Christmas cards in soft pastels

1. Intro: uh, hi. My name is Kate, them Adele. And welcome to this glass in this class will be drawing for beautiful Christmas cards. We will look at the reflections on round shapes such as the snowball and the Christmas bubble, and we will be drawing beautiful snow that is falling in the Christmas. Also, we'll be drawing a beautiful, yummy gender Wittman and a beautiful Christmas Lights composition. I really hope to see you in the first. Listen. And I am sure that by the end of this class you will have four beautiful cards to give to your friends. And now it's time to begin. Yeah. 2. Christmas lights: for this tutorial. I'm using a white pastel pencil and I will be sketching first where my lights are going to be located on my page. So as the reference, I'm not going to stick to my reference completely. I just want to look at it and see how delight actually shines from within these lights and place the composition which is pleasing onto my page. So I have a small format here. It's smaller than a five. And let's begin. So with the white bestowal pencil or you can use, uh, charcoal pencil will do perfectly fine. I will start and add my composition. So I'm just looking at where I want my lights located. I really like the idea off two lights close by, one close to the other. So it's another one here. So here, basically what I'm doing is I'm just looking at my lights and placing them in a composition on my page, which is going to make it look more interesting. So you can I got the part of a light here. Yeah, maybe another light over here. And what I want to do is I also want to add some lights in the distance, we will blur those out. So I'm just thinking where I would like those placed, like so. So these are enough for the composition, and now we can start adding the colors. So for the colors to make those lights really bright, we need to use dark colors. It's very important that for this tutorial you have the reds, yellows, greens and blues, very dark pastels. So I will start with my mid tone blue, and I will start adding color to the light that I want to be in focus. So I'm just adding theme outer edge. And as I moved towards the centre, I'm adding brighter colors until I get to that very bright inside my lamp light and on Theater Ridge, I'm going to add this very dark blue to make it more bright. So I'm going to gently start blending these out. So also wanted to say that I chose this people on purpose as pastel Matt as any other abrasive surface is going to allow you to create the prettiest colors, so it's going to be as bright as you wanted to be, and four delights. That's very important. So now that we're done with the outside of our light. I'm going to add a bit of this blue on the outer edge and this is going to create that glow and hear What I'm going to do is I'm going to, right? Rub it into the paper. No. So you can see already. Our light is starting to glow so we can have a bit of this brighter color here and again. I'm looking at that highlight. So it's not, um, precisely around shape. And there has these different interesting movements happening in there. Okay, so that's the first light. Next, we're going to do the same thing with our next color, and I'm gonna clean my hands. Always a good idea to clean your hands when working, invest out. Otherwise, you might contaminate the colors, and it's going to create mud. But let's pass on to the next light. So I'm going to use my baton value Read again, not the darkest first. I'm going to add this beautiful edge to my light, so it has a room that is darker and towards the center it becomes more saturated and color , and then it becomes very bright. There we go now again I can start blending it out. You can even dragged the sculler out without applying it afterwards. So we can just a bit of color outside of our light and dragged this color out to create that globe. Okay, And now, with the darker color, I'm looking at how this edge of my this little bulb goes so it has the same round shape is the blue one. And here I'm just indicating that edge, adding a bit of this more intense pink just to create the impression off the light glowing . So again, the same principle. We have the darkest on the outside. Then we have the Midtown value that creates a beautiful glow that goes on the outside as well. And we blend that into the color of the paper here. And then the more towards the center it gets, the brighter, more saturated the color becomes, and then it's still the same color family. So in this case, it's red, but it's very light in the center where the light is actually glowing from. So let's do this other like here. And I was actually thinking we can do, uh, green next to it, not the red like I haven't the reference, but a green color so amusing, this very bright green. And immediately I'm going to pull it out to create that glow. Like so. Then I'm gonna add the dark green rent to my light and blend it towards the inside. Like so and towards the center, we have more saturated, brighter colors happening and again blending the thing out. And in the center here we will have that right color. Like so. And here the two colors will meet, but dont blend them together too much. Otherwise it might create mud. Okay, Next, I would like to add a yellow one here and we go the same way. We create first the light with a saturated mid tone value and lend it out to create that glowing effect. And again, here we need to think about perspective. So the lab lights, the blood boats that are closer to us will be bigger in size, and the ones that are further away from us will be smaller inside. So you need to keep that in mind. And here we're starting to add that lighter color go all the way through these yellows and into the brights. I'm making sure that my fingers clean and that I cover with this yellow, especially that I cover all the paper. If the paper shines through here, it's going to look a dirty yellow. And I need also something slightly darker to create that edge off the light. And I can go here, which this orange ear warmer yellow and again blending it. And like so next I would add another blue over here, making sure that I