Colored Pencil for Beginners: Layering and Blending | Matheus Macedo | Skillshare
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Colored Pencil for Beginners: Layering and Blending

teacher avatar Matheus Macedo, Realistic Drawing Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:24

    • 2.

      What we are going to draw

      0:46

    • 3.

      Materials

      3:56

    • 4.

      Gradients: professional pencils

      8:34

    • 5.

      Gradients: cheap pencils

      3:41

    • 6.

      Sphere

      8:33

    • 7.

      The class project

      0:45

    • 8.

      How I pick the colors

      5:55

    • 9.

      Pear: outline

      3:26

    • 10.

      Pear: fruit

      9:51

    • 11.

      Pear: stem

      2:14

    • 12.

      Pear: leaf

      5:37

    • 13.

      Pear: cast shadow

      2:15

    • 14.

      Conclusion

      0:33

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About This Class

Colored pencil is a medium everyone has tried, but not everyone is aware of its amazing possibilities. The good news is that you can make the best of it by doing very simple exercises!

What am I going to learn in this class?

In this class we are going to learn how to layer and blend colored pencils. This is a fundamental topic every artist should master if they want to be successful with this medium. It’s a ‘must-know’ technique! We are going to cover topics like:

  • Layering and blending technique;
  • How to render texture;
  • How to choose the right colors from a reference photo;
  • The difference between professional x cheap art tools.

Do I need to use the same pencils the teacher uses?

No! The best tools are the tools you have. I will list all the pencils I use, but the idea is to have it as a reference, not a cookbook you must follow. As you finish this class, you must be able to choose the colors on your own, as every new drawing will need different colors.

Do I need expensive materials to take this class?

No! I will prove you can make really nice drawings with cheap colored pencils, covering the pros and cons on purchasing cheap pencil sets.

If you want to start your journey with this medium or want to review the fundamentals of colored pencil drawing, this class is for you!

Meet Your Teacher

Teacher Profile Image

Matheus Macedo

Realistic Drawing Artist

Teacher

    

Hello, everyone! My name is Matheus and I am focused on realistic drawing using graphite, charcoal and colored pencil. I have been doing realistic drawings for years, always pushing myself toward improving my skills in order to become better and better.

Through the years I had the opportunity to study with many great art teachers around the world, and each one gave me a different perspective on art. Some of them are able to tackle an entire project in a few hours, whereas others would spend days to go through a drawing from beginning to end, all of that depending on how detailed they wanted their pieces to be, or what materials they use and so on. After all I was able to develop my own approach for black and white and colored drawing... See full profile

