Color Pencil Drawing: Beginner to Advanced

1. Color Pencil Drawing: Beginner to Advanced: Hello, my name is Ava Mardi and welcome to my introduction to color pencil and drawing course. This is the course that you will learn all the basics and techniques of color pencil drawings, which doesn't need to be as low medium. You will let all about color wheel and color combination. And then I will take you through all the color pencil techniques such as layering, blending, fading, burnishing, and many more. You will also learn how to draw with pencils to create different textures with any brands as you wish. You don't need to look any further. This course will take you through all the do's and don'ts of color pencil drawing. Then you will learn how to draw many different examples of realistic hair in different colors, Learn from anywhere at your own pace and place. Let's unlock the secret of how to create these beautiful different skin tones and pencil combination for your portraits. Learn all facial features such as eyes, nose, lips, and complete portrait drawings and colorings from the beginning to the end. This course is for everyone who wants to learn freehand drawing without tracing, want to learn how to draw freehand, then this is the course for you. I will tell you all the colored pencil you need to use for an easy follow along experience is important to understand difference between color pencil brands, where to use them, and how to use them. All lessons' projects include free outlines and resources to assist your learning and push your further with your practices. Let's learn how to properly color and blend the skin around facial features and complete portrait to look realistic, but in your own style. You will also learn from beginners' portraits, working your way through to drawing and coloring advanced portrait with your new gain confidence, please remember that you can use any kind of brand that you want to learn now and improve your colored pencils skills. What are you waiting for? Come join us now and let's learn more about color pencil drawing together. 2. Introduction to Color Pencil Techniques: Hello and welcome to the very first lesson. In this course, we're going to cover all the techniques that you need to create beautiful artworks with your own style. So this is just the beginning and we have so many lessons to go through. So follow along and all of us share your practices and questions. Now let's start. So as you can see, we are going to start with the first sphere. You always have to follow my hand movements and see how you're doing. And also at the same time, please practice. So here we are drawing very plain hatching lines for the very first sphere. You can see if you're dividing it and also various gonna be more highlights or less highlights. So please follow the hand movement. Pick up your pencil. Any brand would do. You don't have to be worried that I have this pencil or I don't have that pencil. Now you can see we start at the very, very first line. We're drawing very plain hatching lines actually here using cobalt blue. So as you saw going to start from the very first hatching techniques in this lesson, hatching usually can get divided into three versions. Now we're going to look at all the free models together. In each hemisphere. We're going to do different techniques, actually, different hatching techniques. It just fear has a top line above and front each line, as you can see, my hand moving, it gets darker and darker going towards the end. For this sphere that I'm drawing, the hatching lines, we draw from light to dark with equal lines as the OC, the light should be drawn from bottom and goes up as it feels like you're throwing your lines up just to see how you're doing, just throw it up and you have to keep layering up. The first layer should not be so dark guys, make sure that you start drawing very subtle way. And then you add layers either as shading, hatching, or actual drawing it on your model. So we are adding more layers of lines to make it stand out more and work under root line Motown's part a little more and make it more obvious. As you can see, the amount, number of layers you create depends on you actually, but don't get rid of all the whiteness of the paper, please. As you can't bring back the white highlights or draw them with white pencils later. So the second one, crosshatching. And again, we are using our cobalt blue ones. You can see on the screen what is crosshatching? Please always follow the writings that appear on the screen. Those are there for you to teach you more about, like the definition of everything we're using. In the next technique, we are going through some crosshatching, as I mentioned. So what is cross hatching technique? There are a combination of up and cross lines together crossing each other. So again, we follow the same technique as we did previously in the previous sphere. Please look how the lines are so equal from each other. Now, this part, again, the lines are equal. We kept my hand movements. Follow along. Drawing circles is quite easy. You can do it with a coin, freehand with other tools. So don't let anything like prevents you from practicing. Guys, these are actually very important practices, so don't ignore them and start practicing because later on, in later lessons we're going to do some very advanced portrait. You will need all these techniques in order to do a dose. So it's good that you understand the definition of what is hatching, crosshatching, and so on. You can see we are layer up here. Keep repeating. Repetition either in practice, in life, in everything is good. Well in some water, some stuff, maybe it's not good, but mainly repeating stuff and practicing is very, very important. So we're repeating the same pattern to give more layers is more feel like a 3D feeling. So please follow the handle band. You can see if we add more layers to the previous sphere, becomes like we're giving more shade onto it. Just feels more real. We keep repeating it. Even though we keep going around from different angles. We're still careful not to overdo it. Not to give too much shade or less. Just all of them to feel the same. So if you feel that you need to erase something drove at it, as I mentioned, repeating the same pattern to give more layers creates a Friday feeling. So if you just let go with the first, second layer, well, that's good, but it's not good enough. So you need to be patient, especially with colored pencils. However, I have to mention in this course what we are technique, the color pick thinks you're using. It's a little different from other courses. I can say without a doubt that you have luck came across or seen before because we want you to complete your artworks faster and create your own style. So this is a little away from traditional techniques that you have learned before, as you will see in the next lessons as well. You can see I keep going back. If I say that something needs to be add-on, I kept doing it. The pressure that I bring onto the paper is not a lot guys extremely careful with it. So the next one we are doing, we are still using cobalt blue. I have to say blue is my favorite color. Maybe that's one of the reasons I'm mainly using it, but we will change the color in the next few spheres as well. So this is style is pointillism hatching actually. As I mentioned, we call it pointillism. It takes a really long time to do it To be honest video. But the end result can be very interesting. When we go up to this, we're, the dots should get reduced. This technique is great for details and textures that required like this kind of technique. I have to mention For sure the places you need to show more, use more points or dots, I have to say. And don't forget not to lose the highlights parts of the paper. I mean, the whiteness of the paper when it's three cars, because if you fill up, everything is going to be really hard to get the whiteness bag. So you can see we are keep pointing and put dots on our paper. Yeah, it's kinda takes a really long time and I barely use these techniques myself, but you need to do it at least once to have a feeling. Do you do I like this or I don't like this? Keep looking at my hand rules. Have a piece of paper and follow along. When it comes to the papers. Of course, when I buy one, I tried not to really go with a good brands. Because when you are doing your main artworks, really worse, you're, at least you choose a good paper which you have it on your downloadable resources on these scores. Make sure that you go through them and download them and see what are the good brands that we have introduced to you. You can see the top part has more highlights on it. So we leave it, leave it empty. And keep the paper as whiteness. Look at the hand woven and keep repeating the process, adding more layers. You can see we keep adding more dots the same places, just erasing the line, the guideline line as I draw at the very beginning of the circle. If after a few times practice you don't even have to draw the guideline lines. You can just straight away go on your model and dry it. As I mentioned, adding more layers, guys means a more realistic feeling. For this. You don't need to have a very sharp pencil, but try not to damage the paper with the tip of the pencil as well. Not to put too much pressure and take your time. You're does try to M2 looks like That's because at some point you get really tired and I say, Okay, let me just leave it. If you don't add more layers, is not really going to look like a realistic look how, how much we add more layers on top of the other dots is kinda feels more 3D version. Keep repeating, keep adding. Careful to make sure the highlights gonna be intact. Moderate your layer because when it goes up, reduced the dots, as you can see, like give more gaps as you can see again. The paper I'm using actually is a paper that it is suitable for. For this kind of drawing. The brand is called Cass Art. Actually I bought it in London. So however, we do have a lot of different papers brands that you can use instead of this one, all of them have been introduced in your downloadable resources. Do go through your projects and also assignments. Don't forget to read them carefully and follow along because that those can help you to get better and better at this. We are almost at the end, so no worries. It's gonna be finished soon. Well, it is a very, very different technique. It takes a really long time to do it at. Sometimes it's really worth it. Good things comes when you have patients. Hopefully. So now we feel, yeah, Almost done. All three of them done different versions of techniques. I'm quite happy with it, so I think I will leave it as it is and move on. Start moving onto the next one. In this sphere, there are two parts that light shines on them. Again, I'm going to divide it as you can see. We're still using the same color. I promise I'm going to change this into next one. As you can see on the screen, delight, natural, it should be white, the white of the paper. This is fear is one of the important ones as this technique, we're going to use a lot in our color pencil examples in the future ones. Please follow the hand woven and makes sure of your hand pressure. Depends on pressure and high pressure. Gas is very, very important. Don't think like, okay, Any kind of hand pressure and pencil pressure would be okay. After a while, after a few few Thomas practice, you will get a handle of it. But you have to be careful of your hand movement and pencil pressure. The cat they hammer when it's circular motion is circular movement. We're going to use this a lot, a lot. I can say without a doubt on 90% of the lessons that we're doing. Even though this is not really realistic, it looks like very stylish your own style and near realistic style. But it's not realistic because in realistic color pencil, you need to like add lots of layers with a really sharp pencils. So this is actually called blending. Blending is layering color or colors together on the surface and keep. As you can see, you have to add layers, It's on it. Then again, here we should care about the divisions and how we should move across the sphere in circular array VV, the white part, leave it alone. Don't touch it if it's not needed. Because how much you try, it would be really hard to bring back that whiteness of the paper. You can see where I stopped my pencil and not really go entirely on to the main highlights. That top part is just saw adding more layers with minimal, minimal light pressure. Now, we're almost like starting to do the second layer. I have to say we have like added other parts, like kept going on it. But this is actual domain layers. The layers we are doing. They got the hand move and put. This time we're going to put a little more pressure. The first layer should be like minimum pressure, but in the second layer, you can add more pressure. So everything has its own formula. Life, try not to really make sense to give a love of pressure of, at the very beginning, you have to moderate and see where it's required to do that. Again, in circular motion, we are giving more pressure. Round, CV, keep going back and forth. I don't just let go of one part here mainly, or Hamilton's very important. So don't forget to do circular movements. Keep repeating. Repeating and practicing. If I let go here, it's kinda feels like, Okay, it's not done properly. So we have to keep practicing. If you have to keep layering here. When you have a pencil and a piece of paper, when you start doing it, it's very enjoyable. It's like an art. Art is art photography as well. It doesn't have to necessarily like, makes you like, okay, I need to create a perfect like artwork. It gives you a very good feeling when you started doing this. This is almost a third layer because you can see the first layer was like minimum pressure, the Second World War. And now this is almost a third one. I'm adding more and more. And when I add more layers is almost near the bottom parts rather than the top part. You can see, again, we are adding more pressure, circular motion. Usually in realistic drawings you should not have graininess, white graininess of the paper. So make sure that you live it. Keep repeating. C, opt on this, going back and forth several times. I just have to wait to see that. Okay. How much is needed, how much we don't need, like, and keep doing it. And of course put your phones away while drawing mode like me. Now, I'm going almost general parts is like not details but mostly like repeating the same pattern as you can see. But more in general way going around. It's not. Now more details. I will just say for realistic drawings, make sure the graininess of the paper goes away. But we don't mind for this technique, for this course. We keep them intact. We still have them. It's kind of a beauty part of our discourse because you will see different refresh technique that may be other instructors don't advise it to you. And of course you can finish your dry faster with this one. Each part has a certain degree, like very dark and medium. The mid tones should be done precisely and it goes towards the highlight. So this is our white Fulbright Council. It's another technique of burnishing. As you can see, look how the color is going to be different. Because we're going to learn this color pencil techniques with using white paper. You can see how the colors changing fabric, castle white pen pals don't have much burnishing power onto them, but have a look how they will look like still as good enough. If you have this brand, you don't really need to go to buy another brand. One thing I should have mentioned, very beginning. Don't think like, okay, I have this brand. Do I need any brand? Do I need expensive brands? Anything you have, any kind of color pencils you have, please keep using those. If you want to keep practicing it. And this is a courier, like a path, you want to keep doing it. I would have y, z, or maybe get a 24 or 36 set of our castle pencil. It's really worth it because you can use it for a long time and they are good-quality. One of the best qualities out there. So you don't have to go for other pencils. So even though in this course I'm going to teach you different brands, but it's still just choose one. Don't spend too much and get the right top on. If your brand doesn't have cobalt blue, just use normal blue, then. As you saw, we burnish through it using the white color, which makes the work really looks richer and softer. Also, it will show this paper graininess. Why using the white one? Now in order to make our bright parts of we use some arrays are before we go, before we go to the next sphere as we're about to start. So we're going to use purple, violet, and magenta. Again, maybe you're set doesn't have these to use. Red and purple are pinkish purple, like the two colors that really matches. So here we are going to teach you how to blend two colors onto each other. As you can see if you move to the next sphere and techniques, we are going to use two pencils I mentioned to shade them and also teach you how to mix them and blend them perfectly with the same technique we are, the circular motion. I mean, that we have learned previous sphere. We are going to start off this as well. Very lightly, you can see no pressure like the previous one. You are going to move the pencil from dark to light. One thing I have to match it if you feel that. So, you know, all these techniques, you can always escape or make it go a little faster. But there are some of your friends out there. This is the first time they're going through this technique. So you can go to more advanced lesson of this course. So don't pressure yourself if you know all this techniques to keep watching it or practicing, I add, wants you to do it because even teachers, instructors need to warm up their hands before starting the model. So be patient and practice these ones. Is it worth it? But again, if you feel like, I don't want to watch the introduction, you can always fast-forward or go to the next lessons which are not the techniques. From here. Look at the hand movement and try to follow along. Make sure your pencils, this part are sharp because we are using two pencils, colored pencil here. So we don't really need to go into hyper-realistic. So that's why the pencils are not extremely sharp. We have covered almost as most of the sphere now with airfares pencil, this is the second one which is magenta. Use a pink again. If you don't have, you know, guys, you need to experience your colors and the color harmony. Learn about it. It's not just about your instructor gives you all the information which we will, however, you need to experience yourself as well. Experience and experiments. It's very important because we are mixing two colors. We're going to try not to use lots of pencil like here and keeps some room for the second pencil, which now we are using. My apology for the, sometimes the head shows because we need to focus and see what's going on on your PayPal. If you use too much color at the very beginning of the paper will lose this face. And also we called it tooth of the paper. That will be gone if you use lots of pressure. So it's hard to bring more color onto it if you have used. Now you can see I'm just putting the colors on the side after the second layer with the first one. So we going to include the second pencil, magenta, as you saw, and also the third layer. We eat the same format we did before. Step-by-step. You're going to go through this sphere and add more pressure from the very beginning and release the pressure of enriching to the top. You can see we have layer and we have some sections. They're not going to stay dark this because when we keep adding layers, they're gonna go away. I'm careful not to go to the highlight. Keep repeating going through. I know I've mentioned before, but if you feel like a lesson, it's Alison slow for you. I need to show it in real time, which I think is the best one. I personally, I don't like moving fast forward. Most of the times we will do that in some parts of the drawing, even in this course. But it is really recommend that you watch it real time because you always have the option to go faster. Again, I'm just putting the colors name on screen so you can, you will know which one we are using if you missed it previously. Adding more layers. Now, we're going to add more purple, violet on the bottom part of the sphere is start to add more pressure and go in with Circa or muffins. Now, you can see actually adding more pressure. It's very obvious when you start doing it. Slowly, adding more pressure. Take my time and do it going slowly towards the top parts. So now that we have added this, maybe you start using the other color. Just make sure you're satisfied with everything you're using. Now if you're going to add more magenta at the second pencil, more. And from the very beginning, we have to make sure they blend well together, cause that's very, very important. And mix them equally. The top part should be seen only as magenta and not purple one, or in different cases, the darker pencil you're using. So be careful of to colored pencil you use to. Rpa is the darker one and magenta is C, like lighter color here. So take a darker color should be seeing the bottom part and lighter one's a little more towards top part. So you can see the two colors really go well together, in which you will learn more about colors and color wheel in the next lesson. So don't worry about that. We have your back and teach you everything you need to create really beautiful artworks in the future lessons. This is the very beginning lesson. So always make sure that you're going to keep your spirits up and keep practicing. Also, it's never too late. This is just the very first practice. If you feel after first practice, I'm going to give up. That's not good. So I really recommend, at least for this course life, we go through all the lessons. You will enjoy it and you will come up with a personal style that you haven't seen before. Now, we are even adding more magenta onto the purple and around from the very beginning event, we have to make sure that they are blending well. From here is mainly reputation and how much more layers you need or want to add. This is very important technique as you, if you learn how to mix these two colors, mixing well together, it will become much easier in the next few lessons, color I'm mixing is very enjoyable guys, and it should give an accomplished feeling when you compete. Complete and color of white paper, I have to say. Now, here let's show you an example later on where you're going to learn and practice from. Next lessons are delicious cherries. As you can see here, this is the same technique that you just learn. And you can see where we have used the same technique and near the two lines. And some have been mix the techniques we have used. Some parts has more color, more layer, and some parts lists just exactly how we use. Also on the leaf of the chair, you can see the lines between light and dark and some places you must leave the two colors apart. And some parts you have to mix them together. And you just, just saw where and which part of the sphere we have combined are kept them separate. The highlights of the four can be varied from very bright to less bright. You have to make sure to show the absolute whiteness and create those highlights according to your environment light, I have to say. Now here you can add more magenta and also purple, violet to give mixed feeling or leave it as one color. From this left part is your personal choice to add more colors or not, we decide that you are learning with promised a very beautiful new color pencil techniques that you won't feel like it's too much imitation. And you will come up with your own start and finish your artwork faster than ever. Of course, we are talking about color from some medium only. So just choosing the next sphere and the techniques we're going to use on it. You're going through the last one. In this example, you will learn to combine all the colored pencils techniques together that you will need for this course, we are going to use to colored pencil here. Again, we chose sphere, this one because first it's simple. It's a simple example, but contains all the methods you need to learn and continue. You saw that charities that you just saw on the screen had the same technique. A lot of the artworks that you need to create records. This one's now we have to do the light. And first, we cannot determine where is the light here, which is here. I realize where they place and understand the shading and texture. We're going to use light yellow glaze. Or if you don't have it, use just a bright color. A bright yellow would be enough. For the other ones. We're going to use dark cadmium orange, which they complement each other in very amazing way. Of course, we are going to learn how to draw shadows and create everyday feeling on this one as well. Here, start following the color and the hand movement. Again, you can see any color and any brand with same technique that we will use, different brands and discourse, as I mentioned, to show you how to use other brands, go around smoothly and very lightly, going around the surface and adding more layers without any pressure. You have to complete the first layer in circular movements occur motion. Make sure all the parse our cover, do not use a lot of pressure, please. Like you have it's like you have to manage your pencil pressure. It is very important and I cannot emphasize more. Almost done with the first layer. Now, we're going to go through the second layer of cadmium orange, dark cadmium orange. And starting from the very bottom part and gradually go up as we learned previously in other spheres. If you don't have these two colors, or even if you don't like these two colors, you can use other ones that you feel like, okay, these colors really excites me. I want to use them or even experiment how the other colors used. Like, kinda look like. And I look forward to actually receive in your works. And I could, I could see comment and like accompany you through your journey. And I have to be honest, nothing makes me happier than receiving your projects and assignments and see you have done more. It makes me very proud and happy. One of the best feelings in the world, to be honest. Slowly, we're going through it. It's exactly the same technique we use previous CVD. Other two colors are purple, which was violet, and magenta. Keep adding layers. Each layer we add more pressure. Instead of just sudden pressure, we keep adding layers to create that pressure. Repeating the process. Fizz like almost a third layer, but you still have the second layer pressure. That's why I don't call it a first layer is still. Now I can call it for layer because now let's say the pressure I'm going to use here. Here we repeat the process and add more pressure on the pen. Both paper and pencil, go round through movements and cover all the needed areas. Now, we call this pressure. Please follow the screen and the hand and practice while you're watching is the best. Because if you're just watching, you might forget what we have done. But if you have your mediums like in front of you, it's going to be amazing. Follow along. You have done two things at the same time you have learned and also practice. And also you can send your practices to me, cover all the areas that they need to be covered around. You can see in the mid part, we are reducing the pressure. However, we still covering it. Now with D are yellow color. Again. We go and add more pencil pressure on it. I tried to cover most of the sphere. The middle part of the yellow pencil should add more and create more layers. And since we go up, the color, pressure reduces as well. And they are handled by output, we should put less pressure onto it. As I mentioned, even though these practices seems very easy. But it requires a lot of practice, guys with different colored pencils and different colored pencil combination. I would really appreciate if you do more spheres, more circles, and with different colors and then like practice. Now adding the orange cadmium again starting from the bottom part, adding more pressure. We're going to cover the yellow one that we draw. So it's like blending the two colors together. I get the hand movement slowly going around. To cover is getting even livelier. When you add more color, you can see how lively it became. From here, our orange is going to get mixed well with yellow. And I have to say more in the middle and use less pressure to blend two colors. Well, as you can see, we can keep adding as many layers as you want. There is no specific numbers is all about your hand pressure and how much more realistic you want it to get. We are using the orange puzzle more and more and add more layers. Add more yellow color. Make sure our lines are neat. So they don't feel like too shaky. Just minimal pressure here because we don't want to really get away the yellow color that we have drawn. Be careful. Like minimal pressure. These are the last touches that you tried to fix. Everything that needed to be fixed, such as the outlines of the sphere to look finer or add more layers of color. These details makes your work look much better. Don't let your layers feel separated from each other. So wide-field cell, another technique that we just saw on the next sphere, the blue one that you can see on the screen. We didn't use it on the previous one. We use only pressure on the previous one. Now, we're going to blend two mics. Are we call this burnishing. To make our colors look richer. We don't really need to. Add white pencil to blend or burnished. This is called medium burnishing. Start from the highlight and gradually go down and go through the layers. Using white pencil can be personal choice guys and a style and your own style. Your own and start to use it or not. Some people really don't like it overall are in this course. It all depends if you want to keep using. So you do have that personal choice to get rid of those textures or get rid of those graininess or not. Now, this is another pencil that we are using. The light is coming from this side. And you can see why it is, because the highlights is there. And now on the screen you can see different spheres and how the highlights can look like and where are they placed. So as you saw, we show you, show you over the sun comes in and from which direction in order to create the shadow underneath our sphere. From the top right side of the paper, the lights comes in. So naturally we have the shading here as you can see, which would be the darkest part, that very deadline. As after we draw the black line with our black pencil, we can start adding more, less minimum pressure and add more dark color. I recommend like more dark gray rather than black. But if you don't have it, that's why we are using black so you know that you still can use this color as well. Again here the darker places of our drawing. And you can add lots of pressure at the very beginning to the main line, the outline, and gradually reduce the pressure from the line onwards. You can use a combination of warm gray number six, combine it with black if you need to. You'll also need to use a second color pencil sometimes, or just do it with your hand pressure. So keep watching and repeating place after that. Make sure to leave the highlights and the shadows as well. And don't go all black. A lot of students they do it is staging. Okay, let's finish it. Everything. The same pressure, just black. It's not good. It's not natural, it's not realistic. So don't do that please. Slowly from this side. Make sure it's harmonize. Is done from dark to light. Keep adding layers even for the shading, even for the shadow parts of this area. Here I'm going to show you how to use real blender after this. Because as I promised, we have to use a lot of different techniques. So let me just make sure we have all the layers. And then I'm going to show you what is a blender, which usually you can find it if it Karen dash like brand. They have like real blender that you can buy. I want to use it in this course. It just for you to look at if you want to use it in the future or not, is a personal choice. Now, this is what it's called and it looks like those the same thing that white pencil does, but it doesn't add that whiteness onto it. It just blend the colors and get the graininess away. This is only mainly to show you how it looks like. And you can either use a combination of two pencils. It's called, one of the techniques is called combination of two pencils together and blend them well. Or the other one is called one fell swoop pressure feeling or white pencil combination. And this one, it's with Blender. So again, looking at our cherries, all the parses, her mind vertebrata, which layer? Each part has its own texture, such as the leaf and the stem part that have more pressure onto them. This example is a perfect example of how to use the techniques we just learned on the sphere and use it here. Guys, as you can see this example, we're also done with our main examples. So look at this cherries, see which techniques has been done on it. I'm just going to point at them and you have to guess. And also, I hope you enjoyed this lesson. The next lessons very important. Either right now or have a wrist. Let's go onto the next lesson and keep practicing. So I still hope you enjoyed this part is all these techniques. Please do send them to me and I can correct anything, any parts that needs to be corrected or event just vx change our artworks so we could see your progress at the same time. I hope you enjoyed it. See you in the next course, see you in the next lesson. Bye, bye. Now. 3. Creating a Color Wheel: Hi everyone. We're going to start with our color pencils and textured or non textures papers and how to combine them and learn more about color wheels. In this course, as you can see, we have a paper in front of us. And also we are going to learn about breach paper is going to be suitable for us. Continuing it. I'm going to tell you more about the brands and the nerves of the papers later. But as you can see, if you're using fabric castle a full set, you don't have to have it, even though we are using full set, you don't need to have a complete 120th sets. You only need 24 or four to six would do as good and they can compete. Or our color pencil courses and lessons, either this with one of them or the other one. Don't worry about the brand as well. Any brand would be good to practice with. Now we're going to show you what other materials you need in this lesson. Again, you don't need to have to buy them, but you can watch and learn the techniques and decide which one of them you want to obtain later. This would be one piece of paper won Burn tool and von white pencil. Usually we don't use that blender, it burnish and purposes so you really don't need it. Now we're going to learn how to combine the colors together as now, you know the materials we're using. So let's look at the color wheel and to explain more about it on the screen, we're going to show you how the colors we have and how they should be combined. You have colors that are combined from our tree, main colors, red, yellow, and blue. From using these three colors, we can create more and more wide dry and color layers. So as you can see, red plus yellow, you'll create orange, red plus blue, purple, and blue plus yellow. Yellow. You need to apply minimum pressure guys in order to create these and combine them perfectly. So blending two colors require minimum pressure and good layering in order to go through these colors that I'm pointing out right now. I just mentioned the six colors. By knowing color knowledge, your drawing and speed would be very different and you can create better and more creative artworks in the future and progress through the lessons quicker. Practices in this lesson is essential for everyone. It might sound very beginner, but it will help you tremendously. After knowing the main colors and how they're mixed together, they next step is your head pressure and how much pressure and how many colors layer you'd draw. Determine your next color. Look at the screen and you will see the colors we're going to use. We're going to use few colors. Start by using the Halloween. Reddish color is a blue and a blue. We'll do guys again, I don't want you to really limit yourself because of the colors. If that makes sense. We are starting with the first blue layer, slowly fill up the whole square. Makes sure what you do when coloring their sukha base and you move your hand in a circle way, circular motion. Don't use any force, any pressure at this stage, especially the first layer. You learned this in the previous lesson, how we do this stuff, because this color's need to mesh together. Even though any color pencil, paper due, but I suggest don't use A4 guys. The texture is not sorts of overall color parser and or really cheap papers. You spend a little more, get the right pepper. As you can see, your color won't suit on the paper or blend with Chipera paper. I have to say I will suggest using a texture paper for this lesson. Non-textual. One's a Strathmore Bristol vellum paper. Interestingly enough, even though it says vellum, but it's, the paper are soft and non textures. And when the brand says soft for a Strathmore or they can be sometimes not software, extremely careful, but it is a good brand to start with. Or event Cass Art brands is good. You have all the names on your downloadable resources. You can go through them and get one of those that is suitable for you. So we finished the first layer, as you saw. Now you see the yellowish color we are using. After you finish the first layer of the square, we're going to start with a yellow square, same technique next to it. And then when it combines in the middle, you'll see the green color comes out. Have the same hand pressure and dry practice obscures a lot. Maybe be different colors and the main colors we just saw on the screen. My apology for the head, because sometimes you really need what your drawings, so I want to be precise. So sometimes the head shows and we continue doing this going through. So this is blue plus yellow equals green. You can see the green part is getting created. Now just have a moment, make sure your pressure, the pressure is the same. The color green really is a messaging already. Now if you use lighter blue, the green we'll become lighter as well. So the color tone is important to note as well. So if I use here a darker blue and a darker yellow decline bill become darker as well. It just is normal how this would be this green part? These two colors on the size will affect the middle color. Now if you're going to do our second try with lighter colors. In this section, we are going to use Barbara Castle lite, cobalt, turquoise, and phosphoric acid, light yellow glaze here. There are much lighter colors, so you just see how these two can be combined together. Continue the same pencil drawing and pencil pressure. Just to show any blue and yellow pencil will give you the same effect. I'm going to let you have a loop. Same hand pressure are going to finish the first layer. Circular motion. Try to cover all. Don't leave any part side and take your time while you're doing it. Go around. Make sure your outlines being done in a neat way. Don't go out off the lines. That's what I mean. Now if we'd lighter yellow, Let's give it a try and see if you're using a lighter blue and lighter yellow. What's the difference? What's how the green is going to be different? It's called light yellow glaze. Any lighter color would do if you don't have this once it's okay, you can't just watch and learn. Going to do the same technique, slowly creating the middle part. The green parts. Have a look, We're continuing doing it. As you see, the color green is different from previous practice version. Now going to draw a second layer to see the effect, the green is more visible now, the more you combine your current and give layers, the more softer ending color, you get. Same pressure. Sometimes with a second layer, you can add more pressure and actually, and go around the green and compare it with the left one that we just drew. Understanding color reveals is very important when it comes to just your own style and further lessons here in this course. This one's going to help you really a lot. As you can see, the paper of whiteness still there at paper green in there. So you can add more layers to make the color more pigment darker and brighter. That's why I'm adding more to get rid of some of the white, green and S. However, with our style, it means that we don't have to get rid of it that much. Just enough. That is more towards realistic style. We are seeing the effect. Going through that arrest. You see the green event became like even though his darker but it's brighter. Use the same pencil pressure and sacrum motion to build the color up. You don't need to use different or pencils or white pencil just with the same pencil, you can blend well. It's, your hand pressure is important. You're using more blue since you can't see the white and software paper he uses same hand pressure, circular movement. Now you can't see the difference between birth greens here. The colors we used, your practice and the assignments start here. Any color per se you have regardless of the color, try and combine them together, like these are squares and see the mirror color and what color is coming out. And then submit assignments so we can see each other's corner creation you're at the other students can see and we can come in and go through your practice against. The second practice, absolute your colors. Mixed experimental practice is to actually practice the color wheel. So we are going through the rest of the pencils using medium, the middle cadmium, yellow or red, actually also combining the Chrome green. Later are you always get the colors name and the number online on the screen. So don't worry about not hearing Advil or you just miss it. The colors, numbers, and names always there for you. Go through the 1 third of the coloring to have a soft layer drawn. Gonna continue, gonna make sure we have our pencils. Kind of like sharp, using a little more pressure, circular motion going around. Keep adding the layers step-by-step. Don't rush yourself. Now, we're going to add more pressure and cube the SEMMA, some level of pressure. Now, even more pressure. Gradually do displays not at once. Now it's all about following the hand movements and practice at the same time. If you have done this part, you have practice and you feel like you're very professional in this part, I suggest you escape and go through more advanced lesson of this course, which would be not in this part, mod mostly in the latter ones. Now it's almost the ultimate pressure here. Make sure off the your outlines. We're almost done with the first layer. Now, after this, when the first layer finished, we have to go through a complete or full burnishing technique in order not to see any wideness of the paper. And you can see what is burnishing. Burnish is fair, so many layers or colors like when combined. No white graininess will stay on your paper. You can see the lawyer part. The end parlance does complete red, no whiteness, lift. We had the most pressure. That means burning machine, the lowest part. That's called like ultimate burnishing, because when you do this, you cannot add more color onto it and not more colors won't have an effect on it if you're using other colored pencils. We're, we do this because of those paper graininess as I mentioned. And to get rid of them with minimal pressure, we have to know that cutter plaza requires a lethal beforehand thinking and analyzing what we want to do in each step. Note that gradually how to work on each part. You can see burnishing just not to burnish at once, but you have to keep layering as well. There are some borders in-between because this almost half free colors version of one litre, like at the very top, you can see the light color and then the median, the middle part is just a medium red and the lower one is absolute burnishing technique. The ultimate color red that we could have. Here. We can't see through different color levels that I just mentioned to you. Different hand pressure Ve created these very important in practice because you will have dad on portrait drawings on a still-life drying area thing that you will face in this course or even when you're practicing on your own. This is the blender that we are going to use. You have seen in the previous lesson how the blender looks like. Now we are using the next color, green one. The Chrome green and green color would do guys, again, please don't limit yourself or discourage yourself. If you don't have all the colors in a 120, said, we don't need it. A lot of the colors. 