Realistic Animal Eye with Pastel Pencils | Ekaterina B | Skillshare

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Realistic Animal Eye with Pastel Pencils

teacher avatar Ekaterina B

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (52m)
    • 1. Introduction to the class

      1:55
    • 2. Materials

      0:51
    • 3. Drawing of the Eye

      25:31
    • 4. Fur around the Eye

      20:50
    • 5. Conclusion

      3:03
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About This Class

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Follow me in exploring the process of drawing realistic animals with soft pastels and pastel pencils.

In this class we will draw an animal eye.

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Ekaterina B

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Transcripts

1. Introduction to the class: Hello everybody case here within new class. This class is designed to, oh, teach probably intermediate to advanced students over art, how to draw realistic intimal eyes. Eyes are really important in our drawings. Sometimes it can be really tricky to draw the fur and the skin on animal. But if you get the eyes right, if they sparkle on your drawing, people will not notice any mistakes in any other parts of the body. So that's why we're starting our journey into learning how to draw realistic animals with an I. This is a project for today. We're going to draw this particular i for the next hour. So I hope you enjoy it. And let's look at the materials we will need for this clone. 2. Materials: For this drawing, we're going to use pastel math paper. Here it is. Less DO math. Number two, that's the color. We're not going to try to pronounce it. It looks kinda gray and it's just perfect for animal Dornan animals. I'm going to use all my pesto pencils. Who you see, some of my soft pastels. I'm going to use this punch for blending. It's from Penn pastels. Let's pretty much yet, let's start. 3. Drawing of the Eye: All right, let's begin our have my reference photo next to me. And I have my paper tape to the surface in ohm deciding on the pencil to use forests catching me. I, this one is a little too dark, so let's go with beige color. I didn't want to use white because the mid tones here of the kind of beige or light brown color. So I am sketching free hand. I tried to sketch freehand as much as I can. I use measurements when I draw realistic portraits for animal portraits for clients. But if I do it for myself, for fun, I always dare myself to do it for him. And that's how I train my I2, get better to see better. And with pastels, They are so forgiving. You cannot make a mistake. It's just amazing. I'm just outlining the areas where the color changes from dark to light. And that's pretty much it. Now and growing with black pencil outlining DI, because first I'm going to work with the inside of the eye. And then the second part will work with the firm around the eye. I'm looking at my reference photo for 50% of my time slow. My eyes are constantly going between reference photo in my Droid. In whereas here the dark areas are used my black pencil. And this point I decided to add some background to paint that area outside the eye where the first gonna go. You will learn about me that I did not start in one corner and then move to another corner. I move, just earn my drawing everywhere. I pick a color and I'm going to place at color everywhere I see it. Doesn't matter where it is, left, right, bottom, top. Note too concerned about any smudges, any mistakes because I know I can fix it. And I draw what I see. So I see purple, I'm going to put purple there. See a brown We're going to put brown there for has so many colors and I like color and refer. So you might see different colors. You might see pain 6'4, black or blue DOT, which you do not repeat what I do. Just use it as a guideline in doing your own thing. So I needed a transitional colored between when Brown and purple colors, just so gorgeous. It's going on. I don't know, pink, dusty rose color. And once again, I jumped from one area to another. This point I am going with my black charcoal pencil in them covering the darkest areas of the eye in around the eye. And I'm blending numb all out with my fingers. Because right now we are working on under painting. The end result of the under painting, kind of blurry version of the result. And like Soft transitions. And that edge is not a straight line. So this area under the eyes darker and I'm trying to achieve the dark with my charcoal pencil, but I don't know if it will be enough. In maybe you already know that it's not that easy to blend. First layers on pastel map. The more layers you put on it. I feel like going dark enough. So I grabbed my generals. Carbons sketch pencil in, blends out, easier, softer. And it's dark. And also, I like to use different blacks because I really made up my mind about them. They all block, but they work differently so or try them all and see which one works better for me. I'm going to work with the iris. So if you look at the reference photo, you will see a chameleon colors there. So I was a little overwhelmed and which color should I start with? And I decided to go with the bright green because I think it's the most dominant color there. So the eye is a combination of greens, Brown's, yellows. And it's a matter of placing them in the right order. For that you have to really, really observe your reference photo. Sometimes my bronze or no dark enough. So I add a little bit of black to darkness. And I'm blending them with my finger right now. Still in under painting at this point. It's that layer under the details. It's really easy to