Level: Beginner

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Transcripts

1. Introduction: Colored pencil is a medium that everyone has tried but not everyone is aware of it's incredible potential. What if I told you that you can make amazing drawings using relatively simple techniques? Hello, my name is Matheus Macedo and specialize in realistic drawing. I usually invest my time in highly detailed species. But in this class I'm going to teach you the basics, which is how to mix colors and get a smooth, and refined finish on your drawings. Before doing so I invite you to do simple exercises with me so that you can understand the fundamentals of colored pencils, showing you the step by step to improve your drawings. I'll use professional pencils, but I'll also show you how you can make the best of cheap materials. I'll also show you some extra tools that can help you when working with this medium. For the project of this class, I'll teach you how to choose the right colors to make a drawing by studying any reference image you choose. We will then apply the technique of mixing colors. We'll even learn how to read a texture in our drawing. Our ultimate goal is to make a drawing with vibrant colors and then refined finish that will make it stand out. Do you feel like improving our colored pencil drawings? If the answer is yes, grab your tools and let's draw. 2. What we are going to draw: Thank you for signing up for this class on how to draw using colored pencils. In the next videos, I'll show you the materials I'm going to use to do the studies of this class. I'll show you how I mix colors in the videos about gradients, doing them with both professional and cheap pencils. Then I'll show you how to apply the technique learned to color a sphere. Finally, we're going to review and apply everything in a class project in which I will show you how I choose the colors I will use, how I draw the sketch, how I do the base layers and details of each one of the parts of the objects that I chose, which is in this case a pair. Let's talk about the materials. 3. Materials: Regarding the materials, guys, let's start with the colored pencils. I'm going to work with Faber-Castell Polychromos pencils. I chose them because they are high-quality professional pencils. They are easily found where I live, and because I can buy them open stock individually. Of course, they're not the only pencils we can buy open stock. Polychromos pencils are oil-based, which makes them ideal for details as they have a firmer lead. On the other hand, filling large areas with them takes more time. I'm going to give you a list of the colors I'm going to use in this class. All the colors I chose are available in the Polychromos 24 color set. Other excellent pencils are Prismacolor Premier, and Caran d'Ache Luminance. These pencils are wax-based, which makes them easier to blend but more difficult for details. If you want to use professional pencils, it is best buy a few pencils individually before buying a whole set as they are more expensive, and then you'll figure out which options suit your needs. You can do the exercises of this class using only cheap pencils, like Faber-Castell classic set. With these pencils, you'll have a wider range of colors for a much lower price. If I were a beginner, I would start with them. Be aware that I will not use watercolor pencils here. You can use them, but you have to know that they need a different approach, and are not the best to do details. For the gradient, and sphere studies, I'm going to use the underneath side of this Canson paper. It has some texture which makes it able to absorb more pigment from the pencil. On the other hand, the painting will look grainy, less smooth. I will initially use a more porous paper so that later you can compare the results, I will get using a smoother paper. In this case, I'll use the Strathmore 300 Series Bristol Smooth. The vellum version from the same brand is also very good, but more textured. I prefer smooth papers because they allow me to work the details better. There are other good paper options, preferred, those with a wave superior to 150 grams per square meter, and suitable for colored pencils, of course. Any pencil sharpener will do as long as it fits the pencil you use. If you're not sure which one to buy, look for sharpener of the same brand of your pencils. I personally like hand-cranked sharpeners. They shape the tip very sharp, and have only the disadvantage of not being portable. To do the outline, I will use a HB graphite pencil. H, and B pencils will also do. Common plastic erasers can be used to erase graphite sketch lines. To erase colored pencil I prefer the eraser pencil. This type of eraser is very useful for doing highlights. Since erasers release crumbs over the drawing, I think it's nice to have a soft brush to get those crumbs out without having to blow, and eventually, spit on your drawing, which would be inconvenient. That's it. 4. Gradients: professional pencils: Hello, guys. In this video, I will show you how I blend colors using colored pencils. For that, I'm going to make a gradient with the dimensions of 4.5 per 1.5 centimeters. Regarding the colors, I'm going to use the three primary colors, which are blue, red, and yellow. You don't need to use the same colors as me to do this exercise. But if you want to do so I'm using Faber-Castell Polychromos colors Number 110, 219, and 107. This gradient is the result of the overlap of these three colors, each of them varying in intensity as we see in this image. Take a good look at this as it will be our reference to fill in this gradient. My suggestion is that we put the three colors on the paper gradually and simultaneously so that the transitions between one color and another are smooth. The technique presented here is known as layering. What we're going to do here is fill in through successive layers of color. Let's start with blue. It is important to understand from the beginning the movement that is done with the hands. Without putting too