Brown Bear Drawing Tutorial | Colored Pencil

1. Before you begin: Thank you for signing up for this course. All of my courses include instructions at downloadable image and the materials you will need for this class. These are all done and four inch by four inch size. You can choose to draw a smaller or larger, but I recommend staying with the original size to stay with the pace. Please read the instructions before beginning. Once you have completed the portrait, I would love to hear your feedback. You can not send me a message through any social media or email with any questions, comments for a photo of your results. And I would absolutely love to see your results by the end. So if you do have a picture of it, send it my way, any which way you can. So thank you again and I hope you enjoy. 2. Part 1 intro: Welcome, welcome, welcome. This is gonna be a bear tutorial. So let's get started now. 3. Eyes & Ear: So let's get started. Now this is a little bit longer of a process than previous classes because there are a lot of layers to add for the firm, as well as colors. And I want to make sure that you get them as accurate as possible. So we will start with the eye here. And it's, you know, the usual course, starting your eye out with a black outline. Wherever you see in the reference image is basically what you want to replicate. And most of the time, the eye tends to have a black outline. And mostly a black eye as well. Especially for the smaller portraits. As you get, larger portraits get into those. Of course, there's going to be more color to that. But for this one it's there, it's pretty simple. You want to stick with the black here, and of course, make room for the highlights. You really want to be sure about that and keep your pencils sharp as possible for this. Now, there is a bit of brown in the eyes, so let's go ahead and use just a tad bit of brown. And I'm and a little bit of a grayish brown, some of them that's not to read too warm of color and use that and just very lightly and small circles. Incorporate that into the eye and leave room for that highlight. Of course, now you can see that the eye is, since it's from an angle. Looking sideways, you want to draw the eye as if it were looking straight forward where that head is facing essentially. So you will see a lot of white in the eye because of that. And I am using a white colored pencil to burnish that area, which is basically smoothing out blending all of the area where it's white, blending that in with the darker colors there. So that's what I'm doing there. And then I'm using a pale pink to incorporate a little bit of color into the whites of the eye there. And I did erase just a little bit to fix that. I'm a little bit but if you think your eye is great, don't worry about fixing anything. You can always make little adjustments as you go or Towards the end as well. I do suggest trying to minimize your mistakes because the colored pencil does not always erase very well. And we want to try to avoid that as much as possible. So that's what I'm doing here. I know you can't really see it as I'm trying to draw this small little eye, but right now I'm just trying to do some touching up here and work on making sure that that eye, it looks as sharp as possible. With smaller portraits, it is a little bit harder to, I'm at in certain details. So you really want to make sure that your colored pencil is as sharp as possible that way you can get in those details for the smaller portrait. So I'm moving on to the second eye ear here, and it's very small, not much detail to it. So you really just want to kinda sort of incorporate that. And there is a little bit of further comes out of there. So that's what I'm doing right there is just doing a short little strokes. So now we can move on to the head here and we're using a light gray. I'm using a light warm gray. And what this will do is apply your first layer down. And then over the top of that you can add more colored pencils to it and it will easily blend between all those colors that you're using. So now I'm using switching to a light warm brown colored pencil and just a second. And I'm already working on the top of the head. Now I tend to like to work from the eye out or left to right, one of those two. And The reason why I draw left to right is because I'm right-handed and avoid smudging as much as possible. I like to draw the eyes first, usually because well now it's just really habit, but I think that drawing the eyes first kind of give that the portrait personality already. So really starts the portrait off with a strong beginning. And that's really why I like to do the eyes first. So if you were to imagine doing the top of the head and filling in the rest of the head with the nose and everything without the eyes. It just looks weird. It looks like they're not alive yet. And to avoid that, that is why I draw the eyes first. So now with the light room at Brown, I am drawing short strokes in the same direction as the further you see in the reference image. And I'm using very light pressure, of course, want to make sure that we're getting basically the foundation of the portrait down before we get the detail in. So go ahead and start with that foundation between using the light gray and the light warm brown. You use those to follow along and see where I am applying that. And I will be