Transcripts
1. Introduction: Hello, I'm Simadi art
educator teaching online. Welcome to my new course
on color pencils. Here I have chosen pumpkin and leaves and happy that you
have chosen my course. We are going to learn
many techniques with much details in each of single session video,
starting from basics, sketch, patterns, shapes, then moving into
coloring techniques, learning about highlights,
shadow, and life theory. I hope you're very excited. I'll be guiding you
through step by step with detailed instructions. Even if you're a complete
beginner or seasoned artist, you can still join my class. Come on, let's get started.
2. Materials required: Hey, all Hiba again. Now we're going to just have the materials
that we are going to use and just taken
with the Dom's sketchpad, which is 120 GSM, as you can see on the screen, all the details that
is mixed media paper, you can use various mediums. For the color pencils, I'm here using a
set of 72 shades, Bus two color pencils. Here you can see
with a wide range of different different shades from lightest to the highest range. Over the drawing to
make highlights, the white highlights, I'm using the pencil eraser
from Cohenu brand, it is HardmPencil eraser and
this is a mechanical pencil, so you need to make a basic
sketch of our drawing and finally comes the hero that is smart match battery
operative eraser. It is very, very good
and easy to work. You can have all this with you.
3. Pumpkin pencil sketch - Technique: Welcoming back to
the next module on learning how to
make the basic sketch. I have grabbed my
mechanical pencil to make the basic sketch. As you can see on the screen, how to draw a pumpkin pulp, I'm going to start with Ti
shape that is oval from the very center and moving
with curves on either side. That will make the perfect
pulp effect of a pumpkin. And you are going to
make this rough drawing only on a piece of sheet or
something, any rough paper. This is a practice
area, so practice time. Now, when you get very
confident in the basic sketch, you can just jump
into a main drawing. That is in the upcoming session, you can just join
with me to make a main drawing in a very
perfect drawing sheet, and this is completely
going to be a rough image. You can just follow along me and you can see like I'm just keep on making
with the curves on either sides and the size, shape, everything you
can notice and go along. I'm excited for your drawings. You can upload that
in the upload area, so I can verify that. A a
4. Pumpkin leaves sketch - Technique: Each and every leaf should start with a vein,
as you can see here, I'm just extending
with the center part, the vein that's very very
important for a leaf. So only add that as a skeleton, you can just extend
with any kind of leaf. The design just
varies according to the plant structure that
is designed by nature. Now we can just move
into the pumpkin leaf. To draw a pumpkin leaf, I'm just going to
make it upside down. Drawing the vein first from the top to the bottom,
as you can see, and Now I have extender to left and from
there to some other end, it's because in pumpkin leaf, the vein branches much wider in different different
directions and edges of the leaf through
the edges of the leaf. The leaves texture, the end, it will be very much
sharp, very curvy. We need to create lines and curves with
much ups and downs. You can follow me
along and just keep on practicing step by step. Yes, you can proceed
with the video.
