Realistic Drawings With Colored Pencils: A Beginner's Guide | Gemma Chambers | Skillshare

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Realistic Drawings With Colored Pencils: A Beginner's Guide

teacher avatar Gemma Chambers, Pencil Artist

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 6m)
    • 1. Introduction

    • 2. Class Project - Drawing An Apple

    • 3. Materials For Colored Pencil Drawing

    • 4. The Key Basic Techniques

    • 5. The Process

    • 6. Studying The Reference Photo

    • 7. Sketching The Outlines

    • 8. Build Up The Base Layers

    • 9. Marking Out The Key Shapes

    • 10. Building Up The Texture

    • 11. Brightening Up The Drawing

    • 12. Further Brightening Up The Drawing

    • 13. Adding In Final Details

    • 14. Adding In The White Spots

    • 15. Class Summary

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About This Class

If you've ever found yourself struggling to create realistic looking drawings with colored pencils, or maybe you're completely new to the media and looking for some tips to get started, this beginner's course is here to steer you in the right direction.

By understanding the materials used and the basic techniques for color pencil art, I believe anyone can approach this exciting and flexible media and create amazing pieces they can be proud of.

In this class, I will show you:

  • The basic materials every colored pencil artist needs
  • The fundamental techniques I use in every drawing
  • An easy to follow process from beginning to end
  • How to create accurate sketches and transform them into finished drawings

My class is designed with the beginner in mind, so technical terms are broken down and explained. Once we've practiced the techniques, we'll apply to them to an actual realistic drawing as the class project with a vibrant red apple. But remember: The skills learned in this class can be carried forward to just about any colored pencil drawing!

Meet Your Teacher

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Gemma Chambers

Pencil Artist


Hello, I'm Gemma.

I’m a graphite and colour pencil artist living in South-East UK. I’ve always been passionate about art and teaching; I believe drawing is a skill that can be taught rather than a talent that some possess and some do not. My teaching style aims to give you everything you need to draw what you see and create realistic artwork.