incorporating that in this ear as well. Now, I am using the black to darken certain features of the bear here. And you want to make sure you still have a light pressure, very, very light pressure or short strokes. One key thing that I didn't really think about until I was teaching a student the other day. If you are having a hard time with pressure and you're doing too much pressure or too light of a pressure. Try practicing how you're holding your pencil. If you hold your pencil very close, you tend to have a heavier pressure. So if that's the case, just hold the pencil a little bit further back, kind of at an angle with a sharp pencil, of course. And try doing short strokes that way. Try practicing it that way. And you'll start to notice it's a lot easier to draw with a lighter weight when you are holding the pencil further back. So if you want to try to practice that, go right ahead. This is a great portrait to practice that. And because there's gonna be lots of lots of short strokes going into this firm. 4. Top of Head: Now this ear does have a variety of colors in it using light warm gray and light more brown mixture in there. And now we can move on to the darker brown here. This is just a normal brown, warm, warm brown, not something to light to dark. And we're going to use this to build up a little bit more layers already on top of what we have put down. And then some. So you'll get to use this brown to add to build up your layers from your first layer to your last layer. Now, what this does is using the same color, even if you were to build up your layers with the same color, still allows you to see that texture coming through. And that's one thing that I have tried and tested before. Building up your layers using just one direction or doing small strokes like your first couple of layers, just doing like getting that base down first, whether it doesn't matter which angle whatnot. And I noticed that it's not nearly as good as when you are using drawing in the same direction as the fur already from the beginning. Now you can do, you can work with larger, larger sections and incorporating that first layer and larger sections as long as you're still drawing in the same direction as the fur, that is the best way for you to get your details and without it looking like a big old mess essentially. No. Now we get to incorporate this bread brown. I absolutely love this color is great for warming up your portrait, whether it be normal brown color or just certain highlights that have a warmer tone to it. I love using this red brown colored pencil. And the name of the colored pencil is burnt sienna. It's a Faber Castile polychrome OS. So if you really want to know what types of colored pencils I am using, rather than just the the color itself. Let me know and I would be more than happy to provide that information for you. So this one, I'm using a CPI, which is gorgeous, like a black brown color. And it is great for building up. Dark areas that are not necessarily black, you know, kind of a warm dark area. And I use this for basically every portrait that I make. I always incorporate sepia into it. And I've seen other colored pencil artists claimed that they do the same thing or that this is one of their favorite ones too. So if you don't have this colored pencil, I highly suggest getting at you can get dark sepia or light CPAs through I think all pencil brands, honestly. Now this one is a Faber Castile polychrome most colored pencil. But you can also get a variety of CPAs and other colored pencils, such as the Karen dashed luminance. Now what I did there is I'm using a light warm gray color and I am burnishing the right underneath the eye there. And that'll line it up and it'll blend the layers together. So that's what I did there. And we can go back to the sepia here and start to really build in the details. And the top of the head can definitely start to see that it is coming together pretty well. Now, if you need to take a break or you're struggling with anything, let me know and I would be more than happy to help you out and provide you with whatever you need for you to be able to draw this portrait here. It is a little bit complicated just because there are so many layers to it and you wouldn't think that a bear would be pretty difficult to draw, but with the for looking so different from one angle to the next, they can definitely be a challenge for sure. No. Now we've gotten pretty far with the top of the head here. I'm using the sepia to darken certain areas. And of course later on, we will be able to fill. 5. Right Ear: Now we've gotten pretty far with the top of the head here. I'm using the sepia to darken certain areas. And of course later on we will be able to fill in the gaps there. I didn't want to fill it in completely because I wanted to be able to blend it a little bit better while still showing the highlights. So with this light warm gray, that's kinda what I'm doing here is blending those areas together. And you can use a pale pink to do the same exact thing. I notice that underneath the fur there was this warmish, pinkish tone. So I am incorporating that a little bit. Now. I don't really use the pale pink from here on out. It really is just for the head here. But if you wish to incorporate it for the rest of the body, feel free to do so. It is a great way to blend the features