Transcripts
1. Introduction: I Jen, this is UCA. Welcome to the second part off this three part series off. That's pencil techniques. If you come from the first part, then you should have a pencil drawing or pen drawing off your animal of choice. Finalized. Composition was texture and patent implied and some details in that. So you should be good and ready to actually stopped using their coloring fences. Now, um, if you haven't seen first part of the class and go ahead and roll, it's about 20 minutes long and very straightforward, but it just covers the basics off getting to know shape. Uh, So what we're gonna learn in this class is how to transfer your sketch onto your final piece of paper? Um, how to plan your color scheme, how to use texture and patent with colored pencils on. And, of course, finally, Teoh, get to work on your on your animal. Create something really amazing. Um, the materials that you're going to need for this is basically some nice, sturdy, sick paper. I use stress law. I talked again. Serious. 400. Siri's. Um I find that pencils just to really nicely its size and soft, little good texture, but not too much on. I also use That's all France after invested in huge set like this, but they have a nice, oily color to them, so they really gripped the paper nicely on the colors. Show up nicely on the dark. You don't have to use dark paper whatever. Like I just sort of like the uniqueness of off the black paper. So certainly feel free to experiment. Occurring that music By the end of this class, she should have your final composition transfer Teoh piece of paper, and you will have explored some of the options for usual patterns and textures on your composition. On Finalized How that's gonna Come Out, marking with co scheme that we went through in the first part class the following classes, basically adding the final details. Composition. Naturally working with pencil friends. Quite lengthy process for me anyway, very detail, so that third part will be all about adding highlights. Working with metallic acrylics add a little bit of extra shimmer and shine, so keep an eye out for that certain pot coming up soon. And there's a little teaser how your piece could come together. Follow along. So look forward to seeing you produce and I'll see you on nights
2. Transferring Your Sketch: there are a number of ways to transfer your sketch to your final piece of paper. Um, you could use tracing paper by blowing up image on, uh, basically scanning in and putting in photo shopped. A bit of a complicated way to do it. Andi, Um, because our our sketches that kind of loose on and really just imply the composition. I like to just do it by by sight on and make my refinements on the paper as ago. Um, so that's the way I would advise you doing it. It also will help your drawing as well become more loose and freeze. So give it a try. What you'll need is a soft pencil, maybe a to b pencil. Um, and we're basically just gonna have our sketch to one side on start laying out in condescension on the paper. So what I do is I roughly plot out the outer limits, making sure my bear is centered on the page for starches. Um, Andi, then deciding where I want to talk. Bosh. Insides to appear, um, so that I is very easy when you start in the middle, for example, to go beyond the extent of your paper so roughly just brought in lines to sort of guide us where you on the edges to be, um, and then start to bring in the shapes that you note in the first part of this Siri's remembering the shapes off the animal that you traced out on the, um, the various printouts were looking up, so that's gonna help you, um, more accurately create your composition. Onda. Um, transfer it easily. At this stage, I'd recommend just working lightly and loosely. So using your elbow as a pivot point rather than your wrist. This will make sure that if you are working on a large piece of paper like myself, that the lines come out quite smoothly on don't get jagged in any way because of a handshake. So, as I mentioned, I'm working on a 12 day 18 sheet, which is quite large, depending on how detailed do you want to create a piece, you can go smaller. Um, I've gone down to six inch by six inch before with the color pencils. I probably wouldn't work him in going any smaller than that. Um, the 12 by 18 means that you can get some nice details in and get really impactful composition. And it's just a nice sort of frame of old size. As I'm sketching and transferring over my composition. I'm always just refining it with my eraser. Amusing a party eraser. You, um I would avoid a colored one, like the pink ones that you find, or even white ones I find tend to leave marks behind on the black paper. So depending on the color of your paper, just keep an eye out for that. Um, and again, working lightly with the pencil will mean that you can easily erase your lines. So I'm just gradually refining my line, work more and more. And as I get a lion into place that I like, I erased the other rough lines on, um, then keep on going. The idea here is not to press down too hard with the pencil. Basically, the graphite pencil is allowing us to transfer the composition and, you know, make make mistakes and make the refinements that we need before we go over the line with a cream or brightly colored colored pencil, which is a lot harder to race. So this is a guideline, um, so working lightly means that we can erase it once we've got the other lay on top. If you are working on black paper, what you might find is depending on how you always faces lit. You can't see what you're doing. Um, so I actually use a Well, I have a big window that's behind me. So that helps so much. So make sure you position yourself in the best that area that you can on. I also have a day lamp that you can't see, which is above the workspace, so that helps light up the graphite as well. So you may need to move around your space askew. Work on this in order to be able to see precisely what you're doing. Um, and that's just a downside of working on the black paper at this stage. If you're following along, you should end up with your sketch transferred onto your final piece of paper using the pencil. Um, make sure you've refined the lines and erased any of the rough lines that you don't want involved on your final composition on gun. You may have made final tweaks to the composition as well and added a little bit of detail anywhere that you want as a guidance line for your future composition. So this stage I find depending on the complexity, can take about half an hour to an hour. I wouldn't rush it because you don't really want to be making adjustments to the line work after with colored pencil consent. What, how did to race? So this is kind of a crucial stage.
