ColorTheory and Color Drawing Basics for Beginners

1. Color Drawing Introduction: Okay, So this is the Introduction to this class. It's basically basic Color Introduction. We're gonna start out making a color wheel with the 12 Colors and learn how the colors relate to each other. On the color wheel, we're going to learn about Primary Colors, Secondary Colors, and Harmonious Color Schemes. We're going to do a neutralizing Color Chart where we add white, black, and gray to certain colors to neutralize them and make them dollar. We're also going to add compliments to colors to make them dollar. We're going to take a look at and do a couple of Color Charts. And finally, we're going to take a look at Split Primary, which is creating the color wheel from six colors, a warm yellow and a cool yellow, a warm red and a cool red, and a warm blue and a cool blue. Finally, we are going to create Objective, meaning realistic color drawings of still life objects. And we're going to try out some different media. So this one isn't oil Pastel. This one is in Chalk Pastel. And this one is in Colored Pencil. And it's just to get familiar with a different media and how to draw and what you can do with them. That's going to be our class 2. Color Wheel and Harmonious Color Schemes: Okay, so this has the color wheel. The color wheel has 12 colors. So the color, the colors go around in a circle and they show us relationships. So it's important to have a color wheel or to make a color wheel. So the color at the top is yellow. It's the lightest color. Then on this side are the warm colors. So I'm going to go to yellow, orange, orange, red, orange. We're going to put some orange in there because that seems a little too dark. I'm doing this again in colored pencil because it's neater and I'm going to use it later when I'm drawing red, red, violet, and yellow green. I just put some yellow in there that may be a little too dark greens. This is kind of a darker green, so I'm going to put some of this in there as well. Blue, green. I'm actually mixing with the colored pencil. Maybe a little more blue in it. Blue, the violet. And divide it by. Let us, well, let's see what I can do. It's going to be small because this pencil is kind of, it's it's too small to sharpen. Okay, so now I have my color wheel here. So basically this is the top, this is the bottom. Then you have two in the middle and two in-between. Okay? So if I get a pencil and I make a triangle right here, this shows the relationships between colors. Yellow, blue, and red are the primary colors. Those colors cannot be mixed. They're found in nature, and all the other colors on the wheel are mixed Between these three colors, if you're going for a split primary, you can use a warm blue and a cool blue, warm red and a cool red and warm yellow and a cool yellow. But just for right now, I'm just going to talk about the relationships. So on this line, these three colors are mixes of red and yellow. So yellow, oranges, yellow with a bit of red, oranges, equal parts, yellow and red. Red orange is red with a bit of yellow between these two lines. These two colors off of this line, these three colors are mixtures of blue and red. Violet is blue with a little bit of red. Red, violet is red with a little bit of blue. And violet is equal parts, red and blue and same here, blue and yellow. These three colors are mixtures of blue and yellow. So yellow, green is yellow with a little bit of blue. Green is equal parts. Blue and yellow. And blue, green is blue with a little bit of yellow. Colors that are equally mixed are called secondary, so they form a triangle in the opposite direction. So if I come down here, green and violet and orange are the secondary colors there, each formed by a mix of two of the primary colors. So again, the primaries are red, yellow, and blue. The secondaries are orange, green, and violet. Now there's colors in between a primary and a secondary. So yellow is a primary, oranges a secondary in-between you have yellow orange, which is Part yellow in part orange. This is called a tertiary color. So there's six tertiary colors. The prime in the name you see both the primary and the secondary, yellow, orange. The primary is always first and there's a dash. So red, orange, red is the primary, right? So the tertiaries are yellow, orange, red, orange, red, violet, blue, violet, blue green, and yellow green. This is the lightest color. And as you go down this way, they get darker in value and this is the darkest color. We also have a value of color charts. There are certain harmonious color schemes that people use in drawing and painting. Right now, I just want you to be able to identify the harmonious color schemes. So there are six. We're going to use them later. So monochromatic is one color. You'd be any color with tints, tones and shades. So blue, blue with white, with gray, blue with black, maybe some white black and gray. And that would be the whole drawing that would be considered a monochromatic join, and it would be considered harmonious, complementary colors. How do you find them? You go directly across on the color wheel. So this is a complement, yellow and violet, blue and orange, they're opposites. Green and red. Tertiaries can also be compliments. So blue, violet, and yellow, orange are complements because they are opposite from each other. On the color wheel. When you put like a blue thing next to an orange thing, the orange thing will stand out because blue is the opposite color, a triadic color scheme. So if I go back to this, I'm sorry, a complimentary color scheme would be compliments with tints, tones, and shades of those colors. That is another harmonious color scheme, triadic color scheme. If I go back to my primaries with red, yellow, and blue. This is a triadic color scheme. It's forming an equilateral triangle. It would include tints, tones, and shades, but you can rotate it. So you can rotate it to the position of secondary, which is green, violet, and orange with tints, tones and shades. Or you can rotate it one over. So it could be yellow, orange, red, violet, and blue green. That would still be triadic. Though every color scheme includes tints, tones, and shades. Split complement. I'm going down for a second. So split complement would be like if you wanna do yellow and violet, but you want a little bit more of a like variety. You would, you're splitting the violet into the two colors next to it. So your split complementary scheme would be yellow, blue, violet, and red violet. Ok? This triangle is giving me a split complement scheme and it can be rotated anywhere on the wheel. So if I rotated it over one, it would be yellow, orange, violet, and blue. And that will give you a split complementary color scheme. That's including tints, tones, and shades. Double complement is two sets of compliments, which forms a square or a rectangle on the color wheel. So if I choose red and green and orange and blue, that's gonna give me a rectangle. This rectangle can be rotated, right? So that would be two sets of complements. There would be an X in the middle plus tints, tones, and shades. If you rotate it over one, you could do one with tertiary. So like red, orange, red, violet, blue green, and yellow green would also be a double complement scheme. So it's basically two sets of complimentary colors. And analogous would be like colors in the same family. So red, orange, red and red violet, three or four colors that are next to each other on the color wheel. They're in the same family, plus tints, tones and shades. It's a lot of information and I'm going to do exercises with it later. But this is what you need to get down first. So again, primary colors are red, yellow, and blue. All the colors are mixed from them. Secondary colors are mixes between two primaries, orange, green, and violet. Tertiary colors are a mix between a primary and a secondary. The six harmonious color schemes are monochromatic, complimentary, triadic, double complementary, split complimentary, and analogous 3. Neutralizing Color Charts: I'm back with another Color Charts. So this is for neutralizing colors. So when you get Colors and Chalk colored Pencil, they're very bright. Sometimes you want to use bright colors, but sometimes you want to use colors that are neutralized or dull down because you want the bright colors to stand out next to them. So I'm going to start with, you can pick any color you want. I'm just going to pick a regular blue. So one way you can dull a color down is by adding white, gray, or black. When you add white, the color is called a tint. So if it's blue and white, the color is a tint of blue. If you add gray, the color is called the tone. So if it's blue and gray, It's a tone of gray. If you add black, the color is called a shade. So blue and black is a shade of blue. So for tint, I'm just going to start with regular blue. Then I'm going to press a little bit less here, a little bit less here, and a little bit less here. And then I'm gonna get my white. And I'm going to add, oops, there was read on that. Sorry. I'm going to add a little bit of white here. Little bit more white here. I'm gonna come back and with the blue because that red is bothering me. And more white here. And so tints are kind of Pastel II. And then the last one is just going to be white. You can put white in the box or just leave it white because it's already way. I'm gonna make this a little bit later. Okay. So those are your tints. The bright color is very what am I trying to say? Hi. It's very like it catches your eye, right? And as you add white to it, the color gets duller and duller and duller. It tones down. It's the same for black and gray tone. Is that in gray? Remember, like the reason that we're doing this is because when you're working in black and white, you just have one value scale. But when you're working in color, you open up the world to like so much, so many more combinations, so many more choices. So it's important to learn how to use them. While I'm doing a white granite block, There's like that. I could do like ten or 15 of these because there's a gray in between here and a gray in between here. So I'm going to do the same thing here. Just adding less and less flu was I go this way. And then I'm gonna get my gray and I'm kind of just using the middle gray. The last one is just going to be sure gray. I'm going to come back and with the blue. Okay. That looks kind of okay. The last one is gonna be black. So, okay, this is neutralizing towards the light, neutralizing towards medium and neutralizing towards dark. So I'm doing the same thing here. Then I'm going to get a black in the blank is gonna be