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1. Introduction: What I love about color pencils is how vibrant and highly detailed the drawings with them can be. But because of this, people often feel overwhelmed at the idea of drawing with them. I want to show you today that actually if you follow some fundamental rules and methods, you can easily make some beautiful art. My name is Gemma Chambers and I've been making art videos and art tutorials since 2020. My YouTube channel has helped thousands of people improve their drawing skills. But today on Skillshare, I want to take that a step further. I've written this course with the main goal that it is completely beginner friendly so if you know absolutely nothing, that is fine. I'm going to cover everything from the essential materials you'll need, the main core techniques, and general method for completing a drawing, and then we can go about actually drawing something. We're going to draw an apple. Let's get started. 2. Class Project - Drawing An Apple: The class project is going to be to draw this apple. I've picked this because it's relatively simple. You don't need to worry about building up any texture. It will use all of the methods I'll teach you in this course. I also think it looks nice and vibrant, so it'd be a good one to practice. I will teach you all of the skills you'll need to create this, including how to make the sketch. But if you get stuck with any of this, I have included some sketch outlines in the class resources. I've also included all of the specific colors that I've used. Don't forget when you've done your project to upload it, I would love to see what you've made. 3. Materials For Colored Pencil Drawing: Let's start off by talking about the materials you'll need both to start with colored pencil drawings and to complete this course. Now the most obvious material that you'll need is colored pencils, and it's up to you on what you buy for this. You could go for a professional grade like Prismacolor or Polychromos. Alternatively, you can still make decent art with something cheaper like Crayola. One thing that you should bear in mind is that the cheaper pencils over time might fade. So if you're planning on putting your artwork up on the wall or selling it, you want to go for maybe more of the professional type of pencils. For this course, I'll be using Prismacolor. Now although pencils are important, in my opinion, they aren't as important as the paper. Using the wrong paper versus the right paper will make a bigger difference to the drawing than using cheap pencils versus professional. I always recommend to use Bristol board. It's my personal favorite type of paper. It's nice and smooth, so easy to control where the pencils are going, and you can also build up a decent amount of it. If you try and use something like printer paper or sketch paper, you're just not able to control the color pencils in the same way or build up as much of the color. I'll explain a little bit more about what I mean with that later on in the course. Now another thing you'll need is a pencil sharpener. I personally have the Swordfish Ikon, but you don't need a pencil sharpener as fancy as this, although there are pencil sharpeners that are much fancier than this. Anything that gets your pencils into a nice sharp point is what you need. You can use a cheap pencil sharpener like this and it will work fine. The next material I highly recommend is to buy a Gelly Roll pen. These are really good for putting bright white details over the top of color pencils. It covers over it really nicely. It makes life 10 times easier than it otherwise would be. You'll see a little bit later how I go about using this. Now the next material isn't actually something you can buy, this is something that you'll need to make. I am talking about color swatches. Now, one of the major sticking points that people have is that they don't know what the color pencil is going to look like on the paper. So it's hard to work out which color you need if you don't know what they look like. To solve this, I draw out all of the pencils that are in my set on a piece of paper, the paper that I will actually draw on. So this would be Bristol board. I tend to be quite neat about it. I draw out a grid and then shade one color at a time going from as light as I can make each pencil to as dark as I can make each pencil and then I label it. You don't have to do it as neat as this, as long as you can see what they look like, that's really all that matters. I tend to do this in rainbow order. I like to have all of my yellows together, all of my reds together. Again, I find that that makes my life easier and you'll see why I do this a bit later. Now I can't stress how important these swatches are. They are definitely worth the time of creating them. I have a set of swatches for my Polychromos pencils that I drew about two years ago, and I'm still using the same sheet now. So it's not something that needs doing frequently. Now the last material that you'll need for this course is some way of looking at the reference photo. All of my drawings I do, I work from a reference. I personally always load the reference photo onto my iPad and then I can zoom in and draw from that. Of course, you don't have to draw from an iPad, you could look at it on your phone or you could print out the reference. You'll need a set of pencils, the right paper, a pencil sharpener, a Gelly Roll pen, you need to have all of your swatches drawn out, and some way of looking at the reference. Next up, let's have a look at some of the basic techniques you will need to know. 4. The Key Basic Techniques: Let's talk about some of the fundamental techniques that you'll need to know. There are a number of different techniques that can be used, but there is one method that I use in every single color pencil drawing. This is layering. Layering is where you go in gradually with the pencil very, very lightly, rather than just pressing really hard. It basically enables you to mix colors together. Unlike with painting, for example, all of your mixing with color pencils basically needs to happen on the paper. What's actually happening is let's imagine that we have a nice smooth sheet of paper. If you were to look at that sheet of paper under a microscope, it wouldn't actually be smooth. You'd see a number of little bumps. When you lightly apply pencil over the top of this, little spots of pigment from the pencil gets lodged in the bumps. You can see this happening when you put down a light layer of pencil. You can see little white spots showing through. If you apply a different color over the top of that, more pigment goes down in the gaps and eventually it will fill up the tooth of this paper. There's a number of reasons that you would use layering. Maybe because you want to mix two colors together or maybe if you want to transition from one color to another. If you're drawing realistic objects, this is going to be really important. Now we understand why we need to layer the colors and go in lightly with the pencil. Let's talk about how we do that. One thing that will make life easier if you're wanting to press lightly with the pencil, is to hold it further back than you would usually. I tend to hold my pencils back here and what that does is it stops you from being able to press too hard. If you're holding it right by the tip, then you have to have a lot more pencil control, whereas you literally can't press hard if you're holding it back here. You also want to make sure that your pencil is nice and sharp. You won't be able to control the pencil as easily and it won't be able to fill in the tooth of the paper as well if it's not sharp. I sharpen my pencils frequently throughout my drawing. I also generally when I'm layering, want to work smoothly. In this course, I'm not really going to focus on adding in any texture. If I want to put down the color as smoothly as I can, I also work in little circular motions. Rather than going back and forth with the pencil, if I work in circles it goes down in a much more uniform way. They're very small circles and when I work quickly, it looks like I'm going back and forth but I'm always working in these circles. I think it takes a little bit of practice, so do try doing it slowly to start with and then you'll find that you'll get faster. After adding in a lot of layers, eventually, that tooth of the paper starts to fill up and I begin finding that it's getting harder to put more colors down. It's at this point I do something called burnishing. Burnishing is where you do go in harder with the pencil and you completely flatten the tooth of the paper. That'll stop you from being able to put down more color. In actuality, you can get down a little bit more, but not to the same degree that you can before doing this. Once it's been burnished, that's what gives it the nice glossy finished look that you get on color pencil drawings. Particularly layering, which leads to burnishing, are the most important basic techniques you need for color pencils. In the next section, we can talk about the general method of drawing a picture. 