3. Outline Your Sketch: now that you have your composition outlined in graphite, Um, select a cream or pale colored pencil. Um, and we're gonna use this to start to go over the pencil lines that you have just done from the previous video. So the reason why I'm not choosing bright white, especially on the black, is, um this is simply just to give us an outline for guiding us when we start feeling into colors. So we're going to go over this line, so I don't want it to be due to bright. Um, so make sure you don't press soon to too hot while sure, working with Pres Nicholas, I find they don't take much pressure to all Teoh, um, create a nice line. So just worked very slowly. Um because here you don't want your lines necessarily to be sketchy. Um, these are kind of the spaces that you're going to fill in this color and texture. So, um, maybe should have the shapes in place. Um, it's for when you gonna start. It's pouring in the area. Was it mentioned in the lost plus? The reason why we do the graphite pencil first is because the color pencils are a lot harder to race at this stage. So making sure that you're going over your lines quite Cassidy on, um, I do find the party race that can take off a bit off the color, especially if you work lightly. So it's not the end of world, but it's certainly don't press down to too hard because we also don't want to put grooves in the paper either. To find that, um, was comes when you start what color down, especially trying to do soft blends and radiance of news. So just working very lightning. As you can see, the, um, sort of various details that I want to use are starting to come out, um, on making sure to outline everything that they want to be part of the composition. There may be more details that I add later on, as were using pellet tenses, but this is the sort of cool on guidance areas that I want to focus on. Once you got your outline in place, you can then start to gently of raise the graphite underneath or but the edges off your colored pencil one. So, um, as I mentioned, the carcass was my hard to raise, so it's OK. Chat should go over. Um, with your race it on, it might take off a bit of color, but as long as you can still see the guidelines that you put in place and not substance, fine is again we're gonna go over this. Um, we don't necessarily want pale father showing through on the lines, so don't worry about it racing some of your outlook. The key point when you're racing is to try and get as much of graphite office possible. Because I do find that when you go over graphite with colored pencil muddies the color, it has this weird, shiny effect. It just sort of makes a mess of the whole thing. So making sure as much as possible that the graphite is not there on the paper when you're finished at this stage. So if you're following along with this videos and you should end up this video with your composition fully outlined in a pail for their of a choice, depending on paper that you're working on on, um, your rough guidelines should be Erastus Well, so we'll be ready to get into the next stage and start learning about well, im choices
4. Thinking About Colour: in this video, we're gonna look at, um, color schemes. So we're gonna start decided to the sketch that you've been working on for the time being and just grab a scrap of paper, Um, of the same color that you have been working on for your final drawing. Um, probably best to refer back to your reference images from the first cost. And think about the colors that your creature comes in because they're going. Teoh, Dr. Thesis of Inspiration. Behind the coloring off your piece I'm working on a grizzly best. So I'm thinking about browns and yellows. But I also want to push further into sort of richer, brighter colors. So perhaps more off the reds and focus. Um, one of the things I love about this particular project that I'm working on is that you can work with colors that are really quite unique. Andi make a combination of something that's realistic with an element of whimsy as well, using the patent and textures that we're going to learn. I'm also thinking with my college game about, um, the items that are in the composition, such as the focus is around the bears net. So, um that will contrast those purples will contrasts nicely with the rich browns off the for . So think about where your animal comes from, um, what kind of environment it lives in and work with those kinds of ideas when you're developing your color scheme. Another thing to consider when you're working out your colors game is perhaps working within just a certain color family. So, for example, with the Dolphin totem, I was really working in the blue and purple range. Um, working with Thiel's turquoise is a little bit of green, so all on that side of the color wheel and then accenting it with a little bit of pink and gold here in the as, ah sort of pop of color, alternatively with vice and told him, for example, I worked the really restricted color scheme. So um, primarily reds and browns eso there. You get to really focus on the Patton on the textures that you using endure a interest by creating really intricate shapes with your marks on the ONIY. Other really changes in color in that composition with blew horns, and then, if you're working on something really fantastical, you can go completely off the scale of realism. A said it was the unicorn totem and just explore whatever you like. So, um, no combining pastel colors with rich browns and then roses and greens, so it's really up to your exploration and dumb to try anything that you fancy.
