Observational Drawing using Oil Pastels | Larissa Ottinger | Skillshare

Observational Drawing using Oil Pastels

Larissa Ottinger, Visual Art Teacher, Nashville, TN

Observational Drawing using Oil Pastels

Larissa Ottinger, Visual Art Teacher, Nashville, TN

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8 Lessons (1h 17m)
    • 1. Introduction

      5:47
    • 2. Materials and laying out the drawing

      8:12
    • 3. Beginning to add color

      17:34
    • 4. Adding the dark center to the flower

      28:47
    • 5. Adding the twigs

      3:33
    • 6. Adding the leaves

      10:58
    • 7. Completed Drawing

      1:53
    • 8. Photo vs Drawing

      0:21
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About This Class

Art Teacher Larissa Ottinger, M.Ed, will lead you in developing your observational skills and learning the technique of drawing with oil pastel. Basic design principles are also covered.

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Larissa Ottinger

Visual Art Teacher, Nashville, TN

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Drawing Fine Art Creative Pastel

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Transcripts

1. Introduction: Welcome, everybody. My name is Larissa Ottinger. I am an artist and art teacher in Nashville, Tennessee, and I have been a teacher at a large public high school here in the city for 10 years, leading teenagers and adults with a variety of techniques and media. I feel that art is an important skill for everyone. Toe learn to tap into the right brain, get creative, create something that hasn't been before you made it. And also, uh, something that we're going to learn today is observation. Aled Drawing using the medium of oil Pastel. If you've never used oil pastel before, it is surprisingly easy to use. It's a sort of step up from crayons. The colors are beautiful and intense. It also has a variety of techniques and applications that you can use to achieve beautiful results. It's very vivid and rich in color, and today we're going to be creating an observational drawing of a springtime flower. This is a tulip photograph that I took just in my yard. I went ahead and cropped and zoomed in on the details of the flower, so sort of reminiscent of artists Georgia O Keefe and, um, really just gonna focus on filling up a large drawing sheet with are oil pastel media. Okay, As I mentioned, we are using drawing paper. If you have never used oil pastel before, you can use a thicker paper, but it's not necessary. I'm just using this sketch pad. Get it for you, boy. This stuff. Okay, I am using this Strathmore sketch paper 400 Siri's. And it is a 14 by 17 inch paper, so it's fairly big if you don't want to do this big of a project. That's okay. Get a smaller paper. You don't need to do something so big for your first project, right? Um but I did wanna work fairly large as well as really zooming in on the details of my subject was flower. So what I did was I went ahead and cropped, and you're making your kind of imagining that this is the edge of your paper. Right? So the second thing I wanted to show you is the particular brand of oil pastel we're using today. This is Moneo, Brand oil pastel. You can see that. It says, Aw, quarrel. And that means that it's water soluble so you can get a watercolor effect with this oil past. Oh, by using a brush with a little bit of water. This is the 24 color basic set. There are many different brands of oil pastels. Here's another basic money. Oh, brand. Um, you know, I've used a few different brands. I like this money. Oh, because it has that option of the water soluble for that watercolor effect. If you like that, I am not going to use that in this particular lesson. The other thing I really like about this money. Oh, brand. They come in a pearlescent finish as well. So this is the pearly beautiful curly finish. So if you sort of maybe like to do fantasy drawings, you know, or anything that you might want that pearl finish, they have this pearl color option as well. Okay, we're gonna use the basic option today. And, uh, then then basically the only other thing that you're going to need is a pencil I'm using. Um, this is creating color monolith. This is kind of similar to ah, just a design. Um, pencil. So, um, which I love these types of pencils because, uh, they get really, really dark but they can also give you a nice light. Fine line. Um, so that's basically what I am going to use to get started. You're going to need your oil pastels. You're gonna need a photograph to work from reference. Then you're going to need your drawing paper and a pencil to create this project. OK, At the end, I would love it if you would upload and show me examples of your work. Remember, we are working from observation, So I would include the photograph that you use a source material as well as your finished paint your finished drawing when you're done, so that you can compare later on. Once you've learned the techniques of using the oil pastels, you're welcome to go off. And do you know cartoons anim? A fantasy drawing abstract. Whatever you like. For the purposes of this assignment, we're working from observation. Um, as we captured the details of this natural subject matter the flour and we, um, practice our skills. So this is my project. It's a 14 by 17 throwing with the manual oil pastel. So we're going to go ahead and get our supplies ready and get started 2. Materials and laying out the drawing: okay. There are several different types of oil pastels available. If you have tried oil pastel before, maybe you remember when