120 said, I don't have a use it and it's useless actually. Like how many times I'm going to use the gold or silver. So we really don't need it. If there's a color 2424 or 36 would do. But if you read in it a color outside dose, you can even purchase them separately. Just one-by-one will inherit your pocket. For the square from more pressure to less pressure and leave a white highlight at the end to give proportional feeling to it. Practice while watching with any color you prefer. This is a little different from the previous one that we layered. You can see from various started using pressure is a different angle and direction. And the half actually a white highlight that we didn't have in the previous example. So previous lesson, during those sphere like practices, we had a lot of light. The light's coming from and where the highlights should stay. This is almost the same but in different versions with different colors. Now you're going to start with burnishing tool. It's usually better to start from light to dark because they don't mix well together. That I'll mix more and that they should. Some cases, if needed to blend more than it needs. So all the stuff from the light part and then gradually go to the darker pods. Look at the helm moment, try to not to put too much pressure going through. Keep moving around. The same technique, circular motion, the cigar hand movement in a very harmonic way. Please do this. Now we are adding a little more pressure. So layer by layer, we do this. Look at the difference between these and few seconds ago, how the color looks like without this part and the lower part. Quite different. It's a little softer. Even though in this one, you see different color layers from darker green to lighter green. It's not just in the previous example with color, but even here in different angle and direction, we have the same format. Tried to live the white highlight of the paper out. Now in the next step we're going to use a red wire. Let's color any red and a dark red would do well here as well. This is a square. We're going to use another color pencil technique, which would be the white pencil, which would be using white pencil. Both blending and burnishing technique. Why there's usually be used for making our colors lighter as making dumb lives and blend well together. Also, it will take the graininess of the paper, as I mentioned to you for your time, is also another feature that white pencil has is that we can create really feeling. The paper on our drive subjects. On this part, we are going to elicit a speedup. So because you have seen it. Now, let's just watch and follow along. Now since we are going full speed, your cilia is in the same technique. So you can see the layers we keep adding and we are careful to go around is exactly the same thing we did for the green part. Now we're going to see how whiteness will affect our work. Here you can see the colors fading after that. So this is done like coloring. Using our white pencil and use a technique, the blending and burnishing. The color is changing. Even the, the colors become paler when white is added. Just fade away some of the colors and merged together. And colors get combined. It has a different feeling. Again. Let's look at the screen and repeat after we're gonna speed a little up because it's the same technique. Let us follow along. The whiteness really gives a very interesting texture. To be honest with you, you'll have to do this very slowly event of rehab hospitals up this one. But yours should be done with more patients. I hope you have followed so far. If you notice the colors became mildly, have two kind of different parts. You're almost done with this part and this trial blending two colors after this VT. The walls you can see on the screen almost the same color tone. A little dark lane and little light sap green. And yet or you can use a lighter blue and darker blue or red or yellow. Anything you'll want would be fine. You're mixing the two colors right now. You won't often is called light green and the other one is called dark Fazlollah green. Lighter and darker as I mentioned, would do. So. Don't limit yourself drawing another square version and start drawing the same way you have learned so far. City and harmonious with the same level of pressure. When you chose your colors. When you choose any colors, please, which here we are using green, use the same color and go next to it. Much less pressure. Look around. You see the middle part is as more and the two sides porous like less color. Follow the screen and hand movement, please. Adding more layers slowly and gradually. Now we're going to choose the lighter ones that we showed you previously, called light green. Combining them to make them look smiler and smoother. This is another version and not our technique of Qatar pencil. Because instead of using two different colors to blend them or using burnishing tool-like such as white pencil or actually blender, or even put too much pressure on your pencil. You can use two different colors, but the same tone. Now you are learning about these two colors on pressure, the Catholic combination, how and how their mics and the tone, the green tone. The result is a lighter green. Now, after mixing these two colors, forget the next level results. Blending technique here would need more time comparing to the other color techniques. Keeping, adding different layers. Look at the middle part and how they're different. The border lies in between, they should vanish away. You cannot leave an obvious border lies between the free, the free parts. You have to keep blending and layering in order to get rid of those borderlines. Keep your pace and move a slowly and then mix them perfectly together. You should not see any line created in-between, as I mentioned, using it a little darker color, see how it's going to be. Any darker you have would do That's why I keep insisting. We can't see the colors should smoothly transitioning into another one. If you see the free pencil lines created here, it means you didn't do right job. If we can see the lives, either the technique with an applied properly and didn't work. Your work wouldn't be considered a professional work if you can't see a non good blending, even in water-like, like careers, we see the same friends or if you're doing makeup. In makeup lessons, if the colors didn't blend well on the face, is exactly the same. So you need to blend perfectly different layers of makeup in order to create a good and professional result. We need this technique for any color of pencil art. For art, we rarely have simple and non mixed colors in a chair. Most of the colors are mixed and bias in nature, all colors are mixed and you can see it's hard to find pencils that have the color we want. Layering and keep layering is very important. So have a look around as a homework, practice and start playing attention to the colors around you. And you will mostly, you will see most of the objects are created from dark, midtone, light tone. The highlights. You can see more layers withdrawal, smoother each layer it gets. By adding more layers, you get a smoother layer using lighter green. Now, now we are actually using more towards not just blending burnishing technique. Let's speed up a little here. Look at the hand pressure. Again. Just because we are going faster. You should do this very slowly. As you sell. Like we added very dark colors from both sides. And now we are going to combine all the colors for the next technique. Look at the left and the right side. How they have blended all so it's more feels natural. Currently. The more you combine them and use more hand movers, the better the blending we look like. We have ultimate like darker color on the left side. So now let's look at different papers. How different they are from each other. We have texture papers underneath as well. Using novae are going to use another version which is called daily or Roni. This move calculations, sketchbook and use our pink pencil on one as Cass Art wanted daily. Roni, I've just mentioned. This one is texture, so this one is smooth using texture paper or kind of sometimes better for this course and this started we're using, but not necessarily so it yourself, any paper you have if as long as it's not a4 is good, just make sure you read on you read what it says before buying. And they should say that it's suitable for colored pencil or a pencil drawing. Now let's look at the textured. While this one is Cass Art, you can see more graininess on it. So obvious that it has way more. And look at the same, it's the same head pressure, same hand band, same color, look at the difference. So it does make difference to paper that you use. This is very important to see. Sometimes I can see the texture paper is easier accepting the cutter because it has still whiteness left and it feels livelier. When using and creating more unique texture. The right side, in my opinion, feels livelier, feel like more fresh, fresh air. But comparing to the left one has a different feeling. Look at the, uh, using a yellow pencil and how they gonna look like. We have to do the same on both. Obviously it's your style and your decision at the end. What paper you use. As long as you follow the chorus and the recommended materials DL, you will get the hang of it. Which one is the most suitable for you? We are trying to same color on the smooth paper. And you can't see the difference between the left and the right side, which is right side is a texture one. Again, it's a personal decision that after a while you get to the point which one is closer to your style. The two colors are quite different and I'm really happy you're worse until now and you saw the difference between two. We are almost done with this lesson. You'll learn more about the techniques. We're almost ready to say goodbye. Just look at the difference between them. How the tones different and how the texture on these daily Corona and cows aren't made a difference. I hope you enjoyed. See you in the next lesson and buh-bye. 4. How to Draw Cherries with Color Pencils: Hello everyone and welcome back to another lesson. We're going to draw charis today. As you can see, the outlines of the chairs have been drawn before and the sketch, they are available as always as a downloadable resources, either a separate sketch or on great version. In the previous two lessons, we'll learn how to draw a sphere and how to color them. We also learned color pencil techniques and apply them different spheres. Now it's time to go through real example, and this is the beginning of our art journey to create beautiful artworks by the end of the course. So have a low carb with different pencils. We are going to go through the outlines and make them more obvious so we could see more precisely do not put any pressure onto it, especially under main outlines. The minimum pressure, the best because we don't want our main outliers to show. At the beginning of each work dead, you start when you're doing the sketch, we should first focus on the main outlines rather than the details. Don't let details to prevent you from drying and take your time. Because if you take your time, you create more precise outline and your artwork will become more realistic. In this example, we're going to teach you how to apply everything you have now so far onto this cherries. But also we're going to go through different color pencils. Drawing the tells us, well, if you ever needed to pause, draw and follow at the same time plays deaths very important. We're going to draw non organized as strokes on the leaf and they should not alter. Look the same. Try to follow the sketch and go through the drawings at the same time while you're watching. If it's slow for you speed up the process with the time icon, dabbled speed, I have to say, if it's too speedy for you, you can pause, draw, and then resume. Look at the outline, is now as time to draw the main parse as well. We call it layering. So you always find a name of the colors that I use on the screen. You're going to learn different red colors being mixed and blend here. We should start thereby dethrone mining or deciding where all the highlights are before coloring it, as it's important not to go through those parts with dark color pencils. You can see just focusing on today are outlining them without any pressure. This far. Look at your model a few times, makes sure that any model that you choose, either this one or anything from online, if you want to choose a good website to get them from, maybe Unsplash would be a good website or pixels or Pixabay, I believe, are good website to go through. Gets a Royal Free pictures if you need them to, or even take your phone and take a picture of the things you want to draw. This is the first layer that we are started. As I mentioned, we are starting coloring the first layer now with our red pencil. Any pencil will do, don't limit yourself to your colors. Or if you don't have them, you can use something else and not our color. I mean, there are some parts of the drawing that there are lighter. So we're going to start from there. As you can see, the texture should be very soft, glow around sucrase OR pencil movement. Also go around the highlights. It's circular motion. You can see the important applause being written on the screen. So follow down. I hope you're actually following along as the same time. Let's focus and see it more. When we have focused on the screen. Bigger. So we can zoom in. You can see better details. We are continuing the work draws smoothly without pressure. We are going to complete the first layer. Leave the white. Please. Just make sure that you don't go on to them. Later on we will add white pencil or even leave them. So you have to make sure these parts are left out. Have a look. We are going to change our panel cell to a darker pencil, darker red. This is the another layer of it, more pressure near the lines, usually the They have more color. This is almost a role that apply in a lot of media is not just this. If we go through our charcoal and pencil courses, you'll see the same results that they are near the lives. We do have the same effect. We tried to places that it actually highlights. Not gonna move our pencils onto them. Start using, after I started using the dark red, we make sure the pencil is sharp. You shouldn't need to use darker colors again, near the lines. Determined darker parse with a dark pencil before starting. So you know where you're actually applying them. Just not just fidelity thinking we start doing it. Usually if you analyze your model, you'll get a better results. Now we're going to move our hand faster as I know the color pencils very slow technique, but in this course you will learn how to finish your work faster. And they will look great. Use more hand and pencil pressure. It go around this. When we try to get closer to the main color of our subject, we tried to use the right colors. So you'll see the names of them on the screen. This focus, Let's zoom in a little. Look at the pencil pressure movement and how the colors look together go wrong with the same synchro movement and practice using the lighter red and Read that you feel is closer to your color. You can use it. It doesn't need to be this brand or a specific brand you can use. For here, medium, medial cadmium red and deep scarlet red would be really good if you have them, if you don't have them still find depending on what you have and it lighter red and a little dark alert would be do I just pointed out on which areas needs to have darker and lighters. We pointed out the highlights. Make sure you want to create obvious outlines around the highlights. You need to go around them. That's what we're doing and faith the obvious line, obvious borderline. Now it's more of like shows the difference between a light red and darker red. Again, make sure you go into the white highlights. I cannot emphasize more than various. Go around. Sorry, sometimes the head shows because we really need to focus and saver you're doing. If you draw, you'll see that you can sometimes get really immersed onto your drawings. It's very enjoyable when you start drawing, get on the paper and create something from the whiteness of the paper. Still, you're using minimum hand pressure and pencil pressure. Some of the students actually asked me what's the difference, will always see sometimes we have less hand pressure, what fit more pencil pressure, but they have to go well together. Now, look at this when we are saying we are using red violet, which is a very, very dark red. That's excellent. When it comes to the borderlines, went with the main outlines. You are going to draw the much darker parts for it, as you can see with this technique, the main shape of the work, they'll come out and stands out. More. Novae are going to move to the top part of the cherry as well and then go around. Please have a look at the screen and keep practicing. Make sure your lines are correct and they don't go out of the lives. So always you can correct them. Some of the main points here, it just, the very initial sketch is very important guys. If you don't, just draw the initial sketch in a correct way, every two even you use absolute, perfect like techniques and color pencils. You're not going to come out nice. So make sure from the very beginning you're building something, you are drawing something from the very first steps are correct steps. This applies to all rule of life. Again, have a look. We are applying our dark red color around. Make sure the blend and fade the absolute borderlines. Always as I mentioned like on the screen, pay attention to the details of your model. And very pushy should put certain colors, because we don't have only one color on every subject, we have different ones. Now we are using a different red color here, a lighter red, almost a second layer, even though we add so many like medium layers, but minimum pressure, now we are adding more pressure. You might ask me, why not this pressure from the beginning, you have to build up to this layer. Because if you have different colored layers, the after, after a while, when you decided to go through the branch and technique, the cutters gonna come together, blend well together and gives you a perfect color. Keep practicing here please. Circular motion. You can see even self-doubt contemplate which area should have what color. I don't rush. I try not to rush and look at the model, analyze it, and going to decide, OK here I'm going to put this color, I'm not going to put this gutter. So now you're using deep scarlet red. Using this is another technique using a lighter color on a dark color. Perfectly blend them together. So it's a very important technique that you have a darker surface and then you bring a lighter color health paraphrase Dan, smoothly blend onto each other. Now, again, using a darker one. Go around. Now we are using purple while it, you might say, oh, this is Richard is white, this white. This is to give the feeling to your subject by using Purple, mainly using around the main outlines and a very unit to give more shadow. So you don't have to actually applied all over and create a complete purple luxurious, but it gives that apps the right highlight, the innate. Look, how reshared the colors are getting. Go around smoothly, circular motion, minimum pressure, follow wrong. I cannot wait to get your practices and continue practicing together Navarre using a lighter red again here around. As we're going around the chair of one more time to hand bovine serum motions again is important. From here as we are using a mixture of pencils and you should already know the colors, either their names and how the color looks like. We keep peeking off the same ones and using the same colors and the same brand. It's the same parallel. Now, after some speedy part, we are going to use another lighter red again, mixing them. Now this is green olive, permanent green olive. Again starts with the outlines. Now going through the green parts and the leaves. We're going to, as I mentioned, we are going to use permanent green olive versus starting with the main outlines and darkening them. Don't use just one color is not gonna come out natural and more real. I have to say it in a realistic way. Darker color. The beginning and the end part of both area, and then a lighter one. The details that you see is quite important. So it's not only about like green colors, but we do have other colors that we need to add, which is called raw umber. After we continue lighter green and we've been through it, keep mixing the lighter and darker ones. You can see the main model on the screen, how it should look like. Always, I changed some of the subjects. It doesn't have to be exactly the same for you as well. The near the outlines darker, but the middle parts, more highlights. This goes both around. Both the leaves. Darker green. The raw umber that we used gave a deeper look onto it. No subject has one layer of one color. It's always a mix. So you need to look at the main, the main picture that you just saw, and give yourself a few seconds, analyze the colors for yourself. See what colors are there. Only green. Where are the darker green? Is there any other color that the obvious colors meet the eyes? Then after a while, just by practicing cutter analysis, you'll become pro. And our artworks become better and better. In terms of color, as I just mentioned, we have courses specifically focusing on knowing colors. If you need to learn more about them, check out the courses out too. As you can see, we have added on slide the lighter green and also the darker ones onto the leaf. Please know shaky lines. And then we are going to keep applying the darker green in-between and create textures. After you've created the line strokes and gradually added colors there. Don't push, just don't press too hard. Cap day how shaky, how different textures we are creating. Especially this part, needs to have more color. Not the middle part, but just the beginning parts. Using a different green, Juniper green here. And also a permanent green olive would be perfect. After this. You should shade the whole thing with the same pressure or shade the area in one go. Each subject will have different areas that are darker or lighter. As you can see, we are determining where are they with this color. Now the same area at the second layer. Not much pressure. Just enough to keep more color. To create more color, I have to say. Now after this we have to use a lighter green compared to the previous one in which I mentioned permanent green olive with three perfect. And then after that we're gonna use a lighter green, maybe 171 fabric acid ones. This means we should analyze the mixed color before. And our leaf gonna come out from rawness is not going to stay at RA with one single color. Continue with the light green until we reach to the point before it, starting with our darker green. Have a look how we go round. Not in all areas we are giving the same color. Go around. Now using the darker ones. Started using the darker green mentioned previously, you darker green can be different from what we are using here. So don't limit yourself. You're going to draw faster, but you can't take your time for the layers stopped the screen if you need to, and draw it and then continue. Now it's time to create some details with more pressure. Have a look at the screen and followed hand movements. That was coming out. Really this part, when you're actually see your artwork loose, more real is very enjoyable. Make sure that the part of the leaf, the colors are different. Severe. Keep adding more layers and make sure redraw the put the colors rife places. From here. Let's watch the screen and keep using color pencils. Make sure even here you don't go to the highlight of the left part. The same goes for the cherries are here for any, any model that you choose. This is the same vein. We are adding lighter green as an additional layer, however, is not sufficient. We need to even add more around how we are going to complete this. It's a very nice way to actually practice this and we are speeding up. Again, careful not to go to the court highlights layer, dark hair color, darker green with lighter green. Keep adding different layers and building up our colors. The way we want to. Never limit yourself. If he wanted to change the color of your model, you still can do it if you don't want to go into hyper-realistic like drawing, which we are not doing that in this course, still does okay. With darker green, we go through the outline and create and give more pressure. You can even do this part, this shaking this like a little slower to make sure that your satisfy with your drawing. But never rush yourself. When you draw the outliers go next to them and give one layer so they just don't stand out to stand there. Unlike on their own. Create more. There's even underlies, refresh the strokes, the places that they need to be refreshed because of the layers, the Conners fates, Sometimes you need to keep adding. Have a look here, spinning up in the cell. I hope you followed so far. We went Alyssa faster than usual. Now we are adding the details. Look at the screen. You're adding this detail of it. Read while at actually not with brown. If you don't have it, you can't use any brown color for this area and then use a mixture of red and also green for the area. Make sure you put the the main lines and then use the cadmium yellow for it? Any Redwood, any yellow would be okay. Sometimes give the hilus around where where we see it's needed. Yellow, any kind of lighter colors. Obviously here was very bright yellow. We can create light highlights with it. Now we are adding darker greens in-between two delights to stands out more. Follow the screenplays Android, you can learn how to deal with these details now, especially this forest. So please flora thoroughly adding darker colors in the end part. Not all of it. You can see some parts of these areas are just left it out. Before going, moving on to the second leaf. Now, we just added the first layer because you have seen it on the left side, left side leaf. So we can move a little faster for this one. Go around. Again, the same technique that you use, different ways. Even though you feel like I'm adding a lot of pressure, but this one's not a lot. We just need them to stand out more. Here. I do add a leaf of pressure, but it's not a lot, so it's too obvious. Mouth feels this stand out more. Some of the strokes as well. Because when you keep adding layers, some of the outlines that you intended at the beginning, they go away so you can always refresh them with a darker color, like how we're doing. But again, don't live them raw. Sometimes go on down with the color and blend them well. You know all the colors that we have yours, we are not changing the green colors. They're all the same, the light green now we are using. Even though if you use a lot which views Chrome green, light green, permanent green, permanent green, olive drawn, a pair of green and light cadmium yellow. Again, just have one light green, one darker green, and one yellow would be enough. Tried to complete. This area before moving onto the next leaf. Even for the next loop, we have added the sound parts of the very initial layer. However, we have to completely satisfy about the dark hair and lighter green that we add onto the surface. Again, darker red for the details and event for the outlines, gave more natural feeling on today, green areas. Green areas always have some brown and there's some Britishness onto them. Not only green, it has brown, red, umber. You can use these colors and combine them if you don't have them, any of the colors, for instance, this one is raw umber, and the OFDM that you want add onto it. And you'll see even the yellow. You will see that your model you're at the subjects feels more natural. Now we're going on to the second leaf with the lighter green and mix it to maybe different, darker green. You know the colors names. That's why I keep saying lighter or darker. Because I don't want you to feel pressure. Exactly. These needs to be the exact color pencils that I have no one light green color and one darker would be enough. We are going through the main outliers, refresh down one more time, as I mentioned before, one more time or even twice. When you keep layering some of the initial outlines that you like. At the very beginning, they go away, they fade away. So you need to refresh them. If needed. Some people prefer lactate gets faded away. But we do want to, for this subject day, who Sarah phase. Always go around the lives and create additional layers. Don't leave it alone. Minimum pressure, even though we're going elicit SVD here, but it's still forgive minimum pressure. Adding more layers. Let's watch and practice at the same time. Same outer outlines with these for the previous one. The same technique. Well done so far, even though it was a little speedy, we follow the line and fruit or the leaf. Now we are done with this area of all our green parts. We can add later on, but it's good that we assert going from our second Cherry. Cherry, you can use red color pencils and this swatch with the real-time and practice after, you're going to start using dark red for the first layer and go through the whole surface except the white highlights. Here we needed to be in the cell dark hair. These parts. This is exactly the same technique. The same the year placement we did for the left side, cherry. Go around. Same hand pressure, circular motion, create layers. Pay attention to the layers here. And as we are using the same technique you learned in the previous lesson. And we use on facial features that we're going to learn in the next few lessons. There are almost the same techniques. So it's important from the very first, these ones, these lessons until portrait drawings. You've practiced his subjects and get used to color mixing. So even on that one, you saw that we use different kind of branding. This is one of the portraits we are going to learn in this lesson in this course. Exactly the same techniques. So if you practice these Cherie, you can easily practice that portrait with the same technique, same cada and layers, and same blending technique. As we have. Continuous first layer of a seeker handball boundless focus on the layers and our hand pressure. We're going to put more person unless you can see some areas exactly have more. And some areas has list. These far as we have more. And leave some areas completely like with less color. Now if you're going to use more hand pressure, let's speed up a little here. As you can see, we are going through this surface and make sure the lines are there and more neatly done. Make sure you just continue and repeat as we did the previous Cherry. Now this go through the parse that in these more layer, the darker red. Now going to use a lighter color. Latter, 142, any cutter would redo. It doesn't have to have certain name. You can choose the color, red color you have from your 24 or 36 pencil set that you have or any other brand? Again, the same thing. We are just creating a certain color that we'd like and go around and create different color pencil layers. After this week, scientists start mixing the red color with an outer layer of peripheral. Here we are using purple Wireless. Have a look how we are using the purple. Any peripheral would do mainly near the outlines and the areas that needs to have darker shadows and feeling onto the surface. Even we are going to study here is still the same technique that we have used so far, but you can always pause and then practice and resume after you have done your practice. Almost the last layer that we keep working, I know I keep going back and forth on both cherries, but the rights are cherry, it was almost the last layer. So this part going to have more hand hand pencil pressure lies unless look actually at it closer. So you could see how it looks like we still have some grandness is okay. Because you don't need to ever, it looks really realistic. Just have to have your own style and give yourself, just give yourself more courage. Any parcel with any white greenness, if still they exist on your paper, you still can complete your artwork. Let's look at it now, even more closer. Using lighter red for blending more, which is kind of goes towards burnishing level. Now, go around. These two cherries are perfect practice, as I always mention, everyone say why we have to always do one. Fruit, like fruit practice or like simple shapes because you always have to start with simpler shapes and subject, then go towards portrait. Obviously in the next lesson, we had to have do's and don'ts is quite exciting because you'd learn what you should do and what you shouldn't. You will learn about while we're having the ice cream subject, which again, maybe it's a little more complicated than this, but still very easy subject. As you saw on the screen, we just drew the outline for the shadow, wherever shade, and also use the eraser where we want to have more highlights. Sometimes you need to use eraser again to bring back the highlights that you have created. Give that shiny feeling onto it. So then again, darker color as you go on it and create fluid, fill up the surface. B are going to continue the layers with darker reds and go around the cherries. It's quite important that we keep using these different layers to make it more realistic. You're just halfway through. So if we need more layers to create a better piece, put Elisa more pressure here guys. Now we are almost towards burnishing level pencil technique here. So you need to pay attention not to overdo it. At the same time, they hand movements, how we keep with the same level of pressure at the color we need to go around. This is the utmost pencil pressure I could bring onto my paper. This is the detail you have to be absolutely careful about. Take care of the borderlines, go around it. The same thing on the right side as well. So don't forget to add more details and pressure followed the screen and the handlebar so you can find more examples to practice from your assignments. So please don't forget to check your assignments out. Now, you might think why we're using a lighter blue. Blame me some time for the highlights. You need it in order to get rid of those borderlines. Maybe it's not a necessary step, but it would be a nice step to learn. Just going around if you don't have it. Thus, no problem, just don't use it. You don't have to go round. Just leave it out. This area. That's why it's just the light-blue. It gives a richer feeling onto the highlights. Didn't stay really. In a wrong way. To say it's like cooking a meal by kooky. Your curriculum materials here, keep using the same one on the leaf as well for the highlight parts. Going around. Now when it comes to the shadow of the subject, you don't have to use these colors to be honest, either black or gray or other dark colors would be sufficient for this area. So don't even think, just make sure you get rid of the outline. I just wanted to see where it should be, so erase it. So it doesn't get to, we don't want it to look unnatural after drawing the first layer. As I mentioned on the screen, all this gets paid off. Your obvious beginning drawing outlines with an eraser. And then started first layer. After this, we're going to use a light purple pink. How slowly we go round. I mentioned is the light purple, pink. Pink would do if we don't have paint, just use your we wanted to give some brighter shadow here, but you can obviously use even your dark reds would be fine with some brown and brown color. Or you could use black with some gray colors. Mixing the two colors together here. Again, purple. Continue blending them. Go round the highlights. This part D pink part is not necessary. So you don't have to do it. The reason why we have speed up this area, it just, you have learned how to mix them. We're just giving more layers, creating more layers around and go through the whole surface. After this, I'm going to use the techniques, the blending and burned should technique of white pencil for the highlights. So you can leave it out what we have, or you can go on it with a white pencil. Let's first make sure we have enough layers before using our white pencil. Make sure to outlines are correct. Going faster, still even if it goes fastest, circular handball bans and same hand, minimum hand pressure. Now, the exciting part when I use like different techniques for you guys is quite excited about for myself. If you don't have white, just leave your whiteness of the paper. If you have it a study using and see how it's gonna go. Don't be afraid to use it and experiment. See how the colors blend together. We are continuing going around. I'm not even per day does bring in too much pressure. Even go round the whole surface, the whole cherry surface. Let's create a smoother texture. So it has less white greenness and feels richer in color. Going to use a little darker for the outline, darker red for the outlines, and then use white on it. Blends that dark color. Looks less than unnatural. Blending tool. Let's see if we use it on the shadow parts. How the color is gonna be different. Blending tool from Karen dash pencils. If you don't have it, please don't think that you need to buy it, you don't need to. It's not really a tool that you are going to use a lot on discourse or ever. Personally, it's not really my favorite wine. Usually I prefer like to use a technique with the same pencil to create the different color, layers and burnish and technique. Sometimes using the white color. You can't see the screen that the cherries might look different at any details you want onto it. We have added an extra leaf to be more creative. For the last. Unlike touches, we're going to add little details with darker pencils. Darker pencil color, either dark red or black or dark brown would be okay. Have a look. We can work much more on the shadow part, but this is not the time. For the better shadow. You can go to the previous lesson and see how the shadows on the sphere, one less than one, how shadows are being created? We are almost towards the end of the lesson. In the next lesson, we're going to do something even more exciting step-by-step. We're getting close. We're getting closer to learn more techniques to practice them and start drawing portraits. I hope you practice your blending and branching techniques using different colors. Mix them together in order to prepare yourself for more etwas lessons. You can't see the events sometimes use until the very end. Use lighter colors to create that Ritchie, Ritchie texture. I hope you enjoyed this lesson. And let's go ahead this go to the next lesson when you have time, and I hope you enjoyed again, Bye-bye. 5. Learn the Do's and Don'ts of Color Pencil Drawing: Hello everyone and welcome back to another lesson. In this lesson we are going to learn do's and don'ts of color pencils and how to draw same subject. But what we should do, right? And what are the veins that we shouldn't actually do in color? When it comes to color pencil techniques, variously, we are going to start sketching our drawings. You can find the sketching outlines as downloadable resources and draw from them, as you can see on the screen on the left side. Who can find these resources on your project, on your assignments and download them, either the sketch or decreed version. So as you can see, if we first need to sketch the bowls with the same color that we're using. We're using light cobalt terracotta. And then with different corners, It's exactly, it doesn't have to be colors. These are the walls that are models actually show. But you can use different ones if you have a certain number of colored pencils with yourself. Don't be afraid to do free hand drawings, guys, in this course, we will teach you all about how to do a freehand drawing and how to use techniques you have learned so far in the previous lessons and apply them on any subject or models. You need to, either on this was or a portrait and etc. This warm gray number one that we started using, these are this one, this model has free scopes, ice cream and this Ryan. So let's draw them on both sides. The outlines are completed. If I couldn't see it because of the live, we had to admit some of the parts, but you do have access to all the outlines as a downloadable resources. We are still using the gray pencil here. And then we're going to start adding the details and draw them. So starting with the don't part the left side. As you can see, sharp pencils are good for details. Use that for the places you need to have a lot of detailed color pencil. Here we are using a non sharp pencil for a detailed area which needs to have more layers and be more precise. However, since we are not doing is wrong, you should not do that. And you should add layer. The layer is building up the layers is very important and I just let go of that area. However, just don't forget, this is not a hyper-realistic course and you get to have a certain, a different style here. Sometimes we use this kind of a non sharp pencils, but this one is completely wrong. So as I mentioned, we don't need our counselors to be so sharp all the time, but not like this as well. Going through the don'ts first in this part you will learn that you should have color all the parts in one layer as I'm doing right now, just going through all of it at once. No carrying, just trying to fill up the whole space. We'd one layer. And I always compare to eating raw ingredients without cocaine bell, this is how it feels like just leave it raw. So if you're hasty your artwork one come out as expected or even nice. Pay attention and keep adding layers. Trying to be nicer to this don't parts. So adding more layers, going through the areas even though this can come up sometimes, correct. But here, I'm not taking my time just going around adding details like without noticing, bro day should be without analyzing the color. The same goes for like the ice cream parts, even though we are trying to create texture, but we are doing it incorrectly. Slower hand movements using smaller hand motions and pencil circular motions. This is very big circular motions that I use. Look at the second one that we are using. As I mentioned, the issue here is the incorrect pencil moment of encountering the first layer. We need to move a slower colors gradually all the parts without missing much white areas. The areas that if there are some whiteness, those myths absolute highlight. But since we don't have it here, why we are living so much granting us on the screen, the paper, I have to say, even though we are having white grandness of the paper on the first layer years, this kind of learning is incorrect. Both are scripts like are done in a wrong way now and later it will be hard to get rid of those layers if the initial layer is done wrong. So even though you do a good job at a second layer over the first step is very important. Have a look please and follow Noam. It's better to say not follow this one. Again, don't draw from memory as well. Always if you have a reference, look at it, especially at the beginning. Later on, after you have completed this course, obviously you can draw from memory and imagination, but now it's better to follow up and follow your reference. Creating details are important. I'm trying to create these holes here, but I'm really doing a bad job to be honest. Now in this part the DSS or wrong, just as without even looking at the reference, following the reference is very important. We're going to speed up a little. Since we don't want to learn actually distinct. And if you don't want to look at the don'ts in order to not not to be confused as okay, as well. But it's good to see what are the wrong greetings. My God, this one is the very bad job fear doing here, just leaving those things in a very giving lots of pressure. Wrong hand movements are, have to be carefully done. This wrong hand movers are bats, so it looks messy. And look at the circular motion. There are so big they're done. They're not done in a detailed way. Now again, we are drawing in a hasty, with hasty details. You're either using wrong colors here. So another point, you have to analyze your model and use the right color combination. If you're using wrong combination, the layers that you blend them, Charter, they gonna come out wrong. I'm putting into my southern pressure, which can destroy the texture of the paper and it's hard to fix it later. Now, it seems very guy for the second layer we have the are not really doing a good job. The same mistake as being done like as the first one is not done correctly. The second layer even correct hand and pencil pressure as well, and we're missing the highlights. There is absolutely not how last year they're all blend with the same pressure. What does that even? You will learn how to do this correctly. It's good that you actually receive you're going much faster, which I don't want you to actually learn these mistakes. Just want you to know what you shouldn't do. So far, you can see the second layer, the third layer, no highlights, they're all done wrong. The hand pressure, the hand movements. All of them. Even the color combination here of why I'm just blending with this color is not correct. Now we know what we shouldn't do. It's time to start drawing the correct version of our subject with the correct color pencil techniques and also a color combinations. Much slower. I'm just trying to make sure there are the highlights. And also slowly and gradually go through the outlines and know where I'm putting more pressure and less pressure using a combination of colors. Now, you see I absolutely did they use a darker blue before? Now I'm using it. Going next to the outlines was in darker color. In the previous lessons I mentioned near the outlier issue, be darker. On the left side you can see the color tone, they're all the same. Even hesitate here to see and contemplate if I'm doing a ride, if the colors are being done correctly. We shouldn't draw into our white highlights as nothing can replace the whiteness. The highlights of the paper. Always use a combination of different sensors to achieve correct shading. The shape of a shared needs to be correct. So for example, I'm using darker blue with a mixture of lighter blue chip emit blue version. You can use any kind of value. So here we use bluish turquoise patiently color around my subject. Then gradually filled area adds a difference between the right one, the right side, and the left side. This means we are doing more correct version of the left one left subject that we just drew. We are trying to blend it. Looked at the circular head movement and pencil movement is smaller. Now we are going through it. The risks. Gradually add more layers, changing the color, adding correct corner combination. That's why some students say why we cannot do one layer at once and add the risk disease. The answer to your questions, guys. The hand moment, please follow along. In this one, you can actually start practicing. It'd be great. You have your paper, your texture paper, write paper, which we are using Cass Art here. At your cutter. Qatar pencil said. Combining the colors steel, we are not going onto that highlight in the middle. Going back and forth from the light-dark, from dark to light and careful not to get it off the the main highlight. As you can see, we are using a third color. If you have a more complete set, you can always use more colors and create a richer texture. We are adding more pressure here. Looks more realistic. At the beginning. Do not put too much pressure on your pencil in order to be able to keep creating multiple color layers. Because if the very beginning, you add lots of pressure and you applied to burnish and technique from the very beginning. You cannot actually add more color layer steel. Again, analyzing my colors for they should be dark hair where there should be lighter. You see, you have to wait some seconds and look at your model. See what pencils suitable and then carry on. I could fasten like speed up this air, this part. But why? So let's move to the details of our ice cream. So we did the same thing for the left side. Now, we are taking our time to do this one. As you can see the name of the colors on the screen to see what we have. So we're going to use these few colors, which would be raw, umber, warm grade number one or beige red. Railroads is one of my favorite colors for blending guys is quite subtle and it has this very soft reaching us onto it that it gives you the blending effect that you need. If you play it back and go. When we were doing the the daunt version, you'll see how fast we did this area without actually wants to give more layers. We just use one color. Novae are using raw umber here and little for the very initial part. And now we're using beige red that I mentioned is one of my favorite color. You can see how it looks like on the screen. Would be the combination of these three colors. Now next to the red, you can use more raw umber. Follow along and do the same. Complete another layer with our raw umber. Changing it to a darker one. Next to the lines. I'm trying to actually create more pressure. That's going to give the effect that we need. Mortar layer. The better the more the merrier applies onto your color pencil tick electrons as well. Really try to imagine this one which we are looking and see if we've, we're not adding this much details like how we did, the left side. Looks the same. So that's why we need to take our time to add more colors and make sure that combination really fits. Repeating the process. It depends on you if you need to create more layers. But whenever you got the results you always wanted, You can stop there. Sometimes overdoing it is not good as well. Just bear that in mind. So again, this one for you started the the first scope, like raw umber, we did it on the don't part as wool, the first score. But this time you see we took our time. You're taking the time and add in the details where we are having the details, where should be the highlights, and how our circuit, this sphere should look like. Because the very first lesson, you remember we did the spheres. So just imagine that one. Now we'd more detailed detection. It has a certain texture. With warm gray, they go and give some layers onto it. Number one, this is a technique that you have to keep, continue doing it in order to understand how many layers unit the textures that I created, I'm going one more and give more color onto them. You see near the lives, the Bulls outlines. I give more color here. You do the same. Please keep practicing. And even this part's a little add more pressure. The highlights, there are some certain highlights still out there. I'm not going to touch them are granted to them without like analyzer if I need to. Now it's good to enter the next scope is all the same process, this one, and even the third one. So now with a different color, let's repeat what we did with the previous scope. Screen. Circular hand lotions, and then determining the texture, feelings and even adding more. Always I mentioned like drawing can be considered as a therapy. That's why we call it art therapy venue. Actually draw something on a whitepaper. It gives a very nice satisfaction feeling. It's very satisfying feeling, I have to say so try to actually draw sometimes, even if this is a hobby for people, this is actually your career and you want to continue this or learn a new medial. This is great. But even if he's not