5. Blending colors - Technique : As you can see here, I have just swatched all the 72 colors from
the Brusto brand. Colors are more pigmented
and so vibrant, very creamy and soft to use. Firstly, we need to
practice with variations that is applying
different pressure ranges using the color pencil. As you can see in the video, here started with high pressure, then slightly reduced to
get a medium pressure. Next is very gently and smoothly to get
the very low pressure. After learning with a pressure, we can easily create
a tonal chart where you can start from high pressure to
lowest pressure, which represents varying
pressure ranges. Here is an important technique called burnishing technique, which we are going to use
for the complete course. You might have seen
with the color pencils the name of the color pencils, as I have shown when starting
with the darkest color, I'm just going with
several layers. I'm going to build
several layers. In this technique, we need to first make with many layers. Importantly in medium
and low pressures. Adding in we can just blend with different colors to bring out
the exact result required. So firstly, you can see
I have just gone with mahogany and next it
is with the crimson, all these are applied only with the use of
a medium pressure. So the darkest color
range will just blend mixed very well with the
lightest, the next color. After that, I have
just chosen the shades of orange that is
vermilion and mango. Then comes with a yellow shade. Whatever the shade you
choose to burnish, so you can just move on making
with layers and layers. This is I have done with the first layer
of all the colors and to just make all the
whites of the paper hide, we should not be making here
and there whites visible. We should not do that. Instead,
I'm just going to hide all the whites by applying just a little pressure increase to pressure of pencil
as you can see, and blending all them together, starting from the darkest
range to the lightest range. You can see in the video and
never forget to give a try. You can give with warm tone of colors and cool tone of
colors of your choice. See you in the next video. A
6. Water droplet - Technique: In this video, you will be learning a technique to
color water droplet. As you can see
here, I have chosen the color name that is canary
orange, white, mahogany, yellow ochre, and
carrot if you are using a Boto brand and if you're using some different
brand, it's not a problem. You can still go
with a maroon shade, vermilion, scarlet, orange,
then light yellow and white. Also sandal if possible. So you can choose
all these colors. Now, we are going to
create a background. So you can start from
vermilion or orange. That is a burnishing technique, you're starting
from the downwards, starting from the
vermilion orange, carat, a ocher cannery using this burnishing technique that we saw in the
previous session. I hope you all practiced
in the previous session. Now, next step is to
keep on layering with all the colors we have to make a perfect blend
of background. You can just keep on making
layers like two or three, if possible, we should not
have much white isable. Even this is trying the
experimental session. So you can try out in some separate paper and
not in the main diagram. Now, next step is to make water droplet structure
with the mahogany color. I'm just going to create the water droplet shape
all around here and there, with a light and shadow theory, I'm just going to color to the left side of all the
droplets as you can see, and the right side when
it reaches goes with the blending of all
the medium ranges, that is oranges and yellows and finally creating
highlight with a white. You can see all
this in the video. Now, I'm just using the
vermilion in all the droplets, blending it with
the previous color, and next will be with yellow. To create water droplets
and highlights, I'm just going to make
a clear up technique that is we are going to use the battery eraser first and with respect to the
curve of the droplet, I'm just creating the curve
on right side of the droplet with a battery eraser and to make it more clear and precise, I'm using my white
colored pencil and just coloring it on that
area. That's it, guys.
7. Basic sketch pumpkin: Welcoming you all to the
main drawing session. So here I have just grabbed
my main sketchbook. This is from Dom's Brand, and I have just picked up a fresh paper and a mechanical
pencil to draw this. Now we have just practiced
many techniques to prepare the basic sketch
in the previous sessions. And if somebody
hasn't seen that, you can just go back, pause the video and
just recheck with that, practice that to make it easier. Now, I have just picked up my center portion for making the oval of the
pumpkin, the pulp. With that oval, it's