5. The Process: In the last lesson, I covered the main technique I use in all of my drawings. Now let's go through the general process I go through every time. The first thing I do before I can even think about drawing is find a reference photo. Because I focus on drawing realistic objects, the only way that I can get them to look as realistic as possible is to work from a reference photo. There's a few main things I'm looking for when I select a reference. First up, I want it to have a good level of detail. I won't be able to work from a blurry photo. Their drawing just won't come out as well. I also want to make sure that it has a really good level of contrast. I want it to have some very dark colors and very light colors and a good range of mid tones. If I end up trying to work from something that's way too bright or way too dark, again, the drawing isn't going to come out as well. The next thing I like to do is take a really good look at my reference. By taking a good look to start with, it means that I'm left with less surprises when I create my drawing. Now I will do this for the apple in a couple of lessons time. You see what I'm looking at. But generally I like to take a good few minutes to have a good look at the reference. From there, I need to make my sketch. This is one of the most important parts of creating a color pencil drawing. If you don't get the sketch right, the finished drawing won't look right. The main things I'm trying to do here is get the main outlines incorrectly. They also mark out any majorly obvious patches, light spots, dark spots, just any of the really main shapes. Once I got my sketch down, I can begin to think about adding some color. The first thing that I always do is look for the lightest color in my reference photo. I put down what I call base layers. Regardless of what the drawing is, I always make my base layers smooth. I find that lightest color by comparing my reference photo to the swatches I mentioned at the very beginning, find the color that I think matches the best, then I use the circular motions I'm pressing very lightly to put down these base layers. It's not necessarily the same color throughout. It could be that the lightest color in one area of the drawing needs to be different to the lightest color in another area of the drawing. From here, I work from that lightest color all the way up to the darkest color. As soon as I finish my base layer, I'm looking for the next lightest color. I will put that in the drawing anywhere where I can see even a hint of that color. I then do the next darkest color and so on until I get to the absolute darkest color, I can see in the reference. Throughout all of this, I'm comparing the reference to those swatches. Once I've made it up to that darkest color, I then want to start working my way back down to the lightest color. I don't necessarily go in the same order for this, and I don't necessarily use exactly the same colors. What I'm doing is constantly comparing my drawing to the reference photo and that reference photo to the swatches. I want to be looking for which color I think is missing. You'll see a bit more what I mean about this when we get towards the drawing. But it's really just a case of I play spot the difference. Once I'm happy that my drawing and my reference photo looks similar, then I can think about burnishing. Now I would only burnish with a light color, the lightest color in each section. I wouldn't put a white over a black, for example, because that's just going to end up making it look a little bit gray. But I would, for example, burnish a lighter brown over a darker brown. After this, I can start thinking about adding in any final details. On the apple that we'll be drawing, those would be the little spots that you can see on the skin of the apple. That's a general overview of the whole process. Let's start working our way through it. 6. Studying The Reference Photo: We know that in this course we're going to be drawing an apple. In this lesson, let's take a minute to look at the reference photo together. Now the first thing I want to notice is the shape of the apple. You assume that apples are going to be perfect circles, but you'll notice that this one is quite a nice rounded shape on this side, whereas it goes in far more on this side. When I draw out my sketch, I want to make sure that I am drawing in the apple shape as it is in the reference not just drawing a circle. Looking at some of the colors in here and the main thing I'm noticing to start off with is that although this is a red apple, there's quite a few areas of yellow in here. Particularly in this strip down the center, this is a yellowy orange and the same color is up here. It's then a deep red on this left-hand side and an even dark red on this right-hand side. In fact, in some areas, particularly this patch here, it looks like a very deep brown. Now there's a few prominent patches of light over the apple. The most prominent is this patch here, so is the main light patch here, and then there's another little light patch underneath. There's also the strips of light around the top and these areas of light around here. I'm actually noticing on these areas they're not so much of white that looks more like a gray to me, both along here and along here. I'm going to want to make sure this area is more of a light gray rather than a white. I'm also noticing in this patch of light that around here, this looks more like a purple tone. There also seems to be some purple around here and a little bit around this area. Now, as far as the texture I can see on the apple, although it does have a smooth look, there is a lot of these strips on the apple, so darker strips. There's these ones which are a mid-tone red. They get much darker around the edge. In fact, around here it almost looks like a dark purple. Then on this side, again, there's these dark brown strips all around here. I'm going to be wanting to draw those in. The whole apple is also covered in all of these little white spots. I'm going to need to take those into account. I am noticing that these spots are quite large towards the middle and then they get much smaller and a little bit darker around the edge in some of the more shadowed areas. All in all the whole apple is pretty patchy, but it's the areas of light that I think makes it look smooth. The last thing to notice is on the stem there's a yellowish brown patch here. Then the rest of it, there's just some strips and lines going down the stem. But the stem looks relatively simple. Those are the first things that I'm noticing on looking at the reference. Let's start drawing. 7. Sketching The Outlines: Let's create the sketch outline for this apple. Now there's two main things that I need to achieve here. First off, I want to make sure that all of my proportions are accurate. If I don't, then the whole drawing will end up looking peculiar. I also want to make sure that the lines I create are very, very light. I tend to create this with quite a hard graphite pencil. I'm going to use a three-H pencil. If you only have something like an HB pencil, that's fine. You can just go over the top of it lightly with an eraser when you're done. All you really want to achieve is very light lines by the end of this. Now this apple is a relatively simple shape. We could just freehand the apple. But I want to show you the main method I use for more complicated shapes. I'm going to use the grid method. Now the first thing that I've already done here is put a grid onto my reference photo. Now there's a few ways that you could do this. You could either print out the reference photo and manually draw a grid on, or I created this grid in photoshop. The main thing that you really need to do is make sure that all of the squares are the same size. I've gone for relatively big squares here because as I said, the apple is a relatively simple shape. Once I've got my reference photo with the grid on, I now know how many squares I need to draw on my drawing paper. With this small amount of maths, I can work out that I need my squares to be four centimeters wide. I can just go along, mark four centimeter intervals, both horizontally and vertically and then I can mark the lines and draw the grid on. Now you want to do this extremely lightly. I'm doing it a little bit more heavily than I would usually just because I want it to show up on the camera. But you can do this as lightly as possible. Then it'll make it much easier a little bit later because you will need to erase these lines. Now we have a grid with the same number of squares as I have on my reference photo. What I want to do here is look at each square individually. I'm not drawing an apple as a whole, I'm just drawing a tiny section. On this first square, for example, you'll notice that I'm doing a slanted line on the corner. When we look at the reference photo and the reference photo in the squares, you'll see that this is the first square that I've drawn. I'm looking at where this part of the apple crosses this line. This is just over halfway, I would say. It's curving round and crossing the other line of the square. Maybe it's a quarter of, maybe a bit less than a quarter of the way down. Then once I've marked in this point and this point, I can just join them with a curved line. Then can move on to this square. I already know where the line is crossing up here at the bottom. I'd say that's about two-thirds of the way along the square. Again, it's quite a curved line. Once I've marked those two points so I can connect them and work out that's roughly what I can see on this square. I pretty much want to work my