5. Textures And Pattern: Now we're going. Teoh, familiarize ourselves with the color pencils. So again, on your specially to paper, um, we're going to explore some of the common techniques that I use when I'm working with the colored pencils. Um, firstly, make sure you have your pencils are good and sharp. So, um, you can use in a Elektronik sharpener. I have Ah Palomino Sharp. No, it's not electronic, but it has to sharpness within it. One that gets the base shop and then the other that sharpens the tip. And I find that that No, no. Then it gets really nice long tip on it, but also tends to lead to less breakages. Um, so get your pencils nice and shark on, and then we can start exploring with the mark thinking if you're completely new to using colored pencils and the first thing I would try is just experimenting with different pressure on the paper so that you have a sense of how your pencils respond to the weight of your hand. So starting off very, very lightly and see how much color comes down on, then gradually press harder and harder. Um, this will also help, you know, for example, if you had to try and erase part of it, you would be able to see what you could get away with racing if you make a mistake and what you can't. So if you're new to pencils and give that a try and explore for us thesis of different pressure techniques that you might use when you're drawing. What I love about this particular medium is that you can explore so many different texture styles. Using just pencils, you can blend very smoothly. You can cross hotch you can imply for and scales, since so much you can do with this particular medium, and by also using the texture of the paper and the color of the paper beneath a swell. So it's a very versatile medium in that regard, a newspaper, a piece of paper. Now is the time to search exploring different textures using the colored pencils. So depending on the type of animal on your composition, um, try to use the sheet as a reference sheet for when you when we start on the final. Boring um, so maybe make sure that you have ideas down for each section of the animal that you're gonna work on whether it's this moves hair around the face. Maybe it's scales. Maybe his feathers explore what those Texas might look like on this trial sheet. Some ideas for how you can create pattern and texture. Using the color pencils is using parla lines for For you can curve them to imply the wave of the for and also change the color of the pencil to imply movement over the shape of the body or on the way the light hits in certain areas. You can also use lying work. Teoh. Create a sort of rough weather effect. You could experiment with cross hatching, um, which is simply, you know, going in a diagonal one way and then during in a diagonal over top the other way. In this way, you're going to see how perhaps darker color beneath shows through the lights color on top and see how that blends in that way. Um, you can also try simply blending the colors together, just loosely coloring image, as you would roughly and then going over the top again. So again, playing with that pressure that we were talking about, we'll give you different effects with the pencil as Well, so the hard you press and more color you're gonna get on Cynthia. Sexual change depending on the type of pencil that you have. Um, there might be limitations to just how much quality you can lay down on the paper as well as in that combination of paper and pencil you might find you hit a limit I find with the prisma cholera pencils because they are quite waxy. We do result in really nice, vivid color, which you don't have to press down hard with. But the result is often that if you let down a lot of color, um, lots of six hard there is If you press down hard right at the beginning, the colors don't tend to blend very well. After that fact, you almost get a waxing builder. Um, and you can kind of get stuck at that point. Um, I have heard of other artists using fixative spray to stop that and carry on building up the latest. I personally haven't found a need to just bear that in mind when you're working good, especially pressing hard or softly and overlaying. Pulis is thinking about numbers or sensing. How about a pencil is going to start to react as you layer more and more close, um, as well as exploring different mark making techniques with the pencils. Obviously, another great wave creating interesting Patton's and compositions is to combine also different colors, so explore creating ingredient with colors and how they blend into each other. Maybe even if they're not office similar color family and explore how you might imply highlights and low lights. Um, I obviously love to use really vivid colors, and I generally stay away from using White is the highlight and black as a shadow or low light. Um, I actually like to use a rich sort of indigo purple as a shadow on, um, sometimes a bright, vivid green, for example, as a highlight. So which is often what you see in in real life. But we don't tend to notice it. So used to it, um, so explore using some of those more unique colors for shading and highlights and see what happens
