Creating Vibrant Drawings with Coloured Pencils: Drawing a Fruit Bowl

1. Introduction: Pencils can create some really colorful vibrant and detailed drawings. But sometimes when you're trying to draw a full picture, it's kind of hard to know where to start. I want to show you today that actually, if you break a drawing down into sections, it's not as tricky as you might think to create some really colorful pictures. My name is Jemma Chambers, and I've been making online art tutorial since 2020. I've helped tens of thousands of people improve their art. But today, I want to be a little bit more specific. I want to show you how you can create a really bright, vibrant drawing on a really bright and vibrant paper, and specifically how to make it easier by cutting it down into bite size pieces. I'll talk you through all of the materials that you'll need, and then we can start working our way step by step through the process of creating this pretty fruit drawing. Let's get started. 2. Class Project - Drawing a Bowl of Fruit: Class project, we will be drawing this bowl of fruit. Now, I will talk you through everything you need to know to do this, including how to build up this sketch. Remember, if you do want to use my sketch rather than creating your own, it is in the class resources. I've also included in the class resources, all of the colors that you'll need to create this drawing if you want to use exactly the same colors as me. Now, please do upload your drawings into the class projects. I would love to see what you've done. Let's think about the materials that you'll need to create this. 3. Materials For Coloured Pencil Drawing: Thinking about the materials that you'll need to create this drawing, the most obvious thing that you'll need is a set of colored pencils. Now, for my drawing, I am using a set of prisma color pencils. I'm using the set of 72. I think that they work particularly well on colored paper. Just because they're quite a nice waxy pencil, and it creates quite a opaque color. You don't need to use exactly these pencils. But a slightly higher quality pencil, I think will work better, particularly because we're drawing on the colored paper, they tend to have a bit more pigment in them. Now, the next thing that you'll need is some colored paper. Now, I'm using the Canson color line paper. This is a really nice quality paper. But you can, of course, test out some colored papers of your own, see how the colored pencils show up on them. Color line paper comes in loads of different shades. I'm using this quite vibrant orange. Next up, you'll need a pencil sharpener. Now, I use a hand crank pencil sharpener. I particularly like it because I can change the blades when they wear out. That said you don't need a pencil sharpener this fancy. Any pencil sharpener that creates a really good point is all you need. Next up to create the sketch, you'll need a ruler pencil and an eraser. And I'll show you in the next section how we'll use these. From here, this is a little bit of an optional material. I'm going to be using a jelly roll pen. Now, this is a white gel pen that's really good for building up a bright white over the top of colored pencils. Now you're not going to absolutely need this. If you don't have one, it's not completely necessary, but it is good for adding in those highlights of Next thing you'll need is not something you can buy. Is something you're going to need to make. This is color swatches. Now, I like to swatch out all of my colors, so I can see what the colors actually look like on the paper, rather than relying on the lead or the barrel of the pencil because that doesn't tend to be very accurate. So I for every color in my set, go from as light as I can to as dark as I can, and then I label it. Actually doing this on white paper, even though in this specific tutorial, I'll be drawing on orange paper. It's so much easier to just get it marked out on a white because then I can use it for any drawing rather than just this drawing. I say all the time, Swatches isn't something that I repeatedly make. I have this set of swatches, which I made about four years ago, and I haven't needed to read Last thing you'll need is some way of looking at the reference photo. So B I'm focusing on drawing realistically, I always like to work from a reference photo. And what I like to do is put the reference photo onto my iPad. I particularly like that I can zoom in to see all of the details. That said you don't have to do this. You could print out the reference photo. So you will need a set of pencils, some colored paper, a pencil sharpener, a graphite pencil ruler and a erasor, a jelly roll pen, some color swatches, and some way of looking at the reference photo. Next up, we want to start creating the drawing, and that starts with a sketch. 4. Sketching the Outlines: Let's create the sketch for this drawing. I like to do this with something called the grid method. This is where you put a grid on your drawing paper and a grid on your reference photo, and we're going to draw just what's in each individual square. So I can start here by working out how many squares I need on my drawing paper. I'm actually going to draw this out on just some white paper so you can see a little bit clearer. But I would usually be doing this directly onto the colored paper. I can start out by drawing my grid. Now, I've worked out that I need squares that are 2 centimeters wide. Also not going to draw the grid over the whole piece of paper. I've worked out just the section that I need for the fruit bowl. Once I've got my grid, I want to start working through here one square at a time. Generally speaking, I like to start in the top left and work towards the bottom right. I want to start here by working out which square I'm starting in so I can count down the squares. So I'm going to start on this square here. What I want to do is look at particularly where the key points are crossing the lines of the grid. For example, looking at this line here and the outside edge of the bowl. This section here is crossing the line not far from the very corner of the box. Maybe a bit under a sixth of the way across, and this line here is crossing the box, maybe about just over a third of the way along here. Down the bottom, this line here is just beyond the edge of the box, and this line here is maybe a quarter of the way. I can mark in where those lines are going to cross these lines by estimating the distance along the square. And then what I want to do is join those lines. Here we're looking at the outside of the fruit bowl. The lines are slightly curved. I want to slightly curve them, but join the dots here. Now I want to look at anything else that's within this square. So there's this piece of mango. Here, the mango is crossing maybe about a third, a little bit over a third of the way along here. This point on here is about halfway down the box and nearly touching this line, but not quite at the top, the point of the mango is slightly into the next box, and it's probably about a fifth of the way along. So I can mark those points on the outside of the box. And then once again join them together to draw out that piece of mango. So once I'm happy that I've got everything marked in in this first box, what I now need to do is work my way around every box in the drawing. So let's do this for a couple more boxes for now. So looking at the box above this one, here the line around the edge of the bowl is about halfway along the box. Sign here is just under, I would say, a quarter of the way from the edge. So all I need to do is once again mark those points on the edge of the box and join the lines together. So you can see this is quite a time consuming process, but it is very, very accurate. Let's mark in the piece of fruit along the top. So once again, I am marking in where this piece of fruit is crossing the edge, which I can see from my reference photo is about just over halfway up the box. And then this part of the fruit here is almost touching the corner of the mango. As I say, I want to go round and do this for every single box. Now, one of the really good things about using the grid method is that it forces you to look at the objects as shape rather than thinking about drawing a bowl of fruit, for example. You want to focus on looking at the shapes that are actually here rather than looking at the shapes that I think are here. I'm generally working down in strips, one box at a time, and I do think it gets easier as I work my way through here. As I say, it is a little bit of a time consuming process, but it is well worth it to get an accurate sketch. So once I've gone around and marked out what's in every box. What I then want to do is erase all of the grid lines. So you can just take any eraser. I'm using a ***** eraser because that's what I have to hand, but take any eraser, and you just want to remove all of those gridlines. It doesn't matter if you erase a little bit of the sketch as you go here, you can always add it back in if you need to. Do you remember that you want to be doing all of this step as lightly as possible? I'm pressing much firmer than I would usually so that you can see it clearly on the camera, but you want to do it so very lightly so that when you do erase the lines at the end, you don't have the pencil left showing. Let's look at the reference photo. 