Simple Floral Beauties in Coloured Pencil | Ana Pérez Rico | Skillshare

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Simple Floral Beauties in Coloured Pencil

teacher avatar Ana Pérez Rico, Illustrator & Surface Designer

Watch this class and thousands more

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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

15 Lessons (1h 54m)
    • 1. Introduction

      1:24
    • 2. Art Supplies

      8:44
    • 3. Choosing your Paper

      3:58
    • 4. Creating Different Marks

      5:26
    • 5. Practising Layers

      4:51
    • 6. Gradients One Hue

      10:34
    • 7. Gradients on Analogous Hues

      10:23
    • 8. Gradients and Highlights

      12:41
    • 9. Shadows and Darker Areas

      7:22
    • 10. Adding Colour to the Flower Head

      13:00
    • 11. Adding Colour to the Petals

      12:24
    • 12. Final Project III Building Up Colour on Petals

      7:35
    • 13. Final Project IV Building Up Colour on Stems

      6:43
    • 14. Final Project V Background

      8:35
    • 15. Simple Floral Beauties in Coloured Pencils

      0:38
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About This Class

Hello there! So you are curious about coloured pencils?

I can say with confidence that most of us, artist or not, are familiar with them. Most likely we used them during our early school years and in colouring books.

This class is intended for beginners as I teach you the most basic things, such as how hold your pencil in different ways to achieve different marks. If you have experience with drawing in graphite or charcoal some of the exercises will be familiar to you. You will learn the "secret" of achieving a more painterly look with coloured pencils.

I started exploring more the world of coloured pencil in my last year of high school and later during my last year of college. I have tried different papers brands and types and noticed that when using heavier paper I was able to blend more colours in the surface.

I also have bought many different coloured pencils over the years and I see how quality materials can make the experience more pleasant.  For the most part are accesible and easy to transport. We do not need large space to use them or incredibly sophisticated tools.

In this class I would like to show you what else can be achieve with this medium by following simple and easy techniques. 

We will talk about the importance of materials, specifically the type of coloured pencils and paper we use. Do not feel pressure to purchase a large set of pencils. If you do not own any pencils a small set will suffice.  

After practising these techniques and simple exercises you will create a beautiful floral image using only coloured pencils. 

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Here are some of my past illustrations created entirely with coloured pencils

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Music www.bensound.com

Meet Your Teacher

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Ana Pérez Rico

Illustrator & Surface Designer

Teacher


Hi I'm Ana Pérez Rico. I am a Mexican Illustrator and Surface Designer. At a very young age I was enrolled in art classes and throughout the years I have experimented with different mediums and techniques.

Today I mainly work in watercolours and coloured pencils.  I love working with bright colours and I find most of my inspiration in nature. 

