Colored Pencil Drawing Course From Beginner to Intermediate

1. Introduction: Hello friends. Welcome to the basic course of drawing with colored pencils. Definitely due to the use of different colors in colored pencil painting. This is one of the most attractive type of paintings among the enthusiasts. In this course, you will get to know the principles of drawing with colored pencils in real style. And you'll be able to sketch all kinds of different objects and textures. At first, you will learn about the color cycle and how to combine colors. Then by drawing suites, you can learn it textures and how to color them. Then you learn how to sketch the textures of glass. And finally, you finish this course with a wet blueberry model as well as colored liquid. I hope this course is useful for you and you'll enjoy it. 2. 1- Tools: Hello to all of my dear friends. Welcome to a new course of designing and drawing with me. In this course, we are going to learn how to create paintings with colored pencils. This is a very great and interesting technique that most of you are interested to this. Before we start everything for this course, I'm going to tell you what tools you are going to require. The tools that we use for colored pencil technique of the painting. The first tool is a cardboard. The cardboard should be assembled cardboard, or it should be Fabriano LR cardboard or 220 g Fabriano cardboard. These two kinds of cardboards are the most adequate ones for our colored pencil techniques. One side of our cardboard is texturize and the other side is very smooth and simple. You can use both sides of it. But the side which has a texture is more adequate for colored pencils. It's more appropriate. And other tool is this paper tape. With the use of this tape, we can actually fix our cardboard on whatever surface we are putting our cardboard on and we want to draw on. Okay, after this we are going to work with other interesting tools. Well obviously we need colored pencils. They call it personal, is that I'm going to use in these courses is fabric castle 36, classic color pencils. So if you want to use the same brand and the same colored pencils, It's very important that the fabric castle that you actually get and provide is from the classic kind. 36 colors are enough. It shouldn't be less than this. If it's more, it's okay, but it shouldn't be less than 36 colors, but definitely it should be classic. Again, if you're buying fabric castle, pay attention that it should have this QR code on its back. If it doesn't have this, it's not original and it might just make some problems for you. But there is no necessity that you use this brand. Because I'm going to teach you a technique that you would actually work easily without being dependent on the codes of your colored pencils or even you are using a different brand, you can use it easily. I'm going to teach you a technique for that. That whatever I use here, you can easily choose it from your own colored pencils. So just pay attention that the colored pencils that you are using would not be the ones that they use, that they have four children, they should be artistic, especial colored pencils for painting. The other brands I'm going to suggest two is M view, which is good like fabric castle, owner, or Picasso, these are all good brands. Aside from this, you should also create a catalog for yourself for the colors of your colored pencil. You can create it on a cardboard or on an A4 pencil. Based on the number of your colored pencils, you would have e.g. if there is 36 of your colored pencils, you should have 36 squares over here. Or if it's less, you should have less. Okay? Now, you are going to use each one of your colored pencils in each one of these squares and then write the code of your colored pencils in front of each square. So you will, you can actually choose your pencils faster and easier. The next thing that we need is a cutter. Here. Well, obviously it has the use of cutting the cardboard. But sometimes in our painting we have to scratch our paint off of our cardboard with this cutter very, very lightly. The other thing that we need is a ruler. Then we also need an electronic eraser. It's actually one of my favorite tools and it's very good and definitely you are going to need it a lot in this technique. Another tool that I can give you a hint about is actually an eraser. Having these erasers are very important in colored pencils techniques. There are very practical, so I highly recommend them. Another one is actually white pen. Why it's pen is one of the tools that we use in colored pencils technique. Having a black rapid, rapid can be number 32. Or you can even use other kinds of pens which are like this, so it's also needed. The last thing that we need is actually H2 pencil, or basically our normal pencil. We actually create our basic and primary sketch on our cardboard with it. So these are all the tools that you're going to require in this course. And for colored pencil technique, That's a start. 3. 2- Color Circle Eiten (colorology): Hello, welcome to the new episode of sketching and painting with me. In this episode, before we start, and I'll tell you how you can create paintings and other things in colored pencil technique. First, you've got to learn how are we going to make the colors? How we can combine the colors and how we can put them next to each other. To get a great look. With this circle of the color, I can easily explain it to you. First of all, I have triangle of color, which includes three main colors, yellow, red, and blue. These are three main colors. The main yellow domain read on the main blue. So in the beginning, my color triangle is created from these three colors. For the next part is C. On each side of my triangle, I've created another color. See, on the left side of my triangle, I have yellow and blue. It means that if I combine my yellow with my blue, which are two main colors, I can create the main green color. On the right side, I have the yellow color and red color. It means that combining these two colors will give me the orange color. And over here, see again, I have my blue color and my red color on the bottom side, and it will give me the purple color. So when we get out of this triangle and get to these sides, are actually cite colors are created from the three main colors, which are created by our three main colors. I mean, the main green domain, orange, and domain propel. Why do I say main? Because we have 36 colors or more. And e.g. we have a tonality of purple or green or whatever. You see. Another thing is that in front of my blue color, I have my orange color, or better say, a cross from my blue color, I have my orange. So these two colors would be each other's complimentary colors. So the blue color is the complimentary color for the orange. It's in front of it. It means that they complete each other. Why do we say they complete each other? Okay, I'm going to tell you, see, we have blue color here. Now. The orange color have been created from our yellow and red. So this orange color, except this blue that we don't want to work with now has two of our main colors inside of it, yellow and red. Therefore. The other color, which is not included in creating this secondary color of orange is the complimentary color of this secondary color. To complimentary color for red is green, which has been created from my yellow and blue. And red is not included at all in the green. So it would be its complimentary color. And as you can see inside of this triangle, my green is actually in front of my red, Exactly. And obviously, the same goes for the yellow and purple. Yellow has actually, the purple has been created from red and blue and yellow is not included. Therefore, yellow would be its complimentary color. Okay. There is something else that I should tell you in this point that actually we call the purple color and a yellow color. Almost neutral colors, because there are no So either warm or cold. Because when we look at them, we both have the feeling of warm and cold at the same time. So that's, that's why they are almost neutral colors, yellow and purple. Now, if we get out of this, we get to the circle of the colors. This circle of the color is very important and it's very interesting. At the same time, I have my main colors. As you can see. As you can see, the corners of my triangles have their, their own colors. And also the triangles that have been created on the sides of the triangle have their own colors. So I have yellow, orange, red, purple, blue, and green. What are these colors in-between them? Okay. I have a main yellow color here, and I have one secondary green color over here. If I combine these two together, I mean, if I combine this green with my main yellow color, it would be actually a green yellowish color. Because our green has already been created from yellow and blue. So it already has a bunch of yellow inside of it. And now again, it got combined with extra amount of yellow color. And because over here, my yellow is more inside of my green, comparing to the blue. We call it yellowish green. So this is actually a yellowish green. And on the contrary of that, here I have domain blue and I have the green again in-between them. Over here. I have a dark green which has more blue inside of it. So as I had a yellow color more on the other side, over here, in this green, I have more blue comparing two yellow. So this is a bluish green. So again, this would be our bluish green. See how they were created because it has more blue inside of it, but say bluish green. If you look at it, you can clearly see that it color is even going toward the blue, more than green. And it has, it's more cold because it has more blue. This is bluish green and this is yellowish green. Now we get to the purple part. It's the same thing. You see. Peripheral has been created of the equal amount of red and blue. I mean, if you combine your red and blue equally, it will give you this beautiful purple that we have here. Now, If into combination of blue, I will use one part of blue and two parts of red. What can we get there? This one, reddish purple. I will have this color which is a reddish purple. And on the contrary, if you use two parts of blue and one parts of red, we will get this one, the bluish purple. Again, it's the same for the orange as well. I have my main orange here. And if I use two parts of a red and one parts, one part of yellow in my orange, I will have this orange, reddish orange. I mean, it's an orange which is more towards red. And again, on the contrary, if I use two parts of yellow and one part of red, it will give me a yellowish orange. It means that an orange, which is going more towards yellow. Alright. Now we can get to the part that we can divide the colors into two parts of cold and warm. Generally from this color, from the yellowish orange until the reddish purple, we have our warm colors. You see this side. These colors are the warm colors from the yellowish orange until or up to reddish purple. If you look at them like that, there won't be no feeling of cold. But on the other side, from the yellowish green up to bluish purple, we have the cold colors. Why? Because they give us a feeling of cold. And as I told you before, yellow and purple are almost neutral because a part of them are toward warm and a part of them are toward cold colors. So there are in-between. We cannot clearly say either they are warm or cold. So they would be neutral. Okay? Yellow and purple. Orange is the complementary to the blue, green is complimentary to the red, and purple is a complete tree to the yellow color. We have our color triangle, which has been created from three main colors, which are yellow, red, and blue. Just as easy as that. So if you learn this circle and triangle, it would be really easier for you to consider the colors, determine them, create them, and work with them. So it's very important if you learn this completely and very well. 4. 3- The Basic Drawing of Creamy Sweets Geometric Shape Method: Hello again. Welcome to another episode of painting and colored pencil technique with me. The first design and sketch that we're agreeing to work together in this technique and we are going to enjoy it so much. Are these little sweets. Before we start, I want to tell you how you can actually determine the colors and it would be easier for you. So you will not need to have the exact same colored pencil that I'm using here. And you can choose it from your own colors, from your own brands. You can easily do it with whatever colored pencil that you have in your hand and with watching my videos. Alright, As I told you in the introduction of tools, whatever colored pencils you have, you should create a color catalog from them. If your catalog, if you are colored pencils or 36, well, this catalog should have 36 squares. And then right next to them, you should have codes that it would be easier for you to find your colors. You want to see how this catalog is used and how we can use it. E.g. I want to have the colors for this area, for this part of my Sweet. Okay. I bring it up to here. I bring my catalog right next to my painting or my picture. And I can easily say what colors I have in this area. I have 325, 333. You see these colors are completely and match. I have 334. And maybe for these parts, I use 337 for small parts over here. For the lighter areas, I would have 329 and I'll have 319. I can also use it as well for applying these darkness. I can use my 376 or maybe even 399, which is the black color of my colored pencils. See, if you have a catalog like this, you can easily choose your colors and your pencils, and it doesn't matter what brand they are or how many day are. You can clearly determined the colors and find them faster and easier. So there is no need that I would tell you each one of the codes and you find them or then after you find them, you see they have a different color from mine. You would be troubled. So I just show it to you there. E.g. in these berries, I have 327 in these areas. I have 333 in darker areas. For the shadings and shadows of my work. I have 321 for the parts which are more reddish. I can even use 392 for these parts which are going more toward Brown. Also 30001 that I would have to apply to some places. I should apply my y's in order to create a contrast and a beautiful shade. In some parts, I will also use my bluish purple, which has more blue in it, comparing to the red, which is 337. I will also have to use color 399 for the shadows of them and for the leaves. Again, you see it's obvious, I'm going to use these colors. The colors I should use are the yellow, yellowish green, 370. My main green 359. I need 357, which is a bluish green, a dark green for these areas. Again, I need my 399, my black color for these very strong darkness over here. And I need to white color for the lights of my work. Just as easy as that with only having a color catalog. You can use your colored pencils very easily and you can determine the colors very fast and easy, and easy, sorry. And you do not have to depend on your tutor or onto brand of your colored pencils only by watching the color, by seeing it. You can choose it from your own brand and your own colors. First, I'm going to apply its primary sketch to my cardboard. I'm going to teach you how you can do that first. Okay? The way that I'm going to teach you in this episode is how to create your primary sketch with geometrical shapes. That's the name of this method. I'm just looking at my sketch generally and transform it into simpler geometrical shapes. So for this, you don't even need to have a print, printed picture of your work. You might have it on your cell phone, on your laptop or wherever. So as I said, I tried to look at my work, my painting very generally and see that similar geometrical shapes, e.g. I. Can consider this berry as the shape of a circle or an oval, which is more narrow on the top, like an egg. If I look at this sweet, I can consider it as a complete oval or a deformed circle. And it's also the same. This is my second oval. And each one of these are ovals and circles here again. Let's apply it on our work and see how it's done. So I put it right next to my cardboard. And then I consider, first of all, I will be having, you see over here. I can also create this line to guide me in order to create them in there, right placement. Not to misplace them. Here I have a shape of an egg which has transformed to a berry later. I actually creating these very lightly with my pencil. Therefore, when I want to color it later, my work would not be messy, is very, very important, my dear friends. I am actually creating it a little bit darker for you to see it better in the video. But when you're doing this yourself pay attention that you should create your primary sketch very lightly. So there won't be any trace of it After you erase some parts. And there won't be any trace of it when you're coloring and it shouldn't make your colors messy. Okay? I have another oval or a circle here. Right? Now in this step, I'm not going to do any details. I'm just applying the general shape of the geometrical shapes on top of each other. And in the right placement. The next row, which is my next sweet, would be placed over here. And it would be created just like this. Okay, over here I have one berry. Let's see. I applied as a shape of another egg here. Just like that very easily. And it's almost a big Barry. I created as the same size as I see it. See the next berry is placed over here. So I created in the exact same place. I have its general shape over here. Again, I insist that right now you should not go into the details. Just the general shapes of these geometrical shapes. And the last berry over here, which looks like this. See, right now I've just created the general shape, like some rocks on top of each other. Now in nexus that I'm going to work on the details of my work. I'm going to basically apply the details to the work you see over here. I have one leaf. Here, I would have another. These are the leaves of the berry. And over here, I can also add another part. Okay, here we go. Let me just edit this part. I can make it better. And from here, I'll come up, it goes up. And in this area, I have some leaves bending backwards like that. Over here. I come and I'll create this just very, very orderly. I create it. And then I connect these two parts together. Exactly as I said with a curved line. Now, I'll create the lower layer for it. And this would be the lower part of it. Okay. The second part, again, it's is it soft area? You see? Because the placement of these geometrical shapes where correct? Exactly my berry would be connecting to this edge. It means that I am giving right? Then just like that. Okay. I'll erase this extra line. So it went, make me mistaken, misguided. Then for creating this vary in the way that I can see it in the picture. I'll have to create one more line here, bringing it down all the way. The same way. Then I get to my second suite. You see this line is exactly on the same level at the top of this barrier. So again, exactly on the same level, I should bring a line coming here and bring it up. And they all be curved lines. This would be the area, the softer area, the middle area, which includes the cream. I forgot it onto her sweet. Then I have the lower part of this suite. And then we have the lower part of our work. Just as easy as that. So for this area, It's the same thing. I'll consider it like that and create this other bury the same way as I did for the rest of them. Then we create the upper Barry. I mean, we edit the upper Bari in a proper way to make it better. So this is the main and our primary a sketch of our picture which we've created with simple geometrical shapes. In next step we are going to apply in the colors. And I'll tell you how you can do it easy and fast. 5. 