stronger. It's going to have a higher tinting strength, meaning it's going to overtake the blue very quickly. So I'm trying not to put that much. And this is just going to be black. Okay? So I'm gonna come back in with the blue. I'm just adjusting this a little maybe a little more here, but not that much. Alright, so there you go. Those are tints, tones and shades. And remember there could be something in between here and something in-between here. That is one method that you have of neutralizing colors. Other Method you have is by doing mixing with complement. So adding the complement to a color. So that's the opposite on the color wheel. So red and green. Green, a complement is a Primary Color and the secondary color. So here red is the primary, and green is the Secondary, which is a combination of blue and yellow. So when you go towards the middle, you should get a color that is kind of like gray or black because you're mixing all three primaries. So I'm gonna do red here and green here. So when you add the complement to a color, you're immediately doling that color down or neutralizing it. So I'm gonna put a little tiny bit of green here. And I'm going to put some red over it. I still want this one to be mainly red. But it's now more of a dull or grayish red. And sometimes you want that color, right? Sometimes you want a double red. You don't always want bright colors. So I'm gonna come right here, put in a little bit of red, and then put in mostly green. So now I'm doling down that green and in the middle I'm going to try to do equal parts to get kind of a gray color. So there we go. This one needs a little bit more green. So one way to neutralize is by adding white, gray, and black. And another way to neutralize is by adding the complement. So the sets of Complement are red and green, orange and blue, yellow and violet. But you could also do Tertiary. So you could do red, orange, and green blue, right? But I'm just doing the main ones. You could do. Yellow, orange, and blue, violet. You could do whatever Tertiary compliments there are, you could do that as well. So I'm going to start here with orange. And I'm going to go blue over here. So here I'm gonna put a little bit of blue. And this one is mostly orange, but I wanted to dull the orange down a bit there that did dull it down, but maybe a little more blue in there. Okay. And then here I'm going to put in some orange and mostly blue. So I'm drawing down the blue with the orange. Since it's the opposite two primaries, it kinda brings it into a gray state. And then here I'm going to try to do equal parts that needs a little more blue on it. The reason that they look different is because we're not perfectly gray, but actually these two look pretty good, is because these colors are not exact opposites. Like this might be a little lighter than this, right? Something like that. So now I'm gonna do yellow and violet. Whoops, that had a little bit of green in it. So there's my yellow and there's my violet. In the sense of complimentary colors. So people use complements. They put them next to each other to make the color next to it stand out, right? These are about the same brightness or lightness value. These are about the same value. And this is the set of complements with the highest contrast because this is the lightest color and this is the darkest color. So I'm putting the little violet right here. And then I'm gonna put some yellow on here, not the darkening. And doling down the yellow. Then I'm gonna put a little bit of yellow right here. And mostly violet on this one. Since the violet is darker, it's going to have a higher tinting strength or overtake the yellow quite quickly. But that dull down the violet and in the middle I'm gonna try to do equal parts. That doesn't, I'm trying to make that kind of even it doesn't look quite even. Let me put some more yellow on it. This needs this one got kinda looks the same as this woman out a little more violet to this and a little more yellow to this. Okay? So I think you've kind of understand and remember you can do it with Tertiary. These are primary and secondary. So in Theory, if you mix the three primary or the three Secondary, I'm gonna do it with primary, red, yellow, and blue. You should get a gray or a black. So let's try this with yellow. And that's the same thing you're doing here because each of the Secondary Colors here is a mixture of two primaries, yellow, blue, and red. I'm going to add some more blue to that. And some more yellow. I'm getting kind of a grayish color, but not really a black. So you could also do it. I'm gonna do one more with the secondary colors. Orange, violet in green. So I'm gonna go green here. And here. I'm going to go violet here. And orange here. When I'm getting a grayish color, but not really a black, but these are just things for you to start internalizing, learning, and practicing. So you can mix colors correctly. When you start to use color in a drawing or a painting, it's really important that you understand this first 4. Split Primary Color Mixing: Okay, so in drawing and painting, color is very important. And learning how to mix the colors is very important. In this class, I'm gonna do a series of videos where I'm teaching you about color mixing. And basically it's gonna be Charts. And then later on we'll use those charts in different kinds of Art. So when you get chalk, charcoal, or paint, because this, this applies to painting two, I'm going to use this for painting later when I do painting classes. But usually you see people with a primary, three primary colors, red, yellow, and a blue and then mix all their colors from that. I don't know how advanced your or if you even know how to mix the colors, but it's important to know how to mix them. So then all the colors are mixed from the primary colors. So basically, I'm using chalk instead of Colored Pencil because it mixes better. So the normal thing that you're taught in school is you mix all the colors from primary colors. So you have a yellow and are red, which makes orange. This is a very simple short lesson. And then when you want to make the orange, you put not a lot of red on there because the red is darker than the yellow. It's going to overtake the yellow. It has a high tinting strength, referring to paint or Chalk. So there's gonna be more yellow in this mix. So I'm gonna put the yellow on there. I need a little more red, but I didn't want to overdo it. And then I get kinda my orange color. Color mixing takes a lot of time. It's a lot harder than working in black and white, so will gradually move into it. Okay, so there's the orange, right? And then red and blue make violet. So you have a red and a blue. I recommend that you make these just for practice. You could do them all on one piece of paper. So I'm gonna put my blue here. These are kinda the same value of darkness or similar. So one of them's not really light like the yellow, so you could probably put in about equal amounts. There's kinda my violet, you can have to mess around with it. And this applies to paint as well, which we're gonna get into later. And then blue and yellow for green. Yellow still has a bit of red on it. And glue. The yellow is lighter again, so I'm adding less blue to make the green. Okay, so there's my green. But I'm not really happy with these colors. So another, so this is Primary Color Mixing using three colors. Another system that you can use, which is the system that I used for both drawing and painting. Of course, before I show you, you can buy colors like orange, violet, green. I have a green piece of chalk, but you want to know how to mix them and you want to be able to see differences in between colors in case you ever have to. Instead of having to buy them right. There's nothing wrong with using the pre-made green or a pre-made violet or a pre-made orange, but you want to know how to mix them in. Katie wanted to get something different. Now, I'm going to split Primary. So for this, for my blue, I have like an ultramarine blue and kind of a turquoise. I have two different yellows and two different reds. So this is how we mix with split Primary. These are called warm and cool blues woman, cool yellows and warm and cool reds, which we're going to learn in each video, little different aspects about the colors. So when you get to the end of this class, you'll have a really good understanding. I recommend practicing in the red. This red is kind of orangey. This is the warm red and this red is kind of magenta or leaning more towards violet. So that's the cool red. This yellow is more towards green, That's the cool yellow. This yellow is more towards orange, That's the warm yellow. This yellow, this blue is more towards violet, that's the cool violet. This flu is more towards green. And that's the warm, I'm sorry. Excuse me. This is the cool blue. And this is the warm blue. So this goes towards violet and this goes towards green. Now, when we make the color wheel will be able to see a little bit more about that. But the reason that we have the two different strains of each primary color is to help us with Mixing. So if you're mixing, if you're mixing something that's close on both ends, then you're gonna get a better mix for the color you're trying to mix. For the orange, I'm using the warm red and the warm yellow. The reason I'm not writing color names like magenta or this could be like turquoise or cyan, is because there's different names for each product. So some might call it like, some might call this ultramarine, some might call this blue. Some might call this seance cyan, some might call it turquoise. Some might call this magenta, somewhat colored rows. So I just want you to be able to see them and pick them out for the warm red. I'm using the read. It's the same red I used in the last one. And then I'm using the warm yellow, which is different. This yellow is more orangey than this kind of cool yellow. So, so these two colors are closer together on the color wheel then when I use the cool yellow. So let's see how the orange looks. Again, this is called split Primary. Again, not too much red. And there's not like there's a couple of different warm yellows, There's a couple of different warm reds. So there's not a right or wrong read to use for this. So if you compare the two oranges, sorry, this one looks more warm because it has the warmer yellow. So let's move on to the violet. For the violet, I'm going to use the cool red and the cool blue. So I use the cool blue before. But I'm going to use the red that looks a little bit more like pink or magenta. It's leaning towards violet. So this is a cool red. And you can see the difference