together while still keeping that warm tone. Now I do use a pale blue to do the same thing. So I'm basically going back-and-forth between the pale blue and the very light pink colored pencil. Whichever one you feel is better suited for the portrait because there's a lot of warm tones and cool tones. Now that's one key thing that I like to tell my students is that don't be afraid to mix up your warm and cool tones. Now you can use, I've noticed warm tones are great for the, for the low lights and then cool tones are great for the highlights. So if you think about that while you're drawing and use the cool tones for your highlighted areas, your portrait will really start to pop out. Now for the ear on the left side, we're going to start out with a red brown and really just start with drawing the direction of the fur. And then with a brown go on the outside and kinda start to build the outline of the of the ear there. That way you get a good foundation as to where the ear is placed. And also kinda get it blended a little bit so that you can have other layers built on top of that. Now this year does look pretty pretty scattered in terms of for the hard part about the barriers that the firm is pretty scattered and misshapen and whatnot. So it's kinda hard to at least for me because I always want to have the strokes be as even as possible. It's kinda hard for me to let that go and just let the For be wild essentially. So feel free to just have fun with it and still try to draw the for in the same direction that to see. But with the bear, the first just kinda all over the place. So they should be quite a challenge, but a lot of fun at the same time. So now that there's a lot done with the ear here, I'm going to use a black and start to darken the sections that are really dark. A lot of shaded areas. And of course, don't worry about making a look perfect because a bear does not look perfect. So just work on building short strokes and making sure that you're drawing in the shaded areas and not where the highlights are. 6. Ear & Cheek: So now that we have the ear, Dan, Let's go ahead and use the brown and established the first layer. Of the rest of the bear's head here. Now, I'm working left to right on this piece, particularly. So we're going to do left side of the bear and then we'll start to work our way to the nose there. So we'll get this first layer going. And you can see that the fur comes out kind of at a curve. So you want to try to replicate that as much as possible. And remember to hold your hand a little bit further back on the pencil to lighten up the pressure there. So I did just use that pale blue a little bit. You don't really have to per se, not until a couple of more layers down. Sometimes I just like to play around and see what works best. That's one thing that you will start to notice as you're doing this little portraits is that you'll start to establish your own opinions. 7. Cheek: Own opinions and experience by trying things out for yourself. So if you think that maybe one thing should be done a different way, feel free to go ahead and try it out for yourself. Now, I am using a black colored pencil here, and it is a darker section right here. So that's why I'm doing a little bit of the black there and then a little bit on the cheek as well. So once you have those first few layers down with a brown color or the sepia color. Once you have those established, putting down the black will warm up the, the black a little bit more than if you were to just put the black colored pencil down straight. That's one thing that I like about adding layers is if there's a cooler tone area, you can use cool tones first and then put down your black colored pencil and it'll still look cooler or vice versa. Alright, so now that we have worked on the face here, we're going to move on to the nose. I tend to like to take a break between other features and work on the key features such as the nose and mouth and the eyes. On my own time. Just depending on how you feel really. For the nose, I'm doing a pale blue as the base because in the highlighted areas of the nose, it has a lighter, cooler tone to it. So that's why I'm putting that as the base. Not for all of the nose, just the top part really where you can see that highlighted area. And I know you can't see it too well, my hand is in the way, but we are doing the outline here of the nose. You want to use a gentle amount of pressure here and build up this first layer. Well, really the second layer of the nose with a light gray. And I'm kinda doing small tight circles for this. And the reason why I'm doing that is so that you get an even amount of pressure across the whole nose. So if you do small circles in that way, it allows you to have an even amount of pressure, which makes it so much easier. 