you were a kid? Um, you might have just tried with crayons before. Maybe not loved the results that you were getting. I'm going to show you some basic tips about using oil pastels and how to blend how to get maybe a better result than what you've been used to in the past when you have tried to use oil pastels. So the product that I'm using, as I mentioned before is called Moneo, and I have 1/2 finished. I'm gonna go ahead and change this to a brand new sheet to get started. I'm using these Moneo oil pastels. This is a brand that I really like. I got turned on to the use of this year at a tutorial for art teachers at a local store called Jerry's. And here in Nashville they are available online at Jerry's, Arte Rama or Dick Blick. Amazon. Anywhere on the Internet, you can find this particular brand. The thing that I like about these Moneo oil pastels is that they are water soluble, so you'll see right here it says a quarrel. And that means that they are water soluble. You could blend them with a paint brush on some water. That's really, really cool. Especially if you're a little bit, um you've maybe not gotten the best results with oil pastels in the past. So I have the basic 24 color set here. The other really neat thing that I have I'm a I'm probably gonna uses for our particular project today. But these air, the pearlescent finish colors, they're beautiful. Um, so if you like glitter and that pearly hue, these are the pearl colors, and they are It's just beautiful. So what, We're gonna use the basic 24 color set, okay? And what, we're going to be drawling today? Is this drawing of a full hour? Okay, what I've done here is I have gone ahead and taken my flower. I took a picture of a flower in the front yard. You can see here it is. It's, um you know, there's a lot of background going on. There's not really a whole lot of composition thought into it on. So what I did was I just opened it in a photo editor and I went ahead and cropped it. So you might, you know, think Georgia O Keefe, or, you know, just thinking about cropping and really getting in and focusing on what the details are what it is that you want to draw. Okay, A lot of people are used to cropping, you know, their friends, and they're a photograph of their friends or something like that. But really think about when you are drawing. I have a 14 by 17 inch sketch pad here. Okay? I want to fill that whole entire space with my flower. Okay, If you don't want to work that big, you are more than welcome to go get a smaller piece of paper. But I'm a firm believer in Philip, the sheet that you're using, right? Maybe you heard that when you were a kid in art school or in art class in school. Okay, so I'm gonna go ahead and get started here with looking at my flower, taking a pencil. I've just got this is creating color model. If this is kind of like a design, um, pencil, uh, you know, hasn't it? Makes a nice dark mark, but we don't want to make an arse nice dark mark here with our pencil. Because what we're doing is we're just gonna look over here at our flower and recreate just the basic contours of what we're gonna fill in with oil. Pastel. Remember, this isn't a pencil drawing. This isn't oil pastel drawing, so we don't want a whole bunch of pencil down here in a lot of details. All I want is the basic outline that I'm going to follow to create my just so that I know what I'm filling in with color. Right? Okay, So the first thing that you're going to notice when you are working with paint, watercolor crayons, oil pastels, chalk is there's a different way to hold your pencil. Then when you're maybe signing your name or doing a detailed drawing, okay. And that's with, like, a shading grip. So basically, I'm holding my pencil way back here in the back of my hand, the back of my pencils even resting in this little crook of my fingers here. And that's so I don't get a lot of dark marks, All right? Because basically, like I just said, what I want is to just outline the contours of what it of what I'm going to be filling in with color. Okay? I don't want the viewer at the end of this project to see pencil Mark. I just want them to see this bright pop of color of my oil. Pasto. So let me zoom in a little. Let's see here we get nice and close so that you can see that you can't see. And that's a good thing. Actually, you really don't want to see from far away the the outlines that you're laying down as you block in a drawing to prepare to paint it right? All right, so let me go ahead and go back out here and get my last couple of pedals. Here's this one. Now, I am gonna probably say this a couple of times throughout this project, but this is about more than learning to use oil pastels because I know that everybody out there doesn't want to become, You know, an artist that maybe sells their work in a museum or a coffee shop or something like that. Some of you do. You just wanna learn Czech meat. A lot of you, though, are going to get something really, really cool out of learning a little bit more about drawing and art, which is observational skills are so important in this process. Um, whatever career you are in, whatever you're doing in life, your observation skills are so important and really being able to take the time and see what's in front of you. It is something that we don't necessarily all get to dio in our day to day lights. And right now we're in the middle of this quarantine and we are getting a lot of time just sort of slow down. So we're gonna use that time to stop and observe the world around us. Okay, so I have my basic outline of my flower. Let's get a lease here