so that it looks like a fold, and not just like a random, weird piece of the pedal that doesn't look right. So sometimes a shadow really makes or breaks a detailed area. And then, of course, I'm just building up the tones on the pedal itself. Now for this panel, I chose to build from light to dark a little bit. I am using my lighter colors before actually go in and do some details and shadows. There are quite a few line details in this last pedal as well as there were, of course, in the previous pedals, and those are gonna be done mostly with my darkest pencil. There is also this really dark portion at the top of the pedal to That's kind of like a shadow is the pedal folds over, so I add that part in and then I am just going to start working on my line. Details. There is this highlighted area, of course, that kind of shows where the end of the pedal is on the left hand side. Here and now. I'm just kind of working on the lines, and as I work on the line detail, I'm avoiding that really highlighted area at the top of the pedal. I don't want my details to move too far into their because I still want there to be that highlight and throw my drawing. You can see that there are quite a few, like little highlighted spots in areas that I was either careful to avoid while I was coloring or if I did accidentally color over them. Of course, I could go in and fix it with my sticker racer, which is great for correcting areas like that. And even though my line details don't go up into my highlight too much, it has to look kind of natural, and I did bring up some of the peach tone up into the highlighted area a little bit because the highlighted area was not entirely perfect. And then I'm just going to define that area that has a shadow on it. That is kind of between the leaf. So the interesting thing about the leaf is there is that highlight I have left at the top of the leaf to that detail was really important. And then I'm just going to create that shadowed area and finish off this flower petal again . It's a much faster flower petal than the other previous two because it's much smaller. There's not very much of it showing, so this was a lot quicker for me to do. I didn't have my line detail in pretty early, and now I'm going to go in and smooth out the rest of the pedal. So I have that line detail and I was careful to kind of leave a little bit of that highlight. But that highlight was a little too intense, so I went in and out a little bit of color so that it's a little bit uneven, so sometimes it's nice to have an area that's a little bit uneven and looks more natural like that, but you can still see that. It's kind of one line in the highlighted area. And so I think that that area looked really nice. And then, of course, you have to add a good amount, a decent amount of shadow between where the leaf touches the pedal. So that area, of course, I'm going to build up fairly dark. 11. Final Details + Project: I'm not gonna zoom out so that you can see the to live in the stomach believes all cohesively as a whole. And I'm just gonna finish some of my final details. So the majority of this is already finished, and we're just going to finish rendering it a little bit. So there's a lot of dimension in this drawing things tall of delayering and the buildup of colors in the contrast that we did. That's how we avoided getting a cartoon like result. And then there's also some texture differences, of course, between the pedals and the leaves and everything. But as I said before, you can further some without the leaves. If you prefer that sort of look, the purpose of this class overall was to give you a Zeman E techniques and tips as possible that could help you with either drawing flowers or if you're following along. Of course, that would help you to draw this particular tulip, but also techniques that you can kind of carry over and use in your realistic colored pencil art. So for the class project, please feel free to use thes techniques to draw another tulip or another flower. Whatever reference photo you like Or you could even use the tulip that I drew. I'm going to include the reference photo, so that way you can use that as well. Under Project Resource is, I believe, please do whatever you feel comfortable with and choose. The flower reference photo that excites you makes you feel like using your colored pencils , and you don't have to do a pink flower. Of course, any other colors can substitute for the pink tones. It's really more about the contrast. Feel free to create a different colored flower. If you would like to, please let me know in the discussion if you have any questions and post your finished projects. If you would like to under the student projects tab, because it would be great to see what you come up with. Thank you so much for following along with my class, and I really hope that you enjoyed it and that you learned something new.