Coloured Pencil Series For Beginners | Class 3 | Luminance Sketching: Dynamic Textures

1. Introduction: Hello and welcome to my series; colored pencils, the beginner's class three, luminance sketching dynamic textures with colored pencils. Have you always wanted to know how to use colored pencils to produce gorgeous textures and effects? Want to learn some new techniques, tips, and tricks? If the answer to any of these questions is yes, then this class is perfect for you. My name is Imran. I'm a graphic designer and illustrator and I'm totally obsessed with colored pencils and art materials in general. I've been using colored pencils for many years now, many different brands and types of colored pencils to do sketches with in my sketch book on a daily basis, on scraps of paper, on larger surfaces that I do complete illustrations with that are ready to frame and print. This is the third class in my series, colored pencils for beginners, which will build upon the techniques and the knowledge that we learned in class one and class two. In this class, we will look at a three awesome techniques to build some fabulous effects and textures and we will demonstrate this by using the illustrious pencil known as the Caran d'Ache luminance pencils. We will look at the basic supplies that are required for the class, then we will delve in to the exciting world of creating color textures that are easy to produce and look absolutely fantastic. We will move on to designing highlights with some amazing tools that you may or may not have seen before, and finally, we will apply different mediums to create interesting shadows and dark tones that can be fully embedded into our lovely illustrations. We will then bring all the techniques together in a beautiful, easy to follow step-by-step full sketch. On completing the exercises within the lessons and the full sketch, you will then be ready to delve into the wonderful world of magical colored pencils and produce your own beautiful sketch in your class project. What are you waiting for? Grab yourself a nice drink, get yourself some nice treats, get them pencils sharpened, and let's get ready to start the class. 2. Luminance Pencils: Okey-dokey. Let's now talk about the main supply for this class that you'll need and yes, you guessed right, that is the colored pencil. Now you can see here, I've got some nice colored pencils here. The ones that I'm going to demonstrate in this class are the Caran d'Ache, lovely luminance pencils. I'll just show you the little leaflet that you get within this. This is the luminance 6901 by Caran d'Ache and these pencils are absolutely great. Now, remember, you do not need to use this particular pencil for this class. This is just the third type of colored pencils that I'm demonstrating in this series. If you remember, we went through the Prismacolor colored pencils in class one, then we went through Polychromos color pencils in class two and in class three, I'm demonstrating with this gorgeous luminance pencil. Now, this is a soft core pencil. This is very similar to the Prismacolor. The biggest difference in this is that it is light fast. Lightfastness, if you don't already know, is all to do with the ability of a color to stay permanent over time, so it won't fade out. Again, we covered this in class one in a lot of detail. So do check that out if you want a quick little recap. But again, it's absolutely not necessary for you to go ahead and buy these particular pencils for this class because these are very expensive. The actual set, the Apgar is the 76 sets over here. I'll just bring that onto the screen and that contains a whole raft of different colors and sizes. Absolutely gorgeous. It comes in really nice box. But again, you do not need to buy this for this class. If you happen to have these pencils, then absolutely go ahead and grab hold of them and get them sharpened, so we can get ready and enjoy this journey. But if you haven't got these, then it's absolutely fine. However, if you really want them, if you have this huge burning desire to buy these gorgeous pencils that come with this fantastic lead, then absolutely go ahead and get them if you want. I'm going to leave some recommendations on the sizes of the sets that these come in, in the resource packs. Do have a lookup that if you want to really get yourself some of these. I would never recommend buying a huge set like this when you're starting off in colored pencils or even if you want to try out a new medium, I would always start off with a smallest set. Now, the smallest sets can be a little bit more affordable. The great advantage of this pencil is that you can buy them in singles, whereas with the Prismacolors for people in the UK like me or in Europe, we can't buy those particular pencils in single. Once they've run out in your set, then you're going to end up having to buy more. That's why I always prefer to use this pencil when I'm doing continuous artwork. I'll just quickly move this to the side aside, and let's just focus on the ones that we have. To quickly go through this leaflet and talk a little bit about this. You've got this beautiful, gorgeous leaflet here. Let's see if we can get a zoomy zoom on this, and then it basically just goes through what the characteristics are of these pencils. In summary, these are just intense, bright colors. They have high pigment concentration. The smoothness and superior covering power in them really surpasses a lot of other brands of colored pencil, and they are lightfast in compliance with the highest international standards, which is according to this ASTM D 6901. Haven't got clear what that means but that must mean something special, but basically, these are very lightfast. Once you create your artwork with these, they will not fade over time, and again, it's just a personal preference. However, if I had the choice of using these and using my Prismacolor, I would probably because of the experience, just stick to the Prismacolors because the buttery consistency of Prismacolor, I don't even think these Caran d'Ache luminance can even come close to. These are really nice and smooth and the lay down is great. Even with the Derwent Colorsoft, you get really nice smooth lay down. But I just find that because I've used colored pencil dip various brands over the years. I just can't find the color pencil that gives me that gorgeous consistency bottle like velvety, smooth lay down of color that the Prismacolor do, which we went through in class one. Again, if you ask me what my favorite color pencil to use for experience and just for a nice enjoyment, I would say that it would be the Prismacolor for actual light fastness and longevity of my artwork, I would use either these ones, these current national luminance pencils, or I'd use the Polychromos pencils that we went through in class 2. That was just a quick little discussion of the pencils, the colored pencils. Again, grab holder whichever colored pencils that you have in this class. If you have the softcore ones like the prismacolors or the Derwent Colorsoft, then that will probably be better when you're following the class because it will be able to imitate the softcore lay down that we do in the lessons in this class. Now, let's move on to the other materials and tools that you will need for this class. Let's look at that next. 3. Class Supplies: Welcome back. Let's now talk about some of the additional supplies that you will need for this class. Now do remember, it's not necessary that you have every one of these items that I have got on the screen here. If you have these at hand, then that's absolutely great. If you haven't got them, then don't go ahead and start buying these individual supplies just to complete the class. It's just something for you to see when I demonstrate using different techniques. But if you want to go ahead and get them, then absolutely do this. All of the reviews and links of these particular supplies that I'm demonstrating will be in the class resource pack. So do check that out. Let's quickly go through the supplies and let's start off with the one that you're most likely going to have and that is the Humboldt pencil. Just get yourself any pencil that you have lying around, a HB will be absolutely fine, and this is what we're going to use when we come to doing the lessons that are towards the middle part of this class. Secondly, make sure that you have a sharpener. Now, this is an absolutely must, especially when using colored pencils, not only to sharpen your pencil, but to sharpen your colored pencils as well. Ensure that you have a decent brand or a decent type of sharpener that will sharpen your pencils without breaking them. I went through different sharpeners in class 1 of this series, so do check that one out. I'm using this standard 1 that I've got here that works absolutely fine. Again, try avoid using the cheaper sharpener because they tend to just break the cores of the leads in your pencils, so that's something to look out for. These are the two items that you're most likely going to have lying around, so grab hold of these and get yourself ready. Now, let's move on to these next sets of items that we have here, and we're starting off with the blender. Now, this is the dry blender for colored pencils, and the one that I'm using is the one that I used in the previous classes, and This one is by Derwent. It's just a standard blender. Now, if you haven't got a blender, then don't worry about this because there is other ways of blending colored pencils that we will do, and I'll demonstrate that when we come to that part of the lesson. If you have a colorless blender like this with your colored pencils or if you have one on the side, then grab hold of that. That's going to come very handy. We are going to be using that throughout the lessons in this class. Moving on to fine liners over here. I've just got these basic fine liners. But I would say for fine liners, if you do have a variance in the tip sizes, then go for the ones that have a nice broad tip like this. This one over here, you can see I've got a nice heavyweight thick tip on that one, and that's going to be very handy on this. What you want to avoid for this class with fine liners is to have the very fine tip, so a nice heavy, thick tip will work great in the lessons in this class. Now moving on to this unique little utensil, and I promise you this is not something to take the fillings out from your teeth. This is an embossing tool. Now, you're most likely not going to have this type of thing lying around in your house or in your drawers, but if you do, if you're into your arts and crafts, you're most likely going to have something like this. Now, this is a very interesting tool and we're going to do some super-duper techniques with this. If you have one of these lying around, then grab yourself that now and get it ready for the lessons. Let's move on to this one now, and this is something that you've seen me feature in a lot of my classes, and this is just a general paint marker. If you have a white paint marker, that will work great. If you don't and you have gouache instead, then grab hold of your white gouache, that's going to work excellent for the highlight section of the class. Moving on to the final two items here, I've got some brush pens here. Now you may have these lying around, you may not. These are very useful, not just for using with colored pencil, but just generally using in arts and lessons. If you have a couple of these and different tones of gray, then grab hold them and get them ready for the class. If you haven't, don't worry about it. Most likely you're not going to really have this, so let's just move this to the side. But they are great and they do add great feature when it comes to using colored pencils. These are just standard brush pens. You might not have the similar ones like I've got, you may have them in a set of fine liners. Whichever type of brush pen that you have, if you have some nice gray tones in them, just get them ready for the class. Finally, here I've just got some standard Crayola felt tip markers, and these are just water-based markers, and you most likely going to be able to get these because these are really cheap to buy from any type of art store or even the pound store. So if you can get hold of some of these, these are great when it comes to creating textures and adding depth, and I've got a couple of gray tones here, so that will work very nicely. That's about it for the actual supplies on themselves. Let's move on now to the different surfaces that I recommend for this class. 4. Surfaces: Let's just quickly go through the different surfaces that I recommend to use in this class. We went through surfaces in a lot of detail like we did with the colored pencils in Class 1. If you want to recap on that, do check that out. The ones that I recommend for this are going to be based in the ones that we went through in Class 1 and Class 2. Over here I've just got three different surfaces here. I'm starting off with this little sketchbook that I do a lot of my colored pencil work in, and this is just a cheap sketchbook that contains cartridge paper. Cartridge paper is fine, as long as it has a decent amount of tooth on it. But overall, it has a smooth surface. I would recommend going for a smooth surface cartridge paper that's good quality, that colored pencils can adhere to. You can see here I've got some nice little illustrations with colored pencils, and it works really well. I'll just show you the texture of this paper, and I'll see if we can get a zoom in on this. You can see that we have a nice, very smooth surface on this cartridge paper sketchbook. This is something that I recommend. Let's move this one to the side. Over here, again, I've just got a pad of cartridge paper. This is the heavyweight cartridge paper, acid-free, and it works great. Suitable for pen, pencil, charcoal, and many different materials. I'll just show you this one as well. You can see over here, not sure if you can see this on the camera very well, but it's very nice and smooth, good quality, has a nice thickness to it, and it will work great for colored pencils. Finally, over here I've got my Bristol board paper. This is probably my go-to paper for colored pencils if I'm doing a big piece. I highly recommend this. If you have this type of paper, just quickly open this up. This has a super-smooth surface, and colored pencils work great in this. There is a vellum version of this particular paper which has a slight more texture on it, you can use that if you want, it's entirely up to you. Just avoid using cheap printer paper, or cheap paper that you buy from the pound store, because you're just not going to be able to produce those textures and effects that we're going to go through. That's pretty much it for the actual surfaces. Get yourself some decent cartridge paper, or some Bristol board paper, and you'll be ready to go. 5. Colour Textures: Welcome back. Let's now start with the exciting part of the class and go through some of the awesome techniques that I'm going to discuss. Firstly, get your pencils ready if you want to follow me step-by-step in this, in the lessons, then get maybe a couple of colors that are ready sharpened at hand so you can easily do this. Alternatively, if you just want to watch the lessons and then follow along afterwards when you recap over them, that's absolutely fine. We're going to start off by doing technique number 1, and that is creating color textures using our colored pencils. Now, remember, you don't need to use the same pencils as me or even the same colors, just get a similar color that I'm demonstrating with whichever colored pencil brand that you have, and let's get started with the excitement. [LAUGHTER] Firstly, what I'm going to do is I'm going to use this lovely orange color that I've got here. Just for reference, if you are using the Caran d'Ache Luminance, this one is number 850, and this one is called Cornelia. If you want to use the same color and pencil as may, that's the reference to this one. What I mean by color texture is using line weights, crosshatching, stippling, and different techniques that we've also covered in the pen and ink class. If you've watched that from the series that I've done, we're going to apply all those texture techniques using colored pencils. The interesting thing with colored pencils compared to ink is that you can add more and more layers in different methods. Let's go ahead and do this. With your colored pencil, what I want you to do is I want you to start off by doing a swatch of color by using the side of the pencil. Notice I'm holding the pencil like this with my index finger on top and I'm just using my thumb to just rotate it and just hold it lightly. I'm not holding it at the end. Remember if you went through Class 1, we went through all the different holding positions. We want to hold it on the side to create a really nice swatch of color. Just lay down that first layer of color. I'm using my heavyweight cartridge paper. This first layer may look a little bit different for you depending on the paper that you're using. It's basically bringing out the surface of that texture of the paper and that's all it is. Just a very light swatch of color, and that's about it. It's just a nice little rectangle of color. Once you've done this, then I want you to switch to your holding position and hold it like you would hold a normal pencil. Just like that, and using the sharpest part of your tip of your pencil. I want you to start drawing in some lines that go from top to bottom, keeping them as close as you can, but keeping them consistent. Just like that, you can see I'm drawing over that swatch with the same color. This is what I mean by color textures. We're effectively doing these hatching lines over a base color. You can see just by doing this quick little technique, it's brought out a textured look, which is very different, just a flat color lay down. What I'm going to do now is I'm going to go across the other way. Just like this, using that same position, use those lines to go all the way across. I'm not pressing down too hard. It's just with medium pressure and just to fill in those lines where we have them vertical hatching lines to complete this grid crosshatch lovely texture. That's it. That's what I mean by using color textures and crosshatching. That was the first part of the technique. What we can do now is we can actually go ahead and add another layer on top of this. Using the same color, if I just hold this from the side like I did with the first layer, I'm just going to go in and I'm going to add another layer of color just like that, applying medium pressure just on this edge and then just building that color into the actual crosshatching lines that we've gotten. You can see it's merging the crosshatching lines, softening them up. I'm just adding a bit more depth. This is a great technique to use when you're sketching quickly with colored pencils where you don't want to be pressing down too hard or filling up the area of your paper. You can see all I'm doing is I'm just using it in this little area here on the left-hand side and then just bringing that layer along the bottom line there just to give it that variance and interest. You can see adding more and more we'll just darken this bottom left-hand corner. That's great for when you want to add a difference in value. For example, if you're drawing a ball or a piece of fruit or a furniture or whatever it is, you've got these different contours and you've got darks and lights. You can easily do that with this technique. Just like that here, we've got a nice bit of dark on this side and then we've got lights on this side that's blending into this beautiful texture. Try this out with the colors that you have. This will work best with medium-tone colors. If you have maybe lighter shades, you might not be able to get the full effect. I advise you to use medium colors. But just as an exercise, try this particular swatch out with as many colors as you can to fit on your page and that'll give you a nice indication of what your colors can produce and what textures that you can make when it comes to doing your class projects. Let's now look at the second method of creating color textures. Again, what I'm going to do is I'm just going to work underneath this first swatch of texture that I created. I'm going to stick to the same color and I'm going to go ahead and just lay down another nice little swatchy swatch of first layer of this beautiful orange color, gorgeous color that is one of my favorite colors, orange. Absolutely beautiful. [LAUGHTER] I'm just going to throw that in, get that laid down very nice and it's looking great. First swatch of color as that base color going in very good. Now what we're going to do is we're just going to add in some little doty dots here. If you can see, I'm just lightly adding again, some dots in that bottom corner over here, just like we did with the lines, but we're sticking to this bottom left-hand side, concentrating on adding this nice stippled look and that's pretty much it. What you can do is you can vary this. You can have a bit of crosshatching and some staples in your sketches to really bring out a range of textures to make your artwork look very interesting. I'll show you some of these examples of using these techniques in the artworks that have also produced. Just like that, I'm just adding these lovely doty dots, beautiful staples into the bottom left-hand side of this rectangle. You can see how quickly we've added this really unique texture. This can be used to add texture to the heads of maybe plan areas or even on food, or just to vary it on any type of illustration that you're doing. It just works so well and it's so easy to do. That was the second method using stippling. I'm using dots over the first layer. What you can do is you can even add in that second layer as we did with the first one. But with this, what you're going to do is if you add in too much of a second layer, it's going to mute out and blend away those staples, so be very gentle when you're adding a second layer if that's what you want to do. Otherwise, you just going to erase away that beautiful stippling work that you've done. This is a very nice light look compared to the texture look that we got from the crosshatching, which is very dark and vibrant and it stands out a lot more with contrast. You've got two different looks there that produce two very different results. 