5. Studying the Reference Photo: Before I start any drawing, I always like to have a really good look at the reference photo. I find it's very helpful to really truly see what's here. Let's take a look together. Now, this is a reference that I think looks very complicated. But if we break it down, I think it's much simpler than it looks at first glass. Now, there are some areas that are really highly detailed, and particularly thinking about all of the kiwi, all of the raspberries, and all of the blueberries. But for the rest of the fruit bowl is actually all extremely simple. There's a lot of wedges of, I guess this is mango and a lot of wedges of maybe melon. And these are actually just solid block colors. They've got the odd little light shine to them. On the most part, they are solid blocked in color, whereas on the Kiwi, for example, we've got all of these little seeds that we're going to need to draw in. On the raspberry, there's all of this kind of raspberry bumpy texture, and the blueberries have a lot of light patches, but on the rest of them, as I said, it's just really simple when they're kind of backing colors. Of the kind of colors that are in here, I actually think it's all, again, reasonably simple. The kiwi is made up of a variety of different greens from some lighter greens like towards the middle and then much darker greens like around the edge. And that's pretty much the same with all of the fruit. On the raspberries, we've got some very light pinks, and then we've got some much darker, deeper reds, and even browns, the shadow here looks like a brown. Think I just need to work through this one type of fruit at a time. Now, something that I think really helps the fruit pop is the dark areas of the bowl. There's a very light line around the edge, a very light shine on this bottom quarter and on this top quarter. But the rest of the bowl, particularly around closer to the fruit, is really quite dark, and I think that's going to help make that fruit pop I'm going to focus on just drawing the bowl of the fruit. I'm not going to be drawing any of the fruit around the edge. It doesn't look very clear. I don't really like the look of it around the edge. I'm only focusing on the bowl. They're the main things I'm seeing to start with. Now that we've got our sketch down and we've had a really good look at the reference. Let's start building up some of the colored pencil. 6. Build up the Lightest Colours: I said, I kind of want to go about this in a slightly different way to normal building up the colors. That said, I am still, as always, going to start with the lighter colors and gradually work my way towards the darker colors. So in this chapter, let's just focus on filling in those lightest values. Now, usually, I draw on white paper. So all of the absolute lightest white areas are already white. But we're not in that situation here. We're working on a reasonably dark orange. So I want to start off by filling in all of the absolute lightest and white areas. And I am doing this with the white pencil. So, I'm starting off around the edge of the bowl here. And I'm noticing that there is a really bright white line around the edge. So look at this light line here. This is what I want to draw in to start with, get something marked here. And then I can start working my way around the bowl looking for those very light areas. So I'm thinking of, particularly this piece of, I assume melon here, the center of the kiwi here. And then look how light this area here, for example, is this area here and around here. I want to fill in all of these lightest areas. Now, this is all made a lot easier because I have already got my sketch down. Just want to try and make to begin with around the edge a curved line that is pretty consistent gap between the light area and the edge. I want to go maybe a little bit further than you would imagine because our background is so it's midtone, I guess. I need to go maybe a little bit further than you'd think. Then what I'm generally going to do is work from the left hand side towards the right hand side. Starting off looking at these little patches of mango, I think they are. I'm just looking at all of these little light marks on here. All of these white dots. Let's get those marked in because, as I say, the paper is so dark, we need to fill in all of these areas. Then I can fill in the light edge of this blueberry. And then start blocking in that piece of melon I mentioned a second ago, this very bright light piece of melon. So I'm being very careful to stick to the main shape. It's important to remember at this point. We're not necessarily thinking about adding in details. I just want to get the main shapes marked in so we have something to be working with as we work our way through. Want to be putting this down reasonably lightly and as smoothly as possible. This whole area is a very smooth section. So I want to be working in little circular motions. And I'd say applying kind of a medium pressure with the pencil because I do want the area to look so bright white. So let's work our way round. So here I'm looking at a very light area of the kiwi. So this area here, this isn't so much a bright white, but it is a very light area. So I can mark it in with the white and we can always adjust the color a bit later. There's also this strip along here. And then, as I said, this shape around the middle of the kiwi here. So where I'm filling in a patch of light, I can fade out towards the edges, so I don't have any really brisk blocks of color. So you can see I've marked that in, but I haven't got really sharp edges. And then I can move onto these parts of I think it's mango again here. I think it's a little bit tricky to see what I'm working on where because we haven't got the context right now of the rest of the colors, but I am literally marking in any area that's particularly light, and I'm using my sketch to get my bearings on where these need to be. So, for example, here, I'm drawing in, I think, is it a strawberry? This piece of fruit here, I'm not sure if it's a strawberry or a raspberry. I also want to put a little bit of light patches on the blueberries, where there's these really light patches on the blueberries. Let's get those marked in in the right place. Now, you'll see that it's looking quite peculiar. We're not expecting it to look amazing at this point. As I say, I just want to get these lightest white areas marked in. In many ways, this is like working with something like maybe past or pencil where we've started with a mid tone, the orange is, the mid tone, we need to add in the lightest colors. We can then add in the darkest colors, and it just helps see what needs to go where a bit better. Looking at the raspberries now. I'm not going to add in all of the detail, but on some areas of the raspberry, there is some pretty prominent kind of curved sections like here, for example. So I can get that marked in, and then I also want to get marked in. This is a particularly large light area of melon. And on this, it's important to note the shape. So because this is a wedge of melon, you can see it's got a light line along here down here, and there's a light line going along here. And even though the fruit is generally very light, I really need to build up a lot of the light areas in these strips. The rest of the fruit, there's a big white patch here, a big light patch on this mango and a big light patch here. Then it's generally light towards here and here on the kiwi and here. Then I also need to draw in a light line around the edge of the bowl on the top right hand side as well. So there are a lot of other white areas that we will be building up a bit later. Maybe if I build in a color and it looks too dark, I can add white over the top to brighten everything up. But I just want to get in those really obvious light patches to start. Once I put some of the other colors over the top here, some of the sort of greens for the kiwi, the yellows for the mango, et cetera. It's going to get much, much easier to see where this white pencil needs to go. Just right now I'm only using a sketch as the guidance. So, you can see me starting to fill in this line around the edge of the bowl, once again, looking at where the line is for my sketch and trying to get this line to be a pretty consistent width away from that edge. Once I'm happy that I've got something down on all of the brightest white areas. What I then want to do is, as I usually would, think about filling in the lightest color in each area. Actually, there is quite a lot of colors because we've got quite a lot of fruits within the bowl, there are quite a lot of colors that I am going to need to fill in. So let's start off with the cream pencil. This is my absolute lightest yellow. And actually, when I put it down on specifically this paper, I don't think it looks hugely dissimilar to the white. So I want to be putting this anywhere that has a little bit of a yellow hint. So I'm starting off on the melon here. This is, I would say, a particularly obvious area that is more of a yellow, but a very, very light yellow. And what I'm doing is pressing reasonably firmly. I want to block in this whole area. I also want to get the pencil down really nice and smooth. So you can see that I'm working in some small kind of circular or oval motions to try and get this down in a smooth and consistent way. I would say that I'm pressing reasonably firmly because I do want to block in this whole area. That said, I'm not pressing full force, and I will be able to put more pencil down here towards the end if I need to. So I want to be thinking about anywhere else where I want to be using this color. I'm particularly thinking about building it up on not only some of the mango areas. So this area I'm working on here, it is going to turn into a very bright yellow in this top corner. But generally speaking, it's a much lighter underlying yellow. So I can block in this whole mango shape here, once again, working in those circular motions to try and get it as smooth And then I'm going to work my way around, as I say, filling in any areas that need to be a very light yellow. So this area at the top here, this is some more of the melon. We pretty much want to go over all of the melon areas. They are generally very light. A lot of them do have slight shadows to them, which is what's giving them shape. But I'm not going to worry about that right now because I just want to be focusing on blocking in these very light colors. And then