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Transcripts

1. Introduction: Hi everyone, My name is Ana, Pérez Rico, I'm a Mexican illustrator and artist. This is my first Skillshare class. And in this class I'll, we'll be sharing with you the basics of using colored pencils and how to create beautiful flowers, specifically daisies with you. I've been painting and being an art class and since I was very young, I mainly work in watercolor and colored pencils. And I've been using colored pencils and so I was very young. And throughout the years I've learned how to and use it in different ways and how to go beyond what we, or most of us learn as children, which is jaws, coloring books and all that. How to bring it to the next level to maybe give it a more painterly look. 2. Art Supplies: For this class, you will need a to H or an HB pencil and eraser. It can be a regular eraser or a kneaded eraser. Kneaded eraser is the purpose of Eros Who that you can mold and shape into whatever shape you desire. It also gets cleaned as you stretch it. You will also need a cutter, ablate or an acceptor knife to sharpen your pencils. Or if you desire a sharpener, it can be a handheld pen. Pencil sharpener, or an electrical sharpener. A smaller racer for fine details can also be helpful. Well, large paperclip can help you hold your source image or your paper in place. A drawing brush or a soft dry brush can help you remove debris that your pencils will create. Colored pencils. Of course, some of the brands I will be using in this class are prismacolor, premier, luminous from Karen dash and pull the chromosome fiber Kusto. I will speak in more detail about different brands later in the video. Right now I'm just going to show you some of the issues that I find with the prismacolor pencils, there's not great quality in the casing or the wood. And some of the LED is not center. This will cause you problems when you're trying to draw, paint or even sharpen. It is sadly a common issue with these pencils. Right now I'm showing you an electric pencil sharpener. I use a mixture of handheld electric or even sometimes a knife to sharpen my pencils. Have ready scrap piece of paper. This is a great way for you to try out colors before you place them on your final drawing. Some colors do not color the same way as they look in the pencil. So it always is a great way to make sure that you're getting the right hue in your final project. I like to have a small glass to hold my most recently used pencils. This is a great way to avoid the puzzles rolling off the table and getting damage when they fall on the ground. And finally, a great material that you might not have ever thought of is sanded paper. Send that paper is a great way to keep the tips of your pencil very sharp and pointy without actually having to fully sharpen your pencils. The higher the number that is on the sandpaper, the finer it'll be. Four for the quality of that sandpaper and the finer tip you will get when using this tool. Now, I want to talk about brands of colored pencils. Not all colored pencils are the same. Colored pencils come in different varieties. So there's Scholar, which is mainly for students. There's also student grade. And then there's professional ones. So these are two brands of professional level colored pencils. I know that prismacolor is very popular around the world and they're great colors. Don't get me wrong. Just if you have already used them or are thinking of purchasing them. The only issue that I have with prismacolor is that from time to time, you might get a pencil which the LED is not very well centered. And what that will cause is for your pencil to keep breaking and you'll get frustrated. So for example, this one. So this one, it's a little bit much but it looks like it's okay. On the other hand, this one is not quite centered as you can see. And this one looks okay. So also the one that is used on these pencils is not great. So you'll get splintered, you'll get breakage. And a lot of students and myself included as an illustrator, I have many, many personal colors, but I do get frustrated. So if you're thinking of making the purchase of prismacolor, that's perfectly fine. Just it's not only your pencil. It, it is something that's been happening with personal colors for over 20 years. And it's just something that, that brand has. The other thing that might happen is that because their lead is so soft, sometimes it happens you drop a pencil and the core breaks. So some people might put something warm around it. But it's, it's, it's, it's a little bit frustrating. So prismacolor is a great brand, but just keep in mind that that is some limitations on that brand. No, I'm going to show you the fabric gestating. That is a great brand. Their German. And they come in a box like this. And another thing that's very good about purchasing professional level colored pencils is that if you really like a specific color, let's say this one, and you run out because we use different colors in different amounts, you don't have to buy the whole set again, right? So if you buy a scholar brand and you really like a blue or purple or brown, you might need to buy the whole thing. If you buy professional ones, you can buy the colors individually. Also, if you don't want to invest in a full 10 of fabric Estelle, you can buy just a few of them and individually, and you can try them out and see if you like them. There we go. Okay. I just want to show a little bit of the collection I have. I have most of my pencils now in this drawer. And this is another brand that I enjoy. This one is a Darwin's color soft. And Darwin to make excellent colored pencils is just like I said, I might use different brands for different tasks. And it's also like a good thing to try them out. So that's just like my blues and greens that I have to make a little bit of a more high end purchase. I just recently purchased my luminous from cotton dash. And these are Swiss colors and they're very good materials. Wood is very good as well as the photograph Gastel ones. The wood is very high-quality. The core of the color is very high-quality. These pencils specifically, they keep very good for light fastness and I'll talk about that more in another video. But don't feel pressured that you have to buy extremely expensive colors. Whatever colors you may have. Even if you just have five or six colors, you will be able to achieve great things because it's more of how you use your pencils and not how many pencils you have. 3. Choosing your Paper: When we were talking about materials, I decided to keep the paper on its own video. So these are two examples of types of paper that one can use for drawing with colored pencils. So this first one is Strathmore paper. And it's specifically designed for drawing. And it's good paper. Don't get me wrong. I've traced this one. But when we're looking at paper, the most important thing is for first of all, the paper to be acid free so that our artwork will last for a long time. And the second thing that we want to pay attention to is how heavy are paper is regular paper, let's call it a printer paper. It is designed to be used for printing and the paper is thin, but not only that, it has a light coat of glue. So it's not very porous because we're