4- The Beginning of Coloring Creamy Sweets: Hello again and welcome to another episode of painting and sketching with me. In this episode, as I told you before. Well, we are going to color this sketch altogether. Alright, first thing to do is to bring our catalog. Now we want to choose the colors that we want among these two colors that I need for my Sweet is number 319, which is this. See, it clearly matches this area. You can actually bring your colored pencil on your work and determined the color. So this catalog has the same use. Even if your codes are not as same as my brand or my catalog, you can easily have your own catalog and find your colors. I need my color 325. And if I put my pencils tip on these areas, the color mattress totally than I would have. The color Number 334, my purple. This is my main purple actually, for the dark parts of my work. And this is my color 333 for the darker parts. To color number 329 for these areas which are actually pink and beautiful also. Okay. Well, maybe we can also use a bit of red color, maybe color number 318. For these areas. I might just give a tad of red. I'm going to show you why I'll do it. And also color 327, that we can actually use this color instead of red because it has too much red in it. You see, if you look at these colors, it's the tonality of this area totally that I've got it with the help of my catalog. And I need my black color, 399, for applying these small details here. And I need my white color for creating these lights. And I also need my blue color for the shading. I'm going to tell you later that why I choose blue for the shadings. But now, let's just start up to here. And we start our coloring. Something that I should tell you, my dear friends is that I've actually dark because of use. So you would be able to see, I mean, I've darken these lines. But if you didn't, actually, if you weren't paying attention and you've created your primary sketch, darker. Dan, you should you have to lighten your primary is sketch before you start coloring. It should be just as dark as only you can see it. I mean, it should be very light. You would be able to see it. That's enough because if you leave it that way, it will actually make your colors messy, especially because it's colored pencils. I'm gonna put my picture next to it. You can compare easily. The first thing that I have to tell you about coloring is that in coloring for applying the colors, we try to start from the darker colors toward the lighter colors. So we start from the darkest color that we have in our colored pencils. To start our coloring, you see now, I'm just going to order them from the darker colors toward the lighter colors. Actually form the darkest colors to the lightest color, which is my white. Okay. If you place the tonality of your colored pencils in this way from the darkest to lightest, it will be easier for you. Now. My black is my darkest colors, so I just get it and write from these areas. I start applying it from the parts that I see. Very strong darkness. And as you can see, I'm applying my color very slowly and very softly. So that's how I do my coloring. Just like that from these lower parts, which are the dark parts of my work. And very, very little. And with circular movements, I'm applying my color. Why am I saying that you're coloring should be in circular movements? Because when you are working with colored pencil techniques, the direction of your coloring should not be visible. You should not leave any traces. We are going to actually do this circle Larry technique for coloring. So you won't leave any trace over your coloring or any direction. Alright. So I'd be applying the darkness, darkness here. Very clearly. The parts that these leaves created, the shadow that these leaves created on my work. These areas and everywhere, I can see them. Just like that. Okay. Another color that I'm going to use as my blue color. Why am I telling you the blue color you see here? You might not see any blue in your work. But for all the parts that they have a shadow, we are going to use the blue color, very, very little of it. Because basically the nature of a shadow is blue. Shadow means cold, and cold goes toward cold colors. And cold color means blue. In the shadow places of my work. I mean, everywhere. In all of my works, everywhere I have a shadow. I would have to use the blue color even if I use it very little. So I should use even a little of my blue color. The blue that of course matches my work just to give that shade and cold of the shadow to my work. But I'll leave it for now. I want to use it almost at the end. And now I'm going to get my purple color because it's our first work. I'm going to tell you, this is the color 103 34, sorry. With this color, I start from these parts. And wherever I see this color, I'll apply it again. And still, I'm using circular movements. Moving even on the parts that I've used, my black and little by little, I go up again with small circles. As I move more toward my lighter areas are actually decrease my hand pressure. So when I decrease my hand pressure to color that I leave on the cardboard would be less, would be lighter. So I will use more circular movements here. I will use bigger circles here, just like that. And as much as I can see this purple color in my work, I will apply it. Well. You might say that she's telling us as much as you feel this color in your work or as much as you see it. But how much we should actually apply this color in our work, because this is a dark color. And if I use it too much and my work will be ruined. What can I do? See my dear friends? Something's totally depend on you. First of all. You should be able to see pretty well and observe pretty well. The second thing is that you should let yourself make mistakes. I mean, you should allow yourself to make mistakes several times because making mistakes in painting, we will actually help you a lot. Because each time that you make mistake in a sketch or in a painting and you even run it, you'll actually learn from it. And the next time you'll do it better. So don't be afraid of making mistakes or ruining your work. And don't forget to practice over and over again until you get to handle of what you're doing. So don't worry about it. These things will just come to you after you practice every day and you practice over and over again every day, Even even if it's a little, you know, you should have enough daily practice that even with looking at a picture, you can get the colors of it correctly. Okay. Now, I have applied my purple color as much as I needed it. I get to the next color. I'm using color number 326. And then again, I'll be starting from the dark part of my work. If you've paid attention, I started all of my colorings and all of my colors from the darkest area, from this dark point. And then I slowly move toward a lighter areas. So just like that, I'll go all around it. I move over here. These parts just beneath our bury, under our leaves. And all these parts. That's it. And over here I can just see more of this color. Therefore, I apply more of it. Again. I say you should practice. You should actually improve your eyes in a way that even by looking at something, you can figure out what colors are used in it and how much of each color is in there. And then I get to the lighter area. But I'm using a very, very low hand pressure just to leave a trace of this color. Then I move on to get my next color. Color number 327. Again, from the darkest area of my work, I'll start. And I moved toward the edges to the lighter areas. With this color, I keep more warmth feeling to my work. Before adding this color 327. We didn't have this warmth in our coloring and in our suite are sweet, was more involved with cold colors. But when I'm using this color which has more red inside of it, it will actually make by suite to be more warm and it goes more towards the warm colors. Alright. Now, in these parts, we should use this color more. So I just do the same. So without being afraid. And clearly, I will apply this color into these areas more. Also in these parts below the leaves. Here and here. See, these would be applied just like that thing. And I say easily, just remember that you should move your hand in circles. So you would have circulatory movement and circularity coloring. And remember to control your hand per shirt. This is very, very important. You should practice it a lot and control your hand pressure. I'm going to use the color 333. Well, it gives me a dark tonality of this color. So I can easily apply the darkness of my work in it. Here we go. Just like that. We will have less darkness here. And here. Here we are. Again, I say when you going toward the lighter areas, you should decrease your hand pressure. Here we go. Then I move on to get my next color. I'm going to use by red a little, which is number 318. And I just use it in this way and in this area. Again, it gives my work a little bit more warmth and just applied a little on the left sides as well. We're going to continue their arrest in next episode. 6. 5- Continuation of Coloring Creamy Sweets: Welcome again. Well, welcome to the continuous of the coloring of our beautiful painting. As you know, it's coloring with color number 318 to give it a bit of reddish tone and make it even a bit warmer. But I'm doing it very, very faintly and very lit. I'm going to use my color 329. And I'm going to use it over here. I'm actually applying a bit more pressure and the darker areas. This work actually makes the texture of my cardboards to be filled. The technique that we are working here is real or realistic. It's actually not hyper-realistic. So it would be exactly the same thing that you see here. In hyperreality. You should just cover the most of your white areas that most of the texture of your cardboards almost into 98% and it would be 98%. Like your picture. I mean, it would be too close. Maybe just even one or two details would be different. But now we're not working on hyper-realistic. We are working in a hyper, we are working in a real painting, sorry. In real technique. We don't have to cover all the textures on our cardboard. I'm going to use my color 316, which is the lightest color in my tonality. And just like that very easily, I'll apply it on my work. It's really, really easy to work with. Just apply the color over here. And then I'm using my white color for this prominent area, which is totally white. And then I'll just continue it to my lighter area. And I'm actually going to fade disliked through my work. I don't want just a lighter spot in the middle of my work, so I'm going to spread it out and fade it into the other colors blending. I wanted to apply more darkness so I get my blue color 324. And because here I have my shadows, I'm going to use this blue color over these parts. You see, I'm using too little of this color. Then I guess my black color, and I'm going to use it as much as I need. Okay? So I get to darkness. The final darkness that I need from my work. Darkness of this area would be matching here. Here we go. Alright. Then I'm going to get a dark color which is, which has more red inside of idiocy for this area. I needed for here, I got my color 327 because when I put it over here, you see they are really similar to each other, so they match. Therefore, I apply it on this area as well. You should do the same thing. I mean, you should put your pencils onto your picture so you can see dissimilarity of the colors Over the part that you're working on. Then I give the final darkness, this area of my work. I can also see some spots over here, and I just said apply them with the same color like that. Alright, let's move on to the next area, which is actually this sponge area right beneath it. I'm going to use my black color over here and create this spongy area beneath it. But I'm doing it very lightly. Pay attention to that. Then. I would also create some holes inside of it with my black color because they are with black color. So I'm creating these spots which are actually the holes of the sponge. And I'm just creating them in the shape and size that I see them. And of course, in the amount that I see them too. So in these parts they're more I'll just do it more than I started flying some dark color here. Okay. Then I'm going to use my next dark color, which is 327. And it's more close to the color that I'm seeing in my models. So I would apply it inside of these holes that I've created. Then with the same color, again, I'll create some spots and small lines over here. But I'm doing very roughly. You see, all these spots and lines are very rough. So again, I did, as I can say, it in my picture, will come to my purple color. And then I use it right next to the colors that I've just created. I mean, I'm using my purple color right next to the Roth spots and lines that I've created. Just underside of them next to them. And also over here because I have more darkness, I use this color more. Then I get to my lightest color. And I'm using my color 319, and I will apply it to whole of this area I see. So I'm using my color 327 for the lower area and reddish color that it has over here. Okay. I'm using it for the red area over here at the bottom. Okay. Then I'm gonna get some help from my black color. And then I fade this lower part of my work downward, totally downward. Then now I'm going to apply some smaller shapes and spots with my black color again. Then I will use my color 333, which is almost a dark color for these areas. I mean, I'm using this to fade these areas. Then I'll get to my electronic eraser. And with the use of that, I will start applying some lighter spots in my work. As you can see, I'm just tapping my eraser on the work and I'm just touching the cardboard. See, I place it, I instantly pick it up. That's how I create my y two spots, or better say light spots. Then I'll use my black color to emphasize on the darker areas. Just to show them more. Now, we get to this cream area in the middle. Well, because I didn't go to any color for this area, I would not work on the coloring of here. I would want to work on the rest of my sweet see, again, in this lower area, I've got a very strong darkness and it's actually similar to black. So I apply my black and then I get my color 327 and apply it here because I've checked it with my picture and it was a good match. Okay. And then for this lower sponge area, for this lower sponge area just beneath the cream. Again, I'm going to use my black color to create the darkness that I see over here. As much as I see them. Applying some strong darker spots here. Just like that. And I'm just doing it the way that I see and I'm applying the same texture. Now, I get to the next color in my tonality. I'm going to use color 327 for it as a inner parts of these holes. So just like the upper areas that we've done and just like the upper sponge area, I'll use this color inside of the holes so they can be seen more and it would give it a good look. Then I apply a general color for this area. Just like that. I can also use my color 334, which is a purple color. And then I actually fade these black colors that I've applied here toured upside, I mean upwards. And I would note just leave it so fake in spontaneous there. One of the things that I like to tell you, my dear friends, is that you might actually do this video's only once. In order to create a masterpiece, you might actually have to do this whole sketching and coloring even more than five times. Because obviously it's your first time is the beginning of your work. So you're allowed to make mistakes and you might actually ruin your first or second practices. Because I've had some students that they had some high expectations that they wanted to do everything in its ideal form for the first time, that's not possible. And if they've made any mistake, they've been disappointed. You shouldn't be like that. It's very normal if you make something bad or make so many mistakes in your first doings. So you should practice it over and over again until you get it right. Okay, I'm going to use my purple color for this area and separated. Just as easy as that. Again, I use my electronical eraser and I start creating some lighter spots. And then I'll try to get to parse which have been curved in. I'm going to show them more and more. I come down and again, I start with my black color and I want to do some coloring here. And I just apply this color as much as I can see it. But as you can see, I'm just touching it. I'm not applying it to heart because I didn't want it to heart. So just like that. Then I'm going to use another color, which is my purple. And it's a dark ones. So I'll start applying my purple to create these dark colors over here. These lower areas, obviously. Okay. So I start from the darker areas and as I move on to the lighter areas, I just decrease. My hand pressure will continue in the next episode. 7. 