way around and do that for the whole of the apple. Just focusing on drawing that one square at a time. Some of the squares are a bit simpler like this one for example, there's really only a very small section when we're looking at the outline here, just a very small corner that's cut off. In some of the squares towards the middle, we don't really need to do a huge amount of anything. Now what I'm focusing on drawing here is not only the outline of the apple, but I also want to be drawing some of the other major shapes. Say for example, the apple stem, that links down to this little section here and I do want to mark this lining as well. A bit later I'll be marking in some of the other more prominent shapes. Now while I'm drawing the rest of the outline here, if you don't want to draw your apple this way, you could either sketch it freehand or if you get stuck, I do have a sketch outline in the class resources. You can use my sketch outline if you'd like to. Don't get disheartened, though, if you feel like your sketch isn't looking amazing. You'll notice that mine looks a bit questionable, but that's fine. This is what you expect it to look like. Now once I've drawn the whole of the outline, I also want to add in any other prominent shapes. I'm particularly looking at some of the patches of light, for example, this very large patch of light here and this one here. There's also a line going around the middle around here and I will say, I want to add that in. It's just going to give us a little bit of a helping hand later on. Once I've drawn everything in, what I now want to do is raise those grid lines. Now I'm using a potty eraser to do this. This is what I have to hand. You could just use a standard eraser and that'll be fine. I am ending up erasing a little bit of my sketch as well, but that's okay, I can add that back in. By the time that all of the lines have been erased, you should have something that looks roughly like this. I'm just going to add back in some of these lines that I've erased, and then that is our sketch done. That is all of the prep done. In the next lesson, we can start with the color pencil. 8. Build Up The Base Layers: In the previous lesson, we sketched out the outlines of the apple. Now we can think about adding some color. Now, in this tutorial I'll be using Prismacolor pencils. It's up to you which color pencils you use. If you want to use exactly the same color that I am, I will always put the color I'm currently using in the top corner. Now, before we begin, I particularly want you to notice the sketch outlines that I have on my piece of paper here. Even though when we marked everything out, I was using a much darker pencil. You can see it really clearly. I want you to particularly notice now how fame my sketches. Really you can barely see it and that is what you want. Now in this lesson, we really want to be focusing on just putting some color down on the paper. We want to begin by building up these base layers. Now what I like to do is start with lighter colors and work my way towards the darker colors. So let's take a look at our reference photo and have a look for that lightest color. Now, I would say that it is this very light gray that you can see particularly around here, a little bit along here and also around here. I can also see this same gray a little bit around this area and a little bit down the bottom. I want to start with the closest match to that gray. Now there's a couple of very important things that I'm doing here. The first thing I'm doing is pressing extremely lightly. Because these are the first layers, they're just the base layers, we don't want to go really hard in with the pencil. We want to be able to layer a lot of pencil on top of this. I'm not holding the pencil right by the tip. I am holding it a little bit further back and that stops me from being able to press too hard. I'm also working in little circular motions, so I want this to be as smooth as I can possibly make it. At this point, I'm not thinking about any texture. I just want to get a really smooth base layer. I'm making these tiny circles and that will distribute the pencil in a smooth way. It will make it look softer. I can go over those couple of areas that I saw around the top of the apple, either side of the stem, and just underneath the stem as well. I can also add a little bit of this gray around that patch of light. I want to avoid the very bright patch, but work lightly around it. And you can really see here how lightly I'm working. Then I also do want to put some of this gray down in this bottom right-hand corner because I can see a little bit of it here. I'm once again working in these little circular motions and pressing very lightly. You can see a bit clearer here how I'm holding the pencil forth back. Once I've got this first color down, I want to start thinking about the next lightest color I can see. I would say that the next lightest color is this yellowy orange. You can particularly see it around this area. You can also see it around here. In actuality, I would say a lot of these spots are probably lighter than this, but at this point, I'm not worrying about the spots. We're going to deal with them right at the very end. So I'm going to pick whiter, light yellowy orange. I'm once again doing this in exactly the same way as I did with the gray. You can once again see that I'm holding the pencil a little bit further back, so that that helps me to press very lightly, and I'm once again working in circular motions. Now what I want to do with this yellow is cover pretty much the whole of the apple. There's a couple of areas I am going to avoid, particularly that very bright patch and also the stem. But beyond that, I want to put this yellow everywhere. I am trying to be as consistent as I can be with the color. So I'm trying to press equally on the whole of the apple, so that is one solid block of yellow. A final thing that I can do to make that a bit easier is to make sure that my pencil is nice and sharp. So you might find that halfway through putting down this base layer, you need to sharpen your pencil. That's okay. Just keep it nice and sharp and you'll have more control over where it's going. Now I am also going to put this yellow over this gray patch in the bottom right. Although I could see a hint of gray in this area, it very much still has a yellow undertone to it. So I also want to put the yellow here. Once I put this yellow over, The whole of the apple, I want to take another look at the reference photo to see which color I think I need to add in next. Although I can see a lot of that yellow color, particularly around this patch here and this patch here, most of the apple is actually more of a red base color. I do want to add in some red in here as well. Now this color is still very much part of our base layers, so I want to carry on putting this down nice and lightly. I am slightly varying wherever I put this color though, I am going over some areas more than others. Say, for example, on this left-hand side, most of this area is a consistent color red, although I would say around particularly this patch, you can see more of that yellow. I'm just outlining where that's going to be and I'm going to go over the areas around this patch a few more times so that they look a little bit darker and go over that lighter patch a bit less, just so I can begin very roughly marking in the shapes. There's a couple of other areas that I'm doing this as well. Although on the most part, I am trying to make it even throughout. You can see that I'm slightly making this area in the top left a little bit darker. I'm making the patch to the left-hand side of that patch of light a little bit lighter. You can also see as I'm moving down towards the middle of the apple, I'm making this area head a little bit lighter and over here a little bit darker. Although I can't stress enough if I'm making an area look a little bit darker, I'm not pressing harder. I'm just going over the area a few more times so that I build up more of the color that way. I don't want to be pressing hard at all at this point. So I can work my way around these patches of light at the top. I don't want to be putting anything in these areas either, and I'm also going to avoid this yellow patch up here. Then from there, I'm just going to once again shad in this area in the bottom right-hand corner. So by the time that I've put this color over the whole of the apple, I have something that looks like this. It resembles an apple, but a very washed out, muted apple. 