I work around some of these melon areas towards the middle. Before focusing quite a lot on this big piece of melon here. As I said, around the edge of the where the edges of the wedge is cut. There's some very light areas. We've got some very light lines. But all of the melon here is very, very light. So I do want to fill in the whole area, really, except for the I'm going to call it the front face. This area here, which when you really look at it is quite a bit darker. And once again, using circular motions blocking this whole wedge of melon. You can see it is subtlely a different color. I think it would be too much to shade in that whole thing with the white, and we wouldn't have the nice edges, the nice lines. Then I'm going to work my way round, so I'm moving on to this is the kiwi. I'm actually going to fill in the lighter areas on the kiwi as well with the light yellow here. As I said, I think it looks so close actually to the white, but more with that yellowy hint. I think because this is a green area, the yellow and the green are reasonably similar colors, and it's just kind of a less harsh light I can fill in this area here, for example, on the kiwi, which is very light. I filled in around here particularly. Then I can think of any other areas that I think would benefit from just being a little bit more lightened. So I'm looking at the center of this kind of the main kiwi here. Just lightly go over this, help fill in some of those lighter or the patches from the paper. And I can also fill in the light patch on this piece of mango here. I'm generally happy with all of these really light areas. What I want to start doing is filling in the main light color on each of the fruit. So let's carry on looking at the yellow. And as I said before, most of the mango pieces are pretty much just blocked in yellow patches with the odd light patch added in. So I want to pick on my color swatches, the closest yellow to this kind of yellow. It's pretty much the same yellow throughout. Want to use quite a vibrant yellow. This is the canary yellow, and I'm literally going to block the yellow in each of these areas. Now, I don't really want to go over the white patches. On this piece of mango, here, for example, those light patches are odd little glnts of white. I want to make sure that I'm keeping them bright white. What I do want to be doing is once again working in circular motions to try and get this as smooth as possible. Don't expect it to look perfect, but I do want to try and get a reasonably solid block and something that I can be building upon with maybe some darker colors as we go here. So you can see me working in those circle or val motions, just filling this in. And I'm literally going to do this on every piece of mango. Now, once again, I am using my sketch very much here to get a bearing on where each piece of fruit is. Once again, work from the left towards the right. On this piece of fruit up here, as I mentioned, it's generally very light, but it has a very bright yellow area, particularly towards the top corner. I can add the yellow over the top of all of that white and cream we've added, and then I can keep working my way around and filling in the yellow. Now, I'm particularly noticing that In some ways, the yellow looks more vibrant than it would otherwise, and in some ways it looks less vibrant. In that, it looks brighter going over the top of the orange paper. But it's not a completely opaque color. So some of that orange is slightly showing through the yellow. And maybe the pencils playing slightly differently than what it would on white paper, which is fine. It's just kind of something to notice and bear in mind. And this is literally all there is to this little section, just going over all of these mango pieces as smoothly as possible and really trying to mark in the shape And quite quickly, I think it's going to be much easier to work out our bearings. So from here, now that I've marked in all of the yellow areas, and I'm happy that I've got something down for all of that mango. Let's do the same for all of the other types of fruit. So I'm looking now at the kiwi. And I want to be picking a green that is as close as possible to the main underlying green colors. So the green on the kiwi, I would say, isn't particularly dark, but it's also a slightly kind of yellowy green. So I'm going to pick this green. I think of it as a slightly cartoony looking green, but also does have a little bit of a earthy look to it. Now, I would say that putting particularly this green down, it looks brighter than maybe it looks on the color swatches, brighter than I would expect. Which is fine. What we're going to do is block in all of the kiwi areas anywhere where there is some of this green, and then we can go over it in a little while with the white, and that will make the green that we've got here look much lighter. So I want to fill in all around here. I'm not worrying about adding in the darker areas right now, so how around here, this is a much darker green in comparison to here. I'm literally blocking in the whole area, adding in green anywhere I can see it. So I can avoid this area towards the middle because I've already marked that in with the white and the cream. But everywhere else, I want to be adding a base of this quite vibrant green. Avoiding this, for example, I think this is a nut can work around this shape and the same here work around this shape and fill in the rest of the kiwi with these circular motions. And you can see I'm slightly overlapping where the white is where I built up the white before so that I don't have a really sharp line. And I'm going to work my way around. So on this piece of kiwi down here, for example, actually, there are quite a lot of light areas, and I haven't really put any of the white down here yet. So I'm just going to lightly put some of the green in this area, but I will need to build up quite a lot more of the white here. You see how light this is around here around here and the strip towards the middle. I can work around these pieces of kiwi on the right hand side. So once I've got all of that marked in, let's lightly go over the lightest areas with the white pencil. And you can see lightly putting this over the top is just changing that green. It's making it a much more vibrant green. We are still keeping the green tone, but it is just lightening it up. I feel like adding white over the top of these pencils is working so much better. It's just showing up so much better on this colored paper to what it would usually on white. Can work my way around this center piece of kiwi. I just want to more than anything smooth out this central color. You can see there's a bit of a orange outline around it, and then I can really build in a lot of the white on this piece of kiwi down the bottom. As I mentioned, I think probably we should have added in some white down here where we originally were marking in all of the white. Can use, again, using circular motions, build up the lighter areas down here. It is worth mentioning that you will need to sharpen your pencil reasonably often. I do find that it wears down reasonably quickly. It does anyway with prisma color, but I think even more so on this type of paper. So I am frequently sharpening my pencil so that I'm working with a sharp pencil rather than a more blunt pencil like I have at the moment. Do the same on these last few bits of kiwi around the edge just lightening up a few of the areas. And then now I'm happy for now with the green sections. Let's put something down on the raspberries. So I want to be looking for the lightest color I can see within the raspberries. I wouldn't say it's actually a red like you'd imagine. Particularly around here on the light patches, you can see that this is much more of a pink. What I can do is just add a solid block of I've picked the blush pink as the closest pink on all of the raspberries, just to put something down. Now, I do want to be working reasonably lightly. I am going to be building up a lot of color on these raspberries, and I want to be able to do that. I once again want to be building this up in as smooth a way as possible by working in circular motions. Can see how quickly we can really start to get our bearings on what needs to go where. Now, when I was working over the raspberries just above here, where we've got those odd little semicircles of white, I have not gone where possible over those areas to try and keep that bright white. And then we got something down that we can certainly build upon both later in this section, but also in future areas, future sections. Do exactly the same now for the blueberries, and the lightest color I would say within the blueberries is a light blue. I'm looking at this kind of color around here. Now, I don't have that kind of blue in my set. What I do have is I would say a similar blue, but is much darker. I can do the same as I did with the green. Start off by blocking in all of the blue. This is quite a light blue. I can work my way around each of the blueberries. Once again, working in these circular motions, you can really see here all of these circles and how that's building up a smoother color. Once I've got all of those shapes marked out in the right place, I can once again go over it with the white, and it will lighten up a lot of those blues. So let's do the same with the purple, and then we can do the lighter areas at the same time. So here I'm looking at all of those walnuts. I assume that they're walnuts. Whatever they are, you can really see the light colors. I would say that on a lot of these, the lightest areas, do you have a hint of purple to them? You wouldn't expect it. But it really does have a light hint of kind of lilac. Let's use the lilac pencil to map in all of these areas, and then we can use the white on both. Although it looks a bit peculiar, adding in the purple here, once we fill in the darkest values, it's