Transcripts
1. Introduction to Class: Once Cloudman is St., I would like to paint
the way a word sings. On this note, let's begin our interesting class on
colored pencil drawing. Welcome to the new
Skillshare class on colored pencil
drawing techniques. First of all, let me tell
you something about myself. I am Anki smatia. I'm an artist. I'm
based in India, following my art passion
for almost last 15 years, I wanted to spread the
awareness of art and wanted everyone to learn
art in a simple manner. For that, I have a YouTube
channel where I have a subscriber family
of Fort Lack, 25,000. Also, I'm having Instagram with a follower family 162 K plus. I'm also uploading regular
classes on a Skillshare. This is my tenth class
on a Skillshare. I'm so excited to have you here. If you ever wanted to create
vibrant, realistic drawing, but weren't sure where to start, so this is the right place. Color pencils are incredibly
versatile meaning. With the right technique,
you can create artwork that almost look like a
painting full of rich color, depth, and fine details as well. Right. Let's take a quick poll. Have you ever looked
colored pencil so realistic that almost
looked like a photograph? And then you try drawing
something yourself. And let's say it looks more abstract than
the realistic one. But guess what? Colored pencil, realistic drawing are
not that difficult. It is a learnable
process that you will learn in this particular
class step by step. And in a very easy manner. We will cover how to layer colored pencils and
achieve depth into dry essential
blending techniques that will help you
to achieve realism, how to create realistic skin
texture and also still life like objects and how to get the exact texture of
that particular object. Capturing light and shadows, and you can see on my face that there is a light
and there is a light. How to actually achieve that particular light and
shades in the portrait drawing. That we will also discuss
in this particular class. The best part of this class
is the class is interactive. You will be drawing
alongside me, experimenting with me and share your experiences on my project
gallery section as well. We're also going to discuss about what are the
materials that is required for the exact
colored pencil realist drawing. Like, there is always
a debate between the polychromose
colored pencil and the prisma colored
colored pencil. So which one is the best, we are also going to
discuss about that and what is the basic difference
among them and how you can use and utilize both the pencils and which
one is the best among them. By the end of this class,
you will be able to create stunning realistic
colored pencil drawing, which is almost look
like a life like. So grab your pencil,
sharpen them, and let's turn those
hesitant scribble into a jaw dropping
realistic drawings. Ready? Let's dive in.
2. Class Project and Material used: The project of this class is to create a colored pencil
real estate drawing, using colored pencils and using the reference image.
Of your choice. This can be your friend,
your family member, or a famous face or
even more important. Self portrait, or you can take reference image,
what I have drawn, or you can do one more project, which is still live
cup, and the lemons. That even also too. Focus on applying what you have learned. So to complete this project, you need to focus a
few things in mind. First of all, you
have to understand the outline technique that you need to learn in the
outline drawing tutorials, what I have already
uploaded on a Skillshare. You can watch my
classes as well. I will put all those link of that particular class in the
introduction of this class. Then you should
learn about building up skin tones and
how to layer them and from where to start for you to start from the dark to
light or light to dark, that we will also keep in mind. So here in this class, my aim is let you understand thoroughly
about the colored pencil. So I'm not going
to use blenders, especially, I am going to
use white colored pencil. By the help of that, I'm going
to blend colored pencil. Let's see how we are
going to do that. The material needed for
the colored pencils portrait drawing
is first of all, the colored pencil itself, then you should need paper, which is a smooth
colored pencil paper. You are going to use bristol
smooth colored pencil paper. Of any brand. You can use them like a Strath or you can
use clarifontin. That is, which is
very important, but important is it should be Bristol smooth
colored pencil paper of having a GSM
of more than 200. For realistic colored pencil
win we are not going to use rough paper or a textured
paper or a cartridge paper because we are requiring a
smooth surface on which we actually layer down
the surface of colored pencil and then
gradually blend them. Most importantly,
you should have a a pencil eraser for the fine
details that is required. So for the colored pencil, how much colored pencils
do you actually need? So for that, you should have at least 24 shades
of colored pencil, 24 numbers shade
of colored pencil, which is very important. The important point
here is to practice. Remember, practice is a key to achieve the
realism in drawing.