6. Tread Lightly: now is the time to start working on your final composition. So, um, take the paper that you've been working on with the final sketch on it, the pencil outline on Pick up your colors that you've chosen and we can start now blocking in, um, with the colored pence's so remembering what you've learned about how your pencils respond to the paper using pressure, um, and thinking also about the types of Texas and buttons you want to use that will dictate the direction of slow. So Pence is always remember to just work lightly at this stage because we're just sort of roughing in the main box of color on. The details would come at a later stage. Hence, the cranes air a lot, like working with water colors in a way, if you've ever worked with them in that you're gradually building up the latest as you go, you have to wait for them to dry. Obviously, which is great but working up the blaze so that you build that sense of color and depths as you move along. Even though we're only working lightly at this point and roughing in the colors, I do like to get the eyes penciled in fairly early on because they are the so called plane off the composition, at least from the missing animals that I work on. Eso I like Teoh. Get that little highlight in, um and get at least some of the colors into the eyes so that, uh I can sort of draw my focus from their outwards into the composition. The eyes in particular I really like to go off off script with them on Do something the more you need to move further away from what is reality. Um, was keep the shape the same and people in the way that the light conscious on the eyes but color wise, I'd like to bring in all kinds of interesting colors cause obviously the eyes collect light from the environment. So, um, in this one, I'm using pale blue and Cem gold as well a cem magen dark magenta and purple. Um, if you want extra help working on the eyes than just shoot a comment into the project and I might do a more detailed video on YouTube, perhaps on how to do eyes close ups and you even see what I'm doing one thing I always struggle with when I'm working on these is, um, working from left to right if you're right handed so that you are not covering with your hand or resting on the paper work that you've already done. So it's really easy to want to work on the right hand side of your right handed or vice versa if you're left handed, Um, but do your best to start from the left and move over to the right so that you're not dragging your hand over the months that you've already put down. Um, I find the prison implies that she don't smudge very easily a tall, which is fabulous. But depending on what kind of its using what kind of paper, you might have problems where it comes off on your hand. So just be mindful of that as you're working in the stage and in the future stages as well . In most cases, I'm actually using the color for the different sections that I'm working on to go over the pale line that we laid down in the video from a few classes ago. Uh, just to remind me of the colors that I want in that particular section. Andi. I'm also using the direction off the pencil strobes, particularly in this conversation, because it is a very animal to dictate the direction of the hair flow. Um, so if we remember the first class off this Siri's where we were looking in detail at the way that the bears face had hair leaning on it. I'm just remembering that, and I have my reference images often aside, and I often look at them quite closely to see which way the hair goes is that helps with the texture helps with the design, and it also brings that extra sense of realism that you may not otherwise get. What's important to remember here is that we're laying down the base colors for the composition. You might not hardly even see them in the final composition, but it's helping set the colors, games and the way the whole during is going to look, um, so still working quite lightly. But just blocking in those colors. And then I know that I'm gonna work on top of that so it doesn't matter if the lines that quite loose. I also try and leave a bit of space between each sections so that I couldn't refine the edges and have highlights and low lights in more detail later on without worrying about it thought that I've merged in places. One thing to consider when you're working on this is think about the direction that light might be coming down on the animal. So it is the animal lit from the side from above or from below. And how does that affect the three D shape? Um, even though this is a decorative piece and it's very interpretive, having a strong sense of lighting both increase the realism off the off the artwork. So, um, and it also add extra interest as well to the peace. So just think about how your animal might let. Um, I've decided to imply a bit more lightness from the left off the composition. So the left of his nose is actually lying to cover them being right. Um, another option is to you. And why Just rim lighting, which is looking at how Islam is lit around the edges. Um, and it was that taking you can really play with um picking out the fine details in the for as they catch the light of the edges, so that's a really nice way of lighting and animals as well. This stage is about lengthy actual first in the video from this Siri's where we were drawing this sketch out with your pencil. Um, it's working very lightly with our pencils and now bringing in color. Um, it's using a guideline, basically for us said in the future, to overlay and working more details as we get into that next section. Um, so it's definitely I guidance at this point and something that can be a justice, lightning and refined as we go into it. Um, so it's probably going to go look a bit Russia at this point, but it's all excellent foundation for the during that's going to follow.
7. Wrap-up: So we are on the home. Run off our composition. You should now have a pencil drawing off your final composition. Using the color pencils, you should be feeling but more familiar with your, um, your pencils in your paper and have a good, strong sense off where you're going to lay down texture and Patton and where precise in the colors they're going to fall a swell in the final part off the Siri's will really get into the detail off this artwork on, then also look at adding the final touches using acrylic so that would really make the highlight stand out and add a little bit of far right at the end. The cost project, of course, will be to upload way you're at with your composition, um, into the project on and share how you're coming along. If you have any questions or get stuck along the way, then feel free to post and ask. I'll keep an eye out for any questions on Don't be shy to share your compositions. I look forward to seeing what you've created
Jennifer Hawkyard, Artist, Illustrator, Creator and Teacher