6. Combined Look: Let's move on to the third one now. For this one, what I'm going to do is, I'm going to add another swatchy swatch as a first layer across the page here. I'm going to make this into a slightly bigger swatch, so we have a double area size on this side over here. You've got to remember that this order that I'm doing where I'm laying a base color down and then adding those texture lines with hatching, stippling, crosshatching, you don't have to do it in this particular order. You can actually go ahead and do the hatching lines first or the stippling lines and then go over with a light swatch of color. The results will be very similar. It's entirely up to you how you want to do it. I always like to add in my base color first and then do some hatching lines and texture lines. But it all depends on the type of illustration or the drawing that I'm doing. Sometimes I might just feel like throwing in them hatching lines first, just to give me a bit of an indication where those textures are going to be and then just go over with two or three layers on top to just merge it all up. You can see here now, I've got this really nice base layer that laid down with this gorgeous orange. We'll leave it at that for this next method to move on. What I'm going to do now is I'm going to use my beautiful blender tool. If you remember from Class 1 and Class 2, we used this dry color blender. As I mentioned before, I'm using the Derwent one, whichever one you have, if you have it, then grab hold of it and start using it as I'm doing right now. What I'm doing here is I'm just going to go in and I'm just going to blend out this bottom left-hand side. You can see with that blender all it's doing is, it's pushing in that beautiful pigment, that gorgeous, orangy orange pigment into the grooves of that paper surface and it's just spreading out that orange. You'll notice that the color looks different once you've blended it, especially with this orange. That's usually the case when you're using these colorless blenders. It just makes a fantastic and smooth. But again, if you don't have one of these blenders, that's no problem, just leave that base layer as it is. I'm only showing you this so that you have different options that you can work with when you're practicing and enjoying this gorgeous [LAUGHTER] medium. Just like that, that bottom left-hand corner, I've just gone ahead and added a nice layer of blender on top so we have a variance from this side going onto this, nice and drive that, nice and blended over here. Okey dokey. Now what I want you to do is I want you to go in and just throw in some lines like this. They don't need to be straight, they just needs to go up in one direction, roughly the same distance apart, and maybe go halfway across the actual swatch. Just like that you can see I've created this really nice texture over here. What we're going to do now is we're going to go in and we're going to do a diagonal line like this. Just like that over those vertical lines, I'm just going to use a diagonal line to create this crisscross, beautiful texture on top of that blended area of pigment. You can see how quickly we've just created this lovely dimension over here by just using the same color. I mean, I love producing artwork in a singular color, or if you like in a monotone effect. It just looks so good and it really helps with your understanding of using color in art in general. What I'm going to do now is I'm going to add in those steeply steeply dots that we did here. But I'm going to put them in at the top over here where we have that dry lay down or color. You can see what that does is it starts adding that additional layer of interests. Look at that. Look how easy that's easy to create. Now you can do this as a foreground or a background for your artwork or you could just base your entire artwork by starting off using this base layer and just building this texture to produce your picture. Whatever you like, practice this experiment with this, have a lot of fun, and I assure you you're going to really enjoy this journey once you get started. Like I said, you don't need to be using the same color as myself, do this a couple of times with some different colors. Just get practicing with it and you're going to have a lot of funs. Just like that. I'm throwing in them little dots, not pressing down too hard, just using that beautiful pigment and letting it flow and adhere to that paper. That's it for that one. What we can do now is maybe just add in a few more details at the bottom. What I'm going to do is I'm just going to use the side of my pencil again, hold it like this, and I'm just going to go in and I'm going to add in another layer at the bottom there, and I'm going to press with a bit more pressure so that we have a more heavier lay-down of color just like that so that this looks like we have a bed of maybe straw or a bed of like fibers that are just being raised up from some imaginary [LAUGHTER] world and then we have these little dots on top that represents the heads of those straws. They can be whatever you want. I'm just trying to make up a nice [LAUGHTER] little scene. You can do whatever you want. You can make these into lollipops. If you want to [LAUGHTER] make them into some whimsical elements, you can go ahead and do that. Just like that. I've added in that base layer to really bring out that difference in tonal value. Yes, we did the whole thing with just one gorgeous orange color. Give this a go, try it out with a few colors. That's about it for this first technique. I'm going to just quickly show you some of the artwork that I've produced using this technique. If I just get a zoomy zoom back on this one over here. You can see on this little scene that I've done, I've got some textured work using that one color, I've got this crosshatching on these peaky peak elements at the back. A lot of it is really nice and dark. Then again, I've got it on these elements at the front. You can see that I've got this dark area on the left and then it becomes lighter on top. That's where you have this huge advantage of building again those crosshatching lines, and then going over them in a nice layer of color. It's just a case of just building this into your actual image itself. Now what you don't want to be doing is you don't want to be using this technique on every element of your image or on your picture. Otherwise, it can't get a bit too much and you may lose track of where you've actually got the elements and you don't want everything looking the same. Just to add visual interest, it's always nice to have a little bit of texture here and there, just to give it some contrast, not just in tonal value, but also in overall texture. That was one example. We have more examples here. On this one, I've got a lot more of a lighter feel, so you can see that that texture work on the peaks here. I've done them very dark on the left-hand side, few steeply stippled dots over here on the end and then I've left the edge on the right-hand sides of these completely blank. What that adds is it adds that dimension of light coming in and hitting this overall scene. It just gives it a really nice light, airy feels that you have so much texture within the entire image that it really makes it pop out and it's so interesting to just view. I think it looks fantastic. Again, textures there. Again, I've got some more textures in this area down here on the peaks. Notice again, I'm not using textures on every elements of these images that I've drawn, it just adds visual interest. Just give that a go. Have a go at doing the swatches like we did in the exercise. I'll just get a zoomy, zoom back in on there. This will really help you to visualize the different tones and areas that you can fill in with your colored pencils, especially if you only have a single color. If you don't have Caran D'ache Luminance and you really want to try them out, then I would probably say, maybe just buy two or three different colors that you really like and then test them out by using these different techniques that I'm showing you in this class and then you can actually go ahead and just do a nice monotone single color drawing, like I've done over here in my sketchbook. Again, let's just get a zoomy zoom back on there, just like that. I mean, most of these are all single tones. Anyways, you can see over here, I've just got one color sketch here. They look fantastic when they're complete and again, another single color on this spread, single color again, that I've just shown you before, and again single color and then I've got some that are multiple colors, but not too many colors. Just like that, you can really create some gorgeous artwork. Give that one a go. Let's then move on to the next one. 7. Embossing: That was a nice coffee. That wasn't it? Yes, it was. [LAUGHTER] Welcome back. Let's now have a look at technique Number 2 in the class and it's using this wonderful peculiar-looking tool called the embossing tool. Now you can see on the screen, I've got three of these, and they vary in the tips that are at the end of the sharpy sharp point. I'll just bring them on the screen here. You can see on this one we have this really huge tip. It's like a round sweet, chisel tip at the end, and then we've got these two that vary in length, but the tip is pretty similar. Now you can get these in packs of threes, sometimes in packs of fours, or you can buy them in singles. They are very inexpensive. Now I'll leave the links to where you can get these from in the resource pack but you can get these from any arts and crafts store. Again, they're not very expensive in the grand scheme of things. I would say it's very useful to have this tool, especially if you're working in colored pencils, but they can be useful if you're doing arts and crafts and card making and things like that. How are we going to use these with our lovely luminance pencils? Now again, you can use this technique on any colored pencil. It will work but what you do need to bear in mind is that you're using a sharp tool so do be careful with it. Don't go and injure yourself. Use this very carefully and gently. I've got to say that because I don't want you to start saying, Oh, because of that same Ronnie's gone and made me get this tool. It looks like something that's going to take my feelings out of my teeth and I've gone on hurt myself because we're not here about hurting, we're here about relaxing. Do be careful with sharp tools like this. Now I'm going to demonstrate this quickly on the screen before we go ahead and use this with the luminance pencils because it's always nice to know what I'm talking about before I go ahead and do it. I've got myself a piece of card that's colored hair. This is just the backing board of my little book. It's difficult to see this on white paper, which is why I'm going to quickly demonstrate this on this card. All we've got to do with this is just go ahead and just press down and create these little grooves. You can see on the screen you barely be able to see them even on this card. I'll bring this up on the camera and get the other zoomy-zoom in on this. If you just bear with me if I show you this at an angle, you can see that we're getting these nice little groove lines over here. Get a bit more of a zoom. Nicely to groove lines over here. That's all it is. We're just creating these little embossed lines which are just scraping the surface of that card or that paper. We're just using this to effectively create a pattern, or draw, or come up with some nice texture work but then how are we going to use a colored pencil as well? That's what we're going to come on to next. I'm just going to leave the cardboard example as it is nice and row. You can see that on the screen. I hope you can see this clearly that you can see we've got these nice grooves going into that card. Now let's actually demonstrate this with the colored pencils. It's going to flip the book over to the page, and I'm actually going to use the last page of my book to demonstrate this. The reason for that is, is that when you're using this, the pressure is going to make it go through to the other page and it will affect the page underneath. Do bear in mind if you are using this technique on maybe a sketchbook, it would be a good idea to insert maybe a card or another couple of sheets of paper underneath so it doesn't get affected when you're using this. Let's now get to the exciting stuff. I'm going to use this one that I've got here. This one with this medium point, and then on the end I've got an even find point at the end. Let's grab hold of some colored pencils. I'm going to use my lovely orange color that I used in the last lesson. I'm also going to use this beautiful dark red. These are also in crimson. The number of that one is 589 if you want to follow exactly with me. Just make sure we've got a nice zoomy-zoom so that you can see beautifully clearly. I think I need a bit more coffee right now. That hit the spot that did that Americano, absolutely gorgeous. Let's get back to it. We're going to go through a similar sequence of creating color swatches. The first method is to use a color and what we're going to do is use a dark red for this one. Grab holding your dark color, whichever color you have, get your embossing tool, and use the point that I would say a medium point and on your page, just come up with a couple of lines that are coming downwards from nice vertical lines. Not sure if you can see that on the paper, but I can see that with my naked eye. I'm just creating these vertical lines pressing with medium pressure. You don't want to be pressing too hard on paper, because you just going to end up tearing the paper. Just like that. I'm just creating vertical lines evenly spaced out, just like I did in the first technique, up to about there. Then I'm going to go across, and I'm going to create that beautiful crisscross, crosshatched texture that goes across. This will become more prominent when we start using the colored pencil. I'm not sure if you can see the grooves. I can just about see them on my camera screen. I'm sure you'll be able to see them. Look, what we've done is we've created these grooves with our embossing tool. Now, all I'm going to do is I'm going to grab hold of my pencil and I'm just going to lightly press down. You can see the magic is happening. Isn't it [LAUGHTER] We've got that, gorgeous. That isn't it? We are unveiling that embossed texture that we just did. I'm just using light pressure with that dark color on top. You can see we've got this beautiful crisscross white pattern, which is bringing out that color of the paper. Now, this is a huge advantage when you want to create highlights, when you want to create details that you just can't get with a white pencil, then this is brilliant. Just like that, with a little bit of color on top, you've just got yourself a gorgeous little swatch of crissycross, crosshatch, beautiful lines. You wouldn't even be able to tell that you did this with an embossing tool. Now, would you? No, you wouldn't. Now what I'm going to do is I'm going to go in with another darker layer. You can see we went over with a lighter layer and you might be thinking, if you go into dark, are you going to end up covering up those lines? Well, the answer to that is no because they've been embossed and really dug into that surface and tooth of that paper. You can go as hard as you want with your colored pencil, especially if you're using a soft core colored pencil like the luminance, or the Prismacolor, it will not go into that groove. You can see I'm using medium pressure again but I'm just doing more of a heavier lay-down of color. It's looking fantastic. Just look at that. It's like magic, isn't it? It is. All we've used is a cheap embossing tool. Well, that's going to be our little secret. You don't need to tell anyone that when you're showing off your gorgeous artwork and say, "Look at all these gorgeous techniques, look how beautiful my artwork is, I'm just a magician". [LAUGHTER] that's what you can say. [LAUGHTER] Let's just finish that one off, and that's the first method. Fantastic. 8. Two Colour Effect: The second method of using this technique is to start off by using a color swatch. I'm going to use that beautiful orange that I used in the previous class. I'm just going to go in and I'm going to go in and create a nice little switchy swatch of color underneath, like I did before. Just lay down that color. For this first color in this second method, try using a color that's a lot brighter than the color that you've got on top here. That will make more sense when we come to doing it. Just like that, a nice even layer of color. You don't have to keep it too light, you can go in a little bit darker than me, so I might end up adding another layer on top. This is going to be important when we use this second method. Just like that, a decent amount of color on that color swatch there. Superb. Now, what we're going to do is we're going to go in and get our lovely embossing tool. Again, I'm going to use the same one, and I'm just going to go in over that color. Now, you might be thinking, why is he going over that color for? You can't even see it. But this shall be revealed. The magic trick will be shown. [LAUGHTER] If you just keep coming down, follow the same pattern that you created on top. Just for this example, you can go absolutely wild with this and come up with gorgeous patterns and designs and textures. You can even do a complete drawing or a sketch with this and reveal it [LAUGHTER] later on. Just like that, just keep going across, create that nice texture. Again, you won't be able to see this properly on the screen, but you'll be able to follow it with the naked eye. Now, what I'm going to do is I'm going to go in with that red again, so that red that I used on top. Then I'm going to go in over what I just did. Use that read or that darker color to go over. You can see what's happening here, it's a beautiful orange embossed line that you've got. What this is effectively doing is bringing out that initial color that you've embossed into and it's bringing it underneath. It's a great way of creating this visual effect and adding some variance into your artwork. Look at that, that looks absolutely gorgeous. Doesn't it? We've got this beautiful crisscross or waffle effect underneath that red and it's orange. It's not even the color of that paper. I'm going to go in now and go in a little bit heavier with the red. What that'll do is it'll get rid of the white bumps that you have with colored pencils when you're going over a surface and it will smoothen it out. Now, you can even use your blender tool to go over this to smooth it out completely. I'll let you experiment with that. Well, look at that. Fantastic. If you compare the two, we've got a complete different result, but we're using a very similar method, two steps in that one, and then three steps in this one. Look at that. I bet you didn't think it was going to be that easy. No, I'm sure you [LAUGHTER] didn't. This wonderful tool can produce some gorgeous results. Now, let's do a combination on this side. 9. Combined Effect: For this one, let's go ahead and start off with our embossing tool on the top. I'm going to do some lines coming in vertically from the top and again, you don't need to press too hard on this. If you want a very scattered raw look, then use it really quickly like this and do these straight quick swipes coming down. You don't need to follow