6- Second Creamy Sweets Coloring: Hello again and welcome to the rest of our coloring. With me. For a continuing our work, I'm going to use a lighter color comparing to what we've chose before, which was purple. I'm going to use the color 333. From these areas just like that. I'll use this color. And I moved toward the light. Like this. Again, moving toward the lights. The next color would be my color 329 for these areas, which are basically the edges of the black color that I've used in the beginning. Then I'm going to use the color 327. And I'm going to use it for this area. I just give him more red color to my work, making it warmer. Just a tad of red. That would be enough. So here we go. Just like that. Then the last area, I would be using my color 319, which is the lightest color in my tonality. And I'm going to use it for coloring all over my work here. Then I'm going to use the white color on the parts which I have more light. I'm going to use my color 318 again. As I've worked on the upper area, I'm going to use it for the lower area as well just to give it more red color. And I did because I don't want any difference in the color for the lower area comparing to the upper area. C. Just like that. Again, I'm going to use my color 327 and I'll create several spots in my work. Okay, for its middle area, again, I go to my catalog and I see what colors can I use? If you pay attention to your picture pretty well? You can see a color like this. It's color 330. So I have my color 330. I have a little gray color, which is 396. Okay. First, I apply my gray color because obviously is my darker color. The corners on these lower edges and lower areas. And then I'm going to use the color 330. So wherever I've applied my black colors and my gray color, I would actually have more hand pressure and I apply my colors stronger. But as I come towards the center of my work, I will decrease my hand pressure and I will make my colors lighter. Okay. And I would also use a bit of my color 318, which is red. And at last for this middle area right in the center, I'm going to use my white color to emphasize on the cream texture. Okay, Now, let's move on to create our second suite, the lower one, which is beneath it. And well, obviously, again, we are going to use the same colors as we did for our first suite. Doesn't have any other points that I should pay. But the only thing, the only point which is which might be a bit different over here is that here on the lower suite, we have more darker colors. Comparing to the suite which is on top. I would apply my just dark color over here. Here would be only dark black. As you see. You see, you should not be afraid here. Whatever you see in your work, you can actually apply it in your sketch. But on the contrary, if you want to apply something which does not exist on your work or you might not even see something pretty well. That's where you can ruin your whole work. So again, I emphasize on the fact that first of all, you should learn how to see and observe pretty well. Okay? A simple site is much different from and artistic side. In artistic side, you should just watch something millimeter by millimeter, detail by detail. You should actually be able to separate the colors from each other and then combine them together to get the correct color. I apply my black color. I continued forward, not too much, but up to a level. Then again, I'm going to use my next color, which is my purple color 334. And it's my dark color. Darker area. I apply it over here. Just like that. Again, as you can see, while I'm moving towards the lighter areas, I'm decreasing my hand pressure to get lighter colors. Then I come to this lower area. And again, as I see the darkness, I follow the same procedure and with circular movements, I apply my colors. So here we go. Alright. Now I'm going to choose color 327. And again, as you can see, I'm using the same order of pencils as I used for the upper area. The difference is just that my darker colors are more and they can be seen more and better in the lower area, comparing to the lighter colors and comparing to the suite which is on top. So here we go. So just with this color, I will apply more color into my work, making it warmer. As you can see, again, I'm using circular movements, small and big, right next to each other. Here we go. Okay. Now for our next step, I would have to move on to the next color. Can you guess which one is that? Well, the color number 329. I'm going to use it for these areas here. And then my last color would be 319 for these areas. And then I'm going to use my white color, obviously on the most prominent parts, and I'm just going to make them wider. More white. Again, I use my color 327 in order to create some spots based on my model. Here. They shouldn't be exactly on the same spot, you know what I mean? But should be on the same area. Just like that. Now we're going to apply the rest of our work. The sponge area for the upper area. And I'm just saying I'm just going to do exactly the same as I did for the upper sweet. I mean, I'm going to use my black color to create these holes inside of the sponge area. I would have my darkness at first. As you can see, I'm using a strongly right here. Then like this, I will come down. I will create some more holes on the lower area as well, the lower edge. So we would apply all these spots, all these dark and black spots here. And also maybe even coloring a bit of here. While I'm have my hands on my black color. I guess it's okay to move on these areas as well. Okay. I'm going to choose my next color. I'm going to use my purple color. And I'm going to go over these dark spots that I've created. So I'm going to use my purple color on and over these black colors that I've created. So day would look really fake. Basically, I'm blending the colors into one another to make them look better. And wherever I see, purple is needed, even on the lower layer. Well, I'm make it purple. See my dear friends, this middle area, as you can see, is on the contrary of the upper one. The middle area of this one. The cream in the middle is dark. And to the contrary of our previous sweet, then I will use my purple color right on top of my black. And then I'll use my color 327. And this area. I would also use my color 327, the same color on the sponge areas of my sweet. So here we go. I would also have to work on this lower area to select that. Then I'm going to use my color 319. And then again, I'm going to use my black color. So here we go. Just as easy as this emphasizing on the darker spots. Then at last, we will get our electronic eraser in hand. And then we would be easily applying the lights, lighter spots. Among our work. Here we go. Okay, so we've done these two suites up to here and we're going to continue. 8. 7- First Berry Coloring: Hello, my dear friends. Welcome to the rest of this tutorial with me. Well, in previous episodes we've worked on these two suites together and we can say it's almost over. Now we are going to work on these beautiful red berries that we have here. I don't know maybe their arrest berries. So before anything else, we would have to determine the colors. So I will put back the colored pencils that I had for my suites. And I'm going to choose new colors for the new parts. So I bring my catalog here and I want to choose my colors from these catalog for these berries. Okay? First of all, you can see that the main color of our berries, which is dominant over all the rest of the colors, and more obvious is the red color. So I need my main red here. 321. I have y right color, 321. This color can be, actually, this number can be another number in your colored pencils. But the color is important for us. I mean, when I say this code, I mean, the color of this code. Next color would be this, which has more orange inside of it. Basically you can say we have more orange and more yellow in this red and it's not completely read anymore. This 1318 needed to replace it over here. The next color. Well, we might sum, we might need some of the colors of the suites here, e.g. the dark color of 327, or this is 377, or even 325, which are dark colors. And they are also needed for our berries. And then we use them in our streets. Or even some lighter colors like 319 and domain purple, which is 334, 337. And I've already got 319 here. Okay. We also need this color, which is 330, for some very light areas because they're not actually white. So we might need this color for them. We also need our white color. You see on some more prominent parts we need them. We also need to blue color 344 for our shadows of the work. For these areas. The dark shadows and shades we have on the berries. And another important color that we might need a lot is our black color, 399, which you can clear it, get it out of your colored pencils, and that's it. Okay. Now we're going to apply these colors into each other. Ibs starting from the berry which I have on top. Everything. I wanted to create a background for my whole work. And I want to teach you, I mean, I want to teach you how you can create the general shape of your Barry. I mean, you don't have to create each one of these circles on your berries. You're going to create it much faster. But get the same look. For that. I need a background color. Before everything. I sharpen the tip of my pencils. And then I'm going to use my color 318, which is my orangeish red. And with this, I'm going to create a background color, a general background color for my berry. See, you should not use any strong hand pressure for your background coloring. I insist on that. You should never have a strong hand pressure. While you are doing your background coloring, you should just have your pencil with a medium pressure as just a touch of your color. I continue this way and I will color all areas cohesively. With one hand pressure. You should control your hand pressure in a way that everywhere all of your work, the background color that you're creating with be the same. If you can not control your hand pressure will obviously a part of your work would be darker and another one would be lighter. And we might say that your work would be spotted. It will have some spots and stains. So this is very important for you to control your hand pressure in order to have a clear and cohesive background color. So I just continue this way and I apply my background color. I'll darken my background color layer by layer up to the part that it's needed. I also work on the edges and I'd be careful not to miss any place or any spot without any color. Okay. In excess that we are going to create these small parts of our berries, these circular small parts. I'm going to use my color 327 over here. And based on the texture that I see here, I'd be applying the shapes of these circles, small circles. So basically from right here, I will create these shapes. As I see them. Be careful that you should not create these circles in one shape. They don't look like each other. I mean, they're not all the same. If you do that, your work would not be real anymore. And it's actually some orderly disorder. In so many places. In painting we say that at the same time as you are going to create so many things, some things randomly or without any order. At the same time, you should have or they're in creating them. Especially when you're working with nature like creating leaves or things like this. At the same time as you are creating and placing them in various enough any orders, it should have a specific order. Deep down, e.g. these are not all the same size, but they have all a similar shape. Again, this shapes are not the same, but they are similar. So we can have the illusion of these Barry parts here. Always keep one of your eyes on your model and the other one on your work. Something that I see a lot among students is that sometimes the students will just forget completely that they are creating their painting from a model. And they didn't look at the model anymore from one point on. This will actually make you to create your painting by your own mind. It's not a problem. It's okay and it's good if you use your creativity, but if you are doing a simulation, if you are working on paintings like these, which are real, you should create, it's similar to what you see and what you have as your model. So you should constantly keep an eye on your model, and at the same time you should keep an eye on your work that you're creating. In this way. Just as easy as that. So we've created them part by part. And now in some places in between them, I would have some more darkness. As you can see. We'll create them. And it will make a good curve between these parts. We want to demonstrate the curve between these small parts. And in sketching. And basically inpainting the depth are darker and the prominent parts are definitely lighter. So wherever and whenever I've, I'm trying to get a place darker with one color per cell or different several colored pencils. Whenever and wherever I'm trying to apply darker colors, I'm either showing a dark shade or I'm showing a depth in these parts. Textures like these are more I forgot about here. We will complete it. This part's background coloring. And the darkness over here is too much that texture of these Barry parts are not really visible. So I just do it as I see. Here, we go. From one side, I start applying the darkness wherever I see them. And I will use my color 327. You see this color matches this area of pretty well. So I'm actually coloring and darkening the parts that I want with this color wherever I see them. Okay. Just like that, you see it's really easy. You just have to practice it enough. So you can get the idea. Here we go. Wherever I see this color included in any area, I applied exactly as I have in my model. See how easy it was. I've created a background color that I've created the pattern of the berry parts on top of it. That did the trick. See my dear friends. I'm actually applying some spots all around my work. This is called the spotting. And as you can see, I've applied all the colors like spot source things, but in their own placement, of course. Now, in next step, I'm going to use my main red color, 321, which as I said before, is the main color of my berries. So obvious lesion, apply it. I would give more red to my color from one side to the other. And do not worry about these lines that you've created in order to separate these Barry parts from each other. Because at the end I'm going to apply them one more time and darker. So you should just pay attention to the direction of my coloring and how I'm applying them. So to understand what I'm exactly doing here, just like that. Very easy. The procedure is the same. You just have to change your colors for this area. Then I come to this side and I apply bit more darkness to my work. Alright, now I get to my main purple 334. And another thing that I wanted to tell you just remembered, sorry, is that in the beginning episodes, I've told you that you should definitely use semi-professional or professional or advanced colored pencils. Why did I say this to you? Because the more that you use your the more that you use professional colored pencils, the more would be the possibility of having more advanced and professional painting. Well, some people might just say, it only depends on how well you've learned your technique. It's totally true. You can understand it up to some level. But the tool that you use is very important, that it should be pretty well and you would be able to go over your work the way that you want so it can affect your work strongly. You should learn your technique pretty well and you should have good tools. E.g. this fabric castle colored pencils that we have here, which is very professional. You can either use classic ones or polychrome in different kinds of painting methods. And why do I insist on this? Because it has some oily features, some oily good features, and it has a high color pigment. It means that it gives you more color and good colors. And it will actually allow you to apply more layers of colors on top of each other, e.g. six or even ten. You can not do the same. We cannot do this with normal colored pencils. You can not bring too many layers of colors on top of each other. Specifically because the effect of the lighter colors in the combination of the darker colors would not show themselves pretty well, a normal colored pencils. So we're going to continue their wrist. 9. 8- Second Berry Coloring: Alright, welcome to the next episode of our work, which is completing our berry here. Previous episode, we've talked about picking the right colored pencil. And as I told you before, picking a good quality color pencil will be really, really effective on your work, on the quality of your work. It will actually help you to show your ability is better and better. So try to provide the color pencils, which are at least semi-professional. They, they shouldn't be normal and basic. And you should consider something else too. If you start with a professional tools in any techniques, it will actually make you better and it would make you more professional. So these were the points that I had to tell you about providing your colored pencils. Obviously, the final decision is yours. Then I get my color 327 again, and I apply some more darkness all around my work here. Specifically in these lower parts of these very parts, each one of them, I mean, each one of them on the bottom parts, some of them, they should have these darkness here. Now, this is sub, I tried to cover the white parts of my work. You might say that in the picture, in the model, you have these white colors. Why two spots? Why should we cover them now? Well, we're going to create them again later with our electronic eraser in the last step. So don't worry about them now, for now, you should cover them. Then you should use your white color in order to fade the lights on your work into the rest of the colors. Or better to say blend your whole work together. Then I'll make my work more cohesive. Just remember to apply it on the light parts of your work, not the dark parts. Just as you can see I've done here. Okay. In next step, I'm going to use my black color again for applying a strong darkness on my work. Strong and final darkness on my work. I'd be starting from these edges and sides to apply the darkness on my work. So be very careful over here that the darkness you apply would be, would not be linear and they should be faded toward one side. Something that I forgot to tell you about is that in painting we would not leave any specific lines anywhere. I mean, whatever darkness that we create with black color or even other dark colors, they should definitely be faded toward one side. All of those lines should be faded toward one side. Should get out of its linear shape. As we move toward the left side of our work. I will actually decrease these darkness. Then in some parts they should be more, in some others that we want to show the depth more. Well obviously, you should use more like this. So just like that, you should apply the darkness wherever it's needed, even up to the top of our work. Alright. Now that we've applied our black color, and again, we're going to use our color 327 and apply the final darkness to the work. I mean, I go over some black parts that I've created. I go over some darker parts. And this way I'll blend all of my colors together and I get the depth and curves that you've seen, how many layers we've actually