much pressure on my hand, I'm going to do a circular oval motion. Initially, I'm doing these movements diagonally, but in the next layers, I'm going to do this movement in other directions, to cross the strokes. From left to right for this color, the covering will be a little more intense and will gradually become lighter. However, as this is still the first layer, even the most intense part will be light. It is important to understand that this movement must be light. If you apply too much pressure, you may damage the tooth of the paper and it will not be able to work with successive layers. Why should I work with many layers you might be asking, because from my point of view, working with layers will get a much more beautiful, much more refined result. This is what will make your drawings level up. Now with red, we'll follow the same procedure. However, since we're starting in the middle, the idea now is to start strong in the middle and decrease the intensity towards left and right sides. How to paint with lightness. Watch how I hold the pencils. To make it lighter, I hold the pencil a little further back. Your thumb will be about the middle of the pencil's body, not near the tip. Now using yellow, starting with more intensity on the right, and decreasing the intensity of the painting towards the middle of the gradient. The pencil movement is the same as I did with the other pencils, a more diagonal movement, sometimes almost vertical. Now, we're going to start the second layer. I'll go back with blue, this time doing a more horizontal movement if the purpose of crossing the strokes with those of the previous layer. But that's all that changes. I'm not yet putting a lot of pressure on the hand. I'm going to decrease the intensity of the layer towards the center of the gradient, just like I did on the first layer. Now the same thing with the red pencil, look how I hold the pencil further back, you won't even see my hand here. Same thing with the yellow pencil. Now, on this new layer, let's perform a more intense covering. This means I will increase the pressure I apply with my hand. Regarding the direction of the strokes, I'm going to do it in a different direction than what I did on the previous layer. In a way, it repeats the movement of the first layer I made. I will do this with all the three colors, emphasizing the most intense area of each color where the colors are pure. At this point, you may have noticed how the field looks grainier. This is because I am using a more porous paper. Conversely, if you're using smooth paper, your gradient will be less grainy. In the pair exercise, I'm going to use a smoother paper, which is my favorite so you can see the difference. As you can see, each color will invade the area of the others. As we fill in these areas, the colors will gradually blend together. From now on, just repeat the process. I'm going to speed up the video a bit so you can see how the colors are being build up little by little. Every new layer I make, I will increase the pressure on the pencil. However, you don't need to exaggerate it. Especially, if you're using professional pencil. If you're using a workspace pencil, I believe you won't have to make as many layers as I make as these pencils blend out more easily. This is the case with Prismacolor premier and Caran d'Ache luminance. The advantage of Faber-Castell Polychromos, as it is oil-based, is that it is better for doing the tails, which let's face it, it's not the case here. When you're looking for your new professional colored pencils, keep in mind what your goals are with these pencils. If possible, test them before purchasing a multi-color set. At this point, we will see what emerges when we mix one color with another. It's no surprise that when mixing red with blue, we'll see purple and when mixing red with yellow, we get orange. Here, more and more, I'm going to use the three colors simultaneously, trying to those, each one of them in order to obtain a balanced gradient. When you notice that the paper is no longer holding new layers of color, it means it got saturated and you won't be able to do much else after that. Here, I will consider my gradient finished. The whole process took an hour to complete, so don't be in a hurry when doing this exercise. This is a perfect opportunity for you to master your coloring with pencils. This exercise is the basis of any and all colored drawings you will make with this material. Try to do it with all the patience and dedication it needs. I hope you enjoyed this lesson. 5. Gradients: cheap pencils: In this video, I'm going to do the same gradient of the previous video, but using cheap pencils. As I did the previous gradient, using Faber-Castell Polychromos, now I'm going to use more affordable pencils from the same brand. The paper used is the same though. This is the set I find here in Brazil, and as far as I know in all Latin America countries. These pencils can be found all over the world with a few variations in the box, but they are the same pencils. I have a 48 color set, but they can be found in sets from 12-72 colors. In this video, I don't need to give detailed instructions because they are the same given in the previous video. Despite working with cheaper pencils, the process is the same. It is important to know, however, that the result will not be the same. As I got to the end of this exercise, I realized that cheaper pencils have a lower ability to overlap. I get to a point where the paper just won't accept new layers from these pencils. I don't know exactly why this happens, but I believe they have a higher amount of binder and a lower amount of pigment in their composition. In practice, I felt that in general, I need to apply a little more pressure to fill in the gaps and it affects the tooth of the paper. As I go on, I noticed the paper becomes more waxed and less capable of absorbing the pencil's pigment. For these reasons, to my surprise, I finished this gradient in half the time I spend doing the same gradient with Polychromos