have blue on my fingers, not kill Oh, on blending it out to create the beautiful glow. Like so and again we're adding darks. And to make our light glow, we're adding the lights a year ago, and now for those lights in the background, what we can do is again, I'm cleaning my hands constantly. That's a very important saying when you're working the front colors. What I want to do is I want to create a blurred kind of, um, view of the let's make them really far back, and here I will not be using the lightest value, as I used in my lights on the first plane here because I want these to recede into the distance and what I'm gonna do is I'm going to lend them out. It's not adding a bit more of this lighter color like so next to it. Let's have the yellow. So remember, our blurs are going to happen Circular early, so we will have circles blurring out into the background this later Yellow. If you have dragged your life too much, if it seems too bright or if the patch seems too large, you can always clean it up with a need. A razor. Okay, so we can add a green one in the background. Here, make it smaller, like so another blue one. The distance here again Make it smaller. So here I'm just adding that Okay, effect to my lights. Like so and now to really make our lights glow, I will add this dark blue over here to create the darkness. We forgot one lamp here, so let's make it green. This is going to get the green one shining from above here. So why did I say that? It's important that you have the dark's each color because if you blend with the blacks, you will never achieve the saturated color. Even in the dark areas on our lights, so that's important. So now that I have my darks in place that can do, I can gently blend these around my lights, not blending it together with the color of my lights just around my legs. So this is going to give it another kick, and it's going to make our lights seem even brighter. You can also use nothing dark blue. Here. You can use black work perfectly fine, very thin layer. Remember, just don't make it to think. Otherwise, we will be able to layer after we finished this and here to see I'm leaving the space. I'm not blending it into the color off the light that is glowing. You need to drag that color out, but work. And don't worry if your legs become to blur that the moment little stow, adjust their sharpness. So it's perfectly okay. So we're blending this so you can see how that immediately makes our lights pop. If I if I'm liking still somewhere, you can always go back and add it. And this way we also correct that shape of our lights, and here we don't need to make it as dark and just kind of show that they're is step in there, but it doesn't have to be as dark as the foreground color. Another thing, it also doesn't have to be very even, because it's not that we have a flat background behind our lights, so there might be a room happening. It might be a Christmas tree in the dark. Going here again, demanding this dark. Okay. And you can see immediately how our lights become more alive. Okay, Next. What we're lacking is that wires that connect our lights to the power source. And for that I will need another pastel pencil, and I will be using a black one. So again, this is, uh, Bassel pencil. You can use a charcoal pencil. It will work perfectly fine. And now we can start adding sharpness to our lights. So in the blue ones, I can use the black vast help ends hole also on the edge here, and we can indicate that there's this wire happening, but inside. Okay. And here I see that this part is quite large. And from it there goes the warrior. So the water, we can put it any way as we please. That fits our composition was to another while you're here, and it's very important, actually, attention to how these wires air located because we will be adding the glow from the lamps lights onto our wires. So I'm just adding those tips here. Maybe there's another white are going here like so where it's glowing the most. Here, for example, I will add a bit of that red just to show the glow from delight happening. And we can also just a bit of that black to the edge here just to create a sharper shape of our light. Just indicate that sharper. Okay, so here from the green, there's going to go another wire. And here maybe there's another warrior happening here. They have these many, many weiners usually, and here, this one will have to tip over here. We don't need to draw these in perfectly. Don't drag the wrong color and what we need to do. I'm just noticing where I want my wires to actually be. What we need to do is we need to, um, create a pleasing composition, and then we need this map off. Our warriors actually create the light shining from the lights onto our wires as well. So for that you can use a pastel chalk, or you can use the best openssl. So, for example, for the Reds, I can use either an orange either a red. And here, where I mapped out my yellow at my why you're sorry. The closer it is to delight, the brighter this reflected light is going to happen here. We can correct the shape a bit with a pencil. Pencil pencil. Okay, next the blues. So I'm gonna take a blue still pencil. Why am I using pastel pencils? So first, the passel pencil is harder, and it gives you the ability to add sharper and more precise marks. And the second is that this paper allows you to actually build a passel. Layers and pencils will layer nicely over the layers that we already applied. And the third is that I don't want this color to be as intense as the lights themselves. So pastel pencils and this give me a beautiful glaze and create this kind of impression off the light shining onto our wires here. So if I were to add, uh, pastel on top of my wires here, it would give me to break over light and I would need to blend it away. But with the pencil, we can add his beautiful glaze and it's going to look just right. So the closer to the light, the brighter it should be. So remember our lights there shining outwards, Okay. And also here we can show that there's this while you're happening. But that blue in here and now what we're lacking is the cream. So I'm gonna take a green and with the green, I'm going to