9. Marking Out The Key Shapes: In this lesson, I'd like to start marking out some of the key shapes. I'm actually going to start this with the same color that I did in the previous chapter, that same red. Let me show you the key shapes that I mean. I'm particularly looking at all of these little stripes on the apple. There's a lot of them on this left-hand side, all of these in this dark red. Then there are the same stripes on the right-hand side, but they are a bit of a darker red. But because in this chapter we're just marking everything out and getting our bearings, I'm going to do the whole thing in that same red. All I'm doing is looking at the reference and looking at my drawing, comparing the both. I'm just trying to get these lines in the same place. I'm not trying to make it absolutely perfect. It doesn't need to be exactly the same, but you want to get them roughly in the same place. I'm finding it helpful to start near the patch of light, look at some of the shapes around here and work out where the other stripes are in relation to this. Using that as an anchor point, as a starting point. Now as far as what I'm doing with my pencil here, I'm still not pressing hard. As you can see, I'm maybe pressing a tiny bit harder than I was in the previous lesson, but I'm definitely still pressing lightly. I'm still using some very small circular motions, although I do want to mark in these strips, I still want them to look nice and smooth. I can press lightly working these little circular motions and gradually build up these darker patches of red. Going over the same area a few times, bit by bit, that will end up being quite a bright red. I'm noticing that on this lighter patch. There are still some of these stripes, but they look a bit more like spots instead. I can add those in and keep working my way around the apple. Generally liked working quite methodical way, so I'm starting more towards the left-hand side and I'll gradually move my way over towards the right. Now something that I am noticing about these little patches and these little stripes is that they are following the curve of the apple. Notice that these stripes around the bottom are pointing in this direction. Then around the top they're curving again around the shape of the apple. Towards the middle of the apple here, it's always pointing down, maybe slightly curving this way. When we get around this side, these little stripes curving around the apple this way. Noting that just makes life a bit easier while marking in these strips, just being aware of that. As I get towards the middle of the apple, I'm noticing that there are some much larger stripes and spots and much longer stripes I'm noticing as well. Now as I get round to the right-hand side, I still want to be marking in these stripes, but I will be going over them with a much darker red a bit later on. You'll notice that it's looking a little bit peculiar right now, but don't worry about that, it will all come together. This is really all part of just getting our bearings so that the drawing is a bit easier later on. Once I've gotten through all of the body of the apple, the bottom half of the apple, and drawn in all of these stripes, I also want to just focus on this area around the top as well. I'm noticing that this area also has some stripes that they're going more in a curved angle like this and like this, and like this. That's what's helping create the shape at the top of the apple. Let us mark this in as well, on both sides. Just really more than anything I'm just trying to get the lines at the top here going in the right direction. Then now that I've drawn all of these key shapes on the apple, I just want to add a little bit more shading. As I've mentioned before, the apple is quite a bit brighter than my drawing at the moment. Although I don't want to get it to its full brightness at this point, I do just want to darken down some of the areas. I can go back over the top of what I've done here using the circular motions, still very lightly. This is very similar to what I did for the base layer at the beginning. It's just going to help make the base a little bit stronger and a little bit clearer, just gradually build up these colors. You'll notice that going over the top of all of these stripes in these stripes, we're not losing them because I'm doing it so lightly. You can still see them. It's just stopping them from looking quite as prominent. By the end of this lesson, you should have a slightly patchy looking apple. 10. Building Up The Texture: Now that a lot of the key shapes from the previous chapter are marked out, it gets a bit easier from here. What I'm particularly noticing is that most of these little marks, those little strips are a fair bit darker than what we did in the previous chapter. All I'm really doing here is going back over it, but with a darker red. Now I didn't just want to go straight in with the dark red to initially mark them out by going in with that lighter red, it gives you an opportunity to put things in the wrong place and then correct them. If you go straight in with a dark color, then you're just really committing to marking things in those particular places. I always like to give myself a bit of a margin for error. I'm still looking very closely at my reference photo, I'm looking at these same shapes that I've marked out before and where I need to go in over the top of them with this red. Now you'll notice that all of these strips aren't the same color necessarily. Some of them are a bit darker like this strip and this strip, and some of them are a bit of a lighter red around here for example, and here. As I'm going through and adding these in, I don't want to do them all necessarily the same, but this is all made far easier because we marked everything out already. Now as far as how I'm putting the pencil onto the paper, I would say that I'm pressing maybe a little bit harder than I did in the previous lesson, but I'm by no means pressing hard. I'm working quite methodically again, I'm starting on the left-hand side and working my way towards the right-hand side, I would actually say that I needed to put a lot more of the red on the left. A lot of those little strips are more of a red on the left and more of a brown on the right as I've mentioned before. I am going to begin to treat them a little bit differently as we move towards this right-hand side. But before we get to that right-hand side, I want to focus on the top left up here, carry on marking in these strips. I'm still avoiding that patch of very bright light. I can't see any of these lines on that area. I also want to be building up a reasonable amount of this red around this light patch at the top. I'm noticing that around this area here, you do still have these darker strips, but generally it is just a darker red around this area. I can mark in those strips and build up a little bit of that color around here. Then I also want to go around this top section and put in some more of these lines like I did with the previous red. Just building up a bit more of the color. It's not so much these strips that I need to be adding in here, it's more like lines that are going around the top of the apple and making it appear curved. As I'm working my way more towards the right-hand side now, as I've mentioned a few times, the strips on this side are more like dark brown, but there is a lot of dark red still on this side. I'm actually marking in some larger patches. Say, for example, this patch that I'm marking in here is this patch here. Then this extends to a dark red patch around here as well, which you can see me beginning to mark in here. Now you'll see that I am still marking in the strips in exactly the same way as I did with the previous red. I'm just putting a lot more of this dark red in a lot more places on this right-hand side. That helps with gradually building up the color. Now that I'm making the color a little bit darker on this right-hand side, it really shows that I need to be adding quite a bit more to the left-hand side as well. Particularly around the edge of the apple, I'm once again going to go over this area with the light pencil strokes and circular motions like we have done a lot throughout, just in a band around this left-hand side. It's going to help, again, make the apple look more rounded. Now as we're building up the colors, I want to be constantly thinking about the next darkest color or if I've missed out any lighter colors. Looking at this area, particularly around here, around this light patch, I can see quite a lot of purple here, so both here and around here. I mentioned this when we were looking at the reference photo together. I'm going to take a very light purple, which I would say is my closest match to the purple in the reference, and just very lightly add this in all of the areas I can see a hint of this color. Now I'm once again doing this, holding the pencil a little bit further back and using these little circular motions, pressing very lightly. Although it looks a little bit peculiar, adding it in at this point, it will come together at the end. My rule when drawing is if you can see it, you should draw it. Maybe at times it looks a bit to be adding it in, but it does all work out in the end. Now that I've added this in on this area towards the top, I'm also looking for any other areas where I can see a little hint of this purple. I can see a bit around here, I would say as well. I can add that in over the top of the red I've been building up still nice and lightly and you can see it is slowly and gradually building up the colors of this apple. From here I want to be looking for the next darkest color I can see within the reference photo. I would say that now I'm looking at quite a dark brown and particularly noticing these strips on the right-hand side and how we haven't really got them marked in very well at this point. Doing this in exactly the same way as I did with the darker red, so going back over these strips and marking all of these in. Now you can see that I'm still pressing very lightly here. I really don't need to be going in really firmly with the pencil. You can also see that quite quickly this is building up more of