the exact pattern that I'm doing here, just give it a test. That's what it's all about. It's just about experimenting. Then I'm going to go ahead and do that crisscross at an angle from this side, and again, I'm not sure if you can see this on the camera, so I'll just quickly get this done and just throw in a few more lines. Then at the bottom here, I may go ahead and add a first layer of color like we did in this one and go in to give a bit of a variance on this entire swatch, keep it nice and big. A nice swatch of orange going in first, so we did a bit of texture work on the top part, and now we're going in with the orange and I might end up doing a thicker layer of orange so that we get a nice color coming through in that embossed line. Just like that, I'm not going to burnish it, I'm just going to go in with a couple of layers. If you remember in Class 1, we went through the layering process and burnishing. If you want to recap on that, do check that out. I'm going to be using those techniques throughout this class. Just like that, we've got a nice swatch of that orange. Then I'm going to go in, and I'm going to start doing some doodling within that orange. I've just got a bit of an idea of what I'm going to do here. Just random, it doesn't have to make any sense. Just to demonstrate that you can easily sketch with this tool at your advantage and create some very funky interesting results. Just like that, I'm creating these little elements here. I know it's difficult to follow when you can't see what I'm doing, but you just bear with me and you will see that it really is fantastic. Just like that, I'm going to do a few dots over there. Now what I'm going to do is, I'm going to use that red to start layering over with a light layer and you can see that magic happening, that wonderful crisscross coming out and I'm going to go all the way across, to wherever I laid down those embossed lines with that tool, I'm going to cover it up with a very light swatch of color. You can see what I've done. It's just random lines. Just have a bit of fun, go wild, throw in them random lines and then see what you get [LAUGHTER] it's so much fun. Now what I'm going to do is I'm going to go over the orange now with a bit more pressure to reveal some of them lines that I've got there. I can see I've got a couple of them elements coming out in the orange emboss and then its located [inaudible] you can create some gorgeous abstract pieces with this. Try that out, try out some abstract work with this tool if you have it, and it's looking great. What I'm going to do now is I'm just going to go in on the top, go in a little bit heavy so that we have nice contrast with our beautiful embossed lines just like that. That's a bit of contrast there and remember you don't have to just stop at one stage. You can keep working on this. You can go over the color again with the embossing tool and then bring out a darker color. You can literally keep working on it. But when you're using this in your class project, if you do have this, try not to overpower your sketches using this tool because sometimes you can get a bit excited like me. You just want to start creating loads and loads of these lines, then your actual design goes a bit too wild and then you think, what have I done here? But then again, that's what art is all about. Experimenting and seeing what creations you can come up with. Just like that, I've gone ahead and created this little scene with these little bumpy bumps at the front. We can also demonstrate the actual blender and see how it looks with a blender? I've just got a blender the hair now, so just going over this area with a blender and you can see that it enhances the look of the actual embossed lines. You can see over here it's bringing it out slightly more smoothening the rough surface of that textured pigment that's on there and just like that, it's looking fantastic. I'm just going to go over all of this very quickly and lightly, not pressing down too hard and look at that. That looks gorgeous, now just going to give that little wipe with my hand. Try not to wipe it with your hand because it will smear everywhere, but I don't want to blow into it because that will make all sorts of funny noises. [LAUGHTER] That's just our work. You can see we created three lovely swatches with our embossing tool, and this is absolutely fantastic. Now I can show you some of the artwork that I've done, that I've incorporated embossing tool in, let's just bring them onto the screen. As you can see on this one here, this is a little sketch that I did obviously of a house. You know what I'm like, I just love making houses and drawing houses and these whimsical wells. [LAUGHTER] I'll get to zoom in on that. You can see over here at the front on these peaks, I've got really nice embossed lines going up into random little strips. That's it, I've only used the embossed line on here, and I've used it on the roof area over here. I've used it very sparingly, but what it does is, it adds a nice effect to the overall texture of the drawing. That's one example, I've got another example over here with a bit more detail so let's just get back, zoom on that. You can see, we'll just move that out of the way so you can see this a bit more clearer and I've dropped everything on the floor, just carry on. Over here, we've got some nice embossed texture work down here again, all I've done is I've just done the straight lines. I've not done any cross hatching or any stippling. These are just straight lines with the embossing tools in this area. Again, straight lines going down there, and then just on the roofs of these houses, I've got these horizontal lines going there. Then I've got the crisscross waffle lines going over there for the tiles. You can see it adds a nice balance and achieves a nice overall look and it doesn't look like you've gone absolutely wild with the embossing tool. Give that exercise and go, and then maybe try out doing a couple of sketches with the embossing tool and with a couple of colors. That's about it for this second technique, let's now move on to the next one. 10. Paint Marker: Okeydokey, welcome back. I hope you had a nice little break. I certainly did. That little chicken sandwich was gorgeous. [LAUGHTER] Let's get on with the next part of the class. This one is now all about using these gorgeous white paint markers. Now I've got a couple of sizes here. I've got a really fine tip one down here, and I've got a broader tip over here. These are great to use, to add highlights into your artwork, regardless of which materials you're using they're quite versatile. But however, with colored pencils specifically, they were great because they literally just adhere to the surface on top of the actual pigment. Let's do a few examples of this. Let's just get a nice blue color and maybe a darker blue. I'll look at which ones we're looking at over here. I've got number 660 for the lighter blue shade, and then I've gotten number 159 for the darker blue shade. If you want to follow, check those colors out and let's get started. I'm going to use the lighter shade now to just do another swatch of color, just like we did before. Just a nice light swatch of color in the top left-hand side over here, as we've been doing in the previous examples demonstrating the other techniques. This is just a great way to really visualize and practice these techniques before you start your class project and before we move on to the biggest sketch that we're going to be doing. Just give this a go, swatch a little bit of blue and that's all it is. I'm just going to do a light swatch there. Then at the bottom, I'm going to do another swatch so that we can demonstrate to different looks with the paint markers. With this one, I'm going to go in with a white swatch like I did above. Then I'm going to go in with my darker blue and then I'm just going to blend this into that lighter blue to come up with this nice variance in tonal values, from dark to light. I'm just using this technique that we covered in class 1 where we're doing this light layering technique. Then I'm just going to go in with a lighter blue. I'm going to go in with the second layer, press down a little bit harder, and then overlap that over the dark so that we have a nice blend of color. Then to top this off, what I might do is I might just go ahead and burnish this, so grab hold of my burnisher, where's my burnisher gone? It's got to be somewhere down here. It might be going for a nap somewhere, so we've got to find it and wake it up, there it is. [LAUGHTER] Here's my burnisher and it's depleted quite a bit. I think we'll have to do a quick little sharpening, sharpen on that one. Again, the burnishers and the blender sticks that we have here. You can easily sharpen these. It's absolutely the same as using a colored pencil. Just going to do a quick sharpen on that in my sharpener, and we're ready to go. There we go. We don't have to have a super sharp point. You can have a nice flatty flat point. We can just go in and burnish this out to really get a beautiful smooth color layer that we can start experimenting on with our paint markers. Now, as I mentioned earlier on in the earlier lessons, where we were looking at the materials and tools, if you don't have paint markers and you may have some white designers gouache then use that, use a paint brush for it. If you've got one, it will give a very similar effect. But even if you don't have this and you have maybe a white gel pen, you could even try that. Let's now start off by using the white points of this marker. Give it a little shaky shake [NOISE] and pop it open. Move that to the side and on that lighter shade, let's just draw in a couple of lines and you can see how easily that paint marker draws and glides over that beautiful pigment of the colored pencils. Again, because it's a very light color, it's a very subtle effect and you can use that at your advantage. Now let's move on to the nice dark blended area that we've done over here and do exactly the same. You can see that huge contrast. The paint marker works great on blended swatches, on completely burnished swatches and on dry light swatches as well. Just like that, just a couple of dots, you can draw whatever you like. It's such a huge advantage to use one of these pens. I actually prefer using these pens to using gouache purely because you have more control and it's just a lot easier. You just pop it open, give it a little closely close, and you're done, and with this you can get different pen variations in sizes. Give that shaky shake. I've got a nice thin tip on this one. Again, just go in to vary those dotty dots, and just do some crissy crosses if we want to. Now it all depends on the angle that you hold it and how much paint you've actually got in this one because this one's pretty dry it out. As you can see those paint lines are quite faint. But the technique with these are just to give them a little pressy press and it should release that white paint. It's just absolutely fantastic. You can create some gorgeous effects with this and you're ready to go. 11. Small Details: Let's quickly demonstrate this on a little mini type of sketch so that you can visualize this and prepare for your own class project. I'm just going to go in and do a nice light swatch for maybe a background. Keeping it very light with that light blue that I used in this swatch here. Just go in very light indeed, don't need to press down at all. Just remember I'm using that heavyweight cartridge paper, I'm going to be using that paper throughout this class. It's just one of my preferred papers. Can get them in small packs, in big large sheets. I just like to use this paper mainly because it's really affordable and you don't have to waste too much of it when I'm doing these exercises. Just like that, a nice little swatch there, and then with the same color, I'm going to go in and maybe draw in a couple of shapes like this, just going to a roundy shape going on top, and there may be one going down here. This again is another technique that is similar to what we did in the first technique lesson where we're doing crosshatching using the same color, and all I'm doing here is I'm just going to use some diagonal lines to create some hatching inside those shapes. You can see how easy it is if you just come up with an interesting little subject shape, where we've got these little three peaks that can be anything you want them to be. They could be cactus plants or they could be sweets or jellies or whatever you want, whatever you want them to be in your wonderful world. Just like that, I'm just going in. Then what I'm going to do is I'm going to go in with a little bit more pressure and start going in and lightly adding that layer to really bring out a bit of contrast to what we have. Just like that, you can see we're just blending away way crosshatching lines, they're showing enough to see that we have some texture going on there. Again, just like that, adding in that another layer of color over that crosshatchy hatch area, and that's looking good. Then what I'm going to do is I'm just going to fill in this area with these round circular motions, and that's looking great. With the darker color now, I'm going to come in with that dark blue that I used over here, and I'm just going to go in and start creating some sharp areas at the basis of these little design things that I've done to add that visual interest and give it a bit more of an impact look whereas before it was quite flat. You can do this so easily when you just have two different shades of color a dark blue and light blue. I mean, you might not have the same colors as me. Just try it out with two colors that are similar, but one dark and one light. Just like that go in, got a nice bit of texture there. It's looking fantastic. Let's carry on, keep filling it in, get it really nice, and I think we'll leave it at that okey-doke. Now let's get the white paint marker out, give it a shaky shake and open it up. But you'd have to be careful with these when you do give them a shake and you open them, they can splatter everywhere. Do make sure when you take the cap off after you've given them a shake, that you do it slowly, you don't want to make a mess all over the place. No, we don't. Just put that marker now what I'm going to do is I'm just going to go in from the bottom and do this little flicky flick motion going up. You can see we've added these beautiful tapered style lines on the basis of these little elements that we've got. It just adds that visual interest. Now that would be really difficult to do with another colored pencil, for example, a white or a really pale color. That's where these markers are just absolutely supreme, and what I'm going to do here now is I'm just going to go in and I'm just going to go in with these nice dotty dots to really bring out this shape and add that visual interest, add a bit more texture to these little shapes and designs, beautiful. Now what we can also do is we can just highlight and just outline the edges of these now with that white pen, you can see what that does is it separates them shake so easily. Just add a couple of dots to the top. There you have it. You've got a beautiful little scene of three things, just relaxing and chilling out, and we did that so quickly by just using our white paint marker and a couple of colored pencils. Try this one out. There's a lot of fun to do this type of exercise, do it with some different colors, come up with some different shapes, get your marker or your gouache, or even your white gel pen, and come up with some of these nice funky little details that you can add in to your overall sketch and illustrations. What I'll show you now is I'll show you where I've used these on my sketches before. If you just move this out of the way, and it's on the same sketches I showed you before, but we've got variations in them of all the techniques that we're doing. You can see over here we've got these lovely dots down here on these beautiful triangular peaky designs that we have at the back, and again here, lovely, nice and subtle, and then on this next one, we've got something similar. Just get our zoomy back so you can see the whole thing. So you can see here we've got beautiful little stippled dots. Now I've done this with the thick version and the really fine point as well to just create a bit of a variance in that texture, and then I've got the same here where we've got this lighter color. It just looks fantastic. I mean, you can go in and start drawing things on top. It doesn't have to just be texture. It can be drawn on. I throw over here, I've just added some lines to create a type of a reflective look of the bulk to add that water area is. I'll show you on another piece where I've actually created some texture lines and patterns. If we just get zoomy-zoom back on this one. This one's a nice big piece of this, which just gets a zoom back. You can see this one a bit better. You can see here this is a nice monotone single-color sketch that I've done with the luminance pencil. It's a beautiful, gorgeous, viridian green color. If you notice over here where we've got this marbled look. I'll just zoom in on that as you can see that a bit better. Just over here, we've got this really nice marbled look. I've just drawn that in with my white paint marker. Look at that. It's just so good, so versatile and easy to do, and then what that does is, that just adds that variation in texture, and it just gives it that third dimension. Instead of having everything look the same, you've got little bits and elements that really bring your attention to them and it doesn't all look flat. Try that out, try out in the technique and give it a go and do some sketching with it and see how you go with that. Once you've done that and enjoyed yourself, have a little break, get yourself a nice warm drink, maybe a little slice of cake or a treat, but not too much. Then we're ready to move on to the next one. 12. Dark Tones: Okay, welcome back. Let's now look at our third and final technique in the class and this technique is all about adding darker shades to your colored pencil work. Now, if you've watched Class 2 of this series, we went through different mediums interacting with colored pencils. We went through graphite, ink. We went through even watercolor and in this class, we're going to be doing something a little bit different where we're going to be using different mediums to just darken certain areas of our colored pencil work. So let's start off by doing a few swatches so that we can work on top of and I've decided to use this gorgeous pink color here. Let's just see what this one is called, it's called uncinate queen, whatever it's called something [LAUGHTER]. It's got this huge name and it's called that and pink, and the number for reference is 571. So if you are following with the caran d'ache luminance pencils, it's Number 571 and I'm just going to call it pink, it's a gorgeous color. So let's start off by doing some swatches, I've just got to make sure that I've got that zoom on here so that you don't miss anything. You don't want to be missing no detail. It's all about those lovely details, I think that's nice and sharp and I'm just going to follow suit on what I've been doing in the previous lesson. So let's just do a nice little swatch of color. I'm just going to go across like this and lay down a nice layer of color, not going to do any blending, just going to keep it nice and basic. And I'm going to repeat this about five or six times depending on how much space I have on my page and if you're going to follow along step-by-step, then just go ahead and do what I'm doing and then I'll speak to you once this is done. [MUSIC] Okay, I've got six lovely little swatches here of this beautiful pink. I've kept them the same consistency and tried keeping the layer similar, so just do this on your piece of paper with whichever color you have. If you have a pinkish shade, then go ahead and do that. If not, then just use whichever color you fancy. Let's start off on the first swatch by using our crayola water-based super tip fiber marker. So these are great to use to darken areas over colored pencils as you will see. We just get a bit of a zoom in on the focus, and that's looking good. So I'm going to start off by using my gray. Now, if you don't have a crayola gray marker, then just use whichever marker you have. I've got six swatches here, so I intend to do six different things and use six different supplies. Let's start off by just adding some lines here at the end, and you can see that that water-based marker, the ink, just flows on there really easily. And this is a huge advantage when you want to just darken certain areas of your colored pencils. You can see, I'm just doing a bit of a crosshatch there and then maybe a few stippled dots down here, just to darken this end of that swatch. And it works really nice. If I had an even lighter gray, it would look even better. So that's