8. Start of the Nose: And with the black I'm a, you still can't see it here, but I am drawing the nostrils with a black and doing just a still a light first layer. And usually I either do a light first layer or just straight up, darken with a heavy pressure in the black with the nostrils because it's just straight up black. And what else are you going to put down so that I will either do one or the other. And the only reason why I don't do heavy pressure for Selma's so that I know where they are located closer to when I am done. If I need to make any corrections, I can erase it easier if I had already used a lighter pressure from the beginning. Let's use that same black and apply it to the center of the nostril. And it does come down at an angle. Since this face is not straightforward, everything is going to be at different angles. So you just have to be aware of that and make sure that you are drawing it as accurately as possible to the reference image. So I hope that so far you're doing pretty well. I know it's quite a long start to this portrait. The face is really what takes the longest and then the rest of the body. It doesn't take nearly as long. And you'll start to notice that in other portraits, if you are doing the face first, the head and face, facial features, it takes a lot longer than it does for the rest of the body. So you can always plan ahead. If you know that the head is going to take longer than make more time for that and vice versa. So I just should remember that in advance doing it these drawing the features are going to take a little bit longer because here you really want to make sure that all of your proportions are accurate as much as possible. And it does take a little bit longer to do that, so just be aware of that. So now that we've got a good part of the nose down, I am using a light warm gray and the pale blue. I did not put that in there, but I am using the light light warm gray and pale blue, mixing those two and the highlighted areas of the nose and furnishing it all together. And then we can add more detail on top of that. Once you have a pretty good, solid foundation for the nose. And the nose doesn't have to be too dark. There's gonna be a lot of highlighted areas for it. So we can move on now to the rest of the face here where the nostril is or the muzzle is. And use that light gray. And we're doing a short strokes, very light, short strokes for this area because it is very much highlighted. So that's gonna be our base layer. Now that we have that first layer down, Let's go ahead and use that same light gray and apply more pressure right around where the mouth is. 9. Nose & Muzzle: And now we can get to the fun part where we outlined the mouth here. Now, for this piece, it is going to be a little bit difficult because it is such a small piece. You want to make sure that you are drawing within the lines that you had put down. Or making sure that you just have the right angle. It is a little bit difficult to make sure that it's going to be perfect, of course. But what I'm doing here is using the black to draw underneath the mouth there. There's gonna be a little bit of a gap. So just remember that now the bottom of the mouth is going to be a mixture between black and the sepia color. So just have this two handy. Make sure you're drawing out a curve where it looks like the the firs grinding out alongside the mouth basically. And draw that bottom line there, what the CPM Yeah. I know this has been a pretty long first part. Usually there are about 45 minutes to an hour long rather than an hour at 18 minutes long. That's crazy. But this bear has so much detail to it. I just want to make sure that everything is incorporated in there and it is pretty nice because the previous classes I tried to stick with, you know, feature are not features but like subjects that are a little bit easier to draw. But this bear does have a lot of complex features, believe it or not. So really want to make sure that we're getting those as accurate as possible for a miniature portrait, of course. And have fun while we're doing it. So I'm sticking with drawing short strokes to emphasize the type of further the bear has. That's one thing that I had said, mentioned previously is that the for and the bear is rather complex. Cool. Now we get to warm it up even more and the facial features here. So use your red brown colored pencil a little very, very lightly. Just incorporate some of the warm tones here and not everywhere, just in certain areas. But this is doing is kinda showing where the sunlight is hitting onto the face there too. Because there's, you know, when a bear moves or even a pictures that you see in the sunny areas, you can see that some of their for reflexes, this reddish orange color. So definitely want to incorporate that in there. And just very lightly do it. You don't have to do it too rough. This light warm gray is great for blending certain areas, especially since it is a warmer tone. I'll be using that a little bit to blend between the layers as well as this light warm brown. Now this one, I know there's a lot of colors that go into this portrait, but it is very important to have a mixture. Because in some ways, the more colors you use, the more vibrant and more realistic the portrait looks. Um, I know for me I tend to stick with similar color palette. And I've tried to challenge myself and try all different types of color palettes and different, different colors and whatnot. And that's something that I think it helps you learn over time by trying out different colors. So if you don't have these type of colors, feel free to try something out that's a little bit different that you think might work better than something like this. Light too warm brown or using pale blue as the highlight, things like that. Feel free to think about, think for yourself and think about something like a color that you wouldn't think to use but might actually look good in it. And some people use very dark, dark, navy blue sometimes for the undertones and black dog portraits or black cat portraits and whatnot. And I've done that before too, and it really makes a difference. So I encourage you to try new things and try different colors and different techniques. That's one thing that I really want to emphasize as much as possible. Alright, so now we are closing to an end here just about another minute. And thank you so much for watching part one. I hope that this hasn't stressed you out too much and that you will come back for part two and finish up the rest. But the rest should go a little bit quicker than just the head part. So I'll see you next time. 10. Part 2: Welcome back. I hope you have gotten. 