pencils. That is, I finished this gradient in about 30 minutes, but I finished faster because I couldn't work anymore as the colors weren't blending anymore. Let's compare the two gradients. The top gradient was done with Polychromos pencils and the bottom gradient with cheap pencils. The feeling of coloring with cheap pencils was actually pleasant. I didn't find the pencils hard despite having applied more pressure since the beginning. However, as the pencil seems to have less pigment, I felt the result is poorer. The colors definitely became less vivid. There is more wax than pigment in the lower gradient. But it's important to know that non-professional pencils are less resistant to natural light, so the durability of your drawing is compromised when using them. If you want to reach a professional level and want your drawings to last, you should invest in a higher quality material. However, as you can see, you can make good drawings using cheap pencils. The drawings I'm showing here were made with them. 6. Sphere: In this video, we're going to draw a sphere. Now that we've learned how to blend colors in the gradient exercise, we can go ahead and put what we've learned into practice. To paint the sphere, I'm going to use two shades of green, one lighter, the other darker and a shade of brown. I also added black and the dark gray to make the shadow that is cast on the ground. The polychrome pencils used are the ones that appear on the screen. Since the outline is drawn with the HB pencil and I try to draw it as light as possible, we can barely see the lines of the sketch. However, the scheme on the left shows exactly what I'm doing. First, to draw a circle perfectly, I use the masking tape. The sphere is about seven and half centimeters in diameter, three inches. Then I divide the sphere into five different areas, each with different light and shadow values. When we are coloring our sphere, we will have these areas as a reference, but we will always make a smooth transition from one area to another. Make the sketch very light so the graphite won't be seen in the finished drawing. If you drew the lines a little darker then use an eraser to make them lighter. Now, let's start coloring. I'm going to start with the brown pencil, but I could start with one of the green ones as well. Following the process we did in the gradient study, I start by applying the colors lightly on the paper. As with the gradient, I'm going to make a smooth transition between the limited areas. This is very important. On each pencil layer, I will also cross the strokes in different directions so that the covering will look smooth. Then I use this darker shade of green, which is emerald green. With it, I'll cover not only the areas besides the brown area, but also the brown area itself. I'll make a lighter layer because we're still on the first layer. But also take care to make a gradient from the darkest area to the lightest, avoiding sharp edges. I'm doing this exercise on the same surface I did the gradient studies. Once again, we will have a more porous result with more texture. Here I keep on using the emerald green pencil, covering almost the entire area of the sphere, except them white areas. Later, we will use a light green. Here, I went back to using brown and I'm going to make the second layer, putting a little more pressure on the hand and making the strokes in different directions so they don't get marked. You will notice that I'm going to go a little further with the brown, always trying to make a gradient from the darkest to lightest area, decreasing the intensity of the painting. Always remember to work with a sharpened pencil. This will help the pencil grip onto the paper's tooth. I will do the same with the emerald green pencil. I'm going to focus more on that darker area. After all, here we will have a more intense blend of green and brown. I'm going to skip some parts because I don't want the video to be redundant. But it is important for you to understand that this work requires a little patience. The total recording time for this video was two hours, so it's twice the time it took me to paint the first professional pencil gradient. Now, adding a layer of light green, you can put a little more pressure on your hand, but that doesn't mean you're going to apply maximum pressure. This will leave for the end. For now, let's mix the colors gradually. Don't forget to apply some of that color on the bottom of the sphere as well. There is a little bit of light reflection coming from the surface where the sphere is resting on. I'm going to show you some of the work with the emerald green. I'm going to speed up the video so you can see this step without interruptions. In the area we painted with brown, you can apply a green with maximum intensity painting until the paper is saturated. Before that, if you think it's necessary, apply a little more brown because later we won't be able to go back. This also applies to the light green. I will use it to paint the sphere until the end, preserving only the light areas. If you haven't made a consistent layer of emerald green, do that before applying light green. After all, the idea is to blend the emerald green using the light green. The technique of applying a final color more forcefully to blend the other colors on the paper is called burnishing. At the top of the sphere on the highlight, I'm going to use the eraser pencil to make this transition from color to light smooth. I'm going to do the same on the bottom of the sphere. Right after that, I'll do some more touches using the light green pencil and the emerald green to finish the sphere. To finish this drawing, I'm going to make a small shadow cast on the surface. For this, I'll use a black and a warm gray pencil. I start with the black making circular motions, doing it lightly. As this is a small area, the movements are very restrained. Here again, it's important to make the edges of the covering smooth, especially for its being a shadow. Only the edge of the sphere will be sharp. Soon