as a career or something that you want to continue for years. Still good to do with your families, France or alone, because sometimes you want to draw and be alone. So this is a perfect thing to do. Instead of like I was watching TV or Netflix. Adding more details here. One suggestion that I have always keep your very first practices. I had some students that some of this, they do this. They tried to like fruit, obey their first practices because there are like next practice, they're amazing after a while you're like, all our works looks so good, so we don't want to keep our previous ones is always to keep them. You always can go back and see what you have achieved and how much the practice makes you to come all this way and create amazing artworks. If you practice along this course or a promise your, your world gets a very certain beautiful style and you will learn how to draw with color pencil or immoral, easier way. This even before the third scope, we added the texture. You're going to go through the first layer, go around the surface before add in the second or third layer if needed. Even, even so far you can see the difference. We didn't honestly too much effort onto it. I have to be honest. It just is such a normal. A dues dues version, but the don't version was like absolutely no patients, one layer, a lot of runners, no certain lacked texture. But here now we have even started the first layer. We even have highlights. Look at the two brown scope and you can actually compare them. They are not really comparable, but still if you need to compare them, we are adding a fourth layer if animal going to complete the surveys. I hope you enjoyed the process so far. I'm practice at the same time. Don't forget to check out your assignments. As you can see here. After I created a few layers, we need to go through creating more depth near the lives. We are going to draw with darker pencil colors and go around for each ice cream, we need to use the correct color. For example, if the main layers are red using dark red for the outlines areas. I personally don't such as black. However, if you have it and if you don't have a lot of brown or lots of correct gray, because gray and brown is great for creating those diet, creates dimension, but if you don't have it, black would do as well. So it's still okay. Now using the lighter color, always, the lighter colors on your bid in your set is perfect for our blending that last part. For the last part, we keep going back and forth, adding even additional layers around Soviet raw umber. We're going to continue and add more layer, especially next to the outliers. The middle part needs to be to have the highlight, circle or hand motion. Let's go round. If you feel it's lethal to phosphor, you always can pause the screen, but this is the real speed actually we are doing. So since it's the real sweet, try to see if you can follow with the same speed. So even though it might be challenging, like while washing and drying, of course you can pause it, but it will be a challenge to actually, while looking and actually drawing at the same time. With gray. We are going to, I have to say now is called burnishing because it's like giving a blending or more and more we are going for Spanish, even though it's not complete burnishing. But it's going towards it. Either with beige, red or warm gray number one, or like lighter colors. You always can blend the last layers and banish through. White also works as well as you have learned in the previous lessons. Give him our additional colors because after you draw utter sections of your drawing, you always can know better. That's why I don't complete one section in a complete way and give yourself like a lethal time so you could go by, I say, Okay, I added this amount of color. Now I can add more. But if you have added too much and you cannot really Command Z and go back. Try to actually go through it step-by-step. Keep repeating the layers until we are happy with the results. Steal the highlights intact. The darker blue. Let's go around. When at some point you see that your drawing is becoming, it's gonna look like your model or subject. You will feel while I did it. It's like your pass your driving test. It's the same feeling. Sometimes fall, I did it. Now you have to always think before actually start drawing and see where you're gonna put your layers. I'm even more excited than you guys maybe to go through the Porsche's. So to see how you guys gonna apply all these techniques on different portraits. Experimented with creating the highlights. You can do this by either eraser or different techniques by still the wideness of the paper is the best. Correct? Any part that you feel needs to be corrected or as you can see now, we are actually giving what we wrote on the screen. Now we're applying it here, creating additional highlights. Since we are paying attention to the highlights, let's talk about it a little more first, we shouldn't get rid of the white highlights of the paper completely. And also we can create highlights with eraser. So this means if you have done burnish and technique really fast at the very beginning, we won't be able to do this. So be careful. Be keep going. Back to the other areas. It's good not to always look at the same area and complete it because your eyes gets really used to it. So you don't see the mistakes that you're doing. You feel always correct so you keep doing it. And at the end would be at Blizzard to later Correct down or it will be really hard to correct them. Let's go for the don'ts parcel is Laszlo. See if we can add more layers. How they're going to look like, even though you're adding layers, you're adding in an incorrect way what we are trying to make it look a little more decent. Still, if you think that this kind of layering is going to turn out, well, well, the answer is no. Now it's time to go actually food the shadow part. Let's see if we can even do a wrong version of shadow. Yes, we can do. So. This is the wrong version. You can see on the screen. Again, very fast. Without thinking. Recreated the shadow. Drawing correct shadows will create a sense of liveliness. It's better to follow this practice is quite important step I actually, now with the same gray, Let's start doing it and see what's the difference and how it's going to be different. We have divided it onto a to section. Again, your stuff started the first layer. And obviously as you are, hopefully you have guessed, you're going to add maybe different pencils on it to create different genus. Even with the same pencil, you, you can't see that it's different from the left side. Now we are adding a little blue because the shadow minutes comes to drawing. It's nice to have a little color of the ball. For instance, here is blue to have the same color and it'll Aeneid makes it look more realistic. Again. Giving correct colors for the shadow. It can be very important. Adding different blue here. By just choosing the right colors for the shadow. The creators better dues for this area. So comparing it to the previous one then the one on the left, we just chose one color and thus wrong. Look at the difference, much different as you can see. So we're still not done with this part, but we're going to add more layers. However, at the same time, we're going to work a little more under don'ts part as well to give more color on quiz so we don't leave it out like this completely. But at the same time because we're repeating what we have done so far, solve life to actually go through some points of don'ts and dues for the part. One, no hasty layering and blending. Please do not do that. If you do a lot of hasty layering and blending the colors not come out, gonna come out correctly. So number two is. If you don't have any correct varnish and technique. So it means like at the very beginning, you solemnly burnish the whole paper out, and sorry, you cannot do anything after that. Number free. It's very important but have a hat Bupa. So it means like if when you start having a bad habit, you have to correct either your colored pencil, how you hold the pencil, your habit, or if you just have started, That's good because you have to start learning the correct way of holding it and hand movement and pencil pressure. Number four, not correct pencil pressure on paper, which means like sometimes you add too much to less and none of them correct. The next point, which would be no circular motion, means like he just do it with maybe incorrect ones. When you don't have the sacral or emotion, the graininess of the paper's gonna stay there and you won't be able to get rid of it. So that's incorrect. Incorrect. The next part is actually called incorrect shading. It combines a lot of the things that we just mentioned. The next point is when you don't have any layerings, are there you use the same color over and over, or you just after one layer, you'll say, okay, I'm done. Thus court not correct. The next one is when you don't have any detail drawn. That's not correct. You can see on the screen we're using adding a lot of details right now. This is the correct way comparing to the left font. If you don't add these colors at this date. Details that I'm adding right now. That's not going to give you the result that you want to add. At the end. It's been the shadow is drawn wrongly, which was the last part that we did recently. And you can see the difference on the screen and how they're how they're different from each other. Let's go through some of the points for the dues which we are working on it right now. Of course it will be correct layering. Start with first layer and move to the second layer. The next point is correct hand and pencil pressure. Also relevant burnishing areas like you have to know where you're burnishing, very acute your highlights. And then you're adding more pencil and burnish outdoor area. Next point, use right color and different pens with different pencils using right colors right now, you can't see on darker brown, I'm using raw umber. So it's quite important like you're correct pencil and combine them. Blending color pencil layer is the next point. Then highlights are as important as cornering. If you don't have highlights, how are you going to actually create the effect that you want to start gonna be an IPO and actually access. Another point that you should actually have these doors at the very beginning it is caught color analysis and see what color it goes well with another, especially for that object that you are doing or for your model. Spend enough time on color and layering guys, don't be hasty. Create textures as creating textures are very important, which is our next point. Then the next point is importance of giving more colors near the outlines. It's not just coloring. You have to have darker colors of fluorescent, darker brown, or any colors or you're using and go to the next, the outline just right now and add more layers. Of course, the last point is to know the value of color values. Always go through the color wheel, try experiment and add different colors, different layers onto each other and see if they go well together and how it was gonna be at the end. I really hope you enjoyed these do's and don'ts lesson. I enjoyed drawing it for you guys and I hope you'll learn a lot. Now. I see you in the next lesson. We are, have a lot to learn and a lot of practice. So good luck and see you soon. 6. Drawing Blonde Hair with Color Pencil: Hi everyone and welcome back. In the next few lessons we're going to learn about different hairstyles, how to draw them, and how to color down. This is our style is more towards straight hairstyle with a hint of baby feeling. And the color is brown, blonde, and grayish. This lesson doesn't have a photo reference to be drawn from as it is from imagination. And after you have learned this lesson and practice, you can draw it in different ways and experiment different colors with different colors. So don't worry about it. Look at the handbook bears and how we draw the main outlines. You have to make sure you also, you go through the assignments and your downloadable resources because we do have oldest sketches of these hair drawing and the outlines ready for you to be downloaded. Now as we have already sorted for the hairdryer, you don't need to have a certain line is stroke in mind as hair can be, feel very free to be honest. Therefore, look at the handbook baths and how we draw this STI and follow along. As you can see, if you have done the drawing part is already done and we are adding more pressure. Some of the outlines, they're actually shows more, more obvious. Make sure they feel loose and in a non organized way. That's quite important. 1, you should pay more attention is very should be darker and there should be issues have highlights. We are not going to go towards the highlight even with the brown color that we're using, which is burnt umber is a great pens are for outlines, even for blonde color hairstyle. So here you started walnut brown. Again, another perfect color for this one. Make sure you determine where would be the highlights again and the dark areas don't darken too much when it's called for the first layer and it might be hard to correct a blending parts to add correct blending later after say. All this. Makes sure venue's starting giving a darker color during the first layer, and then gradually began to add lighter ones. Now you can't see the tip of the parts that we have drawn a little darker. Just because of the first layer line drying the hair started to feel much real. Still using the walnut brown. They move your hand a little bit slower and make sure the colors, you're applying the cards in different areas. Again, warm gray color is an amazing color to blend the layers. For instance, if you round, it gives you mix the color, the previous surface and lethal richer. In order to continue the grayish color, this would do a very good job on yours. Be patient and don't hasten the color layering. You keep changing the colors from brown to gray. Since we used a brown which keep blending it and fade the colors are lethal so they don't look too obvious. Especially be patient guys. Continuing later. We'll want after we have done the main outlines, we're going to start using light yellow ocher. Just to emphasize, hairdryer is very, very easy. Lots of my students, I say hairdryers is one of the hard ones that they tried to do, but it's actually very easy to do. If you follow this and practice, it will be okay. You will be okay and you will learn so many different hairstyles in the next few lessons. If you don't have the same color pencils, that's still okay as well. When drawing, you can just use one yellow color for gold hair in this darker base layer as we have done and more highlights being drawn before actual yellow color. So as you can see and learn so far. After we have used these cutter, if you're gonna use OneNote Brown against. So you will see how it looks like, even though we're using a lot of brown, still feels like a blond hair. When we are talking about blond her it doesn't mean it's all yellow color has been used all the time. It has lots of like deeper, richer, darker colors. See how we keep adding layers in the previous lessons, you have learned this. Now it's time to apply to more livelier hairstyles. We do have a lot of examples and assignments in your course, in your projects and assignments being available for you to download. You have to start gradually put more pressure on pencil in order for the lights to stand out more. Like here you can see adding more pressure. The strokes looks more visible. The hair should feel like loose. Don't make all the lines fill the same. Just move your hand. The different hand pressure, pencil pressure, go around. Look how much other like different hair strokes we are adding. It's all about these cells and mixing slash blending the colors. You can start give more yellow hint around the layers. So gradually actually start adding them. Make sure you analyze, you've failed, even though we don't have a model here, you can look at any value. You can look at a hairstyle before starting, say, near the lines, you can see the near the baby of place. Various should add more layers where it needs to be darker. And Vera in this to have highlights. We keep adding layers gradually and with gray number one, with farm gray, we're going to elite the land. It's going towards burnishing now because with our awareness and technique, we really don't get rid of all the white grant graininess. However, it's going to give a very rich feeling. These places that we are borrowing, just determined where are the highlights should be. So makes sure leave those places out. Guys. Again, do not please please do not go into the white highlights of their favor and make sure we keep them intact so they feel more real. Now make the hair more realistic. We need to add few extra her strokes around in different direction. Like here. Repeat the process, keep repeating the process and create more layers. Make sure you watch and draw at the same time if possible, have the piece of paper we are using Cass Art is cartridge paper of which has texture. And again, to use your ocher is a brilliant color for so many real, you can use it for so many different subjects and for skiing, for a lot of hairstyles is a very, very nice color to use. We keep adding layers at once. Don't add all the layers in the previous lesson, we suppose our do's and don'ts. You realize if you add sudden layer without like using different pencil combination of pencil, how bad is gonna realize? So please don't repeat the Don't parts. As you can see here, we're going to add more hair strokes. Have a look here because the brownish parts was illiterate to March, we are adding unlike the lighter color to blend that area, all of those you can use lighter colors to get rid of those graininess and also blend. Using lighter color on darker color instead of using a white or a blender is the key, is to miss. The important technique that we have learned in the past few lessons. You're almost done now it's time for the last layer using both are yellow colors. Using lighter color. Now, which is Naples yellow. To give the absolute highlights that we need using lighter yellow for the yellow highlights is amazing. If you use this color too much, however, the color will look a little unnatural. So make sure and be careful for the last part, we must give some darker lines and very front parts of the hair to create what was for the base. From the base color. We are almost done. So I hope you enjoyed this lesson. And in the next lesson, hair drawing, again, we are going to learn a brunette hair style. So keep practicing. And I hope you enjoyed this lesson. Bye bye. Now. 7. Drawing Brunette Hair with Color Pencil: Hello and welcome back to another hairdryer tutorial. In the previous lesson, you'll learn about drawing a blonde hair style. Now starting with burnt sienna for the base, we are going to learn about a brunette one. As always. As we learned in the previous lesson, we are going to draw and start with a baseline drawings. Drawing her savvy, the looser hair strokes, Catholic Karina's and how you're going through. Please have your paper and pencil ready and follow along. This care of this curves are the most important part of this lessons. Because the cutter pencil techniques all so it's almost similar as the previous one. How are we going to dry this carefree feeling is important here. As always, the first drying parts of very important and give you the right discipline when you become accurate from the very beginning. Also, if you draw more accurately, you have drawn the right foundation which will become more beautiful and we'll look more natural athletic coloring layers. Now it's time for details. We have the main foundations. It's right time even with the same pen itself, to go through the details, to know where we're going to add darker or lighter colors. You can see some hair strokes that are more visible so you put more pressure on them. Slowly follow the drawing and practice while going through this tutorial. You can see here we're adding more pencil pressure. These two strokes. Not picking up the next color, which should be a darker one because this a brunette, unlike the previous one, it should give us a darker layer feeling. And we should have kind of a black color tend to see here. So we are using our Fulbright council pluck. We're just using the blacker for interconnection points and some unorganized hair strokes. Some instructors, they're really advice, do not use black color. If you feel like you need to use them, It's okay. Sometimes it's otherwise only use darker colors, darker brown colors, or something that is closer to black, but not black itself because it's so dark and it gives a very unnatural feeling. But since we're not using it a lot and just giving some, some hint, your drawing where it should be very dark, It's okay. Now you can see the hairstyle is coming out more now with second layer. As I mentioned, make sure the color black is not used a lot is only for the base color, but don't use black pencil as much as it will look unnatural. It's usually advise to use darker browns guys. So make sure you follow this advice. This is only to understand where are the zoom in and zoom out of your subject. After this week on a study using burnt umber for the next layer. In different layers is very important. It's very important to follow and not just use one color event with your limited colors would be okay. Having a limitation when it comes to color pencil, that makes actually combining different colors even more important because you have to create the color that you want. We'd creating a lot of color base. Try not to go on the highlights of what wideness of the paper you can't see which areas we are really not touching. Which would be the top bars and annexed to the lines more darker like here. Especially the corner bones. This is burnt umber via using is a brilliant color for darker wall, so it's a good color if you don't want to use black at all, such as this one to you. Try to draw some freest strokes like here. You can see this hair strokes that I'm drawing. It just met gonna mix your drawing feels more natural. Just don't overdo. It will look unnatural actually if you overdo the lose her strokes. Now after this we have to at a little burnt sienna, we're going to use a lighter brown, which lighter than the previous color that we use. We go around and add the brown color. Now you can see if you add even lighter color, lighter brown here on darker parts, it will make those areas like the lighter. So this is called like adding different layers, blending them gives a richer color, gives a better feeling of your drawings. You can see how easily we are adding the colors. Hair drawing is very easy and it's not hard at all. It just have to ask you watch this lesson because it's just an eight minute lesson. And practice pure tires, different colors, maybe just try different colors. Drawer fewest, few of these curvy parts of the hair and just use an experiment different colors on it. There's no, nothing wrong with that. Adding, keep adding the different layers. What's the difference between color highlight and whitepaper or highlight. Whitepaper highlights come from the original whiteness of the paper. And we try not to go into them with our colored pencil and leave them white. We can add white colored pencil onto them later. The color highlights in color pencil drawing technique is when you use lighter colors that match the dark colors of your previous layers. Why dry, for instance, here if you're adding, as you can see, the same thing I said. I'm going to put it on screen. If we put a here, it just makes sure that ignore what colors you're using and the combination of colors you have tried them before. It's obvious circular motion go around adding more layer. You're almost done with this material. And in the next year, arterioles, we're going to go through a very interesting hairstyle and the colors for it. So anyone interested in the red color, even if you're not interested, is good to learn actually how to do it for different subjects. Hope you actually enjoyed this lesson. After we have done this, we're going to only add burnt ocher. And then we're done. This almost gift. A sustained faint that we just mentioned is a color highlight. We are adding. Our color highlight doesn't mean issue be so bright, but it can be a bright version of the dark colors that you're using. So hope you enjoyed and followed along in the next lesson, as I mentioned, you're going to go through another hairstyle and color. Don't forget to add several layers. We are almost done. I hope you enjoyed it again and see you in the next lesson. Bye bye. Now. 8. Drawing Red Hair with Color Pencil: Hello again and welcome to another hairdryer and lessons with color pencils. This time we're going to start our cutoff pencil, terracotta. For the outlines. Terracotta is one of the colors we gonna use a lot in this course is something between red and brown. And it's a perfect color for either hairdryers, skin tones, and a lot of other subjects out there. Please pay attention to the drawing parts and follow the outlines. You can always find this outlines in your download of our resources, either as a freehand outline or on a great. As you can see, end of the hair needs to have a NOT and to be drawn with different liners, strokes, which should be indifferent direction. We're going towards the end of head. In the previous two lessons, you saw that we did a different hairstyles with different colors like blonde, brunette. We are drying get horizontal strokes right now. The top partners to look fuller comparing to the rest which go down slowly. While we are making sure all the hair strokes are there, we're going to start like deter mining, where each part should be. Please follow along, have your paper, either you can have a Cass Art, Strathmore or daily Roni. Any of them would be a fine depending on your taste. I have put What are my favorite like papers on your downloadable resources, also on your assignments and projects which you can find it there, download and go through all these details. The end part of the hair you just saw, it became much finer and also more color. We are almost done with the main outline of the hair drawing. And so we can go through the color in parts slowly and gradually, please, for the drawing part B, patient makes sure everything's in the right position direction and everything's done before hastily, like going to the next part, which should be the coloring part. As this part of the hair has more reddish color, we can use variety of red color that you have. We always emphasize, don't limit yourself with a colored pencil that you have, but use the ones that already you have, you have already bought. You don't have to buy a full set. Just go with the ones that you already have. So this one is called orange glaze, is very, orange is one of the evildoers called orange glaze, but one of the very orangey colors you can find in any set. So please have a look. Rich areas we are using this color, usually next to the knots. And it becomes more carefree. We are not going to speed up this area because I want you to have a look and follow along. After we finished the first layer with the orange base. Before moving on, we add more details onto the end parts of each hair connection, which I'm going to show you two. After the first layer is done. Can see I'm taking my time going through the whole area, making sure I'm not there's no place that I have missed. See how easily that I'm putting all the colors were there should be a place. As I mentioned, the dark areas here and here, they should actually be much darker. Now, since we are done with the orange base layer, we're going to use combination between burnt ocher and burnt sienna for this area. Here, a darker color. We're going to mix these two colors together, which this one has a tendency towards darker brown. It has some really niche in it as well. Please follow along until we're done with the second layer, which I consider that one days. And we have to determine where we should add all the dark bars with this pencil or pen or pencil. And very we should not actually touched the highlights. Again, like the previous lessons. We have determined where the highlights and we make sure that the whiteness of the paper to stay intact. Slowly going through the same areas as we did with the orange layer. Even though we have used orange, we have to use a lot of dark hair brown. If the only US actually orange, it's not gonna come out nice. So it's gonna look like very raw and unfinished and more unnatural. I have to say going around. Make sure all the lines there, all the layers. Even though layers here are quite different from previous lessons that we learned because these are more diverse stroke. So if we go back to the first lesson, you should remember that we did hatching and crosshatching. Again. Are attracted to our color, which is closer to orange. We're going to start going through another layer, giving more orange but darker orange base. And also combining it. More darker color, darker brown. Combination of burns, sienna and ocher, also terracotta. All these colors coming together, especially with the orange glaze be used, gonna give us the color really like for a red hair. However, if you don't have any of these darker brown and orange color with some actual red color will give you a defect that you are looking for. You just have to make sure that you combine yellow, orange, and red well together to get through, to get to the colors you exactly once. So adding more pencil pressure here, we have to be more precise, as I mentioned on the screen, that we are, we have to start the main collagen layer stone. These are all, I have to call base layers, even though we have applied so many of them. There is still very basic. Now with ease, we can add our main orange color on the surface. After this. You can see we're getting closer to the colors would like that orange red color. We need a to be the blonde hair color. You saw that how much darker color reuse the amount of the yellow ocher reuse on it was much less than the standard darker color we use for it. Again, we're going to start with terracotta. And go ahead. I did. Sometimes I'm making mistakes with the spelling of this one and the pronunciation, but it's my favorite color. So my apologies, Sometimes I call it terracotta. Terracotta or different ways. If you know the right pronunciation, do let me know in the comments section. And then you got actually submitted your assignments for me to look at them. As you can see, we are going through the layers with our lovely terracotta. I can't even call it a darker orange if it helps. Completing the areas that needed. Yeah, the lines should always be darker and make the hair stands out even more. This doesn't just apply for here, even in the previous lessons, you saw how much we paid attention when it's caused near the outlines. How much black, more shadows like shading, blending, staffing needs to create their days. I'm going to show you that. Again. We're going to use orange glass, which is a lighter version. So the technique that I have told you several times in the previous lessons, to use lighter colors on darker colors for blending techniques instead of white. Going to use a darker lights of my topology, a lighter version of that color, and blend them together. Instead of using a blender or actually white. This way you will have a much richer texture, much richer like feeling onto anything that you are drawing, instead of just using a blender or wide, or even burnishing out completely. This way. It's quite unique, is very enjoyable. It's fast, and also it gives you a very, very nice feeling. You're going to complete the rest of the surface. Near the knots. Everywhere we see that hasn't been done. We're going to add our orange glaze. If you don't have the name orange blaze, please pick up and light orange from your set. And if you don't have it combined your darker orange, or even if you have red with yellow, that will give you orange. For instance, if you want to create a light orange and you only have red and yellow, use more yellow and no threat and create that color combination. Take your time, go around and be careful of the highlights. He's still you can't see that. Extremly careful when it comes to those areas. After this layer, you can save. It picks up our burnt ocher number of 1 eighth 7. Again, going to add more layer onto the orange glaze that we just did. We're doing more blending technique towards mild burnishing to reduce the visible lies and to create a smoother texture. After that, the areas with more orange colors we can use a little darker brown later. So just bear in mind, maybe you can, if you have burnt sienna, that would be lovely. If you don't, you can use a nod or brownish color for that error for those areas became my hand movements. How I go around, observed all the areas, and then now I picked off the burnt sienna, as I mentioned, to reduce the orange genus and spill and create more texture. More visible lines gives some really obvious, like hair strokes. It'll add more pressure onto your pencil and also have the create those because whenever you add a lot of layers, these kind of lines, they can get created a little harder, especially if it's full burnished, you will not be able to do it. But since we'd never do full burnish on this course, we do have courses Actually, we do realistic and hyper-realistic drawings, colored pencil drawings. But this is not completely hyper-realistic. And it teaches you a very unique certain aside, which is fast and very easy to do. We're almost done. For the last touches, we can add some additional hair strokes. After that, we can use really dark brown color. It's not necessarily step, but we can add more details with it. Also. I hope you really enjoyed this lesson. While we are continuing going through the details with the additional or her strokes, please do practice after wars. And also while watching it be different corners, different color, combination. It's very important you understand your cutter pencils so it gets the fear out of you and makes you love your pencils more and experiment with them even more. In the next lesson, we are going to draw a white hair, which has been requested from me so many times. Those, that's one of the lessons I'm really looking forward to introduce to you guys. The last such as with our burnt sienna or a darker brown, if you have. You can see my head barely touches the surface. It is very unusual sometimes using black, specially on red or orange hairstyles, but we are doing is minimum pressure. It just event if you don't add it, it's not gonna make any difference. That's okay if you don't use it. So these are the last part. Again, we are using terracotta. Terracotta. Can see it's almost done. Just making sure I'm not going onto the highlights, but actually blending the colors that I have and give some more details onto the surface. I use the colors that I have already used. Just don't forget adding more details, more layers, and blend more colors can make your work more desirable. And I hope you enjoyed this lesson and buh-bye. 9. Drawing White Hair with Color Pencil: Hello and welcome back to another Hair drying, which is the last lesson of all this hair drawings lessons. We are going to draw the last one, which is a white hair and also color it. We're mainly going to use warm and cold gray from fabric castle for this one. So start in V8 gray, number six. Cold gray. It's very important to know the difference between cold and gray ones. Cold and warm gray ones are different. So this one goes support cold. It has some bluish in it. Instead of like more brown. That's why we are calling it cold gray number six. This is a natural straight hairstyle that we are drawing. The lines are kind of strange. They're comparing to the previous hairstyles that we did. Like previous examples, we might have a lighter and a darker version of our HER. You see there are the highlights and where we are adding more hair strokes and how we are mixing it together. Some parts are darker, bit more hand pressure and movements and some parts drawn lighter with less hand pressure. First we started using lighter color. Then with warm gray. Number two, you can see actually when we called warm, it's the color is different and it goes towards warm air freely. Don't make our work to a dark from the very beginning. That's why we are using this one. Number two, when it slightly less number like gray want to free, they have different versions. This is lighter than the previous one. Obviously. Please follow along while watching and start drawing it. If you don't have this color still, okay. Give me one or two of these warm grace. You still can't do this. This is the parse that you see, the top part and NPR's darkest part of our hair drawing the rest of the hair layers are supposed to have a combination of others. 100 diners cutter more area with a warm gray number of free actually, but you can use previous warm gray color as well so you don't have to buy a lot of this. Within this course, you will see colors that we really need throughout the whole thing. Because these, all these lessons cannot teach you from the introduction, the ones, the hairstyles cut our skin. And also you're going to go through portrait drawing. You have to see what colors you need, what colors you want to use a lot. Because for instance, if you want to practice more like Conor tones, you have to understand them, like how you can see on the screen the gray colors and everything. Please pause all the time, read everything on screen, and then resume. So as I've mentioned it, you have to understand the cutters, which one you want to go through more. Is it like fruits? Or is it like certain subjects that you want to draw, or is it just Portrait? You will learn all about different colors. And then you can decide to set the color set that you can't buy. Their wants to be still have use. Those weren't so far. Because we talked about the gray corner. I'm just going to go through it one more time. Great color is commonly associated with coal and cooler and cold cloudy days, but they are different. Called glaze and grace have more blue undertones, while warm grays are grounded in yellow and brown, a combination of gray and beige. Re-started using a combination between cold gray number two and cold gray number six. Making sure we still have our white highlights around. Try now we're really trying to, we're going to mix our gray colors for a better texture and highlights. Keep adding layers is very important. You keep adding layers with the colors you have. Not even blend more and color within the lines. Still the highlight is there. That's what actually makes your drawing looks more natural. Now let's use cold gray number six, a little darker ones. Again, if you use this at the very beginning. So that was for under very, very base layer. Now again, after adding lots of layer, we can go on him, but written in randomly. Just draw some Herat strokes. You can see how freely we use our hands. Go around. Make sure this is kind of read a warm up your hands for a future lessons, especially when it comes to portrait drawings. Of course, in the next lesson we're going to learn all about color, skin tone. It's a very, very important lesson, so I advice you to, after this lesson. Go ahead, go to the next lesson, learned all about color, skin tone, that you need to know how we, what are they and how to combine them and learn a lot from it. Because the colors that we have used, there are lots of Potter tones that you need to know for future references. We have combined a lot of grays. So you're almost done. I hope you enjoyed this lesson. Don't forget, again, go through your assignments, combine your kinetic grades for this one. Also, just to mention one more point here. We just didn't learn about how to combine different gray colors but hand movements and how we draw this drug's hair strokes and how we combine them. The lighter and cold air and warmer color was very important here. Again, I hope you enjoyed it. See you in the next lesson and take care. 10. Skin Tones and Colors with Faber Castell: Hi everyone. Today we're going to start learning about color tones in a comprehensive way. The first color scheme that we are going to learn has three different colors and it's more towards sienna color tone. As you just saw on the screen. We had number 132472 or five. Starting with light yellow ocher is started the first layer. Going to go through the whole sphere. You'd learn about how to draw spheres in the very, very first lesson on there's a number one. Now, this is one step forward and mainly towards skin tones. And how you can apply this combination of colors onto any color scheme, any models that you need to it just if you have this reference, it's quite important guys, I have to be frank because just create this module for yourself. Make sure you have this as a sample in front of you. It's going to mix your reader, your drawing much easier because you have just to have this reference, you will refer to it and you know, this is the right one for me. This is the one I have to go through. Now, maybe some of you say is impossible. We go with blue here, but it is the underlayer. For this second layer, we have to use it. After that, you're actually going to use a dark red. These all colors, if we recreate from fabric castle, you learn more about them. We do have the color tones from Karen dash as well. In the next few lessons, you will learn about those as well. So slowly go around. Do not add any pressure that the minimum pressure. We are going to use all this knowledge in the next tutorials and apply them on different facial features. As mentioned, we are going to start with dark red. Again, you have already learned in the previous tutorials how to do first or multiple color layers and blend the colors together will. This is almost the same. Always use circular and handprints cell motion. After using the blue, we're using the darker red. Even if you don't have this certain blue or red, US choose the one that are closer to this. So if we do the job for you, it's usually harder. Use darker colors on brighter color. So you need to reduce your hand pressure even more. We just need a hint of blue and red to give more natural feeling to the scheme. Again, we're using a light yellow ocher. After we can say this is the first layer. Again, go around. The blue and red gave a brownish tone. If you have a notice, you can see a brownish under layer and then we are using occur. So the color is becoming brighter for us. You're building up the color of skin more overs, right? Read the references and the coroner numbers that we put on. We're using the technique, the blending burnishing technique with white pencil. We're almost done this one. And moving to the next one. For the very first layer started cadmium yellow color tone. This skin has more pink, yellow, and orange pigments on it. So start using, as I mentioned, cadmium yellow for the first layer, then for the second layer, and later on we keep using cadmium yellow to keep more mature color onto the paper. You can't see it. We go around a bit. Circular motion. Slowly take your time, even though sometimes we speed up doesn't mean that you'll have to speed up on your side as well. You can take more time. You have seen in the previous lesson how slowly we work. Now starting using raw umber for different layer. This is skin tone is more towards the dimension, pinky rows, beige, color tone. Again, you need to be careful using dark avocados on brighter. And it's caused when you have a brighter color of as your first layer. Usually, usually it's, it's much easier to have darker color and then use a brighter color on them. But this one, you cannot go around. So make sure you actually follow this formula here. Therefore, you have to reduce your head pressure slowly at the layers. After this, we have to use coral, which is a very pinky color, one-off. I have few favorite colors, actually, one of them is terracotta, one of them is coral and beef red. I have to say some of my very favorite colors on this set. Really great ones for blending. I do have more favorite bumps, whether you're half to see which one dose while watching the next lessons. Slowly we're going through this layer as well. Even though it has some pinky pink pigments onto it, but it's not too bright. It tests that subtle, very nice feeling onto it. Now after this, we have to start using cadmium orange going through another layer. And after that, we are done with this one as well. Have a look how much layer we are going to create compared with the one next to it, and how the color is different. This is much brighter. You do have that pinky niche on it. On the screen. You can't see the colors we are using. Gonna start with beige. Read one of my favorite colors in order to achieve a different color of skin tone, different from the previous ones with more pink, pink pigments. We have to start with a base red actually for the underlayer before moving to the next layer. This is great color as it has some, it has cold pink color onto it. Going around a circular handbook movement. And finish this layer we have zoomed in so you can see the colors a little more reasonable. I have to say, even though sometimes it drops the quality of the video, but it's good that we zoom in and you see which one we are using. Now for this one we're gonna use India read an acid that cinnamon, Cinnamon after India reds we're using, I'll show it to your sentiment is one-off. Another color that I really like. Complete. Choosing a darker one. Comparing to the base rate that we just used. Slowly go around the whole surface, even though we have to speed it up, please do it slowly. Circled are hand movement and same hand pressure. You can see we added 234 layers. So it's not just onetime going around and that's done. Instead of adding dorsal pressure with one layer at maybe four layers, much less pressure. Now if this is cinema, you can't see cinnamon and beige, red, and also the other colors that I mentioned, they're almost belong to the same house of color. So they're very subtle and great for burnishing and lending colors together. We're going to use the gold version, call it green gold. You're using degree in gold to make this scale films warmer as it's a warmer color to the previous versions that the arcsine. Obviously it has some very obvious red onto it. This is skin color that we have done had more red tendency and it's darker competent the previous skin cutter that we went through. We are using more India red color tone on it again. For the last layer, we are going to use cinnamon one more time. For the next one, which we are almost done with this one, we're going to use three different colors. You can see on the screen. We're going to start use raw, umber, India, red, and cinnamon. See the combination of these colors we have except a raw umber we have used in the unread and cinema. Let's see when we change one cutter, how it's going to be there. How it's going to like, feels like as well. This is a much darker tone because of the Romberg that we are using. So it doesn't have any reddish feeling onto the skin. Secret or hand movement going around. We have done this second and the third layer of withdrawal ombre. After we are satisfied with this color, use cinnamon several times. And add enough layer. You can't see if you're actually add in Cinema, which is a lighter car comparing to the previous one. It's the day Connor actually is. Becoming bolder, richer. Go around, make sure you have the same hand pressures, pencil pressure. Also on all of them. You can see the highlights in intact. So we're not going onto the highlights. Always stop. At some point. Keep using it. So after we use a lot of different layers with cinnamon, with minimum pressure, we're going to start using a india red on this color. We'd cinema, you can see even though it was the same cutter, use, only abuse several times, maybe even ten to 15 times to create the layers. Not just once freed a lot of pressure. So