too. Literally. Chill, oblique. There. That's it for pencil. We're ready to move on to our oil pastel 3. Beginning to add color: If you have tried oil pastel in the past and have not love your results, I can almost guarantee you the number one reason that you did not love your results Where that the number one reason is you stopped too soon. Okay. One thing that I have learned about oil pastel is you need to not just lay down one color. Maybe not even just to, But typically, you want to build a nice layer of three colors on your paper. So let's look at this flower again. This flower is a yellow with an orange, like a nice bright, um, blame orange center. Okay, on. So in order to achieve that, I'm going toe layer a few different shades of my yellow oil pastels in my kit here. Okay, I'm gonna start from light, and I'm gonna work my way darker. Okay, Now, that is important. If you have ever had a wall in your house that was painted very dark, you know that you need to put 1 to 2 layers of primer kills whatever it is, um, on that wall before you can put the color that you want to put if you have ever colored your hair and it was too dark. You've had to go back and have usually a professional lightning it over stages all that to say. Once you go to dark with paint oil pastel, any pretty much most of your art supplies. It is a process to lighten it back up. Sometimes you can't always lighten it back up. Therefore, you want to work from lighter, um, tints of your color building darker, darker, darker as you go. Okay, so I'm going to start out with my lighter yellow color here. It's just called yellow. So I'm going to fill in these pedals with this lighter yellow color. Now the tip of it broke off. Why waste it? I'm just gonna go ahead and fill in my I'm going to start with this top puddle. Now you will see that I am left handed. And so I'm working. I'm gonna start working kind of from my right to my left. All right. Think about if you you know, when you've been mopping the floor or again painting a wall, you don't want a mop or paint yourself into a corner, right? If you get stuck in a corner, you don't really have any place to go if I'm trying to If I've already got the left half of my paint of my drawing done, and then I'm gonna start working on my right, my left hand is just working against me, smearing all of that product all over my my canvas or my paper. So in order to avoid that, I'm gonna lay down my colors from right to left. I'm starting with this top pedal on. What I can also do is turn my canvas so that my left hand is always kind of on the other side of the ink or or oil pastel or whatever. The medium is high. So, guys, I'm not getting super technical in here yet. I'm just kind of crayon ing in my lightest yellow color that I'm getting to use here today . Okay. All right. Now, is it super accurate? Technical, masterful looking? No, not yet. If this is a Sfar, if you've gotten with oil pastels and you've given up, you need to keep going right now I'm gonna take my second color, which is the sort of medium yellow orange it's called sort of a Maribel yellow kind of color. and I'm going to start building off of my first color and blending and adding in my second color. Now, if you see, you might notice I left this little area light here. That's because that's the lightest little part of my flower where the flower sort of cupped , cupped in like this. And so what I'm actually going to do is give myself a lighter. I'm just using some white here to block in that lighter area right there. Okay, so now I'm gonna take this sort of miracles color, and I'm going to start to add in my second layer of oil. Pastel. Now, I want to be careful around that one area, and at this point is when you're going to see my, um, my work become a little bit more technical. I'm paying a little bit more attention to where things are going here. I was, like, fill in the puddles of this tulip. Okay, I tend to, um, send my strokes in the direction of the kind of mimics the pedal so you'll see me switch directions as I go around to the other side here. And so as I come around, I'm started. Kind of rotating myself out a little bit. All right, on here is now my second layer of oil. Pastel. Okay, so now I've got two layers. Right? Okay. Let me see if I can't get this so that you can start to see as I as I details what this is going to look like even closer. All right, Now, the next thing I'm going to do is go darker. And let's look up at the flower for reference. Right in these areas, you're gonna start to see that there are little wisps of a darker orange. They're not uniform through the whole pedal. Right? So that is again, another way to say You have to observe what it is that you're doing. I'm gonna blend. There's a little bit of the scruffy toe kind of peals of the oil pastel. So I'm just going to kind of take my finger and lay them down a little bit. I think this Okay, there we go. All right. So, as I was saying, observation, I'm observing that my flower is not just all orange in the middle. It has the sort of flaming kind of effect certain areas on lighter within this orange area and sergeant areas are darker. Okay, if you don't take the time, Teoh, Look at that. It's going to be able to truly observe what it iss that you're recreating. Okay? And does all art need to be this observation all? No, absolutely not. You can go abstract. You could make it things from your memory. Um, but if you are trying to, you know, get those observational skills up to par, then it's a good idea to keep looking back and forth at what it is that you're trying to