3. Types of Colored Pencil and Paper: So we are beginning up with
the first introduction class, and here we are going to discuss about the
types of colors, the papers and other materials. So first of all, we
are starting with we're going to start with
the types of colors. So first, we are going to understand what are the types of colored pencil
that we may use. First one is the wax based
colored pencils in which the lead is wax created by the wax and mixing up with
the pigments of color. So and the other one is the oil based in which
oil has been used. So for wax based, we may have examples for
that is prisma color. And for oil base,
the example you may have for colors
like polychromose. So this is the
difference between them. The one prisma color
is very thin and you can actually sharpen it to the thinnest level possible. And another one is thick, which one is prisma color, which when you
apply the pressure, it creates a lot of lot of
lots of color onto the paper. One more color with
the wax based system, you can see over here, this
is light fast from Dant. So this one is also very thick when it produces
the color on the paper. So here we are going to use these papers, these
colors, sorry. And now we are going to
talk about the paper. We are also going to discuss
these type of color in detail in coming
episodes of this class. So let's discuss
about the paper. So first paper you can use in colored pencil
is rough paper. The other paper that you do have an option is smooth paper. So rough paper you can
have of any brand, but for smooth paper, you should go for bristol paper, Bristol smooth surface paper. This is very, very important. And another Bristol type paper is Bristol alum surface paper. So these two type
paper you may have, and at least 200 GSM
has to be there, what I have already told you. So that has to be
there at least 200. So best if I'm talking about the best thickness of the GSM, for the paper you
may have is 300 GSM. So a 300 GSM paper with a Bristol smooth surface is the best for realism hyperlism. So this is about
paper and the color. See you in the next
lesson of this class.
4. Blending Tools for Colored Pencil: Now we are going to
talk about blending. This is the second lesson, and here we are going to
discuss about the blending, how we are actually
going to blend the colored pencil and how to mix them with each other to
create a realistic drawing. So there are many ways
actually to blend it. So I categorize
into in two ways. First one is with the tool and the other one is
the without tool. So for with tool, we may have a different available
tool with us. So let's see what are
available tools for that. First Wit tool, we can say we can use the white
colored pencil, which is very, very helpful actually for
blending the colored pencil. And the another one is
colorless blenders. The colorless blenders are
available in the market. And for without tool, we may use mixing
colors with each other. Like we may use blue color and then the yellow color
to create another color. So like that, we can actually
mix different colors. So let's see how
using white help us to create mixing of the
blending of the color. So here you can see
I'm using the white, and I'm trying to actually putting some pressure
onto the paper, and you can see the color
is actually gradually changing its form from
red to a light red. And you can see here also, I'm mixing the two
different type of color. Let's see, the yellow color, and we're going to mix the yellow color with another
color like, let's say, red, and here you can see, as of now, the two
distinct color are looking very distinguished
with each other. But when we are going
to use a white, you can see here how beautifully actually the colors are mixing with each other. And this is very important because many fellow students and artists think about that why the white colored pencil is there and what is the use of it? Because on white paper, it is not a very
significant thing to actually use the
white colored pencil. But in blending, it
is something which is a which is something which
is very, very important. Without that, it is very
difficult for you to actually blending the two
different colors and creating a new color. So using white is the
first preliminary thing. Then we are able to use mixing
colors with each other. And here you can see. So we are not going to use the colorless blender, as
I've already told you. So that is out of
scope of this class. So this is let's say this
is the navy blue color. Or the green sea
blue color. Okay. And we are mixing this
color with another, let's say, this is yellow color. So when we are
mixing these colors, so we create a new color. Okay? This one is
when we created that, this looks like a green color. So mixing two different form of color and then
creating a new color, it is another possibility.
See you in the next lesson.
5. Outline and Initial Layers of Still Life Drawing: So now let's talk about the still life drawing and
how we are going to do that. So here we are going
to discuss about the initial layers and how to get the outlines being done. So for that, here is a
reference image, you can see, and I'm just trying to get the outlines of
that particular reference. So for that, I'm just
for this drawing, I'm using the rough
paper of any brand, which is available
in the local market. So this is rough paper,
having a texture. Trying to create the
saucer and then the cup. So you can see here. I'm just drawing it very
lightly and with the same color that we are going to
use in the main filler. So you can see I'm not drawing the outline like a
line wise thing, but rather I'm
just trying to get the whole block of the thickness of that
particular color. Now I have changed the color, and here I'm going to use
the prisma color pencil. You can see this is very
beautiful sea green ish color. And I'm just trying to
layer down the first layer. I'm using the sides
of the pencil, not the tip of the pencil. This is very important.