hopefully, I assume that you do the same while practicing. When I see our practices can be very obvious, which has students actually have the patience and have done a lot of layers and who just wanted to finish fast? So please take your time and create enough layers. So moving on to the next one. We're going to start with raw, umber. This one, even though we're just using Romberg, we're gonna use burnt umber Roosevelt and also a light yellow ocher. Let's see how it looks like. And also a little beige red. This is our fifth example of cascade with raw amber color for the first layer, go around in circular hand woven in various move Bay. Try to actually doing it. Again. I cannot emphasize even more just slowly. After day sphere going to need to use light yellow ocher for the second layer. Even though we have add maybe several layers right now. But may our main second layer is going to be with light yellow ocher. After this, maybe we have used 45 or even seven times. Let's see if after a view, This Connor, how the color tones got to change. Students really amazing. You can see so many different color tools, almost with the same color as we keep using, but because we are adding them in different layers, sometimes more underlayer, sometimes on top of the other layers that are gonna make a lot of difference. Just making one, I'm like having one different color in a different way can completely change the color tone. Now after dot v. Also use going to use burnt umber. Mix it with the previous raw umber color. Since this is a very dark color, actually, we have to, going on a light color makes sure you reduce your pencil pressure and won't create too much additional lines on it. While I'm moving the pencil, we only need to go around maybe four times fitted. Have a look. Just barely touching it just gives a feeling of this color onto your skin. The paper, of course. Now, I didn't the pink color, which is beige red, that should be very mild. Major, it is a very wild color, which is a great one of the base color for the skin. This is skin as we can see now it's going towards brown, Dan, Pink. Now combining the colors that we have with our ocher, also almost done with this one. Now moving to the next color tone, we're going to use only three colors. I'm hoping that I'm using and pronouncing it correctly, which we are going to use sanguine, cinnamon, and again, terracotta. We started with sanguine color, more reddish. If you don't have it, please do use a red color, the red color that you see on your set that is closer to this. Also, usually make sure when you need to create additional color layer, you start from the main line and not from the middle parts. You still on this screen where the arrow actually pointed up. That was one of their main outline. Instead, we have to start numbering starts from the middle one's immediate apart. I have to say after this, after we feel we have added enough layers with this corner, you're going to start using cinema. It will give a feeling of a dark hair pink onto the screen wide. Practicing. These two colors can complete each other than they are blended. Going to continue doing this and add more layers. So far we try to speed up a little and use enough cinnamon layers as we need it. Now, again, VT, terracotta, we are going around and add even more layers onto the previous ones. We're done with this color skin tilt. We are going to move on to the next one. It different colors, some of them you are already very familiar. Using raw umber for the first layer, create around four layers with it and blend them to evade each other. As we are using raw umber, we are beginning keep using it. So it's okay weakening to speed up a little. Let's watch together. After this lesson, I really expect that all of you practice it and go and experiment with different colors and send me your assignments. It's going to be font. And don't worry about the results. Now, after we use enough raw umber, It's all with your experience and how much you have practice. You will know that you have done enough layers. You're going to start going to another layer, which would be with scarlet. Red, uses color, not a loss place. Just go around maybe three or four layers without any pencil pressure. If you give too much of this color, your skin is gonna feel a little nach, unnatural. Have to say. After a few layers, we're going to go through light yellow ocher, which actually got to give more natural color tone onto the skin tone. Now started using it. Going around. It is not a color layer we're using, but it is our first color that we have started using. The hand movement in Syria are a synchro hand motion. We're going around. We don't have much pencil pressure. After using light yellow ocher. Now, we are going to change it more towards cadmium orange. This is the color scheme used when there is sunlight on the skin. Actually, it's ten and there's something going on so you can fit it onto the skin. So now we are done with this one as well. Next color tone, It's going to have Ron bare coral, beige, red and sound on. We have used all three of them except the salmon color, which again is another pinkish color. Let's see, just using one different color, how our skin tones is gonna be looked like. It looks like more towards felt is a question mark. You have to watch The until the end. This is the escape that we have started with raw umber. Then required to add Scotland. Look at the pencil on how the Simon color looks like is a lighter color on a darker base. Of course, after Asylum, we have to use beige, red, compliment each other. This is the bedroom. It's going to blend the previous two layers perfectly. Is that amazing, Qatar guys, even if you don't have this color on your set, I recommend some of the really pencils. If your brand is fabric castle, if something else we need to go through those brands. But if his father Castle, like to recommend terracotta, like beige, red, cinnamon, raw umber and brand Sienna. These are the corners of UVA really need. If you've coral after we're going to go through the next layer. Combination of them. Now with the last color tone, this go with only three colors. We're going to use green, gold, cramp and raw umber. We have used green gold and Romberg, what we have in us cream. And you haven't seen how cream looks like. We are going to use raw umber for the first few layers. Since we need to use this color a few times, at least five to ten times for the layer. We're going to speed up the process a little. Now after that, we're gonna use cream, looks like a Mello Yello, actually. That is why it's suitable for here. We continue with this color until we need to. Now I'm happy with the layers. Feed our cream cone, our tone. You have done enough. So we're gonna go through the next color. For last, actually last color we need a darker tone compared to the previous ones using phosphoric acid 268 green gold for about five to six times layers would be enough to blend all. And since it's looks like it has been sphere using a darker tone on a lighter while. So please be careful. Since we are almost done with this scheme, we have seen all of them. I hope you really enjoyed this tutorial and learn all the formula on so many different colors, skin tones, and colors. Now A-star will learn how to draw facial features and how to apply these colors onto them. So see you in the next few tutorials which we are going to start learning about. How to draw them in freehand style and also how to color them with all these techniques. For now, bye bye and see you in the next lesson. 11. Skin Tones with Luminance: Hello and welcome to another lesson. Today we're going to go through different skin tone colors and learn a lot about our brand, Karen dash. So let's start with one of the colors that actually, it's only one color we're going to draw. And it's very warm, light color, which is 832. And on its own, it can be considered a skin tone color. Let's have a look how it looks like, how it feels like, because we are going to use it a lot on this course. And I would appreciate you start actually somehow memorize them in the future. It's going to make it so easy for those who wants to use this brand. So now I'm moving on to the next one. We are using the same pencil, however, with less pressure. So make sure that the pressure that you apply, it's much less, but the ones that you go on it, it's more. So we're going to darken it by going and blend the previous, previous one and changes color, tone. And it's gonna have like list degree unless pressure. So have a look at my hand movements. And if you have this color pencils sets, please following along. If you don't have, you can completely skip this tutorial, this lesson, and go to the next one. But still it's good that as someone who wants to learn a lot about color principle, principle techniques to know about every brand that you want, the good brands that are out there. The next one, let's I believe this is 037 and it's a darker color. You can see that it was actually 0, F3, seven on its own, how it looks like. Next one we are going to use, we're going to go with a little pink hair color. And let's have a look how our pinky color going to feel like and looks like on its own again, it can be considered skin tone. Have a look. If you have the brand, please create this reference for yourself. If you don't have it. Create any other I can't say any other brand that you have. You need to have the set tone reference for yourself. So it means that you have to apply all those pencils on paper so you understand what color they are. The ones you actually see. The pencil wouldn't justify the color itself. So now what I'm using for this one, it's even pink here with the same color, but with less pressure. Let's use it. So we're going to use the same corner, pink hair color with less pressure. So then use another one that is going to be less pink. We have to use less pressure so it won't be too much on our color. Let's have a look at my hand movement. I'm not really try to do it faster. However, this time we have to go back to our first color and actually blend the previous two layers. We do this a lot in this course is one of our main formula for everything that we do to create a very beautiful skin tones or even beautiful layers. So 872 and also 862 is one of our colors that we have used for the air three times. Now let's move on to the next one. So far our next color, we are going to look at 876832. How we're going to mix them. You'd need to actually lay down the darker, more tan color tone and then the previous colors that'd be used Go on it and blended and creative, such a beautiful skin tone. We're going to write down what they are made up and then go through them. So the first one was 876, which was the darker 172, I'm sorry. And then plus we're going to do it too, which is the lighter one. After that, we're going to use three colors. Actually use a non bright pink here, which is very important. Then for a darker color for in order to make it darker, we're going to use NADH or a skin tone. So we read like 86286 and the 571, which use a pinky color to give that kind of blush onto the skin. And then with the previous quarter, you have to go with a brighter one. You'd need to go and blend the previous two to three layers that we have done. This way. If you don't do it, it's not going to come out, right? So have a look how we are going to put them together and move on to the next one. For this one, we are going to use 866832. Let's have a look how a color between brown and purple, which they have created a perfect skin tone in paradise. You are going to use them. Plus the previous one. It was actually one of my favorite colors. I know during this course I mentioned I do have lots of favorite ones. But we'll need to tell you which are really good and which ones like mediocre and which ones like you don't really need them. Some of these you really need and you can understand them from this lesson, from this tutorial, you see going to repeat them so many times and those are the colors will actually have to go with them. So after this, I'm gonna write down the color numbers and move on to the next one, which I believe we are going to use a much darker red color skin tone, which would be 872 plus 85585, I believe we are going to use. So make sure you go around, fill up the whole sphere, your circle. And then with a lighter color, this go on it. Then we're going to create blend the previous one in order to get, take all the whiteness dose, whiteness texture of the paper away. After that, we're gonna move to the next one as well with 842. And also after that we're going to apply this. You can see even it's on its own, really, really close to the skin tone. Just you can't see my skin tone under the camera. And then comparing it with one of these, you can see they're matching. If you match some of these, blend, some of these together. We would imagine skin of my color down under the camera. And then plus 836, we're going to blend the previous layer, go into the next one. Then we are going to write down the numbers, which would be 842037. First the layer, make sure you're going to go ahead and write it down a little darker than the previous one you can see. And then you have to, with a lighter color, go on it and blend it. Look how we're doing it, and then we're almost done. One more time. You go as effort layer. It is recommended to actually do it one more time and then go on it with the same color tone. But it's okay if you don't do it. So let me write down the color names. You can actually read them and follow these ones if you can. If you're using an older brand still does. Okay. Please make sure that you can find closer color tones studies. Now as you can see, we started next color, which we're going to use much darker brown tone. Use 7077 and a brighter color, which we are going to blend it with and make it a little both Matt and also less and dark hair. And then with 832, we can go on it few times and as much as you want, don't overdo it in order to damage the texture of the paper. But you can actually do more than what I'm doing here and get rid of all the whiteness of the paper. So bear that in mind. Now going to the next one, we're going to start with our pink hair color. Use a light pink, I have less pressure. Don't do not please do not add a lot of pressure here. With 571871, we're going to create another math color. So have a look how they are going to look like when on such a bright and light pink, when we add a lighter color is going to get much darker. That's very interesting. And death, sometimes it happens on different colors. I'm going to write down which colors you use. My apologies. We use 872 and also 571. And then you can actually corrected, go around and make sure you're happy with your circle. The next one, we are going to use even a lighter color than the previous one. A lighter pink I mean, a pink hair color. Then previous one, which would be 571. And also we're going to add 801 onto it as the second layer and blending it. This is really close to white and you can actually replace it. Use this one. If you don't want your color to lose. Two white. Of course there are some other like colors that you can replace it with, such as for inserting fabric castle, you can use ivory instead of white. For the last one. Let's use actually free colors. You're going to create a lighter skin tone, actually be brown tone color. And then add a very reddish color onto them as another layer, which would be 866585 and also 832 colors. Have a look how we're doing it. Now we're gonna move our hand around and make sure the blender previous one. Then go on it again with more reddish color. Have a look. We are almost done with this tutorial. Again. You can use these colors many times in order to create a perfect surface for them. They won't have any whiteness and no whiteness of the paper would stay on it. If you want to create these colors with any address, brand brand set, still, you still can't do it. I helped you with both fabric castle and also Karen dash. So from now on, other things you want to learn and if you really needed, let me know and I can send you more tutorials and lesson in order to create those. So I'm really happy you joined me on this lesson. See you in the next one. We have a long way to go and use all the colors, skin tones that you learned previously and apply them. Bye-bye. 12. Drawing a Blue Eye with Color Pencils: Hello everyone and welcome to another tutorial. In this lesson, we are going to learn how to draw. I free Hannah Spier as this is a blue eye color, but also in the next tutorial, three different icon arrays and how to color them with different color skin tone, as we have done in the previous lessons. As you can see, we have started with our favorites cutter terracotta. For domain I dry outlines. It's better not to use HB pencil or for colored pencil outlines at adverbial, really hard not to make stem with color pencils and David always show on their NIF Qatar layers. So starting from the left corner of the eye, if you cannot see the outlines now on the screen, you can always download the resources and get help from the already drawn outlines. The screen and how we're measuring. And also as we're completing the main form of the eye and how it should be done drying the upper eyelid, and also make sure you've read the size on the screen. This part actually we are going through repeated line underneath the eye. After that, I will look at the handler band we're going to place and draw the eyebrows. Den of their wars. Eyebrows should be done in a certain way. Look at the screen and the end of the lesson, we're going to practice eyebrows even more. Now it's time to draw the iris and the pupils inside the eye here we're going to place them where it should be followed. The hand movement, Navi, I have determined where the iris should be. The highlight of the eye, the hand movement and helping move the pencil. It's very important. The eyebrows, her strokes needs to feel like they're being thrown. Rather than drawing straight lines. And do just saw the direction on the screen. Lots of our students make this mistake to place the eye boroughs with incorrect line dry. So it's important from now on your practice in the correct way to determine the line between the eyes and the nose here. Then make sure your first outlines are not too much pressure and to visible as you might need to correct them later with the eraser. So it would be really hard or ask them if they've drawn like family. Now from here, the corner of the eye, that eye, eyelashes growth. We are going to draw that part of the eyelashes. And you can see the direction we're using it. Also outside that B going to change the color. Gonna start using burnt umber after these for drawing the eyelashes and show a little darker color. So let's have a look how we are going to do this. This is one of the model drawings in the next I tutorial, you will actually learn different ways to draw an eye with different features. Now if you're going just to go through the outlines first, when it comes to darker brown and eyelashes, take your time and don't rush it at all. You can see how slowly we are going to show you to draw them in later. More curvy would be better for now because this is the very first example we are doing is okay, just to drive simpler. Going to go through the outlines. Again. This is terracotta. Again, go through the upper eyelid and make the lines more visible. And also this small wrinkles, very important, that should be under the eyes. Most of the people they have this wrinkled if and young people. So make sure you don't leave these details out. Again with the burnt umber. We go through the upper eyelid as well. Nava terracotta. Again, we can go through the I rows. This time we can see the hair strokes that they are curvy, different direction and how they should be drawn. Please don't do it. Don't draw all the lines in a very neatly in one direction. As death, they will look very artificial. This is a very first layer off the eyebrows. We'll keep adding onto it as you have learned even in the hair section, however you're doing it. It's the same style, same technique. If you're just started building the layers. Gradually we will use darker colors on it and blend them together with feasible and sometimes with beautiful strokes, hair strokes. You can see how we take our time to draw this and slowly go through the lives. Slowly complete the eyebrows, hers and add the small hairs onto them. You're finished the first layer of the iris. Now it's time for some skin coloring. Still use the entire occur TO is one of my favorites called, as I have mentioned a few times in the previous lessons, with a mixture of cinnamon. Again, I'm not off my phone off my favorite colors as the Gaussian the screen. This is perfect skin tone color and a slowly without pencil oppression with circular hand move and go around. You saw the points we added on the screen. Slowly nopales or pressure sacra ahead and paracetamol. Ben, always remember these rules and follow up everything that you are drawing. Growing around. As we are using our Cinnamon, we're going to keep adding more layers around here. After days. For the second layer, we still going to use cinema. We can go around and add more layer, which we have to call it for this area. So I can layer after a day's, I'm going to put at a few areas that are usually darker in all drawings. Let's see what are these areas are. This area should be always darker and the middle part always lighter. Now, we're going to start using india red. You can see the model under his reign. As you can see, pay attention how it looks like, how she or her eyes. Going to have to analyze the color scheme. I mean, and make sure that you realize what our details and you have learned in the previous lesson about all the color skin tones. You have to choose the ones that are closer to this one and try those colors onto this. We have to try to achieve this tale. Please pay attention to where are the highlights, shadows care Venus and wrinkles. Slowly without any, not really. Try to be hasty. Go round. With India, read. You keep adding more color onto the outlines. Even on our model, you can see why you're using more red color onto those areas. If you've pay attention to the model, those areas as later reddish onto it and is more obvious to outlines. Obviously. You can't see with using india read Laura in different areas that should be darker. You have already used it. Go around event. Go on to the color scheme. Please follow along and try to go through this color pencil technique. I think we got a rehab to look at the model for a long time, so hopefully we remember it. You still can find his mother on your downloadable resources. Don't Dory. All the original pieces are available or your assignments, the freehand outlines and also degreed. These outliers exist on the grid as well, so you could draw them. They all exist on your download or resource systems, so don't forget to go through them. I have to mention it's very easy to get discouraged at the very beginning of any dry, especially first few layers. But be sure you're taking your time and using the right guidance here to achieve the best results at the end. Now if we are using Delft blue, there are some parts of the eye that are darker and fuels they are more towards bruised ice. So we need to use dark colors. So this is what I meant by the assignments that you can download. You can find these resources and go through with them. Before explaining this area, you can use any dark blue or purple van be used Delft blue. If the colors are close, Dev will be enough. Whenever you need to color layer the eyes, you need to analyze the colors before I start drawing and also get the help from the skin to the arterioles of the course. We just pointed at where are the mixed layers? Get yourself familiar with colors and what are their names and start a membrane them. Then the hardship of how to do cut our scale the topic on really quickly. Pay attention to the handler ran and follow along. Listen when it comes to the skin tutorials, quite important that Sam, Let's go through them and try to remember which color being used and what are their names. Can see the places we have color before we're going them as a second layer and to do blending technique. And later on we will color them by Neil colors as these ones you can see on the screen. Quite raw and nice to apply more layers onto them. Go around slowly, moving on. With the same pencil pressure. Keep layering and blend the colors. Place. The places we'd colored with cold color pencils such as dark blue, then warm colors are going to cover them, both. Those on those areas. After this, we're going to move towards other parts of the eye, skin and make sure we go through the outlines, blend them. The outliers doesn't stay too obvious. Asset this, we're going to use a matter of one of my favorite colors. We should, beige, red. These are the areas where we need to put pink colors every time a color are being used and a layer adult, please pause the video maybe if you need to and analyze and AP practice after that, or if you think you can follow along with the same speed, please do so. I will try not to speed the video. So you can see vitriol. Real time, can see a contemplate thinking about it there I should keep using the beige red measure. It is a perfect, subtle pink color that blend the colors perfectly and give a natural feeling onto them. Please have a look at the anatomy of the eye where everything should be. You can again find this on your downloadable resources. Even though we might think these areas that are white. But none of the areas on the eye, even the wideness of the eye, there is no single area that can stay complete white while dry hemifacial features and portrait even the eyeballs. So you have to, as I showed you on the screen, to know the anatomy is easier to draw and make sure you know what the colors. Using coal grain number five for the corner of the iris part and start keeping gray colors onto it. You should have this area is more towards black color, but when there is like kind of outside lights on the eye, this area of iris will be more looked like gray rather than black. Especially when the eye color is bright, which here is kind of blue, very light blue. After this, this one is black. You are going to use phosphoric acid black for the pupil area. Please don't use just black on the highlights as it's impossible to erase it later. Just leave that part empty. Even if you have like electric eraser or pencil eraser is not gonna help if you have drawn on it to be the absolute like black color. Just give some color tone onto the eyelashes here. You can see we're going around. Gradually adding colors are very important. So that's why we go around and see which area needs that certain Qatar pencil. And we added onto those parts. Continuing with the pupils with black. When it comes to the second layer, down, we will go through the lawyer eyelashes, smaller lines and hair strokes. The cow, they look like they're become lovelier. Desert the lower eyelashes we are actually adding the smaller lines I mentioned previously. Look at the curviness, how they go into each other. Make sure to look at your eyelashes. Sometimes look into the mirror and see how they look like. That's the best practice. Now if it's color of blue, we start from the iris and use this dark blue with minimum pressure. And suitable our hand movement. How we are actually giving direction on the screen. Starting from the lies and give some additional lines on it. Move as very important, that's why I keep saying an each lesson actually as it shows where we should start drawing the lines, even those ones are important when it comes to drying. Take your time with the layers, do not add heavy layers. Very beginning. Started giving more blue color with circular or pencil mobile. So going through for a second layer should continue until the middle part of the iris. Don't get rid of the highlight of the iris as well. After this, we're gonna use another blue-collar. How they upload reddish. Here. This is the same technique you can see on the screen, guys. If you remember, this is a very first lessons learned. Now we are actually applying it. Here. You can see how important it is to go through introduction of them if you just past and maybe I don't need to learn it. It's okay by the AICPA, really lovely now and then to practice it, now we're going to use a mixture of dark cadmium yellow and also cadmium orange. Replace a very quick yellow, not just a lot, just a hint, so it won't be mixed later using orange as outer alliance. Now, we're going to use a bright blue, which is the light cobalt, turquoise. You can see at home, hope I'm pronouncing it correctly. You can see it's been years. I'm pronouncing like this and it's hard to change. Pancreatitis have been using it the same name, pronounciation. I mean, you can't see if you're still using this technique, the hatching line drying. The same one that we just showed you on the screen. And not circular movement. Same lesser, same technique you learned during the hair drawings wants as well. Just need to keep the eye textures. Show that I textures more amine. Then you are mixing, give you a darker color here. Also making sure everyone go inside the highlight of the eye. And we keep the whiteness of the paper. Using a razor to even create more highlights around. Better to use pencil eraser since we have a normal areas their hand, That's why we are using it. Using a lighter blue. Again, you have to keep layering just fewer times. Go around. By using a lighter blue, understand the dark bars and the lower parts of the iris more. Now using gray color again for an outer line. Don't overdo this part plays. Just make sure in circular movement and more subtle way you go around this bar at the top part of the array because of the eyelashes. And there are eyelashes shadows always darker, and you can show this Vedic gray color here. That's why we added more green gray color onto this area. And recall route, as I mentioned previously, D, we don't have really just white color. Some like blue and gray would do great always for this part. So bearing in mind venerated comes to the wideness of the eyeballs. Like you need to have some gray or bluish on it. Using the same color for all around these areas as well. Going through dividers. The part, it can be a mixture, as I mentioned, gray, blue, and pink. You can see it's slowly getting more dimensional. I would say. Give me more depth onto it. After this, we're going to start using Delft blue. Have a look how we're adding another darker blue. We're going to use more lined pressure so it aligns. More obvious. Now the hatching lines are more visible. You can see. Then we're going to add yellow color onto them again. This is the same yellow color we decided to just slowly like a little at, at the beginning. Now we're adding a little more, but don't overdo it. Black pens of RCA around the pupil and see if the lines are shaky, the outline or if it needs to done more perfectly, they go through them. Just a hint of flip black lines around as well. Don't overdo it. I have to mention we are adding some black life in-between. Create some black layers. After the black color, we're going to use the light cobalt turquoise. Here again. You have seen how this blue color feels like before and you have uses so far. Let's use it one more time and go. You can see how the iris coming out, the richness of the blue. So we added a few different layers. Gradually added them with a little orange Hello in-between and a little gray black for the very dark areas. Now is becoming a beautiful if you do this at once with just one layer is not going to look like this. So it's better if practice you're layering. Go round, blend and burnish more onto the iris. After this, the live cobalt, we're gonna start using some darker blue again. After we made sure that this is enough. Now let's add more richness onto the iris with line drawing technique. Steal the highlight is intact. We haven't ever use white color on it. And you can't see it like the highlight, the whiteness of the paper is the best way to create this effect. So again, using light cobalt, turquoise on the whiteness of the eye as well. Please follow a lock and you can see it's a light-blue is covering the gray areas, even around the eyes. Has his team blue, as you can see, we're showing it. So going around, really compliment because I as blue, using the lighter blue for the whiteness really complement each other and goes well. Keep continuing it. I'm not really speeding up this part because I really believe for the very first lesson, you need to look at it. It's real-time speed to get used to it and practice at the same time. Literally using red here you can use India red or lighter ones if you have pay attention to the details going around. Because this part, this has muscles, the color of the muscles that are pink or reddish. So you have to be careful of those areas. The media parts. You're going to use our red color, India red or any other richer color, richer red color that you have, that there are not too bright. There are towards more brownish you can use for this area. I'm going to go through all the lines to outliers that they need to have this color tone on them. Again, these are really important cornerstones that you need to add. Kathy, these are the wrinkles that we had to add. Even with two lines that we just drew right here, you can see the eye getting more natural. It's becoming livelier. All these details are very important. If you just let go off these details, your drawings gonna look a little unnatural. I have to say shadowing now the areas that needs to be done and go around this circular motion, the areas we play some are important, so please pay attention and put more cutters onto those same areas later. Now we are going to use a dark orange color. Terracotta. And I did a proof S1 or this one. We can use these two for these areas. Go around another layer. You see very VC them. It's not all the places at once. We look at the model, we analyze and we see how and where we are using them. I suggest you actually analyze this lesson, write it down, slow down, pause screen, use your colors, experiment and then keep going back. Now we are using light yellow ocher. The highlights that we use. I believe it needs to be a little more for this area below the eyebrows and next to the corner of the eye, the tear duct. We needed more highlights. Then again, we'd light yellow ocher. We're going to add more layers around minimum pressure. You can see like how, how the tip of the pencil creating more layers. Now we are actually going to do the rest of the eye layering around the eyes with this. Let's have a look. Slowly. I go around with the same color. When you have the pencil in your hand, it will be very excited to use them. Now that we are going through old around the eye in determining where they are, it makes more sense. After these few darker red or brown, we will go through the eyebrows again. Now we are adding in practice these fonts maybe few times before actually going onto the models. Warm up your hand for the hair strokes that you're about to draw. Don't be afraid to throw the lines for this area. Now we terracotta, we're going to combine it again. This is because I rose, this differentiating as well, so it doesn't feel very flat when looking at them. Evenly, few different colors just we haven't created yet. It feels more natural now. As mentioned, the very beginning of the lesson, make sure the strokes, the hair parts, they are not really done in the same direction. And also you give more different feelings onto them. Then I should keep changing different direction. Now we're using black. Just a hint of it. So don't overdo black on any area. Just make sure we have done enough. So again, either with indigo, red, India red and we're going to go around. You can use to add her CO2 as well. Depends which one you have. Then with our favorite color, we're going to go on to the scheme. Blend the colors always with lighter colors, blend the darker walls. You got to use obviously if white as well, but it's better to use more natural skin tone color and follow the previous lessons. The color tone. Listen and follow along. Here we are using cadmium orange guys for our work. To look not all the same, we need to use differentiating such as cadmium orange here using get under dark area to give more 3-dimensional feeling to it and gets receive a richer texture. Wherever we put this, cadmium orange is quite important. Do not overdo it because your skin tones gonna look like it's unhealthy and you don't want. You don't want it to look like that. Go around and make sure you place them in the right direction with minimum pressure, even though the artist, sometimes we just see, okay, Nancy, it's gonna go onto it or are inside the eyebrows or even next to the corner of the eye, just everywhere you see appropriate places, start using it. This color. We are going to use it on the eyebrows even more. Gonna go on it and shade because it's a lighter color and it matches the skin, so it's great for the undertone. I'm going to go around, make sure we analyze and then keep adding it on different areas. Now after we're done with our orange color, we are going to use burnt sienna and later we're going to combine it with walnut brown. They're almost in the same range of colors, more brownish nowadays, the darker shadows with a mixture of like India read later, or any brown corner you have. Well here, depending if you have practice well with them. And the combination really works for you. Add in different color pencil here, as I mentioned, we use burnt sienna. Sometimes we can use India red with walnut brown or Van **** brown. Van **** brown, brown is an excellent color for darker place as you don't run, you don't want to use black. Walnut brown is almost like a little lighter, but Van **** is a very brilliant color. Before we start using a pinky cutter list, make sure that you're happy with all the details we have created so far. Like go through the main outlines and create the feeling again. Now after we have created, given more the eyelashes with our favorite cinnamon color of pink hair cutter, we're going to go through this areas that has less light on them. That's why we are using a brighter color. Go around, shade the area. Give its first layer with this color. Be careful of your hand movements. Keep a steady hands and movements. Circular hand motions, and see where we need these colors and go around and add them. You can see the more you create layers, the better it gets. Now if it's salmon color. Going to start, this area is the closest color to a certain parts of the eye, the muscle parts. And it's very close to it sometimes doesn't even need to be mixed, is an amazing color for those areas. So if you really want to keep drawing portraits, facial features, I suggest you actually get this color for your drawings. Using terracotta. Again, you can't see each coloring, each layering and blending the eyes becoming more alive. Going round. The previous Sit down color that we added around the eyebrows and also corner of the eye. This area is always going to be darker comprehensive RRR areas, areas. You have mentioned that before. Adding darker brown, either you can use Van **** brown or walnut brown. Go around the eyebrows this far and also the corner of the eye, there are always darker. A different color, skin tone steel is going to have the same way of drawing and adding layers. So it's only the color pens is going to be different, but the drawing part, all this way. You have your kept adding more details little by little. Take our tiles to realize those literals rather than just once at the very beginning at adding them. Look forever, you're adding them. I really try not to speed up any of the areas. This is the first I drying arc and I coloring that we are doing. So it is very, very important that you see the speed that I use on disperse. You can repeat the same because if I speed it up, you feel like it's actual speed is to be that fast and you won't have the patients actually to do it. This is actually took almost one hour and a 1.5 hour and 20 minutes to draw and color this. I will be able to take the CEO of ink because you're just actually watching it and try to be events lower and analyze the colors for you guys. But since you're everything has been analyzed for you, you know the colors, you don't have to actually guess it is a perfect practice for you to know it and follow-up. As you just saw on the screen after the terracotta. Again, it has a lighter layer. We added it after Brown because that's what's necessarily make sure you keep the white highlights again, even underneath the eye, you can see that we have created those highlights next to the lines. There are some parts and really try not to go on to them. Circle, circular motion and keep adding layers. Going around with our terracotta. I have to say keep having pronounciation problem repeats, going around and see how we keep adding layers little by little. If we go back like 20 minutes before we started like this sparse, you see the difference. You can see like while adding different layers, how different it can be. Even though we are just drawing facial features and the purchase all the drawing part not together, the facial features not together. Later on, in later lessons, we are going to teach you how actually in freehand style to draw and color in a portrait. For these areas, you are going to use our dark blue, either depth blue or any other dark blue that you have. Using a colder color for dark areas. We're not using black but bluish because we have that color tone of blue on our skin. All of us, we do have it. So for darker areas, we are using the dark lord. You can also use purple to create cold shadows and to make the eye looks more realistic in terms of color tones. See how that more natural it looks like. Bringing around the dark areas mentioned next to the area top of D, both corner side of the eye and also this areas. You need to keep adding your blue minimum pressure, please guys. You have to really practice on your pencil pressure on this course. And it's going to help you read any course, even when it's costal pencil drawing and truck or drawing or painting. Handling your hand pressure or even brush. Pressure is very important. With our brown color, either Van **** or voila. We're going to go through the eyelashes and make sure the walls that faded away, they're still there. You might think, what is this, this actually current dash black I'm using here. Because the black color with fabric castle sometimes really don't go well with some areas. So try to see if this is better because the textures much different than former castle. It sat down there very well. The lower eyelashes, how they look like now, even if you use brown color would be enough. So do experiments which cutter goes well. And try dose. Adding more color onto the line of the eyelash and make it more visible or Faker. Here. Just see how the black line became from us a very thin line. It became a thicker line. Now if it gray, dark gray color here, mix it onto the eyelash line, both sides. So far you shop in familiar, gotten familiar with the skin color tones of this example and what we're using. Here we are going to add a lighter brown burnt sienna is not just brand sienna is a lighter brown burnt sienna using it. Be honest, any light brown that you have would be okay for this area. Just make sure the colors goes for the gold wealth. Read each other. So far, assuming you have been familiar with the colors that we are familiar with, I'll let you to watch and guests, the colors on the screen sometimes are just don't name them because we have been using it so many times is good. That actually go back and realize, okay, this cutter was this one. And I know it. I don't even have to hear it in order to know which color is this one. But just looking at the color tone, you will get it and thus perfect. That's what we really want. For these areas, are making sure we're keeping the highlights. The highlights next to the wrinkle parts. And keep using some terracotta here. Going to add a little more pressure onto it for the upper eyelid lives as you can see and grounded in circular motion. We're going to keep adding more pressure. We have created a lot of enough layer in order to curiosity permission to add more pressure onto it and starts going towards burnishing rather than just blending. Here, give more color around with the same hand pressure. Sometimes just refresh the lines. It's very important to refresh your domain outlines. But not too much. If they're really too bold, it's not going to look nice. Using a more reddish color. Sometimes mixed just Terracotta, burnt sienna, which is very important to know. The mixture of these two pencils can be very good for Qatar scheme. After this, we're going to start adding some details. For the detailed parts. We are going to go through their wrinkles and adds. Just build up. Make sure we're ready to add those details here. Still. Building up the layers before starting going through the details. Javier using Indian red or either terracotta for this areas and go around and add enough layers. Make sure I go around the main outlines and create the color that you see on your model. Some of the types that I do hesitate. It means we are looking at the model and make sure we are adding the right color onto the right spot. This is what you expect that you do it as saying, Please don't create any ruler line. This ruler lines may assist in that expression that we use venue, use obvious lines on your surface and won't blended or faded away, and it stays really obvious. You need to actually take away those ruler lines away with certain colors. Just adding different layers. When you have drawn a certain outline like the wrinkles here, you can see that we are using the orange after we use some orange colors and created that color highlight. Rather than only using white highlight, we're going to use our current dash black. If needed, is a personal choice to use it or not. Have a look how we are using it. Refreshing the eyelashes in a more carefree way. Go into different in different direction and draw them. Make the line and lethal free care of with the same black and maybe paint off the same color onto the top of the arteries. So we understand the eyelashes have that shadow and we can't see that. Like feeling onto the iris as well. Which despite all of us, the top part of the iris, they are dark. They are much darker than the risks. And this is an absolute rule. It exits on all eyes with any media we do either oil painting, acrylic, pencil, charcoal, color pencil as we are doing. This, part of the iris will be much darker comparing to the rest. Now we're going through these smaller eyelashes, just refreshing them. After we have used some black color, we're going to use more pinky colors that we have, either salmonella or any other color that is closer to this one. Start going through the areas that needs even the voice parts. We have used gray, hint of blue, and also we are going to use a little silane pinky niche on it. Just hint without any pressure you can see depends on TPP. The tip-off depends up barely touches the paper here. Randomly on this area, the eyelashes, we're going to draw a few black fibers, strokes, but not a lot. Just don't overdo it. You can see we changed the direction even more disparate. Some of them their career towards like going down and not towards up. Now this one is more towards up parts of us start the faker and then it goes towards the top part of the strokes it because they're now let's fill up the eyebrows area with more her strokes and add more different colors onto it. You can see how it looks more natural. Now. Continue this libro dry ink and go around. Sometimes with more pressure, sometimes with less pressure. Just make sure you've actually do days now pay attention to the strokes direction and try to practice this before applying it onto the main subject may be on a separate like paper. Because now the direction is completely like from the