recreate. Then you're going to see more success in your work, and it's going to encourage you to keep going. All right, So I'm starting to lay down these kind of flame colors. One thing that I'm also observing in my flower is the top of the pedal curls inwards. Just a little bit. So I'm going to adjust for that curling in kind of area, and I'm gonna make this part of the top the part that hurls down okay in just a little bit . All right, So, um, right in here is a darker area, so I'm gonna put in some more red and I'm using just the red basic red oil pastel. All right. And again, you can see this is not looking super technical yet. And I will show you why in just a second. So, guys, this is my third layer of color that I'm laying down. Right? If you have not experienced success, you probably just stopped a little bit too soon. Got frustrated with your work. Maybe somebody made a comment about your work. How did you feel? Bad. Okay, um, you have Teoh try. He pushed through those things you have to push through. Art is very much experimental. Guys. It's very much a growth mindset activity. The more you do it, the better you're going to get. This is one reason that I really love watching the old Bob rosters. He was always talking about how anybody could do this. You just need to practice, Okay? Nobody can walk outside their house one morning and go run a marathon. You needs train at it, you need to practice. And if you don't give your observational skills the time that they need to develop, you're not going to see success. Most people who are quote unquote good artists um, just maybe took the time when they were young to practice. And then as they got older, they started to see success. Maybe compliments in school there are were got shown in the classroom, things like that. So what did they do? They drew mawr or they didn't more artwork. Um, and so they were just getting in additional practice. Right. Um, Malcolm Gladwell talks about that in his book Out. Liars. Betty Edwards drawing on the right side of the brain. Probably my favorite all around drawing book talks about that. So, in other words, give yourself time to improved, right? Don't be so critical of your work. Okay? Now that I have my darker red flames laid down in here, you can see they're really not very blended. I'm gonna go ahead and take this medium orange here, and I'm gonna start to blend. Blend this end, guys, this is my fourth layer of oil. Pastel. So we're talking about just one pedal has been I've been working on this for 13 minutes. One pedal, right? But it's quarantine. I'm not really going anywhere. What else am I gonna do? You might as well put in four or five layers oil pastel on a pedal and make it look like I want it to look right? Sure. Okay, Now I am getting somewhere, and I'm gonna just kind of blend in a little bit with my finger, not too much. And then I may come through in a few areas back with some of this lighter yellow and put in some lighter areas to a point. You don't want to do too much of this because it'll it'll just start to blend a little bit too much and get, like, kind of muddy looking. But you can do a little bit of light over dark. For the most part, I'm finding with oil. Pastel. You know, once you've gone dark, it's it's super tricky to lighten it back up. All right, so this is what my fourth layer I don't even remember. I lost count. All right, then at the end, I'm going to come through. Let's see, where is that white with this white and lift out that little, uh, lip that my tulip has on the top of of its little pedal there. And that it has another one right here. Here we go. And one last thing. So I wanted to show that the pedal is curling down. I'm not really sure that I've achieved that right now. So what I'm gonna do is even come through here and put a little bit of a shadow underneath . Shadows always need to be black. You guys, I'm gonna use some brown like a light to medium brown and come back through and shade in under here a little bit so that we get that effect that it's curved back down. And I'm gonna do that underneath this little side here as well. Okay, A lot of people put in shadows and they just go for the black. You don't always want to go for the black. Black is very harsh. It draws the viewer's eye and makes a focal point. Maybe where you didn't necessarily want one. Okay, I'm using this medium dark brown. It says, I don't know. I think I don't think it's that dark. But just to sort of get that little contour of my flower and there of my leaf, give it that three d effect. Okay, so I'm going to start moving counterclockwise because I'm left handed. I'm going to start working to my left on my pedals if you wanted to, you could use your paintbrushes and a little bit of water and blend this a little bit, giving it that, um just just to kind of blended in a little bit. Honestly, I'm liking where it's going. I will show you how to use the watercolor effect of these oil pastels. Um, but I'm not gonna do that right now because I'm actually liking how this looks right now. So I'm going to start working my way around counterclockwise, and then, um, I will pick the video back up as we start to put in these dark details. And the surrounding, um of underneath are finished flower. 