not going to be very flat and a
lengthy stretch oval. It's going to be kind of bit broad in the center because the pulp should be
like little fruit. So this is we need to make sure this is going to
be kind of a fruit. So we need to make it
very broad in the front. And for either
sides of the pulp, I'm just going to make like a C. You can just remember
the letter C, and it's going to be
a little lengthier. So one on the left
side is going to be completely as it is as C, and one on the right is going to be a reverse the
inverse of the C. So you're going to repeat with a curves following
on either sides. Then after making with five
divisions of the pulps, now we are going to
make a letter J. We can just think of a letter J. So starting the stems directly connected
to the pulps head. So there we are
going to make it a little broad and
it will not start very lean just directly
straight from the pulp. So it's going to
be a little broad and start with a letter J. Or you can just consider
the upper portion of the. Even that will be easier for
making the stem portion. And next is going to be
with pulps behind portion, and that will not be
completely visible to our eyes when it's going to
be a front view of a pumpkin. So I'm just going to make
a five behind divisions, and even that is going to be
very small in the curves. So successfully,
we are done with the basic sketch of
the pulp and the stem. And if you are not done and if you feel like the video is fast, so you can just pause, take your own time
creating the sketch. So we need the perfect result and not ahns in the drawing. So after making
the pulp and stem, we are just going to jump
into creating the leaves. So even in the
previous techniques for making the
leaves of pumpkin, we have a detailed practice of the technique
to create a leaf. Same way, I'm just
going to start making with the veins in the middle and then going with the partitions and the structure of the leaf. So here, the leaf is going to be with kind of a
maple structure. So it goes with very peaks
and curves all around. And we're going to create like three leaves on the
right side of the pulp, also three on the left
side of the part. So leaving a very tiny
gap in the middle. So as in the right we
made in the right side, we're going to just make
the same way on the left, creating first with the veins, so that branches very
well and you can just start from the
lengthier branch to a very small tiny veins. And after making that, you're going to just start from a place away from the stem, and from there, just moving on to making the
structure of the leaf. So that looks very broad. And we need to just
consider one thing because the drawing
should not be very small. It should be of a little
larger size, maybe A five, trying this out in AFI notebook, AI paper is very fine, and that should fit a
complete size of the paper, at least, because when we try
to make the coloring work, the drawing the biggerness the drawing is the
coloring techniques, the application, everything we learn will be very
experiencable. So I suggest to make a little bigger sketch
of the base pumpkin. And here, now I'm going to
after making the leaves, creating with water droplets. So water droplets will
be tiny of a pear shape. So don't make so much water
droplets all around the pulp. So just making like
here and there, uh and all in every pulp is like
in the front side of the pulp is recommended. That will be very
beautiful to look. And yeah, so we are, like in the last of the sketch.
8. Pumpkin Coloring Part 1: Welcoming you all guys to the next part of the session,
the coloring session. So here I have a paper of complete 72 colors swatch cards. So I have created a way before. Now, what I'm going
to do is so we need colors corresponding
with the pumpkins pulp. So it goes with the
primary colors that is like a warmth of
the primary ranges. So I have just chosen with the browns a bit of
with the browns, oranges, yellows and red. So if you have like
48 shades or like more than 72 shades is also
not going to be the problem. You can just swatch with browns and oranges and
yellows that you have. So according to the pulp
we are going to color, I have chosen with mahogany
that I have in my Bruto set. As you can see here clearly, I'm just starting out
with a brown shade, and that should not be
done with a high pressure because in the very
initial state itself, if you go with a very high
pressure using color pencil, the blending with other
different colors, it may be overlapping with reds, oranges or yellows,
whatever it may be, the color blending will
not be that perfect. So I hope you remember all the practice lessons from
the very previous sessions. So if not so please go back
and check that session and you can just proceed with the session.