top bars to actually it goes down like a cross hatching, I have to say, but randomly. Now with our another pencil color, we add the more base, orangey base. And then NIF the eyebrows. This is two from the eyebrows to form the iris. We are going to shade the area of with the same cutter. That's that light shows which here should be more towards dark orange. You can't see that's why we are using a dark orange. And it's really goes for all of it. Our skin color tone. Continuing with circular motion, go around and see which other areas needs to add. This color onto the skin. Even do as few seconds with minimal pressure is still going to mix difference. Now again, with a little darker, maybe India red began to go around the same areas we just did with the previous one. At additional layers. If we didn't know if we would have said we are not adding, we're not even drawing here because the pressure that it feels we are watching, there's actually not a lot. Adding more, a lighter pink to the areas that needs that the muscle really shows those areas that even when you look at our own eyes, we can see in natural color of pink on podo. With darker gray, we're going to go inside the eye. Take away the, the whiteness. We have. Use a lighter green, blue, pink, and now a darker green. You can see how many times step-by-step you're adding them. We are going to still use our gray colors and more. Feeling onto the skin part. From here, you need to make sure that the colors that you're layering is more accurate because you have already approved a certain underlayer. Different layers and if sudden you decide, okay, I'm going to use another color that's not gonna really go. Well. All the things that you have built up so far, make sure you actually know and follow along. Deciding with the next layer which would be using cinnamon. Going around. If you continue this layer. And we will have more color scheme. But since we are just going through the dry parts, we don't need to add more skin color around, so this is sufficient for this area. In the next few lessons, we'll go through different I drives with different Eichler and also, for instance, brown. You're going to learn more about Karen dash, pencil brand as well. So you can actually compare the fabric castle laws and that brand already charter. Then we are going to use more reddish color. Go route. Make sure the parse that it needs to refresh. We have them there. This is mainly for details, not much more. See the areas that I'm using is minimum pressure. Going around the outlines, our main outlines, the upper eyelid, the corner of the detour dock, of course we did. And the wrinkles on the eye. Now we're completing this color. Going around. Also use burnt ocher here if you need to. Make sure of when you're leveling up, you're adding more layers. Uses almost the same colors that you have use. Set that like previously, but is quite important to remember. Either using burnt ocher here, adding more cinnamon for like the pinkish area is quite important. After a few times practice, you will get the hang of it. So don't worry, just follow along. Try to use either same colors or similar colors to it. If you have the same colors That's brilliant, then start using exactly the same colors we are using and be the same hand movement and hand pressure, you will achieve the same results as you can see. And if you don't, of course, just be patient and not in a hasty way, try to finish it. 13. Drawing a Brown Eye with Color Pencils: Hi everyone and welcome back to another lesson of I drawing and coloring. Today we're going to start the outlines with Karen dash, actually French gray number ten, which is called 10%. However, at the same time, let's go through difference between Karen dash, luminance pencils and also Fabric ASA, polychrome, most. These two colors set, they are almost very different. And so far in the previous lessons we have used for a castle polychrome us, but now from this point we are going to use a lot of care and dash luminaires. You can see how use while using a Rackspace color pencils, what are the difference between fabric castle or Porter comas, which they are oil-based. You can see the differences on the screen. So I would like you to go through them. If you cannot go read the whole thing on the screen, please pause it. Have a loop. See what are the differences. Make your mind which one you go you want to go with? And after the few lessons and you finish this course, you can make up your mind by their father, casts upon the chromosome, is good for you or can dash luminous, which I'm going to recommend both, however, at the same time, if you're a beginner or if you're wants to use a lot of details and use your pencils, which is good for someone just starting over Fabric calcium protocol most is recommended. However, the good thing is that in this course we are going to learn all about it. So don't worry, you will actually learn about the colors, how to combine them. Luminous color pencil set as well. Now, at the same time, I would say, let's go through the course itself, revolves, see how we are using the luminous color set in this one and the difference between this color, drying, I drank and coloring with the previous lesson that we did with fabric castle polychrome was going through these different areas. We already talked about amine, like I mentioned in the previous tutorials, it's better not to use any HB pencils for outlines dry, and combining it with color pencils because you will, at the end you will see some of those traces, pencil traces. Its better. Actually start drawing it with your color pencil. This time we will learn about a different skin color tone, which is a brown iris, using this reference that you saw on the screen. Continuing the parallel line between the upper eyelids. So important that you make sure your lines not too shaky. Take your time while drawing it. If you draw an, a hasty way, they might not come out in a very accurate way. As you can see, we're going through the the corner of the eye. More, makes sure the details are there. I'm not speeding up this area at this part. If you feel like this part is maybe you kind of spit up is better, you do it on your screen. But for a lot of students, they want to actually see the speed and see how they should do it while watching in real-time. We are doing the second parallel line for this one. This is the color should be very, going to be very pinky. Later, you will see what color we are going to use between the lines because it's the color of muscle and the those areas that should be pink, the eyelashes actually grow. Now going through the eye a little more, you can see via barely touching the surface, making sure we are a 100% sure of the area that we are putting the how's lives. Why sometimes I had stayed is because looking at the model and then looking at dinner with friends I have to mention. And then drawing it, it needs some, you need to analyze it before actually applying it. So you split a UKIP, have a heavier eyes on your reference may be printed out and have it next few, keep looking at it is quite important part, the iris part. It's quite important. We do have lessons that actually is for pencil drawings and charcoal and teaches you all about like such a simple way, a standard way of how to draw eyes, nose, any kind of facial features. So if you would like, checkout those courses as well. Just going to add a few more details. The curviness of the wideness of the eye novae are just making sure everything is done correctly, analyzing our reference. Then this is the reason I mentioned if you feel it should be done. In a very, you should not put any pressure on your pencil. This is the reason because you can correct it really easily. For people, for the art lovers, they have used colored pencils before. They know how hard it is actually to erase color pencils. So if you actually not put too much pressure on your pencil, it can be a race really easily. Either the previous color that we mentioned to you or you can use sepia 50 person. The color names in Karen dash, illuminance is very different from fabric castle polar chromosomes. They're completely different because sepia, 50% is completely a different color from the sepia, which is a dark brown you can find in polychromy. Just making, creating the details, the highlight. If you don't have highlights on the ies, mainly most stuff, the ivory friends or they do have actually highlights on the iris and the main place for the pupils. Make sure that you actually place them and not get rid of the whiteness of the paper on those highlights and keep them intact. Now we're just going through the last details we are done with the main outlines. After that, we can gradually start coloring it. Keep correcting the places. Just take your time when it comes to the outline. Sometimes even if you use it takes more time to create outlines. It's worse it, because later on you will see that how important it was to actually build up the foundation in the correct way rather than just in a rush way, just go through it. If you're using black or dark brown, please. Really extremely careful and use minimum pressure. Only use it that you know that you're going to draw on it more with the same pencil out. Our voice is better to use the accurate the colored pencil that you will have later on. Look at the curviness of the direction of the eyelashes on how we do it. That's the important part. Not if you go back to the reference and see how the reference looks like. If you pay attention, you can see that they outline almost similar. It's very good. It's like how we are showing it on the device side. They were friends even though it's on the screen, you have it printed out. So while you're drawing it, you can keep understanding the sizes and everything should be. We started with the black pencil to go through the iris. Even though the iris parts should be should have the ultimate black. Results, however, use minimal pressure because you don't want to damage the texture of the paper and a booby hard to erase any part that you need to later. If you want to use French Gray Friday person off at the estab would be a great color. We are going through the outline. The iris makes your store the colors not coming out like hatching lines, but blend in well with circular movements. Unlike the previous lesson and how we use hatching technique for the iris. Now we're using mainly and lots of circular motion and shading style. This iris part. Just to introduce to you the main colors that we are going to use. Basically we are going to use a lot of burnt sienna, burnt ocher, 10%, bent or care 50%, and also bear CNR 50%. We do have a burnt ocher that doesn't have any percent. Actually, rasa is one of my favorite colors that we have here, burnt sienna, 10% and also Castle. We're going to use, going to tell you which one of these colors you're going to use rare. So don't worry about that. Just follow along and you'll see all the details, the numbers and everything should be used. So far, we have done the outlines of the iris. Going through the wrist. We'll try to put all the names on the screen so you have access to all the names. If you want to pause or write them down and analyzed later. You can use burnt ocher here. And then determine where everything is. So we can move to darker area with darker pencil. Just have to make sure the ones that have shadows, we don't miss those parts. Using Canada burnt sienna after this. Since this area that we are going to start drawing has more red tone onto them, especially for the corner of the eyes. So Karen Lash, 069, which is called burnt sienna, just mentioned, has dispersed brown and red gradients and on the paper, on the pencil have a locale looks like is an amazing color for her skin tone. Between burnt sienna and also Rosset that we keep using. Rosset again, it's kind of red to use for the red parts of the eye, especially around the tear duct, would be excellent. Because we have looked at the reference, we know the red parts of the eye. There are dei Verbum should have put actually red or brown. We just did the upper, upper eyelid and all the areas have certain red and brown color we just did. But don't forget with multiple layers to create a better color skin, don't go all at once. You have learned this in the previous lesson and how important these facts. We have already added the wrinkles on the eye and also the the detail lines, the areas that needs to be read. We have already done some of the areas. Moving on. We're going to continue with our raw setColor. Slowly go around the eye and keep adding this color onto it. Have a look in circular motion. We go around, make sure slowly add pressure rather than just forcing yourself to finish all the layer. Just gradually go through it like this. You're going to complete the upper eyelid until the eyebrows. However, don't forget about the highlights. You can see I'm just making sure to highlight of this part that right now we are working on is going to have less color or comparing to the middle part above the iris and the pupil usually they are, they have more color. This color amine. And then when it goes to the left side and also the corner of the eye, they will have more color. While adding different pressure and different handball ban on different areas, you will create a better textures. Make sure you're drawing in a subtle way. Continue with circular hand movement. You can see we are using a pencil. We finished the corner of the eye, just withdraws, advent onto the corner of the eye because previously we have used a darker color. We can see it more in a more visible way. After this, we're going to start using burnt ocher. Here. The color is quite similar to the process, but more towards brownie, brownish feeling rather than read. This follow along and how much we are going to use this color until going through all the details. Cube looking at the reference before actually applying each color. If some of the names on the screen are not correct, I'm going to tell you the correct versions. However, it's means you can replace down. Still using circular and open and making sure not going onto the white highlights of the areas. Still using the red pencil, you can use any darker pencil you have here. It will be a great practice actually, if you have only four Cal cell polychromy and you don't have this brand US Steel CD color the color reference and go back to the lesson that we taught you how to create color skin tones and see which one match, which one could match onto this one and replace the pencil set. Now we are using burnt ocher. Haven't noticed the color and the difference between this one and the rasa that we just use because we're going through, we're drawing another layer onto the previous one. It's creating a better, more natural skin tone feeling. We're using dispenser for the upper eyelid parts since it has some yellow peakness in it. But we should not use this pencil for the highlights or the lighter areas at its field gets really dark. Only for the dark areas. Use it, especially since we keep layering going around. It has some brown and yellow pigments on it. You can see this area next to the corner of the eye and also the lives underneath the eye. They need to be darker. So this is a perfect pencil for those areas. Changing the pencil here. This one is actually sepia. Ignore the burnt ocher one which was the previous. Either you can use sepia or any dark brown brown ocher if he can find. That would be really good for these areas, especially for the upper eyelid. Instead of using black, of course, we are using again, dark sepia, CPR 50%. You're using it to give darker color to the outlines, especially the eyelid area. Make sure video shading not to create lines. Too much like obvious lines, a bit slowly blend the colors with each other and create a nice and soft texture. Try to move your hand delicately on those areas. That's why it's better not to use black ones. Even the obvious lines withdraw. We won't put too much force on them. Still, we are using sepia 50 person. We're going to start using it in order to draw eyebrows fitted makes sharing, making sure the eyebrows we have practiced before applying it in the previous lesson, we went through the eyebrows, drying, we did it on the model as well as just on the side as well. The first lines, this hair strokes we just we are drawing there. They're only in order to create the form and the shape of the eyebrow. After that, we have to choose the next that we have, which we are going to start using brown ocher 50% to go inside the eyebrows and color it. Look at the hand. Lovell's makes sure the brown ocher 50% of we are using be placed in the correct area. Going to shade this one layer. Making sure to bring minimum pressure in order not to fade all the hair strokes we just drew a previously. In circular hand movement. We go around slowly. You're still using the same color. Going around. It would be amazing if you could find out the equivalent color pencils up these walls and the brand that you have. If you're still contemplating which color, pencil brown you should buy, such as slag. Go with polychrome most for the beginners. And if you've won, if you have more budget, you can go for the Qur'an dash wounds as well. However, you will learn both of them here. I'm just using it exactly the places that we should use. The areas it doesn't need this color. We are not using it. Still using circular hand movement. After going around with this principle, we have given some color to the lives as well, so they become more natural. Look how we're going to go through them. Also, the eyelashes line needs a hint of this color as well. However, despite the ad needs to be more towards pink rather than brown. That's why we're going to start using burnt sienna 10%. It says does pink niche that we need. It's kind of equivalent of the cinnamon between the beige, red based or the pinky colors we use in the previous lesson. The really good color for blending, because I always advise use a lighter color for blending that are similar to the previous layers that you have drawn. This color has more tendency towards pink pigments. Also suitable for lighter areas. If you, if you don't want to use white. Just blending the colors later and with a start using the NesC color, which is burnt ocher for the iris part. We have previously used black on the outlines. Now let us see how in circular motion we're going to go through. If we lovely, You could one more time compared these I drawing with the previous lesson as well. And keep practicing. Even if you don't want sometimes to draw the whole line, it will be great. You practice only the artist part. C, If you're going around the outlines, how the black pencil, or even if you put dark brown colors onto the outlines, how they look like, they are becoming more real. Slowly. We are adding the layers, going to start using the services Rosset. You remember, this color has more red pigments inside it, so we don't need it that much here, to be honest, I only needed to use a little without much pressure at all and put it into place that has more light. That is, this was just enough. If you have a darker red, if we haven't graded darker red, that is kind of towards brown. Now if you're using brown or care for the areas to complete the previous one, previous layers you have done. Just take your time. Use the same color tone for this part, either it's dark red or more towards brown. Makes sure you don't change it for awhile. We are going to give a little more pressure on to the areas that you have already layered. Before. See how slowly we are doing it. Mind start using Castle, which is zeros 46. Again, it's another version of dark brown, so very dark brown. Closer to sepia minutes caused polychromy. You have just make sure you know the colors and what are the similar ones between the two breaths. If you want to use all the lessons and go through all the practice with the same brand. It's a good, actually a practice for you guys. So we're just going to go around the iris as this corner is dark but not as harsh as black. First, the place that we have height, wildlife rights, the white highlights. We're going to find them and trace them with this color. Then after that, we've all colored area of the iris, specially the top part of the circle as it should be darker because of the shadow of the eyelashes. Hand movement is very important here. Using Nelson black color here, and go around the outlines of the iris, giving more pressure for the pupil parts. Previously we didn't put this much pressure, we did not add. This is almost a second layer. We can give ourselves permission to actually start pressing the pencil, but not too much. So you could damage the paper and it looks too shiny. We don't want that. You can say even those small highlights, how it makes a difference. Makes such a difference. If feels shiny, it feels more real. Giving more black color in these areas coming out. And I'm quite happy with the process. There are places that has more shadows, so redraw their details as well. You can see on the screen, take your time with darker colors as if they are drawn harshly. It's really hard to collect them later. Now it's all about the black color that you're using. You can use a darker brown if you're not really confident using black color. Continuing, go through the outliers. Follow the hand movements. Just forgetting the upper eyelid area and give some shadows over there from the line gradually when you go forward, for us I you go up or down. You have to reduce the pencil pressure. More pressure near the line as less for sure when you go away from the line. Look how we are giving the same putter pencil but in different areas. So it's not all the same. You should do the same thing as well. We're going to use a combination of burnt ocher, 50% on brown or care 50%. It's actually very good that you can see, even though they have the same name, just the burnt ocher and brown or care of what are the differences? Which they're very mild color and very suitable for what we are doing here. This is a good way to blend a darker color and go on those areas with burnt ocher, 50%, as we are doing. Give me more codas onto the lines with this lighter color now. Really taking my time when I go onto the lives and blend those areas, especially if any, views lighter color on darker colors. We have to make sure you're using the right colors on each area. And they actually go well with each other. Burnt sienna going great to use a 10-person one. This is event a milder color and one of my favorites for blending perfect to shade the lighter area. Just going to look at the reference few times. Then we have circular hand movement going around the wideness of the I create that Karina's actually read it just few touches. Now using rasa, again, the Karina's around the wideness is quite important. So x represents that the flesh color, either a combination of pink and red, would be good for this part. Actually a darker red. So that's why we are using a raw set for this areas. Even barely it touches the paper, the pencil. But still it's going to create the effect that we need. Follow in what areas we are actually adding the color now. Wherever we may be even draw it the muscles, the skin color it shows his chef. And they've, those areas will feel more natural. Tried to shade and give more colored this way that they don't feel raw anymore and the colors will feel richer. After we have done, we have created enough reddish layers. We're going to start using a more yellow slash brown color, which would be brown or car 10%. This is such a lighter color event is called brown ocher. The combination is more towards the cream color that we use in the previous lesson, which was more towards the yellowish for loom, for polychromy is what this one is more towards cream and it's excellent for blending the colors. Have a look together, how this color looks like, and I'll move faster, go around. Still. We are touching the areas, minimum pressure. And we're almost done. Going through the iris part and alphabet, we need to start using sepia 50% for the eyelashes. I think we have done enough here. See how we have to create curvy lashes from the very left side, slowly go onto this direction. You can see on the screen, first lift up and to the right side. C, I have, I am very patient while drawing them. Now, adding more diverse her strokes for the eyelashes. Such a difference it makes when you start drawing on ashes and validate. Even though we're going to go on at a few time, is good that we know where their place. This really needs a lot of practice, guys. Not just once or twice, you need to do it so many times. In order to understand, the best way is to look at your reference and also look at your own eyelashes to understand how they looks like and how we should draw them later. One more thing about the eyelashes. The after knowing the main direction of them. We can even add more. Now we have moved to the iris. However, minutes comes to drawing eyebrows and eyelashes, hair strokes, they should not be organized. And make sure the hair drawing looks stay natural. It's quite important, especially if it goes to the lawyer. Eyelashes. Also don't overdo been your drawing eyelashes because they are not fake eyelashes. They are quite natural. When it's cost to a fake eyelashes. Of course we can overdo it if our mother reference has it, but so far this model doesn't. So make sure you don't overdo, draw it to him. Too many of them. Since we are using Castle F, give more color today, Iris and around it. Just compliments from the artist pores going underneath it. Especially for the lawyer islet. This bars has more shadows. That's why we are using such a dark pencil for it. Give dark shadows on the lines and go through the wideness, the eyes as well. Slowly, not too much. In the previous lessons with polychrome most for use gray, blue, pink. But since this is more towards a brown iris, we have to use the colors really match the reference. Just barely touching the surface footed because even you use minimum pressure, you can see the effect that these brownish castle f has on the layers that we have drawn before. Going through the upper eyelid. Have a look at the lines we have drawn before and see where else we can add the same color onto them. Little by little r, i's becoming more beautiful. More and more patients keep layering the whole surface. Now after we have used our castle, which is if you have any dark brown would do the job. We are going to start using burnt sienna. It has a mixture of brown and red inside it. Another amazing color for her skin. Honestly, luminous. Karen dash luminous. They are really good when it's caused to have a lot of ready-made color pencils. After we have used burnt sienna, which was a mixture of brown and red, we're going to use raw sets which are more towards actually read. It has obvious peak and red pigments. So also we can see that on our work. So we are going to use this font for more layers. If you follow exactly how we are doing, a guarantee that your worst kind of looks the same. It just if you take your time, for instance, this lesson might takes 1.5 hour for you to draw the eye. And if you sometimes you pause. So maybe once a week, twice a week you say, okay, I'm going to finish this lesson, practices and send my practices. You need to have a deadline for yourself, even if it's drying for everything, it's greater. Create deadlines for yourself and say, okay, this week I'm going to plan to study these lessons. I'm going to actually practice them. So please do that. After watching pause, practice, and also go through your assignments. You will find out lots of more information there that help you for this course. To go through this course. After we have used this color to connect a few areas together. Now we're going to use another color, which would be brown ocher, 50% we have already uses. So now, slowly step-by-step, you're getting familiar with the colors. This is a great way to start and understand the colors of luminous brand. Blend and fade the colors onto each other. I really don't advice to mix different color parenthesis together. However, it is possible. I have seen a lot of amazing instructors. They use a mixture of fabric, castle and the polychrome most luminous, and also different brands. And it turns out very well. So don't think that you cannot use a vaccine based, oil-based, read each other. You just need to understand the per share and the levels and which one should come first layer as a first layer and which 1 second and which one, the final layer. In order to create the best version of what you need to do. If we continue drawing different facial features, we really need to have different colors. You will then full color face drawing. Later on, we have created Dose Reference event for the this luminous brand, which you can find it at the very end of this course. Here we go into the dark areas. You can use. Lighter red or burnt ocher. Give most shadows with correct half bulbous around. Hand movement. I meant. Because this area had less layers, It's really needs some red and brown pigments on it to yellowish. Now, since we have use my dark color before, mentioned some places here has more shadows and some less. So you can only say that by analyzing your picture and how you're controlling your principal pressure to create those areas, as you can see even above the eyebrows wherever you put it. And later on we will create more layers on it for it to look more natural. Some areas that doesn't have color yet in-between the lines so we can add more onto them. As mentioned before, there are some areas with different shading. We have to understand that dark parts, the highlights and the dark parts again. And this is a standard way of drying what just use saw on screen. When we say this is dark, highlight and dark, this film never change because most stuff the eye formats, they are the same. Then as if for instance, you look at different references are models, you will see the same result. Don't ever forget the formula of dark. More highlights, which is more towards like white color or any lighter color that you use. An again dark color on both corner side of the eye. Going to start using burnt ocher or 50 person for this areas around the parts that are really nice. So this is area I mentioned to you, it has more yellow pigments on 8th and we just drew one layer. Now, you can see slowly and gradually we're gonna keep adding the colors that are suitable for those areas. Go around in circular head woven hands. Please do not drive it out. Line movement. It just will look more hatching style rather than actually realistic style. Continuing using burnt ocher and brown or care for different areas here. Basically, these are the only pencils we are going to use. Now it's time to go through the eyebrows area and ****, shade those. The whole surface of the eyebrows. Event though we have drone so much and so many different hair strokes, they don't have been faded away, they have been disappeared. So that's why we have to create them one more time. This is sepia that we are using. You're going to go through the hair strokes and bring back the obvious ones. Have a look at the screen and what kind of different eyebrows styles that we have. It is quite important to look at different references and understand the direction of the eyebrows. Keep using sepia, which is darker. You can use black to if needed. Now if we are giving more colors to the Harris strokes, shaded further, now it's time to give more layers to the eyebrows area. Because we don't want the hair strokes to stay there alone. They're not gonna look natural when it comes to dry. And obviously it's a style that we're doing with another cutter that's similar to the previous one. The previous one was darker, like something like sepia. But these fun more towards brown slash red. After we finished the previous areas, we're going to add even more strokes, more layers on the eyebrow apart. Let's have a look together. The direction we use, how we go around it. We make sure we are putting, drawing old the Harris strokes in a correct way. Now, previous times, we're going to shade the area. It's very important to understand how many different pencil drawing direction and also colors we have used in order to keep a natural effect. You are now give more events, more cutter to the eyebrows and share a shaded. How slowly we are going through, give more. Going through some of the same hair strokes we have drawn and even some new ones in different directions, of course. Sometimes add more pressure on some of the lines, but not on all of them. In order for them not to look on natural. Give some smaller lies to give a better effect and add some red color of the brighter highlight under them. After this, we should not forget about the dark parts as well. Not just adding less pressure helps you to create better and richer different layers. However, at the same time because you haven't burnish your paper out, you have the ability to go around and fix the mistakes. For instance, if you have created too much color too, erase those areas and fix them. For instance, we believe the eyebrows a little too close to the upper eyelid, comparing to what we see for the model. So just pick up your eraser, go around and give more highlights. We just took away a few of the lies, her strokes that we just drove. Now even more here. And maybe we will do some correction for the upper part of the eyebrows later. This all come together and make you on the stem or after you have layered out most of the areas. Minimum pressure. You can't see me the same pencil. Sometimes we go around. We need to do more coercion event for the upper part. Little, make the eyebrows thinner. It was edited to fake. Now, you have to go onto it with the same color that we have done previously and fill out the area that needs to be colored again using a pink hair color now and blend those areas that we just erased together one more time. Using it in circular hand movement. Making sure we're going next to the outlines in order to fight the obvious. The lines that shouldn't be there and make them lower to look more natural. Now it's time to start using burnt ocher 50% to complete the eyebrows. We're going to go through it slowly. Starts with the areas that needs maybe the upper eyelid and then go to the eyebrows. You give a harmony, a balanced color between all the parts. Look how sharp the pencil looks like here, it's very important while using black areas, especially when it comes to the eyelashes. Your pencil sphere sharp, starting from inside the the curviness of the eyelashes is fields. They're going into the eye and some goes out, use thinner lines. And please again, don't overdo it. Because the pencil being sharpen just recently, it's much more suitable than the previous black pencil that we use. Create more her strokes here. Just as reminding where else we have to do. And a little girl for the lower eyelashes as well. Please pay attention where we put them and rare. We reduced the eyelashes. So the direction of them credit important. And even though I've mentioned a few times in this lesson, and you might say, oh, now we know it, you don't have to keep repeating, but practice the eyelashes maybe separately before drawing it does with really help a lot. I still done on this area a little more so you could look at the eyelashes. More focus and how we are going to add a thicker line onto different areas of it, especially the upper eyelid. So don't be afraid to always go back to your lives and refresh them. Now it's time to start using a little different colors for these areas. Maybe a light blue, steel gray, which would be really great for these areas. You're going to going through the wideness of the eyeballs area you have learned in the previous lesson that you should not leave. The white areas, just white except the highlights. The risks needs to have few layers, even though if they're very light. For instance, here using steel gray, gray, you'll have to use them. See how slowly we are going around. Make sure draw the outline. It's optional which one of these views and which one of them we have. If you have any other colors suitable for this area, even gray light grays, light-blue. I don't want to say pink is pink doesn't read a goal well for this area at that much, unless you have a certain layers, such as very light yellow slash brown for the white parts, it's still much better than pink. Now we wish the area that can be lighter as we have placed the darker personnel, we can use, the silver gray, go through the areas that are lighter. It's a very useful color guys, drawing when you don't want to go to do overdo it. However, blue color would be useful as well, using right now, like cobalt blue. Just use it moderately and slowly covering the gray areas. Brilliant colors for blending the previous layers. After you have looked at your reference more, we decided that these areas, especially next to the tear dock, the corner of the eye, and next to the RAS outlines these areas. It will need more of this light blue, light cobalt blue. You can also use French gray for the person after days to give more colors to the eyes and from the, from the eyes better after this. This is French Gray Friday of our Sun looks like. Instead of using darker color, you can use this form more subtle. Now with a darker brown maybe sepia 50 person, very good color for the outlines. Please have a look where we are going to use it and texture. And add texture more color of it. It even this amount that barely touches the surface going to make a lot of difference. Is a difference between a good drawing and more natural drawing. Little details for the hair strokes and going around the tear doc. For this part we are adding Rosset color. You can see how important it is to keep adding layers and more textures repeatedly. To make it look natural, we are going to use this red shading in the areas we need. So please have a look and follow along. We can see which areas we are adding. We have already done these areas before. Just going on to them one more time with the exact same pressure. That's why we are moving a little fast forward here. You can always pause anytime you feel this too fast for you and also practice. Then resume the video. Now after we have used our Rosa, maybe we'll use brown ocher. 50 person reaches a lighter color and blend the darker with this lighter color with each other to make the skin more, to have a better looking at skin, especially using get near the arrows. The areas that have less clutter, we have to add this specific brown or care of 50% on it. And then after 14. Front View Nose Drawing with Faber Castell: Hello everyone and welcome back to another tutorial. We're going to start drawing a front. We're knows first how to have to learn how to draw it, then how to color it with fabric castle polychrome OS. Starting with the outlines fifth, burnt ocher, draw two parallel lines. You're going to continue, draw a curvy line, then draw the corner of the nose. In order to complete nose dry, you can visit our other courses, courses focusing on portrait drawing and anatomic drawing. But however, you will learn all of them here in freehand style and also on your downloadable resources which you can download. You will have all the grades, the references, and also the outlines in order to print and practice on them. Since we are done with the main shape of the nose, you can see how easy it was. We need to make the nose to look more natural. Terracotta, one of my favorite pencils that we have, petite chromosome, Let's shade near the lines. All the other lines are darkest. I have said this so many times in the previous lessons. I'm going to point it out one more time here you can see even this lesson. The first thing we have started doing after drawing demand outlines, we are going to shade near the outlines to make sure we know the shape is correct. Before adding the second layer. Correcting all the outlines that needs to be corrected and go around. Circular hand movement. Keep using the same pencil. It's an amazing pencil for the color of skin tone that we use, especially for these colors skin tones. Now we have almost started the second layer. These sport is quite important because at the tip of the nose has this kind of circle feeling that you have to create it at the very beginning of nose drawing. Make sure you draw according to what you see on the screen and place them correctly. Either be outlines are actually shading. You'll have to determine the under layers, what we are using and how we should shade which area you add more pencil pressure, on which area you're add less pressure. Make sure you don't go onto the highlights. Again, I'm going to show it to the highlights that I would be very careful in this lesson. We don't color them and keep the whiteness of the paper. This part and this forward, we have to make sure the stay intact. So please do as we have shown need to you. Now let us start using burnt umber, darker color. Or if you don't have this kind of Sets, which would be polychromy said maybe you have another brand. You can use a darker brown for this areas, especially for the nostrils and the sides of the nose. Please do pay attention of very-very using darker brown colors on how you're using them. We're not rushing it. I've seen a lot of my students exists in students they keep adding too much or less color for the nostrils or the outliers. Next today knows beings. At this point you should not add any pressure on your pencil or even hand drawing. Hand pressure. Still using a terracotta. Keep looking and have your paper and color pencil sets ready. So while we are actually drawing, you could practice at the same time. It will be a great practice because your memory is fresh, your sink, the areas we are doing so you can't repeat afterwards. It is very important to practice like this. As we have determined the dark parts, like shadows of the nose, we are going to start adding more colors. In some places you need to change the hand direction as well as you can see that we did in few seconds ago. Also add, try to give equal or simple coloring, the very beginning and shading. But sometimes we need to change the line direction. How you're doing. Sometimes it goes from like horizontal way, sometimes vertical way. We have started hearing more and more and try to blend the previous colors and Orden not leave the line traces behind. Especially the one that had been created around the tip of the nose. Keep going around with the same terracotta. Slowly going around the highlight. Still continue layering more and more. Now you should know this as a fact, as a rule for a lot of the lessons, not just the scores, that while you're layering, you should not add all the layers. One go and actually give a chance. So you could build up that layer is like create a when you're going through a building and building it up, you just don't go on foot everything together at once. So you have to build the foundation and slowly go through it. Otherwise, it would be shaky and we don't want our colors to look unnatural. Start layering near the nostrils. Used light yellow ocher here. This will create a natural color tone here. Look the difference between the left side and the right side. We just added a little of this light yellow ocher on to the previous layer, and the color is, looks quite different. We're still going to watch it in real time. So you get familiar with the nose maybe in the next few lessons we can speed up a little. But when it comes to the very beginner's level and your first time you have started is better you watch which will tell us so you understand the speed, the actual speed we used for different layers. Still using light yellow ocher around the second layer after using terracotta matching. Now, I'm happy with it. After this we have to again use circuit one more time on it. You might ask, why not just use terracotta at the beginning and then light Yorker next? And that's it, of course that we cannot do that. It's not going to have the richness of the color we want at the end. Please shut near the lines and make the work look more natural and more reusable. Knows ranks, lags, needs to show better. That's why we keep going around them right now. Again, please do not go to the highlights of the tape tip of the nose. Keep using the same pencil. Usually it is advised to use sharp pencils. But since this is not a realistic drawing and coloring, it is okay not to do it. However, if you use a sharp pencil, most of the graininess of the paper, they're gonna go away that still exists on our model. But since this is a certain style of you are looking for even on our future advanced portrait drawing and coloring. You're still going to have this style and going to leave some of the whiteness of the paper and keep it. So it gives a little fantasy feeling slash realistic to our models. Of course, you are going to see them in the future. A portrait drawings such as here. Now we can start using dark sepia in order to give darker shadows for it. Whereas needed. After that we can use a little black maybe for the nostrils port. Let's go round and make sure we have enough dark color. This is a black color, polychrome as black that we are using for the nostrils parts here. Previously we used dark sepia, now use a little black for them going on both of them right now. Give me a little obvious dark lines on the sides. On both sides. Keep layering it using dark circular one more time. If we mix these two colors together. For this part is good to start using brown ocher. This is almost, I can say effort layer because for us to use terracotta for the reddish base, then we use another color, and now we can use brown or care for it. The previous layers admin, we use this color for blending purposes. Of course, of the last two color layers that you have just mentioned and try to blend them well with each other. Yusuke, or have movement, the areas that needs more color. You see how much more we need this color. And then IPv6, good idea to start using the light yellow ocher one more time. The second color that we use for the second layer. Let's see, because we created the same color pattern, you have to keep using the same colors. Please do pay attention to the pencil pressure that we are having here. Going next to the line to blend the outlines around so they don't stand out too obvious. Little color around it as well. Not just the lines, but go around it. Almost happy with this part. Now we're going to use terracotta one more time. After you've got this pencil and mix it with watercolor, I hope that it becomes your favorite color as well. Since I use it a lot for this course. Next tip that I could give you, our shoulder would be the tip of the nose. So you have to go around like this and makes sure the tip of the nose comes out like a sphere. Like how you learn in the first lesson how we created those spheres with different layers and made sure our highlight stays intact. This is the same thing. The only difference is that the highlight is in the middle instead of to be on the corner site. In order to make this happen, we go around the tip of the nose without going onto the highlight and create more extra shading cube using the same pencil for most softly areas. It will be consistent. Please follow along and have a look how we are doing it. Even though we are showing gets realist slowly. You can fast forward if needed. If you think no, it is a good speed and this is speed that you need to follow along, then please do so. We have use light yellow ocher to times this is the third time you're actually using it. So we are almost done with that nose. Few more layers and people were done. It was much easier than the previous lesson. I can say nose drawing. It's not really hard to do. Just since this is a beginner nose drawing and coloring, we just want to take it easy, but we do have other nose drawing formats and coloring. Both polychrome most and also Karen dash. It's all about layering, choosing the right colors and correct blending. And of course, pay attention to your speed and pencil pressure. Adding more shadows onto the nostrils. After this, we can use walnut brown