the gray crayola swatch being used on top of the lovely luminance pencil. Looks fantastic, that does. Now, let's move on to the next one, and in fact, the next one is another crayola and this one is more of a similar shade of pink as the luminance pencil. This is another good way of darkening your areas of your colored pencil work. If you don't have a particular range of colored pencils to darken with. So if you have a cheap pack of these crayola watercolor markers, then you'll always find a color that's similar or maybe a little bit lighter or darker than the ones that you have in your current dash pencils or in any other brand of pencils, just experiment with this just like this. So I'm going to do this on the swatch underneath and you can see how beautiful that looks. It's really subtle and it's just darkening those areas with that crosshatch. Just look at that. It just looks amazing that, doesn't it? With a cheap marker, you can achieve awesome results like this. We can even go in and actually darken completely. So you can just go in and just add a layer over here so I'll just put a sample layer down here, I'll maybe do this with the gray as well on top. So if we just layer it on top completely, you can see and compare what the results are going to be like so just like a swatchy overlay over here and then maybe just a crisscross crosshatch on the other side, that way we can have a bit of a variance. And you can see it just looks fantastic, so I'm sure if you have children in the house, you've probably already got loads of these lying around like me [LAUGHTER] so just grab hold of the ones that you can get hold of. They don't have to be the crayola ones. It can be any kind of felt-tip markers that are water-based. Avoid using the alcohol-based ones because they're just going to seep right through to the other side of the paper. Just give that a go, and see what results you get. So moving on now to the next actual item itself, and that one is this specialty pen here, this is the brush pen. Now, this one is quite an expensive brush pen. It comes in a pack. You can also buy them in singles. It's a dual tip brush pen. On one side, you've got the lovely brushy brush tip over here, the fiber brushy brush tip, and then on the other side you have a nice bullet point felt-tip style thing over there. We're going to concentrate on the brush tip over here. Now, the ink inside this is a water-based and that's what we want. We don't want to use alcohol markers. We went through alcohol markers in Class too so just to get that difference, we're going to be concentrating on water-based. Now again, this is a nice shade of gray and you can see because this gray is so light, the effect is very subtle and this is huge when you want to just add those delicate touches to your beautiful colored pencil work. You can see it looks absolutely gorgeous. Look at that texture, it's just bringing it out so nicely and softly. It just looks fantastic. So again, with that brush pen, going on the side there. Lovely jobly! Look at that beautiful, nice and subtle. We've got a sharp contrast on that top one then we've got this nice merging of the colors in the middle and then we've got this beautiful, subtle, lovely shade going and mixing in with that beautiful pigment. Fantastic. Whichever brand of brush pen you have lying around, if you have them, definitely give that a go. Try getting the lightest shade of gray you have, or even get a similar lighter shade of the color that you're using and just give it a go and see what results you can get. It's so much fun, right? We've done the first three, let's now move on to these ones. And for this next one, I'm actually going in with another luminance pencil so just grab hold of a similar but darker shade of the color that you've got down. I've just using this red caran d'ache luminance crimson, that I already had out cause it's from a similar family like the pink. I'm just going to go in and do that little crosshatching on the top of that pencil and this is effectively like the first technique that we did where we were doing the crosshatching using the same colors. I'm just going to use this darker shade to do the crosshatch, and that effectively darkens that area that you've got. And again, with your colored pencils because it's the same brand, it will work really nice. You could try it with other brands if you want. If you have maybe a crayola colored pencil, try out with that. If you don't have a particular darker shade of what you're using, just vary it, try it out and see how it works. And then on the other side, just lightly add a little layer over the top, and you can see we've got this really nice dark and then mid-tone in the middle. So using the colored pencil, a darker shade will work great, so do try that one out. 13. Contrast Look: Now let's move on to this one over here. This one, what I'm going to do is, we're going to go for the fine liners. Now, fine liners come in many different shapes and sizes. You can even use brush fine liners or chisel tip fine liners, and in fact, I'm going to actually use a chisel tip fine liner. This one is a chisel tip one. It's from my sets of fine liners that I've got. Now you don't need to worry if you don't have this, just use the thickest point or the thickest tip of the fine liners set that you have and just go ahead and do this. This is going to be a very dark contrast sketchy look now. Because we're using black ink over. You can see all I'm doing is creating these nice light dots, breaking them up, little lines, hatching lines and then just do a bit of the crosshatch across. That doesn't necessarily darken the area, it's just adding a bit of a sketch on top. But that's fine if you're just using this to maybe just add a couple of dots where you want a little bit of dark to show or even a bit of texture, you can go ahead and do that. Now if we just go in hard on this side just with the plane, you're going to see, you're just going to get a nice strip of black ink. You can easily get nice contrast with a marker or water-based marker like this, and your colored pencils. Just give it a go, try it out and see what results you get. That was the fine liner that I used in the chisel form, use whichever ones you have. Finally, we're going to go through the last swatch and just test out our fountain pen. Now, my fountain pen here has a double broad nib. You can see this on the screen, I'll try bringing it a little bit closer. If you can see that, that's quite a thick. It points at the end there isn't it? Yes, it is. This is going to produce similar results like the chisel tip, fine liner. They're just thoughts. I'll just do this over here. The thing is with a fountain pen that has a broad nib, you can vary the line rates. You can see I'm going in a bit heavy here and then I'm just going in really nice and thin. That's the advantage you have with a fountain pen tip, especially a broad one. I would avoid using very fine tips because sometimes they might not even glide on top of your colored pencil work depending on the surface that you're using. A nice heavyweight or abroad or even a medium might work, but a broad or a double broad nib will be fantastic. Just here, I'm just going to maybe just fill that area up with a few scribbles and just get that filled in for consistency. You can see we have six very different results. We'll just put the pen away and we can analyze the results that we have. Just looking back at this, we can see that we've got quite a lot of contrast where we're using the darker colors, we have more subtle look where we've got a very nice light gray, especially using that brush pen. Brush tips are great when you just want subtle details going in, in the darker areas, and if you have a standard, cheap, normal felt-tip pen like a Crayola and you can color match, you can get even nicer results. Give this a go, try out with as many different types of mediums as you want. As a final tip at the end, what you can also do is, you can use your original color that you use the pink and then just go over it. Effectively, what we're doing here is we're burnishing and pressing down with firm amount of pressure to just burnish a layer of color over it, if you want it to blend in a little bit more. What that'll do is over those water color ink lines that we have over here, it'll just add another hint of that pink and it will make it a bit less contrasty, a bit less sharp if that's all that you're after. On this pink over here, if we go over it like this, you can see it's melting away into the original color and that's looking really nice. Again, with this gray, it's very subtle as it is anyway, but if we go over it like this, it's going to make it even more soft. You get this really nice soft look where you have a little bit of dark, great for adding shadows. I usually use this quite a lot to add shadows to my colored pencil work, and if we just for completeness, do this over here. Again, we're just basically merging these two colors together, aren't we? That's looking quite nice. Then on the black ink you can see that the black ink can smear when you are pushing over it with the colored pencil. Sometimes that can look quite nice, but sometimes it might just look like a mess. I thought I'll just demonstrate this to you so you can see what effects you can get. This ink is quite wet at the moment. If we go over this, we might get a bit of smudging, and you can see there we're getting quite a bit of smudging there. But it can add to the effect. If you don't want the lines to be too sharp then just go over them with your colored pencil. What that'll effectively do is blend it into that base layer like we've done there. Again, if we can bring the pencil over that ink area there, it's dragging some of that ink across and just merging it into that bottom layer and making it all come together. That's looking pretty nice. As I said before, give this a go with as many mediums as you have available. Try it out with different colors. That's about it for this technique. But what I do want to show you is some examples of where I've used this. Let's have a look at them. On this spread that I've got down here in my sketch book, I've used my fine liner and my fountain pen to add these little dots in the sky area, also used them to highlight the edges of the house and the edges of these little peaks in the midground and the door. They just work really well when you want to just add in some nice bits of dark to just bring out some of the details. If you look at the next page. This one is quite a symmetrical type of sketch, but again, I've used a heavy thick line on the outside part of these buildings just to make them stand out, and then some texture work over here at the front on these peaky areas, and then a little bit on the car itself. It just brings a nice little dimension to the overall look of your drawing. Moving on, over here, we've got quite a lot of heavy work using the fine ink liners and a mixture of using the brush pen. You can see over here right underneath the car I've got a little bit of brush pen work that I've done just to add a bit of shadow, a little bit on the wheels and again on the inner part of the roof here, just a little bit of shadow with a brush pen. It's very subtle. It just adds that extra layer of depth. Moving on to this final sketch here that I've got. On this one it's a very crosshatchy background that I've got here, a little bit abstract, but I've used the fine liner to highlight the areas on one side so you have light coming in from the other. It's just all about mixing the mediums to get the result and the look that you're after. If we have a look at the other images here, where we have a bit more detail and we have a bit more of a composed look and feel. You can see if you bring your attention down here, I've used the brush marker just to add a little bit of a shadow area down here and on the peaks themselves, this brush marker work just to blend and merge some of the colors again. It's actually the same color that I've got here, this brush pen. Then underneath the boat, before I put the white highlights on, I added a nice shade over here just to give that shadow. That's all it is. It's just adding these small little elements to your overall colored pencil picture just to give it that enhancement and to make it look really interesting. That's about it for the techniques. We're now ready to move on to the exciting part and start constructing our full sketch by incorporating all the three main techniques that we've gone on through in the lessons before. Grab yourself a nice drink, get yourself a couple of treats, have a few sips, relax, take a deep breath [LAUGHTER] and let's get started with the full sketch. 14. Full Sketch: Welcome back. Now I'm sure you've had a nice little break. Enjoy your tea, coffee, hot chocolate, or whatever you like to drink, and now we're ready for the full sketch. Before we start the full sketch, I'm going to say it's always a good idea to do a color swatch of all the colors that you have. Now, unless you've already done this, give this a go, just get a nice piece of paper out that you're going to be doing you're drawing on. I've got this cartridge paper here, and I've done this pretty much when I got my pencils, which was a long time ago. I basically stapled two pieces of paper together and then just went through the entire collection that I had in my set, and did a small swatch and put a reference number next to it so I know which color represents what. I just grouped them into warm colors and the colors that were inside the actual box itself, and also moved onto earth tones in the middle. Then I moved onto the cool colors and then the greeny colors. This is a great reference to have before you start your sketch, really so that you are prepared and you don't waste too much time thinking about which colors to use. You can go ahead and scribble a little bit of color before you place it onto your drawing or illustration. Let's move our lovely color swatch to the side, we don't need that right now, and let's get these lovely lights on. Nice and bright, just the way we like it. Let's get a bit of a zoom in on this. What I'm going to do is I'm going to work on the same paper that I've been doing throughout the lessons in this class on this nice A5 sheet of cartridge paper. But before I start, I always like to do a nice border that I can contain within the page for the artwork that I produce. I'm going to quickly get my pencil, just got my standard pencil here, and I'm just going to draw in a nice border that's around about one centimeter from each corner. Let's go ahead and do that now. [MUSIC] Now I've got myself a nice one centimeter border around the page. I've just zoomed in on there and you can see it as a back, now it's lovely round border. We can contain all our sketch and illustration in the center of that area. If you don't need to do this, if you don't want to do this, I just have a habit of doing this. I think it always adds a nice white border when your artwork is finished. If you want to do that, go ahead and do it. If you don't, then just sit back and relax and watch the adventure commence. Let's just go in now and with my pencil, what I'm going to do is I'm going to come up with a nice little scene, whimsical style, housey scene, of course, they shouldn't be any other type of scene that I want to be doing [LAUGHTER]. If you want to follow this step-by-step, go ahead. I'm just going to come up with some elements over here. Maybe we start off by doing the foreground elements, so I just makes sure that you can see the whole thing on the screen and it doesn't wibble-wobble off the screen anywhere. Just like this, I'm just going to do a couple of elements at the front, keeping things very simple. We don't want to over-complicate things, so just like that. I've these little peaky elements I like to usually have in a lot of my drawings and illustrations just like that there. Then maybe we have some more elements over here that pop up, so maybe some of these more bumpy bumps going up here. Just to add a nice bit of pattern, lay down of area. Just like that. We've got this front row, then we've got these bumpy bumps down here. Then maybe we have a lovely housey house, of course. Let's place our housey house round about this area. Now again, if you're trying to follow step-by-step, don't worry. If you're bumpy bumps or the foundations of your house are slightly different from mine, it doesn't make a difference. Or I want you to do for this step-by-step sketch, is to just go ahead, lay down some shapes and create some of these scene type thing, and then we can start concentrating on the colored pencil. Just like that, I'm just going to bring in some of these straight lines that go across, and let's just continue with that one. It's quite a steep roof on that. That's how it is, isn't it? We need to come up with these ideas, you don't know what you're going to get. That's the excitement of it to us. Just like that. I've got my steep roof over there. Then what I might do is I might add in a few more elements to break this area up down here. A couple of triangular peaky things coming up, and then we can vary this with a little bit of color. Again, just like that, I think that looks quite nice. Shall we throw in a little chimney? Why not. Let's just throw in a nice little chimney thing down here. It doesn't have to be accurate, you don't need to worry about perspective or anything like that. Just lay something down on your gorgeous page to color in effectively. Over here, I think I might do a nice little boaty boat. You know I love my boats and my houses, so just a little wobbly line there straightening. Keep it nice and simple, nothing too complicated. A shallow point for that part of the boat, and then we may have some sails coming here. Just a couple of sails, just the rectangular shapes down here and maybe another one over here, just gives it that visual interest. Then just a squiggly wiggly line at the bottom. That's about it. Let's now look at that mid ground. For the midground, I might just do a horizon line across here like that, that'll separate the mid from the front and from the background. Then for the background, I think I'm just going to go ahead and just double up on this line, and just create this as a midpoint area. Just like that, we may end up having some nice peaks in the distance over here, like this. Fantastic. Let's just do maybe a couple more down here that are coming down at that angle then just one going up there, and then we can do some fantastic things with that. For the background, the background that's farthest apart, let's go ahead and just do maybe triangular pointy things down here. We've got these triangular pointy things up and down, and then maybe one more over here. Then we might end up putting one down here like this and then finish it off by doing a little baby one in the center there. That's it. I think that's good enough for the basic structure of the sketch. Then maybe add in a couple of details for the windows. Let's just have standard windows here. We don't want to do anything complicated. One window there and maybe just another window over here. That's going to look great. Just like that, two windows. What I'm going to do is I'm going to leave them empty on the inside, and we can create a nice little design once we come to using our colored pencils. Maybe we could throw in a door here. Why not say, let's just do a curvy curve on the top part of the door, and then maybe just throw in a little bit over inner indents in the middle and then just have the line for the door and maybe a door handle there and that's it. Keeping it nice and simple so that we can concentrate on the color. Just going to get a bit of a zoom back on this, so that it fits a bit better on the page and that's looking great. Now, what I'm going to do now is I'm going to do this step-by-step. We're going to work on a few little areas first and then we're going to move on to the other areas, but we're going to incorporate the three techniques that we learned in the previous lessons. But before we do any of that, let's start off with the embossing technique. 