have the same way these reflected lights and correct the shape if I need to. And there we go. Our lights are all. Then what we can do now is at those definite highlights in the middle, off the like. The light itself and make them just a bit bright are now without blending. So the green here and bright blues over here and there we go. Our lights are all ready 3. Bauble: in distant Auriol We will be drawing a beautiful Christmas bubble. And I chose this reference with a red bubble because I think the red is the color that screens Christmas. So just start to it. I have prepared my sheet of paper again. I'm using pastel met as we did previously, and I will need something to actually help me draw out the round shape and not to go free hand and make my crooked bubble. I'm going to use, uh, tape that I'm using to actually hold my paper in place. So with a red pastel pencil, I'm going to start drawing out my bubble. I'm going toe located just a bit to the right. Nothing center, but a bit to the right to create a more pleasing composition. And we will also need that tip toe actually hold our bubble kind of upright that is going to be placed here. So if we place it just a bit to the right, it's going to balance the composition out. If we were to place it here, it would seem as if the bubble was falling out of the page. So what I'm gonna do now is I'm going to trace around my tape. It's a little cheek here. What? We need to make sure that our bubble looks nice. Andi here. I need to decide where the center line is going to be. So I'm going to draw out the central access of my bubble. That way I will have that part where my bubble is connected to this bit that holds it up on the Christmas tree. So here we will have the neck going out. And then we can use a yellow pencil just so that we don't contaminate the yellow part with the red and actually make it just a bit larger. Went too far. So this is a great medium because you can always go back and correct it. So I need this edge to be on the same level as my bubble here. So hear any of the straight line. So, in fact, I went too far, like so Okay, so we need to pay attention to the fact that our bubble is lying flat on a table top and it will be reflecting everything that is around it. So if you have Christmas lights there in your reference, for example, he wanted it yourself. There will be Christmas lights reflecting older room reflecting, and here in this composition there are some little thing he's reflecting in it, which are not that important, like those little fluffy balls. And most important thing is that we show the shape of our bubble by adding the reflections of the light. As in the windows, you can see that they go more curved, the closer they get to the edge of the bubble and the straighten almost completely out here in the center. So to start with, we will start just by blowing our first layer of color. And for that I will be using self pastimes. So I'm going to start with my local color, which is red, and I'm going to apply it everywhere on my bubble. But be careful not to go out off the shape that we drew already, so I'm applying. It's everywhere as this past. All that that's going to allow us to apply many layers on top. If you're doing this on a non sanded surface like cancer, Mitterrand or ingress papers, then you have to be more careful, and you will have to work in a slightly different manner, you will have to hold back on those lightest area. So you will have to go around those latest areas. But as we're working on pastel Matt, we can easily then blend our latest areas in tower dark areas here, some covering all of my bubble. And now what I can do is I can gently rub this layer of pastel into the paper. So this is my first layer. As usual, invest tells were always working in layers like an oil paint. So now I can start and go into my lighter colors. And I have this brighter color which I will be placing here, or the tabletop is reflecting and also here on the edge and gently rub it in. So we need Teoh. Keep in mind that our bubble is around. Next, I'm gonna go in with this pinkish color and start adding more of those highlights blending it out. Sorry. Blending it out and moving in these circular directions. So even by the way, we apply the fast tell, we're showing the shape of our objects. So I'm moving in these circular directions. Okay. Here we have a bit of that light hitting this part where the bubble was attached to this holding, singing like so and now we can already start to introduce our darker colors. So here I definitely see this pattern, showing the wall where the wall kind of curves together with our bubble. It's becoming darker here, and also there is a normal straight mark line here, just going to separate the two walls reflecting in the bubble. Here we have some dark objects reflecting also like so and here on the edge, who have that edge darker and is our bubble is shiny. We're working here with a lot of blending, like so already you can see the shapes coming kind of coming to life now again, a moving into my lighter value. This is uneven later pink, and I'm creating that bright edge, which catches highlight from the window here, then on the edge here, in between the dark and the light. We also have a bit of that like reflecting. It's very interesting to draw these glossy objects. They have these beautiful patterns in them here in creating the reflection of that window and lending it out. This is the reflection of the window on the table next we can use our very light value to create. So this is the part that we need to be careful with. So here I'm going to start adding those window reflections. And the closer they get to the center, the straighter they will look. And the further away they are from the center, the more rounded they will have the shape like so then there's the separation in the windows here. Like so, Yeah, you don't have to copy it Identical to what you see in the reference, but has to be someone believable. Okay, Now, with this darkest red, we can start adding those darker accents like here, and there's going to be also the shadow under this connection. But here and then in between the windows, I also see