Now I'm doing it. So that will be easier for
you to go along with me. Now, first on the corners, that is the edges of the pulp
in a single section, edges, you can start with the
darkest color and slowly move to the center that is the highlighted
portion of the pulp. So there you can just go blending with the
lightest color. So on following my steps, so I have just gone with
the brown on the edges. And over that, I used
a shade of a dark red, that is you can
call that scarlet, so you can go with
scarlet or vermilion. So shades this will
be a very perfect go. So you can just go
along with that. And even here you can see
I'm just going with a very, very, very light
pressure of shade. So slowly, you need to increase
to the medium pressure. So that gives the
very perfect blend. Also, you can see the whites
in the middle of the color. So that is the grains of
the paper, the sheet. So when you just go
overlapping with other colors. So here you can see the
whites among the oranges. Here what I'm going to
do is so there will be overlapping of the
other colors like it may be like
orange or yellows. So when you overlap with that
color over the previous, that is the brown
or the vermilion. What will happen is
you can just have a good blend and the whites
will just start hiding away. Another important
thing to be noted here is when you color with the pencils over
the three D shape to make it look like
exact three D shape, what you have to
do is you need to just color along the direction. That is a very, very
important thing. So when you color along the way, that is here, the front pulp, the major pulp that is seen is going to be like oval shape. So we started from
the edges, actually. So when I started
with the edges, I just gone over the
actual shape of the pulp. So I started shading it curve and when I
reach the center, you can see I'm here going
with the straight lines. Okay, so you have to go moving on with a different
range of colors, also with exact uh the directions of the
original shape goes with. So when you go with that way, the color and the
three D effect will give you highlight and will
improvise your artwork. So this is a very key point. Please give a try. And if it feels very hard, what you can do is just
take any rough sheet, give a try with the
curves separately. And if you're comfortable
with what you have done, then you can just come
back to the mine work. Now you can see I have
started with a brown, just move on to the
vermilion or scarlet. Whatever you have is okay. And then just move
on with the orange, the lightest shade that is vermilion will
be greater shade, and orange is a lighter shade. And then just started
with the sand. So you can just go with the sand locur so all are good to go. Then just switched with a
medium low or deep yellow. Then finally, here, I'm just
with the rest of the place. I'm switching to my light low, so I can go with lemon low. A lightest shade of the
yellow is perfect to go with. And if needed to make a
good precise highlight. So the light falling area, you can also give a white shade the white
colored pencil shade over it. So if you have, like, a white color pencil, you can just go give it a
try or if it's possible to just finish with the yellow
color pencil itself. Even that is also fine.
You can go with that. Now we are in the last state
of making the friend pulp, so you can do along with me, and I hope you
enjoyed the process. So we are left with
so many things, and I'll be meeting you in the next session with
good tips. Thank you.
9. Pumpkin Coloring Part 2: Hello, so I'm back with a
new part, the second part. So here we are done with
the first major pulp. Now we're going to just proceed with either side of the pulp. So just focusing to the
left side of the pulp, here you can just see I'm just starting with
the dark chocolate. So the edge, the partition. So in between the partition, there will be some
kind of darkness because the light will
never fall on that place. So unless we just
rotate the pulp, there is the pumpkin and just
make it focus to the light. Okay. So here, it is very strip facing as not
in a side view. So in this case, what I'm doing is the partition. In between the partition, I have just planned
to make it so dark. So I have just started
with a dark chocolate. Next, switching on
to some kind of hazelnut brown or a walnut
brown will be a perfect go. So I've just gone with that. And on the other side, it goes with a shade of dark
chocolate, not that much. So as we did in the middle
portion of the partition. So it goes with a very, very, very light shade
of dark chocolate, and mostly it goes
with a walnut brown. And after that, as I said
in the previous video, just made with a very
light pressured sheding. And next over that, I
used a vermilion color, and mostly I just gone
with a vermilion. And the highlight,
it falls only in the middle portion
of that partition. So here I just switch with the orange this orange is
kind of a light shade. So you can just fill it with
a very pulpy mango orange, maybe like that color. So if you have
this color pencil, you can just go with this, and I'm just sharing
it along the way. Just the vermilion and brown and making a good
blend of the colors. Next is switching
with a carrot orange. So if you have a orange lesser to the one