4. Adding the dark center to the flower: Okay. I have completed the oranges and golds and reds in the petals of the flower. I think they're looking pretty good at particularly like these areas of brown shading that I brought in underneath. One thing about shading is that you know you want to shade. Not just you don't want to necessarily outline each of your contours of your flower, but shade underneath them. Right, Because a shadow really is cast by the object above it. Right? And so, um, your shading the area underneath darker so that what's on top looks brighter and comes forward by comparison. Okay. And so, um, actually, I see one little tiny area. I just wanna saying operating here. All right. I am going to start getting the dark brown center and the, um stamens in the different areas in the centre of my flower. Now, let's look again as a reference to the photo. It's a pretty dark brown with a very light light, light yellow, almost white. He's here in the middle. Okay, The background of the flower is sort of a pale brown, almost a driftwood gray, sort of a color. And, um, I'm gonna very, very lightly just suggest the background. I don't want it to detract. I don't want to pull attention off of my focal point, which is my tulip. So But later on, I'm gonna go ahead and put that in. I do think it's also very important to put my three green, my green stem and my two bright green leaves in because that green is really gonna make that orange pop by comparison. Right? So but let's go ahead and work in here in the center of our flower. Now I am again. I say this every time, left handed, and I do draw or work with my hand resting on the paper. Okay? And so it's important that I keep this fat, this piece of paper towel underneath my hand so that I can keep my work plane. Okay, So to get the dark brown areas in the centre of the flower, I'm gonna work with this dark brown color. Remember, this is the man, Yo Ah, Carell extra soft water soluble oil pastel. And I'm going to first come in and block in my, uh, statements. I think they're called with and this center receiving with this dark brown, which I mean personally. Do I feel like it's a super dark Brown? Not really, but they're calling a dark brown, so we're going with it All right? Now again, I've said this before, but the reason that I'm starting with this lighter of the browns that came in this particular set is that you always do wanna work darker and, um and you wanna work from light to dark. Now, the other thing that I am noticing as I observe my flower, it is when you zoom in on my flower here that the pedals as they overlap, they have a light line next to where they overlap. So I need to make sure that I leave a little white space between my dark areas so that I can suggest that overlap. Right? All right, So there's just a few areas in here that are gonna have that overlap there is. Okay, so this is a puddle. Okay, so this is this area here. This whole chicken foot area is the continuation of this pedal. So let's just block that in with our brown. Okay? You can see I'm just kind of scrubbing it in very quickly. I'm really not. You know doing. I'm not being too technical within just yet. All right, then there's a triangular shape in between these two stamens here. And here are my to stay mons. All right, Now, as I look, I noticed that the statements are darker and brown than the flower centers behind them. So I need to make sure that I account for that when I add my second and third layers of color. But for right now, I'm sort of just very, very basic selling these blocking these in here, okay? And then this is all one big shape in here. Okay? Oh, right again, if you have not had success with oil pastels before and this is where you stopped, that's why you haven't had success. Let me get up close. Excuse me? Get up nice and close that you can see how crayon ish and not masterful that looks. That's because we've only got one layer. Guys, we need to put in another couple of layers to really, um, explore what these oil pastels can dio. All right, Next I'm gonna work on. So this was called Dark Brown. Now I'm gonna use dark Oakar. Actually, I'm gonna take that back. You know what I'm gonna block in the yellow areas in the corners where my leaves meat. Excuse me? Where my pedals meat. So that I know exactly what I'm doing, and I don't accidentally go over anything. And this is just a beautifully detailed design, little flower, even the center where the, um, statements and the pistol meet the, um, pedals. There is a little yellow outline there as well, which is really, really such a beautiful detail. OK, then I'm going to, and I am almost out of my lightest yellow, so I'm gonna even moved to the lighter yellow, which is called Olive. It looks like a super pale yellow to me, but it's it's called Olive. And I am going to get that. I think this is called the anther Guys. I'm gonna have to go back. You have to excuse me. I'm gonna have to go back and do some bought me studies here so that I could get my my, um, full hour parts. Right. Okay. Maybe that's the pistol. I don't remember. Um, it's in our anatomy. All right. Now, on the center of the soul guy right here in the center. I'm gonna use White. It has a little bit of yellow on it that I picked up earlier. And I'm thinking that's gonna be just enough color. And I think I'm right. All right. That white had just enough yellow in it to give me the playlist penalty, Ellen, that I might possibly I want. And then I'm gonna go over this yellow Oakar color in here, this olive color again with a little bit of that white as well. All right, Now it's time to have some fun. Let me just take a moment and tidy at my supplies that I know exactly what I'm doing. All right, Now, these pastels are very, very soft. You guys saw me use the lightest yellow. I think that was just called yellow. And it's like it's in pieces here, so that's okay. You know, I, um, actually took a little bit of it and