between this red and this red. So since it's leaning towards violet already, it's gonna give me a better violet. Let's take a look. This violet looks a bit muddy and then this looks more bright. So you're getting the reason I use the Split Primary is because I like the bright colors, so that's a very nice bright violet. Then I'm going to go into my green. So I'm going to use the turquoise and the cool yellow. Just the yellow I used last time. So you can see the difference between this blue and this blue and this yellow in this yellow. So this is my warm blue. And this is my cool yellow. So these both lean more towards green. So I'm going to flip this Color and then I'm going to use this yellow. Put a little bit more of this on top. And I'm getting really kind of nice, bright green as compared to this green, which is kind of muddy and olives. So I use split Primary. Again. It's for my Color Mixing. It's two blues, a woman, a cool, two reds, warm and cool. And two yellows, a warm and cool. I'm going to stop this here. 5. Oil Pastel Drawing 1: Okay, So the first color Drawing that I'm gonna do is with Oil Pastels. I have them here. I'm using a piece of paper that's a little bit reddish gray. It's warm. And I'm doing I still-life or fruit that I have set up on my table. You can see a bit of it there. I'm going to try to start doing Objective Colors, meeting the real colors that I see. And I'm getting out a couple of colors that I'm going to use. I drew it in first. So this right here is a P. So I'm just getting some colored. I'm going to use some yellows and oranges and some reds. So I'm gonna do three drawings and oil Pastel, a Chalk Pastel, and a colored pencil. Just so you can see the different mediums I'm doing. Realistic colors are Objective colors right now, which is the colors that I see. I'm not trying to change them, which is something will learn about later. So these, I don't know if you've ever used these before, but they're there Oil Pastels, pseudo basis oil. They're like crayons. But there are more oily than cramps. I'm just putting in some areas of yellow where I see them. And then I'm going to blend, getting some orange. That was kind of a red orange. This is moreover regular orange. So I'm blocking in areas of Color right now before I tried to blend. So I'm just looking at the pH on my table and blocking in areas of Color. It's gonna be much more blended. I'm just getting some basics in here to help me get started. So basically I'm just looking at it and I'm looking for areas of yellow. Yellow, orange, and orange. Okay, that's my starting point. It needs a lot more blending, but I'm just getting a color in and i'm, I'm the type of person and I do recommend this. I don't like to just focus on one thing, then focus on another thing. I like to get a whole layer down and then go in and do another layer where I'm adding detail because that way you're working around the picture. So right here I have a green pepper. I'm just getting some greens out. I think are going to help. And I'm going to block in colors, sorry, I just dropped something. So I'm going to use, I'm going to start with the light green. This is like painting. I'm gonna do a series of painting classes as well. But if you do painting, it's similar to painting in the, in the sense that you're layering. So you're kinda blocking in what you see first and then later on, you're adding more. So you're kind of going from blurry, too focused. The pepper is a little bit harder than the pH in terms of the shape it has folds in it. And a lot more curves Can I, Using wine to delineate the curves, which may or may not be what I use later. Kinda wraps around in the stem, comes out in the middle. When I drew it, I drew not that much level of detail, more of a generalized shape. And I'm still doing that right now, except for that I'm doing it with color. I'm putting color in the general shape and in this second layer, I'll add more detail. This is a lot harder than drawing in black and white just because you have so many more choices and you have to make them work together. You can't really erase this. So if you're using this, be careful. I'll show you what happens when I tried to erase it. A client comes off. It's just it's oily and greasy, so you're never going to true, we get it off. Began. The colors are gonna be modified. I'm just getting kind of a general thing in here. And then I'm gonna take a look at this. In here. The stem comes out and that wraps around the stem. So I'm trying to make a shape for this stem that's in the middle and what it's coming out of. Okay. Alright. And then it wraps around behind that. I tried to erase that, but then I just put it back. So this needs a lot of work, but this is my first layer. Again, this is something that requires a lot of practice. No. I'm just talking about how is he didn't lose. If you have paper again, you can leave parts of the papers showing. Okay, so now I'm looking at this is a red pepper, this is like a flower pot and this is a lime. So since I have my green out, I'm just going to delve into the line for a second, but I'm probably going to change the outline a little bit. It seems a little off to me. Can actually see the line right there. And I'm actually going to learn how to get a photograph on the video, but not there yet. So just bear with me. Just trying to change the outline. I feel like it was taking up a little too much space. All right. There's kind of a yellowish area up here, but now it's turning brown. I'm gonna leave it yellow. Put in some light green. Bring that down here a little bit, and some darker green. All right, that's kinda my line, but that may need a little bit more work out over here. And then I'm taking a look at this red pepper. So I tried to put like cool colors, warm colors, cool colors, warm colors, compliments. But you don't have to organize something in that way. It's just something I tried to do to make the color stand out and then I tried to put it on a warm piece of paper. And in this red pepper for the lighter areas, I'm going to try to Let the paper show through. Again. I do have to say that black and white is much it if you haven't done Color and you're just delving into this, it's gonna be a bit of a transition. Black and white is a lot easier because you don't have so many things to choose from. And while right now I'm just blocking in the regular colors that I see. They have lights and darks on them. Then I'm going to have to work on when they add detail. And here again, there's a stem that's sticking out. Just trying to get this shape right. I didn't really define it that much with the Pencil. Okay, So let me get my green for the stem. Okay. I'm gonna leave it like that because I'm going to leave some of the pink paper showing. And then I have a spot behind that brown ish Beijing fish. But I want to leave maybe some of the pink paper showing us while on this. Just getting started here with a color, changing the shape a little bit. So as you're drawing, you're always changing things. Again, this is my first layer, just trying to get some color on here to get started. These are realistic colors, so Objective Colors, the actual Colors of what I'm drawing. Okay? So these objects have shadows. So there's Objective Colors. I'm sorry, I'm going on a lot of different tangents, but there's Objective colors, which are the real colors that you see. And then there's subjective colors, which are colors that an artist uses to just create kind of their own kind of interpretation. Like a blue person. So again, these are, That's something you should know. So these are Objective Colors. I'm putting in the cache shadow of the Objects. You can't really see that because I don't want to. I'm kinda, it's really liked. This is my first print a test run of this to see how it looks. Okay? Alright, I'm gonna stop this video and restarted 6. Oil Pastel Drawing 2: Okay, so now I'm going to add some more detail. And I think I'm going to start with this pepper. So there's areas of the pepper that are darker. So remember, you can make something darker by adding a darker color, by adding black, by adding a dark gray, or by adding the complement. In this case, I'm gonna go with a dark green. Just for these kind of dark crevice areas. I'm slowing down now. I'm not drawing so quickly because I'm kind of trying to get some detail in here. Okay. So then I'm going back to the green I was using and I'm kinda blending into it so that doesn't look like such an extreme dark green line. Okay. I'm going to slowly work on this pepper and I'm just since I have the dark green in my hand, I'm just looking for areas of dark. And I'm also seeing if I need to redraw certain areas that I'm putting in. There's kind of a crevice right here. So it's kinda darker. So I'm just putting that in and I'm bringing this back over it to kind of blend. So these will blend by doing layer over layer. Okay. Really nice town is going to take you quite a bit of time. At least an hour and maybe more. It's not perfect. It's going to take me awhile to kinda get it there. And I'm trying to, I think I want to take a look at this stem right now. Don't oil pastel is a little bit more time-consuming than the chalk pastel. Okay, so there's a stem right here and then there's kind of, I don't even know what this is called, but there's something around it that it's sticking out of. And this is a bit darker. So I'm gonna go dark around the stem. I'm just looking at her trying to figure out where the next thing is going to be. Some here I'm just looking for areas that are darker right now because I have the darker value in my hand. And I'm just focusing on the different parts and the crevices in the pepper before I do. Anything else. Still needs a lot of work. But as you can see, it's slowly kind of evolving and getting a little bit more detailed. And peppers are quite challenging. So maybe an apple would be an easy place to start. But by all means, do a pepper if you want to challenge yourself. It's trying to get the right shape for the background. Okay? That's still needs a lot more work actually, but I'm happy with like kind of delineating it. And I'm now going to look a little bit more carefully at the darks and lights and the different parts of the pepper. So like I kinda just blocked it in really fast. So I'm kind of going through each part and kind of seeing how the darks and lights should what this green is quite bright. So I'm going to try to go down with this gray green. And remember you can draw with black, white, gray or the complement. I want to blend like one of the problems people have when they start drawing this, like they see a light year and