some of those darker lines, like so Then we have something dark reflecting here, and for now we're just laying it in with our their grid, like so some darker accents year and here towards the bottom. It has a shadow on it. So we're adding that one as well. And here I love this beautiful door that has this rounded shape to it. The reflection of the door over here and this edge once again. As I said, we need to make it darker to show the curvature of the phone form here. Okay, next we can pass on to the black on. You can use other black or dark blue or any other very dark color for this, or you can also use bustle pencil. But I think for the bigger shapes, we can use a hostile stick because it's going to add Richard Mark. So I have my black here and I'm going to start adding those details reflecting so we don't need to draw everything out. We're just showing that there's some reflection of objects that are on the foreground, so our bubbles will be reflecting old world around them. Be careful not to blend them into the lightest areas of your bubble otherwise is going to create mud. So here we also have just but darkening the superior up. So we create this impression off the bubble curving, and here I want to add a bit more of this darkness just to intensify the curvature of the bubble Here. Then, over here we have that wall that goes almost straight. So this is the corner of the two walls, and it goes almost straight. And then here again imagine as if you're drawing on top of the bubble so it's curved and you need to have those marks in the same way here and here, this doorframe, we'll also be curved and just blend it in. Okay, so now that we're done with this, if you're having trouble and their thing, if you're having trouble blending things tiny things out, like, for example, here with your finger, you can always use either a pastel pencil or, uh, color shaper as well. So I want to take a white now, and I want to shape out those reflections, but make them a bit sharper. And as there is already a pastel that you're here, it's going to mix in with the pastel color that there is underneath. And it's not going to give me a bright white, but it's going to, uh, give me Ah, blend of the two colors. Here. We can add a bit more of that reflection, and here I see that there is this'll highlight happening, so I'm adding it with a pastel pencil here and just correcting the shape who went in with my black. So this I have to be very careful here, so not to contaminate the colors. So if you did, drag another color into the light area, for example, can always go and rub it out. And also, I will need a black pencil just to create this edge here with the best out stick. It's a bit more difficult with a pencil. It gives you sharper marks and you create a more defined edge to your bubble. So if you've gone out off, the borders of your bubble can always go in and correct the shape with the needed racer. Like so So here. I'm correcting this shape like So now we can go into our yellows, and I will be using warm yellows to create that part where the bubble is actually held by the Fred. So here we need to create that ellipse topman drawing ellipses. You always determine where is the central access and then perpendicular to the central access. We will have the ellipse of this cylinder here, so I'm going to use my warm yellows and first I will cover all the year you like we did with the bubble and blend it in. Why am I blending it in? I'm blending it in because when I pressed the pastel pigment into the paper, it allows me to lay or more colors on top. So I'm making sure that my hands are clean. Also, don't drag. Read into this. Okay? So with a yellow, we can correct the shape over here where those parts that connect to the vault attach immediately. We go in with the black waken. Agreed that shadow. But we're We see the shadow kind of grading between the folds of this thing underneath. Where is connected to the ball. It's going to create those shadow bits. Okay, Next, what we need is a later yellow, and I'm going to go with this lighter yellow here and create that edge that I see facing towards us and also here catches some highlights, like so I talked to far, so we can always correct shape. Okay. And I'm gonna take a bronc pencil. So because it's very difficult to do it with a pastel stick in this size and with a brown pencil, I'm going to start adding more details. So here where we have the shape kind of folding. We will have a darker edge on this plane of our cylinder. And then also. So by doing it first with the brown and then going over with the black, it doesn't look flat. This part here, Okay? And now what we need is a cast chateau. So we will need a cast shadow from our bubble here. So I'm going to add a bit of black right under the bubble, and then with a gray, we will pull it out. So I'm going to use a gray here to kind of blend the two together. And one thing you can do is I'm gonna use this red brown. I'm going to add a bit of this color into here into the shadows, so our shadow doesn't look flat, and it doesn't look colorless. So this red round has enough red in it actually create this impression off the shadow receiving reflected light from the bubble. They can gray it out more if it seems to read, for example, or to brown. Remember also that the darkest area is right where the object meets the surface where it stands on creating that shadow here, having a bit more of this black just a dark in it up a bit, and you can see that by dragging it out. So we have kind of a very way have a diffused light here, and the shadow is not very precise. So we don't have that oval shape of the shadow on the ground. And also on here. Just a bit of that. Black were the shadow meats where the plane, um, flat plane meets our object of here. We go into tonight a bit of yellows also here to indicate the reflection of light shining into the shadow from our object in a bit of those rents. And now we blend them out again. And this way, if it's too colorful, you can always dial it down with gray. So I'm using pencils here just because it's a lot easier to control a sharp tip, like so, marketing it up just a bit because we have quite the dark paper. So we need the shadow toe look slightly darker than the paper. Andi, there we go. Our beautiful bubble is almost ready. Now, the last touches that we need to do is we need to add those highlights. So here I see this beautiful highlight happening were the shape meets. So the round shape and this next thing here I'm gonna just add a bit of this more does brighter red here and also the highlight. So this highlight to stand out just indicate where the light is shining from and that is it . Our bubble is all ready. 