all going to make a lot more sense. Let's now use the white pencil to go over both the highlights from the blueberries that I've already marked in, but also any other areas that need lightening up. You can see that it just turns it into a much more, I would say, accurate blue color. Can fill in all of the lighter patches anywhere that needs to be a lighter blue. I'm just carefully working my way around here you can see a nice and sharp pencil. That's really giving us something that we can work with as we move on to the next chapter. I'm also filling in some of the lighter spots on the purple areas. So, for example, here, just I need to lighten a few areas slightly. I can once again work in circular motions, just lightly brightening up some of the areas. Then I'm generally happy with these lightest colors. I think the last thing I want to do is just get a slightly more accurate color down on the raspberries. Still thinking about a very light color, but I want to get the shapes mapped in a little bit better. What I want to do is use a reasonably light red. This is the poppy red. I'm once again going to use circular motions to block in pretty much all of the raspberries, except for the very lightest areas. This raspberry, for example, has a shine along here. This raspberry has a shine along here. Generally, they've all got shines towards the top, and a raspberry, it might be a strawberry, has a light shine through here. I want to make this bottom area and around the edge more of the poppy red color. Work over these one at a time using circular motions. It absolutely does not need to be perfect. You can see it looks a little bit kind of scratchy at this point, but that's okay. We can smooth all of this out as we work through some of the other chapters. So by the end of this first section, what you should have is actually something that does resemble a bowl of fruit. Although I do think it looks quite kind of cartoon. Next chapter, rather than like I usually would, working from the lighter colors towards the darker colors. Now that we've got in these lightest and some mid tone colors because the back is pretty much a mid tone. Let's add in the darker areas, and then I think it will be much easier to see what needs adding from where. We will then have something that hopefully resembles a bowl of fruit that we can build upon. But that is it for this first section. 7. Build up the Darkest Colours: This section, I want to put in all of the darkest values, really get something mapped in all over the drawing. So I'm going to start out with not the darkest color, but a slightly lighter reddish brown. So there's a few areas around the bowl, which are quite dark, but not a really dark brown. So here, for example, this is a very dark brown. But here, you can see that there is a lighter patch, which is kind of a reflection from the yellow here. Can see this kind of color in a few places. So for example, around the bottom round here, again, there's that reflection from the mango coming all the way around here and a little bit around here as well. So let's mark in where these strips are going to go. Now, to do this, as I said, I'm not using an extremely dark brown. What I want to use is a more reddish brown. So I have compared the reference photo to my swatches, and I think the closest match is the sienna brown. This is a kind of reddish brown, which isn't too dark. See, I'm drawing out the shape first, really taking my time looking at the shape on the reference photo. I can map in where I want this to go, and then I can start shading in nice and lightly the center of the shape. Now, as always, I don't want to be pressing hard here. I will want to build up other colors over the top of this, probably adding in some yellow into this reflection. I don't want to press really hard, but I would say that the main underlying color is this Ciena brown. So I do want to start by mapping that in. Once again, drawing the outline of the shape, and then I can shade in from that point. Let's do the same on the left hand side. Then I want to have a look at if there's any other areas where I can see this of color. I'm going to put a little bit of this color lightly around the top. The strip around the edge, as I mentioned, there's a strip that is very bright white, but where it's not bright white, it is a slightly lighter brown. This strip around here. Let's mark it in with the Ciena brown. Couple of areas around the center. So in between the fruit. In this patch here, this is very dark, but maybe not as dark as some other patches, so I can map this little patch here between the raspberries and the blueberries with the sienna brown. I probably will go over that with the darker brown as well. It's just add a little something to the edge of the kiwi here. And then around the edges of the raspberries and blueberry here. As I said, it's just a few areas that I think maybe aren't quite as dark as the rest of between the fruit and around the edges of the bowl is a very dark brown we're going to need to add in. But I do want to add something in. Looking at this shape here, I think maybe this is a nut. It has all of these brown shapes around the edge and coming in here and then around the edge here around here. Again, I will need to add a darker brown here, but I can also see a little bit of that sienna brown. Let's keep working around here. Just filling in the odd lighter patch. Once I'm happy with all of those lighter patches, you can see I really haven't put a lot in. Let's move on to a darker brown. This is the darkest brown I have in my set. This is dark umber. This is a very dark brown, but not obviously as dark as black. I think the black can look a little bit harsh. What I'm going to do is fill in all the dark areas starting from the left and working towards the right. I'm starting off going around the edge. I want to go nice and close to that white line very carefully, and then shade to the line on the edge of my sketch. So drawing the line along the edge. Drawing the line by the white line and then shading in the middle here. And I'm pretty much, as I say, going to work from the left to the right, so I want to be going all around the edge of the fruit shapes. Careful to not go over the sienna brown areas that I added a minute ago. Just I'm beginning going around the edge here. So go around the edge of the fruit and then shade up to that white line avoiding the Sienna brown. I do want to be pressing nice and lightly for this. I don't want to be pressing firmly right now. And I want to be trying to make this as smooth as possible, so I also want to be working in circular motions when I am shading. You can see, I'm very carefully going around the edges of the shapes. Will notice that as I build up the color, it is looking quite patchy and quite spotty. I don't expect it to look perfectly smooth at this point. We can build up more of the color as we go here, and I can go all the way to the top filling in, particularly around the edge to begin with. So let's also use this dark brown to fill in some of the spots of the kiwi. There's all of these seeds on here on any kiwi. Let's start on this section here, and I'm really looking at the direction of the seeds. Clearly here is the center of the kiwi, and they're coming out from this point. I do want to try where possible to match the dots of the kiwi. So I can look at the placement of all of the dots and as I say, the direction that they're pointing. This is really going to help me get my bearings as I need to add more green onto the shading of the kiwi, for example. Then fill in some of the dark patches on this nut here. So this nut, I think it's a nut. Here. You'll notice isn't just one solid blocked in color. It's generally darker around the left here. It's got some pretty defined outlines. And then there's all of these kind of circles here. They want to work around and generally get this curved shape marked in. I think it really is a case of just looking at the shapes that we can see here and building up those shapes. It doesn't need to be perfect, but I do want to try and where possible replicate what I see on the reference. Can once again fill in the seeds on this kiwi, as well. Now, as I say, I'm working from the left to the right, so I'm happy with these areas on the very left of the drawing. Let's fill in this part here. Again, I'm not really sure what these are, but all I need to do is copy the shapes copy where the lights and darks are going to go, and then it will match, and it will look right. So on this shape here, you can see that there's this light patch towards the center left, and then it's dark all around here all up here and all along here So using the pencil, I can mark in those shapes, again, marking around the edge first and then shading using circular motions towards the center of the shape. Now, I say it a lot, but do remember that you want to have a really nice and sharp pencil that's going to help the pencil go down in not only a more smooth and consistent way. But it will also just give you that extra control over the pencil. Can really take my time. Again, mapping out all of the seeds around the kiwi here. Now, remember, it doesn't have to be absolutely perfect. No one's going to notice if you get one seed in slightly the wrong place. That I said, I am trying where possible to match this. I think because the seeds are all randomly placed around the kiwi, it's quite hard to be that random without using a guide. So I can use this as a way to help make these seeds look more random. Happy with the seas, let's carry on working our way round. So working around the top, you can see me shading in towards the edge of these patches here. You also want to add some shading around the edges of the blueberry, as well as the edge of the raspberry. So this blueberry does have some pretty dark shadows, particularly around the left hand side and generally around the bottom. I'm going to keep