applied over here. That's why you need to have good tools and appropriate cardboard. Okay, Next us that we are going to apply the lights on our work so you should definitely first clean the tip of your electronic eraser. I'm going ascending, or you can also apply to own a paper, to erase it, to clean it. And then you can bring your eraser to the work and apply the lightest spots in it. Now, be careful the light side to you apply. If you are applying them on the left side, they should be all on the left. So if you create some of them on the left and some others on the right, it will actually ruin your volume, ruined the volume of your shape and also the contrast, the shadings and the source of your light would be wrong. If you start on the left, place them on the left. You should always consider the source of your light. Alright. Now I'm going to use my color 330 and fade these parts on the sides of it like that. Then I'm going to use my blue color that I've chosen before. I just go over these parts so little. On the parse that we have shades and shadows. I apply a darkness, or better say, I emphasize on the darkness a bit more with this blue color. Just as you can see here. Alright. Then again, I change it to my black playing it here. And it would be just easy as that. Alright. Now let's work on this berry. On the lower area. The top one on the lower area. I'm going to apply the same way, the exact same way as I did on top. So I start with my orangeish red. Red with a touch of orange color. Or a touch of yellow color returns, say. And then I use it to create a background color of my work. So first, I'm going to lighten the primary sketch. It would not make any mistakes for me or any problems for me. And I started applying the background color of my work with creating small and big circle, circular movements. So under area, which my buret is darker, I tried to apply my background color a bit darker. Comparing to the rest of my berry. I should be careful that my coloring would have to be circularity. If you did like this, if you color it with linear method, it's okay. But if you want to eliminate the direction of the lines or the trace of the lines from your work, you should apply circular movements of coloring on the next layer. So anyways, it's better if you do it right from here, right from the background color. All right. Saying I'll continue over here. And I apply it here. Which is a depth and a shade of my work. And my berry would be definitely darker for these areas. So I would apply darker background color for here. Just like that. So here we go. As you can see, I've almost a cohesive, good background color. And now I move on to the next step, which is determining the texture of the berry for its dark parts which are here, I'm going to use my black color. And for the upper parts which are lighter, I'm going to use another color. So I tried to create it. As I see. And based on my model, say the procedure is the same. I've just have to change the colors based on my model. And as you can see, sometimes these parts, these textures look like ovals, sometimes they look like circles. And I try to apply these differences on my work as well too. I mean, as well as I see them. So my work with look more natural, it would be too fake. And again, I say you should not create them in perfect circles are perfect shapes. They should have an order, but it doesn't mean that they shapes should be totally perfect. So I continue as I go up. I would have to use less of my black color or better to say using it lighter. So basically I am decreasing my hand pressure over here. Here we go. Also over here. Okay? Now I move on to apply my color 327. And then I create the rest of the textures with this color 327. Here we go. So it would be like this easily. Here we go. I would also have to do the same for this top area. Same texture of my berry. So they should be applied just like that. See how easy and perfectly We've got our second berry. And now I'm going to use the same color in order to create the parts which have this color and are a bit dark. So I am using this color wherever it's needed. Just like this. And one by one. I will apply this color wherever I see it. We're going to continue in next episode. 10. 9- Third Berry Coloring: Hello to all of my dearest friends and welcome to our next episode. Alright. We were working with our color 327 in order to apply the required darkness in their own placement so we continue our work. And wherever I see this color, I apply it the same way. K. Just like that. As you can see, these lower areas, these parts where the darkness is more comparing to the other parts. Too much dark. Just like that. It would be done. Alright. Here we go. In these lower areas, I should use more of this color. So as I come up, I will have this color lists because this upper area is the lighter part of my work. So just like that. And then I move on to my next color, which is my main red. And I use it for the rest of the places that I've got here. Just like that. As easy as you can see here. You see the procedures are not that much different. You just have to pay a bit attention. And obviously, practice, over and over again. Practice makes perfect is we always said, alright. And C, I would have to emphasize on the line between some other parts with this red in order to show them more. I mean, I'm going over these just to make them more visible. And also these lower parts. In here, we have too much light. And obviously, I would decrease the darkness of my coloring as well. Just as you can see now. Alright, here we go. Now, I can move on to work with my main purple. If you don't remember, this is color 334, which is my main purple. I mean I mean main purple because it has red and blue equally in it. I mean, it doesn't have more red or more blue comparing to each other. So if you're finding trouble with decodes, this might be easier for you to find if you just follow the color. Now. If in background coloring, you would apply your color with a high hand pressure and feel all the texture of your cardboard. In next steps, I mean, the medulla sips of your work or even at the last part of your work, your cardboard would be so slippery and the textures of it would be fool that it would not accept any more colors on it. That happened into your work. You should be aware that you've made this mistake. So you should know how much color you are actually applying to your cardboard with the hand pretty sure that you've got. Because if it's more than one point, you know, it's not going to end up well for you. Okay? So I'll just apply it here. Just like that. And very easily see. Very, very easily. Just apply my color wherever it's needed to be applied. It's really easy to do now. Okay? Now, in next step, I'm going to use color 334, these parts which have been left white, because I don't want to leave them white. I'll actually fate them and blend them into my other colors. Now I can even use a bit of my black color. And I give these areas stronger shade, stronger Darkness. Specifically for these parts, for these lower parts. Over here. Here we go. K. We are very careful that we apply the darkness the exact same way that we see them and put them in their own placement. Not more and not less. Alright. Here we go. Well, in this area, I would definitely have more darkness, as I will see it in my model, in my picture. So it goes. Then I get my color 325 and I just move on my area with my 325 in order to make them a bit more darker. And then at last, I'm going to use my electronic eraser to create delights. I can see here like that. Easy and nice. So again, I say as the way, as I see the lights in my work, I would apply them. And obviously in the darker area of my work, these lights can be seen less like this. And at last, I will use my color 325. And it's done. Alright, we're gonna move on for the next berry, which is this one, the right, bury the one on the right. And just like the previous steps, first of all, I'm going to apply one background color with my orangeish red. So you should erase all the extra lines from your primary sketch so your word would not get messy. This is my color 318. And I just apply the background color in a literary method just to make my work faster. And then I go in the opposite direction and at last, I would apply it in circulatory movement. So in circular movement, I'll actually fade to trace over my pencil and the direction of my coloring. Very easy and beautiful. So alright, in these areas, I would have more darkness as it's obvious. And over here, the same again. But the most concentration of darkness would be here on the right side of my berry. See, again, I say the procedure is basically the same for all the berries. You should just consider your model and move on with it. Now I want to apply its textures. I start from this side and I apply them with my black colored pencil at first. And obviously later. I would go with other colors. Okay, here we go. Just take it really easy. And remember that you should control your hand pressure. This is the most important thing in whole of our work. Controlling to hand pressure. Wherever you need it more, you should increase it, and whenever you need it less, you should decrease it. Over here in these parts, these Barry parts, the textures are actually bigger, so I am going to make them bigger. And I would not intervene. I say, okay, why it's too big, I should make it a smaller know, maybe there are parts in your work that being your primary sketch or in the beginning of steps of creating the edits would be fake for you, but you should not change it. You should create it as the way as you see them. I've seen this so many times before that students would just change the details whenever they think this part of their work is unnatural or it's vague. But actually, when they're done, they see that they work would look unnatural because they've changed it. I'm using the color 325 and continue the risks of the textures and details on my work. So again, I emphasize on the fact that you should not change a thing even if you think it's not looking good in the beginning stages. Because when you're done with your work, it will going to look better. Alright? So I'm just working like that here and there. Completing it. Alright. Now I can start from these lower parts and I would just start with my purple color at first. I would apply the darkness that I see over here. Now you should pay attention to the movement of my hand and the way I'm applying this color into my work, this is the important thing that you should be looking for right now. Okay? And then in these parts is the same thing. I applied the darkness the same way that I see them. But of course, the concentration of this darkness would be more in this area. Alright. So here we go. Just follow the movement and make sure that you're following steps in order to make your work similar to your model. It's very important. And harried goes up to here. We will continue the rest of the tutorial in next episode. 11. 10- Fourth Berry Coloring: Hello, welcome back to the rest of our tutorial for this beautiful painting. Now, in this step, I'm going to use my color 327 to work on these parts. And we will give this area more red color. So I'll just continue this way. And wherever I see this color, I apply it. The way I see. Just like that. It's really easy. You should just practice to see the colors better. Then I'm going to use my main red color in order to give some places more red color. I mean, I want them to be even more red. It would be just like that. Very easy, very beautiful. You just have to pay attention to the movement of my hand, my colors, and your own model. Same way for these areas. Who would just apply the colors in their own placement. Alright, then I'm going to use my color 319 to go over these areas and fade them all together completely. Then I use my blue color in some areas in order to create darker spots. Especially for this right side of my work, which is a dark side of my work. And then I use my black color in order to apply the depth of my work altogether. And be careful, the tip of your pencil should be definitely sharp, especially in these parts which we are applying. Very thin or small details should be 100% sharp. So here we go. We would actually be applying the strong darkness and depth that we see here. Wherever I see more darkness, I would apply more darkness. Same mount. Alright. So forever I've got the light. In the light areas. I'm only going to apply some depth and darkness with my black color in some parts of it, not everywhere because I should be very careful around here because it is a light area overall. So I should be really careful with my black color. Here we go into darker areas. I can use more of my black. That obviously we're not going to work on the shadows, on shades beneath them. And at less, I mean, at the end of our work, we will work on these shadings and shadows. Right now. We're just going to focus on the rest of our work and our berries and leaves. Then I'm going to use my color 325. And I go over all these darkness in order to give some kind of pink color to the work. And just blend the colors altogether and fade them over one another. And then at last, I'll use my electronic eraser to apply delights on my work the same way that I see them. Just like this very easily and very beautifully. K. And then I'll use it less in the darker areas, but I use it in some places. Now, we are agreeing to work on our last berry. And we're almost getting to the end of this beautiful painting. Just the same way as I created the other three berries. I will lighten my primary sketch. Then I would apply a very cohesive background color. And I'm using the color 318 for this background coloring. It's actually a reddish orange. Is actually an orange which has more red inside of it. As I've told you before several times. I'll just continue the same way. I just continue the background coloring this same way for a while. Okay? And then in next step, just like the previous barriers that I've created, I start first with my black color. To apply. The details and textures on my berries. Are bidder, say my Barry. Okay. Here we go. Applying them all over here. And as you can see, I am very careful not to misplace anything. And I am trying to create these things as close as I can to my model. I'm not going to lie to its source, going to be this easy in the beginning. But if you have enough practice and if you spend enough time on it, well, it gets easier and easier for you each time. Do not give up. If you just couldn't create it for the first time or the second, you should have lots of practice and it should be consonant. I mean, you should not just give up on it. That's how you would be able to create these kinds of masterpieces. Alright, I am going to use the color 327 for the rest of these parts. Going over them with this color in order to blend them more into my whole work. And then I would go over some parts that I've created with my black color. Now, I'm going to use my black color in these areas and I would apply it because I want to show some depth over here. So I'm going to create the darkness as shapes, all the spots and stains over here like that. And here we go. And I just did the same in these upper areas. Especially because from behind this berry, I should have a different kind of darkness to are these other barriers. So I can show that perspective in my painting and show that this bury, the right side, Barry is in front of this one. So I should give it enough depth and enough shadings to show my perspective in. And then I'm going to use my purple color in order to apply the darkness and emphasize on them even a bit. I'm going to use the car 327 again to color these areas completely. See. And I just do the same until I get to these front areas. Now, for the rest of them, I'm only going to apply it apply this color to the lower areas of these Barry parts? No, everywhere. Here we are. Then I get to my color 321, which is my main red. And I would apply it over these areas. And I have here one-by-one, apply my color here one by one. Okay, now I'm going to use my color 319 in order to cover all these wide parts of my work. And then I've done that clearly and thoroughly. In next step, I'm going to use my electrophilic eraser to create some lights over here. Just makes sure that the tip of your electronic eraser is clean and without any color on it before you apply it on your work, anywhere on your work. Just like that. Very easy. Here we go. And then again, I'm going to use my purple color over here. And actually I am emphasizing on some of the darkness that I've already put here. As you can see, I'm applying more hand pressure here, strong can pressure. And then again, I can use my electronic eraser to get these slight lights over here, even into darker areas. Then I will use my color 327. For these areas. Then I will use my main red. And also even a bit of black color. Very, very lightly would be applied here. Alright. I would also have to apply a darkness from here on my upper bury. That again, I can show more perspective. And I can see this berry is more in front comparing to that one. And now we're moving on to the end of our work and creating these leaves. In next episode for continuing this painting, I'd be with you. 12. 11- Leaf Coloring and Finishing Coloring: Hello and welcome to the last part and the most interesting part of our painting are going to complete it all together. So we're going to start having the colors for our leaf. So I get my catalog again. And I'm going to choose the colors that I need for my leaves from my catalog and from my colored pencils. Okay, First of all, I'd applied here on my green colors. I need my 370 from the lighter colors. 