15. Emboss Details: Grab hold of your embossing tool if you have it. If you don't have an embossing tool, not to worry, just skip this step and just watch the magic happen. With my embossing tool now I can plan where I want to have these embossing lines to bring that beautiful effect. I want to have it over here where I've got these peaks at the front. Just with that medium point of my embossing tool, I'm just going to go ahead and I'm going to throw in some random lines from the bottom of that peak, go into the top for just about maybe three-quarters the way up. Again, you won't be able to see this. You might be able to see this if I turn one of the lights down. Let's just turn the lights down just for the purpose of this embossing so that you can see this a little bit better. Is that better? Maybe turn that light back on again. I think that's better because you have a bit of a shadow and you can see it. Let's dim the light for this particular technique. I'm just going to carry on and I'm going to do the same going up in that motion that I did before, keeping it nice and organic. I don't want everything to be perfectly straight. I'm just going to swivel this a little bit as I do this so that I get some nice random lines, continue that on this one down here just like that. Varying the lengths of them that just adds to the interest and makes it look a little bit more funky, really. [LAUGHTER] Just carry on. Then I'm going to add another one down here, just like that. Then I'm going to move on to these next ones. This is where it looks really good where you have these lovely white embossed lines that bring out the white of the paper. Then you've got a nice bit of color. Where you're going to end up having color here, going straight to the emboss, it adds that beautiful layer of depth and it looks like things are really overlapping nicely. Just like this, you're going to carry on doing that from that one over there. This one and that's about it. Next, what I'm going to do is I'm going to focus on the roof like I always do in all my illustrations. Just with the roof, I'm just going to grab hold of the tool and just create some vertical and horizontal lines. Starts off with these horizontal lines going across, trying to keep them similar, but it doesn't matter if one is above the other and you have a bigger distance, it's no problem at all. I'm just going to do a crissy crosshatch coming down. Don't need to worry too much about those details and that's looking great. Now, we've got nice bits of embossing going on there. I'm going to leave this area so we can just have a blend of color. Leave the rest of the house just for pure blending. The boat area. What we could do with the boat area is we could maybe where the sails are we could just maybe emboss the edges of those sails just to add a nice highlight line and then maybe a little bit on top. Just on the left and on the top of those sails, that will give you a nice little pop. Let's just get the light back on. Fantastic. 16. Colouring: Okey-dokey. Now, I'm going to go ahead now and start coloring these elements that I've done. I want to go in with a beautiful green tones. With the colors that you have, make sure that they're nice and sharp so that you don't have to waste time sharpening them while you're doing this. I'm going to grab hold of a three greens that I've got ready on the side over here. It's always good idea to group your pencils into the colors that you want to use. I want these lovely three colors down here, just grab hold of any greens that you have. If you have a mid tone and a dark or a light and a mid-tone, just grab hold of them, is just to create that variance. I've got a light green there, I've got a mid tone green, slightly turquoise color and then I've got a really dark green over here. If you want to know what the numbers are for, if you are following with the luminance pencils, the light one is 220, the mid green is 729, and the dark green is 739. Let's make sure that our focus doesn't go out. I don't want you to miss a single second of this. No, otherwise you're going to be disappointed. That's looking nice and sharp. What we're going to do now is we're going to go in with the lightest green first. With the lightest green, let me get a zoomy zoom in on here. Try getting this as close to the screen as I can. I'm going to go in and I'm going to just lay down a nice circular motion shade of color like this, and you can see those beautiful, lovely embossed lines coming out at the bottom. Then I'm going to leave a little bit of a gap on this top area. I don't want to go all the way to the top, I want to leave a bit of white on there. Because when we go to blend this out, the color can push into that area and it can effectively add a nice shine of highlights on it naturally. Just like that, just add a light layer with the circular motion, but that's to the side. Let's move on to the mid tones. With the mid tone green, I'm going in again, starting off from the bottom. You can see it's building that color, that tonal value. We've got that gorgeous difference going on there. Just bringing it up like this, and that's looking great. Then finally I'm going to use that lovely dark green, gorgeous dark green, and I'm going to add in some circular motions with a base of that little thing is. Whatever we're going to call it a peak. A little pile of green jelly sweets, whatever you want. [LAUGHTER] Just like that is going in at the bottom, not going into much with the dark because we don't want it to get overpowered when we blend it like that. I going to strip the strip of dark going there, maybe a little bit more on this side because we want the light coming in this way. We get to keep it to this format from the left-hand side going up, and that's looking superb. Now I've got my blender pencil, and you got to make sure that your blender pencil is being cleaned from the tip because I probably use this on another sketch so good at it. I just have some scrap paper and give it a clean [NOISE]. You can see I've got a few marks coming off there. What you don't want is, you don't want that previous color that you blend it to murky of what you're doing. You want to keep it nice and clean. Like this, what I'm going to do is I'm going to start off with a light color is and blend downwards. If we start from the dark color, it's going to blend more dark into the light. It's always good idea to start where the light is. Like that. Slow circles, color motions going on over here. Like that where that light green is pressing medium pressure, not too much pressure, we want this to be nice and smooth like that. Building it to that mid tone green, you can see how beautiful that looks. Gorgeous, that isn't it. Then going straight onto the dark. As we did before in the exercises when we went through the embossing. Even using a blender over those embossed lines will not affect the highlights of the embossed. Look at that, it looks absolutely gorgeous that doesn't so? What I'm going to do now is, I'm going to lightly move up that green from the middle into that white area that we left over here, and then I'm just going to leave that white area as an edge. We still have a little bit of white there, and that'll pop out nicely when we color in this water pass. That's what I'm going to do now for all of these elements over here. If I just bring this across, you can see that I've got all of these elements, same ones down here. I'm going to follow the same technique. Is going to go in with the light first, then the mid tone, then the dark, then I'm going to blend it out with this. Once I've done that, I'll speak to you and have a look and see what we need to do next. [MUSIC] Okey-dokey, I can see that I've got that same technique can call a style going across all of these peaks that are in the front. 17. Brighter Peaks: Now, the next step I'm going to do is I'm going to repeat this for these bigger peaks that we have over here, but we're going to slightly change the color and maybe add in a little bit of yellow to brighten it up just to create that visual variance. Let's go ahead and do that for the first one, maybe grab hold of a nice yellow like this. This particularly yellow that I've got, the number is 820 on this one. What I'm going to do is I'm going to start by adding this from the top, like we did with the lighter green color. Just like that, mixing it in and bringing it down, I can see that when you use lighter colors on the embossing, it's going to be a lot less prominent, but you can still see it. We're just going to bring this down all the way here and effectively just add this as another color on top of the greens. I'm going to repeat this all the way across. Let's now do the lighter green that we had before. Again, I'm just going to go in over this and what this has done now is this is effectively brightened up that row of those bumpy things that we've got up here and that just creates that visual interests. You don't want to have everything look the same or use the same color, otherwise it just gets boring. Otherwise, just use one color to create your [LAUGHTER] entire drawing. I mean, it's fine to do that. I love doing that about monotone look. But for this sketch, let's concentrate on these beautiful colors and try coming up with something really nice. Just like that, I'm just going to add in that lighter green and you can see already without even doing any blending, we've got a nice bit of golden yellow at the end of that one. Then going in with a darker tone down here and then we can basically just build this color and really add a bit of visual interests, just a little bit of that midtone that we had before. Then I'm going to go in with the darkest right at this bottom area here so that we have the highest amount of contrast here. Then just across that top part of the peak, you see where it separates that bottom from the top let's have a nice bit of dark so that it creates a nice division. Then it'll really make this one on top pop out just like that, but rarely subtle, we don't want to overpower with the dark and now we're ready to go in with our lovely blender. I'm just going to give that blender a quick, little swipe so that green is often the previous. Don't want to contaminate that yellow now. Do we know? We don't. [LAUGHTER] we're going to start off where the yellow is. Let's just go in with a yellow, so I'm just going to blend this yellow before I touch it with green because then the green is going to start mixing in with it. We've got that nice blend of that yellow going on there, just give it a bit of a wipe and then I'm going to bring it down into this green area where we've got a bit of light yellow mixture coming in. You can see that's creating a really nice blend of color. Then I'm just going to bring you up here to finish it off so that we have a little bit of that green coming in on the top over this. Just like that circular motions, keeping it nice and light, not pressing down too hard, and then eventually we're in this mid green value here. Then finally we get to go into that lovely super dark forest type green color which I absolutely love. Just like that, blending over it to make sure everything looks nice and smooth. We don't want to have bumpy bumps on this, we want everything to gel together just like a cake. Let's just carry on with this one here. I think that's looking great. There we have it, so you can see now we've got this yellow highlight. Now you can go back in with the yellow once you've finished doing your blending. What that will do is that we'll just pick up areas where you might think you need a little bit more of this lighter color. That just really enhances the overall look and that's the huge advantage of using these pencils. They can layer on top of another layer, even when you've burnished off, you can still get elements of this on. But do remember that this is a soft core pencils, the more you use it, the more it's going to get run down quickly. If you're running out of pencil core color code, then just use it a bit sparingly if you only have a few pencils. That's why it's always a good idea to just have an idea of what you're drawing before you go ahead and do it. That's what those exercises are for, just to give you a bit of a technique. That's what we're doing here, just adding a bit more of that yellow and effectively burnishing now, doing this final burnishing with that yellow, and it's looking fantastic. There we go. We've got a really nice color gradation going on over there. I'm going to go ahead and I'm going to repeat this now for these three peaks that are similar within this range. Let's go ahead and do that now. [MUSIC] We've now finished the peaky peaks that we've got at the front. I'll just bring this on the screen so it fits. We've got this nice little yellow hue on top of these little bumpy bumps in the middle area. It adds a nice glow over here and you can see that I just went over the whole thing with the yellow to just give it that final burnish to add that little highlight and glow of yellow on the top right-hand side. What you can do is, you can actually do is go ahead and add the yellow to these peaks up the front, but I'm going to leave them as they are. I want there to be a little bit of separation. Let's now move on to the next bit of area that we're going to concentrate on. I'm going to do these little pointy peaks that I've got down here, 1,2,3,4,5 of them and before I go ahead and do that, I'm just going to get my eraser and I'm just going to erase out some of those pencil lines because we don't need them to interfere with the colored pencil, get rid of them and then we've got a nice clean piece of paper to work our lovely colored pencil magic gone. So let's just concentrate on this area now. 18. Orange Details: Let's just grab some orange. I've got two beautiful shades of orangey orangey. I've also got a nice lighter shade of orange as well. I'll show you each shades on the screen. Let's just have a look at these quickly. The lightest one that I've got is a 041, then it's 030 for that mid value. Then for the darker, reddish, orange color, we've got 850 if these are the ones that you want to follow with. I'm going to do the same technique now, but we've got no embossed lines on these areas. We've just got pure paper. What we're going to do is we're just going to lay down our first layer of color, just like that. A gorgeous orange. That isn't it, what a beautiful color orange are. With all colors, you know what I'm like. But there's just some colors that just made me say, "Wow, that is gorgeous." An orange is one of them. Love that orange. Let's just calm down. Just like this, I'm going to go in and I'm going to do all of these because this is going to be fairly quick. Nothing too complicated here. I'm just going in and you can see I'm leaving this little area here white, because I want that to be part of the highlight that pops against the shadow, or the color hue of the house, and just leaving that area white. I'm just filling in that left-hand side of that shape, just like that with that light color just going in. Nice single layer of color. Using these pencils is great because their lay down is just super smooth and it really quick lay-down of color. Sometimes we'd pull it pencils, you may have to work in a little bit more depending on the brand that you're using. That's why I always say avoid using those cheap brands of colored pencils that you get from the pound store because you're just going to end up overworking them and they don't contain any real pigment in them. Anyway. It's always better to have a few good pencils than to have a huge set of cheap pencils that just don't work properly. That's just what I would advise. I wish I had advised that to myself years ago when I started colored pencils, but hey hindsight is a great thing. I've just laid down that little shade of orange. Now, I'm just going to build on top of this with the mid tones. You can see with the mid tone, it doesn't really make a huge difference. It's just very subtle, but it's these subtle details that when you look at an image overall, once you've done it, it just really makes it look that much more better. Just like that, this mid-tone orange in that area, approximately halfway on these shapes. Just like so, just using standard pressure and not pressing down too hard, keeping it really nice and light. Just filling in those gaps with that mid tone, leaving that top right-hand side white. That's looking fantastic. Just like that, little bit more there. Now we can move in with the beautiful dark orange. With the dark, let's just use our circular motions and just add in a little bit a dark at the bottom. Then again over here, on the left-hand side, just bring it up a little bit, not pressing too hard because it is a very strong color. You don't want to lose all that beautiful blending work that we've done. Carrying on on this one, just like this. Then on this second to last one over here, maybe add a little bit more on this one because we have more surface area to cover. Then finally, just add it onto the left-hand side here. Bring it onto the right, fill that area up and we're looking great. What I'm going to do now is, I'm going to go ahead and yes, you guessed it, I'm going to get my blender stick. Lets use another blender stick that I've got. Let's just go ahead and lightly blend this whole thing together. You can see when I'm blending that orange, it's creating this really light orangey yellow shade on the top. That's why I left that area white. It effectively adds it as a nice highlight area. It looks gorgeous, that doesn't say. Again over here, just going in a circular motion, just filling that area, going into that white area, just dragging that orange up, circular motions, and it fills it in with a beautiful white shade. Beautiful stuff. Look at that smooth and buttery. Not as buttery as the Prisma colors, but it's still buttery enough. If you like your butter, then you're going to love these pencils. Just don't go ahead and eat them. Don't say that, these are butter, I'm going to try these what they taste like. Do not do that. Please don't do that. Let just carry on with this. Talking about butter actually, it's made me a bit peckish. The time here. What time is it? We're looking at early morning now. I think I quite fancy a nice slice of cake right now. I bet you're thinking that's all there ever is, cakes and drinks, coffee all day. You'd be right, I'm thinking so, because cake and coffee, they just go so well. Then you've got colored pencil work, life can't get any better. [LAUGHTER] Let just concentrate. I'm just doing the same thing over here in circular motions. I'm going to give it a little blow. [NOISE] Looking great. Let's just get a zoom back on this and see how the overall picture is looking. Look at that. Look how nice that looks. Gorgeous bit of color on the page. We've got these beautiful greens, gorgeous hues of greens. Then we've got that lovely complimentary orange. It looks fantastic. Let's now go for a break. I think I need to get myself a warm drink, sit back and get yourself a drink or a snack, and then we can move on to this lovely housey house. 