after, I'm going to use the warm gray. Also with a light hand doing sharp motions and feeling an area a little larger than a black one. Making the second layer, returning with the black pencil, already coloring with a little more intensity. The sphere's boundary is where the black would be the most intense, so use the black pencil more there. Right after that, I come with the second layer of warm gray filling in another area around that zone or the black will be more intense. I felt the need to use the eraser pencil to smooth the shadow edges out. From here until the end, I did the final touches to this drawing. This is the moment when you can stop for a while, get up, take a break and then when you come back, you can look at your drawing more critically. You will understand better if you have something to correct or simply consider your drawing finished. I hope you enjoyed this exercise. I look forward to seeing you in the next videos. See you there. 7. The class project: For the project of this class, I'm going to show you how I draw these pear, including how I choose the colors I'm going to use. In addition to the sketching and painting process. The way to draw it, it's like a sphere, but it has a few more elements to work with. First of all, here we will have the chance to work with more colors. In addition, we also have the chance to make the texture that covers its surface, which makes everything much more interesting. I made this drawing on an A5 size sheet of paper, which is half a regular A4 size. It's not a big drawing. Without further ado, let's get started. 8. How I pick the colors: In this video, I want to talk about how I choose the colored pencils that I use in a project. This is a topic that unfortunately is often neglected by drawing courses in general. However, it is very important because this skill will make you an artist independent of tutorials and step-by-step videos. The first step for us to know what we're going to use is to look at the pencils we have. In my case, I have a 60 colored pencils set of Faber Castell Polychromos. But to make this class more accessible, I've committed to separating the pencils that are available in the 24 color set. From there, I look at my reference image, analyzing what the main colors are and what pencils I have for each color. Let me give you an example. To do this, I open the image in Photoshop, starting with the fruit itself. What are the main colors we see there? The first color I see is yellow. In Photoshop, I use the eyedropper tool to separate the colors, I think are the most important. I'm doing this just to be more deductive, so you can see what colors I'm talking about. Then I sort out my yellow pencils and see which ones I think I'm going to need. I recommend that on a separate sheet, you make a color chart with the pencils you have, so you'll know what they look like on paper. In the case of yellow for example, I tried the three shades of yellow I have, and the first color I identify was the lightest shade of yellow, Number 100 far from polychromos. On the fruit, not including the stem and the leaf. In addition to the yellow, I noticed shades of orange, red, and brown. I also separated all the pencils that I have that could be related to these three main colors and trying them on paper. The second color I identified, there was a light orange, and I thought that to achieve that shade, a single pencil would not be enough. The only orange pencil I have is 115, so I would have to use this color combined with some other color to achieve the desired shade. After trying the orange with other colors, I found that the combination of it with burnt ocher, 187 was the closest to what I wanted. I would be sure that the second pencil would be used as well. I went on right on the next color. I tried two colors, and I thought I was close to the result until I added a shade of red and I thought it was even better. In this case, I found three colors at once. Of course, some colors can be guessed quickly. For example I knew since the beginning that I could use all three shades of yellow that I have, because they are similar to each other, only varying in intensity. Others, I knew I wouldn't use, purple is an example. There are cases where you might not have any suitable color to use and have to improvise. For example the leaf on this pair has a general view closer to yellow. However, in polychromos 24 color set, only one of the greens has this characteristic, which is 168 green yellowish. The solution was to use this shade of green as a base throughout the leaf, and use a more bluish green, moderately 264, dark yellow green in addition to a shade of brown, 177 one brown. What I think is very important is that you don't fall into the temptation of simply using black for darker areas and white for lighter areas. Usually shadows and lights are much richer than that. Simply using white to lighten and black to darken, and will make your drawing a little poorer. That doesn't mean these colors are banned, of course. I'm going to use white and black in some specific areas. I will upload to the attached files, the colors identified in despair. You can use my list, but it will be interesting for you to do your own tests to put your observation skills into practice. I hope this video was helpful. 