370. This is my 370. I also need my color 363. I would also need my color 359, which is my main green, and also 357. For these areas. I need them for the darker areas in addition to our black color. Okay. First of all, I'd be applying the darkness that I have here. And I will start with the darkest color that I have, which is black. Okay? So I just start applying the shadings over here. And I am actually getting the textures of it with my black color because they are too dark. Alright. Let's kinda look like this. In this area. Also, this darkness would come out of here. Simply going this way. And in here, it will go like that. Alright, now I'm going to move on to the next color that I have. And I'm going to use my main green 359. And I go through these parts which I've created the darkness with my black color and then I spread it or better say, I fade it toward the sides. And actually I'm applying a strong hand pressure on the darker areas and a lighter hand pressure on the lighter areas, as I've told you before So many times. K. Then I'd be applying it here a little. And from here on, just do the same thing. I'll continue my work. And it's the same over here. Alright. Now, I would have to shade these outer parts of my leaves toward my berry so I can actually separate them from one another. Then I will use my color 366, like this. And I'm actually applying it on the parts which I have used my main green. And at last, I will use the green color 370, like this. Okay? And I will use my bluish green 357 for these areas. Okay, and here we are. Then I get my electronic eraser. And in this part, I'm going to use my electronic eraser and apply these light textures the way I see them. And it's the same over here. Okay. Would be like these in these parts. And here we go. Now I can move on to grab my black pencil again. And I am going to use it in order to apply these textures, which are the textures of my leaf, or better say, leaves. Apparently we have more than one. This. And very easily we could actually apply these leaves. It might take some time from you, but trust me, it would be worth 80. Now, once you get them all done, you can look at your outcome and it would be beautiful and perfect. Alright, Here we go. Just like that. All right, my dear friends, for the last move on my work and just to make it and I get my cutter and I used a sharp edge of my cutter. And I drag it on my work to create some lines like hair, kinda like hair. And I apply it on my work like this. Okay, here we go. Or in these parts. And we do the same thing for this berry on top as well. Okay? Now, the only part that has been left is the shadow and the shadings. On the bottom of our work. I'm using my color 300th to four, which is my blue. So I shade these areas a little just like this. And this lower area. And I will use my bluish purple. I mean, it's a purple with more blue in it. 337. I would also use enlists. Hello, my black color. Just like that. And I have this darkness right from here. C. And I would also use my gray color for the last part of my work. So I would apply it with a strong can pressure on the darkness. And as I move on toward the light, I decrease my hand pressure. So now this is the final shade of our work. Okay? You see, this was our first tutorial from colored pencil technique. I hope that you've enjoyed it so much and see you later in next tutorials. 13. 12- The Basic Drawing of Glass Bell Pepper (Checkered Method): Hello to all of my dearest friends and welcome to a new episode of Learning colored pencil technique with me. Okay, In this episode we are going to learn how we can create shiny things and maybe even glass texture with colored pencil technique. The model that I've chosen for this episode and this tutorial is this beautiful glass bell pepper, which is read as well. So first of all, as usual, we have to transfer our primary sketch into our work. In this tutorial, I told you that how you can actually use geometrical shapes in order to create your work. I want to teach you another way now. In this way, you should definitely print your model or you can place it in your grid page of your or greatest screen of your cell phone. Because this way that we're going to work in together is actually the checkered way is called checkered because it is going to be checker. So right now, I'm going to divide all the parts. I mean, the measurements of the top of my work was 14 cm, so I divide it into half and the seven would be the middle. So then I connect these two points together. Let me check this area one more time to see me. Make sure it's seven and it's in the middle. So seven would be here. Now, I will attach and connect these two lines together. Let me apply it here so my cardboard would not be damaged. Then I'll do the same thing on the vertical sides. So this would be seven and also seven here. And then again, I will connect these two marks together. You see, as you can see, I just divided my general shape, my model into four equal parts. That depends definitely on your model. I mean, sometimes your model is very complex, have so many details that you can not do it with only four parts. In that case, we are going to divide each one of these parts into another four. And you can just make these divisions smaller and smaller until the transformation of the model to the cardboard would be easy for us. Because this model doesn't have so many details. Four equal parts of division is okay, and it's enough. So I'm just going to divide my cardboard the same way into four equal parts. Okay, So I apply it into my own Cardboard. See, now, next step is that I would apply it part by part, like a puzzle. Okay? See, in this area, first, I'm going to work on my first square. I say if this is the, actually the middle of my line or the middle of this side of my square. I will find it on my cardboard. I will make it into half. And if this is the half point of my line here, I just make it into half on my cardboard as well. You see here we have a triangle, as you can see, for the stem of the bell pepper. So I apply it just like that. And this would be actually one of my guides through the work. Now I want to consider this upper area. If I want to consider this. It would be actually half of this area and a little bit more above. If this is the half, this would be a bit more above it. I apply this line. And now very easily I can create this part of my bell pepper. See, just came down this way. Up to here. Now, if this is my line over here, I have some distance. Is this much. Then parallel to this one? I will create a line coming up. Now I want to see where does this end if that's the half of my work or the half of this side of the square. I have this much distance from it. So it would be this much, apply this line. And the end of it would be here. So I'll take this and I continue that. And then from here, I know I should come down completely like this. And I come up the same parallel way. Okay? Now that's the top side. And now we're going to create this area as well. Over a year. It goes down. I mean, it comes up and goes down again. As you can see, it has some ups and downs in it. A curved line. Here would be this. You see, I'm just creating my bell pepper part by part as I told you before, just like a puzzle, I'm going to darken my lines a bit more so you can see because my hand is used to creating these primaries sketches lightly. So I'm just going to go over them once more in some places so you can see them better. I think it's visible for you and clear for you now. Okay. And we can add some of the details right now while I'm creating my primaries get just as the shape of lines and that set. Now, I'll continue this and from here I come down this way. Remember that as you can see, I am doing my measuring just by eye and just by looking at my model and my work. But a few are a beginner. You can use your ruler for some parts. But when you are used to it, when you practice, you can do it with your eyes. You see I have two triangles here, one on top and one on the bottom. And over here would be the rest of my bell pepper coming up. And I would say it have it has been coming to the middle. Just like that. It would be Here. We have already created this part of our bell pepper. And now we want to work on the lower areas. Again, I will divide this side of my square into half. And I'll do the same in the cardboard. And then this would be the distance of the bottom of my bell pepper and to half of my side. So I bring it down from here and connect it to this area, which is the bottom part of my bell pepper. And then again, from this side, I'll do the same. I bring it down. Just like that. This is actually a general shape of my bell pepper. And I'm just going to add some of the details that I need in my work. Not all of them, not completely, but I am going to create some of them, e.g. these strong specific light shapes that I have here. So I apply them. Okay. It wouldn't be just like that. Here we go. Now this is how we've created the primary sketch of our work, of our model. And I don't think anything is missed here. And that's it. Alright, now we're going to look for the colors from our catalog. Obviously, the colors that we need for coloring. And we're going to choose them from our catalog. Before we go to that, I've decided to erase the extra lines from my primary sketch. So it would be a bit more cleaner and I can work on it easier. Okay. Here we go. So be cleaning our work. And that's it. And now we are going to choose the colors from the catalog, right? From this catalog, I am going to choose my colors based on my model. If we want to start from the dark colors, obviously I need black color a lot in this model. So I'm going to pick it up. We need the red colors, so we pick them up. 321, which is my main read, 318, tomato red. And we need some more red colors over here. We can use 327, 319. These are the colors that I picked up, up to now. So 321,318,327.319. Okay. This is actually a brownish red which is 30922. For some of other colors. I need to color 30424, which is a blue, as I told you for some parts of the shadings which are too dark, and I will use the color 329 as well. This is 329. This is 344. Just to show you my main read, 321, my orangeish red 318, 319,300,922.327. This one the one that I'm holding is 329. Okay? These colors are enough for now. And now we're going to start coloring. As I told you, we are going to start our coloring from the darkest colors. So I'll be starting with my black color. As the same time that I'm coloring. I'm going to explain you how you can, how you can create a difference while you are creating the glass texture in your work. Create a darkness. The way that I see them. Applying the color in glass textures are a bit different. What's the difference in between them? While you're working on these shiny objects like glass that we're creating is going to look shiny. So in order to show that we have to actually differ, our way of coloring. If you remember, the previous texture that we were working on was image texture and it was normal. So we would apply the colors in a way that they would be actually faded into one another. There won't be any borders between the colors and all of the colors. We're just blending into each other and fading into that, fading into each other. Sorry. But this does not happen. In shiny objects like metals or glasses. Or it will happen less. Because, you know, the feature of glass and metal or these kinds of shiny objects, is that the colors would actually be placed next to each other with a high contrast and so separated. It means that a very dark color would actually be placed right next to a light color without any, without too much fading, without completely eliminating the border. So I'm applying the darkness the way I see it in some parts of darkness is less. In some parts it's more. So just be careful about that. You should go through debt. Okay. As I was saying, the difference is that the amount of the fading and blending the colors into one another is much more less comparing to other textures. This is one of the things that can actually create a difference in the texture of your work. Making it shiny. Right now, we do not need any details and we are going to apply the general darkness in our work. So do not Zoom too much into your work because you need to apply every little detail, every little darkness right now. Just remember to keep the tip of your pencil sharp so you can go through these areas exactly the way that you want. Alright? Just like that. And it's better if you would not actually apply your darkness too much. I mean, while you're coloring with your black, just try to leave some textures of your cardboard empty so you can apply another layer of color on top of it so it won't be too fake. And it would look more natural. So while we are applying your darkness, try to leave some free spaces in the texture of your cardboard. And again, I say you should pay attention which parts have more darkness, e.g. here, we started with lighter and we went in darker. Now I'm going to work on the next part here, applying the rest of the darkness. Okay. Dislike that easily. I'll continue. And the part that I have less darkness, I'll do it in my work as well. 14. 13- Primary Glass Coloring: Hello and welcome back again. We're going to continue this interesting and beautiful tutorial altogether. And we were working on the darkness very slowly and smoothly. So we're going to continue the same way. And wherever I have a stronger darkness, I apply a stronger, wherever I have weaker darkness, I apply it as well. See, dress like that. Then we'll continue that. And you will have this a strong darkness over here. Just like that. It will come down. You see, I'm applying these areas. I am paying attention to the light areas that I would not ring any darkness there because if I do, I actually run it because it would leave a trace. It's like it's a strong color. And I have some darkness over here which are really strong and which are completely dark. And here we go. I have some kind of light over here, so I'll keep it right from the middle of it. I start working my darkness again. Just like that. This area is light. And again, over here I have a strong darkness. See. Pay attention to these shapes that darkness have been applied to direction of them. The shape of them is very important because that's actually how you can see the curves, the depth, or the prominent parts of your class if you don't apply them the way that they are, or if you just do them imaginary form your own mind. You cannot get the texture of glass pretty well. So pay attention that you should apply the darkness the way exactly the same shape and the way that you see them the same shape and the same amount that you see them. So you can show these ups and downs, these curves and prominent parts all over your work. And emphasize on the texture of the work, which is glass here. Okay. Now, I will come down over here, come to lower areas. I would also apply the darkness over here. Again, I say the same way that I see them. Not more. And obviously nel two lists. Here we are. I will also apply to darkness for this lower area, the same way. And then I will continue upward. And I will do it cohesively. The way that you can see here. Okay, Over here we have this kind of circularly shape, which we apply. Again. Say wherever you see it, you do it. Then we can move on to the to-do these upper areas. Sorry. And that's how it's done. The procedure is basically the same. Again, you should just take your time with it and make sure to apply the shapes as you see them. And of course, the same amount. Then obviously the ending parts of applying the darkness last parts here. K. Just like that, we've created the darkness up to here. In next step, we are actually going to apply a color which is one degree lighter than the black. Before I move on to my warm colors and red colors, I want to use my blue color, 34042 colors. Some areas see e.g. these parts which are strongly dark. E.g. these areas, you might not see the blue. I mean, you might not see this blue in your eyes, but there is a blue in the shadows and shadings. Obviously this blue would be covered later by the other layers of color that I apply. But you see, this is actually the color 344, this blue. And it has a kind of darkness inside of it that each color that you work on top of it doesn't matter and it keeps the darkness that you want in a shade in your work, no matter how many layers of color would come on top of, it. Just keeps the darkness the way you want them. Okay. So for all these parts that I have Darkness, which I don't want to lose. This is my just dark area. I mean, I have a strong darkness here and it's all dark. So I would not work on these lower areas too much. And it would be just like that. Then around this color that I have here, around this light, I would have some more darkness. And over here, the same way. Okay, Now we're going to move to the next tonality of our work, 392. And then again, I apply this color from my darkest areas on the places that I've already applied, the blue color. I would also take some of this color to the side areas. You see that when I apply it on the blue areas and the parts that I've used, my blue color. Then I slowly move toward the parts which are next to it. Just like that. In these areas, these areas, over here. Again, these upper areas, and here, I can easily use this color, which I am. Okay. Here we are. And even if you look at your work right now, it's called that feeling of glass texture. Then for these areas, I will also apply the same color. For the rest of them. We are going to use red color so we can give it that beautiful reddish touch. Okay. Now I want to use my main red color, which is my 321. You see me show you here. Here. 321, this is my main color, main red color. Then I start covering all these parts with this color. And I try not to leave any of the parts white or uncolored. I'm just doing it with a higher speed, but you should pay attention to that. You do not need to use this kind of pace. I mean, if I'm finishing a model and work in 2 h, it's okay, you should do it in 4 h. You should finish it in 4 h because you're beginners. And if you rush through debt, you might actually make mistakes and ruin your work. So do not rush through it. Take your time with it, and do not be obsessed with finishing a model and a work in a very limited time in short-time doesn't turn out good. Now in these aside areas, I will have them just so AC. And then over here, like this. Here we go. Now I'm going to work on the next area. These areas. I will actually bring some of this red toward the wider areas. And I drag it a bit more forward. So I'll do it just like that. For all these parts here. Also from here, I will bring some light to my work, but I will not have it until the middle of my work. Step it right there. See, I can actually cover all of these parts with this red. And I'm going to take help from some places. I mean, I'm going to take help from my reddish orange or orange-ish red for some parts over here. But of course, even in here, we have some details and detailing. I say again that we are only working on the general shapes right now. Not much more. So again, I go to my Color 321 and I'll continue my work. Then. I'll use my color 327. And I will color here. Not too much. Right. Now. I will also drag some red color from these parts into my work. And then at last, I will use black and white colors in order to apply more details. So we're going to continue this tutorial in next episode. 15. 