they see a dark here and they just leave it like that. Instead of blending it together because the surface is curved. So it's not going to look like a stripe of one value and then a stripe of another value in color. It's going to kind of blend together because I wasn't that great. Okay, so since you're layering this on, it's harder to it's it's easier to darken than it is to lighten because this is pretty heavy kinda stuff, right? And if you want to lighten it, you're going to have a bit of a problem if you went really dark. This part is lighter. I'm not totally like ecstatic over this pepper, but it's getting there. We're just blocking in some light green because that's gonna be kinda my base. If I see highlights on it, I'm going to add some white later. But I'm not going to let the pink paper show through here because the pink is not a color that's actually on the pepper. If there was a white paper, I might let it show through. So it's not that noticeable. All right. So you're doing a lot of layering and a lot of blending. I'm going to go dark in here. Then I'm going to add some of the gray green to kind of dull it down Alright, this is by no means perfect. But it's kind of starting to look like a pepper. I'm just looking for areas that are darker than other areas and trying to block those in or blend and shade them in. And I just I'm gonna work around it. That's that could use more work, but I'm going to leave it because it's like kind of someway done. And as I said, I like to work around the picture. So I'm just figuring out what I'm gonna do next. I'm going to delve into the pH a little bit more. And I'm just putting in the darker red where I see it. It's a couple different colors. I'm just looking for areas that are darker and the shading that I'm doing, I'm trying, I'm going with the contour of the object, so I'm making cross contour lines within the shading. And that's going to help show that it's round. Just when you stop, I'm kinda looking at it and trying to figure out what I need to do. I'm getting more of a red orange. We're bringing it in over here. This part is a little bit later. And then I'm gonna get a regular orange as opposed to a red orange and kinda lock in some areas. I'm just, I'm thinking to myself, does it look too bright? But I'm gonna kinda get the basics in and then decide that maybe on another layer. But it is actually pretty bright, so all right. I mean, I I'm okay with it for right now. Now I'm going to take a look at this. And I'm looking for areas like this is an area that's darker And I just noticed that this looks a little lopsided. Straighten that out a little bit. Okay. I'm just starting with this color, but it's probably going to change a bit because there's not a color like the color of the part that I'm doing. So I'm just starting with this for the darker area. And then we'll see. This is going to have to be a little lopsided to me for some reason. Okay. That's even more lopsided. Hold on. Well, that's going to have to do. So anyway, this is pretty time-consuming, but it is also relaxing. Okay. So little darker under this. Okay, so now I need to leave that alone for a second, that it needs a little bit more work. But I'm going to take a look at this pepper right here, the red pepper. And I'm just looking for areas of light and dark again. And that pink is probably too light to leave the page. Leave as just the page, right? Which is what I was thinking before. I can not press as hard and leave some of the pink showing through. But I'm going to have to come up with a way to make parts of the red darker. So I can go for a compliment, but I'm actually going for a Pi way because it's a darker color. I'm just going to test it out here and see how it looks. I could also use black, but I think that might be a little too extreme. Can't really well, you can see it. Let me try one other thing. I'm trying I want to try this and just see if that's true. Well, that's a starting point. So you can go back over the dark with the red to kind of blend it back. Maybe a little too dark. Still needs a bit of work here. But it's going to take me a bit of time. Well, I have this dark color right here. I'm actually going to look at the cache shadows for a second. Because they need to be darker. And this is blue. I may add to it later I'm probably most I'm probably going to add to it. I just want to get something in there that I can see. That's too bright. All right, That looks better so far. I'm going to go back into the red pepper for a second. I'm looking for areas that are lighter and darker. Okay. I'm gonna come in with the violet to see how that works. Doesn't seem quite dark enough. You try the blue again. I just don't want it to get too dark so I can't fix it. So that's kinda of a shadow on the pepper salt, right? Doesn't look great. Let me take a short little look at this step. Okay. It's trying to block this in here. Alright. Looking for areas of light and dark. And I'm gonna get my bright green here. Kind of house like a, I don't know what this is part of that bottom part of the stem. Okay. I'm gonna put some bright green in there just as a base color. And then I'll see what I need to do to it. That's the starting point. Let's look at this thing. Over here. It's actually coming along, but it needs a lot more work, but It's trying to figure out what areas are darker and what areas are lighter. I'm going to come in here with my violet. Violet is, it's kind of so similar to the red that it's kinda hard to see. But I'm going to start with the violet and if I need to go darker, I'll go into the blues. I'm looking for areas that are darker. Orange shadow. Alright. And I actually am going to stop and restart because I don't, if I do my videos too long, I can't reformat them. So I'm going to stop and restart 7. Oil Pastel Drawing 3: Okay. So actually, I mean, it looks better than I expected, but it still needs some work for me. I take a look at the lime. I'm going to come back into the pepper, come back into this, and then now I'm gonna get my lighter green. So again, be sparing with when you're going dark because it's hard to lighten it. This one needs some some work. I'm just looking for areas of light and dark. Brian needs more work, but let me leave it alone for a second. I'm actually probably going to I always say I'm going to leave it alone and then I start messing with it, just putting some green over that yellow. And then I'm gonna go into these cast shadows. And these cast shadows need work. Okay, so now I'm actually getting out my black because the cache shadows are too bright. They're usually darkest right under the object. So some people would use like the orange and blue, the orange of the peach to make the cast shadow. And then the blue, which is its complement, which neutralizes and turns into a gray. So I'm trying to get the black at least right under the object. And that's kinda looking, I like to cast shadows That's looking better. All right. So I'm going to make a line. Then I'm, I'm kind of imagining the table because the table that I'm on the line, you can't see it because it's such a large table. But I'm imagining a line about right here. I'm going, you could, you imagine a line? You could go straight across or you could go diagonal? So I'm putting in a table line. Alright? And I'm thinking to myself, but I want to leave this pink showing here, right? Because that way the cache shadows are showing and they've come out dramatically. But what color do I want the background to be? I'm gonna put in some black here. Maybe not over the whole thing that I think it's going to make. This shakes. The colorful shapes. Stand out. There we go. I'm not done. I just, as I said, I'd like to work around the image. I highly recommend it. Because if you focus on one thing and don't put in others that are related in relationship to it. You kind of things might get off when you're moving stuff around, you're adding detail to other things. So I'm probably gonna do some black but leave some of the pink paper showing in the background. But I'm definitely going to do black around the objects above the table. Yeah, that makes them stand out much more. Okay. And above this line, so you can see a differentiation between the table and the background. And I made you more with it. I'm just this is a starting point, I guess. Right? Yeah, that's my starting point. I need to take a look at this and I'm gonna, I'm gonna go into whole thing with brown and then add another Colored for the dark areas. I'm just thinking to myself, I'm gonna get some purple. Let me see how that looks. Again, the purple is so light. I'm gonna go back into the blue. So one thing that's going to create Harmony, since I have this blue here, and I'm repeating it over here, that's going to show repetition and Colored and create some Harmony. And the color of the drawing. So repetition is something that creates Harmony and I'll do a whole series on color harmonies. But can we like that? I'm talking to myself, but I'm just asking a question that I would ask to figure out if I think something's working out in the Drawing or not. Do I liked a darker brown? Do I like both? Okay. I'm looking for areas of the pot that are darker. And I'm starting the blue might be too extreme, but I mean, I can't fix that, so I'm starting to just put it in put the darker areas in with a darker brown. This is like this is like the delineation of this, but you're seeing it through the inside. I don't know. The pot needs work. So this takes time. Some other things did you do? You're going to like some of the things you are going to do, you're not going legs are going to have to be patient while you're learning, longer practicing, or while you're drawing. All right, Chem going to come back in with my blue. Alright. Alright. Just again, looking for areas that are darker. I'm not two are I don't know if I'm really happy with the way to potlucks right now. But I'm gonna keep going and see what I can do. I'm going back to this kind of reddish brown that I started with and maybe putting that in a little bit stronger and some gear as well. Okay. No, I'm it needs work. But one thing is I so I'm looking at the vegetables and I'm thinking which needs, I'm actually, I think these two look kinda really. I mean, not perfect, but they look pretty good so close. So I'm going to look at this red pepper and the wind to start. And I'm getting more of an orange or red for the lighter areas. There's also highlights. So I'm trying to VFA some of the paper showing but only for highlights like where the light is hitting it and it's really making it look almost white. I'm just kinda looking at it. Okay. Okay. So