whatever was crumbling and used that to finish up my my pedals. Okay, Now, let's have some fun. We're gonna move on to the dark ogre color, and we're going to start to blend in the center of our flower. We'll see. Now I'm starting to get in here a little bit more technical and getting close, kind of cutting in here and another. There's two reasons why I saved my details for last. The first reason is that, like I said before, you want to try and think about working from light Too dark. Since this is the darkest area I wanted Teoh, um, you know what? Work dark later. The second reason is, is that these little details can be a little bit tricky. And just like, you know, when you're starting to learn how to drive, you wouldn't just hop right on the highway, right? Well, just the same way. Same school of thought when you're just starting to work with a brand new tool or medium that you have never used before. You don't want to jump into your trickiest little areas, right? If you've ever painted a room, you wouldn't hand a child the cutting in tools and have him do all the detail work. You save that for somebody who was a little bit more master pool. And so now that we've got a little bit of a handle on these oil pastels and what they can do and we've been working with them for a couple of hours. We can come back through and feel a little bit more confident about our details. So that is the second reason why I advise going for these darker areas last. They're a little bit trickier. I really want to mess him up after you've done all that beautiful work. It would be a shame, right? So save them for later. Okay, so I've got my, um, center filled in. What do I think? What I think is that it's still too light, and I need to add in a little bit of black. Be careful with black. This right in here is some black. But that was already on my over crayon or my past all and you can see here. I think you can see how dark it is. That was just some that was picked up yesterday when I was working on another project. So really, with black and especially with something super blend the like oil pastel. There's no reason to use too much of it, Guys. You just need a little bit, and then you can just kind of blend it in. All right, now I'm gonna get my A little stem stem and stem parts here. There's one there's too. There's another one right here. There's another one actually down here. They didn't notice at first. Again, such an important part of art is really just observing what's in front of you. I think that's really cool. Okay? And actually, this guy comes down all the way down like this. And then I am going to just add a few strokes of black to darken and my center of my flower petals. Now, how am I gonna keep the center of the flower from blending in with the statements? I will show you. I'm just adding a little bit of black into those areas. Not too much at all. And let me see if I can gets to get zoomed in just a little bit. Here, let me adjust my stand. Okay, that's better. All right. So, in the background of my flower, I'm really just putting in a little touch of this black, and then I'll show you what to do with it. I'm just laying it in here so that I can blend with it, guys. So right now, it doesn't look like much pick this little piece off. All right, But when I go back over it, let me go back over it. Let's try this Dark brown, which is the lighter of the ones that we've been working with. Yes. This is exactly what I wanted. I want Teoh. Really? Let me see how closely I can get in here. Okay? What I want to dio is just use that black and blend. I just put it down there so that I could blend with it. Okay, Smooth into this little triangle right there. - I missed a spot right in there. Let's get some black word in there. Just lay it in there so that I can blend with it. - And I also feel like there is a little touch of Violet. So I'm gonna try and see how that might work. If I at a little of that violet in there, I think I like it so you can see once again this is what, 34 layers of oil Pasto To get the effect that we want again. If you stopped too soon, you're not doing your self justice of really seeing what you could create. Everybody doesn't want to sit for two or three hours and completed drawing or painting. But it is good training on getting your mind. Still. I'm gonna try and put a little bit of red in here as well. Yeah, that looks good. Just knowing from my knowledge of color that, um, you know, the red and the violet are gonna make a nice, dark, reddish violet in here. Give my flower Sentra that color that I want. And then finally, just touching back up with some more black in some areas to give my center of my flower little dimension for work. I think there was one more little statement in here that I lost. So I'm gonna put him back kind of like this. - Okay , I'm done. Just come back through here. Little contour in the center of flour, and there's a few little areas they just wanna hud in and tidy up. Just a few. Be really careful because once you've got that dark laid down, it's so easy for that pastel to pick it up and sport it around. And you know, if that happens, that's OK to see that happened right there. And that's our You can work it and lift it back out. And really, these soft oil pastels are great for sort of moving the color around, but I'm kind of ready to move on. And I don't really want to keep working and working and working to pick anything up. Some very real careful. There's another white area where it in there. We're it in here. And I kind of feel like I'm pretty pleased with my full hour for me. Just get this