work with carbon sketch pencil. And I jumped from one area to another. Night, just placed the colors I see. Light grey, darker gray. There's no shortcut with this with a realistic card. You just have to take your time. Observe. I wish there was a shortcut. I'm a queen of shortcut. If there is one, I'll tell you about it. But with a realistic art, you just have to do it. For this area needs to be darker or emitting black to holding Hall my pencils and my left hand. Bright yellow or kind of greenish green, yellow. Yellow spots as kinda scattered around on the left. She some brown spots that was using reddish brown probably lead to bright Mao probably make it darker later. They're all C, you know, sometimes a color changes, stored looks next to another color. So I'm always experimenting plane with different pencils, different colors. Making this area as black as a camp. Now around that black area, the eye needs to look kinda iridescent. Who's that? You have to use? Brighter color and combination of very, very light and dark colors. So it's kinda like race coming from the center. So I'm just placing green lines next to yellow lines. Later. I'll put some white lines there. And always only looking at the reference photo. So I grab a color and just observe where it goes in that place, those areas. So here's a highlight. And I'm just using my brightest why to have. And this is a grey color because there isn't a lot of why I didn't look white but white. And you see how broken my lines are? Some areas there fatter, some areas they're thinner. And I use white and light gray. In this area highlight looks if incarnate brown. This is an interesting area next to the I. Start with blue, because that's what I see there in blue. It's kinda bluish purple color. So I'm trying to achieve it by blending colors that I have because I don't have that exact color. I'm just trying different counsels and blend them so I could get to the color that I want. So the light gray again, that area is wet so reflects light. So going with my black Kern dash pencil or no. Current does pencils are like the best tensile hour. If such a rich pigment. They're so soft, so easy to work with. But you can't really use them for very thin lines. I love them, but they just don't work for some things at all. This is carb Othello pencil. It looks like the dusty rose color. I decide that I decided that that works for this area. It's pretty good color for it. You see I enlarged, zoomed in and the eye on the phone because I do not want my brain to think on drawing and I don't want my brain to think of just replicating the spots on the left. And I'm just trying to draw the same exact spots on the right subtree. I learned from a book by Betty Edwards, drawing on the right side of your brain, that BOC really, really changed the way I see growing now. Love that book. I'm working on creating the iridescent look. By pleasing yellows next to mine, greens can get very overwhelming if you allow yourself to think like that. I turn to look to think when I draw. I'm like printer. I draw what I see. And when I grab a color, I just place it in all spots. I see it everywhere, look everywhere. So if I see green one spot, then I start noticing that there's green in another spot and I placed it there. It did not focus on the same area. I jump from one area to another. Maybe it won't work for you. Maybe you were one. It will be one of those artists who start on the left, top, right, bottom. I like to work with a whole door. Golden color, Beautiful. Current Dash has wonderful colors. Once again, there are no shortcuts to draw. Every line that I see. Making this darker area is black as I can fix all the highlights. I know that this area is a little too lights or emitting black. To the colors that are already there. They still show through so that they just look little darker, deeper know, adding details to my highlights with a light gray pencil. I wanna keep only one being large, highlight white, the rest of it I just use other highlights, a light grey, darker, and again emitting some Bullock to it. And it just pops right away. And right here I'm going to use my white to put a very thin layer on top of my greens and yellows to lighten up that area because this area is much, much lighter than what I did. I did not want to lose my yellows and greens. So I'm pressing this pencil very, very likely to just add one thing layer on top of the other colors. We are almost done with this part. The next part we're going to work with the hair around the, I don't think I would look right without the hair. Although the topic of our drawing is the eye. Work on the hair. But notice that I didn't finish this part. Go a little bit more blue to it. Just to the corners. It's just what I see. And there you go. 4. Fur around the Eye: I didn't want to draw the eye without their hair rounded to show that it's an animal. I so now it's time for us to work on the hair. I'm starting with a color that already placed there. I'm just moving them pastels and the direction of hair growth. Sometimes you can use a pencil to move. The steepest. Also. That's what I'm doing. The more colors you use for hair. More interesting, it will look so. Just look at my reference photo. And I tried to notice the colors there and just tried to replicate what I seen. And experiment with the pencil that I have. For you don't like it. I can erase it or I'm blended with a different color or place a totally new color on top of it. And with a hair again, there are no shortcuts. You have to draw the hair and draw it in the direction that you see on the reference photo. So I started with a darker brown NOW moving towards a lighter color. And