I'm gonna come back with a dark in here. I'm going to have the blue and the purple out. And I'm just going to kind of putting my shadows And look for my dark areas. And I can go back over it with red as well. Okay. I'm just looking at it to see how I think it looks. Like if it's kinda go into the right direction, basically, sum right here. I think it's starting to look better with the blue. You can get frustrated one year when you're learning to draw, because you can do a lot of things that may not kinda turn out the right way or the way that you thought they would. So you just have to use trial and error. Fortunately, I have some experience with color, so I'm making educated guesses. But when you're drawing, you're going to start doing stuff and you'll find out what works for you. Like now that I'm thinking to myself, what I was thinking to myself is that since I put the blue in here on the go in here, I can also put the blue in here, in the blue in here and the whole harmonize the colors. But give me a second because I'm not quite ready for that. I need to enhance some of the red on here or deepen, or kind of just make it look more uniform. So again, this is our first lesson in color. I'm gonna do quite a few because I actually really, really light color. But as you delve into it, you're going to figure out if you like color or black and white better and what you're better off, you're gonna have to practice this. This is kind of, it's a bit challenging and there's a lot to learn. But you're gonna find out what combinations you're good at. So like some people, like, what am I trying to say? You can learn anything by practicing. But some people they like automatically have a natural talent for color when they start their work. Some people have a natural talent for like portraits. You're going to figure out what that is, but you can also, I truly believe you can get better at anything with practice. I, I believe that I just believes that some people have like a gift for certain aspects of Art. That's like kind of obvious when they start working, just like when you send kids to school. Like some of them are like really good at math. Some of them are really good at English. Same thing with Art. Some people who are just naturally really good at color. And some people have to work a little bit harder for it. But anyone can get really good at anything with practice. It's just, it's gonna seem a little overwhelming at first if you haven't done it before. I don't know. Any of these that heparin alone for awhile. Okay. So I'm gonna come back into the wine, put some of this blue in it. Is don't feel like I'm making it any better. I'm, I'm pulling more green with this. Alright, this definitely needs, I mean, I'm not going to take up hours and hours with this, which I could because if I was left to my own devices, I can be a bit of a perfectionist at certain times. Um, which is good if you're an artist to do that. But within reason. And also you guys kind of understand the concepts so you don't want me to see me fiddling with it for hours on it. Okay. I mean, I don't know if I'm happy with this pepper or the line, but I'm going to come back into the pot because the pot doesn't look so great. So I'm gonna come in with maybe some black. And I'm gonna come back in with my red brown. I'm actually going to just do kind of going over the whole thing with the red brown and pressing harder. Just it just I don't like the paper showing through this. I thought it was going to look really good, but it didn't. So I'm going to come in here with some black and try to make it with a little bit better. So it's time-consuming. And sometimes you can get frustrated because you'll be working on something and then you'll say, Well, I just messed this whole thing up. And I spent two or 3 h on it. And that's a part of the process. But if you do it enough, you won't mess that many things up. Looks better. Okay? I'm going to agree. I'm going to make this black and the background a little bit darker. Just to make the objects standout a little bit more. And two and delineate the edges. I'm trying to have it fade into the paper in the background. And just, I mean, I don't want to make this video too long. So I mean, you kinda have the idea, but I'm gonna come back in here with my regular, the little bit of a little bit darker brown than the red brown. Kinda put a little bit more about in. I'm not really happy necessarily with the pot, but, you know, I'm doing my best. And then I'm gonna come back into the pepper with the red orange and some of the lighter areas. And, you know, I don't want to mess it up anymore and it's taking me, it was soul destroying has been over an hour. And I could probably spend another hour on it, correcting it and making it nicer. I'm just going to go a little darker right here. See I can start seeing something. I'm messing with it, but just to get the idea, it's not perfect. It took me probably about an hour-and-a-half with blocking it in beforehand, which I didn't put on video and their use. So you can do that with any Objects or fruits you have at home. I would keep them easier if it's your first time 8. Chalk Pastel Drawing 1: Okay, so I'm gonna do the same fruit, but here I'm going to use chalk pastels. I laid out some of the colors that I might want to use right here. So these are a bit messier. I'm going to move them. I just got them out beforehand trying to plan out my drawing. I still have simple pieces of fruit and vegetables. Am going to start blocking in large areas of color. So for the chalk pastels, they're a little bit different from the oil pastels. You can, you can kind of make a mistake, erase and overlay. They're a bit messier though. You'll see as soon as I start working with them. So for the lime, which is right here, I'm just going to start it out in a base color. And it rubs with your finger. I'm not pressing too hard. I'm going to overlay here. So I'm starting it out with a nice light green, yellow, green. And I'm just blocking it. Okay. It's not on this really light green. It has darker areas, but I wanted to put the light area in first. Now I'm putting in a bit of some darker green. This is just really getting started. It needs a lot more work than this. Okay? So let me take a look at my peach done. Just moving it a little bit. So I'm gonna start out in a maybe a yellow, orange because that's the lightest color of the pH. And I'm just going to block that. And this is a little bit time-consuming. I still had a little green on my finger and it got in there. So this is kinda messy. You're going to have to, it's messy. It's flies all over the paper and you have to wash your hands afterwards. It sometimes gets on your clothes, but it washes out. Just blocking in color. See how the green is still in my finger that got into the orange. Another thing that you can do is rub. I have Q tips here for rubbing. I usually use that for more detailed work, but for large areas you can get a paper towel and rub the drive. Okay, so now I'm going to my pepper over here. And I'm going to start out, let's see. I want to see what this color looks like compared to. This is pretty much the same. So just getting in a general light grade and then I'm gonna put in some darks over that. Hold on a second. I just moved it a little bit. Just getting a generalized background color This is a bit messy, but it has good pointing capabilities. Alright. I'm gonna get some more colors into both the pH and the pepper. So I'm gonna go for a red orange here. I'm just looking for areas that are a bit of a darker red. Then just blocking them in and we're going to focus on blending. But first I'm trying to get what colors I see into the image. So again, this is chalk pastel. It could be called soft pastel. Similar things are konnte, which is wax based, but it has the same thing. So this is like charcoal, but it's in color. That needs a lot more work, but just a starting point. And like I don't want that orange to get on the green pepper. So I'm just going to be careful where I'm rubbing. I'm putting in some darks here. Yeah, I'm looking here at this area. Okay. So that needs a lot more blending. I'm going to take a look at some of the cast shadows right now. I know I need to do more work on that. I'm thinking of working with Navy, some sharp colored charcoal pencils, but let me get into some cache shadows and I'm going to start in purple. So sometimes in this cash-out of others, like since maybe there's more than one light on, it's kinda seems like there's one crossing another one cache shadow is darker than another. But I'm just going to get these in here. And I'm going to do some right here. This one is going to be lighter. I still have more work to do on that, but I'm just putting in the major shapes. There's another one with crossing, so it's kinda crossing into this one. And then there's another layer down here. So a little bit lighter. I'm going to enhance this. I'm just getting a starting, I start right now. Okay. So let's take a look at This is a powdery, so it kind of wraps around on the page. You can get hard ones or softer ones. All right. Just so you can see how the Q-tips work. So I got these Q-tips. Some people will use blenders. You can use blenders or Q-tips, so it kind of rubs it into the paper. Same thing you're doing with your finger. When it gets really dirty, I just throw it out. Okay. And let's I turned it around. So that's the purple side. So I'm going for an orange side because I want to blend this a bit. It still needs more work, but I'm just kinda blending the colors I have on here. It looks a bit better. So now this one's dirty with orange, but I have the purple side and I'm going to keep blending the shadows for a minute just to kind of get them a little bit blended. They do need more work just as just one step. Okay, so now let me see if I have this. I have a black and white charcoal pencil, but there's also these which are charcoal pencils in color. I just wanted to see how that looks before I use it. I'm actually going to blend these first. I use, I'm using another cue tip right now. Okay, So I'm just thinking to myself, do I want to use up the lack on the actual things? And I'm thinking the black is two. It's gonna be true dramatic for this, but it's not gonna be too dramatic for certain areas of the shadow. So I'm using a black charcoal pencil right here. So where I did this crossing in the shadow, this part was darker and this part was later. So I'm just going to kind of enhance that with the black charcoal pencil. And I have my cue tip here. So like when when things get messy with your drawing. Okay, so I'm using the