For the first base layers, you should use the side
of the color here. One thing is very important that whenever you are
going to use of paper, so for initial layers, you should use the
sides of the pencil, and this will help you to actually fill out those textures which are there in the paper. So this is medium
textured paper. If it is having a
higher texture, then the thing will
definitely change. So that is not something that we are going
to discuss over here. So first, for medium
texture paper, you should use this technique. You should go with the sides of the pencil
and then laying down it very gradually and allow the texture to get filled up
by the pigment of the color, and then you are
going to come up with the tip like you
can see over here. Now I'm using another color. With the same tone, this
is a little bit darker and having a darker blue
turquoise blue color. So you can see over
here I'm using it. And just trying to capture the sheds that
are coming onto that cup, as you can see in the
reference image as well. So the key here is to
understand for you. So which is that, you should follow
the reference image religiously because in
realism drawing technique, it is very important that you should resemble
the reference image. And uh especially
in color drawing, the color to the
color also should be very similar to the
reference image. If it is not, then you can use your creative freedom as
well and create your own. Like you should
not always follow that principle that
you should use the same color that is available
in the reference image. Rather, you go with your
availabilities of the color. If you do not have
those exact colors, you may use some
different color as well. Um, this is not something which is a very
hard and fast rule. So this you should keep in mind. But the process has to be same. The process that I
have already told you, it is something that
you should go with a base layer with the
sides of the pencil, and then you come up with
a tip of the pencil, then gradually
change the colors, and the grades, and
you should mix it up. But mixing should
always be um, uh, as little as possible because you because once you have
done the mixing thing, then it is very
difficult for you to actually add more colors onto it because it may affect
the texture of the paper, and it may damage
the paper as well. So that you should keep in mind. You can see, now I am actually adding more
layers onto it, and you can see how the
beautiful texture came out. It looks like a very old
vintage style of drawing, and this is something
which is very beautiful, specifically when you are actually using the rough paper
in colored pencil drawing. That is why I used it. I can show it the same drawing on the smooth paper as well, but you should actually know the power of
rough paper as well. And most of the time
we artists don't have all type of paper
available with us. So you should not restrict yourself for drawing when it comes to availability
of the paper. So you should know how to actually draw
and how to actually get the best from every
possible paper that you have. So you can see here,
I have finished this. This is the first base layers. Now I'm going to add
more layers onto it, and then I'm going
to mixing it in the next lesson of
this class, CU.
6. Finishing Still Life Drawing: So in this part, we are going to talk about
the blending process. And as you can see,
I have already done the blending part
or the cup section. So I have not discussed that. But here, very specifically, I'm knowingly doing that
because for the blending part, you should understand how it
works on different textures. So for this particular, you can see over here,
these are the lemon. And for lemon, a
texture of that fruit, scalp is very, very
important to understand. That is why I have chosen this part as a
blending tutorial. So you are going to see that
how I'm going to do that. So first, I'm starting with the outline and then I'm
using the dark orange color, and I'm just trying
to figure out a few darker radias as you can see in the
reference image also. I just started with that. Then I'm just using
the very small hint of bluish tone as well because another object is just
lying alongside that. So the reflection of that
object must come onto that onto that object nearby. So that's why I just used the very thin
layer of sky blue. And then I'm starting
with the main color, which is there in
the reference image that is lemon yellow, and you can see, I am mixing these
colors with each other and you can see how actually it is
beautifully blending. So as I've already told you
in the blending section, we can use two different colors
with each other as well, and you can see
that the blending, how the blending is
actually going on. It's not that effective
when you actually going to see that in
the first base layers. And then you see there's
nothing is working out, but you have to be there. You have to have
patience for that. And gradually you can see that the various layers actually
are mixing with each other. And now I'm using the very light yellow color and trying to figure out
the highlighted areas, you can directly use
a white as well, but you have to
keep that in mind, the various colors, whatever the possible colors
that you have with you, you try to add those colors. Likewise, if you are coming
to the lighter tones, you should come gradually or if you are going
to another way, like you are going
to the darker tones, you should also go
very gradually. So you should not
skipping the process. The process has to be there. Like when you are grading down, you should go with each
possible layer of the colors. And when you are grading
up or darkening up, then you should also go like if you're seeing
something black. So don't directly jump to black. You may use brown,
the dark blue, the dark green, and
then go with the black. Now I'm using the white. You can see over here how actually I am going to blend it. You can actually very
easily see from here. So I am just starting with this and adding colors is
something which is very, very important when it
comes to finishing of the particular drawing
because this paper is rough, you can see blending is not very visible in the
first base layers. Because textures won't