I'm just very careful about the direction. So I want to draw exactly like I see it on the reference photo. You know, is blended up. Here, was trying to decide where to start because you want to. Layer your hair. So it just adds to the next layer in becomes philosophia fluff you the more you add the hair. Was thinking, which way should I go? No. Placing it on top of the previous layer. And then pressing kinda lightly. And the paper is a one to create the illusion of volume. I don't need to draw each individual hair. Kinda sharp, kinda way. Renowned, just join a mass bunch. I still draw one at a time, but they are not very unfocused and not sharp yet. And just when entering the hair. Now I'm starting to press a little harder and till the surface to show highlight in the middle. Now we're gonna do the same on the top. If I wasn't recording or would have turned my paper. But I can't. So trying to do my best to move money, pencil in that direction of the hair growth from the position that I am in. The hairs are longer. So kind of press and release. Press and release. So the lines are all the same. They're alive. They have a beginning, a middle, and a very thing ending. Using black currant dash pencil to add depth to my hair's. So kind of going between the lighter hair they're already drew to show the depth of it. Has depth and blend it up. A little impatient. So I'm going with my light gray color to add the highlights on this bottom part. Middle, you can see you can press and release, press and release. But you don't want to press right on the beginning of your hair. You start to lightly, then you press and then you release the series allele brighter. So go with a bright yellow. You can see how and I add some black. Makes still lighter areas. Pop. This point I noticed some pink. It's just reflects something. But if I say pink, I draw pink. And I'm gonna add pink to all the areas I see in my drawing. This is peachy color and it didn't work for me, so I switched to this dusty rose color. Once again, it's not a straight black line right there. Always observe your reference photo. It's kinda broken because of the hair. I look black line, it's broken. Kind of disappears into the hairs. The more layers you add, more realistic your eye will look. See white spots on the bottom of the island. I don't know. It's the beginnings of the hairs or reflections. I don't know, but I see that when I draw them. Well, I'm working with my light colour. Thick, it's like yellow. I noticed the same color on the top part of the eye. While I still have it, I'm just going to use it there. Now. Even though we were going to draw the I know you have an idea of how to work with before as well. Any highlights with my current does. I think it's like yellow. Just such reach pigments. They have very soft pencils. And so easy to work with him. You can see that sometimes I press harder and color just pops in. Sometimes a press here you likely to just give me their light color that I want to just have full control over my pencils. And I work with current ofs, pencils. I'm starting to feel like I'm almost done with this. Looking at the whole picture and deciding where it needs to add more darks. Because while I was blending colors out, I lost some of my darks. My last touches. The didn't want to spend too much time on the FERPA. You just do what you have to do. More highlights. That's my white chalk pencil. It holds the sharp point very well. That's why I'm using here for the, that really thin and really bright. I think we're pretty much done. 5. Conclusion: I consider our drawing of this. I is finished. So I would like to spend a few moments now to show you that. In the end when after a sign line drawing usually I'll come back to in a C some areas that I would like to improve a little bit and it doesn't take a lot of time. So I like soft transitions. So I blend all my soft pastels into background right now with my sponge. That came with Pam pastels, you can use a new spawned. Ultimately they all work the same way. Sometimes I even uses point from a piece of magical racers ponds, you know, the white ones, delicate dollar, dollar store. Or you can just play with different sponges that you can have new ones. Of course, you don't want to introduce any chemicals into your paper and your art. So I also soften some hairs on our firm because you might know that in order to look realistic hair has to be a little blurry. What else? I recommend spending some time just looking at your reference photo and noticing if you miss something in details you would like to bring with realistic guarded. That's the thing you can work on it forever. And the more you grow as an artist or the more things you will notice, it's a very natural process of developing using an artist. When you learn from other people, they tell you something and show something to you, a new ministry because you didn't see it beforehand. How is possible have eyes, they have eyes but you can see it. So that's what it is with art. It's just, you see more things. It's learning to see phase. So just spend this time and looking at the reference photo, comparing it again, like I said, and add in some details that you would like to add. I'm using white chalk pencil to add some highlights to the areas that are maybe already did this and don't know. That's when it's a very personal thing that fine tuning. It's very exciting. Sometimes you can just put away your project for a day and come back later and see something. And that makes all the difference. Well, anyway, I hope you enjoyed this lesson. Thank you so much for spending this time with me and I hope to see you my other classes. Good luck with everything.