working my way around avoiding that burnt sienna area that we filled in. So I can start working through here a little bit faster now because as I say, it is literally a case of following where the dark patches are on the reference photo and trying to replicate these. So using my sketch to go around the edge again, and also filling in all of those darker patches on the blueberries, for example, You can see how dark it is around the edges of some of these blueberries. There's a very deep shadow around the top here, all around this edge. And here there's a shadow created from the raspberry. Then all around the edges here, but the dots from where the stem attaches to the blueberry. They're quite dark as well. I want to be working all around here. It's very much where I can still see orange. And then I want to be adding dark lines where we put that sienna brown a second ago on this. Can do exactly the same for the blueberries towards the top, and we're working our way gradually towards that bottom right hand corner. I can fill in some of the seeds for the kiwi around here as well. Now, do you remember some areas need to be made a little bit darker, but maybe don't need to be as dark as this dark umber. So, particularly thinking about some of the shadows on the mango. It doesn't need to be this dark, putting a shadow, this dark on the bright yellow. I think we'll just lead it to looking washed out. I'm happy with all of the dark umber. The last thing that I want to do in this section is just add some sort of texture onto the raspberries. You'll see at the moment the raspberries are very nice and smooth. But as you'll see, they're not on the reference photo. They've got a lot more texture to them. So let's work through this one raspberry at a time. Actually, I don't want to use a pencil that's too much darker than what we've already got here. The darkest color that I've used so far on the raspberries has been the poppy red. What I'm going to do is use the carmine red. It's just a slightly darker red to mark in the patches. Now, I am trying to copy the shape of the patches from the reference photo, but I'm not going to be able to get it exactly perfectly the same. And what I don't want to do is go in with a really dark color when not only is it not using that color on the lighter areas, but I want to have some sort of margin for error. I want to be able to mark in the patches as best I can, but if it doesn't look quite right, then it's still quite a light color, and I can always go over it with the darker color. I am pretty much looking at the reference photo and trying my best to copy the patches I can see. I want to work around some of those light sort of horseshoe shapes that I added in before. When I added in the white, I added in a few sort of curvy shapes on the raspberries. I want to work around that. Just really see if there are any shapes in. Now, once again, I don't need to worry about looking too peculiar at this point. It should look pretty patchy like this. That looks fine. On some of the raspberries, I think it has more o shapes, more obvious texture than others. I'm particularly thinking about this raspberry here. This has some very obvious lines running through it, including sort of nearly a cross shape here or y. Whereas, this one is a bit more just kind of made up of bobbly shapes. So I to be really looking at the shapes made up on the raspberry and trying to replicate those. By the end of this chapter, you should have some raspberries that still, I wouldn't say are looking particularly realistic at this point. But at least they're not looking perfectly smooth. So we do have something that can be built upon. Now, I would say that right now it's still not looking like a hugely realistic drawing. But we've only added in the lightest colors and the darkest colors. What we want to be doing in the next chapter is the mid tones, and I think it's that sort of area that's all going to come together. But that is it for this chapter. 8. Refine the Kiwi and Mango: Section, I want to start refining some of the shapes, and right now I want to particularly focus to begin with on the kiwis. So let's try and get these looking a little bit more realistic, and then we can move on to the next fruit. I think it's easiest here to work one fruit at a time, just because we can stick to all one color. So the main thing right now to begin with, that's really standing out to me about the kiwi is that it's all very solidly one tone. Right now, all we've really put down is reasonably light green and also white. We need to get a lot more contrast in here. So I'm going to move on to a much darker green. This is the olive green, and I want to be putting this anywhere that is a little bit darker within the kiwi. So, for example, you can see a dark line all around the edge around here. And then there is a lighter strip along here, and then it's darker again here. There's also lines coming down through where the seeds are coming down here. So I can mark those lines in. You also want to add a darker green up the top up here. All around here. You can see there's kind of a dark line here, and then this is much darker, as well as up here, and it's also pretty dark around the edge of this kiwi. Also noticing how much darker is around here. When you look at how dark this patch here is, for example, this is one of the green areas, I would say in the darkest shade. Look at what a different color this is to this green here, for example. We want to really build up a lot of this dark green all around here and in strips and stripes around these seeds as well. One of the main things that I think is particularly standing out not only about the kiwi, but of the whole drawing is that a lot of the paper is showing through. Because the paper is such a vibrant orange, it's really looking quite peculiar. It's making all of the colors look a lot more muted than they should be. So I am focusing right now on building up these darker colors. But what I will want to do is get to the point that I can't see any of the paper through here. So I need to be building up a lot of the pencil, so it covers up that orange. See me working my way around, I've gone over those two sections of keyway towards the top. Let's move on to this area, which, as I mentioned, is particularly deeply shadowed. But I do want to leave that strip between this piece of keywa and the keywa above. As I mentioned, that is a lot lighter. Now, do you still notice that I am working in circular motions? Just like we have been before, I still want to try and get this as smooth as possible. So I can work in those circle or over motions to try and make this nice and smooth. I would say I'm using im mediate pressure. I'm not pressing really lightly, but I'm also not pressing full force. Add those strips going up towards the seeds. Let's just helping give this a little bit of extra texture, and I am following what I can see on the reference photo whilst I'm doing this. You see, it's really not making a huge difference at this point, particularly to seeing that orange paper through, but we will fix that as we work through here. Then let's look at the keyway towards the middle. Once again, this is made up of a series of lighter and darker stripes, I guess. You can see all of these light lines coming from the center out. So you've got some lighter lines, some lighter lines here and some darker lines coming out. I'm working my way around the keyway from the center, working my way out, and it's already building up a lot more texture here. It's looking a lot more interesting. Also add a little bit of extra shading around the edge. It has got quite a dark crisp line around the edge of the kiwi. And then I want to look for any other areas of kiwi. So I can move on to this area down here. Once again, I want to add those kind of stripes around the seeds here. On the most part, I only need to add this green to this central section. Both the left and the right of this piece of kiwi is really very light, and then I can move on to the kiwi on the right hand side. Here again, you can see some of these lines going towards the center, I guess, the center of the kiwi is around here. Not sure, but I can see some lines around here and coming around here. And it's also much darker here. Same on this piece of kiwi, it's much darker around the edge here, and there are some more subtle lines, I would say, on this section. This general piece of kiwi is much lighter than the rest. Once I'm happy with these darker colors on the kiwi. What I now want to do is really try and cover up a lot of this orange. It is the main thing that I think is not looking right about the kiwi at the moment. So I'm actually going to go back to that same green, that same, quite light green that we used before. This is still the underlying color. And I want to be pressing much harder now. What I want to do is cover up all of that orange, as I say. So you can see I'm pressing much firmer. I am still using circular motions. But pressing much, much firmer is not stopping me from being able to see all of that dark green that we added in a second ago. It's kind of smoothing it out a little bit. One thing that you might notice it is doing, though, is making the seeds look a lot more muted. Where we're blending firmly over the top of all of those seeds, they just don't look as dark brown as they did, but that's okay. We can go back over them in a second. So just firmly going over all of the kiwi with these circular motions, and you can see what huge difference that makes. We can't really see any of the orange spots coming through anymore, and we're just left with a much more solid base. Now, this is filling up a lot of the tooth of the paper. And you might think that it would mean that we won't be able to put more color down on top of this, but we will still be able to add more, and we will in a second be able to put some of those highlights back in, make