9. Pear: outline: In this video, I want to show you how I draw the pear's outline. As it is a very simple drawing, I believe you'll not have any difficulties, but I still wanted to give you a tip to make the task easier. A piece of advice is that you draw the pear by simplifying it into simple shapes and using guidelines. The pencil I'm using is the HB pencil. The first thing I did was to place the drawing on the sheet of paper. For this, I drew a vertical axis passing through the middle of the paper so that the pear is centered on it. Then I marked the highest and lowest point of my object on the axis. The position of these two points will define how big our drawing will be. I suggest not to make them too close to the margin of the paper. Leave some space between the margin and the drawing. Then I mark where the fruit ends and the stem begins. In this case, it's towards observed reference. Position this point in a similar proportion so that the elements are balanced with each other. Now that I have the height of the fruit's body well-defined, we can draw its outline. For that, I'm going to simplify the fruit into simpler geometric shapes. In this case, I think that this fruit can be simplified into two circles, one on top of the other, the bottom one being larger than the top one. Regarding the size of each circumference, it's up to you to define it. Having traced the circles, it's much easier to draw the outline of our object, which will pass around them. When it comes to the stem and the leaf, these parts I do in a freeway. A tip I give to draw these elements is to observe the empty space that exists between them and the pear. This space is technically known as negative space. Try to make this empty space present in your drawing as well, tracing the inside of the stem and the leaf first. Done. Now we have our sketch prepared. Then I use an eraser to lighten these lines as I don't want to see them when I'm coloring the drawing. This is the main reason I use a harder pencil. As I said, I use the HB pencil. Softer pencils, like 4B and 6B, release more graphite powder on the paper and end up mixing with the pigment of the colored pencils, making our drawing dirty. Before you start coloring, remove any remaining eraser cramps that may be on a drawing surface. Once your drawing is clean, it is ready to be colored. 10. Pear: fruit: [MUSIC] With the sketch done, let's start coloring. Since the color I see most in this pear is yellow, let's start with it. I usually start with the predominant color, as it will certainly be present in all the other colors I add here. It is very important that the first layer is done lightly as many other colors will still be overlapped. I'm going to use three shades of yellow in this drawing, which are the numbers 104, 107, and 109 from Polychromos. I started with the lightest yellow because I'm doing the lightest area of the pear. [MUSIC] Then I took the median yellow to paint the middle area. Then I'm going to use a darker yellow, always doing this circular and light motion with the pencil. The idea is to cover this entire area, leaving only the highlights blank. [MUSIC] This leftmost area is closer to orange, so I'm going to make a second layer using this color. Note that I'm not doing those fruity spots yet, I'm just doing a more general covering. [MUSIC] After the orange, I add the reddish tones. I started with the brightest red I have, number 121. Another less saturated red is 190 Venetian red. I like this tone because it is less saturated, which allows you to lower the intensity of the color if necessary. It is still a more intermediate tone color which will not lighten or darken the drawing too much. [MUSIC] Now we come to the green that I use the most here, which is number 168. It's a green with a more yellowish hue very present in this reference, mixed with yellow. I hope you can see these green, the pear, because it's yellow is not pure. I place it more to the right and in the lower portion of the fruit. [MUSIC] Gradually by overlapping layers, will fill more and more the pores of the paper and blend the colors. [MUSIC] This is 187 burnt ocher; a brownish orange that I believe will help us give the pear a more natural tone. I'm also going to use the 180 raw umber, which is also a brown, but with a more yellowish and neutral tone. These two colors will give us a hand to decrease the saturation, the intensity of the yellow, orange, and red tones I used here. [MUSIC] As I get to the darker side, I obviously use darker colors. This is the case of 177 walnut brown, which I will use with care as the shadow is not that intense. [MUSIC] Here I am using a dark red for the first time, number 225. I'm starting to make smaller spots more detailed. Only at this point we will begin to see our pear take shape. It takes a while to get here, but it's worth building up our drawing little by little. I still need to do a wider covering, which is what I'm doing with the 180 raw umber. [MUSIC] Notice how these smaller spots change color along the fruit. On the left side and on top, they are orange. Further down and to the right, they become dark red and brown. Also try to make the spots lighter first and then increase the pressure. In some cases, you can make them using more than one color. In fact, it's hard to find any pure color here. I always mix various colors as it makes our painting more dynamic. Now, let's watch how I make these spots. [MUSIC] The pattern of the spots here continues with a more intense red. I decided to make more of them here in this area, as I noticed them in the reference. I think there is more orange and red around here in bigger spots. If you think you've made some areas too intense, try picking up colors less saturated, closer to brown. In the case of Polychromos pencils, these are pencils such as 180 raw umber, 187 burnt ocher, 190 Venetian red, and 177 walnut brown. I could also mention the white pencil, but I use this one only in the end. [MUSIC] When I use this intermediate shade of yellow, 107 cadmium yellow, it's because I already wanted to blend all these colors. For this, I put more pressure on the pencil. I'm doing this because I think I've done enough spots around here and now it's time to blend them out. Soon I will turn my attention to the lighter area which is still incomplete. More spots needs to be done, most of them being orange. Then to blend these colors, I use the white pencil, which will also decrease the saturation of the yellow and the orange. It's nice that there's a bit of light yellow here as well as a base to be blended with the white later. [MUSIC] Here, working on the darkest area of this fruit down there, using walnut brown and black. [MUSIC] From here, I'm going to finish this part by doing the final touches on