19. The House: Welcome back. That was a nice refreshing drink, but I actually ran out of coffee. Can you believe that run out of coffee and it's a bit too early to go to the shop to get some coffee, so I just had to make myself a nice little alternative drink, and it was very nice. Let's just get on with this lovely sketch. Now, I'm going to concentrate on the house area now. I've got myself two beautiful colors, absolutely gorgeous these colors. The numbers on these colors are A36, and then I've got my standard Alizarin Crimson 589. Now this color that I've got here, this 836, this is actually called Brown Ocher 50%. What a great color that brown ocher. If you have this in your set, then absolutely use it. Please use it. It's just such a great color. If you haven't, don't worry about it, just use any color that you have. With this one now what I'm going to do is I'm just going to use the color itself as the base layer. I'm just going to go in and start coloring in this house element here from the front. I'm going to keep it very light. I don't want it to be burnishing. I don't want to press hard on this because we're going to do something slightly different here, whereas previously what we did was we used the embossing tool to bring out some details. Then we just did some really heavy color blending in these orange areas. Now what we're going to do to vary it a little bit is just use the pure color itself to bring out some of that texture of the paper and that will look really nice against the smooth color that we have around here. Sometimes using the grain of the paper that you have is just great to bring out that natural texture and that's all I'm doing here. Again, I'm just going to go in with another directional movements. I'm going in diagonal here, just going across and you can see you've got this grain coming through from the paper. That's exactly what I want. I want that effect of that paper to separate it from everything being super smooth and that just adds that additional layer of interests. Now look at that color, that's just a gorgeous color , isn't it? You can do that with light colors like this. Again, just moving across on this side and just going in vertical movement, just keeping it nice and smooth using the side of the point, not pressing down hard at all. Just like that and it's looking really nice. I don't want to go into the roof area because remember we have those embossed lines that are there already. We'll deal with them and we add the red. Now, let's do the chimney part down here. Again, with the chimney part just going in there and then little things that come out from the chimney. These little cutesy things where the smoke comes out of just a little bit of color on that. Now what I want to do is, I want to go in and I want to start adding in maybe some details where the door is and where the windows are. With the same color now, I'm going to add in a little bit more pressure. You can see, by just adding a little bit more pressure, it's created a complete different look, hasn't it? So adding a little bit more pressure gives us a nice, dark, smooth, flat color, whereas just using the side it gives us more of a textured light color. Just like that, I've done that there. Then maybe with the window area here, I might just do a little bit of darky dark down there. Press hard on the pencil to achieve that. Then maybe where the chimney area is, I may just do dark on the chimney area over here. You can see we've just used one color to produce two very different tonal effects. Again, if you've got a limited palette, you use this technique of using light and then going in with a bit of pressure to vary. Just here, I'm just going to go in and press down. It's looking fantastic. Now what I'm going to do is I'm going to put this colored pencil to the side so I don't forget which one it is. Put that to the side because we're going to come back to it. Let's now move on to the roofing roof. We're going to use that gorgeous alizarin crimson color. Just like that, we're going to go in, lay down that first layer. You can see that magic happening, can't you? That beautiful embossing line, that crisscross waffle line is coming out. It looks fantastic. Now for the roof, I'm not going to go in completely lie, I'm just putting in this base color so that I know where those crisscross embossing lines are. Now I'm going to go in, I'm going to press with medium pressure to get a nice lay down of that color. That's just in gray, isn't it? I mean, look at that beautiful. We've not used any paint on top to bring these white lines out, we've just embossed with that embossing tool. It's all dry techniques this. We're not using any wet mediums at this point and you can get some gorgeous results. Just look at that beautiful, isn't it? But if you didn't know about the embossing tool before, you're thinking, "This tool is just amazing, isn't it?" "It from heaven, this tool, isn't it? [LAUGHTER] Let's carry on. I mean, when I first found out about this, which was quite a while back and I was just completely amazed, I thought, "Do you know what? I can't wait to start using this tool for my work in colored pencil." It really is a game changer when you want to add in some details like this. Just like that, you can see. Let's just make this line a little darker and a bit more prominent. It's looking superb. I'm just going to add another line down here of the red that represents this side of the roof so it just creates a complete picture. It looks a bit more realistic. That's it for the house. Now, I'm going to go back to that original color that I had, that beautiful brown ocher color. I'm going to use this now to add in a few details. I'm going to create these little horizontal lines here. We're going to effectively just add in a very subtle brick line, it goes in, that just enhances the look of this house. Now you don't have to do this if you don't want to, but I just wanted to show you that you can really get varied results when you're using a colored pencils. It's not always just a case of using them to color in. Generally, the color pencil are used just coloring pictures, aren't they? But you can sketch with them and that's what it's all about and really use this beautiful tool to its complete potential and come up with gorgeous artwork and sketches that you can color in and vary with texture, or if you're just in the mood of doing some coloring in, then you can just use them to color in. Absolutely, you can do that. I mean, I do quite a lot of coloring in my mindful coloring sessions that I do at work and that really helps with relaxing and I'm going to be releasing a series on mindful coloring so do keep an eye out for that. We will be using colored pencils in that. That's definitely something to think about when you're using colored pencils. If you don't like to sketch, then absolutely use them for coloring in and relaxing. Well, let us now concentrate on this sketch. Look at that. How quickly did I just quickly scribble away a couple of lines and we've got this beautiful detail bricks. Let's get a zoom back on that so that we can have a look at the whole picture. Like to look at the whole picture and then think about things, don't we? Yes, we do. Here we go. We've just quickly added in them beautiful details on that house. We can finish off by maybe adding in some window lines here. One, two and then maybe a nice one in the middle, three. Look at that gorgeous, isn't it? You just repeat the same on the other one. Fantastical. There we go. Now for the door, I might just leave that to the end. I'll decide what color I want to use. That's it. We've used a three different methods of applying our color and coming up with different textures and variations. Do give that a go. We can now concentrate on maybe this area here where we've got our beautiful boat and that water apart. Let's do that next. 20. Water and Boat: Let's now add in some beautiful blue in this water area. I've got myself a few blues over here, I'll just bring them onto the screen. You can use whichever blues you want, if you want to use blue, if you want to use a different color, go ahead and do it. Absolutely. Then usually in a set you get some nice blues depending on the size of your set. I think for this one I'm going to probably use a nice light shade of blue and then go over it with some mid-tone and then with a bit of dark. We'll move these turquoise ones out of the way, and just for reference, if you want to follow the same one, the lightest blue is number 661, the mid-tone blue is 660 and that beautiful dark blue is 159, which we used in one of the previous lessons. Let's go in and start layering this beautiful blue. I'll just get that in the middle, see if we can get a bit closer to that. Yes, we can. Fantastic. With the lightest color, I'm just going to go in and use my pencil to lay down that initial layer of color, very nice and light. Sometimes when you're using these colors or using any color is really in art, you can always have an idea of what color you want. But when you start laying it down, it gives you another idea or something might pop in your mind thinking, that might it work better and it's just really coming up and improvising as you go along. Sometime you get them happy mistakes and they work out really well. But sometimes they don't work out that good. You might end up using the color and you might think, I shouldn't have bothered, that looks not very good. [LAUGHTER] That's the enjoyment of the experience that journey of artisans it. Then the more you get familiar with your colors that you have, then the more you'll be able to make those decisions quickly. Then you won't have too many mistakes. Well, they're not really mistakes out there, they just learning experiences. That's the whole point of just practicing. Just keep practicing with your colors sketch every day with them. Don't just do one type of sketch, do all different types of sketch, do some abstract work, do some fine detail work, just do some coloring gain. The more you use them, the more you're going to end up enjoying yourself and coming up with some awesome results. That's the first layer down. Now, with the mid-tone layer, I'm going to go in, I'm going to use this movement like this. I'm just holding the pencil from the side like that, and I'm just doing that flick motion just to come up with these broken lines that create a bit of a pattern and give an element of movement where this water area is. Just like that, fill those areas or do that little flick motion just to add a bit of that texture, and that just gives it that nice visual look so it doesn't look too flat. Just like that, I'm dropping in them lines and then I'm just going to overlap randomly in different areas. I'm going to darken up a little bit more under the boat so it effectively looks like a shadow, and that's about it for that one. Let's just go back in now with our light blue color and just go in and just do a light second layer, not going to burnish completely. If you remember the different stages of burnishing, we go in light and you go in again with the second layer, the third layer until you're happy with the color. Then once you're happy, you go in with a heavy pressure to burnish and lock it all together to get that final smooth effect. Starting we went through in class 1 and we covered a little bit of that in class 2. Just using all those techniques to add a little bit of interest to this textured class that we're doing right now. It's so much fun, isn't it? I bet you thought all you could do with colored pencils is just coloring. Just fill in those gaps, and just coloring. But now, you know better. You can create textures, you can sketch with them, you can do all sorts. Just go ahead and do it. Don't wait, just do it now. Sometimes you end up buying pencils or you buy our supplies and you think, they were so expensive. I don't want to waste them. But it's never really a waste, is it? Because every time you use it, it becomes that experience of the journey. I wouldn't say just use current definitely scribble all over a page with them because that probably would be a waste. However, you might end up with a gorgeous piece of abstract work, but generally just go ahead and just practice as much as you can. What we're going to do here is we're going to use that horizon line just to fill this area, just that it looks complete. We've got that water area coming in from there. We don't want it to look odd. We just wanted to complete it over here where we've got these peaks, see if that's on the camera. Just going to add in a bit of that blue. That will just give us an indication that we've got that waterline going all the way across the back so it doesn't look too odd. That's about it. For the watery-water part with light colors, let's now go in with our dark. With the dark, I'm going to go in and I'm going to add in some nice sharp contour lines under the boaty-boat area. Then I'm just going to follow some of those lines. I dropped in with the medium one where we did that flicky-flick motion. I'm just going to create this little wavy wave line, just to add that final bit of texture and detail just to make it look interesting. Just like this, keeping it nice and random. You don't have to do this if you don't want. I just like to add as much detail as I can in these small little part, so just like that. Don't need to do it all the way to the back, just having it out in the front because usually you get the detail and focus on the front. Then the further back you go, the more blurry out naturally it becomes. Just like this, I might overlap some of them, do a bit of a crissy-cross like that, and it's looking fantastic. Look at that, gorgeous that doesn't say just like that. Then on the back just do some loose one's a bit more widely spaced out just to give it a complete look. I think I'm going to leave it at that. That's the water part done. We can now do a little bit of detail work on the actual boat itself. Let's do that next. Okey-dockey. Let's now have a look at the boat. I'm just going to grab hold of these two colors over here. I've got this gorgeous raw burnt ocher color, 077. Then I've got that beautiful burnt sienna, 069 for the numbers. I'm just going to use these really quickly on the boat. Just add in that lighter shade first where the base of that boat sails. Again, just going in really nice with a light shade very quick and easy. Don't need to worry too much about details on this one. Then maybe where the sails are held up by those posts just a little bit over there. I'm going to leave the sails and the white of the paper because I want that to have a nice contrast with the background. Then with that darker color, I'm just going to go in and I'm just going to add in some lines just to add a little bit of detail. We don't need to go overboard with the detail on the boat because it is still in the mid ground. Just like that, a couple of lines there. Then maybe at the front and then maybe at the back. If your pencil's sharp enough, maybe just drop in another line just to show that these are planks of wood going across beautiful plates of wood. Then maybe just a little bit on the edge of that. That's it. I'm not going to add any more detail on the boat. The boaty-boat for now is done. 21. Background Elements: Welcome back. Let's now look at the background area over here. For this I've selected some lovely gray tones that I've gotten my set. If you want to follow the numbers for the lightest gray, I've got 002, then I've got 004, then I've got 507. Lovely, okey-doke. What we're going do is we're going to go in. Let's just get a zoom me zoom in as much as we can and we're going to basically cover this entire area where we've got this horizon background area with the lightest gray. Just select whichever color you have and just give it a nice, little covering with that light color. I love this gray color, it looks absolutely brilliant. Sometimes if you have too many saturated colors in your drawing, then it looks a little bit too noisy, and to overcome that, always use some nice neutral grays to really balance out your image, and blues and grays always work really well together so it's always handy to have some gray tones in your sets. Sometimes if you don't have gray tones in your sets, it's just worth maybe buying a couple, maybe buying three gray tones or light, medium and a dark, and that way you can really enhance your overall effects of your illustration or your sketch. Just like that, I'm just filling in that area with my lightest gray that I've got, and it's looking really nice. Again, lay down is a really good, really quick and smooth. Fantastic. Now I'm going to go to the mid tone gray value, and I'm just going to basically go in and darken the baseline of each one of these elements. You can see we've got one element part there, the horizon part, we're just going to go in and just darken that. Then I'm going to just darken this area over here so that we have that difference in tone. It goes from dark to light, and it just adds that additional layer of interest. Again, over here, got another one down here. We don't need to go in with super detail for the background, otherwise, I will just focus on the background and the foreground and the midground all at the same time and you may end up losing focus so as what we don't want to do. Just continuing there, just using that mid tone, I'm just layering it over that horizon part first and then going onto these little peaky peaks at the back just to add that second dimension. Again over here, just going in and it looks great, that doesn't mean just a few little layers of color and it completely changes the overall look. Let's carry on with these ones at the end over here, I've got this second to last peak down here, so just a little bit of dark on there and then finally on the last one, just to separate those items and make them look a little bit more better just like that, and I think that's about enough. Now I have my darkest gray and with the darkest gray, all I'm going to do is I'm just going to add in some sharper lines at the base there. Again, another sharper line at that horizon where it meets the water level and then maybe a little one down here. Then I'm going to do the same for the ones on top but instead, I'm going to do that technique that we did in the first technique part of the lesson where we just did a few little crosshatching lines just to add a bit more texture and separation. Look at that, I'm just adding these hatching lines. Now I'm going to do crosshatching, just going to keep it simple hatching lines with that darker gray and that just adds that beautiful element of distance and a little bit of detail just popping out so it doesn't look boring. We don't want it to look boring, no we don't. Just like that, a couple of the lines with a darker pencil going across and this is why it's just so good to have maybe three tones of gray in your set all the time. You can just really mute out the lovely textures and colors and saturation of your overall image, and that's about it for that one. I'm not going to add in any more detail. Let's now move on to these beautiful peaks, these pyramid peaks that we have at the back. 22. Pyramids: After this one, I've got eight awesome color. For this one, I'm going to use this super-duper blue color over here that I've got. This one is called gray-blue. That's what it's called. It's called gray-blue. It's number 755 and for the dark, I'm just going to use my standard 159 that I've used throughout the lessons in this class. For this, I'm going to go in and do a little bit of crosshatching. So I'm going to get that color and my pencil is quite blunt but that's actually advantageous for me because I don't want it to be super sharp and all I'm going to do here is I'm just going to start there. I'm going to start adding in those lines, those hatching lines, and just following the shape and the direction of the lines that I've got down here and that's all I'm going to do. Just like that, go in, follow them up in this initial stage, you can see that the line width changes because I've got a blunt pencil and that's great for just adding that varied line widths. You can see I've got heavy lines there going across brilliant. That's exactly what I'm after. I don't want it to be super sharp at this point so just very soft and subtle, but it needs to be apparent and it needs to be seen so just carry on like this, very loose and gorgeous. Now, I'm going to need to maybe sharpen my pencil a little bit because it's wearing down again with the soft core pencils, they do wear down really quickly. I'll just do a quick sharpening sharpen on this one and it's looking nice and sharp now. Let's just go in again and what I'm going to do is I'm going to go back to this first one here and I'll see you. I'll try not to cover it up with my hand. I'm going to go in the other direction so just like that, I'm going to go in the other direction and create this crosshatching effect. I'm leaving the edge white I'm not going to go all the way to the end and you'll see why. Let's just carry on and just fill this in. Very nice. Look at that, it just brings out such a nice texture. Again, if you have only a few colors, don't worry about it, just use the colors that you have. I appreciate that the colors that I've used on here they are quite intensive because I've got such a big set. Even when I first started using Cohen's.luminance pencils, I didn't really buy a set I bought individual colors, and then slowly I just built a collection and then I just gave up because I thought, you know what? Let's just buy the entire set. I know I've already got a few, but I just want to have as many colors as I can at my disposal. Again, that just comes with a bit of experience and learning. I do advise just get a small set. You don't need to get a big one if you really want to get these pencils because they can be very pricey, but sometimes you get the special offers on and it works really nice. Just like this, you can see I'm creating this crisscross texture across all those big peaks and now what I'm going to do is, I'm going to use that same color and I'm going to start doing a little bit of shading over here on the left-hand side. Just on the left-hand side, I'm going in and just doing a light layer over that crisscross and if you remember, that's what we did in the first technique in the lessons in the class. Just applying that same principle, keeping it very light and airy all the way down here, not pressing down too hard. I want to have a subtle texture in the background of these. I don't want them to pop too much, just like that, dragging the pencil lines all the way to the end and then just continuing again on that next one, keeping it very soft, not pressing down hard at all using circular motions just to cover up those spaces in-between those crosshatching lines and then just bringing it up over here not all the way to the edge just as close as we can, but we want to maintain a nice white edge on the end. Then again, over here, I'm going to do the same, just going to fill that area up really nice with this beautiful blue-gray color. What a gorgeous color that is, isn't it? It is like a denim-type color. What a gorgeous color. Calm down. [LAUGHTER] Just carrying on with this and then just going in circular motion well relax, we don't want to overpower anything and that's looking great. So again, doing the same on this one, very light, very quickly. Take your time with it. Obviously, I'm recording this lesson, so I've got a bit of a time limit with my camera and all the technology that I'm using. But I want you