or sepia for this one. Let's black would be better for this part. Even for sight lines. Outlines for the nose winks this at a little more because the colors, the lines can fade away after creating few layers. So we just bring them back. You can see we're continuing going around sacra hand movement. This part of the nose always, always the darkest, not just on this example below. Part of TBL often knows because of the shadow because it's goes towards down instead of going up. So this part is always have the most shadows. Finance at AB should use. The darker layers that we use for entire surface food go for this part and also on the little under sites, but not too much. We are using either you can use sepia, Van **** brown or any darker brown that you have. And mixing with terracotta. These are, they're really add, these are the last layers. That's why we are using terracotta that we use at the very beginning. So it goes back to where we actually started mixing with light yellow ocher. The formula of the colors, it's the same, it just been, you realize what colors your reference, your reference has. You can keep mixing them, create layers. And obviously it creates a better, more natural skin tone. Steel. We don't go to the highlights. Please pay attention to the hand movement and the pencil pressure. We can stop here or use a little more colors such as beige red maybe afterwards. If you use beige Earth because he's fair SAL, light color is an amazing color to blend the previous layers. So this is beige, red. You can use any kind of lighter pink, but you don't have to if you don't have those pencils. Sorry, I hope you have enjoyed this tutorial so far. Notice drawing and quartering, very easy. You just have, you just have to follow the TR lessons and the colors and mix the layers well together and blend down. See you in the next two, arterioles and buh bye. Now. 15. Drawing Front View Lips with Color Pencil: Hello everyone and welcome back to another tutorial. In this lesson, we're going to go through lips drawing and coloring in a very, very simple way for you as a beginner or someone who just started drying different lifestyle. So we're going to start our lips outlines, middle cadmium red. If you don't have the middle one on your set is limited. You can use any kind of cadmium red or actually red colors that are closer to this. To dispense a color pencil, we do have another loop drawing tutorial that is thought with another color pencil brand. It would be current dash, luminance. Here, follow the screen and the hand drawing and start your lives drawing on your paper. The papers that you can use, it will be recommended to use a texture once or a non texture ones, but the ones that are suitable for cutoff pencils brands. You can also download the outlines of this libs drying or it's great version from your downloadable resources. So first we need to draw the middle line of the lips as we did. It's very easy to draw lips from the places that we created. We made sure to follow the hand moments. Please make sure you follow all the mobiles to draw these leaves. Dave shifts, as I mentioned, they're very simple and easy. Don't take it really hard. I cannot do this. If you can write your name, you can draw as well. It is very simple. Now when it comes to the coloring of any leaves, if you don't give enough textures and color onto it in my stay very flat and it won't feel carefree. So today we are going to learn after drawing the lips, which is done right now, how to shade and color it with two colors. We're going to create different versions of colors just because we are going to layer them and use them in different areas. So we're going to only use to cut our pencils to me, the line is always darker than the rest. So please pay attention. Those outlines for the middle line of the leaves would be darker. And also the ADA outlines, the top part and also the bottom part, but the middle part of the darkest. Never forget to use the wrinkles and draw the wrinkles of the leaves because we do have the leaves are no frat. They all have different textures on it. Make sure we have started coloring next to the lines. Creating rare detector should be and A-star shading onto different places, the corner of the mouth and the middle line and also in circular hand movement. Should be circles here while dry. So I'm going to point it out for you very about here and here. And also this area. These are the areas that looks like circle. And even though if you cannot draw freehand, this is how you can actually draw your guidance at the very beginning to do. But this course really trying to tell you how to do free-hand drawing. Unlike other courses that they don't do this because they prefer that he do either trace it or they have already drawn it for you. So this is the course that really wants to you to start leaving yourself Android because it is very easy. Now with sickle red color, which is a lighter color of you are going to distinguish these two layers from each other. This is scarlet red using the shading of a layoffs. Rocks like this have a look on the screen, how they look like. As we talked and showed you on screen about issued, be there our lives darker areas and how we should draw it. Now we're going back to their lives drying and actually see if you are doing the right thing. And exactly following the standard format of the highlights that dark parts and the shading areas. We should keep gonorrhea. Please follow along and don't rush. You're layering completely all the outlines with the same color. Or if you don't have the same color as similar wounds, please make sure you're drawing, especially the line blending. Blending drawing has a direction and is from top to bottom parts. After that, we have to give more color in this areas, especially the middle part that we mentioned before. The middle line, which is becoming more obvious right now. Listen, adding more pressure. Then when we add the line, we have to go around it and shade more like this. Even now from the, from this format, I'm very satisfied with the beginners SQL structure of our coloring format. We are giving more color on the lower left part. And also the corner off the lips. Should be colored middle red color pencils, but we will need more darker colors to create the effects of the highlight later on. Let's continue watching and practicing afterwards if you need, we are showing this to you in real time. But if you really need to pause, continue drawing and practicing afterwards or if you feel it's a little slow for you, you can fast-forward as well. However, make sure you follow exactly the same hand movement. And also keep the white highlights around. Even though we're going through facial features separately, we're going to start going through portrait drawings in different direction as well. How to do it? Like sideview, profile or profile as well. The friend colored pencil brands. You can use burnt umber for the lines. You don't have to use actual really dark red because sometimes you need a brownish color or red to create that feeling. Create and going on the wrinkles of even more. Now, you have to understand the moderate layering as well, not excitation or events sufficient version of it. Because if it's too little or too much, none of them as good. You have to understand the middle part. How much you have to apply color pencil onto your models. We're going to keep using the bright color like scarlet, red and apply. Since we applied earlier. But read more pressure design cad the difference from the first layer now this is almost a third layer of Uruk going through more per share. It's circular hand pencil movement. Gradually go through all the layers that we have done and complete this layer. It all depends on your hand pressure now. And steal, Be careful off the lips highlights. Start giving more color near the middle line. The leaves. Then go around the outline. Moriah, apply the burden. The better it looks like. After days. I always mentioned you need a brighter color in order to blend the previous darker colors, which here we are. Maybe cinnamon, pink hair color. And if you don't have it, that's okay. Anything that similar of these and you have tried it and blend well would be okay. Even white but white scan to mix your work really not shiny anymore. It's going to take away that real feeling from it. So at twice U2 use and not a brighter color instead of white and use it. As you can see here with our main bread, which would be called medium cadmium red that we appear previously used. We are going to continue going through the corners of the Leap using pencil in different direction, makes sure the wrinkles previously we created, we are still going around them. This part of the lab, which would be the outlines, always put more pressure onto it. You can even stop here. You don't have to add more layers onto it is almost a Danville. As far as I see, it's however, you still can go on and add more layers, such as, for instance, brown ocher. The reason we're doing this, we want to create a little skin tone around it for you to see, even for you guys to get ready, when we start going through the facial features really soon. And put all, all of them together for a complete portrait drawing and coloring. Have a look how we are using the brown ocher. If you have noticed the previous lesson, the tutorial video, which is the nose above, you can't use the same color of skin tone for this one as well. So that would be actually a great practice and assignments for you guys. You do have other assignments ready for you to download. However, if we read lovely, you put these two are facial features together and practice. You're using burnt ocher. Just going to add a second layer to the brown or care of you just did previously. I'm always excited to try new things. I hope you feel the same thing when you start a new lessons, when you go through different colors. Even though if you don't have those color pencils, you have to experiment and understand the colored pencils and how to make cell. Thus another excitement that we can have and looking forward to it. Cube using burnt ocher for around. Continue. Then makes sure Vigo actually next to the outflows as well. It's very important to blend outlines. The main outline of the leaves are there, the upper part or the lower part? Now we're adding some scarlet red onto the skin pores. It just see the basic, the shadow of the lips onto the skin. From here just cut her reputation. See how easily we created the color of skin tone around it. And it's some highlights. Keep coloring with a darker red. After this, we will make the lines a little more obvious. As I mentioned like a few seconds ago, you really don't need to continue. It's almost the main color layers, they are done. You're just going to make the outline stand out a little more. Like how you see going around the middle line, which we mentioned, it needs to be the darker ones around here. To blend the colors better with each other. We're going to do it with lighter pink, which would be the cinnamon. As you can see. One out. I believe that email so far that's this color is one of my favorite ones. For blending. It is a must in order to have it. So if you don't have it on your pencil set, if you feel it's useful, maybe get one of these. Still, not just for blending, we're going to go around the skin and blend the previous color layers with the previous colors. Let's continue with the skin part. You can see the corner of the lips. Usually they should feel like a Mohr circle and more a darker color compared to the rest of the leaves. We're going to go a little faster. The rest of the colors you already know, and you know how to use hand movements and hand pressure it just to give additional layers with exactly the same colors that we have used so far. Using more black ones around using against cinnamon. For the leafs part. We can see some of the highlights of the main parts of the Laura lived there, gone later on at the very end. Last stage, we are going to bring them back with our eraser. But now I just want to complete all the surface with the color pencils that we have used, a combination of all the color skin tone that you have learned in the previous lesson and also the tutorial that was about colored pencil skin tones. And you'll learn all of them are applied onto this one as well. These are all just the last part novel. We're going to look at it with real-time and use the eraser in order to create the effect that we want more. Since we haven't done lots of blending. That's why we still can have this much highlights on our lives trying and quartering. I hope you enjoyed this tutorial guys. It was very fun to do it and see you in the next tutorial. Bye bye. 16. Front View Nose Drawing with Caran d'Ache: Hello and welcome back to another tutorial. In this tutorial, we are going to start using neutral colors such as brown or care of 50%, which would be karen dash luminous, and start drawing another nose version. In the previous tutorials, we have learned how to draw nose and Qatar down. However, decided we are going to learn how to do it with another pencil brands. This time, the outline we're going to start drawing would be brown or care of 50% would advice you do not do your draw your outlines, defer to the beginning outlines with HB pencil because it will be really hard to get rid of them. So now let's just remember you do have all the outlines and also the grid version within your downloadable resources. And you can easily go to do is resources and download them and start practicing. However, here we all start drawing free hand style. Please. Every time we do this, have your paper and pencil color pencils ready. The ones that are the color pencils that are similar to the ones we usually use. And start drawing the outlines. Now slowly, we are going to complete the the main outlines of the nose and the same color we are going to go through and shade the first layer. We need to differentiate which areas darker and which areas brighter actually go through the shading area now. And these are myVar, the where are where they should be placed. It is a very good color for the for layering, especially the first layer brown ocher because it's very bright. Also, it is an excellent color when it comes to burnishing, because you can replace it with white. Now after this, we're going to start using brown ocher because it has more color. Using this clutter to make the dora for the darker area that we need to shade federal. More obvious way I have to say, especially near the nostrils and also dark parts. If we compared this nose with the previous nodes that we have drawn and color, the format of the nose different as well. So we just sharpen our pencils and then continue going through the the wings side. See how careful we are with the main outlines we are drawing. This would be the blue parts before going onto the skin. Slowly start shading the outlines because we don't want to have actually obvious outliers. We always fight those lines with different color pencils or even with the same color. Now let me on the screen, you'll see which area should be dark. Let's make sure you remember this formula and continue. And all of us, the tip of the nose would be the highlight. This goes for most stuff, the drawing parts. Now we are continuing with our current dash, burnt ocher, to place all the colors for a day should be and create more depth. Now here we're going to start using burnt sienna, a darker color. In order to darken the nostrils. Please practice and follow at the same time. Go around the lines, make sure they're done in a neat way. And you have paid attention where we are putting the dark parts in the previous nose drawing, material, nose drawing and coloring. You saw that we use a little brown black for the nostrils part. You can see it's not always like that. And you can use life burnt sienna or if you don't have it. They're brown that are close to skin tone, darkening the nose wings as well. We have put them and then go around the tip of the nose and goes towards the different areas with the same burnt sienna. After this, we are, we need to start using burnt ocher. You're only going to use it for the areas that has more red pigments on it. Later on we're going to change burnt ocher. Since these have lots of red pigments audit and also red slash brown, we can use event brown ocher 50% instead of this one. Now using brown ocher 50%, as I mentioned, even though it's a very bright color. But because if you have colored a much darker layer for the first few layers, after you apply a lighter color on them, develop, become much darker. Actually. That's a formula that you need to remember. We're going to go around, fade the outliers, especially next to the nose. Then those things. Sometimes when you feel like you need to use erasers, that's okay. We can go around and face or even create highlights with them. It is good to have a normal arrows there or pencil or is there even electric razors good? To purchase them? Create the highlights that we needed under no sides. The nose, we add the SE, both sides of the nose, the nose wings. If you have highlighted without a doubt, make sure you actually bear that in mind and always keep those highlights intact or create them afterwards. Later on, you can mix these two colors that I mentioned on the screen together. Perfect color tone for this area's going around the tip of the nose. These areas, even in the previous lesson, when we were doing the nose covering a measured this part always darker because it's towards down and it doesn't see the light. Disperse always have shadows on it. Make sure it's the darkest part of the nose coloring. Continue going around. Now you should be familiar with pencils. These are the nodes that we're going to learn and you should be familiar to all, have the same technique and the highlights the same places. Later on we can use darker colors such as brown ocher or burnt ocher. Depending on the shadows. It's important how to mix the colors together. How much, how many times I go onto the layers that we have colored before and add the layers onto them. Because this is much smaller than the previous one that you have drawn and colored. Make sure that your color pencils are sharper than the previous ones. Steel mixing the same color tells the color pencils with each other. This paper, as you can see on the right side, we have drawn side profile. You will learn this later in later lessons, however, it's always good to know the facial features and then go onto them. So if you look at on the right side, you'll see there are the highlights of the nose, even though it's a side profile. We still have them exactly the same place as we're having them on this one. Now we're going to start using brown or carer 50%. Blend the previous colors that we have layered already. Continuing, be have done most stuff, the coloring parts. I'm quite happy with this so far. You're just going to add a few more layers and then we are done with it. You can see how easy it is. We didn't spend much time on a nose maybe like between ten to 15 minutes max. You can do the same thing. Doesn't always do not have the excuse. We don't have time for practice. It's not gonna take that much time, even 15 minutes to one hour, daily or every other day, or even once a week, would be sufficient for this course practice. So it's important to do this and go around and make sure you watch them and then practice afterwards. Only to the last two colors with values would be CPR 50% that we are using. And then Bert, Oh, care at 10%. To blend the final layer. We are almost done. We have few more facial features to go study, learn how to draw in a freehand style and color them. Learn all about how to mix different colors with each other. And then we're going to start learn how to draw a portrait in, again in a freestyle hand. And you do have their outlines ready for you to download. But now this is almost the end part of this tutorial. I hope you enjoyed it as much as I did. And we are almost done with it. It just mixing few more colors. And that's it. So I hope you enjoyed it. Please do practice and send me your assignments. And for now, Bye bye. 17. Drawing Pouting Lips with Color Pencil: Hello everyone and welcome back to another tutorial today first, we're going to start with our main outlines of this libs trying with also skin color tones around it. As always, we're going to start drawing the middle line. Both sides should be curvy. Maybe using brown or 50 person would be lovely here if you have any other colored pencil that matches this color and you know that the equivalent of this a color pencils from Karen dash brown, ocher, 50%, that will be okay as well. So, so far we have started doing the outlines in the previous lessons, you have seen that we have drawn the eyes, the nose, and also later on, I'm going to teach you how to draw the sides, face profile and also how to bring all their facial features that you have learned so far, and also color AND gates. For now we're going to spend our time drawing this powdered leaves. You can see the inside of the thieves as well. We are going to emphasize on the middle line, we have almost to a middle line. We have to be careful to make sure those parts are done a little darker than the rest of the ellipse drawing. Also, since we are using Qur'an dash luminance pencil here, I would like to tell you a little difference between Karen Lash luminous and former council polychrome most, even though I have thoroughly touchy about date within written roars in previous tutorials. However, let's go through the actually the color pencils this time that the colored pencil variety, for instance, the red and the pink pigments, are much less and limited in can dash luminous comparing to others. You should build it up yourself and building off the colors. Very easy. So don't be afraid of doing that. Just combining darker and lighter colors and you can come up with beautiful colors at the same time. So to emphasize again, the colors existing in the brand is not as much as the fabric castle when it comes to Karen dash, but the set is very complete when it comes to skin tones. Now, we're using burnt ocher here, 50%. Please have a look at the very first layer calling how we're going to start. Obviously we're going to start with the outline because those priors are the darkest, not just in lips dry either nose, eyes, or even the first dry. If you look at the right side of this screen, you will see the outlines are much darker. I did the smile line, the leaves, the nose, and even the lines of the upper eyelid of our portrait on the right side can be seen as much. It has much more colors. Now obviously we are determining dark and light spots on the leaves. Make sure you are using a circular hand movements. No pencil per share. And standard dark and light understanding and the light areas obviously of the lips. Now using current dash 077, which is called burnt ocher, is a darker color comparing to the previous pencil, we are going to work on the middle line of the lips a little more. Please don't rush, especially when it comes to the outline and the very first layer coloring. This work on the main parts of the leaves by determining the main lines on it. The wrinkles and the textures for They can't be. Their previous lives that we drew with fabric. Asa polychromy was a little too red and had lots of makeup, like writhes lipstick makeup on it. This one is more subtle. So you can also see the difference between two different color version of lifts arrived, even though they belong to different pencil branding. Around our labs, we're going to make sure they are darker. However, you have to use circular hand motion. The movement that we're going around, starting from the corner site and slowly go around. Going to continue. The same movements on the lower lip part. Make sure you keep moving your hands around and understand the color tone. Because if you give a good level on all the parts, you understand each area you need to add more amperage area, you need to add less colors. After this we're going to use and lighter pink color, which is quite hard to pronounce some going just to say it's 571 and it's pink. So we're going to start drawing and give more pinkish. Color tone onto the lips. And since we are at the beginning of cornering, if you use a darker color for this layer, the whole color will change. So make sure you understand the levels and which colors should come first, second. Sometimes obviously unlike the nose, we add a darker layer and then we're going to add a lighter one on it. And the whole color become dot. Here. We are almost doing the same by some parts, especially the DR site of their lives fear are using lighter colors. Kept going through the lines. Pay attention to the hand movement and have your piece of paper and your own set of color pencil around. This has started going through the whole thing. Now if you need a darker color again, maybe burnt sienna 50 person to create dark, to create for dark parts and the shadows of the leaves. We're going to cover this a little faster. This is only the texture parse the wrinkles, steel we're going through with circular movements and adding the darker color. So please follow. After we are done with the textures, the wrinkles, we are going to pickup a very dark pencil such as CPR 50%, and create a very dark area in-between the lines, between the lips lines and go through everything. We can actually draw it here, but the picture and their reference that we're using, it's not showing it. So we are going to make sure we are using the right color of each CPO. Believe CPR 50% would be good for this one rather than life because our Kotter Christ, quite subtle, especially the pink colors and the, the first layers that are used. We need to make sure we don't overdo the later colors onto them. The corner parts both right side and left side needs this. Again, we're going to use the same pink 571 here and go near the lives to shade it with circular hand movement. Make sure you go around the outlines. And also fade the absolute darkness. So this way, it feels like we are building up the colors onto each other. Now have a look at how you're dealing with the texture. From here, we are going to use rudder pencil such as burnt ocher, 50%. Going to go onto PQ layer that we have already drawn and colored before. And you can see going onto the same areas. Start with the same direction. Color around, and start creating more layers. Be careful off your white highlights. Even though we can create later as with eraser, but it's still as good free keeps some of the natural whiteness of our paper as highlights. As we are speeding up around here. Please follow along. It's almost the same hand movements we are using the pink color one more time and go layer it up. Here. After using a little pink for the previous layer, we have to make sure the lives, they don't get the superior because every time we add a color layer, the lines, they fade away. So we have to actually go on them and make them resurface one more time. And they look a little more visible than previously. Like here. Just don't overdo it, enough wrinkles. But even if you don't create these textures, It's your drive not going to look natural. Using burnt sienna at 10%, this is another pinkish color that we have used so far, girl on the leaves. And this actually darkens the area. It doesn't mean just because it's light color, because we already applied torque error surface darker layers. This is going to go on it and make our lives to come out looks more beautiful. You're adding more pressure on the left sided leave the lips. This is because the notion of the sun when it's coming from, is it from the right side or left side? So adding more towards the left is more important here. And now we are going to keep using our pink color. Go around, make sure we go next to the lines and create the pinkish layer with more pencil pressure. Darker color. Either you can use burnt sienna, sometimes bent, burnt ocher, 10%. You can see how simply we are creating layers, like blending the colors. Burnt ocher, 10% before I start using burnt sienna one more time. Doing it very slowly, no rush. Some of the shading. I'm not just doing with circular motion like here. However, sometimes you can't do it with just a line drawing because we do have some pictures, line textures, in-between the wrinkles. You're going to use burnt sienna here, a darker color. Going through next two lines. See how much more the more you colored layers, the better it looks like. Every time. This applies, not only for this example and trying, but throughout all the materials that you have been through. Again, in a careful way around with our burnt sienna. Create the dimension that our lives requires. Even the wrinkles. For the texture parse, just make sure the highlights still there. Again, speeding, speeding up this part. I have mentioned a few times that all those things are lighter or darker. That's what we are doing. Again. This is all about now layering and keep adding the right color. Here we are going to use a more red color, which would be scarlet 070. Gonna go through the same layers that we. More brownish colors. Again, the left side has more layers comparing to the right side of the leaves. Still, I always start from the main outline, the middle line, and then go around. Sacral are hand movement. Keep doing it and practice more after this. Creating enough red colors around. This is a very important step in order just to create them and also not overdo it. Now, we can go back to more natural colors. Adding more layers. Then you can start adding more reddish color. It's coming to live. The more layer VI start coloring, the better. Looks like. Even though you think you have done enough layering, it's even good to try more. At some point after lots of practice, obviously, which we have put a lot of practice both on these Creoles and also on your assignments. You will understand that how you should do those stuff. Very should color. You're almost done. I'm just making sure there's Qataris has been done enough. We're going to go around the lips now to create some skin tone. The same way we did for the previous ellipse drawing and coloring. Even if you don't want, you just want to practice lifts, drawing and coloring. This would be almost end of it, even though we are going to keep adding onto the leaves with different pencils. However, this is, I believe, sufficient enough. Gradually add the skin tone color. Since in the previous tutorials you have followed and practice. These leaves drawing with different brand. We're going to speed up this area. We are using a pink color and also the same colors we have used so far for the skin and ground. The same handbook. In order not to get rid of the darkest on the corner, we should use Karen dash the burnt sienna of 50%. After we used burnt sienna, we are going to continue the skin color and go around. Now for the remaining part of our skin tone parts, it will be lovely to use brown ocher, edit a darker to the walls. Comparing to the walls we have already used. Create AD. This will give us a dark shadow around the lips that we require here. Here we need to put more pressure onto this part to make it looks like it goes inside. It says more dimensional onto it. And go around the edges for steadily add outline of the lips. The either side. Keep doing. I keep going around a circular hand movement. I didn't more color onto this part to make it stand out more. Going to use burnt ocher around. So far we have been using burnt ocher and burnt ocher at 10%. Last few colors we're going to use, it's not just burnt ocher, but we're going to use burnt sienna, 50 person burnt ocher, tan, brown. Okay. Then percent combined our four-day color of skin tone. Going around. Don't forget for the last part, use pinkish color onto the Spark. Then haven't look how it looks like when you add the hint of darker skin tone. It's more visible and become, it becomes more natural. Keep adding it and keep adding different layers. These are only the last suggest as far as we're going to speed up a little here. This time, use, as I mentioned, using brown ocher, 10%, Luke, how bright and light areas is an excellent color pencil for burnishing as well. And it will fade away all the outliers when you'd need to. I hope you enjoyed this tutorial guys. I'll see you in the next lesson. For now. Buh-bye. 18. Drawing Two Eyes with Color Pencil: Hi everyone and welcome back to another tutorial. Will done so far. We learned a lot together and practice a lot as fall together. Your practices and projects have been great and all showed how much follows through so far. In this tutorial, we're going to go through drawing to drawing our eyes. But this time, let's see how the two eyes going to come together. And we have leveled up how to draw them in a way they can all be symmetrical and match. Then as always, we will learn how to apply color pencils lactase, on today's drawings. The amazing thing about this tutorial is that we are going to learn skin matching between the eyes. And that means one step ahead to get closer to a full portrait, the arteriole. Now as you can see on the screen, we have started drawing the eyes and bird. They should be practice these freehand drawing and also don't forget to practice your sketching with our downloadable resources. All the details and resources are available there and you will be able to access to it. Take your time under drying parts, comparing two coloring parts as if he gets some event a little of the distance by mistake, you're drawing won't come up as beautiful as it should be. We drop of ice right now. At the same time, there are differences for V2 much you can see we are going through the iris. It's very important you understand how these two eyes should be symmetrical and practices, even at the beginning, it doesn't look nice or didn't like, really match is okay. Everything come like. You will achieve this by practicing. Everything is above practices. However, at the same time the Iggy, their friends and the grid is available. So you could actually get help from that at the beginning, but later on, these free hand style is very important for us and how we do and continue. We're going to put a little more pressure onto it. You can see we have already drawn both the iris and also the pupils. And now emphasizing on the corner of the sides. I'm going to take my time for for awhile because if the foundation is wrong, the whole thing's not gonna look as similar as it should be. So later on I will show you to you how the main model looks like. So you can compare it with our drawing. Even one millimeter. Can BD difference between how it looks so realistic and unrealistic won't thing about this course as a really, really want you guys to focus on would be the skin in-between the eyes. A lot of the instructor, even my instructor friends that I know they decide to teach but not to teach in-between the color of skin. So they only draw both eyes next to each other, but not the narrowest part. I thought maybe ABB grid. In order to prepare you guys. We go through those colors, skin tones, in-between the eyes as well and the eyebrows off course. Now if you're going through the upper eyelid, as you can see, the eyelashes in different direction. Now, I'm pretty sure you have practice a lot of eyelashes because I've received a lot of luck of your assignments so far. Any of you, you'll have incentive, please do so. It's very important you do that. So far. We are taking our time again to make sure the alphas are correct. I have said that few times in the previous tutorials, all the lessons every time I mentioned this that instead of HB or any other pencils, it's better. You draw with color pencils and follow those outlines. You can see the reference on the left side. You can compare if they are similar or not. Now if you are going through the eyebrows, such a beautiful eyebrows. So we have to make sure we achieve the same result as well. For now, just make sure that I breastfeed and look like this picture. The model shows the eyebrows are very visible and the outlines, the hair strokes, needs to be more visible to comprehend to the previous lessons that we had to get her. This is only beginning for our eyebrows drawing and we will work more on these fe, fe more later. So drawing the eyelids around this area. After that, we have to go through the outlines of the eyes, more. Going to start using black as well. This just makes sure the parts that has highlighted to have to be spot on more before going into. The dark to go in with dark pencils. Therefore, there won't be able to look like highlights anymore. Determine where are the highlights. And before actually coloring good. After that, we can use actually burnt ocher 50%, replace it with the black pencil. You can use both. Lots of instructors. They advise you not to use black. That's completely okay if we don't want to. Instead, you can use a darker color pencil WEBO, right as well. After we know most of the placement of the eyes, dark outlines. After we have drawn all of them, then we should go move to Varsity skin pattern. Now is to early. Going through the upper eyelid brand, all care of 50%. Please have a look how slowly even I move around. I'm just reminding the highlights and the dark parts going to be even circling around. I'm more oval-shaped rather than a circle. Most EHR both eyes almost symmetrical event this part. Later on you will see how these walls slash circle they're going to look like and how we're going to color down. Even from the very beginning, we have to be careful about the initial color layers. Starting with this sprint or care of 50%. This is very close color to skin color tone. Make sure your pencil movements are harmonized, same pressure and consistent. Leave the highlighted parts above the eyelid empty place. As you can see, especially in the middle part. And this is universal. So it's not only hear it. Obviously some references would be different. And you might say, send me the references, say, is this the same or is not. Know, they can be different, but most of the tiles in the middle part above the eyelid, upper eyelid would be have the white highlights. Now using changing to burnt ocher. Going on to the outline. Just go around the eyes. Please. Make sure you know which color you're using. But also you should understand the parse should be covered from the very beginning and which parts should have less and which forms should have more. Analyze your motor from the very beginning. When it comes to the dark area, especially around the eye, we can use burnt ocher, as you can see. Since this is a darker color, try to gradually colored area and not too sudden. It hasty hand movements. Because if it's too much, it will be hard really to correct it. Under the eyes. The color is darker compared to what we have colors so far. So we're going to use burnt ocher for the main eyelid line for now. And then we can add more darker colors around. See, especially these ****, the corner side of the eyes you should adult occur. Also the corner side of the, the right side of the eye, much darker as well. To show that it has some dimension onto it. We have to go on to the lines again because after we keep layering, adding layers, the lines might disappear. One advise, usually when you're doing one eye, some people, some students, they prefer to finish one eye and then go to the other ones. I suggest you do both of them at the same time. So you understand the level, which cutter layer you have used at the beginning and the second one. Because at the beginning of your tea arterioles, you might get confused. As you can see at the same time, we have started coloring the left eye as well. So we have this symmetrical feeling, dizzy, mythical feeling would stay intact. Since this side has more orange pigment, actually, we can use this color that we are using more and then bring in another color layer above it to add additional layer color with us what I mean. The shape of the eye should continue to look the same, but the coloring can be different, as you can see on the screen and how the white highlights have been identified in different places. While we start using burnt sienna. This brand sienna, which is a darker color comparing to the previous one, can be considered very important for these areas, especially going to bursty knows the data, we can add some burnt ocher onto it. Have a look how you're actually going through the nose part. This is very important. Do not be discouraged at the very beginning because it doesn't look very good. You think it's, your scale is not know. Every medium was like this when you start drawing, oil painting or even cut out just pencil, HB pencils, everything that first layer, secondary of one as good as of course, the last layer. So be patient, keep coloring and keep layering. After that is using your burnt ocher, going around the dark area that we drew previously and connect them. This connection is very important. That's why a lot of the instructor prefer not to go into this because it's, it might be hard for our students at the very beginning, but eventually you need to learn how to connect the scans together. Otherwise, there's no reason to your cube learning just separate facial features and no skin tone, color, air connection. We are here to learn all the details older techniques and gets better and better. This means you have to go through your assignments tab of a really appreciate that. And we put in too much effort, a lot of effort onto them. Create all the outlines, all the grades, and also give you lots of direction of how to practice IBA with gray to receive your practices at the same time so I could comment on them. As we're going through the importance of understanding how to connect the two eyes from the skin wise. The most requests tutorial we have actually received would be this. We have to understand how perfectly to blend the skills together in-between the two eyes which we are doing. Do you remember at the very beginning we draw the circle in-between. Now you understand why the circles have been drawn. That was a circle, a, guidance for myself and for you, of course. Event B or you're using powerful color, never use them to match and blend at once given space and let us different layers preferably seat together. Now we are using paint gray 60 person. It has this gray color, has a lot of bluish in it. It's one of my favorite colors when it comes to a little cold blue eyes out of them, very warm blue eyes. Starting from the darker area of the iris outline and gradually go around the inside towards their pupil. The only add in the dark parts onto this. Just now if he compared the first iris that are at the right side are areas to the left part. Even, just minimum, like adding colors, it looks much better. Now let us use a much lighter gray color, live cobalt blue, which would be this one. You can see how these slides, cobalt book and I'll create a perfect balance between the previous fun and depends, great 60% and this one. We'll keep going to start using the same format of the iris drying on the left side as well. With the same Payne's gray is 60%. Iris drawing can be very easy. It just if you apply right layering. The most important part of the eyes can be the iris sparse because all the emotions, all the beauty, this distinct points will come from these two iris and how have you placed the pupils would be another important part. So paint really attention is not just only drawing incorrectly after drying the outliers correctly, the iris would be the next important part of our eye drawings. I really take my time to go around. Make sure I keep the white highlights empty. If needed. You can use a little black color goo around only the outlines of the iris, not more than that. And also of course, the pupil. You have learned in the previous tutorials that every now and then you have to refresh the pupil with black hair color. Since we keep adding lighter blue colors, the even the black Horace might fade away so they need to be refreshed at some point. Adding some smaller line inside the RAS as well to create the texture enough texture that we need. So far you have learned hatching, line drying, iris format, and also just be circular motion wants the previous tutorials. You can either use those techniques, are actually combine them. Keep taking our time, slowly going around. I prefer you watch his real time rather than speed up this area and this part. Because if it's like very slow for you, obviously you can speed it up yourself, but better for, for you to actually watch it with real-time and follow along at the same time. Using the same gray and blue light, cobalt blue. At the same time, we keep using it above right side and left side. Again after this, lists add a little Payne's gray, but decipher the person. If we compare for the person as 60 person, of course, 60% is darker compared to these, but they have the same range of color, tone. They just complete each other and create more harmonious, beautiful blue color. In the last few minutes, maybe five minutes that we have spent on the iris. You can see what a difference it made. This is a 60%. Maybe go, sometimes go a little back onto the video that you're watching and see and compare the colors is very important. As mentioned on the screen, hopefully you are practicing while watching. When I say a phrase that practice while watching, sometimes you say impossible. What do you say? We do it this way. You create the outlines before it starts. Going more further into the video. And you draw the outline, take your time, and then keep watching it and how to color the areas. Don't forget to use proper paper that is suitable for colored pencil. It's better not to use really cheap papers. Even though I'm not saying go the most expensive one, but just a pay period that is good enough for drawing. Because suddenly if you use just A4, Obviously it's not gonna come out nice. A4 is not even suitable and a lot of students sometimes use it. And they save why our drives. The pencil doesn't go well with each other. Since we are adding more black pencil. Going to continue for the artist part, only on the outlines and maybe some textures. I've mentioned this before, but if this is the first time you're watching one-off the arterioles just be a very dead. The top part of the areas always needs to be darker because of the shadow of the eyelashes. So if you compare the top part right now to the bottom part, you will see the difference. This is again universal and it won't change because most of us, we all have eyelashes and those shadows feel reflect on the top of the ice. Now, going towards the skin, start using brown or care of 50%. Using before the area that we have previously drawn. Colored before. I mean, some areas that you can see. I'm actually not using the brown ocher 50 person on them. Just because it doesn't need to discover on those areas. That's why you need to follow realm. Might use it later. But right now, those areas becoming darker. Even so far you can see the main shape of the face coming out. Never forget the circular motion. This is actually the line under nafta wrinkle on their NIF the eye. That's why the, it has a certain direction. Keep coloring the area with the same color. Just analyzing their reference. Sometimes you see I'm hesitating is, it means that I'm looking at the reference even though like it's been so many years of your practice, steel, we have to look at the reference and make sure you're coloring it in right places. If you don't look at it and think that we're only looking at only buy once, you know where exactly each color should be. That's not correct either. Always looking at it from these tutorial, you have to keep watching and apply the same time. Or if it's only a certain reference, you have to one eye on your reference and one eye on your drawing. Slash coloring. So after this, maybe we'll use a little burnt sienna. Let's see what's the difference and how the outlines canal looks. Much better not to use brown, dark brown or black for this areas right now, all this started lighter color, will, of course, comprehensive brown. Burnt sienna is lighter color and it can be corrected