that we used previous one, that is the mango BlpyOange. So carat orange
will be beautiful. So all the shades are
available in rostro Brand. So I'm just very happy that we can just experience
a variety shades. So if it is possible, you
can just go with that, even with the
prismoclre brand and some different car and dutch all that will have
varieties of orange. You can just go with
whatever you have. And next in the middle
for the highlight, I'm just ending up
with a yellow mixture. So again, I'm just repeating
with the partition. So the middle portion of the partition is
going to be with a dark chocolate brown
again, you can see that. So even here, you should not just go with a very,
very high pressure. So I'm just going with a good medium pressure kind
of in the middle thing. Then slowly just switching
to the other walnut brown. So here I'm just starting
with a medium pressure again to make a good
blend of the color. And again, you're going to just switch on to the vermilion, the orange, the lemon ellow
and the carrot orange. So all these are going
to be like a repeat. But the difference is like
the major pulp in the center, it was like a perfect oval. And the next on the left one, the pulp on the left
side was, like, a little shrinken and it
goes with good curveness. Okay. And next to
that that I'm working now is going to be a bit
curvy and it's very, very narrow and very
small to color. Here, I'm just adding
out with scarlet too because the light to this portion will not
fall to the most, and it's going to be
lesser in the highlight. So mostly the darkness of
the portion is only visible. So here, the yellowness
will be very low. So to show that to differentiate
it from the other pulps, what I'm going to use
is I'm using here with a most of the space
with scarlet vermilion, and the upper portion is going to be with a
light reflected area. So that I'm going to use with
a light shade of orange. And if yellow is
needed, we can add it. And for white, I'm
just adding with the highlights that we
can use with the white. So to make a very
pointy stretches or the highlights mark
with a white pencil. So here is a quick tip. You can just sharpen
up your pencil like very tippy point. So with that tip, you can just create
with the marks. So that will create a very
sharpened highlights. So that's a quick tip. And to the next one to
the next partition, I'm just adding
with a black bit of black in the middle and next continuing
with a dark chocolate, next with a walnut brown. So here you can see just
with a medium pressure, I have proceeded giving
with a dark brown. In the bottom area and
alongside the partitions. And here you can just
think of the water, how we are going to make
with the water droplets. So I think you have just passed over the
previous sessions. So there we have practiced with all the water
droplets thing. So you know the
techniques you might, if you have just gone through all the
sessions that I taught. So if you are not aware of, like, how to create with
the droplets, please, I kindly request you to just jump back to the
previous sessions, the previous slides, the
practice sessions of making the water droplets and you
can get back this place. Now here I'm just
going to make with a smooth blend to make original pulp shade
using the vermilion. Here with a vermilion color, I'm just starting over from the brown with a good
pressure because the color is going to be
over and we're not going to shade with any
different color again over it. Now with the vermilion, I'm just going it over
with a medium pressure. And after that, I have
switched with the orange any light orange as we did for three pulps were completed. Again, I'm just going with that. Here, as we did for the
second pulp on the left, it's going to be
second in the sense, next to the major one. So here it's going to be similar to that because the
light here will be a 50% reflection of light will be over
the pulp you can see. I'm adding a bit of yellowish in the
middle for highlight. So the bottom portion on the very top portion of the
pulp is going to be darker. So there I used with
million shades. So again, starting
with a dark brown, I'm just going it with much of length in the last
pulp because as you said, the light here reflection
will be lesser. Also, it's going to be with the bottom portion
of the pumpkin, and it's going to
be very lesser. The light will
never fall on this. And also, you can see the leaves are covered around the pulp. So some of the light will
just fall over the leaf. That is the major
reason it's going to be much of shadow part. And here I'm just going to use the burgundy color
over the mixture of a dark chocolate and the
walnut brown and going on with the scarlet and the
vermilion for most of the place. So you can just again, go with a hard pressure
over the brown. And when you just stretch to the white space of the paper, you can just go on
with a light pressure. That is a medium
pressure will be good. And next, you can just go with some carrot color to
make a good plan. So here I am just making
a good detailed record. And so you can just even if
you feel this is very fast, you can just pause the video and just do
the practice work, then color, and you can just
proceed with the next step. And I'm here mostly