working with layers and color a pencils. We want our paper to be somewhat porous so that more layers will be able to be taken in. So for example, this drawing paper is specifically designed for graphite work. But the most important thing that we want to pay attention to you is how heavy the paper is. So this paper is 70 pounds or 114 and grams, right? So that is how heavy this paper is. Another option that I really like is this toned paper. This paper is actually gray, so one doesn't start working from scratch with white paper. For beginners, I would suggest started working with white so you get a better handle on building your layers. And in this case, the numbers of grams it is. Where is it on this paper down here. So this is slightly heavier paper, this is 80 pounds or 118 grams. Ring. One can also use watercolor paper for working with colored pencils. But I would suggest depending on what effect you want. The beauty about color. Watercolor paper is that sometimes it may come more texturizing. So smoother paper I have found for the technique in this class works better because there's different techniques within colored pencils, but the ones being taught in this class is specifically 100% color pencils on paper. So for that, this is so far my favorite paper to work with, and it's the one that I'll be using for the demonstration in our final project. This paper is 96 pounds or 260 grams, and it is from the brand cancer and it is a vellum. So it has a little bit of grain of, but not too much in. It is still a very smooth paper and it is nice and heavy. And it allows us to work with many, many layers. So in case you're somewhere where you can not find this specific brand, that's fine. Just try different things. You can definitely work and achieve great things with even printer paper, but you will not be able to work with many layers. 4. Creating Different Marks: In this lesson, I'll be showing you how to make different marks depending on the way that you hold your pencil. Right now, I'm using a cadmium dark orange, and this is from Federica style, which is their polychrome most brand. So this is usually how we grab or pencil if we're writing. So it allows us to make very specific marks, right, our name, and it gives us very good pressure. But if we want to keep drawing and coloring with this same pressure into a large area, we will get tired very fast. So this is how for a first layer, I would try to hold my pencil as far away from the point as I could. Because it will, it will give you less control over the pencil, but it will allow you to use more of the side of the pencil and not so much the tip of the pencil. Because currently we're trying to cover more area. Then we're trying to be precise. So let's say we have square like this. If we grab the pencil close to the tip and we're trying to cover that area. You can already see. It can be done, not a problem. But this color is much darker than what we're using here. So if we make it like this, and we use the pencil farther, we're grabbing it from further away. And you can also grab it like this. It allows you to have a very soft use of the pencil. And this is great because what we want to achieve with colored pencil is slowly, very gradually build up color. Because we will be seeing this in building up does using one color or more than one color. And then you can mix in and make a much richer and deeper color instead of just getting, even if it's justly say an orange, when you look closely to an orange, the fruit, it's not entirely this color. It has a lot of very small nuances. So another thing that I want to talk about here is the direction of our stroke and the harshness of our stroke. Like I said before, you can make very tough and precise strokes like this. But if you're covering a large area and you're making strokes like this, what's going to happen is that your surface, which is your paper that has like little hills and valleys, it'll get saturated very fast. And instead, if you do it this way, the color will build up slowly and will allow you to have many more areas. So you can do this type of stroke and then you can do the cross hatching, right? You can also do small circles. In this type of stroke allows you to have a varying, like you see, I'm grabbing it from the middle, the pencil. And this allows you to build a very uniform color. You can also start building color with a direction. So let's say if in the future you want to make for or something with texture leg will be doing later with our flowers and our petals. So you can have first very soft and then slowly. Let's say you liter want to change direction. We can go again. So in the next video, I'll show you how to make a couple of exercises with different layers using one color. 5. Practising Layers: In this video, I'll be showing you how to slowly do different levels of layers in different squares. We're going to be doing six levels. I've already started three examples just to show you how it looks differently. So I've chosen just to do hatching on this and then I'll do crosshatching and maybe a mixture of circles and different strokes. Just to show you how one color, just by adding layers, how much darker it can get. Yes. Hi. Okay. Okay. Hi. 6. Gradients One Hue: In this rectangle, I'll be slowly building up the layer to show you how we can achieve something as soft as this and as dark as this in one same space. So I'll start very softly. Wave. This is a poppy red from Prismacolor. So you can keep using the same pressure layer. You can fill out those details better. Because then you can grab your pencil like this. But right now I just wanted like a base. I know that over here it went a little bit darker than I want it. Well, you can fix that later. The most important thing is that there is always a way to fix it. The important thing to remember as well is to slowly built earlier layers. And if as you're doing your practice exercises, you notice like is that three layers as that four layers? It doesn't matter. Don't worry about it. Sometimes I myself loose track of it. What is most important is for you to take your time. Do as many exercises of these as you can. Because practice makes perfect. And colored pencils is definitely a medium for those who have patients. If you don't have patients, don't worry. You can work around that. You can take as many breaks as you want. The beauty about colored pencils is that they're very portable. They're on the more economical side of Lake materials in order to get work done. You don't need. Right now I'm using a table easel, but you don't have that. You don't need that. You don't have to have it. You can just have your pencils and your paper in a sharpener. And if you so desire an eraser, some artists don't use erasers because some of them, they say, You know what? I'll just work around my mistakes. Some other say, Oh, I'm too lazy to do that. So you know, it just depends on what you like. And there's more to colored pencils than what we learned most of us as children. So of course, a lot of people will be questioning like Anna, what, what is happening over here in all of these, there's always still the white of the paper. And that is normal. Later in, in, in, for further layers, you can actually do what's called burnishing. So burnishing