later and almost also it fades easier. One coloring on it. We are going to use it on main outlines such as eyelid, upper eyelid, the corner of the eye, and the wrinkles around. We have already layer the direction. We just have to add them. The main shape of the eyes coming out. Getting shaped. One important point is that where we have white highlights, meaning the light has been radiated. We should remember to have the darker ones and the most lighter was next to each other. Keep continued even after redraw the certain lines. But we still circular movement going around them to blend the colors. So the color is, doesn't stand out just on its own. They feel more after use his theorem cooked rather than a raw. Give me more shadows onto the upper eyelid. Actually eyelashes growth. After these. Adding enough shadows. A pencil that has similar color to the skin or muscle areas. We've just going to determine where are the tier dog. Maybe after that, we're gonna use a little burnt ocher. Here. Let's use burnt ocher and go around. It has some orange genus, honest. Because maybe in few seconds is good that he asserted using some Africa because it's a very orangey color. Now while completing this area, have a look police and follow along. See how it minimal pressure, you start doing it. Now this is what Africa 041, color looks like. It is very bright, and if you overdo it, the whole color scheme is kinda looks too orangey and it goes towards like very unnatural highlights. So we just have to make sure it's going to the degree of using it is very moderate. Because if it's too much, it's not just going to add any value to it, but it's going to ruin the whole color scheme. Make sure no hand pressure. Just create highlights with it. Bright highlights obviously. Just use it. We'd be von, use this color a lot. But only some debt has this shading actually, not all over. Make sure that you understand the places that you're actually using it and how we're going to go around with it. Blended well before actually moving on, since we are moving to the parent or carer pencil, you should have learned that the previous color, african orangey color. Very good. So always finish blending previous level layers before moving to the next color. Going to mix this pencil more even. Start doing the same thing for the right side. I have used Ross said before a lot in the previous tutorial, so I'm pretty sure you are. I'm very familiar with the color and how what an amazing pigment, red pigments it has in it. It's not too much, is not really either dark or too bright as a threat. So it's very good for color, skin tone. At the same time, don't overdo this cutter. It might overwhelm the whole years if it's too much. We prefer to gradually add it to make sure if we could control it. Still analyzing various should be obviously the darker areas on the sides. We'll need this color more. Now we're going to use burnt ocher, 50% and lighter one to blend the previous layers over those who use the lighter color on darker level layers in order to blend them and fade any parts that we need to. Since we are using this color, it will be interesting to tell you how some of my students think. It's like they don't believe that sometimes red, brown or certain even orange that we use, or even really darker colors can create color skin tone. So not just anything weird, you just have to know that how the colors go well with each other. And when we add layer on top of layers, what color is gonna get created? That's very important. So don't be surprised if enemies suddenly add red, or even sometimes we add blue onto the color of skin to create that pair police. Really natural color, skin tone. So anything possible when it's caused to color skin. And you need to experiment on your own as well. You need to get a lot of references and see if we can figure out the color of skin tone. If you could please do experience and then send me a sock with help you out more with your references. Now if you're going to use burnt ocher at 10%, a little. Taking away, going back because we had a lot of highlights here. But sometimes it goes away. Sometimes we figured out it needs even more. There is nothing wrong with Verizon and correcting the places that needs to be corrected. This burnt ocher to the person, it's great for blending the darker colors. Replace our white pencil. Just mentioned about the eraser. It's okay if you ever want to erase them and at other colors. So you can easily to take off from the paper with Santa Rosa and make it look whiter or brighter. This is very close to white color, as I mentioned. If you don't want to use that technique, blend the colors with white because it's going to create a very non shiny surface for you. And honestly personally, I don't like that. I prefer to understand the colors, analyze them and see which color goes well with theatre. And when we have chose a certain dark-haired decree colors, we know the lighter, lighter degree wants as well. And then when you use the darker layers, we know that it's time to use the lighter ones on it. Here we have zoomed in a little so you could see more India cells are usually don't zoom in onto the camera because the quality will be dropped. So you could see which areas has more. What color. Now look at the screen and different clothes I highlighted Open AI and also sideview. All have different eyelashes versions, different version of eyelashes. So please pause at some point, analyze them, and then resume the video. For now, please pay attention to the eyelashes and the direction and the how curvy redraw them. First, we make sure that we know each one of them via their place. And then we go and add more. We will later at the same unnatural onto the left side after we finish the the lawyer. Smaller eyelashes here. We have done few ice so far. So SEM you're more familiar with this area of drying? I can't save. We'd experienced that one-off the power set of the students. They struggle, the struggle because it's not hard to do. It just didn't practice enough. Unfortunately, sometimes you don't pay attention. You just wants to, in a very quick way to finish the drawing and move on. Desk Reagan, not a good approach to be honest video guys. What I really suggest you wait, you'll see how I'm going in and caregiver way drawing down and then follow along rather than just quickly you want to finish. Take to take your time with every Harris stroke that you are doing. You're not really in rush unless you want to go out and eat something or watch TV on this. If you don't have those plans, maybe. Just have some time for your drawings and say, Okay, I'm going to be patient and follow the instructors and apply the same thing. Apply what she or he is doing. Now moving on. Going through more details on the side. Burnt sienna, 10%. An excellent, This is an amazing, amazing color for skin tones. Even from the, I say how you have hold it and you can see the color tone on top of the part of the pencil. This is very good. Very light pink. I'm just wondering how much more of this burnt sienna 10-person we are going to use the amazing corner, as I mentioned, for going around the wideness, like for an SSD eyeballs or the highlights that we don't want it to be completely white. We cannot apply this color, paint off this color onto it. Not a lot for it to look. Really natural. Event though these areas might seem white, but don't leave them out without color and get, now, we're going to start using Payne's gray for the person we have already used it. So a combination of their brand, the previous color would just use burnt sienna, a 10-person, and Payne's gray for the white parts. Going to create the effect we are looking for just now compared to the left on with the right one, the left side right eyes looks much more mature and more natural when it comes to coloring. We have to do is the same thing for this one as well. Going around, circled are hand movement. Create enough layers. We have to completely go over a bit. The speed. That's why I'm not really speeding up this area because it's actually good. You see how much patient it needs to use for drawing and quartering. Keep using the same color as we have used previously. Maybe sepia, 50% mixture of red to go around corner of the eye. Both inside and also outside to see occur are hand movement at some brow shadows and I'm mixing a bit dark writhes. And then keep using sepia, which is another dark brown. If you have another dark brown and you don't have CPR 50%, that's still okay. We have to do the same thing on the right side I as well. Always when you applied the same amount of color on one side, do the same thing for the other. Combination of brown and red. Even though it's still gonna be reddish brown, it will be much richer color comparing four down to me just alone. Just apply one-off them. This doesn't mean it's really necessary to we and the iris who just try sometimes to create the RM to make the lives into more into unless shaky outline. Using black pencil more on the iris. After we have completed this part is time to go through the eyebrows. Dark brown would do as goods, maybe be able to pick up sepia 50%. Let's see if you're satisfied with all the black parts, the eyelashes. We will apply more later. But not suddenly. It's good that we take our time. We can the eyelashes line the upper eyelid, slowly around. Circular hand movement. A little more, eyelashes in the correct direction. So far, whenever be applied on one IV, applied it on the other side as well. Steal I, keep looking at the reference. Now the eyelashes line, it looks much thicker, which you should be the same color, CBF 50%. Just apply the hair strokes for the very first software to eyebrows. On both sides. We have practiced is several times. However, if you remember, recall at the beginning of this tutorial, we showed you that France, how their friends, eyebrows looks like. They're very visible. So if you have to be more careful this time, because unlike the other tutorials that be happier through, this one is a little different. Keep adding. Even the line drawing can have several layers. So don't do it at once. Go through the same phase for the left side. Burnt sienna and lighter, stronger color matches the clitoris skin. We're going to go through the eyebrows one more time. The reason I hesitate is because we need to look at the reference few times. Keep going back to the Scipio 50% and also brand sienna. This is how it should be done. Please follow along and practice. We're going to do this for a few minutes. I will like not to speed up. So let's have a look together. The top part of the eyebrows are always thinner. Comprehensive lawyer part starts from fake and then goes to morphine. Line. You're throwing up the eyebrow, eyebrows, hair strokes. I would like to see your practice these eyebrows separately and send me your practices. Maybe not even applied on your model for a stress practice separately and submit your assignments. Slowly. Keep layering instead of like adding ink. Shading layers like we shade the US, we use to shade the surface. Most oftentimes in previous tutorial, if you're just doing it to get like hatching style. Now, how different it looks like from the very beginning that we are started the eyebrows. Now this is called shading. Just fear doing the same pencil but not too much. Don't overdo it. Please. Make sure you look at your reference every now and then. From dark and it goes lighter towards the top part. Slowly with minimum pressure, we do this. Now we have shaped the IRA is built from color layer and the Herat strokes. We should go through the white areas of the eyebrows as well. And I will tell you how we should do it. Practice right now. Both shading and also line drawing at the same time. We have an a startup brown ocher yet this one is a brown ocher, 50% going around the scheme to make the skin area more to look more natural. Now, we have to use more, use more at red color for the next layer. Now you should be familiar with the colors. By now. Circular hand movement. Speed up this area. We're not adding too much red because it's already added apricots on those areas that we are applying. This just makes the color to come out more records was the orange color at the beginning we applied. This model has a very beautiful skin tone. So practicing good, It's very important to understand the more tan, more towards brownish color caught on layering. Now as a combination going to be from burnt ocher and brown or care of 50% later. Most of the techniques we use, they are sacred our movement. If you do it in another way, you are not going to blend well with each other. Combine it with a brown ocher, 50% that has more brown and also red onto it. It will create more tan feeling onto our skin, onto our models scale, of course. Little more Brock, to understand wherever our lines before. And bring them out again one more time. Please. No pressure at all. This is like a hint of pressure. Even on the eyelashes. We are almost towards the end of the tutorial. I hope you have practice at the same time. If not, watch it one more time. Have your references, analyze, download your resources, practice from them. Read more. Understand the color tones. Every time before we're starting going through each criteria is good to go for the skin tone. Connors study that tutorial, which is a very important to the arteriole. It's a burnt ocher just to blend the previous layers because we have applied in dark, dark walls. So we need to go through them. Just in-between day eyelashes, please. Since we have already done the eyebrows, we don't want them to fade away. We don't want to apply them one more time. Great job so far following. At the same time. Really happy. Taught you how to do the middle part of the skin on how to connect them. It says extremely important for the next few, the arterioles that we are entering, how to draw a portrait and coloring it. Your very first practice not gonna come out like this. So don't be discouraged. Every first step is hard. It's all comes with practice. I'm always here to guide you online. I will answer all your questions so you just have to practice and send them to me so I can follow along and help you out. These are the very, very last touches we are doing. Since eyelashes makes every human individual more beautiful. That's why we are emphasizing 12, loads a more color onto them. For the very last step. Patiently, I draw to the last eyelashes. What we would do the same thing. Going from the iris one more time. We're almost done. Don't forget to apply it on both sides. Guys. I hope you enjoy so far. It has a very enjoyable tool I drawings, especially with beautiful colors that we have used. I see you in the next tutorial and let's go through a portrait drawing. Ba bye. 19. How to Draw an Advanced Side Profile Portrait with Color Pencil: Hello and welcome back to another dietary us. So far we have learned a lot about different facial features separately. And now this time we're going to start drawing a side view portrait. We need to draw the faiths sketches first before making the lives to bolt. As always. It's important to understand the full image. Therefore, make sure you analyze and see each part of the outline should be. As always, we are going through the outliers in a free hand style. Please watch the screen and follow along. You do have all these outliers as your downloadable resources and also your reference on a grid. You could download them, print them, and practice on them. As you can see, we are going through slowly going through the lips. And the third, please follow and practice. Slowly. We are going to go through the lower leap. Then the chain part afterwards. This is, as I mentioned, is the side view portrait. So far since we have learned all the other facial features, this is going to be a little different. We are going to practice this facial feature with Karen dash luminance. Before via start coloring, we have to be absolutely sure about all the outlines placement. It is very important to have the correct foundation for everything. Makes sure all the lives that they see on your reference therapy and correctly drawn here. Now this go through the parts and dry cow. We are placing it on the screen. Now. It's all about correction. So we're slowly going through the nose, the side of your nose and make it more visible lives, please don't make it doable because you won't be able to correct it. And also do not practice with HP pencils because they trace of an HP appeal solve which stay underneath your color pencil drawing. And that's not really good. The details of the eye, you're going to go through them and eyelashes. Slowly draw the later details of the upper eyelid. You can see I keep going back and forth in order to correct the outlines. Freehand drawings is not that hard as long as you practice enough. Watch precisely and follow what we are saying. And before actually starting freehand style, you go through all your resources and practice those outlines. This is going to be fine. The eyes should look like a triangular shaped to draw a slice. In that sense, draw the wrinkles, the eye wrinkles. It doesn't mean you're just old or have lots of brain tells each I feel half dose details and that's what makes a drawing beautiful because of all the details around it. There. All the wrinkles next to the leaves would be the laughing expression. Because after laughing expression, that is portraits. Since we are going through the lips. Please look how your drawing correct. The dorsal lip trying lives going immoral towards OPE rather than a straight line. Make sure of that, of the curviness. We don't want it to come out to flat drawing part, but in a very subtle way and don't do it too much, don't put too much pressure. I mean, as we don't want this part to show, lot is not our main focus. That's what I mean. Later we have to go after this to go through the cheek part and determine various head should be here. As I'm just circling. Circling around. This part would be the neck that we are drawing slowly going through. Even if neonate is just a few minutes drawing and the drawing parts of each lesson of arterioles. Arterioles only takes a few, few minutes. Maximum five to ten minutes. Maybe watch a few types, understand the drawing and understand how we do free-hand style sizes between the eyes, nose, and lips, and how we draw them together. We have to correct some parts of the jaw line. To make it looks more like our reference and more carefree rather than to non-carriers. I have to say areas that I'm just putting some lines on are the areas that we have lights on it. And they should be lighter than the otters. Almost close to start. The coloring part. You can see the the dry part only took six minutes so far. So it will be amazing. Your practice is six minutes and watch it a few times. It's not going to take a lot of your time with the same pencil. We are good to start drawing one more time. Beat up brown or care 50%. Starting with a forehead. Areas, we are going through more shading. We start going through them even more right now. These should have minimum pressure. For the very first layer. Make sure you draw with the same hand brushes and don't add any sudden both hand and pencil operation onto your surface. People continue with the same pencil that we have used for the outline. That's why a venue choosing what color for the outline you're using. Maybe choose the outline that you're going to start drawing the first layer. You can see the colors, make sure you understand them, and see, and analyze the color pencils. Study hard, even if you don't have this one. That's correct. That's that's that's fine. Just combine these different cutter princess in order for you to create the color with the color pencils that you don't have. After that, we have to study using burnt sienna, brown ocher sappy of 50% and a combination of these ones we are going to use mostly for this tutorial. Of course, we are going to start using burnt sienna, which is a darker color, and we'll mix it with brown, ocher and sepia 50% later. Now, let's start using and determine where the dark parts are using CPR five-person. Your time when it comes to this parse and make sure your princess very sharp, especially for the details outlined, especially the nostrils area. My hand movements, how I'm creating the lines and after the lines I'd go around. Meaning won't pressure real-time speed. So you understand your own speed at the same time as full that you need to apply for your drawing practice. Now, we're going to do the middle line of the leaves with the same CPR, 50%, still using the same color. Slowly going through the the line for the laughing line. Still I'm making sure the pencil is sharp. Event we are using for the outlines. These outlines not going to stand out too much for our drawing. Two, looks fake or unrealistic. Using the same pencil and go through the eye and making the island are more obvious and also do wrinkles around it. See how slowly going through it. When it comes to any other medium you're going to do the same thing is either oil painting, either. Did you sell art? All often will have this step-by-step progress that you do a very light sketch. You then slowly and gradually go through those sketches and give more colors and bring them to life. That's the beauty of it. Now if you're done with the iris, please pay attention to the hand direction and how we draw the hair strokes. They can't take care of it and vary. Each one stands. This is we are only doing as main shape. We are not going to go into more details. If you feel looking at your real friends, if you feel it's been done in incorrectly praise correctly, right away. Because of the shadow on the picture that VFB could see, you can download your reference and located as well this area of the nose actually as dark as well. I'm looking to see where else I can use this sepia color. On the forehead. We still need to use the same pencil to draw the the other side of the eyebrow even though it's a little, but we should not ignore it. You end up this is a side view, your profile. We still can't see some add the other side of the eyebrows, so definitely dry it and don't leave it out. Now we have to make sure the shadow parts are all done. You can see how Lisa pressure will be brought onto the paper. So far. Just quickly few hair strands. To make our models more. The sense. Because the line has been drawn in a subtle way, we can erase it and go on it one more time. We are doing brown ocher. 50% started using our brown ocher. Going around these areas, even though discover is an amazing skin tone color that matches our reference. However, we have to be careful how you're using it because it's C underlayer. Any Verdi used, because utter layer is going to come onto that is kinda gets much darker. So the areas that we don't use it and other layer is going to come, they're going to be much brighter. Even be used. Another light camera on these areas is going to become really dark. So bear that in mind, please. We are just raising some parts because the nose has lots of highlight. That is the reason we have to correct it. Make sure the shape of the highlights still there, which I'm pointing at them right now. Also we changed the shape, denotes shape editor made it's sharper, both to highlight and a nose shape. Now it's correct. So far we have been coloring around. Now I'm going to go through the second layer and shaped the face more with our color pencils. Look how event of you're using circular movement with our pencil. Steal the direction of hand movement is quite important. So we're not going flat. Analyze the reference and then use it on our model. Fidelity pressure, very delicate. Just add the lines. We are adding more purchase so you have to understand each part and when is the right time, okay, I'm going to add a little more pressure with the same pencil. Nassim proton to keep more colors onto the right places using sepia. Interestingly, the eye of our model is not actually close, is a little open. So if you have to consider that as well. And this line, the second line, vitro, shows that the eyes slightly open. You can't see, we're going to start using brown ocher. Shade, this area, the nose between the eyes, the eyebrows and forehead. You go around all start from the outline and go in, in the middle diverse start exactly from the middle part because you might create more pressure area and it looks like a scar. Circular head movement we go around. The shading should be very soft and all the same pressure. You can see all these light and darker parts mixing together are creating depth and may shape of the portrait. Going to keep using the same pencil and go around the upper eyelid. And all the areas needs to be done. Make sure to highlight, don't go away because there is a curviness in the middle of the eye that you can see. Look at the reference on the left side. Please keep comparing what we are doing and how you are doing it. Gradually adding the line on the left, I, putting the reference on the left side, you can understand why we are doing such a bank. So everything we see, we draw them. That's called having a realistic style. Even though, Because we are not doing hyperreality, we still have that fantasy feeling that live a little wideness of the paper. Still is much easier than realists say what Venice comes to hyperreality dry. You need to be a more thorough with this shaving stuff and had more events and off course color placements. Since we are using brown ocher again, if you notice for gradually layer each section without a rush, making a lot of corrections before a fair during. Look at the picture a little closer. Look. Now if you are going to make sure all the corners are being done correctly, placed correctly. I mean, using brown or care 50%. Now with lighter color, we can blend the area more and then go around it again. Now, we're going to fill up the forehead. You're using bigger circular motion. Emphasizing lines to outlines, have to nose one more time. Slowly adding the pressure from the line gradually grew up. When I say gradually go up or go down from client-based line has more color on today onto it. And then gradually you've reduced the pressure so the color gets less. Sepia correctly. No sphincter. Then blend the outline, the sepia outline, a lighter color, and continue to live part the upper part of the Leap in-between, of course, didn't nose and the lips. Since we are creating more layers now, while you're drawing, you need to analyze which areas should have myelin, model their tone and reach one more. Usually, I explained to my students about like the black from black shadows, mid tones and highlights and whites. Harvard, this color tone that we are using instead of life from black to white. And what are the mid-tones in-between? I would like to explain to you from brown ocher, 50% burnt sienna brown ocher itself on Scipio, 50% are the main colors that you're using. How they look like on this Porsche's. I'm going to explain to you very soon. As you can see on the left side before we going. Trudy colors, towns have a locale. Our model looks like you can actually have, do, you do have access through these tonal ranges and all this downloadable resources. Later on as well, when you download your assignments. It's always good to understand each area should be darker and which areas have more highlights. This is actually happens when you make your output your photo on a Photoshop. Or you understand the, the tones, like the very dark ones to mild and the absolute highlight better. However, after a while, you would need to have actually notice. You will, your eyes will teach you until you what are the right things and how you should color. So now let's actually go through the next. Before we go through the tonal range, we have started using burnt ocher. On the left side of the account. See the from very dark to light. This is exactly the same thing you have to understand. We didn't actually all your colored pencils, what are the most absolute dark bonds? And a friend, it goes towards highlights and wideness, that is reduced the pressure. What are the colors? If we know it and yeah, practice disciplines, your drawings going to be much easier for you to continue and progress. So always make sure that you practice your pencils from very dark to light and understand the tonal range. While Lucan, since we went through the cut, our tonal range, we have to always to analyze what each part of the portrait have more redness on it. So we have to use maybe burnt ocher on the upper eyelid and for the area machine with burnt ocher. Now, after a while using ocher, 50% create more skin tone and making sure the skin looks much better. Much better. It also, so far because we haven't even added the official second layer. In order to create more lines with our Sophia, Sophia color, we're going to go onto the lines. See how gradually via add more pressure onto the pencil. Unless blend above the eye. Going on today lies Ivy draw as well to blend those outliers. Now going through the cheek part, when it comes to coloring, actually the cheek parts. It's a little different from the Risk software dry because you actually have to start from the middle of the skin, which I usually recommend we should not do it. And if you didn't have coloring practice before, make sure that this part does. One create additional line. And also to watch pressure on some part that it feels that the skin has some scars. The half to actually come together and get connected. You're using burnt ocher, 50% very soft area. If drawn too fast, you won't have correct layer afterwards when we want to add. So make sure they're not too obvious. Circular motion, hand movement, blend well. Now using burnt ocher because we need to have more red pigments on the cheek part. Look at the second layer and how it looks different. Slowly, we are adding the second layer on this part. After if it's on the SPD timing, we've watched those areas. We're going to go with brown ocher, 50 person around. And also later we will connective, it's just brown or care as well. 50% and the one that doesn't have 50% there, they even have different numbers. So careful which one to choose. You're going to continue with our run or carer pencil and complete the skin tone. Skin areas. For all these areas except the highlights, highlight ones that need to stay white. We can use the same color. Now stopped to use a more pinky color for some areas. To create a very faint layer. The lips error and lifts part. Still with the same speed. Go around and create the first layer on the part. For the middle line, for the leaves, the leaves middle line, we have to use burnt CNF, 50% dark tone that is closed for the skin, would really match this area. And then slowly going through the details, but it contained in a very slow way in order. You could analyze and then graduated from the line, reduce the pressure. Now with burnt sienna, 10%, you're gonna go around live sport and continue because we use burnt sienna 50%. Now the 10-person be a good combination on it. Now we are using crimson to give it a darker layer and start shading slowly the areas we didn't shade before. We discard it. We can continue for as another layer on the lips area. Let's have a look together. See how much of a scarlet colored pencil we're going to use here. So only use this color for the dark areas on the left part, not the highlights. Be careful you keep da the whiteness of the highlights and then they UPS intact so they stay there. A little less, add more pressure on our red pencil for the line to come out a little more visible. You are doing. We are creating this line, burnt sienna, 50 person, not on its own as well. Look how much we are adding pressure is minimal both still, it creates loss of color on the lips part. Since we don't want only to use layout, red color on the ellipse area. We have to use some pink payments on it as well, like here and blend the previous Gunnar. Just be careful because this is the, this is a lighter color, doesn't mean it's going to be bright because we are using it on a darker surface. It goes dead. It's very good to combine them to get a better Cutter from these two, the scholar than the pink one. Later we have to use the same color for the smile line and gradually grew around. Such as here. Slowly we are getting the shape of the face. With our initial cutter pencil. We continue this skin tone. We use enough of this color for now. We're gonna study using sepia fifth person to create more color on the nose and the cheek areas. So as I mentioned, we're going to give more colors to the nose and check parts, but this shading should be feel look like that they will distinguish between the light parts and the dark areas. With any caught our principle that you have that feels like a darker brown. Go for this area but you can't see it. There was a line outside now, I'm going to raise his for a second to make sure our or our lines are neat. Done neatly. So Stoli going and give more shade onto the onto different areas. Gradually adding it around the edges. Using sepia or any darker brown that you have on the nose areas as well. Even though we barely avid minimum pressure, we are using this pencil. It's still make a lot of difference. While we're using it. Slightly, we are going to use sepia and the lips area as well. But not just too much. Only we could shake out the lips a little better. And then continue to the chin area and towards the jaw lines. See how little by little. And slowly we go around. We don't give the whole face its color at once. Despite it because it has a lot of shadows. It is okay to start with a dark tone for day. For the neck part. This makes sure because you're using such bold lines, you have to be careful how you draw them and you're sure about their placements. And then later you have to blend those colors and fade them. Lighter ones. With lighter brown, you're going to go around this focus on the eye and see how much we can complete it. The important key factor here, it just keeps going around and not just stay in one area. This figure understand which place needs more shading and which place needs less. Because they have been done all at same time. You're using burnt ocher 50%. We do need to create a circle on the eye area with shading or more towards overall shade. I'm an oval shape. You can see it above the eye. This area doesn't have much shadow, so we can create more layers with the same pressure. The highlight PAR summit. Slowly at the her strokes. Burnt sienna. We can use it for the lighter part of the eyebrows and create more natural feeling onto it. Another layer of shading on today, I both parts. Then again, I mean our brand, okay, 50%. We go around. The iras, blend the color more with each, beat, each other. Keep going around. You can see the, all the hair strokes that we draw at the beginning. Add a hint of them. Remains dura stuff done. They Derek gun. If you want the hair strokes to be distinguish one more time, you have to go on it to caddy eyelashes we are drawing. As I mentioned at the beginning of this lesson, this tutorial, the eye of this layer of our model is almost a little open. Going through the shadows of the eyelashes. Above the eyelashes. Now slowly going to start around the to add more layers around the corner of the eye. Now again, with the same pencil we're going to go throughout the ages, the outline of the rest of the both sides. So ADSR both I sides and also the outline of the nose. Try slowly to give more color. Here, you're using a combination of. Burnt ocher 50% and of course burnt ocher 10% and brown or care 50%. Slowly. Beat same pressure of ham and move and go around their forehead. A slowly move it towards the cheek parts. Now we're going to start using parent, okay, 10%. Since it's a lighter color. We're going to add more layer on the previous colors as we have done before. With the same, okay, 10% steel. We're going around the chin area and also underneath the lips and around the outlines. Slowly adding the colors brown or care 50% or any darker color, brown color that you have. Start going around the head area, the jaw line, and also the shadows of the neck. You can apply the same pencil. Going to slowly add more color under previous been burnt ocher, 10-person. See how slowly we add details on different facial features. We can use burnt sienna, 50%, closer to red and brown colored ink. Moral onto the leaves. Circle around starting using 571 or pink color. To blend on faith this area, especially on the lips parts. You see how many different colors with minimum pressure we add in order to create the counter tone that we want. Now going to start using parent, okay, 10% in one more time, using a lighter color on the dark runs. This technique. I'll be using it a lot so far. You have learned it before. For this drive, we are not going to shape the whole face and completed, but this tutorial, how to bring different facial features together, how to draw complete portrait, and how to shade those facial features together as well. In the next tutorial, we will go through accommodate faced drawing and shading and also in different direction. Right now, we have learned how exactly they should be. The facial fishers, tissues come together, we have drawn it and also colored it. Continuing with our brand, okay, 10%. Look how we're moving our hand. Now we're going to use another technique which using white pencil blending technique, especially on the highlights discipline and techniques that you learned before. You're using it, mixing it with burnt ocher 10%, which is close to white and pink and continue shading the rest of Admit with this pencil. Let's have a loop while we are lethal going to speed up the process. We can start, you're saying burnt ocher, 50% as well. This is all about layering. Now, we're going to speed up from here. Let's have a look together how we are going to use parasol for more details, detail area. You have learned the techniques for this portrait drawing and how to conduct their facial features. Have a loop and follow up. Slowly add all the colors for DE needed. Now read this collared more reddish color. We're going to go on the lips part and add the last layer. Just the area that needed that it needs this scholar, please do not add it on all the areas. Using a lighter color to blend the lips. So far added a lot of details. Now it's time to slowly going towards the hair area. Let's go through the rest of the hair drawing and add the hair strokes around here. But the sample cell, we're going to add more shading towards the next part and more outlines, especially around the nose as you can see on the screen. However, it really careful this area. I would like a twice you if this is the first time you're using a darker color, make sure you use it in the right areas with more patients. Or even practice before actually applying it on your main model. The tip of the nose needs to be completely corrected. And also have a little highlight on exactly the tip, Bart. Obviously, if you have done anything that you need to erase, please do it like above the lips here and a little around the cheek parts. Going to add the eraser next two lips part as well. The ellipse area makes the re-size, the lower lip more highlights and you can see the edge products or leaves fee, erase the color and added less color actually onto it compared to what it was there before. Now it looks less flat and more realistic. Going on and get our lighter color and blend the red parts. The MOD are going to use scarlet here and your red color. It doesn't have to be Scholar. That's why I know so far you know the colors name, however, you might not have all the pencils, so I might not call out some of the pencils that we are using. So you could actually find the similar ones and use it accordingly. Try to use more color, skin tone. And if you don't have them, create them for access more cream and Brown. Lot of recombination between red, yellow, and blue. These colors can give you the result that you need. You need not just a hand movement ahead pressure, you have to be careful, but also to hand move and how you're actually going to move your hand and create some specific outlines like here, the cheek parts. You have to see how you're moving the pencil on certain areas. These are completed the last such as that's where we're going a little speedy. Going to complete and give a light color for the cheek area. Near the cheek as well. Are more brownish color, darkened edges. The jaw line. Then make sure that you use the same color. Same ML DOF colors obviously around it. Don't leave out the other areas. Using a lighter color. On the white areas. Don't leave it except the heart. An absolute highlights for the iris that it has the actually the example the left side. But dependent clause study parse that they are whites, maybe use very light color, such as blue ones that we're using here. Blue, green, gray Amin can see if you're adding ink. Very cold color onto the scheme to make it more realistic feeling. I'm going to go around applied most of the on most of the areas. But please do not put any pressure onto it. You can obviously use previous pencil and make sure the bluish, grayish color, just as an estate, they're blended very well with it. We are almost done with RF. This portrait drawing. I really hope you have followed and you have analyze how it should be done. It is quite easy after you watch, you have the right guidance. You know, all the techniques and the bright colors that you have to use. Therefore, it's not something really hard. Then after a few times practice, you will be able to draw event freehand as well. The highlight on the nose, that cheek parts and near the jaw line, they stay there. I hope you enjoyed this tutorial. I cannot wait to receive your practices and for now, bye bye and see you in the next lesson. 20. How to Draw an Advanced Front View Portrait with Color Pencil: Hello everyone and welcome back to another tutorial. Today, as always, are two theories are divided into two parts, drawing and coloring. You can always skip through the drawing parts and go through the coloring. But don't forget that the most of the classes you take the mostly skipped the drawing and only show you the techniques and cutting parts. So if you want to land a free hand drawing techniques, this is the course for you. And this is start going through the drawing parts. The ADA started with our polychrome most on 80, the raw umber. Also, again, as always, you can find the downloadable features, resources and get access to this portrait outline to practice from the hand. And very few are actually pointing at all. The fisher, fishers should be positioned right now. Obviously for a species, draw the main shape of the face with our pencil. This is a portrait that has angle, so we need to determine fair, and that is how our lines are should be placed. To subvert the ice will be you have already completed the nose, the eyes. Now work on the hair lines. From here we're going to start drawing the hair a little because one of the important aspects that feature of these character drawing and coloring would be her hair. The important thing we are doing. We always try to have our own style and go through with it. Have a look heavier moving our pencil. If you look at the reference, which it is available for you on your downloadable resources, you will be able to compare how our main model looks like and how we're going to color it in a very more stylish morgue, unique way. Make sure that the very foundation of your drawing being done correctly. That's why we spend some time and I don't want to go through this fits more speed. Real-time. We are almost done with this part. Just more. May inherit main outlines of the hair strokes. Obviously after the hair, we need to work on the facial features. Make sure to have been drawn really precisely. Because a little different from our model. Even though you're not doing a realistic, hyper-realistic drawing. However, as a realistic drawing, you need to make sure all your, all the facial features are being placed in the correct way. Until they're dabbing corrected. B cannot move on to the coloring part. And you have to make that a rule for yourself. In the future. Whenever you start something, you give yourself enough time to start coloring, but it with our cinema and color. If you have watched the previous tutorials, you know, cinema is one of my favorite colors is perfect, either for first layer or blending. See how we are going to correct the face muted. Why we like using cinema and color so much because he's an amazing cutter you can use instead of pink color. And also it goes way better. Withdraw ombre, a great combination with each other. The meantime, you can see our reference on the left side, how the nose. In which we're working right now, it looks like the cat. Circle wise, we are going to draw the tip of the nose didn't livings. Then slowly, I have sized up the rest of the part of the nose, the bone size for you. Now we're going through the lips. Again. You need to keep looking at your reference is very important to note it. Details where everything exactly should be placed. Keep comparing the drawing Beta picture if you need to, and pause the screen whenever you need to look at rate or France more. So continuing with, if they've drawing here, it is very important to go back and forth within your outlines and make sure they are accurate. Before moving on. What we're working on the lips, I need to make sure that you understand the nose shape that needed to be towards up. And also going through the labs. I'll take my time to look at all the outlines and the sizes. After that digital drawing details. You're going to draw more details here. Raw umber. As I mentioned, we're going to mix raw umber and cinnamon for now. For the eye dry and paint. I believe it's good to look at the reference again to do more comparison. Since we are looking at the model on the left side. This habit, let's keep it there so we can compare the drawing parts and also dereference every now and then. It is always okay and Arieti erase and redraw as much as you need. There is no saying we shouldn't do it. So be confident and make sure your drawings, they're all correct. Even if you must do redo it as many times as you need to. We have finished the eyes details such as the iris, the pupil, the highlights, going through the eyebrows. Very important to make sure if there are domain outlines on the portrait. Because later on when you shade, if the outliers is incorrect, even if your color techniques, they are perfect, your drawings not gonna come out as as you hope for. We keep correcting the outlines. Getting close to the drawing. Our friends. The main outline, I mean, looking at the reference one more to make sure everything's okay. Again, I'm not speeding up because it's very important. You see how I correct the brawn outlines. How many times I go back and first and then see, do I need to correct them again? You am using cinnamon. If you have noticed, go back and forth from these two colors. Making sure all the outliers, stabbing, drawn and delicate and less visible way. In order to start the coloring part. We are almost done. As I mentioned, we are almost done with this area as well. Just editor texture there when calls off the leaves and go around it. And B are done. After that, Let's use our black pencil, polychrome as black pencil. After we completed the lips part, we're going to go through the eye the basic colors with black. You can see on the left side on our reference model how the eyes looks like. It has eyelashes, lines completely black. When it comes to realistic, hyper-realistic drawing, we'd never use black at the very beginning. However, if you want to go into, Whereas slower, slower techniques and more hyper-realistic. We do have courses for dose, especially in color. Techniques. Duo check our courses out please. To see if any of those techniques matches your preference. This is why our drives needs to be incompletely accurate because if you draw the iris with black ABB, extremely hard to go back and erase it. It is possible but the black trace feels stay on your paper. Now the eyelashes curviness and the direction of the eyelashes very important. Have prepared the pencils that I'm going to use for days. Model. However, the amount of some of the colors is too many. There are too many of them. It doesn't mean you don't have to have all of them. You can draw the hair of it only want to maximum free colors. But since we are doing a very different style of drawing, and I'm adding a lot of colors to the hair. So it is okay that you use the amount of colors that you have and you want to, there is no definite saying this amount of colors you need to use, the certain colors that you will need. I will tell you for answers, cinnamon or any colors that close to cinema and the raw embed that we use. Instead of black, you can use a dark brown as well. Going through the outline of the iris and make sure the outline stands out. Either use brown ocher, raw umber for this area. This is olive green, yellowish color. Again, you can use raw amber or brown or care for here and container using it and the combining good fit. Another green. It doesn't have to be exactly the screen. So don't limit yourself to, if you didn't have enough colors, don't, please do not limit yourself and keep drawing and coloring and practice your techniques. Of course, don't forget to send me your practices. To explain moral little y we use green if you're using a greenish color because it will go well with ocher and creates a really good contrast with black as well. Going to use the stroke color 179, the arrows. If you don't have it, you can use. Another brownish color. Combination of luck Ron bare and burnt umber would be okay as well. Or any light and darker brown colors. Still never forget to use circular hand movements. And the very first initial layer should be, should be done lightly. Even though this is a Venetian red, you can use a scholar or any other more normal red. In the next tutorial, we are going through another complete portrait drawing. However, this one is a challenge one because I want you to get to your creativity involved and see what colors has been mixed. 