those marks from the apple. Now, this is once again made easier because so many of these strips have been marked out with lighter colors. It's really just a case of going over the top of what I've already done. Once I've gone over the area on the right-hand side, I'm looking for any other areas where I can see some of this dark brown. I'm particularly noticing these couple of strips at the top. Now let's not forget that this apple does also have a light shadow underneath. It's actually got quite a crisp firm line around the bottom and then it gradually fades out, and it's also got a light shadow that's coming over to this right-hand side. That's what I want to be marking out with this pencil. Putting a nice crisp line along the bottom and then very lightly shading out from there, maybe going over the area a little bit more towards this bottom section and then being a lot lighter over to the right here, because I would say that this is a lighter shadow. Then I'm also just going to have a look for any other areas that need a little bit more shading. I can see a little bit of brown, and particularly looking at a few of these strips on the left-hand side, particularly on the very far edge. Generally speaking, it will be darker around the edges of the apple because that's what makes the apple look curved. I can go over these areas as well. Then I once again want to be looking for my next darkest color. Now I do actually have a brown in my set that's a little bit darker than the dark brown. It's a very dark brown. I can once again go over these same areas in exactly the same way, just any that I think should still be a little bit darker. You can see that I am bit by bit building up going over the same areas that I have done before until I'm happy with the level of contrast that I have for now. Before we move on to the next lesson, I just want to go back over this area along the bottom of the apple. I think it looks quite a bit darker in the reference than what I have at the moment. Then I can also tweak a few of the other areas around the side. Don't be afraid to go back in and make areas darker if you think you need to. It's always better to start off too light rather than too dark because you can always add more pencil but it's much harder to take it away. 11. Brightening Up The Drawing: So at this point, I have everything very thoroughly marked out. I want to start thinking about brightening everything up. Now, what I like to do is compare my drawing to the reference photo and constantly be thinking about what is the most obvious color that is missing. To start with, I would say that the main thing that's missing from this drawing is a bright red. I can go back to that red that I used towards the very beginning and start placing this over the top of what I've already got. I still want to be working in a similar way as I have been throughout. I'm still working in these little circular motions and I'm still pressing quite lightly. I maybe pressing a tiny bit firmer than I was but by no stretch pressing hard. I'm mostly focusing on pursuing this color towards the edge of the apple. As I mentioned a few times, it's generally more vibrant around the edge, and then it gets a little bit lighter towards the middle of the apple. I'm once again, wanting to be following that. You'll notice that going over the apple with this red, I'm still not losing all of those marks that I added in. I can still see them. It's just generally brightening up the surface of the apple. Now, I do want to make sure that where I'm brightening things up, I'm not going over some of the areas that I do want to stay very light. Particularly thinking about the light patches that I've spoken quite a bit about. So I can work my way around these, but carry on shading. Now, my main area that I want to use less of the red on is the yellowish patch towards the middle. Around here, you can see some of this bright red, but it's got much more yellow to this area there are some red patchiness. Then I would say that that's all the red that there is around here. So I'm particularly bearing that in mind as I go. In fact, I'm finding it a bit easier at this point to just avoid that area and I can come back to it in a little while as I'm getting more towards the right-hand side of the apple, where I've mentioned a few times, it's much darker on this side. I can be a lot more rough with my shading because it's going to end up being so much of a darker color. I don't need to be as worried about lighting some of the other areas. You can see here, I'm lightly, very, very lightly going over this more yellow patch in the middle. Then I can carry on shading on this right-hand side. The main thing that's important on this right-hand side is that I avoid that yellow patch towards the top. I'm talking about this patch here. I don't want to shade this in with the bright red because I want to make sure that I can get a lot of yellow here. It's important to remember that once you go in with a darker color with color pencils, you can't really put the lighter color over the top. It will never be as light as it would otherwise have been. Now, don't forget to keep frequently sharpening your pencils. It's going to make your life far easier if you are doing this with a sharp pencil, it just makes the pencil far easier to control. I'm also going to use some of this red down the bottom on this shadow. You can see a lot of red around the bottom here. It's from the reflection of the apple. I wanted to add that in and then I can start focusing on adding a bit more of that red texture that I mentioned on this yellow section. As you can see, I'm doing this very, very lightly and I'm just adding in a few subtle strips around here. I don't want it to look perfectly smooth. This point I would say, I'm happy with the red. I want to be thinking about what's the most prominent next color that's missing. I would say that it is that yellow that we added towards the very beginning. Although we did put yellow down at the beginning, it's all become far more muted because a lot of the other colors, like the red, for example, is a little bit firmer now, it's looking far more vibrant. It is making the yellow look less obvious. I can once again use these circular motions, press lightly, go over all of the areas where I can see a little hint of this yellow, which I would say isn't just this section in the middle. You can also see a lot of yellow around here, around, all around here, as well as obviously in this patch here. I can just be using this yellow going over the top of that red and it's going to help blend these areas together as well. The most important thing that I don't want to forget is I don't want to go over that patch of light. I wanted to through out this drawing, makes sure that that does stay white. But you can see putting the yellow over the top of the red because we didn't press really hard with the red because we did it quite lightly. You can see that that yellow is there. It's making the color look a lot richer and more interesting. Add this yellow to this little patch at the top up here. Then I want to be having a think about if there's any other areas that I can see some of this yellow. So I'm particularly thinking of these couple of patches at the top around here. So from here, I want to start thinking about the next color that I particularly think is missing. I'm looking at some of these patches of light. I'm thinking that they're looking a bit too bright at the moment. So right at the very beginning, you remember that I put some of this light gray in these areas. I want to go back over the same parts, pressing a tiny bit firmer but still not hard, just so that this looks more obviously gray. At the moment. It feels like it's looking a little bit white. I don't want to forget to go round this patch of light down here as well, adding a bit of gray around here. So now, it feels like the apple is beginning to brighten up. In the next lesson, we want to take that a little bit further. 