is when you actually have, you can actually burnish your color in your paper very early on in order to get like, that was what I was telling you that you can use a lot of pressure. So right here I'm using a lot of pressure to cover entirely with paper, with color, my paper. And what that is happening now is that if I want to, for example, if I have like this line very marked, if I want to make it softer around that area because I want it to have a very smooth transition. I won't be able to achieve that anymore because I've burnished that area so that little area will not take any more color. So all I can do for that is to disguise it. Tried to build as much color around that area as I can. Or I can leave it as is, and leave it as a design feature. But I'm going to try and see how much I can corrected from around. So making little circles, you can also make little. Aids or infinity signs with medium to light pressure. And sometimes what might happen is that you're applying so much color and so many layers. And you might be like MI, even making a difference, is there, is the paper taking any more color. So what you might need to do then is take a break, walk around. And especially what most of my teachers and school would always tell me is to walk away from your drawing, from your painting. Take some distance because sometimes we've been looking at something for so long that it might stop making sense. So I can still see that. But I'm just going to give a bit more color to the rest of the rectangle to smooth a bit of how the color was being done over here. The other thing that is important that I haven't mentioned yet is how important it is to keep our pencils sharpened. So you don't like they're still I still have color there, but the point of that pencil is not. So I don't even sharpen a lot of it. I just make the point. So now it's a sharper point In that will allow you for the paper to take a bit more color. So I'm going to try to keep correcting this area over here. And remember if you want to cover a larger area, I always suggest using the side of your pencil instead of your tip. So what I'm going to try to do is maybe make this corner of my square the most concentrated and color. And sometimes we might not need or may not want to sharpen our pencils. So this is why I mentioned earlier what I do is the big sheet of sandpaper. I just caught a bit of it. And only do is I scrape this side of my pencil. And I regained some of the tip to a fine tip. Because sometimes, especially if you're using a electrical sharper, you might keep losing your, your wouldn't like the part of the wooden part of your pencil and you may not want that, you may just want the sharp tip. So the sandpaper comes super handy. So this is just and you can keep going to make it as smooth as you want. I just wanted to show you live how this transition goes. In the next video, I will show you transition between two colors. 7. Gradients on Analogous Hues: In this lesson, I'll be showing you how to create a gradient with analogous colors. So those are colors that are close to each other on the color wheel. So I won't be going through the whole color theory thing because there's more than enough videos out there, but I will be leaving some information on the resources for this class. So the colors I'll be using and the brands. The first one is this very pale pink from the brand is Broonzy, and they come from Holland. The second color I'll be using is this other pink. This is from Karen dash, but this is from their super color division. The next color is pomegranate and Palmer granted, comes from prismacolor. In lastly, I'll be using this dark red from polychrome was from before. So I'm going to start very lightly. So this brand that I'm using right now, I bought it many years ago because I wanted to try it out. It's not my favorite brand. It is a very harsh not a harsh, but it's more like a very hard pencil. You have to really sometimes mark in order to get the color out. And it's probably because there's more fillers then pigment in this pencil. So I just gave it a very quick one layer. Then I am now going to continue around this area with my second color. So as you can see, there's a very it's a big jump from one color to the other. But that is why with very light strokes, There's a lot more purple in this pink than in this one. But we'll make it work. Because that's always the interesting thing about doing color is that sometimes colors that we might think don't go together will give this layer. Now I'm going to move to my pomegranate from prismacolor. So I'm moving farther and farther away from here because this is where I want my lightest pink. And over here I'm going now to Lake harsher and darker reds. I did mentioned before that some brands are not as good for color. I'm fest colors, so I'll explain that in a bit. So now I'm going to use the, the dark red one. So color fast is when how long a painting molest with the colors that we're using. So that means how good the quality of certain pigments are. And certain pigments just by their nature, will not last as long. Some brands do have their information of how much their, their colors will less. Some colors will last exposed to direct sunlight up to one or two years. And the, the higher-quality would be going up to over a 150 years. So usually pink colors are not the best just because of how the nature of the pigments. So a way that we can get around with it is some people just might not be interested in color fastness of their, of their painting. We can choose colored pencils and paints that are higher-quality. And that's why some colors might not be available. In. The other thing is we can also protect our work with UV glass. So those are just a few ways. And if you buy or find a brand that just says hi color fast, and it doesn't specify, I don't trust those brands as much because they're not going on to specific detail on how their ratings are or how not all the colors in a box are the same. Like fasteners Just because, like I said, because of the nature of the pigments. So that is something to be aware of. And it's not a problem for, for everyone. Some people just don't, don't mind that some people will just be they might be scanning their work and that's not a problem. And you can also use, like I said, UV protective glass. So like I mentioned before, is just all about the layers, right? So maybe we can work this out over here a bit more to try to give it a smoother transition between these two colors. The other thing to have in mind when using different brands is that not all brands are. The feeling of how the pencil works is different. So like I mentioned earlier in the video, this very light pink is a very hard pencil. While the current dash one and the Prismacolor, one or more softer pencils. And the pulley Chrome OS is a little bit on the harder side, but not as hard as that light pink. So it's always a good idea to just keep trying new things. Like I said, that brand of pink of the bruises one is not my favorite. But I always like to keep experimenting to see like maybe those two colors might not work so well together, but maybe that pink will work better with a different brand. Or it might just altogether not work well for my style. So I'm getting new here, a softer look towards what I wanted. And for example, right now, I have lost count of how many layers in total because different areas have different layers. But I can see that there's more work here. There's more color laid down here. Second, there's more colored laid here and this area is the softest one. So I'm going to go now inbuilt bit more color in those areas. So right now, I also want to mention that I'm laying my hand over here where there's not a lot of color. There might be here. If, when we are working with a larger piece, it might be a good idea to use a different piece of paper and just lay your hand on it so it won't smudge everywhere. Right now. These are just exercises and or you can just use your elbow and not so much. Lay your hand on your pet, excuse me, on your paper. Because our hands have natural oils and it's perfectly normal that those oils might get on our paper. In a can affect our painting. 