3d shutter, the walls that have been introduced to you, you create the first layer. In a while. I'm just going to skip apart and ask you if you could come up with those layers and send me and whoever actually does the best creative parts. Of course, there will be a price and more free coupons for our next courses. So don't forget to send your challenges. And actually I say this was done for the challenge of this lesson and named Alice and place. Of course, when you're sending your challenges practice. We have drawn the cheek parts with the same red color going around the nose and the first layer going to create the under, the underlayer which are red color. The nostrils and also around the domain outlines of the nose. Until both coolness of the eye. Please follow my hand moment. You do not need to use red here. You can use a more skin tone color that we used for the previous tutorial as well. You have learned facial features separately and together so far. So you can combine all those techniques and color you have learned for this challenge, and not exactly using the same colors. However, the way we are placing each part is very important and that's going to help you. These are the outlines that I made. It made them want to be more distinguished. So using burnt umber, much darker for the dark areas. So burnt umber as another cell, you can replace it with the black ones if you don't want to use black burnt ocher. We're almost close, near out challenging time. I'm going to skip through some of the skin tones that I used. And I will wait for your practices to see how actually and which color you have. Mics, please send them to me. Even they can be crazy colors like blue, green, or certain colors that we never used for the scheme. It's all comes within, like with your creativity. That's what I want you to do. Not to limit yourself with certain colors, to go for it and create more artistic practices. Now it's time to start at challenge. You can't see all the pencils that have been using. So use your imagination and the techniques from discourse and draw from it. So far you can't see what colors have been used. A dark red, blue, yellow, green. Almost a lot of the colors that we have in our color pencil said, I won't have a lot of points to mention here because I want these to be your challenge. However, I will tell you a few points in order to remind you the main techniques that we have used, the heavy use, a lot of layering, especially the right places, like around the cheek ones. These few times. Eyelashes and refresh them because every time we go on the eyelashes and the upper eyelid and lowered the lines they get disappear. So you have to refresh them for their lips. You have to make sure the middle line and the other outline around the lips theorem much deeper color comparing the middle part because middle part of the leaves, it has. Itself highlights and don't forget to keep the whiteness of the paper for, for your highlights on this one, on their day, eyes, around the mouth and also on the forehead, the middle part, and in the middle of the nose to the middle part of the nose, you can see we have kept our the whiteness and we're not gonna touch it that much. Steel. We're gonna use a lots of different raw amber, different burnt ocher, and also different blue Vaughan's study you have. So if you have any normal set, even if it's not polychrome most this is a perfect practice for you. It would really help you to understand where you have to put more pressure. For instance, this area that I'm actually working right now, you can see Venus comes to a specific curve in this. And the knots of the hair. You have to add more pressure, more color in order to create that dimension that you need. Every time there is certain curviness, please add more colors. At the beginning of the roots. Quickly. We are going to use a lot of black colors. Please have a look where we are actually using it. Next to the outlines. Again, I'm going to emphasize the only reason we use black because this is not hyper-realistic or towards realistic skin tone color. That's why we can use a lot of lag, but usually we do not use this amount of black. Now using lighter color. And we go around. These are the areas that you need to add. More shading in order to create that curvy results for the hair. Have a look at the hand movement. Here. You don't have to use any of these colors. You can use maybe a blue or red. It depends on the design that you're going with. I'm actually really, really looking forward to your challenges and see what colors you're going to use. Again, there will be a price for you. I didn't. So you will do this and you will get more free coupon for our other courses coming up, which we do have like pencil, charcoal, watercolor, colored pencil techniques, courses, fine lines and even Procreate. So you can use the EOQ POV for any of those courses. Again, we're going to go through our black pencil. After that, we can use a darker blue on black swans. David, really cool, well together. We keep using same different colors, same areas. The hairdryers going to take our most of our time for this drawing because we don't want to add loss of skin color onto it. For the skin tone, maybe we add from one to four layer maximum. If you wanted to do more realistic food, I will spend more time on it. Beauty of the eyes highlight our eyes colors are mainly towards the highlight that we didn't touch. So pay attention to those details while practicing this model. Look at the hand direction, the line direction that we are doing is very, very important. This areas is not flat, it's not normal lines, it should be carefree, hatching w are doing. You'll have learned all of these at the beginning of this course. Look at the difference between the left side of the hair and the right side. Now we'll be adding more pressure onto the areas they need to show the curviness. We're going to speed up this part a little since the way that we draw the hair and the caregiver lines, they are almost similar. We're just have to ask, uh, keep adding layers. But the only difference is that instead of shading, we are adding lines as our shading colors, as our layers. It feels like more towards line drying and crosshatching, hatching and crosshatching, drawing. A combination of the face is shading only and the hair is more towards line, is a perfect practice after you have done a lot of the tutorials of this course. Again, moving our hands and they're faster. Adding every client that fulfill large tube. Now after this, we're gonna work on the highlight of the hair, which we are gonna do it with our yellow color, very light ones in the air closer to lemon color. And then after that is we're going to spend more time going through the facial color ink to add more layers onto it. I see even be added few. Yellow color looks much brighter and more beautiful. More black to the eye lines, the lines from the outlines of the eye. The smaller eyelashes. Continuing with the eyebrows. Add few more hair strokes on them. Go around the iris. Outlines. With our green olive. Can add more colors onto the eyes. However, don't forget that we really need to make sure the whiteness of the eyeballs of whiteness inside the ice stay down, stay really wide, except the highlights. The rest of the rest of them nice, at least off your layers. Blending the black colors with red. You can use any other colors you'd prefer. Barely. I'm adding pressure but very still blending the upper eyelids and the lower eyelids, the wrinkles, the line below the eyes of its direct that we used. Have a look at this girl is faster for the hair drawing parts. Make sure to outlines, more visible, darker, brown. You can use the same yellowish that we have, but it's better to use more orange towards the cheek parts. This is for the highlight instead of the white or like cream, we are using more towards orange. In order to create the highlights. We have done this in the previous tutorials as well. When we eliminate a part with eraser, we have to go through that part. I'm correct. The layers. Just go through the outlines and corrected. You can take your time through the correction so you know where everything is and then you can add more colors. These pores of these details are quite important for the lips area. Adding more color. Study. Live sports. It can be scolded or venetian red. More solid color. Again, the lips, a little more. Attention that I'm making sure to highlight the wideness of the highlight some parts of the ellipse still there. Mora at layers onto the lives. The more beautiful it becomes. You can use the same cutter around day for the blush of the reference. Exact date I've make up and you'll have a certain color on your face when you are doing makeup, you need to have that color overall. So think of it like if you have seen around you people doing makeup or you usually do make up yourself. Maybe you can't pay more attention this time to see how it's usually been done. Adding at least dark tones to some of the areas and almost in-between there. Don't overdo it. Otherwise it's going to look very unnatural. See how slowly we move around. Still adding additional, additional color onto the lips. Make sure which other area we can use. Cinnamon color. Very important. Any pencil, colored pencil you're using for this ones, please follow my hand movements and how I go through them. The pencils, the color pencils can change, but very VR actually place a shading, the hatching and colors won't change. Follow this, however, use your creativity and send me what you can. Even though we have use lots of color on the hair. But the the amount of you have used on the face, they are limited. You find what colors really suits. You cut our pencil suit you, then you use the same. Again, we are using cinema for this part. Circular hand movement, minimum hand pressure. Keep using the same pencil or Alden neck and the chest part. The hand woven into on how I move the pencil on the skin area. Blending parts. We can go a little faster because, you know, it has to be circular. Circular hand movements. Don't forget that the top part of the iris needs to be darker because of the shadows of the eyelashes. When it comes to details, how sharp our pencil is, right though. We are adding the yellow, the lemon color for the, for the highlights, see the brightness actually the yellow will bring to our skin tone. It's using lighter brown. I do. You're using ombre or sienna or any brown color that you have. Make sure you analyze your colors, what you want to use, and then keep applying them. Bringing more highlights with our eraser. If you do too much because you haven't actually apparent niche, the area you can erase your mistakes are when you change your mind. This is shading before we bring more strokes on, are this part which areas you're actually placing the maybe when it comes to your time, you want to do it blue or pink. Or red, that would be okay as well. Still using very sharp black to make sure the outlines around the portrait actually shows like this. We have added a little more pressure than the previous layer and reduce the pressure of an Hugo. Go from the top of the head, you go down, you have to reduce the pressure. Your line at the end becomes very thin rather than vague color. The colors really go well together. A dark red, blue, some umber and sienna, and also black in-between for the, for the dark highlights. This part, the RD most important sections right now, currently, because if you don't add those shading areas to Herod is not going to look scary. Really happy with the color. Color so far gives a very fresh and new touch to a portrait drawing, rather than all the old-fashioned, just exactly what you see and what you apply a style using a lethal darker brown. Here you can even use Van **** if you have one or any darker brown would do as well. If you believe some of the areas too fast for you, just suppose the screen follow and then go ahead. Circular hand movement. It's really good to use a lighter color instead of like white to once you usually use for blending and the walls I have mentioned to you before during this course. To use them on the dark hair layers in order to blend them very well. For the last touches. We can even say it's a done deal, but it is okay. We go around and add more details if we need to. I advice you, you don't do this. Such a big eraser for beginners or even not beginners for any level, you need to have a more delicate pencil arise there in order to do this, mono erasers are really good. So having one, you can use it for a long time. And you can create a great highlighted it or electric eraser. If you do have that one is can even be replaced. For your pencil eraser, mono erasers. And even for really dark areas, you've had to create better highlights because obviously it's electric, so it has more power onto it. Look at the highlights. We create. A combination of orange and the previous yellow. The compliment each other. Same areas. Even though we are doing it faster, but it's always been fought before. Where and what should be placed in each area. I assume you do the same thing. You look at the color and you look at your model. You know, watercolor pencils you want to use throughout a whole tutorial or the lesson that you are watching, even though it's not this for, all of them are mentioning the same thing. Black color. It can add some more obvious her stroke. Refresh some of the lines. The reason that we are using blue for this area, you can use other colors as well. However, move on to the eyes because we use too, too much black. You need to strong color to balance the eyes, fatigue, color, skin tone. Again, we're using the mnemonic cutter or to refresh the highlight feeling of the hair. These are oral reputation of the previous layers. You can keep adding and complete the whiteness area or you can leave it as a race. We're going to leave it as it is because I like to see some of the wideness of the paper. It's gifts that freshness onto your portrait. Look at the harm mobiles from the edge of the carry. You go slant slightly go towards the typology of the care, haircare. We are almost done already. This portrait, again, I will vote for your challenges. There will be a prize at the end. For some, for the students they try their best and send me their best practices for this one. The next tutorial, we are going to learn a complete faced drawing and coloring. For now, you're done with this portrait, so I hope you enjoyed it again. I see you in the next tutorial. For now. Bye bye. 21. Final Advanced Portrait Drawing with Your Own Style: Hello everyone and welcome back. Finally, we are reaching our final lesson. In our final tutorial. In this tutorial, we are hoping to go through everything you have learned so far and apply here to refresh your memory. Even though this is the last tutorial, this is the beginning of your color printers are learning path. Now as you can see in this part, we are going through the drawing part, a free hand style as always. Again, as always practices drawing a few times while watching and then also get help from degrades and the outlines that had been prepared for you from the downloadable resources. So far we have been using for breakout fossil, coral pencil. We are drawing this part of the portrait. This is one of my favorite portraits that I have done. It's very bright, very nice. And also the elements that are used for this one comparing to the reference that you do have access in order to print it out. It is a little different. You know, we are teaching you all the colored pencil techniques, however, all the time we go through a fantasy feeling and also our own style. You can get familiar with different styles in-between learning all the colored pencil techniques. Have a look how we are going through the chain part and also there are self, the facial features. Keep drawing approximately where our facial, facial features can be. In a second, I'm going to show you our main reference photo. However I want you to try and guess what we are doing. And when I'm actually drawing them in a free hand way. If you could look at the repress and try to follow my hands and practice at the same time. I'm using Cass Art paper, a very textured and also heavy paper. So we do have difference between 300 GSM or 250 or event 200. If you choose any list and 200 GSM, paper thickness is not going to be that good to be honest with you, I prefer my students who use from two hundred, two fifty GSM thickness for their papers. Slowly go into complete the rest of the outliers. Make sure around the lips you do have all the details. Even though I mentioned that so many times before, however, we have to remember that taking your time and putting a little more effort onto your drawing part before coloring is very important because you need to make sure that all the outlines to have been correctly done. And then they are not really any mistakes have been done. So if there is any mistake, please erase it, go through them even five times, ten times, 20 times. It doesn't really matter how many times you go with it. As long as you know that you're drawing all the outlines your accurate and you're using correct measuring, even though there you're looking at it with your eye reference, you're looking at, then do a freehand. Still make sure that as much as possible they're correct placement because Venice comes to coloring if they are wrong, your drawings not gonna come out really nice. You're gonna say, why am I drawing is not, for instance, as good as this. Why I couldn't do it, so I cannot do this. They're all day go all back to your practice and effort because a lot of my students, even though we come, we go around the easiest like I drives or those drawings and they have old outlines. Still wants to finish so fast that this is actually not right. They have to put more effort and take time, at least maybe spend a few hours practicing that model, that subject I've chosen already. It is quite obvious for your instructor when you send your practices that you didn't put that much time into the drawing and we only spent time, for instance, ten minutes on shading. That's not really a good practice. So I assume that you're offering says, if this is a two-hour course tutorial, you need to actually put two hours for this. Watch it at the same time, keep drawing it. And if you think the drawing part is hard at the beginning, make sure that you are. Go through the outlines before or even I don't recommend tracing, especially in the scores. I did all of the outlines for you in a free hand style because there was so much requests from you guys that you want to learn how to draw. And a lot of instructors, they don't go through the whole drawing process for you. Now this is your chance you have all the free hand drawings you have, the outlines are prepared for you or even their grades. Now there is no excuse you actually don't go through the drawing parts and put more effort and time for it. Min you actually send me your practices. I can see, for instance, yes. She put more than ten minutes for this. I'm not saying put a lot of time. I'm not saying do not spend time. Like for instance, we drove family going out or like watching Netflix. I'm done saying, Please put a little more effort onto the course that you have purchase, you put money onto it. You can actually get the best out of it. And I'm always there to help you out with anything, any question that I have so I can guide you better through this. This is not the end of the lesson of this course. This is just the beginning, as I mentioned, this is the beginning of your go back. Practice your skills. Watch again, practice again, practice again. And I'm gonna say again, practice again. So as you can see, we are going through the haem carrier style, the hairstyle of our pink lady, very short, curly hairs. So we have to make sure that both sides have been done even to our slides for the hurt is nice to have them more slowly. Let's look at it from more distance to see how everything is going. Now after the first outline, I'm more like I'm sure some of them they are correct. I can put more pencil pressure on some of the parts, Continuing the pupils of the eyes. Then after replaced them. You have to consider whereabout. Which other places we need to make sure they're correct. You can see how I'm on. Try to make sure the lines being done correctly. Just too much, but a little from here. Let us start at a vein, put more pressure. You just have to believe in your practice and your handwriting. Still think it's too hard because when I started, it didn't mean like I could draw like this. So it all came. It goes it all go to your practice at the end. Then almost you're done with the curviness of the hairs. Just a few more details. Then after that with black, I'm going to start working on the eyes parts. Just fewer lines. Now, our black pencil that I mentioned. Let's just start going through the pupil was look at it from a closure closer shot. You can't see that I'm silts their money if it's been done correctly or not, make sure it's correct. Also, if you look, there's small highlight above the pupil wants and also below it to make it more stylish and more towards fantasy railing. Going through the upper eyelid. You have to make sure you decide where are the highlights so we want to shade those areas. Lawyer eyelid then. Minimum pressure guys because if it's done incorrectly, I can go back to it and actually corrected the outline for the iris parts. Now you can get this shot, you can see more closer so it's easier to see the details. For this, the arterioles at some point I'm going to let you actually watch the whole thing rather than me speaking all the time. So you can actually find out the techniques had been used. The pencil or all of the pencils I've been written on the screen for you. With our cinnamon color. As you nervous, one of my favorite colors, using it for darker areas and it had like pink pigment in it and color those dark areas with it going around the nose and the corner of the eyes. And even though it's such a bright color, however, when you bring a second layer or a third layer, either read the same color or watercolor, is going to become very, very dark, moderate, moderately. Use it. Make sure you circle or hand movements. Around. From here, you can see which areas require to use this pencil or any pencil equivalent to this color. You can use that. So make sure you pick up the right ones and then keep using them. Like around the forehead, especially the edge parts, not just for insight in the middle. Suddenly there's no need to do that because usually the meat off part of the forehead, it should be shinier or brighter with highlights. Even with makeups, usually this part they put more whiteness on it or brighter or stuff like I'm not really good, I'll make up so I know what to say. However, when it comes to pencil, we should keep it like clean air, less colored in the middle of it. So going around the outline of the portrait, again, circular hand movements, making sure they're all done correctly. Please, as I mentioned, any pencil you use, it is correct. It is fine. However, please do check your the lesson that tutorial on these pencils that taught you how to use it on different color tones and Connor skin tones. First, go through that one and then second, any of them that you want to apply this even if it's brown or black scheme or a little yellowish skin or whiter skin. Anything you want to do is okay, as long as you choose right colors, pick ones, the one that you really desire, your, your models skin tone to how actually I really look forward to see what color skin tones you're going to use and how you're going to combine your pencils. Anything would be fine as long as you follow where I'm putting the highlights and the shadows. That's very important. Like vera about on their nails part or the lips part or the edges of the face. Please follow this hand moments and practice after that. So again, we're going to keep using the same pencil going around. Gwen is almost if you don't have this color is angry, is okay because you can use a color closer to red and orange. If you don't have appropriate red and orange, you can always combine them. So it means you need to properly lay down a few layers. First, I will make sure that the orange layer comes in in a very subtle way. Then you gradually add your red on it. However, this means your color and it's gonna take a little more time. We are going through the below the tip of the nose, but they will apart that we always have shadows on it. Because usually it doesn't delight as I go around the Make sure what the outlines more visible. Not just the drawing part, even the shading parts and the cutter imparts you're doing if you believe it needs to be corrected. Since we haven't non burnishing and damage the texture of the paper. We don't have that much color. We still can erase and correct the color parts. You can't see that gradually we are getting the shape into the shape of our drawing. Mainly going undo the areas that we have used with our cinema and color. And caught are those areas again, the speed of my hand movements and the pencil pressure almost also. Suffers if sanguine, this color is for the dark areas for the second layer, which would be nice. We might use it on the hair, shadows and around the portraits for the main outlines. Didn't. It would be great to use another lighter color and blend these two layers together. Because when you have done two layers and they are not the same color, it's really good to use a color such as beige. Read that. It's very bright. It's the color not white. Was close to that, that you can blend the colors underneath. They look more mature, your colors. Of course, the areas that I'm not touching are the areas we're going to use. Watercolors. Look how just slowly ongoing to enter the same areas, the same layers. How much darker it gets even though it's bright and light. Colored pencil. Steal the circular motion. You can see that I never give off with this kind of hand movements. Make it your habit. Make it as a habit to how to move your pencil, how much pressure you cannot bring on, onto different layers. And also another habits like layering and blending is very important. Guys don't let it stay raw. And with 12 layers, just finish your work. Slowly going around the chain. Then around the main outlines of the arm parts. The shoulder part's going to start burnt ocher. Going to start this pencil because it has some orange pigments. And in it, as you have seen on the reference, our main model. Even though it's such and such darker color. However, most of the color pencils that we are using the same range of colors. We don't go out of that range. Kip color in this area. After that, we're going to use a little black on the area that we need to keep total darkness. If not black, you still can use dark brown or any even dark gray. I don't recommend dark gray. I recommend either black, not even black. And lots of instructions that don't use black, but it's okay for here. But two minutes Congress, do you see how the eyes looks like and also the makeup is quite different from a normal makeup. To be honest video, we need to actually use less normal pencils that a lot of professional instructors use. They don't recommend using black. But this model has lots of, I can't say black lines and also black makeup a half to say around. For here we are using a darker brown. You can use, we're using nuggets. I'm hope I'm pronouncing it correctly. However, it is a brown Between I have to get burned between burnt ocher and Van ****, dark Van ****. So it is a good one for if you don't want to use such a dark brown or such a luck. Bright brown is a good brown color to use. You can see the eyes has lots of bluish minus inside with the blue is blue and gray almost like I say, if he really focused on the eyes, they have even brown in it. They have white highlights of depends of the paper that we're gonna leave it alone. And also, you have to always go around the edges of the iris. And Connor though, we are using Skype blue in order to achieve that gray bluish because it is not, it is not that crazy blue, but also it has some gray and gray pigments in it. I was about to say ingredient that were figure I talked about fruit and compare art, fruit a lot. Lots of times I said don't leave it raw, cook the crooked. We'd like spin tie and make sure you have so many, so many different layers on it. We're going to continue again using black color. And now you, after seeing the model much closely, you know that we have lots of black on this model. I'm going to continue coloring around and use different pencils. As I mentioned, all the pencils being mentioned on the screen for you guys. So let's watch together, and I let you enjoy watching it with some nice music in-between. Whenever there is a actual little harder technique that may be, it was mentioned before a little less. I will come back and let you know however, most of the staff that you have, you're watching, you have learned before. Before we actually going through the whole thing and watch it together. I will mentioned few important things. Again, you know all of them and be washed together. When it comes to the carrier part of the hair, make sure you use certain colors in-between the lines that are going to show the curviness. You learn different hair drawings and versions. Now this is a good time you apply those things. Then for the eyebrows that we are going through, make sure the shading and the hair lines, they go well with each other. That's very important. Also, when it comes to the nostrils, the dark part of the nose. We have to choose a pencil and where we are actually putting the shadows that will be correct accordingly. And then when it comes to the lips, again, it's very important the middle line always darker comparing to the between the lips, especially the between both sides of the lips. And when it goes towards the outlines, I have to say it gets different. I just showed you the eyebrows on that part. You saw how the eyebrows looks like. For now. Let's watch together more techniques. I hope you have enjoyed software. We listened to some very, very lovely, uplifting music. There are some of my favorites. However, in the meantime, we saw that we completed the eyebrows and we went onto the eyes coloring a little and how we colored the eyes and around it. For sure we're going to add even more colors. In the meantime, since we are going through the hairs, Hair drawing and coloring, you have to be extremely careful where that you are going to put, add more colors and bearer you're reducing the pressure. For instance, when you added black or brownish color in-between, especially decide the near the roots. It needs to be a little darker and when it's come a goes down near the curves. The bottom part of the curves, the end parts, I mean, they should become much faster and much lighter colors as you can see. So make sure any color that you pick, you follow this this method. Now, you have to keep adding different Harris strands. Do not limit yourself with view and then just shade the area. Like coloring good. But we call this technique like hatching. Hatching parts is more towards line drawings rather than just food circular motion and hand movement. You go around and fill out the gaps, the area of the spaces. You can see that the hand is a free air. Not really strict. My hand bulbous. Now, even though we use a certain color of the pink, but you don't need to have all those colors, maybe a pinkish color and read a combination of these two, you can create a lot of different pink colors and also white. White and red gives you lots of different pink, pink beds. I'm going forward about the ice that we have a uncompleted make sure they make up comes it comes closer to what you have, what we have color so far. You can see via using so many different colored pencil. I just do, I just want to emphasize you don't need this amount of light color pencils for sure. Don't think just because I'm using different versions for you to see the color difference and for you to understand what colors fabric castle a complete set has, it doesn't mean you need those ones. Just so make sure that you're really not limited, limiting yourself to these corners and even want to pink pencils and few red orange, for instance, instead of this color, you can easily use darker orange as well. So have a look at the hand movements, how extra hair around? We draw the ones that they are freer around. More loose. I have to say more loose. Hair strokes. Keep adding layers, but line layers rather than just normal shading. First year as a very, very nice color. However, it lacks a very normal pink comparing to this one that is like darker. Now, if you see adding a little more pressure around here and with different direction because you need to create that dimension until the top part of the head. So make sure that you know where you are actually shady and when you're doing line drawings. Keep going around. While we are watching this word. I don't want to speed up this part. So we're going back to play some really nice music or not. Some of my favorites for dues. For those of you who think that you have learned the hair on the, on one side and you want to move a little faster, you can skip the hair part and go forward. And then I'll come back to you with more skin color drawing. Again, I hope you enjoyed the music as much as I did. We are back with the colors for this gain and how we're going to add more skin cut our town with comparable and we have to compare the hairdryer and how much cutter we have added to that one. And then we have a better understanding. How much cutter you have to add to this cone to the skin part? I don't know. Maybe I wanted to have some scone for the lizard that but going back to the The edges. Make sure, if you recall at the very beginning of our color color drawing of this tutorial, you saw that on these areas we have added lots of different layers, may be around two to four different layers with subtle colors that they are really close to skin. We are going to continue. However, it will be really lovely to have some colors there. They're close to the hair or hair so they are not to distinguish and to different. So it doesn't feel weird when you're looking at it. Keep continue. Go around and make sure you keep using your circular hand movement. Then, you know, we mentioned that around the nose and these areas always darker so you're adding more color onto that. Which is, I would really appreciate your followers how these kind of hand movements, and make sure your play, your, the color of your colored pencil. The same areas I'm teaching you here. Going around the cheek part. It's more color. Adding more. Move faster on this area. Moving towards his skin a little faster with Nogot. We're going to combine it with the little lighter, such as burnt ocher pencil. Really, really perfect colors for color, skin tones. More pressure for the, for some special lines. The neck and the jaw lines. I haven't really not happy with the nose, not really looking like our model. Maybe we needed to do some crochet and this is perfect because it doesn't mean all the time we do really correct drawing and coloring. At some point, we really need to correct that with your eraser, Don't worry, It's okay that you actually correct your drawings and go and change it. As long as you haven't damaged the texture of the pencil, the paper. With your pencil, you can go ahead and correct it. So have a look how we are going to change the the outlines. Then with more symmetrical nose wings, we are going to start drawing it. We could have skipped this part, but again, it's an excellent opportunity. We look that even if it erase it, we can completely bring back the layout that we have already. Not there anymore. So a bit burnt umber, we're gonna go through the nostrils and bear this time, do a better drawing and quartering. Make sure the details has been done. These are more, better. Go around the nose, winks outline. You can use the same color on the sides of the nose and gradually go down until the nose wings to make sure the color is almost the same. It's been shaded with the same brownish color. You can choose like no God or hope I'm pronouncing it correctly. Going around and make sure you have the same color pattern, symmetrical. Once on both sides. See how slowly I'm moving my hand and go around and make sure all the colors blend well together. I do more color tone. Now we are going to study with me my favorite color, cinnamon on our forehead. We have used these few times on this area, so you can see it when we are using it again, it's like you have to layer, you put a draw, create lots of different layers for your drawings. Going around the nose. Even though we clear this area and did it again. So you have to bring that cut our pigments on it. However, the nose drawing and shading, the standard way of doing it won't change it just to make it looks better. Going around the arm and the shoulder. We haven't started the lips Steel BSL creating the lips, the shape of our model will come out. Come on, come out finally, and we see it properly. Keep shading with our cinnamon color. After this, we can move a little faster going around and color more with our salmon color. Really salmonella in cinema really go well together these two color pencils. The same areas that we use for the when we use cinnamon, the same areas we are going to still keep using SAT are Sandman there, especially on the cheek parts. More realistic feeling on our skin color tab. You can see we're going around exactly the same areas. Now using beige red just to blend the previous one so you can see the formula, it doesn't change. We are using the colors which says, which says cinnamon and also Salomon. And now with bay phrase, which she's closer to white, that burnishing and blending technique that we have learned at the very beginning of this course. We go on it and blend the previous two colors very well together. Now look at the burnt umber or any brown that you have. How we're going to add more outline around the same areas. We are just adding more pressure and this alveolar using a little black to make sure the skin tone understand we want it to be very dark. We made it Understood. Now grant through the wrist, we'd send them in exactly. We went around the same areas behalf done so far before we start the lips with our burnt umber, which here I did too much, so we have to add a little eliminate the chin part. It shows more. However, we'd sentiment the week on to blend the burnt umber line that we previously drew here underneath the lower lip. Now, gradually start drawing the outline of the leaves. Again, even on this deuterium or mentioned that these two lines, and right now we're just going through, they should be darker than the highlights in the middle of the lips. Sorry, I hope you enjoyed the music so far. Going back to the lips, we use few very pinkish, very girly and beautiful colors. We're going to still continue working on it. But the reason I wanted to mention a few things here, even though we have talked about this so many times. Looking at it with a closer shot, you can see like how we are using a darker brown. I always suggest instead of black, It's better to use a brown colors even though I use a lot of black, it doesn't mean that you should as well. If you don't want to, you want to create a subtle feeling. You still can use brownish color, even though these are called purple. Pink is still very pinkish color. I mentioned before that you don't need to have a lot of pink colors. However, what I wanted to talk to us about the wrinkles and the textures on their lips. Never underestimate like having textures around your drawings and always make sure you add them. But one thing I have seen that a lot of my students they do, and when I say a lot, I mean, a lot of them, unfortunately, how much I tell you guys. Please do not put a lot of pressure on your pencil minute comes to the texture. You have to blend their lines. When it comes to lines, there's this thing that I keep saying. Please blend it. You cannot keep them as as how they are. You need to go on them and make sure those lines, they don't stay Raul. And you can create that dimension, that liveliness onto that, rather than just very separate lines somewhere sitting there doing nothing. So it's better like your reader, exactly with beige red. You go on it and you blend everything that you have done. Make sure you follow that. You will see that the red lips actually looks much more. It's alive. It feels more real rather than before. I'm using ivory color here. However, I'm using ivory, it's close to white. I'm still not using white. List. Not let, let's not leave the whole ice with, without any color. It's better always to go around it and give those colors that are needed. And what's important, you can see that I'm actually creating different feelings. More layers around the leaves is because it needs to just don't leave it out to dry. Go around circular motion, circular hand movement, Enough pressure, not too much, not too less. And created practice these areas and make sure that you follow what I'm actually trying to say. So many times. You can see the outline around the portrait that we are creating. It's not a lot, but it's creating that enough for whiteness that are portrayed in these two going around. And we'd certain lines with darker brown. We created a line right now, but again, went on it and make sure that we blend that cutter. That's what's important. And then from the line go inside and gradually reduced the pressure. Always from the line, more color next to the line, and then slowly, gradually go away from the line. Maybe you're next to the line and then gradually we go towards the cheek parts and then towards the face. And reducing the the hand pressure and the pencil pressure. You can see you're going around with the same cutter and add more layers. So far, Let's watch the wrist and how we progress and follow and practice along. Again, I hope you enjoyed a long time listening to music so far. Now we have created a lot of textures, a lot of layers on our model. These are the few last touches I'm going through. So I wanted to talk to you about what we have done and what we've been through. Make sure when you look at your model, you create enough layers, especially for this one. They care Venus around the areas that we are working right now. It's very important how you do it. Go around and make sure you have your line drawings all over. Now since we have what, a lot of these hair drawing or would like to move a little forward, then go speedy. We can watch the rest with each other. Going around two layers. These are the final touches, as I mentioned, with the same pencils, we just kinda give some blush to the under the cheeks and around the forehead. Make sure you use the same similar color tones when it comes to the head and also the checks. If for instance you're using, let us say green head, like not have green hair, drawing and coloring. Maybe use some of that onto the eyes, the eyebrows. Not so much under the skin but a little maybe the olive version of it because green olive is very nice. You get the point like how you're saying. Use same color tone onto the skin and the hair because it will look more beautiful. As you can see. We're going to add more layers. The more you add, the more beautiful, more beautiful it gets. So make sure you go around. Not all the time. You don't have to do line drawings on the hair. Of course, you can do some shadings to create more dimension. We'd cinnamon color, we're going around the skin to create more skin tone. Look at this beautiful color. It's amazing how it matches the skin tone without adding anything onto it. Really recommend on one of the colors that you get. This one, beige, red, not really ivory, but I've already is a good color. Substitute of white. Still not recommended. That much. Burnt ocher is a must you need to have for your color scheme is very hard to create it. Occur and sienna, one of those colors that you really need to have in order to create good colors. And this one is beige, red. As I mentioned to you, that you go with it on different layers and blended, blended previous layers is a brilliant color. Still a little silhouette. Let's go around. Don't forget the speed that you need to practice. Even if I showed a little speedy time of this tutorial, but it doesn't mean you have to do so fast. This is the real speed. We have to practice slowly around. This is the end of our lesson, end of our course. I really hope you enjoyed so far. I would really appreciate if you could leave some positive comments. Leave some suitable comments. If you feel like after the course, you'll see and go ahead and say, Okay, I liked the course. Create more courses, or love to do that for you guys. Kidding aside, if you have any questions and you want a certain radio to be created, a certain subject to be created for you guys. Of course I will do that. You just have a few pupil needs to tell me We need this. So I'm going to sort like creating those courses for you or lessons to add to the course. Don't forget to leave a message. There are places on the website that you could go and everyone can see your actual practices. We can comment and like each other our work. And of course, for me I'm going to leave comments that say, what is good, what is maybe not good about some parts of your drawings and what you can improve to get better and better. For others. They can see your practices and get motivated to do better later on. So that's very important guys. I want all my students to get the better, the best quality out of all the courses I created for you guys. Um, I have, hopefully I have tried my best so far. Again. Whoever watch until here. Really congratulations. And I'm saying, I couldn't I couldn't be happier and more proud of you. Again, I cannot wait to receive your practices. Please do send me makes me the happiest, not just I can see your practices, but I can comment on them. So go ahead, watch more lessons. And good luck. Looking forward to see you also on this course and other courses. Bye bye.