the fruit. In the end, I always take a moment to look at my drawing and see where I can make adjustments to make it look more like my reference photo. [MUSIC] 11. Pear: stem: Now, I'm going to focus my attention on the stem, which is a much simpler part, but notice that it shows a certain richness of color. I start by using 180 raw umber, as it is a more neutral and this slightly yellowish brown tone. But there is a bit of orange and yellow here as well. I use this color to sketch the inner parts of the stem from what I see in the reference photo. Right after that, I'm going to do their darkest parts. I prefer to start with the walnut brown, red, and then black. Maybe you've already noticed that I prefer to darken the drawing gradually. This way, I believe I have more control of the process and the tonalities themselves. I'm going to use the 115 dark cadmium orange to give that touch of color that I see in the reference. Then moving on with the colors, I intensify the shadows using the same brown, and also introduced the black where the values are really dark. I come back with the raw umber form on general covering, and closer to the leaf, the colors are a little lighter. I'm going to use the lightest yellow I have number 104, after having used raw umber and walnut brown. I had noted that I would use the dark red to 25 in this area, but I ended up not using it, you can use it if you want, though. On the other hand, I didn't know that I would use the white and green pencils, but you can use them conversely, I think there are colors that make sense here and I didn't use them just because I wasn't that peaking here. I'm saying this just to show you that these lists of colors to use are not a close thing. You can and should use colors that you'll notice in the reference, even if nobody pointed them out. 12. Pear: leaf: Now we go to the leaf. As I said, I see this leaf with four general yellowish tone, and this obviously influenced my colors choice. I started right away with the green 168, the most used color around here. I made a light stroke to sketch this line that divides the leaf in half. Then I colored the entire leaf lightly as it is just the first layer. These green, I'm going to combine with the medium yellow number 107 from polychrome. These two colors will be the base of the leaf To random volume, I use the dark green numbers 264. However, this green is called closer to blue then to yellow. I had to compensate for the coldness of the screen using yellow and green 168. If you don't have a specific color, try to compensate it by mixing it with others that suit you better. Soon, I will also introduce the 177, one or two brown, still moderately as this is the base layer Here, the black 199 is used in the small area. As I said, I tried to moderate the use of black and brace whenever possible. Right now, I'm alternating black and brown to give volume to the leaf Here the general base values are already relatively well-established. The next step is to consolidate these values through layering. I go back to using yellow and the two shades of green. We also go back to using brown and black. I'm going to speed up the video a little so you can see the entire process for awhile. After finishing this drawing, I thought I made this line through the middle of the leaf too thick. To make it thinner, use the shades of green, brown, and black around this line, decreasing it's width. It is made from the outside in. As soon as you were satisfied with the volume of the leaf. After using dark green, brown, and black, use light green and yellow to blend the colors that is burnish, but not all over the leaf Notice in the reference photo that there is a lighter area that is neither yellowish nor greenish, but it's almost white. There then, I'm going to use a white over the other colors I applied. Depending on the brand of your pencil, white may leave a wider mark or look more transparent. Faber-Castell's white will not leave a strong white trace over the other colors. On the other hand, it will lessen the intensity of the colors that are underneath. But the truth is that I didn't use much white here on the leaf anyway. Finally, I used green and brown to give some definition to the contour of the leaf. Then it's time to do the finishing touches. 13. Pear: cast shadow: Time to finish this drawing up. I decided to make a cast shadow, because I didn't want my pear floating in space. In this I will use three colors: 271 warm grade 2, 274 warm grade 5, and black 199. The most important thing is to make a shade of that doesn't have its edges sharp. From beginning to end, I'll do a shading by doing circular motions with the pencil. I recommend holding the pencil a little further back. Your movements will become lighter and loser. The [inaudible] , of course, is more concentrated in the part closest to the pair where less light arrives. From the first layer, I try to work the transition from black to gray, making it smooth. I mainly use these two colors on the edges to finish it up. I'm going to use the lighter gray, the warm grade 2, 271. The edges of the cast shadow will be blurred and that's the idea. To make the signature, I first sketched it with the HB graphite pencil, and then I use the black pencil over it. I didn't do it directly with the colored pencil because it's harder to erase it in case of mistake, but you do as you like. Here we are at the end of this video. I hope you both learned and had a lot of fun with this exercise. Thanks for watching until the end, and I'll see see next time. 14. Conclusion: This was the class with notions on how to use colored pencils. I ask you to post your drawings here on the platform. I would love to see your drawings there, be then the gradient, the sphere or the final project. You can post all of your drawings there if you'd like. If you watch this class until the end, please leave it a review. This will help me know how I can improve my classes and reach more students like you. Thank you very much and I hope to see you in other classes. Bye.