8. Gradients and Highlights: This pink is what I'm using mainly right now as like our kind of middle grade in our gradient. It's between this pink in the pomegranate read. The pomegranate red is a little bit darker. So unjust mainly going between those two back and forth. To achieve a middle look. Because I know that this area of the gradient, I just want it to be darker with the what's the name of the color, the dark red from Karen dash, sorry, of polychrome OS. So we are getting over here are light pink, light pink. And maybe what I also lead is 2, very sharp. And changing the direction and the shape of your stroke will also help for the color to get in the paper differently. So I'm liking how this is looking now. It's slowly, but I can see the color building up. I can seem a little bit more distinctly where this shade of pink is predominant. Now, I'm going to be moving more to where the pomegranate red will be prominent. And it's just a variety of strokes. Training the eye. But also sometimes it's making mistakes. So do not be discouraged. If your first try, it doesn't look like this. It might mean that you might have gone too fast with the color. It might have been that you use too much pressure. But that is why it is important for you to be sharing your progress with me because that way I can see what you've been working on and I can actually help you and be like, All I see what happened here. And this is how you can fix it. This is and may in sometimes it's just more exercises. It's I think something that in general, some people tend to forget is the amount of practice and work that there is behind. Anything to achieve a better quality of a look. Sometimes it's just the practice and the practice, right? So right now, I've been working on this little area, this little gradient for 15 minutes. And it's getting there. I am liking how very slowly the color is building up. And like I mentioned before, it is patients. It is patients, it is work. We need to. So what I do is I just do like a tutorial to try to get the whole area of the lead of the pencil pointed. So I'm applying a little bit more pressure here when I'm applying the color. Because not too much, because I don't want to burnish my paper, but I do want my pink to be more obvious, my pale pink to be more obvious. In that area. I don't know if you can see in the camera, but sometimes when we're using color pencils, it is perfectly normal to start to see a little bit of debris because our pencils are mainly they use a binder of wax and or oil. So it's perfectly normal to see that debris. If you have a dry soft brush or one of these brushes that are for drawing, you can just do this and get rid of that debris. So as you can see, the using this lighter pink is making this area of this pink that had a little bit more purple in it, lighten it up because that's usually what will happen. But bring out more the purple in that pink. So that is how different colors make. Other colors adapt or change to give a more interesting look. So before we close out this video, I just want to show you how with your eraser, you can make an area a lot lighter. So this is a part of my kneaded eraser which I am able to like take apart, just going to lift some of that color in this is important because sometimes we may make mistakes or we made once a highlight. So I will try to apply it over here, or there's more color. And it is a little bit more difficult, but slowly. We can use that. And what I like about this type of eraser is that it's very soft and it's not damaging the paper. Because if I were to come in with a harsher race or it just scrub it, the fibers of my paper will get damaged. Associated very slowly. And that is how I can create a highlight in that area. We'll try it now. And also what I love about these erasers, if you haven't used that before, so it gets color, it gets dirty and you just stretch it. Mine is over 20 years old, so it doesn't it doesn't look it looks like it's been through a lot. So I'm going to try it over here. This little area. Right, burnished. So it's very slowly lifting the color. This other eraser that I showed you earlier, it is a Tombow. Elastic stomata are racer. So this is a harsher eraser, so we have to be careful not to damage our paper. But it is more precise on lifting certain areas. So when working with colored pencils, we have to learn not only how to apply the color and also how to lift it. And because the magic of highlights and low lights is what will give us a more interesting and dramatic look for our drawing. And not necessarily using what a lot of people ask is the right color, what is the most realistic or close color to something? So anyway, in this video we've seen the gradient, how to use four different analogous colors to create this and how to slowly built this. After putting in practice the layers up here in the layers that we did here, but with more than one color. And I've also taught you how to erase with two different types of erasers. In the next video, I will show you how to use a the complimentary color to darken an area. 9. Shadows and Darker Areas: So in this lesson, I'll be showing you how to darken a color using the complimentary color instead of just going with black. In this case, we've painted this area with a dark red, and I am now using a dark sap green from my Luminance, a set from Karen dash. And I'm just going to start very lightly applying the color. So right now I can see that it is getting very dark very soon, a little bit too fast. And the process, which just means that what I might need to do is apply more of the dark red from fabric Gastel to make the red more prominent. And that is why it's always important to apply light layers. Because in that case, head I'd gone too dark with my green. It would have been a lot harder to show the red again. And that's not what I want that one still my dark red to show, but I wanted to make it darker. I want to almost make like a shadow area. I'm just going to go around a little bit where I placed that highlight from the previous lesson. Because even as you were raised, because we were erasing very carefully in order not to damage our paper. Then I can still keep that highlight, but maybe not as harsh as that highlight was. And just color it in very slowly. Basically, in this small area where creating another gradient within the