covering with a darkest shades and
just moving on to the lightest with using
a light orange and yellow over it to make
it very shining look. That is the light
reflection part. And we are like rest with five different pulps
on the behind area. So there it's going to be much easier to make
the coloring work. So the one next to the front side is that is
either on either side, there are like two pulps on that's very next to
the major front side. So there will be
light is going to be like it's all is visible
with a good reflection. So the one, the
remaining three on the behind behind is going to be with
little darker shade. So even here for the pulps, I'm just going to start with any of the
brown shade is okay, but not the dark
chocolate variety. So you can just
go with some kind of burgundy or a
walnut brown is fine. And then you can just go with a vermilion share and then
over it with a carrot shade. So here, the curves are
very small and very curvy. So you're going to color
along the curviness of the pumpkin to make it look
very natural and realistic. So the curve should
be right side, the d s direction on the
right side of the pulp, and you have a
shade with left in the left side of the
so the direction and the shading area is very much
important to make it look like a realistic pumpkin
placed in the front. So the last is going to be
with a vermilion again, then carrot and with a lemnlolo. So you're like, mostly
nearing the end and finishing up with
a coloring part. So if you have,
like, any questions, you can just drop
in the comment, and you can also post your project work if you're done
practicing the work. You can just post your
project work in the section. So project area
assignment section. So I'll be just sharing
the reviews of your work. So I'm very happy and eager that I'll be seeing
all the works. Now I'm just taking
my a pencil eraser. So this is from Chinu brand. So with that eraser, I have sharpened it very well, and I'm just making
with a highlight so you can just make
with the curves. And here and there
for water droplets, I'm just making use of
them. Battery eraser. So for battery eraser, you need to sharp it very well using some sandpaper,
if possible. So that along with
the curviness. So the middle part goes
straight and the other ends, it goes very curvy. So even for the
water tiny droplets, I'm just going to go with making the highlights using
the battery eraser, and only the battery eraser can give you much
pressure to create the highlights and remove all the excess color
pencil shades. So pencil eraser,
comparing it will not give that much highlight and
it will be a little hard to give pressure
comparing the mechanical one. So I suggest to have
a mechanical brand. Here, the mart mat, it works very well, and so very excited to
use the eraser always. Also I'm just eagerly
waiting to our works, and yep, we are left with
the leaves in the stem. I'll be meeting you in the
next session. So by for now,
10. Leaves coloring: Now it's time like
we have to just make the color swatch for coloring
both leaves and the stems. So get ready with
all your greens, yellows and browns to make
the both stem and leave. Here I'm just watching out with the lightest shade of the
greens to the browns. So it goes with light
green, olive green, jade green, medium
green, deep, viridian. So I have so much green
in my 72 color set. So if you go with minimal
or like above 150, nearly 150 shades, it's very okay that you can pick
as many greens you have. And now the important
task is like, you don't want to have
so many in your hands. So after swatching, we need
to have a task of picking up the exact ones that is
recommended for our picture. So we can just take that out. So it may be like around
like five or four with the greens and a few
with browns and the yellows. So that goes okay. So I also just want
to add a thing. Like, we need to
just keep on moving the color work from
the darkest range to the lightest range to bring out the originality
and a good blend. So here, I'm just working over
the stem, as you can see. Now, as I mentioned in the previous
session for the pulps, so there I just suggested two color along the
pulp direction, the shape of the pulp. Here, the stem, it's like
kind of a very curvy thing. So it goes little broad
and much curvy on the top. So the light portion, the light, the reflection will fall
exactly over the bottom. That is the place where
connected to the pulp. So light falls there very well comparing to the
top est portion. So the top portion
goes with less light. So also, it'll be a little
of like a diking stage. So there we can just
make with a shades of brown because it's been
plucked from the plant, and it will look kind
of a brownish shade. So we need to give
the realisticness. So I'm just adding
with the black greens, the darkest greens as
a base of the sketch. And in the top of the stem, I'm just going
with the shades of sandal and brown mixture
also with the green mixture. So we need to move on with the colors and blend
them together. And for the details and
sharp tones on the top, I'm just adding with the
darkest green or you can just go with the forest green or deep green that
will work so good. For making the details
and the black, also. So for highlight I used with