11. Neck: A fresh break between the first part and the second part here. So I'll go ahead and get right into it using the light warm gray. Now I do use a mixture between the slight warm gray and then a different brand of colored pencil, Light Room Gray, but you can use whichever one you prefer. It doesn't really matter. I do use the other one just for blending purposes. So you could use that one as like a light cream color or white to blend later on. So reasons why it warm gray and drawing in the same direction as the for kinda comes down at a point here. So that's what we're trying to replicate, is getting that natural curve down to a point in the middle of the chest there. And if your outline is little too dark and you want to erase it, go ahead and do so. I'm gonna do that here and erase and make some small adjustments. It does happen where you need to make adjustments outside of your outline that you've made. And that is definitely completely normal. So don't feel bad if your outline is completely off or your drawing is completely off, you can always make little adjustments here and there to fix that. So using that same color, light, warm gray, I will bring that for out, kind of in a down and out on the left angle, essentially, a little bit different from the rest of the fur there, because it does kinda come out and it shows a little bit of depth by doing that because that is part of the further juicing from the other side of the bear there. So it's really important to make sure that you are. I'm drawing the further away that you see it. That way you can easily show that this bear is angled facing slightly to the right or the bears left. And that she could still see part of the other side of the body. So it's not a completely flat. Now we're going to warm it up a little bit using a red brown colored pencil. And just very lightly using this and the areas that you see that it does have a little more of a red tone in that area specifically. And don't be too particular about it really, we're just getting a tone and rather than the actual texture. So we will use a light brown colored pencil here to put a little bit more of the background in there for the first few layers, of course. And they really starts to bring the red brown tone a little bit more forward as well when you're blending the light brown with the red brown. So that's a trick that you can use to is using different shades of one color to try to show a little bit more of a realistic look. So for instance, like right here, I'm using this light brown rather than the red brown for these area because it is warming it up. But it's not making it so intense and I'm using it on that light gray that we just drew on there. So you get though a little bit of a cooler brown, cooler gray. Look alongside with the warm brown. Mixing those colors together will really add some depth. Don't be afraid to put in some more colors if you feel like your portrait is not coming to life very much, you can add more blends of colors. And it is really important to remember to build up your layers. Like a lot of layers really. And after your fourth or fifth layer, you can use darker colored pencils. I'm a little bit heavier pressure as well. And what that'll do is you will be able to see the tones underneath. And then what's on top is going to be more of the details. So to really start to bring in that 3D effect, I'm using a black instead of a dark brown color pencil. Because in certain features here and this bear, there's gonna be a lot of dark, dark tone for the fur. So I'm just going to use very thin strips of the for coming through and you don't have to be too heavy or too detailed just yet. What this does is kinda give you a good outline of where the direction of the first supposed to be going and which patches of dark for is supposed to be placed essentially. So sometimes I will start out with dark first. And the only reason why I do that is so that I have a good understanding of where those patches are located essentially. And when I do start out with dark First, I still use light pressure. Definitely always want to use light pressure first when you're starting with those first few layers. And then after that, once you have a pretty good solid foundation, and you can see nearly as much of the paper coming through. Then that's when you can start using heavier pressure. 