allow that easily to add layers onto them rather than the paper if the
paper was smooth paper, then you can see directly, just the first
layers, base layers. You can see the difference. So here again, I'm going
to use a green color, as you can see in the
difference mag is a green color as well onto
the edges of the lemon. Now I'm going to draw the
cut portion of that lemon. And you can see very
easily I'm going to draw that using the brown as well for the cast
shadows of the and then mixing it down now I'm
using the white as well onto the cup and
the saucer as well, the main objects drawing. And I haven't draw the
cloth in the other lemon, which was lying on to
the saucer because here, the purpose is just to let
you understand the blending, the composition, and how you actually get
all the different textures. So I hope you understand
this tutorial of still live drawing and I'm going to see you in the
next lesson of this class.
7. Initial Layers of Portrait Drawing: So now here we are coming up onto the main portion of this, which is going to draw the
portrait of any reference. So here you can see
I've already drawn the outlines of that particular reference image
because this is not outline drawing tutorial that we are here are going to
discuss rather than we are main Our main focus
here is just to let you understand
about the blending and the mixing of
the colored pencils. For getting the outline
of the particular phase, you can watch my other
Skillshare classes. I have already put that into
the description as well. So I started with
the brown red color. Okay, terracotta color. And then just filling up
the surrounding of one eye, and you can see I'm
just using the sides of the pencil and not using
the tip here as well. Here I'm using the rstal
smooth surface paper, and it is of clarofotin brand. You can use Strathmore
brand as well or any other brand whatever's
possible with you. And you can see now I'm
using the dark brown color for finishing
finalizing the outline and the upper eyelid. And then the eyelashes. So you can see it is
very, very important. Whenever you are going to start any reference image
of the portrait, you should first see
the dark values, where it is actually, and what are the colors
possible over there. You can see I am just finishing a few of the eyelashes, as well. As I am seeing that it is red. I sorry, it is black, but I've done with the brown because when we are
adding the black, it will reflect in
a different manner. So I was telling you that whenever you see
any reference image, you should first
understand the light and shades drama into
that reference image. And then you actually follow
your process accordingly. Whatever be the
media you are using either it is a pastel one
or the colored pencil. So you can see that
I'm filling up the eye and the ideas of that particular eye
and then the eyeball. So I have used the
plain brown color for that particular thing, and you can see this is
not the final layer. This is the initial layer. As I'm using the
Bristol smooth paper, it is very important
to understand the variation of the colors
that I'm actually doing. And then I'm finishing
up the eyebrows as well, and very gradually I'm doing it. I'm not following the process of actually the
he by he process, rather I just filled it up and then finding out
the hair into it. So like this, it actually
reduces the time that actually you may incur
in colored pencil drawing. So you can see here I am now using the reddish brown color, which is a very beautiful color, specifically for those areas which are actually
nearby the eye, and you can see the
difference Image as well. So whenever you are going to
follow the reference image, you should actually do it in
a very continuous process. You can see here I am using the now I'm using
the pink color, and you can see in
the difference image, you are not able
to actually access the direct essence
of pink colored. But this is what you
actually need to understand. Whenever you see the
difference image, see all the possible color onto that particular area and
then go like that only. That will help you to actually get the skin
tone so realistic. Now I'm using the
dark flesh color. So I have a prisma color. I have shown it
to you 48 shades. So that is something which is helpful in creating layer
by layer processes. Now I'm using the
black you can see, and how it actually coming up the referent
image you can see, and now I'm finishing up the eye lashes as well,
the Irish portion. Whatever the portion that is
filled up with the black, I am actually doing it. Some of the areas I'm
using the pink as well. Now I'm using the
light flesh color, and now I'm trying to
blend all these colors. You should always blend colors with the lighter tones
of that particular area, like light yellow or
their light flesh color. So whatever the light colors
you do have with you, you must use it before
using the white. So white should always
be on the end layers. It should always be at the end. You can see I'm using the black
for the eyebrows as well, and now I'm identifying each
and every he in the eyebrow. Now I'm using the
white I have told you. So this is this may be the final layer of this
particular area of this drawing, and I'm using the white. So you can see here and you
can understand that as well. What should be the
process for getting the the realism into
that particular drawing. So the process has to be
same in this whole drawing. I just have chosen the small portion so that
you can actually understand because the colored
pencil drawing specifically take a lot of
time, a lot of a lot of time. Let's say it may
take 100 hours also. Many of the artists
are doing that. And so that why it
is very important to understand the process
in a simple portion. And then you may apply
onto the whole portion. So that is the only
practical possibilities to understand the
drawing objectives. So you can see I am, again, doing the same with
the other eye, but with the different
brown color. And I've just finished it up
in a similar way like I've done with the previous eye in the same manner I have
done with another eye, the same process, the
dark to light process. And then at the end, I'm using the light
flesh color and then finishing it up with
the white colored pencil. I'm going to see you
in the next lesson.