to really take your time with this medium. It is a slow medium anyway, purely because of the nature of colored pencils being slow so just enjoy the process. Don't rush. Just take every step as it is. I'm going to do this in a couple of hours, this sketch, but you can spend maybe a couple of days on it, just do a little bit at a time and that way you'll enjoy it. You won't get tired and it's all good. That's it for that part now. Now what I'm going to do is I'm going to switch over to my dark color and this is where we bring out the beautiful dark contrast lines. Again, I'm just going to go in, I'm going to throw in a couple of those hatching lines just to overlap it like this, so that you can see that we have a nice little contrast between that light blue and the dark. You can see just by adding a few of those dark lines we've already created so much depth in there. Now it's got created that separation between these gray elements and then we just have this nice layer, I'm texture that just makes your image looks so much better. So again I'm just going to do the hatching lines across and you can do this by just establishing how much you need. You don't need to do hatching lines on every single element. It's just really to make it pop out and make it stand on its own. I'm going to let you do that however you want. Add in as many or as few as you think you need. You're not going to be able to add exactly the same angled lines that I'm doing here, because that's just going to become very laborious and I don't want you to get bored. I want you to just enjoy that process. Just follow along the best you can and come up with your own line spacing and line weights and patterns. That's absolutely fine. Just like that now, I've just gone in with that dark everything's is nice and subtle. It's not overpowered the overall picture itself and we're going to leave it at that. But what you can do is if you want to need to know these areas, you can just use that dark to just use the circular motions, and as you can see we've got this nice edge where it meets the whites of that page. You can do that all the way across just to get a nice blend going on over there and just to separate it so it doesn't all look too soft on the edge. Just like that with circular motion, we're just going round which is filling in the areas don't go in too hard and go up and down like this. Because what that'll do is it'll just make it look unnatural and we don't want things to just stand out. We want everything to gel together. That's what it's about, making it all come together. Again, just with the round tip of that pencil colored pigment, just go in round circular motions where it meets the other elements and just finish it off like that and that way you have a nice complete full area that you've just filled in and again on this chimney because the chimney is so whites as it is, you can just go ahead and use that circular motion. So just create a bit of dark, not too much saturation, just nice and the light, and then just fill in the areas around it so it doesn't look like it's just on its own and then maybe just fill that area. Then when we come to doing the outlining part, that's when everything will start looking so much better so lets get zooming back on this. We can see the whole thing and you can see now the overall picture is coming together quite nicely. You've got some nice bit of colors upfront and then in the middle, you've got these nice Earthy tones, warmer tones and then finally at the back, we've got these nice bluish, grayish tones. Now, what we need to do is just fill in the sky area. 23. Sky Area: I've got two beautiful shades of pinky and orangey. For the pink, I've got the 571. It was that one that I used in one of the examples in the previous lesson. For the orange, this one is actually just called orange. [LAUGHTER] It's 030 if you want to know the numbers. With this, all I'm going to do is I'm going to use the pink first, use the side of the pencil, and I'm just going to go in and layer that color as a base layer. We don't need to do anything fancy here. We're just going to fill in this space, so we just coloring in. That's what we're doing. We're just coloring in this whitespace that we have for the sky area of this image. Don't need to be super neat. Even if your lines go over the element, that's fine. Don't worry about it. There's no point being worried about your colors going into another, just enjoy the process. You're not going to get tested. It's not a test. It's not an exam. You're not going to get a grade at the end of it. This is just an experience for you to relax. That's what art is all about. Relax, express yourself. Let it all out on that paper with your median and you'll feel so much better once it's all done. Sometimes making them little errors, they can just release that bit of stress that's in your life. Sometimes those stresses, they get to us all, don't they? That's just the way life is. They should be something that you can do, that's nice and proactive, that you can just get away from the hustle and bustle of daily life and you can just enjoy a bit of me time if you like with some colored pencils or whatever medium you like. But do keep in tuned with the classes that I produce because I am going to be doing a series on well-being art with colored pencils very soon. We're going to be doing a lot of these techniques that we're learning in this series, in this class that we do in this texture work, blending. We're going to apply a lot of that in the upcoming classes. Let's just carry on and do that. You can see we've got a nice base layer over there. Now what we're going to do is just going to add in that lovely orange color from the top. Not going to go in from the bottom. I'm going to go in from the top, just like that. Go in. Sometimes the sounds that the actual pencil makes against the paper, it's so relaxing just to listen to that sound. I'll just be quiet for a few seconds and let you listen to that sound. [NOISE] It's great. That doesn't say it makes you want to fall asleep, but don't be falling asleep. You want to watch my class. [LAUGHTER] Just enjoy the process, the sounds, the texture, the feel of these beautiful pencils and mediums. Let's just go over with a final layer of the pink now. I'm going to press a little bit hard now. I don't want to go in and do a super flat burnish on this. I just want to go in with a little bit more pressure just to bring out some saturation of that background, just like that very light but firm. It's looking great as gorgeous color that, isn't it? Like a pink, orange sky that, isn't it? Fantastic. Look at what you can achieve with these little mediums, these little pencils. They usually have them locked up in a tin and never use them. No. You need to get that out and you're going to get the paper out and start getting all that beautiful pigment on paper and create something fantastic and enjoy the journey. That's what you're going to do. You enjoy the journey and not forget to have a nice cup of coffee once it's all done. Actually, that's just reminded me I'm thirsty now. I have to get myself another cup of coffee. But yes, if you remember I've run out of coffee today, so it's just going to have to be water. That's all good and that's about it now for the sky area. I'm just going to leave it as it is. I'm not going to go in with my blender pencil yet. Once we've added all the details and finalized everything on this sketch, then I'm going to go in with a final blend. Now the only thing that remains is this little door over here. Let's see what beautiful colors we have. We might do this nice turquoise color. Got this really nice turquoise color here. I think I'll just do it this turquoise color. I'm just going to go in and I'm just going to go in with a hard color pressure just like that, just to fill in that lovely door that we've got down here. That's looking fantastic, gorgeous color by by way, and see that turquoise. Absolutely beautiful. Just color the door in whichever color you like. That's about it. I think we'll leave the dry color part as it's, and then maybe we may end up topping it up once we've gone in with the other mediums. Let's now move on to the other mediums. 24. Shadow Details: Welcome back. Let's now start adding some nice little detail work with the other tools that we have. I'm going to start off by using the lovely brush pen. Now, this is the same one that I've been demonstrating throughout the class. So let's get started with this. I'm going to use the brush tip because it just makes it easier to apply, and let's get a bit of a zoomy zoom in on the picture, so you can see a bit more clearer. That's looking good. I'm going to start off with the boat area because that's the one that's popping out to me for a shadow. I'm going to just lay down In one gentle stroke with this brush pen going across, just to add that little shadow element. You can see it enhanced it so much just by adding a few little lines, not pressing hard, and it looks great. Now, we can also add some shadow element onto the actual boat itself just over here, just on the edge of where that darker line comes. Again, it's so subtle, and it works really well. Now you've got to remember if you're using a brush pen like me, it's always a good idea to have a little bit of scrap paper to hand just to make sure that every time you use it, you just give it a little clean like this because it does pick up some of the pigment that you've used it on. That's enough for the boaty boat. What we could actually do is we could just go in, and on the sails where we did this embossing, you could just add in a nice gray edge line, just to give that a little bit of shadow. You can see that works really well. Now, this is quite a dark color, and I think I've gone and picked up the wrong one. This isn't the one that I really wanted to use. The one that I want to use is this one. This nice little light shades, so if we just open this one, let's just test it out before we go ahead and put it down. There we go. That's the one that we wanted to see. There we go. Let's put the right pen in the screen and get rid of the wrong one. But it's fine to use over the darker shades there. Now I've got the light pen here. I'm just going to go in just like that. Look at that fantastic light gray. Now again, if you don't have these, don't worry about it. Just carry on with your normal colored pencil work, and if you have the Crayola markers, just use that to add in some of these nice little shadow areas. I'm just going to go in with that light one alongside the post areas, just drop it in, and then just up the bottom bring it across. Now, that's looking great. Just with a few little strokey strokes of the gray, we can add in so much more depth and make it pop. I'm going to now concentrate on these front elements that we've got. These are actually looking quite good as they are, but I'm just going to add in just a little gentle touch with my marker just to give it that completeness and just like this, a gentle touch going across. This may go over the embossed lines, but that's fine because I'm just doing it on the left-hand side, and that is because the brush pen can actually get through to the groove that we created. If you have these embossed lines and the very sharp, and you want to mute them out, then it's a good idea to use your brush pen to go ahead and just call them up and get a bit of that gray ink in-between there. It's hard to get colored pencil in-between there, purely because it's a dry pigment. Wet pigments like this can work really well. Although this really isn't pigment, this is more dye-based because it's watercolor, so we can carry on. Again, just over here, I'm just going to go ahead, and just add in just a little bit of that shadow color and just mute out these lines slightly purely because we don't want them to be too harsh where the dark is and that will just enhance it that little touch, you can see by just adding this little marker lines across the dark area, and a little bit over the top and over those hard embossed lines. We've just softened it up a little bit, haven't we? It looks great. Just like that, I'm just going to carry on over here very lightly with a very light touch. Just remember, you don't want to be pressing hard with these markers on top of your beautifully blended work, because sometimes what can happen is they can just go ahead and ruin it all. You don't want to ruin all that effort that you put in. No, you don't indeed so. Just like that, going in with that lovely light gray, just to merge and blend and give this tone a slight increase in intensity, it's looking fantastic. Just carrying it on with this side, and then quickly use these round motions and then just dab it on where the white is, and just in that dark area, it looks great. Again, just going to repeat that across it, and I'm going to do this quickly because we don't want to overwork it. Sometimes you end up overworking things because you just enjoy yourself so much, and you forget that you only need to do a touch. It's just a little touch, that's all you need. Just carrying on over here, and that is looking pretty nice. I'm going to leave it at that and I'm going to clean my brushy brush. So give it a little wipe, there wasn't much on there anyway, but always nice to make sure that your brush pen is clean. Now I'm going to go in, into these areas where we've got lovely orange, and it'll be a bit more prominent in here when we're adding this because you can see the orange is a lighter color, and it darkens it up really quickly. I just want to add this at the base and at the edge. I don't want overpowering gray going into this. Just a little touch and look at that, it enhanced it that slight little bit. Just going across here on all of these, just adding in that shadow effectively, to just give it that extra touch and just to increase it up a level on the detail, and it's looking fantastic. Look at that, look how easy that is to do it. I bet you never thought that you're going to be using brush pens with your colored pencils. Well, there you go then, isn't it? You learn something new every single day. Now, I only recently started using brush pens with my colored pencils because previously when I first started using colored pencils, I would have just used colored pencils as they are. But then you experiment, and you figure things out, and you realize that you don't need to just use a medium in isolation. It's great to use with other mediums, really, to get the effect that you're after. I've done that area now, just going to move on to housy house and with housy house, all I'm going to do is, is use that gray. Just do a nice little strip coming down over here. Nice and gentle, and then just with the tip of the brush, just adding a couple of dots. That's enough for that side. Then we'll just have an under shadow on this area here, just a light on the shadow going there, and that's about enough. Then for the window, just a little one underneath there, and another one over here. Then on the edge here, just a really light one and then a shadow going on the under part of that roof area that will look really nice and subtle. That's about it for that. We could add a little bit where this door element is here, just to darken it slightly. That's looking good, and then finally on the chimney area, let's just bring that up a bit down. You can add in some nice bit of shadow over here. So just under there and then just across the little shoots that come out, and that's about it. That's the house done. The front element is done, just get to zoom back, and get the whole thing on the screen. Good. Yeah, so house done, fronts elements done, the orange bits done, and then we've got the boat done. 25. Background Shadows: Now, for the background where we have our lovely great peaks, I'm just going to put a nurse. They'll strip down here, where it meets the water area. Very subtle, doesn't need to be too dark, just go across there like that and then across this area, and then just for the grays on the peaky peaks over here, I'm just going to go in, and just dab it a little bit, just to give it a little bit of an enhancement is going to hardly show up or it will make a difference. Now again, if you're using these brush pens like I am or whichever brand you're using. Be very gentle with this, don't overwork it, just go in and give it a slightly old tap, but if you don't want to do this and you're worried that you might mess up all your lovely blending, then just leave this step out. I actually liked doing this so I'm going to continue, and now, we're just going to add in a little bit of a freak motion here, where we've got the darks, just to give them a slight enhancement, just like that. Nice bits of gray on there using the side of the brush, just flicking it up. Just like that, and you can see that adding a nice kind of shadow effect going across there on the second to last one or pair, just like that, very loose, and finally, the one over here, we can just add a nice little blend, and this edge that will meet the roof, we can just put a little line to cover it so to make it or gel together. That's about it. That's enough for the brush pen, and you're going to give it a quick little clean, very good, put it away, we don't want that to dry out. No, we don't. Otherwise, we're going to be in trouble, so just having a look at this, that's just a brush pen work done. Now, we can go in, and start touching up with assumed darks and highlights with our pen. So let's do that next. 26. Outlining: Okey-dokey, Let's now use our fine liners and fountain pen broad tips to come up with some nice outline work. I'm going to start off with my chiselly-chisel tip, use whichever tip you have, and let's get started. I'm going to start off by going over the edge of the house, just like this, the very thin line using the edge of that chisel tip just to create some outline. Then I'm going to do the same for the window area here, just on that side and then across the top. Then again, repeat the same on this, all that does is, it just fine tunes what we have. Then the chimney area you can just outline this because it gets blurred up in all that mixture of color. And I'm just going to go ahead and actually outline the shoots completely and then across the top and bring it down. Then maybe just a line there and a line there and maybe just bring a line across over here. Very good. I am going to actually put a line on the windows here because I just want them to have a nice difference in separation with the rest of the house and that's looking great. Let's now move on and let's just put a line across here. Again, I'm just using the edge of my chisel tip, I'm not pressing on the complete flat part. I'm just getting a very nice thin line and that's the advantage when you have a chisel tip, we can go in really thin or we can go in really thick and heavy. On this side what I'm going to do is where the door is, I'm just going to follow that across and then bring it down. And then inside where the door is, let's just add a bit of detail. That's about it for that one, where the door line is, let's just put a little line there. Very good. Let's move on to the orangy orange part, so very thin. I'm just going to add a broken line on this side. I'm not going to do the same there. I'm just going to add a broken line on this edge and then follow that pattern with a broken line. You don't have to outline completely, it's just about adding a few little touches of that black ink to just make it pop out and give it another dimension. That's fine on that one. Now I'm thinking let's do a little bit on these peaky peaks, so with the chisel let's just go in here and just add that broken line halfway across that circle part. Then I'm just going to repeat that over here. Don't want to make it too much of a solid line. Don't want to lose all the impacts of that beautiful blending and color. Again, over here, just to enhance and just to make this stand out a little bit more on the edge and then on the edge here, just to add this beautiful broken line, kind of need to neat up effectively because we don't want it all to look messy. We want to have some nice sharp edges, just a very look and feel of these beautiful elements. There you go, broken line there, and then broken line on this one as well, a couple of dotty dots. Then we do the same for this one, going across. Lovely, and then again on this one just going across not into the white area. Then on this one going across halfway through. Then finally on this one, take it up from the bottom and just about there, that's enough for the dotty dots on that. Now, let's have a look at the boats. We can actually go ahead and do a little bit of dark where the water-line meets the boat on this curvy, curvy part there. Then maybe throw in a couple of lines going across like that just at the front, just to sharpen it up a little bit. Then maybe we could just add in a black line that's broken like we did on the front elements just across there and that's about it for the boat. Now we can also add some black dotted lines for the waves in that water area. What this will do is effectively add a kind of double shadow effect on those blue lines. But do this very sparingly, don't overdo this if you decide to go ahead and do this because you just don't want loads and loads of these black ink lines overpowering that lovely texture that we created, just a little bit like that will work wonders, right? Let's now move on to that mid-ground. Again, for the mid-ground, we don't need to do too much with the black, just may be a broken line going across that horizon area that meets the water and the mid-ground. Just a broken line there and lightly there and just a bit over there. Then maybe just to separate these little thing images that we've got, just a little dotty dot line there, another dotty dot line over there. Maybe one here for completeness, don't need to do any of that one. Then maybe just on the edge over here, just a dotty dots and I think that looks rather nice. We can also maybe just add another broken line dot over here. Then across, over here, just to see how it goes on your drawing. You may find that you don't need to put these in or you may need to put more in, in a certain area as you go along, just add in whatever you need. With the pyramids, we've got nice bit of dark over here. So I'm just going to add in that broken line on the edge and again over here and add in the broken line on the edge. Don't worry if you go in a bit too hard or you add a line in and you think, oh, I didn't want that line there. Just practice, that's what this is all about like I said before, it's not about making the perfect drawing or creating the perfect picture or artwork. It's just a journey and this is how you learn. That's about it for the darks now. I don't think I'm going to go in with my fountain pen yet, We'll do that once we've added the highlights. Let's now move on to the highlights. 