them a bit more prominent. So you can see how much more muted, I think the seeds are looking on some of the pieces of kiwi we've done now. Let's carry on working our way around going over the same pieces as we did a second ago. Then now that we've got a smoother base and we can't see that paper, as I said, we want to be adding all of the highlights back in. Let's go back to the white pencil, and I'm going to work on these once again, one piece of kiwi at a time. So I can start off by going back over the light patch that I added before. Before going over of between where I added the dark color. I want to also be adding little strips, little lines with the light color. I think it's quite subtle, but I think it really shows if you don't add them in. I can go around this lighter patch around here around the edge and then go back over the light patch on this piece of kiwi. It not only helps smooth one area of the light area of kiwi into the rest, but also fills in any white spots that maybe we can still see on the lighter areas. On this nut, let's go over the lighter areas here because there's just a lot of orange on the nut, and we can go over the darker values on this nut in a second. Then once again, add some of those lines going out from the center, similar to what we were doing with the dark color, but with this lighter color on the opposite areas, and it's just really helping to build up that texture a little bit better. You can see how firmly I'm pressing here. D't want to be doing this really gently, I really want to be building up a decent amount of the white and really lightening what's here. So's work around this piece of kiwi. And I think this is the easiest to see what I'm doing, where I'm working around those darker lines that we added a second ago. I also think that it just really shows the effect that it's creating. Whilst we're looking at this piece, you can also see how you can still see some of the orange spots towards the center of the kiwi, particularly on this piece. So we will need to be going over these spots. I don't want to have lots of orange showing in the center here. So it's use circular motions to really build up a lot more of the white in this center. So then let's move on to the next piece of kiwi. On this piece of kiwi, there's a lot of light areas, particularly on both the left and right side. And then I can go over some of the strips around that darker color again to really add in that extra detail down here. I think it's so much easier working through one fruit at a time. You can see that if we were working from the left to the right, but going over all of the fruit, we would just be swapping between so many colors. It's just so much easier to just get all of one type of fruit done, and then we'll move on and do all of another type of fruit. It's just going to be a more methodical way to work. Let's go over this nut as well, I don't have anything on a lot of the lighter areas on this nut. It's literally just orange. Let's build up something. And then, as I say, we can add the darker colors in in a second. And then let's move on to that darker color. So this is the dark umber. Once again, that's that very, very dark brown. And I now want to very carefully go back over all of the seeds. So a lot of them, as I said, have been lost, they just look so so muted, which shows even more when I'm putting this color over the top. And this is what's going to really help make this look much more realistic. So I've already mapped out where I would like all of these seeds to go. Now is a really good time that I can maybe slightly adjust the shapes if I need to. Or I don't necessarily want to put this over every single seed. Note that some of the seeds here are darker like this one. Some of the seeds are much lighter. So I don't necessarily want to build up the same amount of that dark number on all different types of the seeds. If I can get a little bit of a variation in the color, it's going to look a lot more realistic. So take note of the shapes of the seeds. This, for example, is almost like a pointy triangle shape. And generally speaking, most of them are that triangle shape pointing towards the middle. So I can start using my pencil to begin making that shape. Let's work over all of the seeds on all of the slices of kiwi. And let's also go over the darker areas on the nuts as well. Most of the nuts, I do think are pretty much made up of purple, white and black. Or very dark brown. I try not to use black too much, because I think it can be quite harsh. Let's look at the shapes within the nut. This is the same as what we were doing before. And once I'm happy with the nut, it doesn't need to look perfect. I can go over these Ss, once again, really refining the shape. You can see me turning these into more of a triangular or just a pip like shape because that's what I can see on the reference. Go over this nut here as well. I have now filled in those lightest areas. So I want to go back over the darker areas and really refine the shapes that I can see here, and I am literally just looking at this, like it is a series of shapes. And then I can go over some of the seeds here. Now, generally speaking, I am pretty happy with the kiwi now. I think particularly the larger one towards the middle is looking pretty nice and accurately like kiwi. There's still something that I think isn't quite right. I think particularly around here, for example. There's more than just the green colors. There's a kind of undertone of a maybe reddish brown. So I'm going to use the burnt sienna very, very lightly, which is my reddish brown to just add a little bit of depth to some of the shadows. You can see, it's not making a huge difference, and it's also not making the area not look green. I just want to add a little bit to add a bit more depth, a little bit more warmth to the shadows. I don't want to use too much, so I'm using it around the shadowed areas of this piece of kiwi here as well as along this Now, add a very tiny amount to this kiwi up here, just on some of the lines around the center and a little bit around on this kiwi. But honestly, it's the tiniest bit, just anywhere where I can see a little hint of this color, but as I say, it's really not a huge amount I want to add in. And you can see them being quite quick about how I put it down. Just to put up a very small amount of the color. Add a little bit on this piece of kiwi here. And you'll see, as I say, I'm adding it particularly more towards the more shadowed areas. And then, whilst I've got this color, it seems like a good opportunity to move on to the next piece of fruit. So I'm generally happy with the kiwi now. Let's focus particularly on the mango. And actually, this same color is going to be really good for building up a lot of the shadows here. Generally speaking, the mango is, I would say, really made up of about three colors. There is the bright yellow. There's some lighter yellow or white areas, and then there's some shadows like here. So this is a kind of reddish brown, and you can see this color in a few different areas on the mango. So here, for example, this is really, very dark. It's turning into that very deep shadow. There's also a darker brown around here, around here and around this line here and all around here. L et's work through the mango one piece at a time, building up any shadows that I can see with this darker brown. So we kind of want to go through this in the same way as we did for the kiwi. I can start off by putting in the shadows, making anything darker that needs to be. And then what I want to do is brighten up the whole area, make the fruit stop any orange patches from showing through. Though this mango needs to be quite a bright yellow. It just looks orange to me right now, and I think that's because so much of the paper is showing through. It's actually a very bright yellow that we've used on these areas. Let's also add a little bit of the brown at the top up here. This is more like the melon. But it does have a hint of this reddish brown to it, so let's add that in into the shadows. You can see that kind of reddish brown here. So I only really want to add it into this top section, maybe a little bit around some of the shadows to the left. And then I can carry on working my way around the mango. Once again, remember that you want to have a really nice and sharp pencil and you want to be working in circular motions. I still want to make this as smooth as possible. You can see it's helping to separate the pieces of mango. They're not looking so much like one piece anymore. They're starting to look like separate pieces. Once I work my way around adding in shadows with all of the mango, I then particularly want to brighten it up. Similar to what we did on the Kiwi with that lighter green, I want to use the yellow that I used before to brighten up all of those base colors. So I can go over the fruit with this very bright yellow. I want to go over not only the lighter and brighter areas of the fruit, but also want to go over where we just added the darker color pressing nice and firmly. And you can see that that is smoothing everything out much better. Now, I do think that this is making it look a lot yellower, but I think it will look even brighter when we add in some of the white. I'm using quite a firm pressure here so that it does smooth everything out and so that hopefully we can stop seeing all of those orange patches. And that's all I need to do at this point is press nice and firmly using circular motions to really smooth out and brighten up what we've got here. And once I've gone over all of the pieces of mango now, let's use the white pencil to really brighten up the yellow sections and brighten up the highlight. And I think that that is making a much lighter and more vibrant yellow that hopefully will look more realistic. Go over this strip of light here, and then also any areas around the edge that needs to be