gradient, which is usually what happens in real objects when we're painting. It's not just a regular geometric shape or a harsh shadow. So it's always, that's why it's always fun to play around with different shapes and different objects because they will react different to light and shadow. All right. I'm going back with my green. In migraine doesn't look absolutely green. Starting just to look like a murky color. And that's exactly what I want. I just want, I don't want the red to look as bright and idle, want the green to look as green. Because they are opposite colors in the color wheel. They will compliment each other into creating desaturating actually, both of them just taking away their brilliance. So over here I've built I think enough layers. I'm going to start to apply a little bit more pressure. Not a lot, but that's why I'm now using grabbing my pencil towards the tip in order to have more control and be able to apply more precise pressure. Not burnishing, even though I could, but because I still want to keep working in the area, I hardly ever burnish something unless it's a detail. And I know that like my bottom layers are Dawn and I don't want to keep on I'm Don like working that area. So that's how it looks. When you use a complimentary color to darken an area. I hope that has worked and showed you how you don't necessarily have to use black to get like a darker color. And in the next lesson, we'll be starting to work on our final project. 10. Adding Colour to the Flower Head: This lesson we'll start working on our final project. In order not to get overwhelmed, I always advise students and people who are just starting in colored pencil to work in a smaller format. Because working in larger areas is always a more difficult task and it can be frustrating and overwhelming. So I've decided to cut my paper dimensions seven times five inches and have already made a little sketch of my daisies that I'm choosing. I'm basing this drawing on an image from Pexels, which is a website where one can find free images to use because it's always important to not use the intellectual property of others. If you have a live Daisy near you or if you have your own reference photos, I invite you to do that. I will be posting this and other images for free use. And if you choose to use ones that I will be sharing with you. Usually daisies are mainly white in their petals, but I always like to give them color. So the only thing, the only decision that I have made so far is that I am going to keep the center into a layer of yellow, into a light orange and maybe with some ocher in it. So it's always important to start with not only light layers, but our lighter color first, because it will allow us to build on top of darker colors or use maybe complimentary colors later on to darken certain areas and also to later added texture. So I'm just going to start very lightly. Actually going to make it even lighter. And by making it lighter, if we have less control over our pencil by grabbing it farther away from the tip, farther away from the point. That is how one can achieve a lighter stroke, a lighter mark. So right now I'm just making little circles. I'm just applying an even layer. And in this part is where we would be using our pencil to make our sketch or initial sketch. If you prefer, you can definitely go ahead and just make your sketch. And colored pencils. I always suggest to using a lighter color because color pencils are erasable, but not as erasable as graphite pencils. Especially graphite. Graphite pencils that are harder, but always using a light touch. If you make a mark that is outside of the area that you are intended right now. If you are using light touch, Don't worry about it. It will get covered. In other layers. Like I mentioned in the lesson where we were or I was showing you what happens when we burnish. Sometimes we might be a little bit stress or we might be applying a little bit more pressure than what we originally intended. So don't worry about it. It's it's something that it's fixable. And if it's not quote unquote fixable, it's just a design feature of your painting that will make it completely yours. And unlike any other. When looking at your reference photo or your reference object, zones, focus so much on, is this, this exact same color as the center of the image that I'm looking at. Because I could have made this blue, I could have made it purple. What we are most looking into paying attention is. Is it the right value? And by value, I mean in the scale of gray, is that as dark as it can be? Is it as light as it can be? So this is why I keep insisting on working on like liters. So the pencil that I'm using right now, it is a smooth yellow from luminance. I'm going to now move to a golden yellow. Golden bismuth yellow. Same from luminance to slowly build up that color. Because remember, if by any chance I start, let's say I move too fast into an orange or I by mistake, I'm a little bit distracted and I grabbed my orange before laying down. The other colors. Don't worry, always have your, your eraser, it's your friend. And you can just lift the color group. Let's see. We're just going to try do that as a demonstration. So let's say that I'm using light orange here, but I'm not ready yet to use my orange very lightly. I'm lifting it. And then I just keep applying my other yellow. And I am aware that probably the yellow that I had underneath might have gotten lifted a bit, but I can go back and start using the other color as well. Or I can just keep going as I'm going right now. The most important thing is not to be afraid of what you're doing. Don't be afraid of trying new things, of making marks. Because with practice, your hand, your eyes, your brain will get used to what you're doing. Sometimes we are very hard on ourselves when we're trying something new. And when we don't get it right the first time we're like, Oh my God, I'm never going to do this again. No, no, don't don't be afraid. It's just It's always scary to try something new. But with practice, you will get better. You will get used to more and more of it. So in my reference image, my reference photo, I have a very soft light, but I can tell that the lightest coming from above. So I'm making the decision right now that I'm going to leave the centers of where the pollen is located. A little bit lighter. I may go back later to work on it with my lighter, yellow. But right now, I'm mainly working on the the outside of it or the area that would be closer to the edge of the, towards the petals. So in this flower, a little bit more graphic that I would like. I'm just going to lift that a bit. And if it doesn't work, I'll just work with it. So it might not look like there's a lot of development getting done break now, but that's completely normal with colored pencil. There's a moment where it just looks like everything is white. It's, it's super light like what's happening, Nothing's happening. And if you just keep building at it after a while, you're like, Oh wow, Yes, Now I can see it. So when I'm not recording my my steps might my process. I like to take a lot of process pictures. And it's always super fun to be like, oh wow, like working on this for like 20 minutes or a half hour. And look how far I've come. The