12. Neck Layers: And I'm using the light brown to warm up the black colored pencil for that I use there and kinda filling in the blank areas in between. So that's basically what we're doing right there. And still using a light pressure. And now we're using a little bit of a darker brown here, just a neutral brown tone. It doesn't have to be anything special. And I'm putting in a little bit more detail on some areas while still leaving some highlights. That's really important to remember where the highlights are. And try to leave that gap alone for the most part, don't add anything too dark or too heavy in those areas until later on. Once you've completed a good section in that area, then you can go back to that highlight and fix it a little bit. But the reason why I don't really like to touch the highlights as much as I'm not really sure how dark the portrait is going to turn out. Really want to leave space for the highlights and make sure that I'm emphasizing those highlights and low lights as much as possible. I've come across in my previous work, I've noticed that sometimes I will not leave enough highlights in and it ends up looking a little bit more flat than I would like because I was trying to keep all of the, um, the whole portrait a little more neutral and not so extreme. And I noticed as you're taking a step back and looking at the portrait, that sometimes there are certain portraits that look better when you do have those extreme opposites where you have super light highlights and dark low lights, shaded areas. If I haven't mentioned before, which I'm sure I absolutely love the sepia color. It is a great color to use. And just about all portraits. It's a very good neutral tone between a brown, gray color. And it's especially great for filling in areas such as like right now where there's just some areas that are a little too white. That's where the CPU comes in. And I'll probably be using this a little bit more for the body as well. So just keep that pencil on hand. 13. Warm tones: So we've gotten a good section down here, and this is really great. Now you can start to see the depth and the fur here. You can see there's a little bit of breakage here and there between the dark and the lighter areas of the chest and adding that sepia. And it was a really great idea. So now I'm going to use a brown and start to fill in a little bit more of the chest lower. Now we're not really complete with the neck and chest area, but that I'm just wanting to cover a little bit more so I can see where I'm at and then complete it a little bit more later on. So if you want to fill in some gaps here with the brown, go ahead and do so and then we'll reuse that to start covering more of the chest. Now we get to use the black, like I said, sometimes I will use the black as the first, second layer. And it's just really helpful to show where the direction of the fur is going. Sometimes when you use the black or a dark color first and build your layers from there. So sometimes they'll do that. And now the direction of the fur is still kind of going down and out, but it is a little bit more like dragonfly looking. So this part, you don't have to be too delicate. And that's the great thing about bear for, is that they're for is definitely not delicate. It's not smooth and one way, so you can be kinda all sorts of wild and it'll look really great because that's what, that's what the barriers for it looks like in real life. So this light gray is just to fill in some gaps there. And then I'm transitioning to another light warm gray that's a different colored pencil. So you can use like a light cream color or white-collar console and fill in a little bit more gaps there. And what this does is it will smooth out any areas that look a little bit to toothy where the whites of the paper is coming through. So that's what I'm doing here. And I wanted to use an actual color instead of white, because sometimes the white comes off a little too harsh and a little too bright. 14. Begin the chest: Harsh and a little too bright and it doesn't seem so natural. So that's why I'm using a light warm gray here instead. And now you can see that what that did was create a little bit more highlighted areas. And then I'm coming back through with the black to give it even more depth. So between the highlights and using the black is the low lights, it will really start to pop a little bit more. So now we're moving on and using light warm gray to build the rest of the chest here. Now, remember that at all points towards the middle of the chest, almost like the bottom of the heart there. So just keep that in mind as you are drawing the first few layers. And now we get to use sepia as our second layer. And you can be a little bit crazy with this one, kinda go all out and just use a little bit heavier pressure and make it a little bit more fun and it doesn't have to be super sharp pencil either. So we're just drawing the same direction as the firm. That's one thing that you want to still try to replicate as drawing in the same direction. Definitely don't want to forget about that. And then here's the black colored pencil and now in the middle of the chest there it's pretty dark, so I'm starting there and going out a little bit. Not really all too much detail because we will still buildup more layers as we go. So I'm using the light warm gray in the highlighted areas that way at all, smooth it out a little bit more and blend the highlights and low lights a little bit better there. So now it looks a little bit more like, a little bit more like a sketch, honestly, right