8. Techniques for Features of Portrait Drawing: Here we are in the next part of that
particular portrait drawing, and we are finishing it
up the lips portion, which is very important
because it is very delicate. So I have not included the
nose portion detail because nose portion detail
are more similar to the other skin
tones of the face, but the lips portion, specifically, it's
very, very important. So here you can see I'm using the blood red color
for that particular thing. And I'm just using the
tip of the pencil, but in a very lighter manner, I'm not pressurizing it up. I fix the boundaries of it, and then I am limiting myself into that particular boundaries. And you can see I'm following the real
texture of the lips. Okay. So you can see
that I'm just trying to draw it as similar as it may be there in
the reference image. But I'm not exactly copying the reference image,
as I already told you. You just take the
reference image as just a reference
and do not try just to copy it in 100% manner rather than just
take it as a reference one. Now, I'm using the
brown red colour, light brown red color and mixing that mixing the first
layer of blood red. And just in between
the nose and the lips, there is a portion where you
can found the two bridges. And that you always
have to keep in mind. And now you can see I'm just finishing up
the nose as well. I'm just using the dark
brown color for that and trying to get the outlines of the nostrils
and edges of the nose. And just leave that particular
area for the nose ring. That we will finish
it up later on. So you can see, now I'm coming
up onto the nose portion, as I've already told
you that it may cover in the skin drawing thing, and it is not a very
dedicated thing to actually discuss it about. Uh just to get all
the details of the chin line and
then then the cheeks of that particular drawing. And I'm using the
light flesh color, which is very, very easy. You just have to use the flesh color light flesh
and the dark flesh color and filling up those areas which are like cheeks and jaw line. So all these areas has to be mixing it
up with each other, and then you can find the
good skin tone colors. You can see in
real time as well, and you can see how I'm
actually doing finishing it up, how I'm actually blending it up. I'm doing some
circulism technique for that and creating
small circles, which is very important for colored pencil
drawing technique. The circulism is
very, very important. Also, you can see here I'm using the same flesh color for
the lower lip as well. And then I am actually
defining a few cuts that actually the texture of the lip and identifying
those lines, those details, the very
minute details of lip. You can see when you
are going to do that, it may sound very dark dark
applied lipstick lips. But when you are going to
use the white onto it, or you are going to use a lighter tones of
the color onto it, it will reduce its intensity. So don't be worried
about that, as well. And I'm using the same red
color just below the nose, and it may create the nose more beautiful,
looks more beautiful. Now I'm using the
light flesh color, and I'm just switching up the colors and
changing those values, random values and trying to finish it up as
close as possible. I'm zooming it up and so that you can see actually
how what I am actually doing to make the things blend now I'm using
the white and trying to trying to reduce the intensity of the red and finishing up
the teeth as well, because you should
not going to draw a singular teeth teeth
wise drawing rather than just trying to make it
like a bunch and then put some lines in between
them to make it finish. So now I'm working on the neck and I'm just
trying to finish it up, mixing it up colors
with each other. And you can see how easily it is actually mixing it
up with each other and trying to resemble
the same skin tone that is actually onto the face and it should be
onto the neckline, as well. So I finish the face, the neck. Now I'm working on the ear, and you can see I'm using
the brown red color. You can see the process
is always same. That is very, very important. So here I have
done that as well. I've finished up with
the ear as well. I'm going to see you
in the next lesson of this class in which we are going to finish this
portrait. See you.