12. Further Brightening Up The Drawing: Now I want to keep adding to the vibrancy of the apple, is still looking too dull at the moment. Looking at the reference photo, I once again, want to look for the most obvious color that I think is missing. Actually, particularly around the edge around here and a lot of this area around here, I would say that I can see quite a lot of purple, quite a lot of dark rich purple. I'm going to begin adding this in anywhere where I can see some of this color. Now at this point, because we've built up a lot of layers on the apple. We really built up a lot of light layers of other colors. It's beginning to get a little bit harder to get the color down. It's not extremely hard by any means, but I am needing to press a little bit firmer at this point just to get the color to be as bright as I need it to be. I'm just going to wet my way in the same way that I have before starting on the left and working my way towards the right, adding in this purple anywhere where I can see a little hint of it. Particularly on a lot of these stripes once again and around a lot of the patches of light. Now my general rule when I'm drawing at this point where I'm trying to get all of the colors to eventually match the reference, is that I don't really think more than the current step I'm on. Right now I feel like the picture needs purple adding. It may be that once I've added the purple, it really shows that there's a different color than it needs adding. I don't need to worry about what that might be at this point. I'm just focusing on the fact that I know that the purple needs adding and then I'll see where I'm at once that's done. You'll notice that I'm working in the same way that I have done before. I'm still working in these little circular motions and I'm still not holding the pencil really near to the end. I'm still holding it relatively far back, although not as far back as I have done previously. I'm working my way. I have all of the strips and all of the dark patches on this right-hand side, and really adding quite a lot of shading down this right-hand side because it is going to end up being so dark. Once I've gone all over this section, I don't want to forget to go over that section towards the top as well. I would say that I'm adding this color into a lot of the areas where I put that dark red before. Particularly around the edges of this patch of light, it has quite a dark and purple tone to it. Once I'm happy with the purple, I once again wants to take a look at my reference photo, compare it to my drawing and work out what is the next most obvious color that is missing. At this point, although I do like the purple, I think it's probably looking a little bit too purple at this point. It's maybe has a little bit too much blue. What I can do is I want to keep that dark color, but just add a bit more of a dark red to it. I can use this dark red. This is different, dark red to the red I used earlier. It's actually a much darker, dark red. I can go pretty much over all of the areas where I put the purple. As you can see, that's just toning it down a little bit, but you can definitely still see the purple is there. I can also use this color to add some more general shading if I think an area generally should be a little bit darker. This is where it sometimes helps to take a step back from the drawing and the reference and it become a bit easier to see what else needs adding. It'll be a bit easier to work out where the differences are. I'm going to shave my way around on top of the purple. Notice how I'm putting a bit more of this color, particularly around the edge of the apple, as I've mentioned a few times, is a fair bit darker around the edge. I really want to be building out some of this color around some of these parts. Then it also wants to go back over some of these patchy areas on this right-hand side, is literally a case of going over the purple. I'm making what's there more vibrant. Now at this point, I'm pretty happy with all of these underlying colors. I want to once again compare my drawing to the reference. Now at this point, I feel like it's missing more of a bright red. I've got a lot of the darker resin and I'm very happy with how they're looking, but I just want to brighten the whole thing up. Actually, I'm going to go back to that bright red I used earlier and I'm starting to press, I would say a bit firmer now. I'm still not pressing full force by any stretch, but I would no longer say that I am using the pencil lightly, and I want to go over all of the areas that at the end, I want to be read. I have all of this area up the sides, avoiding, for now, that yellowish patch towards the center. You can really see that I am pressing a lot firmer here. Notice that whilst I'm pressing firmer I still want this color to be smooth. I am still using the circular motions, which again is helping this pencil go down in a more consistent way. I can work my way all the way up the left-hand side, still avoiding those patches of light. I don't want to go over those. I want to keep those nice and light and I'm just going to work around this more yellowy patch in the middle. Going down the sides and going over some of these strips. Before just adding a few more in some more light red little flecks here. Still is looking a little bit too plain. I did do this a little bit earlier on, but I'm just going over it a little bit firmer. It's a bit more obvious. Once I'm happy with that middle section, I can once again begin working my way over the whole of the apple. Now another reason for going over the top of what I've got here with this bright red is it's just going to make the whole drawing more cohesive. It's going to all end up with a similar tone that's going to make it all come together. We still want to be careful that I don't go over this yellow patch at the top to keep that yellow because it is a nice bright yellow in the reference photo. But the rest of this area down the right-hand side, I can brighten up by putting this red over the top. Finally, for this section, I don't want to forget this area around the top. Once again, I'm going over these parts where I put the purple and where I put the darker red. That's just slightly tweak and tone down this patch up on the top right a little bit, and then by the end of this section, you should have something that is looking more like a vibrant apple. From here, all we have left to do is some final tweaks of the colors, as well as some final details. 13. Adding In Final Details: In this lesson, I want to continue to work my way through a lot of the colors that I've used up until now. I'm going to go back to that very dark red and just begin adding a bit more of this color over the top of what I've got, particularly on the right-hand side. I'm going about this in exactly the same way as I did in the previous lesson. I'm still comparing my drawing to the reference photo and seeing if I can work out which color is missing. Right now I think that this right-hand side needs to be a fair bit darker still. I know I only want to be adding more colors here, but I also want to think about blending everything that I've got together. Because I'm wanting to blend this together, I am now pressing quite a bit firmer. Once again, adding this color anywhere where I think I need a bit more of the dark red, but it's mostly going back over those patches that I have marked out previously with the same color. But now I'm doing it a bit firmer. It's looking more vibrant. It's really starting to stand out. Now I do want to avoid this little patch down at the bottom, the patch that will be this section because this section is so much lighter. You can see I'm working my way around that little spot and I'll be able to add to that later with a lighter color. Once I've gone over the right-hand side, I want to do the same around the edge of the left-hand side. Again, it's exactly the same as what I was doing earlier. I'm just pressing a bit firmer. I want this area around the left to be quite a bit darker than towards the middle of the apple. As I've said before, that is what's going to make it look curved. We're also going to add a little bit to this shadow down the bottom. As I mentioned before, this shadow looks a bit red and I just want to add a bit more to that, making sure they pop a bit more. From here I, once again, want to be looking at the most obvious thing that's missing. Actually what I would like to do now is blend a lot of the lighter areas. I'm going to use this very light gray again. I can go over all of the patches where I have seen gray, so like this patch down the bottom and you can see family going over this area is blending and smoothing this section out. It looked quite rough before I went over it with the gray. I can walk over these patches at the top as well, again, smoothing these out and blending them. Notice that although I'm pressing hard, I am still working in these circular motions. I'm just making quite small circles so that I can have really good control over where this is going. Now as well as that gray patches around the top. I also want to smooth out some of this light patch in the middle particularly around the edge. There's the very light patch in the center and then there's gray around it. Whilst I've got the gray, I'm going to go back over this shadow to the right-hand side. Just help that stand out a little bit more. Now around the edge of this shadow, I'm being quite light. I want it to fade into nothing but actually closer to the apple, I'm going to use a slightly darker gray as well, because I want it to be a stronger shadow closer to the apple. Then I can gently fade that out into the lighter gray and it ends up looking like a nice and natural shadow. I'll also add a tiny bit of this dark gray around the top. Any areas particularly around generally the edges of these light patches where I think I would just let them stand out a little bit more and then I can tweak a few other areas on the skin of the apple. For example, very lightly going over this yellow patch just to tone it down a bit so it's a bit less of a bright yellow. There's also a darker patch here that actually I think should have the darker red on it and I haven't put it there at the moment. Just these few final tweaks. I'm also thinking that this light patches looking a little bit rough at the moment, and I would like to use the white pencil to smooth it out. Now, as I've mentioned previously, putting a light color over the top of a dark color isn't going to show up. It's not going to look bright white by putting this over the top of this area. It will slightly lighten than what's here, but more than anything, I can use it to smooth this area out. You can see that that's left this patch