a little bit brighter. You can see how much lighter this is making that yellow. Looks much more vibrant. I'm also going to go over this piece here. This piece is mostly white. But let's just try and brighten this up and hide some of that paper showing through. Or moving around to the top. So generally speaking, once again, I want to start on the left and work my way towards the right, gradually building this up. And this is what's going to help start making the picture look a little bit lighter. It just all looks very dark to me at the moment. Whilst we've got this white, let's just go over some of these lines on this piece of, I think it's melon here, just adding more pressure and building up more of this white, hopefully making it much more vibrant. Want to work on some of the shadows on the middle here. So I want to add to particularly this shadow here. But there's a similar color all around some of these bits of melon. I think it is around here as well. So the closest color I would say that I have to the shadows on these areas is the 50% French gray. It's a kind of a particularly warm or cool gray. And I just want to put this on the darkest areas of these bits of melon. So there isn't a huge amount actually that I need to be doing here. Generally speaking, all of the melon is very, very light and white. I'm just looking again at one piece of fruit at a time to build up the darkest areas, and don't worry if it's looking a little bit too dark because we can always add more white over the top to lighten it up. Let's go over this whole front section here, which is going to help make this area not only look darker, but cover up a lot of that orange that we can see here. Once I'm happy that I've added in all of the gray, not only around these areas at the bottom, but a couple of areas around the top as well. I'm going to go back to the white pencil and just smooth all of this out. So by the end of this section, you should have the kiwi looking much more realistic, and also the mango and the melon looking much better. In the next chapter, we can do exactly the same for some of the other fruits and start making them look a bit more solid, which is really going to start bringing this whole drawing together. But that is it for this section. 9. Refine the Final Fruits: Let's keep working our way through the different types of fruit, really brightening them up and removing the graininess of the paper, removing all of that orange. Let's focus for now on the blueberries. Actually, on the blueberries, I'm not going to use a blue right now. What I'm going to do is fill in, particularly the darkest shadowed areas with this pencil, which is a cool gray. When you actually look at the blueberries, what we really want to do is look at the actual colors that are here. Al though I think there is a slight blue element to some of particularly the light patches. Really, on the most part, these blueberries are cool or gray. You can really see quite a deep gray in the shadowed areas like here. If you look at this blueberry, it's again, a gray on the mid tones. And then, as I say, the lights are also, still, I would say, a cool gray, but a slightly bluey undertone to it. So what I want to do is work through these blueberries one at a time, really looking at the shapes and the shading where the lights and darks are on each of them and filling in what I can see. Can see on this blueberry, for example, I am firstly going particularly around the edge where it is darker. Pressing, I would say with medium pressure. I really want to make sure that I am filling up all of that graininess of the orange paper. And then I want to make sure that I am blending it into the lighter center. I can then move on to the next blueberry. And again, I want to be really looking at the blueberry and looking for where the darker areas particularly are. For example, on this blueberry, it's lighter here, much darker around the bottom, but it's generally quite dark all around this section. There's a light patch here, but then this end of the blueberry is also very dark. And I have already marked in this shape. Looking at this blueberry, go lighter patch here is again, dark around the edges, particularly dark I would say around the bottom, and then it's got this little dark spot for where the blueberry was meeting the stem, I guess. And then it's very similar with this one. Light patches at the top. Dark around the edge. Actually a bit darker over this side, I would say, and then there's also this dark spot here. I say, I want to work through these blueberries one at a time, just putting this dark gray on the darkest areas. I do think it's making a huge difference to these blueberries quite quick. Up until now, we've only really built up a decent amount of pencil on the lighter spots. The darker spots have had just a very small amount of pencil. It is starting to give these blueberries some sort of shape. Now, I can't stress enough. You don't expect it to look good as we're doing this. But it will all come together as we go here. In a similar way to what we did on the other freeze. I'm starting off here by filling in the darkest areas, but then we want to start also finishing up and polishing some of the lighter areas on the blueberries as well. So let's use a slightly lighter gray. This is still a cool gray. This is the 50% cool gray. And I want to use this just to smooth out, particularly between the darkest areas and some of the lightest areas. Some of these mid tones, they just look a little bit kind of rough. I can still see a bit too much of the grainy paper in these areas. Let's go over pretty much all of the mid tone areas with this midtone gray. And as always, I generally speaking, like to start from the left and work my way towards the right. I find that the easiest way of working. Let's focus on some of the lightest areas. As before, the lightest areas, I do think have a bit more of a blue tinge to them. I'm going to use exactly the same blue as we used before to just very lightly go back over these lightest areas. I don't want to go just straight away straight in with the white because I think it'll end up looking like a patch of white rather than having a little bit more colored to it. I'm happy with that tinge of blue. I can take the white, and I just once again want to go over these lightest areas. I said I'm pressing a bit firmer than maybe I was before, but I am by no means pressing hard, going over these patches, building up some of this color. And that's really helping smooth the blueberries a bit better into the gray area. I think it's making them all look a bit lighter. Now, I do still think that they look a little bit peculiar at this point. They still look a little bit patchy. But it will come together as we fill in, particularly the raspberries and some of the dark background colors, which we'll be doing a little bit later on here. I' m happy with the blueberries, so let's move on and really focus on the raspberries. And I'm going to start here with the Ciena brown pencil. This is the reddish brown that I've used quite a bit. Now, if I take a minute to have a look at the raspberries. Starting off by looking at these ones at the top, they actually have some areas of pretty deep shadow, and particularly looking on this one, for example, in the bottom left hand corner, down here is just a really deep brown shadow. And there looks like there's some deeper brown odd patches in and amongst all the texture. Some even deeper brown, I would say, on this raspberry, particularly towards the bottom. And then higher up, you can see, again, in all of that texture, there is a little bit of brown to it. And you'll see that on all of the raspberries. So again, around the bottom left here, around here, it's that little bit darker, like on this raspberry. You can see some of the reddish brown, particularly around here. So what I want to do is build up some of this extra texture with a darker pencil. Now, we have previously built up a little bit of texture with it was a dark red. I think that that red is not dark enough. But what I can do is go over, particularly more towards the bottom left, not so much in the top right hand corner. Go over all of that texture, build it up a little bit more with this sienna brown pencil. And that's just going to give the raspberry a bit of a richer So you see me going over these patches, marking in exactly the same way as we did before. And being reasonably quick, I would say about this. I want to build up that texture. And as I said, I want it to look a little bit darker. But you'll see that I'm focusing much more towards the bottom left and kind of the center of the raspberry. And I'm putting much less of the color towards the top right. And that's helping build up that shadowed area where I do want more towards that bottom left. Just go over each raspberry building up this texture and building up those shadows. As I say, this is a reasonably quick process. Simply because I have already been through and done this same thing with the darker red. As I get to these berries towards the bottom, I actually think this is a strawberry. I want to be building up a dark line along here. You can see that this is that kind of reddish brown. You also want to put some dots all around here, and I want to fill in the texture around this berry here. I think the raspberries are looking much much better. Before I move on from here, I am happy with the texture. What I'm going to do is use the same brown to just lightly go over particularly the bottom left of each raspberry, using those circular motions, to really try and smooth this out a little bit more and just build up a bit more of the depth in this bottom corner. Whilst I've got this pencil, I'm also going to use it to fill in a bit more color on these strips around the edge. You'll remember that we filled these in the slightly lighter patches on the bowl. So this strip here, for example, this