a white colored pencil. Now, the stem is a small
portion, and that's easy. Now, just moving on coloring
to the leaf portion. I'm just going with
the same set of color palette as we
did for the stem. And here, the leaves are
going to be very soft. Comparing the stem stem
looks a little harder. So we need to just show out the softness of the
leaf in coloring work. So mostly I have chosen
for the behind one, so I'm just coloring
with the behind one. And for here, I have just chosen with olive green or sap green, if you have, that's okay. So with the base
layer as olive green, I'm just coloring slowly. And this shape of
the leaf here is like kind of a maple effect, but not actual maple, so it goes with that shape. And we need to just maintain the sharpness and
color it thoroughly, making like with the
ranges from varying from the darkest range to the lightest with the
same color itself. So if you have just passed
with the previous sessions, lights practice works perfectly, you'd have known about the
ranges perfectly as sides it. And if you don't know
it's not a worry, you can just go back, check my previous sessions and give back to this video
to make yourself easy. And, uh, over this, I have just applied
a bit of sand. The sandal color or yellow
ochre will be perfect to make a perfect blend
of dried leaf. And this leaf particular
leaf has with a lesser amount of light reflections because it's a little behind to the pulp, and for veins, it's
important that we need to make it look
a little highlighted. And for that highlights
and sharpness, I'm just chosen with the
darkest range of the green. So here we can just choose a radiant, that
will be a good go. And if you are interested to try out with some different
shade of the darkest green, it's like a free, your choice, you
can just go with any of the greens and
give a try for that. And next, following with a second leaf here I'm just starting with a
medium shade of the green, that is the forest green
first, then the medium green. And I'm just going to make this leaf little darker variety when comparing
the previous one. So I've just made
up base layer with a deep green and now coloring with the olive green and making
a good blend of the leaf. So you can just go
along with your colors. And if you feel like you want to create something with, again, a a baby leaf like that or
some aged leaf dried leaf, also, you can just create
with the palates like that. So that dried leaves
kind of will go mostly with yellow sandal or
yellow occur shade mixture. So there will be
some kind of browns. There will be no greens in that. Also you can now add
oranges if needed. So that's a creative. You can even try like that. Now, moving on to the larger
one in the very front, I'm so happy working
with the larger one. So first, you can just go making with the
borders of the leaf, the sharp edges of the leaf, and slowly, you can just move into the inner side of the leaf. So sharpening your pencil
often helps you just move on working very easily with the flow because if your
pencil is much blent, what will happen is the pressure will also sometimes
increases and your hand, you will not feel that excited to make a made the
coloring work. So, personally, I feel that. So what I usually do
is I keep on shopping my pencil and always I start
making with the edges. So edges will beautify a lot. And then we can just
go with good pressure. And when you just go inside, you can a bit reduce the pressure and turn
to a medium pressure. Then start working on it. Now here, you can see
I've just completed with my coloring using the
olive green completely. Here I'm just going to make
with a jade green with a good pressure that is lesser than a good pressure
to make a good blend. So blending here is
very much important. Again, it's going to be a
proper, not a dried leaf. So we need to keep
on maintaining with the lightest of the greens.
That is very important. We are not creating
here with a dried leaf, so the green palettes are
very much important here. And as this particular leaf
is in front of the pumpkin, it's going to be more
phased towards the light. So the light will
fall much on this and reflects the colors
much outside. So obviously, the
color of the leaf will be mostly green that is
of a light test green. And here you can see, I
have just tried out with making the veins using
the mechanical eraser, that is the battery eraser
from one bad brand. And over that whites
of the veins, I'm just adding with the
lightest of the green over. So this is another try
you can just experience. So in the previous leaf, the very first leaf, we made the veins with a dark
color viridian green. So that is going
to be some kind of a different way that
different experience. Now what we tried is like we just made with
a battery eraser, created the veins, and it is
going to be a light shade. Okay, because it's just a
matured premature leaf kind of. So it's going to be like that. And there are following three
leaves to the right side. And with that experience with
the previous three leaves, here it's your choice and open, you can just go with whatever
color swatch you needed. You can upload the work
completed in the project area, so meet you with the last
step in the next session. Bye bye.