14- Completing the Drawing and Coloring of Bell Pepper: Hello, and welcome to the rest of our tutorial where we were working with our red color and we were covering all the parts here. So we are going to continue the same way. We are moving on. Just like that easily and slowly. Again, I say, you shouldn't not rush through anything. It can only ruin your work. Okay. Now, I'm going to use the next color, 327 for these areas. And also 3194 here. Okay? Then I'm going to use color 392 for this darkness I have over here. And then I would have my white collar. For here. Even use the bits of my eraser. But basically I will apply my white color here to create this light. Beautiful light we have here. Okay? Now I'm going to use my black color to apply some more darkness all over again. E.g. these parts. And then I move on to create the details of my work. Just as you can see. I'm creating to details here. So I would apply these a strong darkness here. With having some light and details. I'm just applying them into my work. Saying these lines are actually going to turn to become our details. So here we go. Just like that. Again, the most important thing here is that you observe your model as much as you can. And if you pay attention, in some places, I am applying some lines, but I will not fade them like what I've done in my previous tutorial. That's why I told you we have more borders in this kind of texture like glass or metal. Because we are not facing them. Here we are. In all these parts. I need more darkness. So I'm going to create them. So here we go. Okay. If it pass through this area, we can move on and have our electronic eraser in our hand in order to create some lights as the shape of a stains and spots in these areas because we need these lines to create the contrast and show the perspective of our work. Show that it has ups and downs, prominent parts and curved parts. Okay. Just like this, I would also have to apply some more lights and red areas. And then I get my white pencil. I applied it upside down. And then I will actually fade these lights with my white color. So I get my color 321. I go over these areas. Again. I get my black and emphasize on some more darkness between these lighter spots. Just says this notch really hard. Okay, then I get my white color again, right in my hands. And it will look like this. Then again, I take out my black colored pencil and I would apply the darkness over here with more pressure. These are actually the final darkness that we're going to create here. And I'm applying them with a high hand pressure. And comfortably. I'm not really worried here. Okay. Here, as you can see, doing it. And I will continue downward, up to here. And still creating shapes. Here we go. Okay. Now we're going to work on this upper part of our work and apply the darkness for the upper part of the bell pepper. And I'm using my color 321 to apply the red shade all over this area. Here we go. I'm going to use my black colored pencil to create a strong darkness on the upper areas. It's not like we've forgotten them or anything. Now we are going to apply them one by one, so don't worry. Okay. Then in these areas, it would be the same. Now, I get to my electronic eraser. You see my dear friends. When you apply or when you drag your electronic erasers tip like this, sideways on ascending, or even on your nail. You can clean the tip of it. After you've cleaned it to pyruvate. You are going to create some very thin lines over here. The way that you see I'm doing it. Okay? And then I will emphasize on these lights again. And from here, a light will come and look like this. Which I'm also going to darken all around it, but not inside of it. Actually, I am using my black color around the slide because I wanted to pop out and show itself better. When it's surroundings are dark. Delight will actually show itself more and better. We also have some lights having them here. So wherever you see them, apply them. Also in this upper area. We have them. So we apply these very small lights in this area. Okay. Again, I move on to my color number 321, and I go over some places and emphasize on their red color again. Now we are going to have our white pen after we've warmed it up in our hand and we got a bit of its color out. We are going to use a white pen underlies that we've already created with our electronic eraser in order to make them lighter than they already are. Okay. Also, I'll do the same over here, the same way, making it lighter and lighter. And also this point over here, it should be lighter. So wherever you can not get any color out of your pen, you should just warm it up on your hand one more time for several seconds and then you can bring it onto your work again. So I would also apply some more lights like that. So I can emphasize on delights of my work. Now we're going to work on the next part, which is coloring this stem. I start with my black color. It's my darkest color obviously. And with that, I can have my shades and darkness. So I come until this lower area. And I am just applying my black color all over in order to create a darkness that I want. Okay. Then I will use my main green color, 359. This is my main green. And I'm going to use it. And I'll apply it on these parts which I have my darkness. And I will create this spots and shades over here. Alright. I move on to have my next color, and I'm using my color 300s. Six is six. This is my next green on the sides of my previous screen. And also I'm going to use the green color number 370, which is almost a light green for these areas like that. Alright. You see, I'm actually cleaning the lights that I have created here. Then again, I get back to my black color. And I will apply some spots over here in order to show the depth of my work this time. Just the way you sell. Then I will apply some light over here and then I cover it with my green color, which is actually the green glass of my work. Then I am going to use my color 319. It's this color. Actually. I'm going to fade some of these colors toward the white color and toward the light. Just a little. We should not do it a strong layer heavily. So just fade some of the colors toward the lights. Then again, I get my white pen. I just add some final lights to my work in order to emphasize on the shining feature of it. And then I clean all around my work. And we're almost done here. And that's the end of our work. Beautiful. Okay. This was our glass bell pepper. I hope you've enjoyed it and you can use it a lot. 16. 15- Basic Drawing of Wet Blueberry and Red Liquid (Copy Method): Hello everyone and welcome to another episode of colored pencil techniques with me. Okay, In this tutorial, we are going to work on wet texture. I mean, the model that I've chosen for you, my friends, is something like that. Well, in this model, I'm going to teach you how you can create the water drops and width textures with your colored pencils very easily. But before we get to the point and we start our whole work first, we should apply and create our primary sketch. Our two previous tutorials, I've told you two different ways to create your primary is sketch. First it was geometrical shapes, and the second way was to use checkers way. Okay, now, in this tutorial, I'm going to teach you even another way that I'm sure it would be all in your favor and you'll love it. In this way. We are going to use a B6 pencil or a graph it. And first you should choose a size of your work. I mean, if you want to work in an A4 cardboard, you should have your printed model in an A4 size. So you should match the size of your model with the size of your cardboard or wherever you want to work with. Okay? Alright, As you can see, I've already printed it. And I've got my cardboard as the same size as I have my printed model. Now. You see there I have my, you know, model. I'd be darkening the back of my printed model completely like this forever I have designs and shapes. This is actually covering from another work. It's like you're covering your model and you are going to apply it later into your own work. Okay? First, I'm going to darken the back of my work like that. And I'm just doing it. Okay? Then in next step, I'm going to apply this paper and place it on the surface that I'm going to work on amine on my cardboard. I place the back, which I've darkened on the cardboard that I want to work with. And then I would also have to fix it with my tape so it would not move while I'm transferring the sketch. Here we are. Okay. Now I'm going to use a pen which doesn't have any ink in it. I'm going to use a very light pencil. And I'm going to go over the parts which I would have created if I wanted to create this primary sketch, e.g. I need this blueberry. So I go completely around it. It's exactly like we are creating it ourselves, but we're actually covering it from our model to our cardboard. So wherever I would have needed in my primary sketch, I will just go over them and I drag my pencil all over them. Or as I said, you can also use a pen without any ink. I'm just going over the parts which I need for my work. Just like that. I'll continue. This other blueberry, one-by-one, wherever is needed for me, I'm going to create them or better say go over them. Just as you see. K, This would be our third blueberry. Okay? Now, we can also talk about this way a little. And if this is your first time watching this kind of primary sketch being created, you might say, Okay, if you're going to learn is sketching, why should we do this or it's a fake? It would be a copy. And why would we do that? I should tell you that thinking like that is completely wrong. Well, it's fair to say most of our hyper-realistic artists use this way because they want each little detail millimeters by millimetres to be exact, the same as their model. This way of creating your primary sketch is mostly used in creating faces, faces sketches. And as I said before, so many of our hyper-realistic artists use this method. This is actually an international methods, so don't worry, you're not actually copying anything or I don't think that it's a fake. There are also been some even tools which have been invented for this method. So it's really common. You might have seen that some people like architectures use a table. And as they call it, it's a light table. They place their model on the table. Then they place another kind of a special paper on it, which is a bit translucent. And when they turn on the light on the table, the model is actually being placed on their translucent paper. And they can cover and transform their model into the place and into the paper that they want. So creating primary sketches can have different methods and I cannot say, it's worthless. Of course, it's very important, but actually our whole work will start after that. That you'd be able to create volumes, you'd be create two. You would be able to create perspectives, great colors, great shadings. I mean, if you create a masterpiece in your primary sketch, but if you can not develop it the way that you want, if you can not create the shades enough or create the good volumes, it doesn't worth anything. So don't worry. Don't say that if I'm using this method, it's a fake know, it's very practical. It's universal as actually really fast. So whenever you just want your primary sketch to be done quickly and you want to work more on your details and development. This is the best method, is specifically when you want to work on faces. Just like Dad, I'll drag it over all the parts that I need. Then I transfer my model, my sketch into my work. Something else I should tell you is that while you are transferring your model into your cardboard, your hand pressure should not be that much. That creates a texture on your cardboard. I mean, it should not create any dense or any curves or any textures on your cardboard because later when you want to apply your color on it, it might have some problems for you. So the best thing is to control your hand pressure. And I've created whatever that was needed. And you can also create the details right now. If you think it would be hard for you if you want to do it during your work. And if not, if it's okay for you, yeah, you can create them later. So just take a look at my work and see which parts are transferred and which parts are missed. So I place it again. And as it turns out, I have not created this area. So that's exactly what I'm gonna do now. Creating this spot. Take a good look at it again one more time. And yes, our whole work now is transferred to our cardboard. Just as precise as you can see here. And of course, as complete, you see it's actually been transferred very clean and very beautifully without any mistakes. Right? Now for next step, we have to choose our colors from our catalog. Okay, I want to start with coloring the blueberries so I get my color catalog. And my dear friends, if you take a look at these blues, we need all of these blues. 344. This one, the blue number 343, you see for these parts, we need them. Number 351 for these areas, my dear friends. Then 3004244, very, very dark parts of my work than 349, which is this color. And we're going to use this color a lot. So we definitely need this one. And of course, number 347, which is the lightest blue that we've got. And it can be used for us. We should use the white color 301, and also the black color, which we needed a lot. Right now we're gonna put away our catalog and we want to start our coloring, as I told you before for applying the colors, I'll be starting with my darkest color. The darkest color that I have over here is my black color. Alright? I take my black color. And wherever I see this black color, I try to apply it with circularity movements with a small circles. Of course. Let's see. I'm doing it very, very slowly and very small circles right next to each other. Then I bring it up. And from this dark area, I will fade it upwards into the upper areas. Also from here. I'll do this. I bring it into these aside parts. And also I can see this darkness over here. Not so much but a little. So I apply it. As I said before, wherever you saved it, you should apply it and be careful that it would be completely faded from the sides. What do I mean by that? I mean that e.g. look at these parts. I apply this darkness and I'm just fading from one side, but I do not faded from the other side. But look at here, when I'm applying some concentrated darkness in the middle, in the center of some place. I would have to fade it from all sides. So whatever darkness that you create should be faded from all sides or at least one side. Okay. I would also have some strong darkness here. Of course, in this lower area, which I've got here. And it would look like this. And I would also leave a trace of the color over here. Okay. I'm going to tell you the rest and next parts. 17. 16- Coloring the First and Second Blueberries and Drawing Water Drops: Hello and welcome to another episode of our tutorial. Well, we were using our black to applying our darkness wherever we need them. So in next step, I'm going to use a blue, a dark blue, which is close to the mean, which has the darkness close to the blacks darkness. So I will use my color 344. This is a very dark blue. Then I'm going to use and I move on these parts, which I've used by black. And I moved toward the lighter areas. Make sure that the tip of your pencil is sharp enough. Also, these parts should be covered with this blue. Alright. Now, we are going to cover all these darkness that we've already applied with this beautiful dark blue. Here we go. Just as easy as that. Makes sure to cover all these dark areas. And we also do the dark coloring for this area with this blue. Actually, we are going to complete the coloring with this blue. Now we will use our next blue. And based on my catalog, my color catalog, I'm going to use my color 349 as my next blue. From these parts. I'm going to apply this color and move further. I'm actually doing it on the size of why black colors from this lower area. And also these parts which are lights. I'm going to go around them and I will not color inside of them. As you can see, I'm just going around. So it's very important that while you are working with your darker colors, you would not go inside of your own light areas. You can go around them, but not inside of them. I also try to cover the white texture of why cardboard. And just like that, I will cover everywhere, everywhere that I need. And I color them. Alright. Now I'm gonna do a very light background color with the same color that I'm holding in these areas. Because later it will help me to blend my colors better. And now I'm gonna take my next color. Number 351. For some areas. No shave River. And it would look like this. And next color would be 347, which is the lightest blue data I have. Now, because my painting is wet and we want to show the texture of that water. I mean, we want to show that it's wet. It's kinda similar to the glass texture which I've already shown you. That we have to keep our strong contrasts. That's why we keep this wide and we do not cover it in order to have a stronger contrast. And in this way we can show that glassy texture and we can show Our work is wet. Okay. Now we will work on the top of this blueberry, coloring it as well. And then I'm going to use my color 349 and Atlas 347. Okay. Now I'm going to use my white colored pencil. And I will color this areas. I mean, I will go on the edges of this whiteness and I fade the colors around it into it. Then I will use the color 351. And I create some order than a specific textures over here in my work. Okay? Alright. Now we want to apply the water drops. You want to see how it's done. First, I take my black colored pencil and I will create the bottom parts of my water drops very, very small. So I am creating my water drops as small as this, and I'm applying my dark color right on the bottom of them. And here would be the same. Okay, You see, I've created this darkness on the lowest part of my drops because I want to actually give them some volume and have the depth here. I would do the same thing for this other drop that I have here. You see? We would have to darken the water drops on one side in order to give them volume. Then I'll use my color 351 and I'll color the rest of the drops. And in this area, I'll do it lightly. You see, I decrease my hand pressure and I'll do it lightly. Then. I would do the rest of the coloring for this lower area. Then I use my color 344 to create a beautiful contrast in my whole work just to tie it all together. Okay? Now I'll do the same for this area. A contrast with 344 and coloring with 351. Okay. Now I get my electronic eraser and I apply some very small lights. See. I'm applying some lights over here as a representer of mine. Water drops. Here we go. Then again, I use my black color. And I will work the bottom of each one of these water drops. And just as