does have a reddish brown tinge to it. But it's also reflecting a lot of the yellow. So now that I've built up some of the brown on these areas, let's take this bright yellow and just use this to smooth these areas out. Now, before filling in all of the background, that's the main area now that I think is really going to improve this drawing. Just focus on some of these, I think they're nuts. And on the most part, what I want to be doing is using light brown. This is the light umber to just smooth out around the edges of these patches. So particularly this patch here, you can see how much of the paper is still showing through. I haven't really built up a huge amount. When you look at these, these are, I would say, a mixture of they definitely have that purple undertone. On top of that, I just see a lot of brown, some lighter brown like through here around here, and some much, much darker brown like along here and around the edges. Let's build up a lot of extra color with this light umber. I want to not only put this on the nut at the bottom, but also this nut here, where again, there is still a lot of orange showing particularly around the edges. And then let's take that purple and really smooth out these areas a little bit more. Still pressing nicely and firmly, and then I can use the white to lighten up any areas that I now think looks a little bit too dark. Just a little area where we just needed to smooth out and brighten it up. Now, whilst I'm thinking of the purple, I want to think about if there's any other areas I think would benefit. So looking at the edge of the bowl, around here on the darker area of the bowl, there's an ever so slight hint of purple here as well, I would say. It's much whiter around both the top right and bottom left. Here really does have that hint of purple. So let's use that same lilac pencil that we have used on all of those nuts. And just put it over the white that I've already put down, particularly around the top left and bottom right. So you can see me just filling in this area. It's still pretty much orange at the moment. I haven't really got any color in this area or in the bottom area. So slightly put this over the top and also around the bottom around here. Then what I want to do is really brighten up the white areas. So I really want to refine what's here. So let's take a nice sharp white pencil and go around the edge around all of these light areas like here. Just slightly fading into where the purple is. You can see how much that's brightening it up. I would say I'm using a medium pressure to do this. And now I've added in this white. I think it makes the purple areas look a little bit too bright. So let's use that 70% cool gray to just go over these purple areas. You can still see the purple, but it is toning it down a little bit. And now I would say I'm generally happy with most of the drawing, except for the very dark areas. So let's move on to the dark umber. This is that very, very dark brown. I want to be pressing reasonably firmly and going over everywhere that I put this before. And you can see that what this is doing is building up a really good solid color. And this is really going to be the thing that brings the whole piece together. Now, once again, I want to be starting in the top left and working my way towards the bottom right, and I want to not only fill in particularly around the edge. I also want to go over any areas that I think just should be made a little bit darker, so, for example, some of the nuts on here. I also want to make sure that I'm going around these lighter patches that we filled in a second ago with the yellow around the edge. I don't want to go over these and block in all of the dark color. I can think about building up a little bit of this dark color on some of the raspberries like around here where I do think it needs to be darker than it is at the moment. I really want to focus on getting the contrast right at this point so I can make the blueberry a little bit darker around the edge. As with all the blueberries, they are generally darker around the edge, and this is what's really going to help make them pop a bit better. Going to keep working my way around the bottom left. I want to gradually get towards the middle here. You can see that I am using that really nice and firm pressure. And I would say I'm working in circular motions again to try and make this as smooth as possible. Now, I don't want to forget to put this very dark color in between berries if it is very dark between the berries. This is really what's going to help set them off. So, for example, around the blueberries, you can see that I have already put down some of the pencil in this area to mark in where this needs to go, but I just want to make it a little bit more obvious. I want to make it much darker, and as I said, it will really help these blueberries to pop Though I would say that this is a little bit of a time consuming process. This is really where it's all coming together. We will need to still do some final adjustments after filling in all these darkest areas. But pretty much the whole drawing will be done once we've got a much darker and more solid base. So here is another example of where we've got these dark areas in between the berries, and I want to really be building up a lot more contrast here. Well as around this nut here. As I've mentioned a few times, there is some very dark brown surrounding this nut, and I really need to build up a lot more of it. Now, generally speaking, I would say that the fruit itself is looking pretty good. I just want to focus on this area around the edge here. As I've said, this is a reasonably time consuming process, but it really is just a case of doing the same steps that we've already done and building up this fruit. Now, I'm happy that I've got all of the background marked in. The main thing now that's standing out to me about the drawing is some of the lighter areas aren't looking as light as they should actually going to do is use something called a jelly roll pen to mark in those lightest values. I'm pretty much once again going to start from the left and work my way towards the right. And this is a very, very good tool, particularly because we're not working on white paper. It's really going to give us those absolute lightest values to brighten everything up. Now, I think the important thing is that I don't want to over use the pen. I want to build in a reasonable amount, but if I use too much of it, it's going to end up washing out the whole drawing. Particularly want to use it on a lot of the light little shines on the fruit. All of these little white dots and lines. There are these lines over all of the raspberries. Adding those in, I think is really going to help brighten up the fruit. There's the odd, very light line on the kiwi, not a huge amount. There's the odd dots on here. And then there's all of these light patches on the mango like here and here. Now, I do want to be very careful that I am working left to right here, particularly because it would be very easy to smudge the pen. So I want to make sure that I'm not putting my hand over the area until it's completely dried. Can see I'm just working my way through, particularly the raspberries, I think they are the main area that really could use brightening up. As well as along some of the lighter areas on this piece of fruit here, I think that that just will benefit from an extra lightning. As I say, the odd bit of mango around the edge. And once I've done this, I actually think it looks a little bit too bright What I can do is wait for the pen to completely dry, and then I can go over the top of these areas with a couple of pencils. So firstly, adding the white pencil over the top of the white pen, actually, I find softens it quite a bit. A nice sharp pencil, and it just smoothes it out a little bit, makes it a little bit less harsh. Can go over most of the lighter areas of fruit with the white pencil. I'm also going to use a different color for the raspberries. So to really help tone down these light patches on the raspberries, I'm actually going to use this pink pencil. This is the same pink that we used at the very beginning. Just to lightly go over these white areas, and you can see you can still see the white, but it does tone it down a fair amount. Let's finally, just tone down a few other areas of the white with the 50% cool gray. Just the odd area where I think the white is looking too bright, and that is it. I hope you've enjoyed this tutorial, and I look forward to seeing you in the next one. 10. Summary: That is it. I hope you found this course helpful. And hopefully, it takes the mystery out of how to break down the drawing intersections and gradually build it up. So I always want to start by drawing out my sketch. I want to have a really nice and light guide that I can build all of the color on. I then want to take the time to really look at the reference photo and see what's actually there. From there, I can start building up the colors. Because we're working on a brightly colored paper, I want to start off by putting in the lightest values, the lightest values in each area. To begin with the white pencil, but also the lightest color in each section of fruit. I can then move on to the darkest values and add those in, which really helps me to get my bearings and work out a bit clearer what needs to go where. From then, I can start building up the color really building up the pencil so I can't see the paper through anymore and adding in all of the details. Once I've built up a good amount of the pencil and it's all looking much more solid, I can then think about using the Jelly roll pen to add in those absolute lightest areas. Now, please do upload your drawings to the class projects. I would love to see what you've done. And please do review this course if you've enjoyed it. Happy drawing guys, and I'll see you in the next course.