of light looking much softer. I'm going to do the same to any of the other patches of light that I think would benefit from being smoothed out, like this patch along the top here. I'll also add a little bit to this yellow section just to brighten and smooth that out a little bit as well. Then it's at this point that I want to start thinking about the stalk. Looking at the stalk, it's got a number of colors in here. First off, I would say on this patch here, it looks like it's got quite a lot of yellow to it. I'd say that the lightest color is a yellow. It's got a very deep shadow down this right hand side, whereas on this top left-hand side section is more like a lighter brown and it's also got some lines coming down from the end. Let's start as we did on the apple itself. We want to start with the lightest color. I want to start with this very light yellow. I'm just going to put a really light layer on the whole of the stalk. Notice that I'm working in these little circular motions, once again, try make this smooth. I really just want to cover the whole area. From here I want to go for my next darkest color. This is quite a light brown. I want to put this anywhere that is the light brown or anywhere that is darker than that. I'm just avoiding that light yellow patch I mentioned on the stem, so over on the left-hand side. Then I can start adding in a dark brown color, particularly on the right-hand side, where that particularly dark shadow was. Now don't forget to have a very nice and sharp pencil here because it is going to make your life so much easier. As they get to the top of the stroke here, I do want to be making some little flicking motions. As I mentioned, you could see a couple of lines going down the stalk. To add these lines and you just want to make flicks with the pencil going in the direction of those lines. Now finally, I want to go over the absolute darkest areas of the store with my very darkest brown. I really want to look at going on the right-hand side of the stalk, right on the very edge here. Going back over those lines towards the top, then I am going to add a little bit on the left-hand side as well, just to help the stalk stand out a bit from the apple. Whilst I've got this color out, I also want to have a final look out if there's any other areas that I think could stand to be a bit darker. Particularly around this area here, I just want to make the lines of this area a bit more prominent. It also wants to go back over some of the strips on this right-hand side, just one final time to really help them stand out and really help them pop. I don't need a great deal of it. Now at this point, we do have a drawing of an apple. The only thing that is missing is the little white spots on the skin of the apple. If you have a Jelly Roll pen, you could join me in the next lesson or alternatively, you could leave it here. 14. Adding In The White Spots: Now in this lesson I'm going to be using a Jelly roll pen. This is a pen that goes really nicely over the top of colored pencils and comes out really nice and bright. So I'm starting off by painting some of this pen on some of the light areas. Some of these have been a little bit lost and I just want to add them back in, particularly over the top of the apple here. I also want to add a brighter white line just along here as well. I think it's just going to help this area pop a bit more. Now, the other thing I would like to use this pen for is to add in all of the white spots on the apple. So let's take a minute to have a look at the spots. There's a few main things that I want you to notice. The first thing I want you to notice is that the spots aren't all the same size. This spots around the middle, around this section are quite a lot larger than the spots around here. These are quite small and they're also quite small along the edge of the apple. In fact, some of the spots around the edge look like ovals rather than spots. Particularly looking at around here, for example, around here, because you're looking at them more side on because it's the side of the apple is changed their shape. It's exactly the same up here they look like quite long shapes. I'm also noticing that the white spots aren't really white. They definitely lighter, again, towards the middle around the edge. They are more like light pink or maybe a light gray. I wouldn't say that they're white. So those are the couple of main things I want to bear in mind while I'm adding in these spots. I'm going to start at the top and work my way from there. Notice that I am making more like elongated spots up the top. I'm not making actual just dots. Then I can start working my way on the apple itself. Now, something that's actually helpful from having drawn in all of these little strips on the Apple, is that we can use them as a guide to get our bearings. Now, I am looking at the reference voltage to try and get the spots in roughly the right place. Not because I want it to be perfectly identical. That's not a tool what I'm trying to do. That because the spots on the apple are all ready quite random. It's hard to be actually random so if I just put the dots where I thought they went without looking at the reference, they would probably end up being roughly evenly spaced. Not deliberately by me. But if I try and follow the spots where they are on the reference photo, they're more likely to look random. This works towards the middle of the apple, around here, as I mentioned, are a bit bigger and then it needs to put it far more of them around the bottom. Then also for smaller, far closer together. I think the main thing to think about is that you do want to be making very small dots, just working very lightly with the pen. What I want to do once they've gone over the whole of the apple, adding these spots is I want to make sure that this pen has completely dried. I'm going to want to add color pencil over the top of this pen. But if I do it before it's dried, it's just going to smudge everywhere. It won't look very good. So I'll just give it about five to ten minutes. Then I want to begin toning this down, so obviously, because this is a white pen, it is bright white, way whiter than we need it to be. I'm going to start off by taking this peach color. I'm going to go over a lot of the white pen, just toning down what's here. Starting off on the white section at the top, it looks too bright at the moment. I can go over that quite firmly, I would say. I'm not being particularly light about this. I really wanted to tone it down. Then once I've gone over the two lights sections at the top, I can begin focusing on the spots. Now, I'm literally going to go back over each spot, just making little circular motions over the top of what's there. You can see how much that's toning these down. So you can still very much see them. They're just a bit less bright. Now, I only really need to do this to some of the spots around the edge, the ones in the middle, I am happy for them to be a lot brighter, but the ones around the edge, I really want to be much less, much softer. Now, as well as adding in these spots, I also want to at this point of the drawing, look for any final details, any other final details I want to add. I'm noticing particularly around the edges of some of these white areas that I can see a hint of purple in the reference and I don't have it where I've just gone back over these areas with the white. So I'm just going to lightly put some of the light purple over here. Then I'm going to come back to this very light gray and just further tone down some of these spots so I can put a few colors over this until I'm happy that they match the reference until they're subtle enough to match the reference. I might as well as going over some of the spots. I can also turn down a bit more of this white area at the top. But if I can use this very light gray and I think it should be turned down a little bit further with this slightly darker gray as well. The final thing I want to do is smooth out this light patch one more time. I'm just going to use the white pencil and go over the top of this. You'll notice, again, isn't making the patch bright white is just smoothing out a bit better what's here. I can use this on the light patch. Also I'm going to add a little bit on this stem as well on this white area of the stem. That is the drawing finished. 15. Class Summary: That is the end of this class. Thank you so much for going through this with me. I hope that you enjoyed it and you learned a lot. I hope that this has helped you see a bit clearer how color pencils work. The most important things to remember when drawing a picture with color pencils is to not only have the right materials, that's already going to make your life substantially easier then take your time getting a lovely, accurate sketch and from there you can just gradually work in light layers building up the colors. Starting with lighter base layers, working towards the darker base layers. Once you've got everything laid out you can then build up the vibrancy of those colors. That'll make the whole process much more forgiving. Once you've built up the vibrancy of the colors at the very end you can add in the final details and the odd tweaks that really give your drawing that extra kick of realism. Please do review this course. I would love to know what you think and I will see you in the next course.