easy as that we've worked on one of our blueberries. Now we are moving to the second one. Again. I want to do this left one. So I would not leave my work, my hand on the work because if I do the right one first. After I'm finished with the right one and I want to move on to the left one. I would have to place my hand over here. So it might get messy. When you want to work on a painting and you want to color this specifically, it's better if you pay attention to the direction that you're moving on. So you want to place your hand on any part of your work that is already done because it might get messy. You can place a paper under your hand. But when you can do it like this, why take the risk? So I'm going to apply this darkness upwards, just like that until the top areas. And I come down again. Because these parts should also be colored. And I will apply the darkness that I see one by one. In these areas, I have complete darkness. So without any fear of creating mistakes, we will apply our dark color and make these parts completely and utterly dark. So here we go. Complete darkness here. And let your hand move more free because it's okay over here. Now after I've applied these darkness, I will fade it from two dark into the light. You see. You just need to control your hand pressure for areas like this, then you can perfectly failure colors into the lighter ones. And you can get that beautiful contrast in order to keep the volume of your work. And at the same time, you are showing the texture, the wet texture of your work. Okay. Then I'm going to choose my next color, 344. Okay. And I use my color 344 on the parts which I have darkness and I've used this color. And with a slider, hand pressure, I'll faded into the lighter areas. Basically, I decrease my hand pressure. And also from here the same way. So I'll do the exact same thing on the lower areas. Be coloring just the way I did for here. Alright. Here we go. Just like that. Just as you can see, watch the movement of my hand. And then I'll get my next color, 351. And I'll use it for these areas now. 351 is this color. See, I'll use it for these areas. Well, actually you can pick each one of your colored pencils and put the tip of it on your printed model. Just as easily as that. You can determine which color is more suitable for you for that area. So from here I come up with the same color. And also from here. Alright, now I'm going to use color 349 for the parts I have here. I applied on the parts that I've already worked on. These parts because they need to blend in more and they need to be more blue. So I'm using it for here. Okay. Here we are. And the lightest color 347 would be used over here. As you can see, I'm using it very lightly, very lightly, and I'm practically just fading the other colors with it. Then I'll use the color 349. And I complete these parts. Okay. Up to here I should color. And again, I use my car 347. I cover over it in order to blend it and faded into the light. Then I'll use my black color in order to create some spots and stains in this inner area. So my work would look more natural. Okay. Now I will use my white color at the end to make these parts completely cohesive, blend them together and keep the glass texture. Then I'll get on with my black colored pencil for creating the water drops. Okay. I will shade this lower area like that. And I will close the upper areas with my black color lightly, and the lower parts would be obviously darker. Okay. Then I'll use my electronic eraser. And I'll create some lights over here. And then I'll use my color 351. And I cover this area. I go over it with my 349 to faded and blend it. And then at last, obviously I'm going to use my white color to blend all the colors together and fade them. Okay. Now, in these parts, I will apply and I create some lights like that, which are more raphe now. 18. 17- Coloring the Third and Fourth Blueberries and Drawing Water Drops: Hello and welcome to the next part of our tutorial. Okay. In this episode, we're going to work on the other two blueberries. And of course, the water drops on them as we did on these two in previous episodes. Okay, so we're going to do the third blueberry the same way. We start with the black colored pencil. And I'm just doing a background color, or basically I'm applying the darkness as a background. I would be starting right from here. Okay. So in circular shapes, I'm going to color this area. At the same time. I'm trying to apply the needed darkness with the suitable hand pressure based on the place while that I'm coloring. E.g. over here I can see more darkness you see. So I increase my hand pressure in this area. As I move on to the light of my work, I will decrease my hand pressure there. See, just like that, little by little. We will decrease the hand pressure. Then I will fade the black that I've applied here. And I will note, just leave it like lines. I don't want any trace of line in my work, so I faded and I would notice leave it like that. Also from this side, I will apply the amount of darkness that is needed. But of course, over here I have a dark blue. But because it's very dark, I'm going to have a light black on the background. So when I put more layers of color on it, I can get the dark blue that I want. From here. I would also have to bring some more darkness into my work. Just like that. And also from here, the same way. Okay, here we go. Alright. After we've applied the darkness of our work, I'm going to use my dark blue 344. And actually I'm going to move on these parts that I've already have my black. And I have a very strong hand pressure when I'm applying the color at first in the dark areas. And as I move towards the lighter areas, I'll decrease my hand pressure. And also these lower parts of my work should be colored like this. Okay. Then I'll apply the darkness over here as well. Over here. I can still see two more darkness over here, which I should go through with my blue, dark blue. And in here, I'm going to give the needed contrast to my work. Okay? Then I'm going to use the color 343. It's actually one level lighter than 344, which was our previous pencil. And I start applying the color on my previous color. I tried. Go in the water drops which are too light. But you can actually go over, I mean, it's okay if your color gets into some of the water drops which are a little blue because later you can use your electronic eraser to create delight that you need over there. But it's better to keep away from the light or better say white water drops. Then I get my color 349. And I will use it to give it the beautiful blue color. At the same time, I am careful about the parts which are going to be colored lidar. I mean, I'm not going to color dark everywhere with this color. I'm going to stay away from some parts which are going to be lighter. While you're coloring, It's very important for you to know where you should apply your colors, each one of them. I will apply this blue color in these dark areas, and I just cover the black so h would get a get out of it's fake shape. I want it to look more natural. That's what I'm doing here. Okay, Same. Also over here, it would be like that. We will have our light spots. We get our color 347, which is our light blue. And now I'm going to go over all these blue parts which are going toward the light. But still I'm covering it lightly. Nazis strong. Alright. And For the last step, I'm going to use my white color in order to create the light area of my work. Again. I take my black colored pencil and I will go around my work generally. I can show that this blueberry is more in the back. I mean, I want to emphasize on this fact that this one is more in front. So it has a shade and shadow for the one which has behind it. And also, I'm going to renew some of the darkest areas with my black color, especially around the edges. And I will also create some dark spots in different places of my work. Then I will use my color 347 again. And I very, very lightly colored this area and go over it and faded with my white colored pencil. All right. In next step we are going to work on this area. I'll get my color 349. And with a high hand pressure, I start from the darker areas of my work and I move towards the lighter areas. All around here. I get my color 347, which is my light color. And I also apply it here. Then I get my black to apply the details of the work. The ones that we can see there. Then I'll use my 347 for these middle areas and I'll color them completely. Then I will use color 300s, 149 to add some more dark details, creating some lines. And then I use my electronic eraser to get my light areas. The parts which have a strong Lights see just like that. Very easy. We also have small drops over here, so we're going to create them as well. Then. I'll use my black color in order to darken on the lower area of all of these water drops. And I'm actually fading into darkness that apply here. I would not leave it as the shape of the lines and very fake know, I fade whatever darkness I create here. Again, I say on the bottom of the water drops are on the lower curve of these water drops. I'll just create them. In the lighter areas. I'll do the same thing with my blue color 347. And then I get my color 349. To color these water drops a little. The ones which are a bit blue, the way that I see them in my printed picture. And then again, I go with my black color and I apply various small shadings to the parts which I've just colored. So these are our beautiful Water Drops on our beautiful blueberry. Alright, we're going to move on to our fourth blueberry. We're gonna do it as well. It's exactly like our previous three. First, I start with my black color. And I go over these parts which are strong darkness. And I do them as I see them. Be sure that the tip of your pencil is sharp enough. If it's not, you can use your sharpener to do so. We can actually apply the details of our work better. Because you know, a lot of your painting is defined by its details. That's why there are really important. So like that. And from these lower parts, I'm going to apply my color. And I'll create a small circles and I will fade it with circular movements toward the sides. Okay. Then I'd be applying the darkness for this top area of my blueberry. Also these parts. This again, the procedure is same as I said before. The process is practically the same. You just have to be careful where you're going to place your color. As you can see here, the darkness of these blueberry. The darkness of this blueberry is actually more comparing to the previous three, because as a matter of location, it's been placed on the bottom, the lowest area, and therefore it has more shadows and shading zone it. So based on that, we apply more shadings into our work, which means more darkness. Just be careful that you would not go inside of the water drops, the ones which are too light. So especially with your black. Try to avoid the water drops and knowledge color them. Okay. I'll use my next color, 344. As I said, it's the darkest blue. I go over the parts which I've created my darkness. So I'll cover them with my blue with a strong hand pressure at first. And as I come to delights, I will decrease my pressure here. It's really easy to follow. You should just practice over and over again. So should not be disappointed if you couldn't, if you couldn't just get it right in the first try, should not give up. That's what's important because painting is very dependent on your practice. If you practice enough, surely you can get good results. And also these lower areas do the same thing for them. Alright. Now I'm going to use my color 349. And again, I put another be useful layer of blue collar on my work. So just like that, I will cover my whole work with this color. And even these areas would be covered as well. Do not forget about this lower area. Midas slip away. Here we go. Then I get my blue color 347. And I started the lighter areas and I start fading the colors into one another. Or bearer say blending them together so they would not look fake. And at last, again, I'll use my white color to fade these areas. We're going to continue in next episode. 19. 18- Finish Coloring the Blueberries and Start Coloring the Liquid: Hello and welcome to the next part of our tutorial together. Alright, well, in this episode we were supposed to be applying these water drops. But before we do that, I also wanted to create this upper part of the blueberry. So it would be all done and then we can work on the drops. So over here we have this darkness and it will be faded upward. Just as you can see it. In these areas. It's also dark. You can see the amount of your darkness is actually showing the depth of your work. And if you get it correct, it can actually make this circle or depth shape for you. It's got more volume. Also got some water drops inside of our work. Or at least we are determining their placement. Okay. Next step is using the blue color 3149. And I actually cover these darkness that I've already applied here. The way that you can see right now. And then the blue number 347. In this way. I would also complete this central area with my color 349. And I apply some darkness over here just as you can see it. Okay. Let's move on to the next step in the exercise that we're going to use our electronic eraser in order to create the lights that we need here. Especially the strong ones. I like that over here. I have one water drop here, another one over here. And moving on, creating a small and big water drops. So here we go. And then in next step, I'm going to use my black color again in order to create the shades in the lower parts of each one of these water drops around the edges and on the bottom. So here we go. And then again with my blue color number 347, I will actually color them this way. Here we go. They would be darker on one side and lighter on the other to keep this beautiful contrast. Then again, I'm going to use my electronic eraser in order to create these strong darkness here. Just bring them into my work. Alright. Now we've completed four of our blueberries, and we need to work on other two blueberries. One of them is over here, and it's very dark. And we have one over here which has been hidden mostly in speed covered. And we can just see a little part of it. So we can actually work on this last one very fast because it doesn't have too many details because it's in a very dark position. So I'm just going to apply its darkness. The way I see them. And also I'll do it from here. It has darkness. As much as this upper blueberry. They're kind of colliding here. And also I can see a strong darkness here. So here it is. These are also the strong darkness for this area. As I told you, we are going to create it very fast. Just be careful that when you're working in this area, you should place your hand actually with a bit of distance from the work that you were that you've already done. I mean, you should not drag your hand over them. Who make your work messy. Then I get my colored pencil, 349. And I go over these parts with a strong and high hand pressure in order to color these areas with it. Here we go. Just a piece of cake. Alright. So here we go. These areas would be darker and darker. Then I get my color 344. And I cover all these areas with my darker blue because as I said before, it's generally a very dark area. Okay. Then I get my electronic eraser and I apply several lights here, but before that, I should color this area as well. With my black color, I will apply. It's needed a Spots. Okay. Now we can move on to our electronic eraser. And here it is. This is our last blueberry up to here. The last visible, actually. Now we are going to create this liquid which is surrounding our blueberries. We are going to create them. Okay? So in order to work on this liquid, we have to again choose colors from our color catalog, which are related to this area this time. So we can pick them out and work with them easier. We have our color catalog here, and let's see which colors we need. You can clearly see these colors. I'm going to use the color 337. And until the color number 319, I have all of these colors. 337. Until 319, I have all this tonality in this liquid. This is my 337 main purple. For these very dark areas. I'm going to just show them to you one by one to color 334. My color 300 to four was this I'm sorry. This was by color 334. I just got mistaken there. And then I have 333. It's this color. See 333 for these areas. We have 327 over here, which has more red in it for these parts of the liquid. It too. I mean, when you want to work with your colored pencils, you should place them on your work and you can compare. Then it will be my 325, 329, light pink for these light areas. And at last we have 319 for the lightest areas. We also need other dark colors. Obviously black is one of them. We can also use color 392. This color we needed for these very dark areas. All right. We need our blue color 304 to four. And it's needed for these parts, which are actually actually these parts. The blueberries are visible from behind the liquid because it's a bit translucent. And we're going to use this color, this blue color in those areas. And we need our color 301. Our white color, definitely we need it. And also 376, which is a dark brown. And another purple that I've lost is this 337, as I told you in the beginning, this is my 337, which is my purple. Okay. Let's just start together now. I'm going to put away my catalog for now. And I'm going to start and we're going to go the same direction as we did for our blueberries. What do I mean? I mean that we start from the darkest colors moving toward the lightest ones. So at first, obviously I'm going to use my black color. I start from the top and very lightly. You see, very, very lightly. I will actually apply this darkness here. Don't forget to use circularity movements. And then as you move down strong, you actually bring down the line, creating some disordered lines. And not in one movement. I mean, the lines would be cut out and cut off small disorder lines, but next to each other. The way that I see them. And I would also apply some darkness for these areas. Because I can see some again, it's not really ordered. It's more disordered. And maybe even a bit too random but not too much, should keep an eye on your model. Then I bring a light darkness over here. I mean it's dark but it's not too strong. Then four over here. I should also apply some darkness. If you look at your liquid, generally, it's more dark on the edges and sides, and maybe on the blueberry parts. Okay, now I've applied enough darkness for here. I'm going to use the color 30922, which is my darkest color after Black. This is actually a reddish brown. That with this, I'm going to apply some more darkness as the shadings to my work is actually red with the man to brown or better say, a brown wood amount of red. And I'm going to apply it all over the parts which I've used my black color. So I'm going over all the parts which I've created with my black color. I want the shadings to be right. Also, these areas which need to be done just like that. And I would also apply a very light shading for these areas with the same color. Also over here, I'm using the same color, but as you can see, with the lightest hand pressure that I can use, we're going to continue. 