third pencil that I've grabbed is a yellow ocher saved from the luminance collection from Karen dash. And I'm mainly using those pencils right now because it is the largest collection of colored pencils that are currently have. But I will be using some polychrome most, and some prisma colors as well. So because these areas that I'm working on now have a few layers on them. I'm putting a little bit more pressure on my markings, but not a lot. And you'll feel it as you as you are working. How? When you have enough layers, it goes smoother. Okay, So right now I am ready to start applying my orange. And because of my reference photo, I'm just going to lie. I'm grabbing it closer to the point because I want very precise places. And I'm making tiny circles. So now that I'm building closer to the lighter area, I changed from the orange pencil to the ocher because it's still darker, but it's not as dark as the orange one. And I'm just going to leave it at that. I'm not going to mark it even harder. Because right now it looks I'm satisfying how it looks. It's just the feeling of it. I don't want to make all the tiny details at this moment. 11. Adding Colour to the Petals: I've started painting my upper flower. And I'm just using very light strokes to give it a uniform color. So as you see in this one, I'm just using very light strokes in the same direction. Because we are just building or first layer of color. Each petal. If you choose to work fully on one petal at a time, that is okay. I personally prefer to work on different areas are similar areas at the same time because it gives me a general look on how they're all working together. So for example, that's why I started with the center of the flowers, all of them because they had a similar lighting, a similar intensity. And that is why I'm also doing the same thing with this petals. If you want to leave an area of very, very light, you can just leave it white with the paper and just slowly work around it for it to have a gradient. Instead of just looking like a harsh white. Or you can leave it white right now and then later work on it. As you're working first, your darker or your midtones. That's how I would suggest working, working your midtones first and then slowly building up color. If there's an area that you think it's going to give you a little bit of trouble because it's a lot lighter. Just leave it almost white or white and then go back and work on it. I used to always build up the color too fast in. It gave me a different look. It wasn't that it was wrong. It was just giving me a different look that what I want it over originally to achieve. And I've decided to, like I always tell everyone, just work very slowly. And for these petals, even though at first glance, petals might not look like they have a lot of texture, but they definitely have direction. So that's what I'm working on now, is just making my strokes to show where the direction of those petals is going. The other benefit of working in such a small size is that you're hardly ever placing your hand on what you've drawn before. So especially for beginners, I think this size works great. It, it definitely takes a little bit of the stress of how am I doing this and thinking about like all the other things as you're learning. Especially for those who have more experience drawing with graphite, it's very normal for us to end up with a handful of graphite or charcoal. Because sometimes we forget to put that piece of paper giving the direction of the petal. You're also giving your subject movement. You're signaling where in this case where the petal is placing or how it's bending. And it's very simple. So I think I have most of my midtone done. For now. I'm going to move to another shade of red. By the way, the color that I'm using right now it's called processed red. And it's from Prisma colorful right now that I'm using a darker red closer to the center of the flower. I can later go back and give more accent to that area with the orange that I was working. Or even get a little bit into the pollen area. With this darker yellow, darker red, and create my own orange. And that will make it have a more natural look. Because I'm using the same colors of the outside in the inside and it gives it a more cohesive look. In when we work this way. You don't necessarily have to have a huge collection or a huge, well, yeah, collection of colored pencils just with a few simple colors, with a set of 12, with a set of six, you can create very interesting looks. I'm finding that maybe my flowers getting a little bit too red. So I'm going to switch into a very pale orange, peachy color. Important to keep your pencils sharpened. And that doesn't necessarily mean to use a sharpener you can use. So people also like to using blades like this one to define their tip very well, but I find that sometimes I just wouldn't like more definition. So I keep using by my sandpaper. So this is the more peachy orange or more peach pink that I wanted my flower to look like. So still very light. Lawyers. So if you see in every petal, we are creating a gradient, whether that gradient is from darker to lighter or within the layers. And within the pedal, it's every, every shape is different. We've, you're able to experiment with different brands. You'll find that certain brand, the lead, gets used up more than others and it has to do with the softness of the LED. We're going to be using now. This green, this is a dark fellow green from polychrome, most just going to start building my shadows. 12. Final Project III Building Up Colour on Petals: So you may have seen in the previous video that I not only applied the green for the darker areas, but I also went around and I applied a little bit more of the poppy and the red. It also, I went a little bit with the red inside just to make it a little bit more orangey. In a more natural orange created by the pinks that I had used in the reds. And I also play a little bit of the yellow around the petals just to give it a little bit more light. And for the image to communicate better with the colors. One, I'm at a stage like this. I like to apply indigo blue, or another neutral color that's very dark on my most intense areas. To even give it a more dramatic look. That what I created with whatever complimentary color I used. And I might create a few strokes just to create even more drama in definition in certain areas. And it's very little, sometimes I go a little bit overboard. Just because I like how to, how it looks, how like basically you're drawing starts to transform into this whole different thing. And like I said, sometimes my result is a little bit darker than what you originally intended, but it's always a learning experience. So I invite you not to be afraid of using this. If by any chance you don't have indigo blue. Don't, don't stress about it. You could just keep making more layers with the complimentary color. Or you can even use black. I hardly ever use black just because I think it's too much of a jump. I certainly do prefer using indigo, but that's a personal preference. And if you find that your image, you've really like how it starts to look with black. Go ahead. Is just my my preference to hardly ever use black. So over here I'm almost feel like I'm almost done with