Q-tip. Okay. That's not finished, It's just a starting point. But same thing for each shadow. I'm going to kind of try to block in the darker area. That's a starting point. And again, I'm gonna get my Q-Tip. I actually do throw these away afterwards. They're cheap. You can use as many of them as you want. You can also use blenders. I just don't have any with me right now. So now I'm going to take a look at the line. This is very similar to the other drawing. I often do series of drawings that are similar. In this series we're just exploring how to do the joins to create the joints in different media. So we're looking at we looked at oil pastel, this is chock vessel and later we're going to check out colored pencil. But it's basically just kinda, it's a little different. It's not exactly the same, but trying to look at how you would do it in different media and how that would affect how you create the drawing, et cetera. And how you know what tools you're using to create the drawing, how long it takes. Okay, so I am going to see this for a second. I'm actually going to, so I want the area directly behind the fruits and vegetables to be a dark again because it's going to make them pop out. So I'm figuring out where I want the line of the table to be. I'm just thinking about here. So this, I'm just making up. It's called creative license. And people go way farther. And with creative license then inventing the line of a table with this is just something because I don't have the table here was all the way back. And I want darker down these objects. I'm probably going to leave a little area around them. And because I'm using a piece of chalk right now and then I'm gonna come back and do that detailed work with the charcoal pencil so I don't smear all over the piece of fruit. Because this, this is a piece of chalk which can cover more area quickly than a charcoal pencil, but it can get messy. So I'm just leaving this here and I'll do the neat work with the charcoal pencil. Okay? And again, this is like the last one. I kinda just want to make some black and around the fruit and leave. Some of the papers showing. And my fingers are gonna be pretty messy after this. I blow to just kind of get the extra powder off the paper. When you're finished with the drawing like this. I love these joins, but they're quite messy. And you want to put like a scratch paper over it. And you can also spray it with a fixative spray, which doesn't make it perfect, but it helps it stay kinda fixed. It helps the chalk from spreading or frame it. I'm just getting some jargon here. The bathroom. Just that that's gonna make the fruit colors, just the dark. The fruit colors against the dark background is going to make them pop out and seeing very, very bright, which is what I'm looking for. Let me get my finger here and rub them. And I'm blowing it. Okay. So that is going to need work. I'm actually I I make certain parts of the video and then I stop and then I make another part. But I'm stopping here because I need to wash my hands so I'll restart in another video. 9. Chalk Pastel Drawing 2: Okay, so now I'm going to try to add details to this. I started with I am going to start with, excuse me, a blue, dark blue like navy blue charcoal pencil. And I'm gonna take a look at this pepper. So I do recommend that you have colored charcoal pencils when you do a chalk Pastel Drawing to do the detailed areas. I'm just going to see how this blue looks. So it's hard to get like this area of detail with just a colored piece itself. This is not really so many use a different blue. It's not really coming out there. This one is more soft. I don't know what happened there. So this is for my dark here. I could use a gray as well, but I'm using a blue. So I'm, I'm, I'm being a little bit more slow in my drawing rather than when I was kinda putting a lot of colors on. And I'm just looking for areas that are darker. And I'm using the blue to do it. It's not really blue is let me see how this, if I can try this darker blue again, it's more of a gray. And this we see if I break off the tip, Let's see how this one is. Kind of it's not really, for some reason, it's not really spreading. So I'm gonna go back to this slew. It's more of a gray and we'll see if I want to dull it down later. But I knew that this blue was darker than the brain, so I decided to work with it. And I'm just popping in areas of dark. This is going to have to have I'm going to have to go over it again in green, kind of to unify these colors. But I'm just getting in dark shirt now. Again, I'm using Objective colors here, which is, I mean the, the colors may not be exactly the same, but they're pretty similar to this what I'm Drawing. So I'm only thing I'm doing is looking for areas of dark and Ms. Pepper, right now, this is kind of it's like curving up here near the stem. Just kind of trying to outline it. I think I think I should look at the stem for a second before I go around it. This needs to be adult down a little bit, the whole thing, but we'll see. Okay, so that's like the middle part. I do what that's called. And I'm just looking at the different things that I have. I'm gonna leave that for our second. I'm gonna put it into darks. Actually. This part is a bit darker Now I'm going to take a look over here. Over here, starting to look more like a pepper. The colors don't look exactly realistic. So I wanted to come down here. Okay. Just again, looking for dark areas. Again, remember it's kind of like if you do painting, it's kind of like a painting where you're working in layers. Like adding a layer of detail, adding a layer of detail, and adding a layer of detail. But you want to work around the image. So you, meaning you don't want to just focus on Wednesday. Just focus on this for hours and hours and not focus on anything around it, right? Because that's not really going to be productive. Okay? That this needs a lot more work. Like the whole thing needs to be covered in another green to just make it seem more green because I kinda got some colors under it. But I'm going to take a look at the pH for a second. And let me see what happens. That doesn't look too good. Let me try a purple for the dark areas. I'm just looking for a color that's darker. And I can put in this large area of cache shadow here. But I'm probably gonna go over it with a red because I've looks a little extreme. I'm getting the Q tip. Okay. And I know I wanna go over it with the red because that's so it's kinda taking away the color of the peach. I don't know. I'm just I'm just going to keep going. So let me kinda look for colors on different parts of it. I'm actually going to get a brown. So right in here is the didn't even know what this is called. This could be brown or black. Okay. But I'm just going to do at Brown for now. So when you're using Objective Color, you're trying to do color matching, which is trying to get the colors pretty much the same as they are in real life, as much as you can I need to get some yellow, orange. Again, you have to mess around with this for awhile. Kinda moving around areas of Color, lightening, darkening. I don't know if I liked the way that purple looks, but I'm just gonna keep going. This yellow comes up. So I'm gonna have to bring some more yellow in as well. Okay. So I'm gonna go back to hold on a second. Let me get my Q-Tip. So you can go back and forth between Chalk and the charcoal pencils. So I'm looking at the pH again and I'm going back to my red. And I'm just putting some of that and I'm gonna get my yellow in here because I feel like I did do did some of the yellow. But again, with these, you get more coverage. Like it's just going to slide on there and cover up whatever you want to cover up. But it's gonna be kind of messier than the Pencils where you would want the Pencils to get into a small detailed area. Okay. Now I'm going to look for orange. I need an orange. Let's try this. If you put your hand. So notice I'm raising my hand because if I put my hand right on this, it's going to smear it up. And I don't know if that needs work, but again, I like to work around the image. Okay? I need to take a look at this line. And I need to come back here and fix this green. So I'm just right now finding areas of the lines that are lighter and darker. So this bottom part is in shadow. And then I'm gonna get the yellow for the light. Okay. I kinda like that, but it's not done and I want a Q tip. So okay. Now, that needs more work, but that's a starting point because I like to move around again. So as I said, I'm gonna get this green. Kind of bring in some green over the blues. And these lights are probably a little too light, so I'm going to blend them with some green. But kinda leave some of the light showing. So it doesn't defeat the purpose of me having put them there in the first place. Okay. I'm kinda trying to do a wash. If you viewed this as a painting, I know it's a drawing, but they're similar of over the whole thing. And some green. To kind of dilute the dramatic Colors that I had put in. So kind of to unify it. Okay, so now I need to fix again, I just work around the image. I need to fix the background with the charcoal pencil. And I'm actually going to put some black in here to kinda make it stand out. So I'm putting some charcoal pencil in here two, make it pop out a little bit more. Now it makes it look really nice. I'm gonna have to rub that with a Q-tip because you're you're seeing kind of line work that I want to get rid of. This still needs a lot more work, but just one step or one layer at a time. If you get frustrated, you can kinda take breaks in-between missteps, layers. Alright, it's starting to look better. But it takes time. Okay, now I need the Q-tip because I don't see how there's like kind of it's showing papers through. So I want to kinda blend with acute it. If I put my finger there, it's too big so it would get all over, like the pepper underneath it and smear. And that's why you need something like a Q-tip or a blender to work on something like this. So now they seem pretty bright against the background. And I still need more work on this. I am not. Let me actually put some yellow into this pepper. Yeah, I like that. That really brightens it up quite a bit. Yeah, Actually, I'm happy with that. So now I'm going to need to This needs more work. There's a lot more work that needs to be done. I'm just trying to figure out. I'm going to bring I'll just try it and see what happens. So I have I'm getting my let's try the dark blue again. I was going to try a black. No. Hold on. I'm just thinking to myself. What I'm going to use. I was just testing it out. Okay. So I'm going to use