11. Coloring water droplet: Successfully, we are done with both the stem leaves,
pulps, everything. Now here is the very
important part, and we are going to do
that very easily, too. So we need to have a
battery eraser and the pencil eraser and more of that with three colors to
make the water droplets here. Now with a fully
sharpened battery eraser, so I usually sharp
with a sandpaper, with the help of a sandpaper
to make it very sharp. And with that, I'm just clearing out the
colors that we made over the pull exactly on
the water droplet areas. So you can see in the picture
I'm just clearing out step by step with the exact
shape of the water droplet. So it goes with a
pear shape, right? So we need to just clear it out. And after that, we need to
just have three colors. That's like you can
take your mahogany. Like, it's kind of a
shade of a maroon. And yellow ochre
and then orange. So these are the
colors and yellow if needed and white pencil erasure. Now, firstly, with the
darkest color, the mahogany, I'm just giving with the
outer covering alone of the water droplet because this water droplet
gives more shine, the more reflection of light, it gives the reflection outside. So to create that effect, we need to just give
a darkest shade of the color all around
the water droplet. So you don't want to cover
it completely with that. So you can just go with
a huge hue shape alone. Just around the water droplet. That works very well. Now, after creating that, I'm just picking
up my orange and shading it with the bottom
layer of the water droplet, like you can see in the picture, and we need to blend that with the previous color
that's Mahogany. And over here, I'm
just going to make a little change effect with a
white pencil for highlight. So you can take a
white colored pencil and just go over that and blend. So it will look really like a water droplet
falling over the pi. Try this out and we
are just left out only with a shadow portion.
I'll be meeting you there.
12. Coloring Shadows: Hooray, so we are in the very
last part of this project, and this is going to be the
shadow creation project. It adds the very
beauty to the picture. It adds life. It brings
out life to the picture. Now, shadow creation
is very important, and color picking up for the shadow is
much, much important. So you can see for any object, there will be shadow
if there is light. So for shadow, you're going to just as you have noticed,
like in real time. So shadow will be near the
object will have darkest. The further away
will be like having the lightest grade of
shadow the darkness. Now to bring out that effect, I'm just picking up my
mahogany walnut brown, caramel, also hazel nut
brown, all the browns. So you can just pick up your darkest to the
lightest range of browns. So darkest range
of the brown will play exactly near the
base of the pumpkin, as you can see, I'm just
giving up the coloring work. So starting from the mahogany, I'm just moving on to
my hazel nut brown, just blending it with
medium pressure, then overlapping with caramel and the walnut brown to
make it more perfect. And the burnishing
technique here is very much important for
blending the colors. Next, when I move up a little
away from the pumpkin, I'm just going to use with
colors of lightest brown, and you can slightly switch
in between the leaves. Also, it goes with
the darkest range, so you can go with a slight
darkest brown color. And when you move further away, you can just take your
sandal or yellow ochre. That will work really good, and you need to just
blend all everything. Now here I'm just
going to move on with the blunt pencil that works well here for the
shadow portion. And if this is the last part, hope like you are just enjoying creating
the shadow portion. So just complete this and you are going to just
submit all your projects, and I'll be reviewing
each and of your works. So very happy to see all
your works. Thank you.
13. Thanks for Watching: I'm very happy and glad
that you all enjoyed this session of coloring modules of this pumpkin
and leaves drawing. You might have had
a clear perspective on using the color pencils
at the right range, just picking up
the color pencils, then sting, swatching, you might have learned
so many things. And if you find this
video was very useful, just give me a thumbs and just follow and give your support.
Thanks for watching.
Srimathi, Artistcastlebysri - Art Educator