now. But as you build up more layers, it'll look even more complete and start to look like bare for. 15. Chest continued: And now you can really start to see the cycle a little bit of O Y shape. And to emphasize that I am using the black there and darkening the shape of that, why they're using on the left side. And then we'll do the same, not as much on the right side, but so doing that same pattern. And try to remember where the direction of the fur goes. Now I know it changes up a bit towards the right, so try to remember that and replicate what you see there. So it is coming down and out on the right rather than down and out on the left side. And I am definitely leaving more room for highlights on the right-hand side, as you can see in the reference image, that the left-hand side is a little bit darker than the right, but I'm still leaving highlights as I go. You should do the same. Now the Light Room Gray, I'm just filling in the gaps there. And it's filling it in, but it's not too extreme, so it's not making it too dark. 16. Finishing Up: So I know I really don't talk all too much for this part two. And in the past classes, I don't talk nearly as much in part two. The reason why is you're already in the better part of the portrait and you kinda know the gist of how that portrait is going to go. So you don't really need nearly as much guidance. And it's kinda fun just to listen to the music and sit back and draw what you're seeing and kinda make your own own choices as to what colors you want to use and how you're going to build up those layers. So that's why I really don't talk all too much. And part two is I kinda let you take control of the portrait. And I think that that's really important to do is to make your own decisions as you go along, but still has some guidance along the way. So now we're going to take it does take a little while to build up this chest area because there believe it or not, there is a lot more detail than you would think and it is a different texture and color. Then the head and the neck area too. So that's something that you really want to make sure that you're still blending it into, make it look like it's still part of the bear, but even though it is a little bit of a different different texture and different values. And so I'm using this light warm gray, you can use a white colored pencil, whichever, to emphasize some of the highlighted areas. And you can use, I suggest using a medium pressure, not too heavy, not too light enough that you can see it coming onto the paper, but not too much because if you have already made the mistake or practiced it, when you add that pressure, heavy pressure, it's on there and it doesn't look as easily blended as the rest of the portrait when you use too much pressure. So just be aware of that if you haven't tried that out yet. So using a light pressure and then if you do make that mistake, you can go back over it with a darker color. Just be aware that once you have heavier pressure on the paper, it does become much harder to build up layers. So I've got a good portion basically almost complete here. At this point, what I'm gonna do is just make some adjustments here and there with the portrait and start to finish some details that I might have missed. So for example, using the bread brown to really start to warm up the chest area, the upper chest. And so once you have completed the bottom section, go back up to the top section here and draw in some spaces that you might have messed. So for instance, the nose here, I didn't add as much detail as I should have, so that's what I'm going to do now. And I'm using the CPI and make sure you that you have a sharp pencil is sharp point as you're drawing this, because it's so small detail you want to make sure that you're not making any mistakes. So this portrait has been pretty law on, yes, it is definitely longer than my past ones. Usually my classes run from between 30 minutes to an hour, but this one has been about an hour and 18 minutes long each. So it's definitely a long drawn out portrait, but it is a lot of fun. And it is a little more complex than the other portraits because this For has a lot of details and texture to it. So don't be too hard on yourself if it doesn't look very realistic or have a lot of depth to it. It's definitely one that you can start over or make adjustments later or learn from really learn how the color pencil works on this kinda for where it's so thick and dense, but there's just so many layers and so many options of how to apply those layers and colors. So if you're struggling, feel free to reach out. I'm happy to help. I definitely want to do a Q&A about once a month to help you out with anything that you're struggling with with whichever portrait or certain methods that you don't quite understand. Let me know and love to get in touch with you and help you out in the best way possible. And also remember we do those weekly discussions. So you can always ask questions there. Or if you have a topic you want to talk about, let me know. And I will love to bring that up for the next weekly discussion. And we are just about done here. You can make more final touches. I would love to see a picture of your final portrait. So let me know. Send me pictures and if you have any questions, just send them my way. And I'd love to see the final result.