4. Gigngerbread man: in this tutorial, we will be drawing a gingerbread man. So I have my reference in front of me. You should have it in your, um computer or printed out. And now what we need to do first is we need to sketch out our gingerbread man, so it's very easy shape. I'm going to use my weight pastel pencil, and I'm going to see approximately how my gingerbread men fits into the page. This is the body. It's kind of Squyres head and then from the head. Here we have those legs, maybe just a bit too long. So here you need to just copy the shape that you see. I chose this top view on purpose, so it's easier to draw, so there's no perspective happening here. Basically, we're just looking at it straight on and another arm here. They don't have to be identical. They don't need to have the same angle because it's a biscuit. So being a biscuit, it can have different shapes, can bear I slightly so no need to create it, identical to the reference. So here my gingerbread man will have a scar. I'm adding this just sketching out the areas just so that I already place my features. So here will be the eyes and the mouth. Then the buttons. Of course, we can make them just a bit larger. I want to make them just a bit the bit larger. And I will not make him identical to the one that I see on my reference in a way that I wanted to be made out of dough, not the frosting glazed on top off a white biscuit. So I wanted to be made out of dough gingerbread. So here it will have a shadow forming on it on this side, like in the reference. But it's not going to have that white edge happening, so the bottom biscuit will not be present. And the first thing that I want to do is, of course, I will start by adding the color, and I'm using this color that fits my color of the dope and passing it all over my gingerbread man. So I'm just adding a glaze of color for now. I don't want to cover the paper and saturated completely. Here we can leave the scarf B and fastened to these arms Also, one important thing is that I'm using that pastel on the side so that I don't create those sharp marks anywhere, and I create a consistent layer off color everywhere, and it's a lot easier to cover large areas in this way. So when I've added one color, which is the base color of our gingerbread men, I can add some of this brighter, richer color in place has not everywhere in places just to show that it's dough and that it might have been baked some places more and in some places less. Also, some of this lot eater color the same way. So when we're baking over Ginger Brigman, one side of it might be crunchier and the other one is softer. So here the first layer is done and we can start lending. So I'm blending my pastel layer into the paper, and this will again, as we've said before, hello, me to apply more pastel layers on top. So for now, our junior with man looks flat. It does have these different colors in it, which is good because it doesn't seem that it's made out of one color only. So it has, uh, difference is happening in himself. Lighter, darker and is going to give the impression of him being made out of dope. Okay, next, I'm gonna go back to my first color and start chatting a bit of texture, Just some places. This is quite a hard pastel, and it's gonna give me the beautiful texture. Also, with this brighter color on sad, a bit of texture here. Okay, so now that we have that, we need to add the shadows so you can use a darker pastel to have the shadows or a pastel pencil. So something dark brown going to use a darker Pasto because it's gonna give me this Richard Color and I will blend together this area were the two meet. So these two colors meat and add a richer color right on the edge here between the lighter area in the darker area. Okay, so you can see already that here it's it looks as if this side of his head is in the shadow . Okay, so we have the shadow all the way up here. Then on his arms, he will have the shadow alarms as well. We do the same thing. We pass with the starker color first. Then we have the Richard color and blended towards the inside. So agreed that sharper edge on the outside. If you don't manage to do this words the pastel stick. Try using a pastel pencil. So this way he will stop looking flat now that we're done with the shadows over here again so that Richard Color just decreed the beautiful transition. Okay, we will still be doing also cast shadows, so don't worry about that. And now on the other side, we need to add highlights. So this side is facing the light and it has this highlight. We were here. The same way goes for this arm. It will have the light orbit on this side also on the body. So this also kind of implies that thickness of our gingerbread man. So this area that catches a highlight is the thickness of the miss Get itself okay. And this leg as well as this, you hear, is going to catch up with highlight. Okay, Now that we have done that, we can start and add. Actually, I want to just a bit thicker here. You over here with shadow, is just to show that thickness better. So this is the beauty of last tells that you can work and rework one in the same area many times. Okay, Now we can start adding those features onto our gender. Bergman and I will start with a scarf. So I'm gonna add this red using a very bright red so that my gingerbread man has his beautiful, beautiful scarf happening. And over here. So I'm covering the whole scarf first. Yeah. Next we can blend this in, and then we will have details on to it. And then with a darker red, we need to add volume to our scarf. So minding the shadow where the form curves away from the light, blending the two together