the other one. Let me see how black is going to look here. I'm kinda scared because I feel like if I mess up, it's I'm not gonna be able to fix it, but I'm just going to take a risk. So a lot of times you're taking risks. And if you mess up, you have to start over. It actually looks okay. It doesn't look as bad as I thought it would work. I thought it was going to be too dark. Remember, if you choose how little or how much detail you're going to put into with I mean, like I wanted to look like a pepper, but I mean, like you figure out Like how like because you could sit here and do this actual piece for hours and hours on it, right? And make it like perfect. Right? But I mean, not all artwork has to be perfect. I mean, if that's what you want it to be, then you can have it that way, right? But you figure out what you like and how detailed you want it to be, and then that's the amount that you put it. Because not all Art is about being perfectly detailed. I mean, some of it is, and if that's what you wanna do, but sometimes you can get enough detail without being, you know, spending time also. Yeah, without spending time making it really, really closely, if that's what you want by all means, go for it. But like sometimes it looks better if there's not that much detail. So you're going to have to find a medium between the two and how much you want to do in your drawing or your painting. I actually think it looks better with the black. I thought it was going to make it look horribly ugly, but it didn't. So I can still see the color. And the block is kinda like in an area of shading here. So sometimes you find marks are colors that go together while you're working. I don't know if I feel like that's done by I think I need to leave that alone for a second. I actually kinda like it. Like I think it looks pretty good. So I'm actually going to take a risk because I feel like this as a risk because once I put it in there, I can't fix it. So I'm going to take a risk and put some black into the peach. I can't really see it, so I'm just looking for that piece of glassware was using before, so I'm going to use the chalk, but I don't want to put into much. So, but there is a cast shadow on the piece right here. I just wanted to get too dark. I guess I'm scared that it's going to become too dark. And it actually looks okay, this pH needs a little more, but I'm going to absolutely it since I have the black and my hand, I'm gonna try someone alive as well. Because I feel like if I put black and each piece of fruit, it's going to create unity throughout the picture. And I'm just looking at it as a whole. Like I'm just trying to figure out right now, like what I need to change, what I need to add. Good to kind of enhance these cast shadows. Put a little more dark over here. It actually looks okay. Like it's not I don't know if it looks finished, but I'm actually going to darken this whole credit inner area. Okay, I'm going to add some white. So the white is gonna be the highlights where the light is hitting the Objects. And I don't like, I wouldn't want a black finger to blend, so I'm just checking my fingers. As you can see, this is quite messy and complicated, but you can get some really nice blending with it that you couldn't get within oil Pastel, or a colored pencil. Okay. I'm just thinking what did I wanna do? I wanted to add some more red at the bottom of the pH. So now like what I've adding stuff, I just I'm a little scared that I'm going to mess it up, so I'm slowly adding it. And I really don't want to mess it up anymore, so I'm going to stop it here. 10. Colored Pencil Drawing 1: Okay, so I'm going to do one in colored pencil now. I'm doing the same things. I switched it around a little bit for variety, but just so you can see the different type of media. So I'm going to start with the PDZ. And Colored Pencil is much neater than the other two. But it's a little bit more time-consuming. I'm just kinda changing the shape a little bit. Refining the shape. Again. I'm starting in the same way and putting down kind of a base color. And then I'm going to add to it. I'm also erasing some of the pencil lines under the area that I changed, just so they don't kind of muddy up the color. And then I'm going to wow, I'm going to bring in a different color. I just wanted to see how it looks. Okay, so I'm gonna call on over here and start putting in some darks. Again, this is gonna be about layering. So I'm just putting in areas that are darker or more red, orangey. And I'm going to add to this, but I'm just putting these into start. I'm just looking for big areas that are kind of over-read orangeish color. And I'm going to blend again. I don't want to go to dull. I'd rather stay on the lighter area and make it darker then go too dark because it's gonna be hard to lighten. Although it does you race. Let me show you any not it's not very well, but you can erase some of it. Because looking for the shape of this edge. So you're going to have more control with the colored Pencil. But it is going to take you a lot longer because it's just more of a small and detailed media. But you should know all the media that you have choices to work in and you want to see what you're best at. So I recommend trying all of them. Eventually you're going to kinda figure out what you're best at and you'll probably focus on that. Okay. I'm gonna come back to my I'm going to actually go for a yellow right now because some places are more yellow and yellow orange. I'm trying to shade in or, or kind of blocking these Colors with cross contour shading one not really making minds. I'm trying to do the shading in the direction of the curve of the pH. How many you through? Orange. Yellow, orange, excuse me, this still needs a lot of work, but I just kinda start working and adding to it and adding to it. Remember, you don't want to focus on one thing for too long. I mean, layers. This is gonna be much redder. I'm just putting the yellow, orange and as a base because some there's like some streaks of yellow orange in it that I want to leave this to show through the darker red that I'm going to put in. Okay. I am, I'm gonna kinda move away from the beach and keep going onto other things. So again, I'm looking at the same pepper. Erase some of these lions. Okay. So I'm just thinking, should I start with a darker green or lighter green? See what this looks like? Alright. I'm just blocking in areas of this kind of darker green. And I may go even darker than this, but this is kinda my starting point. Some of the papers showing through and it will need blending, but I'm just looking for kind of big areas of value or certain colors to get started. Just looking at it and thinking to myself, This needs to be brought out a little bit more. I'm just kinda do finding this line right here. So it doesn't seem that define to me. Okay, slowly getting blocked in. So again, you're going to have to block out a little bit of time to test out each of these mediums. I'd say at least an hour per drawing. If not more. You leave that first again I'm just looking for Let's go for this dark green for a second. This is kinda figuring out what color I'm going to use, but I'm looking at this time, I want to have that in there. Kind of a brownie green, but I'm just putting in the dark green to start. I may or may not add the brown. I guess that's the starting point. Okay, so now I'm gonna get my lighter when we just see if this looks lighter. Yeah, it does. So I'm gonna kinda fill this the lighter areas in for the most part with the lighter green. And again, this is just a starting point, just to start getting in some differentiations and value on the pepper. But it needs more. There's some areas that have highlights on them and I'm I'm still trying to figure out if I should leave the paper or add white, but it's not as much as I left open. Okay, so now I'm looking at this in the middle. I just wanted to try something different because we kept looking at the same type of things. And it's a candle holder. And I'm gonna go or a blue to start it in. It's trying to get the shape, correct? No. The candle holder has like some kind of texture on it that I'm not putting in there. I'm kidney keep it smooth because that would take me like 10 h to get the texture. And it's, and that's artistic license. You know. You can leave something out like say you're doing someone in close and they have like a complex pattern on their on their shirt or their dress. Like if you just want to do the desk without the pattern. That's okay. So I'm just going to block this in. And Ms. Kind of light blue to get started, It's been having more variations. There's kind of a highlight up here, so I'm gonna leave that a little bit lighter. And then I'm gonna go darker down here. It has a color. It, It's like glass, but it changes color on the object. So I'm going to include that, but I'm just blocking in a good start. And I can actually see I'm getting my regular Pencil again part of the candle in here. So I'm gonna put that in. I didn't draw that in. I can't really see the same, but I'm gonna come put it in there anyway. Okay, so that's kind of a burning candle? That's my starting point. I'm gonna go darker on the bottom. See what this looks like. A difference, but I'm going to get out my black for right now not to go on the things which kind of put the Objects in contexts. So I'm gonna do the table. I'm doing the same thing. I know these drawings are very similar, but we're just testing out different media. There are a little bit different though. But the, the Objects in the background are kinda similar. Getting a bit of the cache shadow in here. And I'm just blocking in a dark here. It may need your adjustments. So the other two papers had like a pinkish tinge and this paper's a little bit off white. A little bit. It's very faint, more of a yellowish tinge to it. Okay, that's my starting point and I'm going to deceive more. But I'm just I do want the dark again around. What if I tried to put in the flame? And here, I'm just thinking I've got adding that as Creative License, but let me think about that. Hold on. I'm putting the dark in the background as well, probably not taking up the whole space. I wanted to see. But this isn't black and here, you see what happens if I press really hard. Black. Yeah, it looks good. So again, this is a lot of repetitive layering work. And this is much neater. Then the other two mediums, the oil Pastel on the top Pastel, I mean, you can get more detail. You don't have to worry about where you're putting your hand. It's not gonna get all messy. But it takes longer. And sometimes you can't get the other effects that you