27. Highlights: Time to have some fun now with our lovely white paint marker. Give that a shaky shake [NOISE]. Open it away from the artwork because we don't want it just splash everywhere if it's leaking. Fantastic. Now with this, what I'm going to do is I'm going to start off on the bottom left-hand side here, so I'll just bring that up a little bit and this is where the fun begins. I'm going to start dropping in these lovely white dots where we've got that lighter area and this will just add that extra dimension to our drawing and just make it look awesome. You can see just by adding those dots, it looks like we've got these beautiful bundle of suites. These gorgeous white suites that are laying on this bed of green suites. This is how it just makes it pop. What I'm going to do is I'm going to repeat that. I absolutely love this effect. I think just by adding this, it totally enhances the drawing by 1,000 times and it makes it look so much better. Just again, on those white ones at the front, just keep going over as much or as less as you like. It's entirely up to you how many of these dots you want, there's no right way or wrong way of doing this. You just go ahead, design it how you like. The journey should be enjoyable, and the results should be how you want them to be. That's what it's all about. their own rules in art, like I always say, there's no rules, express yourself however you want with some awesome mediums. Just like that. Look how gorgeous that looks, knowing nothing I'm going to get a bit over-excited once I saw. Let's just carry on and add in those beautiful dots. Now, you can also use the colored versions of these paint markers. If you have maybe a yellow or an orange, go ahead and use that to add some of these dots, that will just add another color dimension to it. I'm only using my white one because I just want to keep it simple for the class but I could use the other ones to add maybe yellow and orange onto these peaks, but let's just keep it white as it is and just like that, adding them gorgeous dots of paint that you could never achieve by the white colored pencil because the white colored pencil will just lighten up the color and you hardly be able to see it. Look at that, gorgeous, isn't it? Look at that white onto that yellow blend, beautiful stuff. Let's just carry on. Again, just randomly putting these on, clustering them up into the top right-hand corner and it looks fantastic. Again, on this one, it's just so enjoyable. This is probably one of the best parts of putting a colored pencil sketch together. As far as I'm concerned, I really enjoy adding these dots and it's effectively just adding little jewels and diamonds on top of your beautiful artwork. Very good stuff. Just like that, going across there with my nice heavyweight tip. Give that a close before we smudge it everywhere and put it to the side, and let's have a look. Let's get the drawing on the screen properly. Wow, look at that, that looks amazing, doesn't it? Now I'm going to use my thin one that I have the thin tip to do some detailed dots on these orange ones. I don't want to keep them thick because as we go further back in the distance, the details will get smaller and smaller. Let's go ahead and do this, give this one a bit of a shaky shake [NOISE]. Keep that an old pen away from the artwork, and let's start adding our detailed dots on this. Now, what I'm going to do on this one is I'm going to actually drop in a line of white on the edges first. Now if you remember, my marker was actually running out, so probably I got a paint left him this. I hope this actually works all the way to the end. It is seems to be working right now. I want to quickly get that lovely paints out, and what that's done is it's just added that nice little glow on the edge where the light is hitting in. Let's just start throwing in a few of these dots. Very small and nice and fine. Look at that, gorgeous that, isn't it? You can see that there's a contrast between the thick ones and the thin ones. Again, not going to overdo it. We just want a few of them on this right-hand side of the shape of this triangular pointy shape, and it's looking great, so just find that I'm dropping them in. Now you may have an entire set of these markers that you can use. As I said before, try all the other colors if you've gotten them. It's just nice to experiment and see what you've got. If you've only got white, then that's absolutely fine. White will work great on all colors. That's it about it for that. Look at that gorgeous stuff, isn't it? It looks really nice. Now we're going to move our focus onto the boaty area, and using the same marker, I'm just going to go in and start adding in some white highlights very thin. But then we'll go in and start adding in some heavier ones, I think. Let's go and get the big pen [NOISE]. Now with the big pen, I'm just going to add in a nice cluster of these dots onto that edge, and then maybe throw in a couple of that heavier lines at the frontier, just to give it an indication that we have movement in this water area. That's about it. Just nice and light, very light touch. Now where these sails, you can also just maybe add a line of white hair just to clean it up. If you've accidentally put some color over the white, that's a great way to just do some correction. It's like using some of that correction fluid, isn't it? Just to go over and whiten up those areas that you might need to add onto. That's about it for that, let's now look at the housey house and see if we can add any white on there. I'm going to leave the housey house as it is because I don't want to overdo it. We already got that nice embossed roof and let's keep it nice and flat on that one. Then on the elements at the back, maybe I might just add in a couple of lines coming in like this on them peaks just to break it up, so you can see what I'm doing there. I'm just adding in some white lines coming down and what that's doing is it's just slightly breaking up that edge that we've got going into the blue, and then on this one maybe just add in a couple of dots, very light, just to lighten up that area. Then here again, just going in with little freaky motion, just bringing in the white lines. Then finally finishing this off, maybe just bring in some white lines to cover up a bit of that pink that went across. Don't have to do this. I'm just doing this for correction purposes, so just to correct that area, and just add that down, that's looking great. We are nearly done with all the white highlights. Maybe just add in some very light ones here where we've got the horizon line and what that'll do is it'll just make it pop over that shadow area. I think we'll leave it at that. Let's just give our pen at close and take a look, and it's looking fantastic, isn't it? Let's just have a look and see what else we need to do. 28. Final Touches: We can probably add a couple of darks on this as well now. I'm going to use my fountain pen where I've got the broad nib. With the broad nib now, all I'm going to do is, I'm going to just add in some really light dots where we've got this area here. Very lightly just add in some dots where we've got this darker area on the pyramid, just lightly to enhance them a little bit. Again over here with the fountain pen, just some really light lines on the side there. You can see what that does is, it just gives it a little bit more interest in texture just by dropping in wet inclines and I'm just going to go across, it looks like it's a bit of a cross hatch. Just coming up with these random lines so that it looks like it's all merging together. Again over here, just a little bit of black lines. Very nice and random, dots and lines, just in all directions. Just maybe a little one here with a few coming out. Yes, I think that's looking quite nice now. I may add a few more into the water area here just underneath the white. Where I've got the whites there, I'm just going to add in a line underneath them to make them effectively pop out. What that does is, it just really adds a nice bit of contrast within that texture area. That's about it for that. Now the final thing that I'm going to do is I'm just going to go ahead and blend that sky area with my blender pencil. Let's go ahead and do this now. This is just so that the whole thing looks nice and smooth. I'm just going to use the edge of my blender and just go in and start bringing this down. I had to leave this right at the end so that I know that my actual drawing is finished. A lot of the times when you have a larger area and you've just covered it with pencil, sometimes an idea might just pop in your head and you might think, I could add this element to this, or that element to this. It's always a good idea to leave your final blending area of the bigger areas towards the end, because then you still have the flexibility to go ahead and make changes if you need to. I'm happy with this now, I've added enough details into this overall image. All I'm doing now is I'm just going to go in and blend nicely, not too hard, just keep it nice and light, and it will add another dimension to the actual drawing. Let's just carry on with this. [MUSIC] Now I've done a nice blend over there using my blender pencil, blend it out completely and it looks fantastic. Then I finally finalized with just doing a nice black border using my crayola marker, just a complete neat image. There we have it. We've done our full sketch. Hopefully you would have given this a go. If you haven't had followed me up to now, then just give this a go. Have a look at the lesson again and work on these techniques. You don't need to do exactly the same as I've done in this full sketch, but give it a nice overall complete go from start to finish and see what results you get and that will be great. Now let's move on to the exciting part of your class project. 29. Class Project: Okie dokie, welcome back. Let's now talk about your exciting class projects. Hopefully, you would have watched the lessons up to now and you may have followed step by step, which would have probably completed most of your class project because your class project is to go through the three-technique exercises that we went through in the lessons, follow along. We started off with the beautiful technique Number 1, where we did the crosshatching as we did on the screen here. I'll just get to zoom on this and we had a great time doing this so just practice technique number 1 with as many colors as you like. Try doing these designs that I've come up with. Start off with the crosshatch there, then do the stippling, then maybe do a mixture of both. Then once you've done that practice with a couple of colors, maybe do all of these with two colors or even three colors, and see what results you get so that was the first technique. Then after that, we went through the lovely embossing tool and created these gorgeous highlights using our colored pencils. Now if you don't have an embossing tool, that's absolutely fine. You can skip this step and not to worry, you'll still would have completed your class project even if you haven't got this tool but if you have this tool or if you really want to get this tool, then you can get them from the local pound stores or craft art stores, then very inexpensive. All of the links where I've got all these materials that I've shown in this class is going to be in the class resource sheets so do check that out. Give this one a go as well. Try out the different stages that we used when we embossed first went over with color, and then we colored first with one lighter tone. Then we embossed over, then went over a dark color to bring out this beautiful colored embossing line. Then do a bit of a practice sketch with the embossing tool to come up with a nice pattern and design just to get yourself used to using this tool to create lovely designs and highlights. Once you've done that, practice, maybe with a couple more colors just so that you get comfortable using this tool. Do remember, when you press down with this tool, it will go through to the other page so don't keep anything nice underneath that sheets of paper, just maybe add in a scrap few sheets of paper so that they don't get scored or your table doesn't get ruined so do be careful put something underneath your sheet of artwork before you go ahead and emboss using this tool. Then that was technique number 2. Then we did paint markers, adding in highlights with our beautiful paint markers. Now again, if you don't have these, you may have some gouache or a gel pen, just use whichever ones of them you have, just to get an idea of how to use this paint or liquid material on top of your dry pencil to get gorgeous results like this. Give that a go, try it out with a few colors and if you have a few other colors of your markers and try it out with that absolutely. That was the second part of technique 2. Then technique 3 was where we were adding some lovely darker tones onto our colored pencil. Now again, use whichever materials that you have, whichever tools or fine liners or ink pens to just come up with these swatches and practice and implement these into the color swatches and see what results you get. That will give you a practice and an understanding of how to darken areas when you can't do it with your own colored pencil, so if you have brush markers, you use brush markers. If you don't have them, not to worry, don't need to go out and buy any of these, these can be quite expensive, but if you have them lying around, then absolutely use them and it'll be a huge advantage if you've gotten gray tones. But generally, you're most likely to have Crayolas lying around somewhere. If you've got them and you've got some nice gray tones or even some nice colors and use them like we did in the lesson to come up with some gorgeous results and practice how to add darker shades. That was technique number 3. Then we went and did our lovely job full sketch. Let's just get a zoom back on that. Then with our lovely sketch, we created a nice little scene step by step by using all of the techniques that we went through in the class, all three of them. Try that out, follow this step by step if you haven't already done so. Then once you've done all this, then you're ready to do your own drawing so come up with a gorgeous sketch using colored pencils and adding as many techniques as you can that you've learned within the lessons in the class and doing the full sketch. You can go ahead and do an abstract piece. Go ahead and work from reality, do a still life, or come up with a beautiful whimsical seen or even another house scene like this, absolutely fine. You have the license to do whatever you like. I hope you enjoyed the process and remember, give yourself a rest in between the exercises because this medium can be quite laborious when it comes to blending and really coloring in. It can get your hand tired. My hands are absolutely knackered out right now. Let's just carry on and hopefully, you would have come up with some gorgeous results. I've enjoyed this process and I'm sure you're going to enjoy this process and I can't wait to see what you produce. Let's now move on to some other final thoughts and wrap up this class. 30. Final Thoughts: Welcome back. Let's [BACKGROUND] now just go through some final thoughts and wrap up the class. Hopefully you would have worked your way through the three techniques that we went through in creating color textures with using the sides of the pencil and adding in details with a sharper part to create some beautiful hatching lines and depth with same color. Then hopefully you would have gone in and tested out other colors to come up with a range to get that lovely experience and understanding of how those textures can be applied. Then we moved on to the second technique where we went through different highlights by using those beautiful and special tools, like the embossing tool and the paint marker to come up with some real fancy, beautiful designs that bring out those gorgeous whites of the paper and add that extra layer of magic onto your illustrations. Then finally in technique three, we went through the dark tones and adding shadows with using water-based markers, brush pens, and ink. Hopefully you would have gone through a couple of them depending on what supplies you had available. Then this would have given you a nice little practice so that you could follow the full sketch step-by-step. This would have enhanced your overall experience of how to create textures and beautiful effect using colored pencils. I hope you've tried all the exercises out as best as you can and gone through the full sketch. Now you're ready to do your class project, so please give the class project a go, and come up with a gorgeous sketch of your own and try using as many of the techniques that we went through in the class. Don't forget to take pictures of all the beautiful artwork that you've produced, whether it be the exercises or the full sketch, and also include the class project that you do of your own sketch. Upload all of it on the project gallery for all of us to have a look at your wonderful creations so that we can learn from each other and so that we can motivate each other. This was the third class of my series, Colored Pencils for Beginners. As I mentioned earlier on at the beginning, if you haven't gone through class one and class two, then there's definitely things in there that you can pick up. Even if you're already used to using colored pencils, it will give you a nice overall experience from the basics building onto mixing with other mediums. And then finally with this class, creating textures and effects. This will give you a nice rounded experience and first-hand look at how to really delve into this magical world of colored pencils. Do check out my other classes on Skillshare and follow me on social media so that we can stay in touch and learn from each other. I personally advocate sketching and drawing every single day regardless of what medium you use. If you're in the mood of using colored pencils, start sketching with colored pencils every day. Keep them nice and small and compact. Don't go ahead and do complicated designs. It's just to get yourself into that habit of sketching. If you haven't already checked out my daily sketching habit class, then do check that out. That goes through some different types of sketching methods to really inspire you to start sketching on a daily basis with various mediums. Once you've uploaded all your wonderful work on the project gallery, please leave a review on the class and share your experience with everyone on the platform so that other people can find the classes and go through the same journey as you, and we can share this wonderful medium with everyone. Thank you so much for your time. Thank you for taking the class. Take care of yourself. Carry on sketching and don't forget to take breaks in-between your artwork and get yourself a nice drink and a cake. I'll see you on the next one. Take care of yourself. Peace.