Also, this better with the scarf here has shadow on the left. So we're keeping the light source consistent and towards the bottom here like So Now if you don't have dark enough red for this, you can always use past open So a black one by glazing it on top of your red, you will create a darker color from passing over the year. Yeah, we're I passed with my dark red to create a sharper mark and the darker mark here. Okay. And here There's also a bit of shadow created where the scarf meets our gingerbread man on top here. Okay, Now we can use our later color to actually add highlights. And this is going to bring up that scarf and make it more. Make it have more volume. And it's quite glossy itself also. So here, But that light happening here as also this side is going to catch the light Does it's turned towards the light like so then here we can at those if the ornament on the scarf create. Maybe those tassels the took off the scarf and add some shadow teach tassels. Well, okay, now we have that we can turn to our face and buttons. So let's start with the face and I'm going to use the black pastel for this. And here I'm going to place the eyes. So remember where you drew them in, come to place the eyes incorrect the shape with a pastel pencil. So if I were to draw with a pastel pencil those eyes, it wouldn't be as thick of a layer as when I use the pastel stick. So it gives a richer amount of color. And now, to make those eyes stand out just to get them thickness with a white past help. And so I'm going to add that light area as the eyes themselves air turned towards the light . They will have the highlight on the right side here. So maybe just a bit bright enough, this highlight on the scarf over here just to make it pop. Okay, next, we're going to do the mouth and for the mouth. Actually, I'm gonna first line out the mouth with my fast health pencil. And if you haven't layered too much pastel onto the paper, you should be able to actually get a pretty decent coverage with pastel pencil alone. But just to make it more dark, blacker to say, going to add the line with a pastel stick. And here again, the areas that are facing the right side will have highlights on them, like so. And now I want to take my dark brown and creed that little cast shadow from each of these elements onto the cookie itself. Hope too much. Okay, well, here I went to the dirtied. My eventually can always corrected with another layer of pastel. Now I need to add his cheeks, and I'm gonna use the same things that I used for my scarf just to keep it consistent. And we're gonna add the cheeks like so spend the buttons. So I'm adding the buttons. And once again, I'm correcting the shape with the pastel pencil. So I have the main pigment on Where did the pastel stick? And then I correct the shape with a pastel pencil. And now, with the white pastel pencil, I will add the highlights on the buttons like so. And then we need to add a bit of a cast shadow on two. The biscuit itself, from the buttons. So in the same direction that we have light and shadow on the gingerbread man himself led light and shadows on the buttons here. Okay? And now what we need to do is we need to add those Furley decorations on the arms and legs . So did you that I'm gonna use it like yellow. And I will start creating this pattern so it's quite large, not tiny zigzags. And I'm going over creating quite a thick line. It doesn't have to be consistent. It can be thicker. Some places and thinner and others This is the frosting on top, remember? And I'm going over all the areas of my gingerbread man where I see that zigzag e line here , he actually can go crazy. You can create your own patterns on the gingerbread man by using the pastel stick. It gives me the ability to actually create that thick frosting impression. Okay, now that we have that, I need a shadow color, so I'm gonna use the dark, darker around pencil. It's actually create the impression off this part off this frosting turning away from the light. Still here, here, hold on. Parts that are turning towards left. So and now the cast shadow with my have to be careful here. I'm going to blend it with the pastel pencil here just to create that compression of the cast shadow from this frosting mint. Okay, again going over here. So where there should be cast shadow on the left side of all my frosting that's and blending Attend with this warm brown so it doesn't seem as if it's been just drawn here. The cast shadow and blending it into the cookie itself. Like so next. What we're lacking is the cast shadow from our gingerbread man himself. So in areas that he touches the table so closer to the gingerbread men it's going to be darker. And as a guard, them too much red. As it moves further away, the shadow is gonna spread out. Disappear. This way, we can also correct the shape. Also here, there's going to be the cast shadow on the left, and it's going to spread out as it moves further away from our gingerbread man. Okay, also here and over here. And we can just indicate some places where actually touches the table here just to give that sharper edge to our gingerbread men. Um, here we go. Hour Gingerbread man is already just gonna fix this much bits a bit and he looks good to eat. 5. Snow ball: for distant Auriol, we will be drawing a beautiful snowball and again we will be using some supplementary materials that will help us to actually draw out the shape correctly. And I will start work with white charcoal pencil. So I'm gonna please my tape on the paper and draw around just to create that beautiful bowl where we will be drawing our beautiful bird inside and next we need to draw those ellipses for the stand that the ball is actually standing on. So one thing to remember about ellipses there constantly in perspective. So we always see them in perspective. We will never see them completely flat. Maybe if one level develops is we will be able to see flat. So if you imagine that this is our stand where the ball stands on. So the more we look at it from above, the more open these ellipses will become. And the top Phillips is always going to be less open than the bottom one. So this is what we have to keep in mind when