20. 19- Continue Coloring the Red Liquid: Hello and welcome to the rest of our tutorial with me. Alright. Well, again, I'm continuing with the same color. As you can see. I'm just applying some shadings. The parts that I need. Then I get to my next color palette. And as I told you before, I'm going to use my dark color pencil in this tonality from 334 until 319. Our darkest color is 333. So I'm going to pick it up and I'm going to use it over here. As you can see, I am applying a strong hand pressure in order to shape this area and matched a color with what I see in my model, especially in the edges and on the sides, that we have these drops of the liquid, the darkness is more. So I'm going to use this color more on the edges and sites as you can see. And I also apply these small drops which are splashing out as this. And I go over the parts that I've used my previous palette on. And as you can see, my hand is moving in circles. So my method of coloring is circularity coloring. Then I can move on to do the rest. Over here. It's a bit leaner because I just wanted to have a background color as well. Then we would work on this upper area, as you can see. Alright, here and tap. Just like that. And we create all the splashes surrounding the liquid as well. I'm going to complete them with the same color that I'm holding now. I can also color duller areas this way. Alright. Now I'm going to move to my next color palette. I'm going to use the color 325 this time. In order to create the pink color that I need in this work. Again, with the circle, every method of coloring. I'd be doing this. So from the sides, I'd be coloring darker. And as I move to the center, it would be lighter as I'm creating a shade. Because later I would want to have it as a contrast. Now in the center of it, in the central area, it should be light. So again, from this side, icon is strong and dark. And as I get to the center, I go weaker enlight. Alright, now I'm going to move on to my next color, and I'll use my color 329 this time. In order to go over the light areas. I tried to have a strong hand pressure. So in this step, I can actually cover all the empty textures, empty white textures of my cardboard. Then I'll use my color 319 for these areas like this. And also my white. Obviously. Here we go. I'm gonna do the detailing. I forgot to work on this upper area, sorry. But by 325 I also create this part of the splash and drops of the liquid. And with the same color. I will add some darkness to these parts. And then I can move on. Okay, here we go. Now, I can move on to my next color, which is purple, number 334. And I am going to apply the very strong darkness that I need over here, which I am going to create them with the help of this color. So our goal and our purpose here is to create strong darkness over there. Okay? Now again, I take my black color. I start from the top of my work and apply the darkness one more time. So I can keep the contrast that I want. And I can show the shiny look. At the same time, emphasize on the texture of our model. Work, which is a liquid, should be shiny and it should have a high contrast. That's about it. Here we go. And I would also shade these splashes of this liquid going out. And I just shade the bottom of these drops, two drops of splashes. Then I'm going to use my electronic eraser in order to create the lights that I need for my work to keep the contrast. And two cubits, shiny look. Lights are as important as the darkness. Never forget that you should work on both of them. You should practice creating both of them equally. They're both handy for you. And actually always a combination of them is going to give you a beautiful, magnificent outcome. Alright? Also firm here. And again, I would have also some strong contrast over here in order to make my liquid shinier. Alright. Now I'm going to color, I'm going to use the colors, sorry, 30922 for these areas. And that's it. We're going to work on the next area, which is this side. And again, like the previous part, I start with my black color. Obviously. I'm going to use my black pencil, which I've sharpened the tip of it. You should pay attention to that as well. You should keep the tip of your pencil sharp enough. I'm going to apply the darkness that I need over here. And I say it's needed to be sharp because. Especially on these edges, as you can see on the sides, we have very thin lines and fine lines even for our darkness. So I'm just applying the darkness here as shading them. Then I can move on to the next parts to them carefully because it's a dark color. So try to place them in their own placement. So like that we have these drops of liquid which have been splashed. And I've created them one-by-one, as you could see with my black color. But very slowly I took my time there. Alright. Now, we didn't need to use our black color in side of our work inside of our liquid. And it's flat surface. I get my color 333 and I work on these splash of liquid. I'm just going to start coloring them from one side. You see I didn't use any black inside of this part of my liquid because it wasn't too dark. I'm just going to leave it for now. And also as I'm coloring here, I'm going to leave some areas for the next layer of my color, even over here on the edges. And if you can dress, take your hand above your work and you might actually drag your hand on your work. Please. Just remember to place a white paper, an empty paper under your hand so you will not mess up your work. But if you can hold your hand a bit higher, So that's cool. Still coloring these areas. Here we go. Alright, and now with the color that I'm holding right now, I'm going to start from these parts and dark, dark and upwards. I mean, I'm applying this color from here, going up from the dark to the light of Italy. Did I'm going to use my next Palace of color 325. And I gave my work more pink color. I want it to be pink because I see more pink in my model. See just like that. Then I'm going to use my next color, 329. And I am actually applying my light pink areas. Just be careful not to cover delight of your work. It's very important. Then I go with 319, just as this. And then I get my white colored pencil for the lightest parts of my work. For these lights shining actually. Then again, I use my color 327 in order to increase the red color in this area. I want more red here. And then again at last, I use my black color to create a strong contrast on these edges and in the center. Then my last step would be taking my electronic eraser and whatever I did on my first part of the liquid. I'll do it here too, to create a strong lights and even some other lives among the splash like that. Then I take my white pen and then I'm going to even add a stronger lights to my work because white pen does, is to create a strong lights and Southern lights. I mean, they're usually not faded really well. And that's what I need here. Strong contrast, a strong lights in order to keep the shiny look of the whole work. To emphasize on the textures. Okay? Also going to create these drops of the liquid around a splash. And I will shade this drops from the lower parts of them to create volume for them. And then I'll use my electronic eraser to create lights on the upper part of them. 21. 20- Finishing Coloring the Red Liquid: Hello and welcome to the next part of our tutorial. Alright. We are going to fork for this lower area. And as usual, I'm going to start with my black colored pencil for applying the darkness that I need here. So the beginning is just like the same. I have a strong darkness here, so I just applied exactly as I see it. And the darkness of this area is more, much more than the previous part that we worked together. So just as much we're going to apply more darkness into our work. Even if you look at your model, you can see more darkness here because this is a translucent liquid. And behind it, here we have blue, blueberries. So these parts are obviously going to be darker. And just like that from the sides and edges, I bring the darkness into my work. And I bring them as the shape of stains and spots. So it gives a good natural texture to my work and e.g. here, I'm actually imagining and considering the flow and the direction of the liquid, which was this way. So I'll do it exactly the same way. I mean, I drag my pencil as the same direction of the liquid flows. So I come from these parts as well. Moving on. Here we are. And again, very strong darkness and also the rough texture of this area should be placed so I can show that the water is splashing heart, you see toward this direction. That's why I've created those rough textures there. I also have darkness over here. So I created as the shadings. Didn't not be afraid of having the darkness or applying the darkness. If your work does not have enough darkness and in the right place, the contrast of your work will be decreased. So it would not be shiny and it would not give us the liquid texture. I know that we're not working on a hyper-realistic work. But even if it's realistic, or simulations should be almost 60% similar to our model. So do not be afraid of creating the darkness wherever you need them as much as you need them. Okay. I worked on these areas and I would also have to create the splashes over here. It's actually behind the blueberries and I'm going to do them now because I don't want to forget about them till the end. I also have another part here. You see my dear friends. I am just going a bit random here. And here we are. Even right now. It has a great contrast and the patterns are beautiful. And then I'm going to use my next color, 333. And I use this color to cover some areas. Actually, I'm coloring some parts of these edges of the liquid. I leave some parts white as well. Why am I doing this? Because I want to apply one other layer. I actually, I want to add another layer of color into this area so my cardboard should have the capacity of expecting that layer. The next layer is my color 392, as I said. And I'm just going to cover it with this color. Cover the areas. Especially in these parts. I can see this color palette much more. So as much as I say it, I use it. It's actually very simple. But in order to suit better, you should have a lot of practice. And I don't mean only by creating the colors you should practice and looking at your work and observing it. I use a color 325. Okay. I'm using this color and I'm actually coloring all over, covering all this area. And I will not leave any more white spots. Okay. Very slowly, I colored this area as well. And just like that, it's done. Now, I'm going to use my next color palette. I'm going to use my color by blue color 344 that I've already picks up. I'm going to apply the blueberries. Shade, the blue of the blueberries, which are coming through this translucent liquid. I'm going to use it in order to show that there is something behind and it's blue. So I'm just going to give it a touch of blue color. I don't want to overdo it, but it should be done wherever. I can see blueberries in my model. I apply this color. And now I move on to the next color, 392. And I cover these areas very easily and also carefully. Then I'll use my color 325. And I will complete these darkness that I've created here because they shouldn't be left black or blue. So I'm just going to move over them and cover these areas and make my coloring complete, more complete. Okay. I color cohesively up to these parts with the same color. Okay, Then again, I get my black color and I emphasize on the darkness. I increase the darkness of my work. Then I get my car 392 for these areas. And also for here. Then I get my white color and I move on these parts with my white color. All right. Now I'm going to use my electronic eraser and create some lights that I need over here to create the contrast that is suitable for this area. But I'm just doing it very small. And little by little. Notes using too much. Here we go. I also creates some lights over here as spots and stains. So again, I can emphasize on the shine of my liquid here. Because I want to show the texture better. Ideas, stronger lights in some areas. Here we go. Okay, we've worked on this part and now we're going to work on the last part, the bottom part. Before we do that, let me just complete this area before I forget it again because I was just for getting it. I'm getting my color 333 for this area. So let's just get it over with, complete it and then we can move on more comfortably. I'd be coloring these areas dark as you can clearly see. And then I use my color 325 to make my work more pink. I want to give it a bit more touch of the pink color. Then I use my color 327 and I colored this area completely. Basically I'm filling this area. Then at last I use 319. And again, I go over here. That obviously again, I'm going to use my electronic eraser to create some lights here. Okay. You should also apply the lights on the drops of the liquid. Now, we can move on to the lower part and we are gradually getting to the end of our work. So again, as before, I'll get my black color and I apply the darkness the way I see it in my work, in my model. And while I'm doing it, again, I keep in mind that this is a liquid, so I tried to move by hand in the direction of the liquid flow. It's good if you keep that in mind while you're working on it. I have this this way. And again, I say, you should consider the direction of the flow and splash. The spots that you make, the darkest spots that you make should be totally compatible with your model and with the direction of the flow. This way your work actually comes out nice and attractive. Your outcome would be a masterpiece. If you go through all the things, all the hints that I'm telling you, trust me, it will. Alright. Now after I've applied some darkness here, I can start from this side and apply some more darkness just like that. And you know, it's enough that whatever you see you can bring it in your work. I mean, especially for showing. Your water texture easily and vividly. You just have to create every strong darkness, each strong light, and each strong contrast that you see in your module. And if you pay attention to my work while I'm going over the edges. Sometimes I'm using the tip of my pencil, sometimes I'm using this side of my pencil because I want the thickness of my lines to be different in order to show spot this splash. Alright. That's that. And over here I have a strong darkness, which obviously I create. And I move on up to here. I actually bring it up to here. Okay. Now we can move on to the next step. I'm going to use my color 392. And I move over all these areas with my color 392. I mean, wherever I used my black color, whenever I had used my black color. Now I'm going to go over it with this color and make my colors more complete. And wherever I've used my black slider, I'm going to apply this color leader as well. And wherever I had a darker, I'm going to go darker. So here we go. And layer of this color going through the black. Okay. And even these areas because they are too dark, I have to cover it with the same color that I'm holding now because we have strong darkness here. Okay? Now we are agreeing to work with our next color palette. I will use my color 333 for coloring. The rest of my work are bare to save for adding another layer of color. I also work on here. And little by little from here, I go up and I lighten my colors because I want to fade it and blend it into the whole lighter areas. So that's what I'm gonna do. And as you can see completely, I've even created a background color with this color, slowly and lightly, but I have created that. Okay. Now I'm going to get my next color, 325 for making this area more pink. Because I want it to be more pink so I can match it with by modal. Okay. Now we're going to continue our coloring and finishing the work in the next episode. 22. 21- Detail Coloring and Finish: Hello, and welcome to the arrest and the last episode of this tutorial, we will working with our 325 in order to add more pink color into our work. So I'm just easily going to color this area. And little by little, we move on to the lighter colors. I get my color 319. And just generally and completely, I do my coloring. I mean, I go over all these areas here to make them complete. These areas should also be colored. And here we go. Then I'm going to use my white color in order to pop up some of these lighter areas. And these lights that you can see clearly in your model. Okay, here we go. Now again, I get to my color 392, and I use it in order to cover all the white textures that have been left empty on my cardboard. I tried to cover them all with this color. Then I will use my black color in order to create even stronger contrasts. Again, I say because we are working with a liquid or a glassy texture, we need these strong contrasts. So here it is. Alright. Then I'm going to use my electronic eraser in order to get delights that I need for this area. Over here. And wherever I see them strong, I create them with my electronic eraser, even over here. Okay. And I think we're going to be all set. All right. Do you see when we apply the lights, we are actually completing our contrast and that's the time. You can clearly see the volume and texture of your work. Then I'm also going to use my white pen in order to apply even a stronger lights in some specific areas. Some specific places. These are the areas that need more stronger lights. So that's why I'm using my white pen. Okay. There's that and that's how it's done. After applying the lights. I can move on to my black colored pencil again and make these areas a bit more ordered. Another splash drop will be here. And here we go. We've reached the end. Congratulations. We can say that actually we finished our work. I just get my white color and my hand again and go over these bars in order to plan all my colors together. I also want to create some more lights in here. These are actually the last touch ups. Then I use my car 392 and I go over it because I didn't want to I don't want it to leave to light. This tutorial has ended. I hope you've enjoyed it so much and it would be really useful for you.