can with the other media. So again, just try them all out, see what you like. I kinda, I like all of them actually for different things. And I might put that candle until, might leave that alone for right now. And I'm going to come over to this side. I just think like here's the origin then the orange candle right there, that would be really nice repetition of Color Take a bit of time. Alright, that needs, again, a little bit more darkening. You're gonna be spending a lot of time when you're doing this, like doing I don't even know how to call it, like not busy work but where? It seems like it's taking a long time, like putting in a backroom. I'm just cleaning that off and I'm actually going to put in a flame right here. I just think that will go out to the patient. And looking at the pepper. I'm again looking for areas of dark within other pockets of Color and possibly trying to blend. I was just looking at it when I stop, I'm kind of just looking for what I need to do next. You get this right shape. So as you can tell, it's just layer after layer after layer of adding color and shading. And again, and you decide how much detail you wanted to you. It's very time-consuming, but it is relaxing I'm just looking for a second. I was just thinking about what color I'm going to use. Let me come back to this for our socket. So as you can see in this, its current if you have to press hard and sometimes you have to do layers to get the color to show up strongly. And I'm gonna come back to my black for a second right here. Okay. I'm just taking a look at it as a whole. Thinking about what do I need to add to this? How many more layers do I need to do? It's always good to make an assessment and it's good to stand farther away, far away, like to get up and look at it from the farther away than sitting really close to it. And kind of get an idea of how much more you want to do or how it looks like. It looks different when you're far away from it. I know I just merged together two thoughts, but one, you wanted to figure out how much more you're gonna do. And another thing is get up and move away from it for a time. And you're going to see it in a different perspective. And you'll probably see how much more you might need to do. So they, they do not steal merged together, but I kinda went around. Okay. Now, I'm just thinking of what else I need to do. And since I've gone from 30 min, I'm going to stop and restart 11. Colored Pencil Drawing 2: Okay, So I'm back, I'm just going to make this candle pink. It's actually white, but I'm deciding I'm using creative license here and making it a little bit more colorful than it is. I forgot. Never mind. I'm gonna go darker on the inside of the candle because that's kinda how it looks in real life. I'm going to get some red. And I'm actually I'm going to bring in irregular. Well, I'm thinking to myself, do I want to use a regular pencil or a black pencil? I'm actually going to get a regular graphite pencil for right here. So sometimes I mix just like we did in the gray, black, and white colored pencil drawing. I'm trying to use this to delineate, and I think a black would be too dark. And it mixes well with the colored pencils. So instead of getting like a really dark black, I made a line in there that I didn't want to make. So I'm going to use my eraser. Let's see if I could get that off. I did. Okay. I don't know. I mean, I don't know how it feel about how it looks, but I'm just kinda giving you to try for right now. Doesn't look horrible. Okay? So now I'm gonna go to the bottom of this. So this is kind of a piece of glass candle holder, but it changes color as it moves up. So now I'm going to use this later blew up here. Still needs a lot of work, but I'm just looking at the different colors I have. There we go. Kinda looks the same as the color I was using on the bottom. This is like a blue violet color. All right. Let me come back to this. Kind of making the colored darker by pressing harder All right. I'm just thinking about how this looks. Again, it doesn't have to be perfect, right? And I'm gonna go with the dark up here again. So again, I'm sorry, I stop talking because I was just focusing on my drawings. That often happens. So we're using Objective Color, meaning real colors. We're going to learn Color Theory. Later. We've learned a little on the color wheel, but there's a lot more to it than that. I'm will learn two examples, but you're trying to get the real colors you see, including likenesses, darkness is, and variations in those colors. So now I'm going to, I want to move away from this. I'm getting too entrenched in this piece right here. So now I'm going to look at the pH again. Oh, I had this already, but I'm going to have to probably have to sharpen it. So I'm going to use a red orange for right now. But it's much darker than I have it, so I really want to enhance the color. So again, what I had done before was the first layer. So I'm just looking for areas that are a bit darker. I'm blocking them in. I'm actually going to come back to this because well, I don't want to, I don't want to spend time sharpening the pencil, but let me try it. All right. Yeah, I got it. This is a really tiny Pencil, but I wanted a deeper red because there's some areas of this peach that are a very deep dark red. So I'm just looking for those areas. And I'm putting it that color in over the red, orange color I had put in before to block in the area that was darker. And I'm coming back to my kind of orangey color and I'm just going to fix any areas that are too yellow or that need blending. Let's see, you can get quite a bit of detail with this. It's just, it's a bit time-consuming You're gonna, you're gonna have to do quite a few layers to kinda get it to look right. And that doesn't quite look exactly right. So I'm adding more red where the dark red where I think it's needed. Actually lowering the bottom of the pH because it looks a little weird. You have to be patient to do this like you have to keep working on it when it's not looking quite right and just keep pushing through it. And if you do that, you will get something you like. Okay. I mean, it's not perfect by any means. Actually kinda looks okay, so I'm gonna come in here. I wanted to try out this lighter green and like that. So I'm just going to walk that in. I have like as you can see with my Chalk and with my colored pencils. Like I've had a lot of different sets and they kind of all like as they start diminishing, I just put them all together and 1 mol. So I have a couple of different brands that I'm working with and some I do like more than others. But it's up to you to test them out. Okay? Now, I'm just seeing what I need to do. I'm gonna get this Pencil. Let's see what. It's kinda has a broken tip, but I'm gonna keep going with it. Okay. Again, I'm looking for darks and I'm hoping that this will probably be my last layer. But we'll see again, you can't, I mean, I can plan that but then I have to see how it looks. Okay. It almost like little crevices in it. I mean, I don't know how you can get more detailed with the colored pencils, but I don't know how detailed I'm going to get. Starting to look a little bit better. Okay. Hello, one less edge. So you could see how you could just keep going on this for hours and hours and hours and become kind of a perfectionist. And that's a good thing and Art. But you also have to figure out When you want to stop, right? I want these to be more delineated and I'm gonna put one in right here. Okay, I think I need to go back to my WACC Pencil. Okay. Hi. Each drawing takes up quite a bit of time, requires focus and energy, but it's not hard focus, it's relaxing focus. But it can seem to go like there, there's gonna be times when you want to take a break and it can see that you're going to want to stop for awhile. And by all means do that if you need to. Think, he can seem like it's gonna take me forever to finish this Drawing or to get it to look right. And I'm going to darken the black of it. Do another layer. Just to make the objects standout a little bit more. It's actually kind of, I mean, it does need work, but it's okay. It looks okay. Starting to look okay. Let's put it that way. Could go on more. But I don't know how much are, you know, you weren't you want or need to see, you know, that. But I'm going to darken the cast shadows as well. It's kind of cementing in these cast shadows. I'm going to absolutely right. I'm going to bring the black into the small objects. So Deanna, to see if it looks horrible. What I'm trying to get the areas of the objects that seem to be darker or have shadow on them. Instead of just pure color. You can also do that with white or gray. Go down here. I'm going to bring it down I'm just looking at it to see if I'm not totally making it look horrible. You always run that risk. Messing it up. Okay. I'm gonna pull in some read over that. And not I feel like I kinda made it look pretty bad. Right there, that little piece. But I'm gonna leave that alone. The block is always kinda, you don't know if it's going to totally mess it up. Bring it in on this bottom part two. I think as a whole it made it look better. I'm gonna bring it into this just a little bit. So right here. Okay, and then I'm going to take a look at the pepper me erase this. I mean, this is far from perfect, but hold on. I think I'm gonna kinda outline this. I'm kinda adding some artistic license, but all right, let me come in here. Alright. I'm gonna go in here with the dark. I'm just trying to differentiate this part from the other parts of the pepper. All right. Delineating some of the outlines here. I'm not gonna do too much with this. Good actually it looks okay. I'm just I'm just kind of looking at it. Anyway. I don't think I think the black on the pH was a little too much. Help. I feel like getting muddy to do a bit too much. What I think you've got kinda the idea, pulling in, making this green a little bit brighter. This, I could spend another couple hours on this, but I think you guys get the idea. So I'm going to go ahead and stop here. 12. Color Drawing Outro: In the project gallery, you're gonna do three different drawings. So you can have a couple of objects or one object. I tried to choose colorful objects like fruits and vegetables. So we're gonna do three different drawings. We're gonna do one in oil pastel. We're gonna do one in chalk pastel. And we're going to do one in color, pencil. And we're doing realistic colors or doing the colors that we actually see. And we're just kind of doing lights and darks in colors. And then you're going to post those. And that's gonna be your project for this class.