drawing these ellipses. So for that I'm imagining weird This ball is going to be attached so approximately just a bit above the bottom line, I'm going to draw out the widest part of my top ellipse. And actually, we didn't open it up a bit more, and I see this one slightly open like so the part that is closest to us because of the perspective is going to be bigger than the part that is further away from us. And now we need to do is we need to draw a beautiful ellipse here, like so next I see that it becomes slightly wider towards the bottom here. So I'm gonna lower this access where the Ellipse is actually built on. And I need to measure that the scallops is larger, then the 1st 1 So if I put like so I need to be able to measure the scallops and should be smaller than the bottom one. So this fits fine. And here I'm gonna make it just a bit larger. Also, what's useful sometimes, actually, most of the times is to do a vertical access and check if you're distances are equal. So here I almost guessed it. And now I need to draw another ellipse, and it's going to connect into that one. So here we will need another smaller Phillips. And again, it should be just a bit bigger then the other l apps that we created the 1st 1 just to create that connection. Okay, so this is basically the drawing for Powerball, and what we need to do now is we need to draw out that bird. So I see that the bird is occupying approximately that if we divide this ball in half, it's occupying the top half off the ball. And I'm just drawing out silhouette. I don't need to draw this bird very detailed. Just need to make sure that it's understandable that it's a bird. Here we have those branches, okay? And we can start adding details to the bird. So I'm looking at those colors where the colors change from the head. So here there's quite a straight line, and then maybe the chest is a bit bigger. And then there is another branch here and here we have those wings on the tail. Okay, so now we can start adding collapse, Toby, using these to graze when his greenish grey and one is, uh, warmer gray, plus a blue to create the background for my snowball. So I'm gonna cover all of my snowball with these colors. This is the warmer color. It's okay if we cover the areas where the branches are, it's useful to draw them out just to remember where they are located. Your brain is still going to remember it, and I'm just leaving the bird alone. The rest I'm covering with the pastel, so I'm adding some blues into it. Some places simply says more greens. I think so. And now we can blend it all out. So here, if I see that I'm lacking the pigment, some places I will just have more just to cover the color of the paper once again. Here, we're doing more of an illustration approach as we are not going to be creating a detailed background or anything. So here we're focusing on Leon the snowball itself, and you can see how adding these three colors immediately gives us a more interesting color in total on blended, because if it were just one of the same, it would look very don't so using the same value. But different colors really helps when creating, uh, on object that is only one color, so I'm lending a toll out and here with the white pencil, I'm going to start adding that highlight on this side. So I see that there's the highlight. So it's easier for me to correct it already with the white pencil instead of just going with the pastels in there. Okay, Next we do is we start drawing the bird And what the bird I'm going to start adding that black beak going to have the head first. We're not going to be drawing any eyes or anything here because they are not as important. So we need the excuse me. We need the snow globe to be the center of attention of the bird. So the eyes are not is important. So matting those wings with the black pastel always working on the side. Next I'm going to go into my yellows and we're going to tell me here where you see these yellows again, switching up the colors. I'm not using only one yellow. I'm using different yellows off pretty much the same value just to create the more interesting appearance. There's some of this yellow also here on the back. Then we go into lighter yellows, not going into whites yet like so then we have the greys. So we're gonna use the same great that we used for the globe for the bird as well. Then it's going to unite the image. So here I also see that dark black on the back of the bird as well. Like so and now with the white, we can start doubting those details the lightest areas of our berg. Here we can balloon stuff. Just blame Gray. Okay. And with a past open, so you can always correct the shape. Okay. And here I see also that the bird has this beautiful white chest. It's lighter than the color of the dummy. We're gonna add that next we need to do is we need to add the branch. So for our bird to sit on the branch, I'm using these movements of my pastel sexually a little tiny bit of the past out that broke off, and I'm using it to create those kind of jacket e lines to indicate that it's a branch. It's going to be sicker at the base, on sinner, towards the bottom. There is also this branch going here a bit, and I'm looking at my bird and I see that this head this slightly just a bit bigger gonna go. But with the black here to correct the shape. So I'm just using one brown here. For now, it's very useful to keep these little bits of passed out that broke off. It's the wrong Brown to be able to create these tiny, tiny details. Okay, now, with the black, I'm going to add the shadow to it just so that it doesn't look flat. And also later brown to create some areas of highlight on my branch. Okay, Next, we need red to create those beautiful Berries on. I'm going to use quite wrote, read and add those Berries onto my branch couple here, here. You don't need to go exactly as you see in the reference you can stray off a bit and with a black bent so you can use a darker red or with a black pencil just to create. But the shadow on goes Berries. I'm not using a black pastel because it would make them too dark with a black pencil. It mixes in with the red, and it creates that appearance that we need just