9. Finishing the Portrait: Okay, so we are on the final tutorial of
this particular class. And here we are going to finish this beautiful portrait
and trying to finish it up by finishing the
jewelry portion and then the hair and the other details which
are there in the drawing. So here you can see that I'm started with the outlines of the jewelry portion and then I'm finishing it up just
with the help of that light brown colour and not copying the original jewelry
portion rather than I am just putting my own values
onto that because here, the aim is just to let you
understand the process, how to basically
draw the portrait, and how to draw the jewelry and other portion of that
particular reference image. So you may get the idea of so after finishing
the small details near by to the jewelry portion, I started with a red color. And as I've told you, this is my own interpretation
of the jewelry. So I'm just using my
own creative freedom to actually finish this
particular piece of jewelry. And now I'm using
the lemon yellow, dark yellow color for the
main line of the jewelry. And in between them, I'm going to use exactly
the red brown color to define the values, to define the outlines of it. And this is how we actually
going to finish it up. So this is much more liberal way of doing the jewelry portion. You may use the traditional
way of doing it by drawing the portion by portion
jewelry drawing that may take you up to the hours to finish
it finishing it up. But here is just to let you
understand the process of it. And now I'm going to start
working onto the hair portion. And for hair portion, we are going to draw first the outline and then
the internal portion. Like, now I'm using the
reddish brown color to actually get the first layer
inside the here portion. So I have already told you, like if you see something black, you should not go directly with the black rather than first use some other dark
colors like dark brown, dark, blue or dark
green, whatever. Is similar or whatever is going up with the theme of
that particular reference. So here, the theme
is something which is very reddish.
So I used the red. Now I'm using the blue color, or you may say this
is not the blue. It is basically
the indigo color. So I'm using the
bluish indigo color, and when it is going to mix
up with earlier brown color. So it creates a very
beautiful color. So this is how actually
we are going to, and I am actually
following that texture of that particular here.
You can see that. I'm not drawing it in my own way or in a cross cross manner
rather than I'm just following the exact texture
of that particular he so that it would
be easy for me to actually laying down the
values and then finishing it up by mixing them with a dark brown color
or the black color. So this is the process for basically drawing any
portrait, any here as well. Now here you can see I'm using the brown color and
the dark brown color, the black color just to let the things like this
only you can see here. I have mixed all these
colors layer wise and with the help of the
flow of the particular here. And following that
same process will help us to actually create
this portrait so easy. That makes us it so easy. But when you are
going to draw it, you will understand the complexities of that
particular drawing. And you can see this
I'm just creating the small hint of
the background. And it is not something
that we are going to finish it up just to make it some
cross etchings over there, and I'm finishing it
up like this only. So I hope you like this
particular drawing and I hope you understand
the whole process. I'm going to see you
in the concluding part of this class.
10. Conclusion: Congratulations.
You have made it through the magical word
of colored pencil drawing. And look at you now,
layering like a pro, blending like a master and
capturing minute details that makes your art
like a masterpiece. Remember one thing,
realism isn't perfection. It's about practice, patience, and observations, every stroke, every layer, and every mistake is a growth for
you as an artist. So keep drawing, keep experimenting
and most importantly, keep enjoying the process because process is
the key to achieve. I do love to see
your final artwork. So don't forget to share your artwork with me in the
project gallery section, I would love to review your artwork and provide
you suitable guidance, which will be helpful
for you to learn more. And if you found this class
helpful, leave a review. And let me know what would
you love to learn next now, grab those pencils and keep drawing because the
word needs your art. If you are interested
in learning further on portrait drawing, make sure to check out my other Skillshare
classes as well. Their link are provided
in the class description. Goodbye, my friends
and hope to see you in the next upcoming
Skillshare classes. Love you all. Bye. See you in the next upcoming class
on Skillshare. Thank you.
Ankit Jasmatiya, Fine Artist