the petals of this daisy. And I'll start working on the other ones. And you might see me in the video go back and forth as I'm working with the other ones that I go back to working on this one in it is because I start to see how this looks like, how this first flower looks finished related to the other ones. For your final project, you don't need to make three. I'm more than happy if you just make one. I'd rather you concentrate on one. Then to make more. So quality over quantity is something that I always prefer. And so yeah, if, if in the video you get to see as like Goebel, she said she was done with those petals. Like why is she going back between the other flowers and this one? And that's why it's just because IT relation to to that flower, how it looks right now alone. For me, it more or less looks like it's done. But once I start working on the other ones, I might change my mind. So yeah, that's that's the next step. Okay. Last flower, I'm going to go with more purple tones. I am going to start with this peachy pink, and then I'm going to use dark purple from prismacolor, black cherry as well from prismacolor in this magenta from polychrome bows. And this one is from luminous. Hello. 13. Final Project IV Building Up Colour on Stems: Now that the main flowers are done, we'll be working break now on the stems of the flowers. So I'm going to start with this dark fellow green. And you'll be seeing the process of that. In this past video. We showed you how I did the, the stem of the highest Daisy. So these are the colors that are used for just that little area. And I've chosen these colors because I was slowly building up the shade of green that I wanted. So for the base, for the most part, I use this green. For the highlight of the green of the stem. I use this yellow, so I only did like the outer part, like we're the highlights we're going to be. Then I wanted to make my green more towards a darker blue, but I chose this blue instead of going too dark. Later on I did use the indigo, but I didn't want to make that jump as fast. So that is why I slowly went with this color. Then I noticed that my highlights weren't as bright as they were going to be with that yellow. So that's why I went and started mixing it a little bit of orange. And that's why you were like where words that orange probably showing up. So I just did like the transition section between the green and the yellow. Then I wanted to build a little bit more of the shape. So I went with this brown and it wasn't yet because this brown is close to this orange. So I wanted to make it a little bit darker. So I wanted to go with a purplish red, which is this one. And that's how I started building like the darker area of the stem. And finally I just ended up using a little bit of the indigo blue because I've mentioned in a previous episode, I hardly ever use black in. So that is just a little demonstration of how in such a small area, you can use all of these colors or you can keep it simple. With your shading. You can just keep it with a simple dark brown in a little bit of green for your highlight. So I'm going to try that in this area and we'll see how that result vary. So for this next area, I'm going to use a sepia and in all of yellow, both from my Luminance collection. So I'm going to use that for this section and we'll compare to see how it's going to look against that other stem. Early on, I noticed that those colors that I chose were too big of a gap between two of them. So I incorporated that green that I was using before. I am still not getting the exact result as I was doing before. So I just wanted to show you how sometimes having more precise colors might not give you the result that you want in having a more basic pallets. But mixing in the colors more will give you the depth that you want. So like I showed before, I was using an orange or yellow or brown, of course a green, but it wasn't such a specific green. So I was using all of these colors and just the amount of blending and how you use which color in different areas will give you a different result. So in this one it's, the colors are looking fine. It's just that I'm not getting the same depth and precision as I would like is not that it's necessarily not used well, I'm just not convinced of the result I'm getting there. So I'm just going to continue working on this area with the same pencils as I was using before. Hi. 14. Final Project V Background: Once you're done with your main drawing and with your stem, you can leave it as is, or you can create a background for it. I'm just going to very lightly color around with one of the lightest shades of blue that I have. Just to give it some ambiance very likely. And maybe I might build another color just to give it some atmosphere. But you can feel free to leave it as is. Because the main thing that I'm concerned with or interested in everyone learning is for the moment, is creating the subject and creating those beautiful petals and those beautiful flowers. So yeah, that's, that's what I'm going to be doing now. The colors of you so far for this background, our light cobalt blue from luminance and lied, malachite green, same from luminance. And I'm going to be adding a little bit of lilac mainly to the bottom part just to give it more depth. And yet we'll see how the final drawing looks after this. Now that we've done our background, I'm going to show you how you can get some extra highlights or brighter highlights with your eraser. So I'm going to very lightly. For larger area, you can use alert your eraser very lightly. Start lifting the color. Remember to do this very slowly in order to damage your paper. And this is where a smaller eraser like this would come handy. If you don't have a smaller eraser like this one. What I usually do is my regular white eraser. I just use an exacto knife and I cut it in an angle. And then I just work very slowly. What I do like about working with this smaller eraser is that you can have control as if you are using a mechanical pencil. There also. You can buy mechanical erasers. So it has like a little battery and a motor and it just erases areas and you just leave it. In certain areas. I personally have never used them, but other colored pencil art is really like them. So if you're interested in that, that is another option. Personally liked doing this by hand because it gives me the control of the pressure that I want to use. And you can also create effects with it. As I'm doing this one. There's a little area here that I just want to when erasing, be careful to take the colored part when you're using a different area because then you might transfer the color into the new area that you are racing. And if you want to get like a wider section, it might stain it. If by any chance you end up erasing more than what you intended. It's just a matter of going back with your colored pencil and reworking the area. But that's why I insist not using a lot of pressure because if your paper has been damaged, if it's been thinned out, it all, once you start making more marks on it, it'll be noticeable. And you may like that effect for certain things specifically. Or you may not. 15. Simple Floral Beauties in Coloured Pencils: This is the final result of our class. This is our final project.