adding a bit of that. Then we see that our great becomes a bit darker. So just this coming here, here at the bottom, where we have this ellipse need to show it so that we show how this bottom part is actually shaped. So the bottom ellipse here and we're showing that by adding it's likely darker color here. And then on top of that, we go with the light, I think, to create that edge of the ball itself. Okay, I had a bit of these Berries blown over my work. We can fix that in a second. There we go. OK, now let's deal with the bottom part and in the bottom we have the light shining from this side. Actually, we did the shadow. We need to do it on this side more and let's have the color to the stand where Glow was actually standing. So my 1st 1 color and then into that color, I'm going to be adding darks on the right side, and some like her blues on this side, which we will then also my top top off. I'm blending it vertically because it's basically a cylinder that we see here, and only this part where it touches the ball, we can blend it ground. But here, just to intensify the sense of that shape band, it's even darker, cooler gray also over the top off our light of all warm, great, like so next week. And add the highlight for now on this side here, strictly vertically because it's a cylinders, I said, And the light is going to reflect off of it vertically. Here, there's this pitch. Actually, I made it a bit too long, but it's perfectly fine, not very proportionate to the reference, but it's perfectly OK. So with the lighter blue, we can continue this highlight on this side and adding also this great for it's the bottom here we can handle. So we're greener. Great. Like so And now with the pencil, I'm going to start Thio More detailed highlights home to the drawing here, you of shadow. Okay. And then with the black pencil, I'll start doubting, goes darkest shadows here like so here you will see the shadows. It curves around the ball like so so here. And some of those lights hope you reflecting also on this side, but not as white as on this side where we have the brightest highlight Clinton under here. So be a little shadow under this thing. Part that kind of bulges out slightly. Okay, so we can darken it just a bit more. I'm gonna use my past open so out of the darkness, blend it up just to make it. I feel as if it's curving round writing that highlight here and now we're gonna add the highlights on our sphere. So for that, I will be using a white and a very light color actually can be even bank or light, light blue. So depends on what you want to be reflecting off of ours. Fear Here. I went in with 30 finger here. I need to have more pastel because I didn't okay, like, so I'm gonna clean my hands now on. I'm going to start adding those highlights, and I think I'm gonna be using a light blue on white for this. So what? This light blue going to start adding those highlights that are decide here and we're going over the Berries here just to show that the glass is Actually it's coming towards us more than the Berries. So the Berries are inside the class and here over the blue bus with my white. So here we need to show the thickness of this glass. So don't go with the white all the way until until the edge of our bubble. You need to show that there's a thickness of glass here. It's not very sick, but there is still this thickness happening and again switching between my whites and blues , so littering them one on top of the other. I'm creating this highlight here. Okay, here rules or have a lighter highlight. Let's make it blue here. And this is the way we actually carving our shape off the sphere on, like on the bubble. We're going to be adding older reflections that are going to go according to the shape of this fear. Okay, just a brighter here and over here we need to add those windows reflecting and they are reflecting. The reflection is curved, like so covering the Berries. This is why pastel Matt is great because you managed to cover other colors easily. So I'm just adding them as one shape for now. Like so, there's another window reflecting here. Those so bad but lighter color towards the bottom here, and we need to add those separations between that window panes. I'm gonna add this with a black that's open, so it doesn't have to be a first. All pencil can be charcoal pencil. But this way we can indicate that the windows air separated like so. But here there is a light happening on top as well. Okay, Andi, curving this highlight A swell. Okay, so now we have our lights in place. We can start adding this now. How do we had snow? So we take our white and we start crumpling it on to the paper. So imagine that that we're both was shaken and we have these snowflakes in there. No, I'm gonna take a pencil. I'm gonna do is I'm going to rob this past out. So where there's too much can remove it easily. You move it around a bit and then go over it again, rubbing the pastel pencil like so you can use the pencil. So to remove it in places. For example, if I want my brunch to stand out more here, you can do that. And with a neither eraser going to clean up the areas around it, do you have more? Shafter. I want to clean up the areas around my snowball. Another tip that I can give you here instead of blowing, because for me it's very difficult to actually pick this up and then place it back. So the camera sees everything that I'm doing when working, but you can do is you can lift your drawing and just tap it against the table, and it's going to take all the excess pastel off of it. But anyway, we could clean it up with a needed eraser. Okay, when we have our background cleaned up, one last thing that's left is to actually add the text. And again, remember, that's going to go according to the ellipses that we drew here on, Let's right, a text here actually need to sharpen. Take a sharper pencil so it sharpen my pencil, and now I can at the text here, where there's a high life, it's going to disappear slightly, and now, with a white one, I can take some places and make them later. There we go, thinking just pulling it back slightly. So it's not this sharp. And there go. We have our beautiful Christmas Eve snow globe