little statement stem. All right? I think that that looks pretty nice. Okay, the next thing I need to do is work on the background of my fill our set. I am going to come back to my photographs on Let's investigate the background somewhat. All right, so we have a lot of twigs and a lot of noise going on back there. So I think what I'm going to do is start with I basically want sort of that driftwood gray kind of a color. Um, and he used this dark grey oil pastel and fill in the background. Yeah, I think that looks pretty good. Loss on to making me crazy, but Okay. So I'm gonna just put in the contour and work my way outwards again. I'm not laying down too much color. You can see a lot of paper behind what I'm doing here so far, guys. Right. Let's just blended a little my finger. Okay, Now I'm gonna start working a counter clockwise again. Left handed. Here. Tips got into my flower. That's all right. Not going down. Too much color. Just a lot of a lot of paper still showing through here. Just enough to block in so that I can begin to blend with my and put in the suggestions of my branches those air, not the focal point of the drawing. Hi. So when we come and turn the paper this way All right, look, my weight down. Add a little color in there. Come down to this side, Put in a little color here, - Finally fill in this big a chunk of space that what's gonna end up being the top of the flower and you can see these outlines that I'm putting on just sort of is a barrier. They are gonna blend in. I love the oil pastel, cause it's so blend E It is so forgiving that I could do something like that and put a big outline around my flower, which is maybe something I would not do with pencil. But I'm gonna come over with, uh, you guessed it two more layers, and you probably won't even see that outline. The idea is that you won't see that outline once we're done. Okay, So there is the basis for my background next thing gonna dio cause I'm gonna come through with some quite and blend. We're working fairly quickly here. I mean, it's you know, this is just blending in the background, and then I'm gonna add in my just my suggestions of the branches of that background bush and I am gonna get a little more careful as I get close to my to my full hour here. I use my paper, tell us we don't make a mess ready . I see. I'm gonna go until my entire background is filled in with two layers. And then I'm gonna start bringing in some darker browns and suggesting my branches 5. Adding the twigs: Okay, I am going to show you how to put in the, um, twigs here. Now, for designs sake, I only I didn't go with every single twig that was in the picture. Picture had just Bunches and Bunches of them, but I just picked out a few to sort of break up the negative spaces in the background. Um, total disclaimer. For continuity sake. You're gonna notice that the leaves had not been done. Um, I actually lost the video that I had of me do putting in twigs. It didn't have any picture. It only had sound, which was really weird. Um, regardless, I noticed last night as I was going through the videos and getting ready Teoh upload them that there was a bit of a phantom limb here. So you don't see that the twig has continued, so I figure I'm gonna take that as an opportunity. Teoh show you kind of the colors that I used to blend in those twigs here. All right, so I'm gonna show you how to do that. Basically, I started off with the Dark brown, and I just kind of suggested it right in here, so we'll just continue that little twig and again just laying down layers of color. Um, and for continuity sake, I put on my same sweater over my outfit today. Then I'm just going to start blending. I'm gonna use this dark Oakar and blend, and you can kind of see that there's a scruffy toe effect going on here just because there is so much, um, media on here at this point, let me put down on paper towel to protect my hand. I'm gonna introduce that hints of black just a little bit because you can see that there's a light source here because this side of the leaf is lighter. So I don't want to put in, um to too much. If I do, it's gonna end up, you know, not really making sense. However, I could put a little bit underneath on that twig to bring out the brightness of belief on top of it. And I'll show you what I mean, as I blend, I'm gonna use, uh, raw sienna, and I'm gonna I'm kind of using my raw sienna to push that black out of it and spread it around. Spread the media around Almost. This is almost sort of like a painterly ish technique. And hopefully you can see that the black that I've added sort of right under here gives the effect that the leaf is is, um, on top in space. Okay. And so All right. So the next video, we're gonna go back in and do the leaves and the twigs air already done. But I just wanted to show you how I put in a few of those little brown pieces there. So I just got 1234 five. And again, it's really just to break up the negative space in the background. Not too many. 6. Adding the leaves: Okay, so we have our flower. We have our background. We have our twigs back here. Just a few of the little twigs. The final touch is going to be our stem on our two tulip leaves. So hopefully by now you guys sort of know the drill. We're going toe lay down our lightest color as a base. I'm gonna use yellow brain. I was using the snot out of it the other day, and so it is, quite, um, it's a little nub, but that's okay. I'm gonna lay down some of this yellow green first as my base and just block in my stem. Now, you can see it's a lighter color. So it picked up a lot of the, um, picked up a lot of colors when I was blending it with some other colors yesterday. But that's all right. Has we're gonna just using it as a base, remember? Okay, so it goes my stem. Let's get in here. Up close and get this, um, leaf, tulip leaf. Nice spring green and our file leaf right over here on the left side of our tape of our drawing here. Okay. And as you have learned, by now. We are just getting started. Right next. Let's see, I have a couple of other greens have got a cadmium green and a cobalt green, which is sort of a blue green. All right, I'm gonna work with Mike, This cadmium green now. And as I look at my photograph, the right side of my stem is darker than low left side. But the left side of this leap is darker than my right side. Okay, so I'm gonna start in on the right of my leads here, and I'm gonna turn my work because I want to get in really close to the edge and I won't be able to see what I'm doing. Okay, So I'm gonna lay in little of this cadmium green in here, and I'm gonna go back to my yellow green. I'm gonna push it the other edge. So I've got a nice little edge here, and I'm gonna blend. Okay. I need to get a little bit darker back in here. Which is the cadmium green. This one. Okay, I just need to add a little bit more of that in already. So there is my stem. Now, let's get this police turn my work against that. I can see which directed my my, um, details or got where I'm not covering my work up with my hand. Now this is a really bright and I kind of want to tone it down. And so what I'm going toe actually do is I'm gonna introduce a hint of black Not so that I've been black and my work what is my black, but so that I could just tone it a little bit. I think black has ended up some place. See things. This is my black six. All right, So what I'm going to dio this is looking super bright right in here, and I'd rather it just be a little bit a little bit more of a grayish. So it may seem kind of crazy and outlining to be adding black and maybe a little childish, but I'm just putting it in like I said to tone things down a little bit and I'm gonna go back over it with my light green with a second layer and then go back over it on the other side with this cadmium green, and that's just gonna There it goes. It's just going to tone it down a hair from what it had been before. So how you, um, toned down a color is by adding a little bit of black and white to it? Eso if anybody has ever said, Hey, can you tone it down a little bit? Basically, what you're just doing is muting the color a bit. And so I'm just using a touch of black here to mute down and toned down the brightness of my least. It was just looking super Crayola bright. Sorry, um, nothing against trail, but I just wanted it to look a little bit more, you know, a little more blood. I think in the one we're talking about toning what's the head and add a little bit of white to the other side again, I'm just laying in a little bit of color. I'm really not blending just yet, right, guys? So I'm just at introducing a little bit of ah white into the mix here, and then I'm gonna come back through with that green and blended on in, and then I might just use my finger just a little get my left hand so you can see there we go. Okay, then let's get our one last little guy here. Now, this one is quite in the shadow. So let's really get some cadmium green And in here and down here as well and a little bit of black again. Just a little. Introducing a tiny bit of black into the mix in here. And then I'm gonna blend it all together and a little white on the outside of this leaf here and come back in with that cadmium green and go over the black so that I get a nice shade. A nice, darker shade of that leaf. It's not so, Kelly Green bright rate. Okay, I'm on a your and, um all right, so I think, but that's about about it. Um, I think I may introduce a little shadow back behind this leaf here, but I don't want to start doing too much of that for so just enough so that my leaf pops forward by comparison. There we go. Okay. Well, I think I'm pretty pleased with how this turned out. 7. Completed Drawing: Okay, we have are completed drawing completed oil, pastel drawing using our money. Oh, water soluble extra soft oil pastels again for reference. Here's our photograph that we were working from. So we were practicing our observational drawing skills, drawing from real life something that we actually do see on. Then, to practice some techniques, we have our finished drawing. You saw how we started with a base color. Then we started laying in darker colors as we go blending as we go. There are many different ways that you could use oil pastels that I didn't even touch on. In this particular lesson. You can scruffy toe, which is basically laying down some thick, um, oil pastel product and then using, you know, the handle of brush or any paper clip a variety of tools, your fingernails to scratch out some of the color and get back down to the paper or to the colors underneath. I mentioned before that these particular oil pastels are water soluble, so you can also use a wet brush and get a water Sally watercolor sort of in effect with them. That's very beautiful as well. Um, but this was just a basic lesson getting started with oil pastels. And hopefully you enjoyed this. You learned some new techniques and you'll feel a little bit more encouraged and confident in trying out oil pastels as maybe a new skill. As you have some time. I hope you enjoyed this video. I'm gonna also finish up with a close up, detailed shot of the completed drawing that we've done today. 8. Photo vs Drawing: