Drawing Oils for Beginners: Create an Expressive Eye

1. Welcome: If you look at my Skillshare class, you'll realize that I have a lot of videos on watercolor. The reason why the RNF Drawing Oils really drew me in because there's nothing like it. It's not like oil pastels. I mean, it is similar, but it's not equivalent, and it's not like oil sticks, either. And I'll explain why. I started off with oils. So I kind of long for that oil texture. Watercolor has very different personality from oils, but I wanted to incorporate some of that gooey fleshiness of oils into my watercolor. So that's why this drew me in. I don't see any classes out there on RNF dryingles because they're relatively new. I'm going to be covering the materials that I use, my tips. And then, second, we'll be going over some quick swatches. And I also give you tips on how to choose colors that might fit your needs specifically. And then we'll be going over some warm ups and then to the final project where we draw an eye. Have posted quite a lot of YouTube videos. So I'll have a playlist down below where it shares all the learnings and tips and tricks and also a light fast test results that will be coming up that I've checked with direct sunlight here in my window sill, how they lasted for months. So I hope you have fun with this class. Okay, so let's dive in. 2. Meeting Drawing Oils: What are Drawing Oils? Drawing Oils are a medium that is only sold by RNF. And RNF has this thing called the pigment sticks, which is basically oil sticks. So you can use it on top of oil paintings, and they are smooth and buttery. And then basically, these are like the pigment sticks. But the key difference is that you can use these on paper. Why? Because they have more wax content, making it much more harder. Guess, then the RNF pigment sticks. I have a whole playlist on YouTube where you can deep dive into all the videos I have there. If you want more knowledge about them, I'll have it in the description or the resources section. But that's a key difference, which means then we can use this for sketchbooks on paper, which is lovely. The only downside, I would say, is that when you're using these, if you want them to be archival and want them to last as long as possible, RNF does mention to use a prime surface. So you'll have to use transparent gesso on that paper or whatever surface you're working on if you're very concerned about the longevity of your drawings. Okay, let's get into the next class. 3. Materials: I want to go through the materials that you would definitely need followed by things that you might want for your convenience. So first of all, aren't Drawing Oils. I have them right here. If you do have only a few drawing oils, that's totally fine. I didn't have all of these when I started off painting eye portraits, so don't worry about that. And then any paper will do. I did use this Kansen paper before when I did my eye drawings, but having that said, RNF does mention to make the RNF drawing oil archival, it's better if you do have a primed surface using a gesso. Hence, I'm using this arches oil paper, which works lovely, so I don't have to worry about anything to make it last. Scrap piece of paper, but with tooth is good. So what I did was that I used this Kensin paper, and then I put transparent gesso on it, so it has a bit of tooth to catch it. But if you don't have transparent gesso around to prime a paper, you could even use the kitchen paper to kind of scrape off the dried skin of the drawing oils. And then you'll need some paper towels or some cloth to wipe off these drawing oils, and then pencil and eraser. The rest is if you have it, it'll be great. If you don't don't have to worry about anything. So if you're watercolor artist like me, you might have this Doran's wax medium. So if you want to if you want to be able to work in details, these things might be useful. So first, if you're a watercolor artist like me, you'll have Dorlans wax medium. It's great to get the details using the drawing oils. So that would be great. Or if you have some solvent free gel like this by gambling or a solvent that you can spread out the drawing oils to get the details, that's great. I will be using a brush for the final details for the drawing. So I have a **** Blick wonder white here that I use for many different purposes. And then you might want a shaper tool, like a silicon shaper tool like this would be great to get details if you don't want to use any brush. And also the polychromos, any kind of, like, color pencil will do, I just find these polychromos to work lovely to get details as well. When you're mixing up the drawing oils to get, like, a thin layer to add details later, you will need a palette knife, and a palette. So I'm using this gray matter paper palette so I don't get the place too dirty. So these are all the things that I will be using for this whole class. 4. Choosing Your Colors: I just finished the project, but I'm going back to kind of share with you the colors. So we will all have different colors at the end of the day. So it's quite hard. And I own 21 Drawing Oils. So doing a full color chart will be incredibly long. I want to go over the neutrals and values. So we are going to pick like I have the zinc white. Now, the titanium zinc white. So let's go over the neutrals. I have the titanium zinc white, the unbleached titanium. And then I have the neutral gray medium, paints gray. And then I have the turkey umber pale. So what are these going to do? They are going to be the colors I'll probably be using the most. But actually, I use quite a lot of erleanEtra pale. But anyways, these are the colors that you'll most likely use because we have to use it for highlights, shadows, lowering the intensity at times and also the value control. So you'll see me use the paints gray at the end when using details. So when you are considering buying drawings and you're kind of wondering which colors, I do have a YouTube video where I kind of go over that. But pick the colors that you love that you don't really need to mix. That's one. Second is, for paints gray, I don't think I'll be using as much. So if you have, like, oils from the tube, because I use the pains gray a lot for details, and why would I be cutting it off from the drawing oils to just mix it with solvent free gel or something to create details. It doesn't really make sense. So yeah, that's my suggestion. But either way, let's go over these. I'm going to quickly just show you what they kind of look like. When mixed and so forth. So this is the titanium zinc white. You wouldn't be able to see this. So let me go over with the turkey amber pale. So that's going to be quite a good color to get, like, certain depth and greens. We do have greens in our skin, and look at what that looks like when added with titanium zinc white. That's why we use a lot of the whites like this to get the full value, if that makes sense. And I'm going to even add that paints gray on the edge of this turkey Amber pale green. Yeah. So that's what it might look like to even deepen further deepen that turkey what is it? Turkey umber pale. Turkey green umber pale. Yep. Okay, and then oops Let's try using the neutral gray medium and see what color that looks like. So this is more on the cooler side than the turkey umber pale. This would be great for shadows as well. And let's look how that would look like when we mix the unbleached titanium. I love that color because it creates this, like, warm but also neutral kind of color. And then let's add that zinc white inside to get, like, a full scale. So this is why we use so much of that titanium zinc. And then, again, using the paints gray to get that depth, and you get a full scale right there. Okay. And then I want to show you what paint's gray, and then the white looks like together. So that's the pain's gray. Let me put this back. And then the titanium zinc white. Beautiful. It almost looks like that bluish kind of color. And let's see what that looks like against a neutral gray medium. It's much warmer compared to the paints gray. That's cooler. So there you go. It's interesting to understand all your colors like this and try to do as much mixing as you can with what you own and also make sure to wipe them so they don't get mixed as much. Okay, so we're going to the next bit wiping off my Drawing Oils. Okay. And then the next bit is skin and warm. So we're looking at warm pink, John brilliant yellow. Actually, John brilliant, and then brilliant yellow extra pale. And then the cadmium yellow, as well as Mars red. And then the quinaculon red. And then and also the Mars yellow light. So my question is, does manganese violet go to the warm? And then the manganese violet. Now, you might think, wait a minute, isn't that like Yeah, you might feel like, Oh, this doesn't belong, but it does. And I find that the violet is needed for areas that the blood is running, but there's, like, a curve, like the eye socket, so it really works well for those. Okay, so let's kind of mix around. So these warm colors. So these are I believe these are all very important for the warmth and portraits that is in your skin. So let's try mixing this. I'm going to get this manganese violet, and let's see the range that it can create. So I'm going to use the brilliant yellow extra pale. Now, remember, the opposite from the manganese violet is yellow. So this does have a bit of yellow, which then mutes desaturates the color a bit. But look at that beautiful violet that it creates right there. I just love it. Let's use this shader. I mean, shaper tool. Beautiful, isn't it? Okay, so and then next, let's see what the cornicuonRd creates. Now, this is a super vibrant color. Great to create. It also has, like, quite a deep value compared to the warm pink. The warm pink is quite light in value, and let's use this. I'm using the brilliant yellow extra pale again and the blender tool shape. Creates really lovely pinks. Okay. And then next, let's see, with the Mars red. Now, this is, like, kind of, like, transparent red oxide, basically, and it's great for getting the depth in the eye crease as well. Let's just try mixing it with that brilliant yellow extra pale. It almost reminds me of the oil pastel the mummy, I think it was called. This is a gorgeous color as well. Let's try mixing the manganese violet from the other end, and you can go really deep. Okay, and then let's use the Mars yellow, and then let's use the manganese violet from the other end. So the manganese violet is more deeper in value. And then we can mix in the brilliant John brilliant and get this more pinky kind of look. And then ultimately, we can also mix in that warm pink to get that kind of, like, the cheeks. It reminds me of the cheek color. And then we can use the yellow extra pale and then create that nice warm. So the warm pink alone, and then the brilliant yellow pale that would create, like, a lovely, fleshy kind of color right there. Okay, and finally, the cadmium yellow. Let's see how that mixes. And then let's try using the brilliant yellow pale again. Oops. Got a bit of that warm pink mixed, but. Okay. So those are definitely colors that you would use in portraits. And then the next one is the cool like maybe foreshadows or even creating some atmosphere that I absolutely love, and let me share you that. Alright. So, the cool atmosphere cobalt violet, I mean, cobalt blue. CerleanEtra pale. And then Province blue, Malachite. So these are all the cool colors, and I think they are probably my favorites when it comes to these Arna Drawing Oils, to be honest. Yeah, let's look. I'm going to just mix in all of these blues and let's see what they kind of look like when mixed with the white. I did a whole RNF drawing oil like light fastness test. So if you're interested, that would be on the YouTube to check them out. So adding in the white here. Oops. Okay, I should wipe this down, I suppose, but Alright. I'm just gonna blend them with my hands. Oops. Ah, getting messy right here. Always have a clean paper towel in hand, I suppose. Oh, my goodness. Okay. Sorry about that. Okay. Let's do that. Our time. And then mix it with the white. Okay. That looks beautiful. Alright. And then wipe that down. Beautiful. And then that's the That's the sildenGreen. No, that's the serleanEtra pale, which I absolutely adore. This is the color that I've been using like crazy. And then this is the coal but blue. Alright. Okay, and then we're getting into the greens. So I've come to realize that the greens are also quite important, especially when I was doing some drawings with using Monet. He seemed to have quite a lot of greens in it. Now, with portraits, it's good to have a green because it can be very useful to mute your skin warmth, to have it more muted in order to create more believable skin color, if that makes sense. Okay, so first, it's the sap green, and then the solden green, and then the ernese green. And then the chromium and then the chromium oxide green. So that's the erne chromium oxide, silden and then sap. So let's see what that looks like. Let's go with the sap first. The sap can look very dark. It's got one of the if you want, like, a really dark green, it's the sap green. Look at that. That's the darkest green that you can get. And then the chromium oxide green, it's more opaque. It almost has, like, a bit of white. The sap green is definitely, like, transparent. And then the Veronse green, it's almost like a vango green, if that makes sense. And then the Celadon green, which I love, as well. It already has a lot of white in it. Okay, so let's try mixing in the whites with these, maybe I'll use, actually the unbleached titanium just to give you a sense of how different it'll look with the whites. That's gorgeous, isn't it? Oh, my goodness. I just love that. And then let's mix in with that. Then the ernees oops. A bit of the other colors mixed in. Yeah, the Bernese green mix with just white is beautiful, as well. And then Okay, let's mix it with the Yep. I mean, the solidn green doesn't really need any bleached titanium, I think we should mix it in with white. Okay, I'm going to mix the white on the other hand so you kind of get the feel of what it might look like. It's more punchy when it's like white white, I suppose. Look at that. That's super beautiful. Yep. Alright, so that's basically the green, so we can always mute the colors. So let's try just muting a bit right here. I would pick, let's pick the sap, and then let's try testing them out with different reds to see if it becomes more of a believable skin color, so to speak. Just go to add a tiny bit goes a long way, so we're just going to have a bit right there. And then I'm going to choose different reds just to show you how muted. So they are opposite colors. Bear in mind, they are opposite. And look at that dark color right there. Let's try to pull this out a bit just to see what it looks like. That's quite dark right there. And let's even add, like, a white to see what it looks like. Look, that's quite pretty, isn't it? It's like a believable skin color if you get what I mean. Okay. And then let's try the Mars red. Maybe I need a bit more sap right there. And let's pull that out. Let's get some white. Yes. Definitely a beautiful color right there as well. A muted, kind of brown, warm color. Okay, and then let's try the warm pink. Let's see what that looks like. Let's white. It almost looks like the, the Mrs red, actually, but lovely, like, muted skin color again. And finally, I'm going to get the John Brilliant to see what that looks like. You could already tell because it does oops, I mixed other colors in. Again. Yeah, it doesn't need as much white 'cause it obviously has quite a lot of white already. Let's see. Again, a bit of muted kind of color. Just adding white to see what it looks like. Yep. It looks like a believable skin color to me. Alright, so you kind of get the idea of all this. I'll have this. Once it dries, I'll write down the colors, and I'll have it in the resources section. I might just post the videos beforehand, but this will eventually dry in a week. So I believe it will be ready by, I would say, like, 20 June around then. So you can check out the colors and swatches that I've created if you'd like to know. Okay, let's get into the next project. 5. Getting to Know Your Drawing Oils: So I'll have this scanned available in the resources section. So try to go over there and kind of write this out for yourself as well. So we're going to be working on the warm ups. I didn't make quite enough space for the warm up because I wanted a bigger space to do the drawing of the eye. But you can create a whole page of the warm up just to use to this medium. Okay, so first for the warm up, we're going to create marks. Now, let me explain when it comes to these drawing oils and you leave them over time, they are going to kind of form a skin. Skin, we have to basically scrape it. You would definitely want to have some scrap paper around that you can scrape off them as you apply it. I'm going to use this turkey umber pail. Whenever you the drawing oils, you would scrape it off. Until everything comes off and you have the underneath layer coming out, basically, because it always creates thick skin at the top. So let's create mark. See how much marks you can create. Oh, and by the way, when I'm like, when I'm creating these marks, I try to when I scrape it off, I try to understand where it's been scraped so I can use that. So try to create different marks can be quite hard. Some could be kind of try to create a fine line as possible and just try to play around with it. Sorry, Mini see planes going by. Okay, so you can just go on, try to create different marks as possible. And then for the blending section, we're going to work with a finger and a brush. I don't have much space for the finger, but let's see what we can do. I'm gonna get something kind of creamy. To work for this, maybe this Province blue, one of my favorite colors. So first, scrape. Okay. And then I'm going to lay that down. And then I am going to lay that down. Maybe we could even try the Shaper tool, actually, to see what kind of blending that looks like. Okay, so with the finger. And now, please bear in mind that RNF has a whole safety downloadable PDF right there that tells you whether some of these pigments are dangerous or not. So you need caution. But yeah, I'm just going to use my finger. I don't want to take too much time, so look at how that blends. And these drawing oils can really work nicely when you warm them up. So if you're in a cold place, it might even help to kind of warm them up with your hands and so forth. Okay, so I'm going to use a brush, and I'm going to use a solvent. So we're just going to see how that looks like, okay? So I got my solvent right here. And this is a very small brush, but look at how lovely that looks like with the solvent. It's just amazing. Yeah, it just feels like watercolor almost. Okay, and then let's use the Shaper tool to see what that looks like. Going to write down shaper. Okay. The shaper really pushes things around, and that could look beautiful, too. Definitely, using the brush and the solvent is more controllable, if that makes sense. Okay. And then the edge, we're going to create, like, a hard edge, a transition edge, and a lost edge. So I am again, maybe I'll use a different color. I'm going to use the Malachite. Scraping it off first, and then hard edge. Uh, let's see. Yeah, let's just go straight. Okay. Yeah. It really is not much space here, but okay, hard edge. And then transition. See, this is quite difficult. And then lost. So trying to, like, when you're painting the eye, there's always the hard edge, the transition, and also the lost edges. So that's what I'm trying to recreate here. So let's see how transitioning would look like. You can spread that across I'm using the Shaper tool. Okay, so that is a transition. That's a hard edge. And then the lost edge is, like, the most difficult when it comes to, as you can see, the most difficult when it comes to using the drawing oils because, like, trying to get it really subtle is quite tough. I think even I'm going to use the solvent right here, which makes things much easier. Yeah, that is quite tough. I must agree, but it all comes with practice. Okay, so detail, we're going to create, like, a small, thin line as possible, which you probably can imagine what that would be like from my past experience right here. So it's even hard for me. I mean, these are Okay, I'm going to scrape this off. And then as is. So meaning we're just going to create the line try to create, like, a thin line. Trying different lines right there. Quite tough. Okay, and then brush. So what I'm going to do is I'm going to show you. You can even, let's use this bit from the scrap paper here. And then I am trying to kind of make it soft right here. Even add that solvent. I move it around and look at how it's already created this pile of What is this, Mars red that we can use for detail. So sometimes I use the scrapped drawings that you have to scrape off the surface. Every time you use them, you could even use them for the details and keep them around. Okay, so the brush, the detail. See how thin you can get and I'm using the solvent, like, the solvent free gel by Golden, but you could even use the Dorlans wax medium in the same way as I am right here. So that's the detail of the brush. It's excellent, isn't it? And then when I say pencil, I literally just mean using any kind of color pencil that you have or even a pencil. It doesn't really matter. But, I mean, how thin they can get. And then now I've created these a bit of swatch with the watercolor. I use Pains gray right here, but we're going to check what a highlight looks like with drawing oils. So I'm going to use this white titanium zinc white and try to create the slightest dot. So let's see what that looks like. Let me understand where the highlight is gonna be. Oh, yeah. I kind of made a mistake. So it's better if you can create a point with your stick, and that means you have to basically get it to have a point. But even so it's quite difficult. It's gonna be quite big. That's the whole point of this explanation of this warm up. Okay, and then next, it says, use a brush. But actually, before we move there, I even want to use what I've scraped off right here on this scrap and put that with a palette knife as a highlight. We got to press it a bit, but that could be even a highlight. And then with a brush, I am going to again wipe off my brush, go inside that solvent that I have. Actually, I think I'll. So I am going in with a brush. Let me show you what that would look like. See, that's the detail, the highlight that we can create with a brush. So point is, it's gonna be quite hard to just use the drawing oils if you really want to get those small details. But that might be also the beauty of so. Okay, and pencil, obviously, we could use pencil, like color pencils to create highlights, which will then look like that. Okay. Alright, so I think he got the idea. It's really hard to get the details, obviously. And it requires a lot of patience, but it moves around. It blends with fingers. It blends with solvents. It blends with Orleans wax. You have to scrape off before using it. So those are some of the things that you might want to practice and warm up before we get into the final project. 6. Eye Study Part 1: Building the Foundation with Color & Values: So this will be the final project where we'll be working on an eye. Now, I have my own eye as a resource that you can possibly use, but I've already sketched it with my pencil so I can get into it relatively quickly and start working on it. So um, for the colors that I'll be using, I'm not too picky about colors. It's more about the values. I have done eye portrait class painting only eyes in watercolor before. So if you have watercolor and you want to get into working on more values, feel free to work on that class. It's really fun. But today, I'm just going to work with these Drawing Oils, and it's going to be fun. So I've already sketched the eye right here. You could do that. I have my own eye in the resources section if you'd like to use that. And basically, you might ask, well, what if I don't have a range of colors? You don't really need to. The most important thing is to get the values correct. If you're not too sure if you're not comfortable with that, you can even take my watercolor eye Lover's eye class, which will get more deeper into that. I think it will help you immensely before getting into this class. So I will start drawing the eye. I must say I'm not a drawer, so to speak, but we all have to be able to kind of draw and understand the values to be a better painter, as well. So here I am. And I'm going to kind of relax, enjoy this process and not think too much, again, of the colors, but more so of the values. Um so I like to draw the eye. So as I mentioned, with drawing oils, one of the key things that I want to mention is that they are a stick form, right? They're sticks, basically. So one, because they are sticks, you can't really cover up a large area at once. It's going to be really hard. So I do recommend using, like, watercolor for the underneath layer or even oils or acrylics or any kind of gouache or any kind of medium really to lay out the the under like layer, basically. But here I am. I'm just going to use the drawings just to give you the sense of what that might look like. So when I start off with painting, let's see what am I going to use? I like to kind of use kind of crazy colors. So I am going to use this Province blue to start off with. And then I kind of see these I don't know if you see them, but I see these violets right here. So I'm just going to work into the violets. I'm really not thinking too much of it. I'm just trying to get in those colors really as just having fun. And then I look at that and it's like, basically like a blue purple. So I'm going to grab like a yellow orange just to kind of get the opposites. And you see like yellows right here. I'm just going to go in right here. With a bit of yellow. Um, even right here, I see a bit of yellow. And I would suggest not mixing the colors too much when you just are starting off with. We're gonna be blending a lot of them, too. Maybe I might even use the yellow what's right here. I might use this purple. Let's see what that looks like. I think the purple blending it with the blue would not mute it or make it very strange. So that would be like a nice color to add in. But I see these pink tones right there, right? So I'm going to use this warm pink. And later on, I think you'll notice that there comes a point where, like, you start adding colors and it just doesn't take any more colors on top. When that happens, you have to wait for another day until it kind of starts the colors kind of set enough for you to start working on it again, if that makes sense. It's just like oils, basically. You can't move around the paint when they're kind of like, Oh, I need a I mean, Alaprimas quite fun, too. And for the whites of the eye, they're not quite white, but there are like, bluish areas. So I'm trying to fill that in. I might even cover up a bit of the sections. I'm using this color called the serleanEtra pale, one of my favorite colors, and even go in some areas that I see that the blue's been extended towards And then right there, I see, like a bit of that kind of province blue. So I'm going to add that. And I see a bit of warmth right here, so I'm just going to add a bit of that orange. Think a bit of that purple right here. And then a bit of that blue. And then finally, for that section, I might just add the yellow ochre, actually. So, I for my eyes, I think I will add a bit of that. Maybe I'll add the yellow first. I haven't quite used this yellow for any painting, so it'll be kind of fun. A bit of yellow here and there. And I see some reds, actually. Not red. I would say browns. Oops. Browns. And then some greens. Oh, my God. Then some of the blues. Now I'm going to start blending. When I do blend, I just feel like the hands work better. To really blend them around. I'm going to get and when I'm mixing the colors, like here, I have a bit of that purple and oranges. I tend to white my hands so I don't mute it, desaturate it as much. I can see that I haven't got enough there, so I'm going to go in more. I'm even going to use this unbleached titanium just to get things moving. I'm almost, like, like, this is a very convenient color for eyes, specifically, like skin tones because it will create like this white, you know, to get the paints moving. It's almost like a blender tool. Now, I don't know where my paints gray went. I might have kind of what do I call thrown it out by mistake. I have a feeling. But I have Manganese violet, which is, like, one of the dark colors that I have, so I put that for the pupil. Now, I've at least laid down quite a lot of colors just to get the underpainting kind of sorted out. I'm just blending it with my hands. So I think this is one of the ugly stages. You have to kind of how would I call trust the process and be like, Oh, it's it's gonna be because now I'm just, like, screaming in my head. This is this is not going well. But it will. So I'm just trying to bring back some of the colors. Back, I guess. And yeah, it's gonna be tricky without the paint's gray, actually, so I'm a bit worried. I don't think sap green is gonna be like an efficient color. 'cause I need a bit of that dark color. So I'm seeing a bit of, like, nice greens. I mean, you can extend your painting as far as you want it to go, really. I'm going to add a bit of purples right here. And And I see a lot of yellows right here. So I'm going to kind of put kind of play around with that yellow. I'm white. Alright. And then here see a bit of white coming in. And then I'm trying to define again, some areas. And then, remember we had that, like, hard edge and the transition. You could totally see that right here. There's that hard edge. And to be honest, I'm not too sure which color I should use, but probably the Manganese will do the job. So trying to make, like a bit of a detail right here. And then there's the warm hard edge. That softly kind of disperses grades into heart edge. Can I try to create that. It's getting really hot in here. Okay. So I'm going to use the Shaper tool. Kind of blend these out a bit. So right now, what I'm trying to do is there's, like, white spaces that you can see that's seeping out from paper white, right? So this is what I mean by it takes quite a lot of time for the drawing oils to cover up completely. Like, you'll have to blend it so much until it's, like, completely covered. And some of you may like that look. I don't necessarily like it. So as you could see, I'm trying to basically cover those whites out, which is taking quite a lot of my time, But I do like to use watercolor to basically cover up most of the areas and then from there onwards with drawing oils. So we got most of them covered. So from here, it's really about working in more details. So I will be adding some of the violets, right here. Like, you could see a bit of that violet. I'm going to use this blue blending some areas out. The more colors you have, the more it's gonna be fun. Let me tell you that. So it doesn't have to be like a realistic depiction of it. It could just try to have fun with the colors that you have. I don't know if you've realized it, but I'm, like, I'm not able to add the color on top, and it's almost like digging into what lays underneath. That's what starts to happen with the drawing oils, which means you've done enough layers on top that it's not like, it's the underneath layer is not dry enough to take more oils at this point. And when you get closer to that, you'll basically really have to step away for a while and come back another day to start working on it unless you like that look. But at least for me, I realized that I like to let it dry a bit and then come back. So here, what I'm trying to do is I'm trying to get the darkest dark back again, and those, like, hard edges. It's a shame that I can't find my paints gray. Seems like I'm going back into saying that over and over. But it's quite true. Yeah, you need you definitely need some of those, like, dark colors just to help you get really deep in value. So I think I'm at the stage where I need to let this kind of sit and wait for a couple of days. I am trying to get there's going to be a bit of those, what do you call, small clots. I'm trying to remove as much of those as possible right now before it kind of sets and dries up. And I do have, like, a light fast test that will be up on YouTube if you want to know which pigments don't shift in color, even exposed in the light. But, yeah, I'll be it really depends on the colors that you use. Some really dry up faster, but some really take a lot of time to dry up. So I'll see. But hopefully I can come back in a couple of days So now I am going in and I am using this polychromal dark indigo to kind of create more details. As you can see, you can do this, not even using the drawing oils to get the details. I'm using this alone, and it does work quite well, so it's like I'm drawing just to get the details kind of set because I'll have to kind of wait for a couple maybe a couple of days. It really depends on your place that you live. But it'll take me a couple days here in Washington State until these drawing all set enough for me to work on the next layers until then. Yeah, I'm trying to put this polychromo down so I can come back and I know where the details are. And then I'm going to try to wipe those drawing oils off of the polychromos. I'm going to use this Karin dash luminance. This is the maroon Perlin brown. But yeah, I think the polychromos are better to use as a mixed media with drawing oils, but Yeah, you can judge it yourself, what works for you. Can I use this bright yellow. I think I think it's pretty much set. But I'm going to add a bit of this blue onto this bottom right here. All right. So this is the first layer, and then I've added some of those polychromos and the aluminum pencils as well for some areas, but I will be coming back in a couple of days just to kind of work into more of the details because the drawing oil at one point will not work as much. I'll stop yeah, it'll be like, Hey, I'm done for now. Kind of, there'll be a point like that where it's not gonna take any more of the drawing oils, and that would be the perfect place to stop. I'm going to add a bit of those interesting shadows right here. So we'll be working on the next layer once this sets a bit. 7. Eye Study Part 2: Bringing It to Life with Texture & Details: It'll be way easier to work with because I've left it to kind of dry out for a day. So I want to start working on the second layer. Here we go. And there shouldn't be so much need of scraping these oils if you're using the same one because a day wouldn't create that skin. So we're going to work into some details now because I've laid out most of the colors from here on, I'm more into making movements and creating, like, a creamy texture because that's the fun of drawing oils, ultimately. That's why I like to do this with a different medium, if possible, like the underneath layer. But yeah. So let's get into it. I'm going to use this color, I think it wasn't used as much yesterday. Yep, it's accepting more of the drawing oils today. And I'm more being mindful of kind of trying to create more strokes, like painterly strokes almost Oops. Got to wipe that off. I'm almost looking into where it needs more whites, more lightish color. You could even go a bit, crazy with the colors as well. Right. Rabbit Maybe I'll add a bit more white here. And then I think I'm going to go dark on the pupil because I couldn't quite do that yesterday because I didn't have the paints gray around. I think I want to use the quinacran red because I haven't quite used this color. Whoa. There we go. And you never want to use too much of one color or it could come out quite overpowering. I'm going to add I think the iris looks kind of dead, so I'm going to bring in a bit of, like, fun colors. I see some blues right here. And then I see even these light blues coming in. What good dot right there. I'm going to get rid of that big chunk. I think it's coming along. And I think I might even add a bit of those browns that you can see in the iris. I think if you leave it for a day, you can really feel the difference in how the colors are more taking in your like how the drawing oils are taking more of that color on top. And right here, you can see the lost edges. So I'm just going to come in with my hands. Just go to come in. So try to look at your work and kind of think, which areas you want to leave the marks as is and which areas you want to smooth out or harden. And right now, I kind of like these marks that I have here as well as here. I think I'll go in a bit more with that Mars I think it's called Mars red to go in a bit more over here and create a bit of, like, these strokes. And I even see the kind of, like, dark, not black, but paints gray kind of colors coming in. Definitely there's, like, a shadow at the top. So I'm gonna drag that. I sometimes even use that dried skin to move things around because that could help. Yeah, like, move it move the paint around, so to speak, the ols around just enough, but also kind of getting out a bit of that color on where the color is now. And then now I am going to try to get the tip right there sharpened as much as I can. And then I'm going to come over to where that kind of shadow comes in, and I'm not trying to get so much of it down, but enough. Then there's oops. I think I went overboard right there. And I'm trying to I'm going to try to get any kind of paints gray I've scraped off here on this sheet, and maybe I'll just get it out. So I'm going to get a bit right here and I'm going to smooth it out so I can work into the details slightly. Maybe you've heard of this, but, like, I hear it many times, like artists talking about this, but do the shapes, and then the details last. It's more shapes, right? Yeah, to work on the shapes more, but it's hard to keep on going when you don't get at least for me, if I don't get enough of that shape down, I feel like I can't push forward. Like, I don't see the end goal. So I typically allow myself a bit of it, if that makes sense. And then I think I'm going to scrape off that paints gray a bit more, actually. And one tip I would give is that, once you scrape off, like, a certain area, try to use that area rather than going in other areas. That's how stingy I am, but that kind of works. So I'm trying to get the drawing oil as smooth as possible. And then I'm going in that dark area. Just enough. Not the whole detail, we'll be working on details later, but I'm just getting enough of it to keep myself going. And for So for the pupil, I'm trying to I would suggest not covering the entire area completely dark. Somehow having, like, a slight difference in the value would make it more like, more believable. And then if you can see, there's, like, this darkest dark right there, so I'm just going to put that I think that's enough for now. And then I am going to mix a bit of that Mars red with a bit of that paints gray. I just want something kind of brown but a bit dark in the value to kind of go in slightly here. I think I got enough of the I think I got enough of the details. So I'm gonna be working more to create fun textures. So let's get into it. I think I might use I don't know. I'm leaning into creating, like, a warm feeling. So let's look at actually, I'm going to use a bit of that Um, a bit of like, I want to brighten this area right here where it's like, curled inside, if you can see. I want to just a touch, make it lighter. And then I'm going to use a shaper and blend it a bit just making it slightly bright. So we're gonna do a bit of fun stuff right here. I am going to create like a gestro mark And then a bit of orange right there. And then think right here right here. I guess right now, the aim is to create, like, fun, like somehow like this fun feeling of what Drawing Oils can create with those oliness because that's what merely is lacking with watercolors that I don't get the fleshiness of things and try to have fun. I think this is the most stage you can have fun with And then I think because it looks, how would I say quite yellowy, I'm going to soften it a bit. Again, getting sterol I think I like how it's coming along. Now, finally, I think we're at this stage where we can, when you kind of work on the eye, and you want to kind of play around with the colors, I would I think it's a better idea to, like, lean into either warms and cools. So here, I think you see more warm colors than cool colors. Always a mix of both is good, but when you when you become too playful and go, like crazy, I think it tends to lack, like, which way it's going towards. So try to be mindful of, like, if I have, like, 80% or 70% of warm colors versus the cool, it should work. Alright, so I think I want to now work into the details. I might once this dries again tomorrow, I might add some more. But I think, yeah, I think it's at a good stage for us to kind of move on to the details. So I am going to scrape off. I think for the details, it's mainly the eyelashes and then some highlights. You can see, like, that bright sun hitting a part of the eye. So I think I want to add that. I think for that one, I'm going to use the yellow extra pale. Sorry for my chair squeaking. It's basically the only chair that really works in this setting. Yeah. And it tends to squeak whenever I move around, but it's hard not to move around. Hopefully, it doesn't the mic doesn't capture much of that. Alright, and then I am going to mix the solvent free gel. Kind of use my palette oops. That's spread across palette knife to kind of get it more soft and creamy. All right. So I'm going to create, like, a big, huge dot right there, maybe even a bit of movement like that. And then if you see closely, there's, like, a bit of light catching right there. Bit of light right there. And then a bit of light coming in right there. And then a bit of light right there. A bit of, like, kind of trickling right there. I think for the whites, they should do it, and then now we're going to get into the eyelashes. So for the eyelashes, they are quite dark. So I am going to mix a lot of paints gray. I think this crap doesn't work. So, you have to try to get them to make your life easier, try to get what's inside and still wet. Getting a bit of solvent. I think I'm ready. So we're going in with the details. Now, if you see closely, you can tell that actually the eyelashes don't start off from the inner corner. It starts from the outer corner. So here I think that, it starts off. And you might find that actually waiting to do this on the next day might be even good because ultimately, we're using this really thin brush to create these hairs, like eyelashes. And basically, with the oils in the back, they yeah, like, you're kind of pushing in them. So you might find that quite difficult to do because it's basically like aprima we're working while the oils underneath are still wet. But it does create this kind of interesting look that I personally quite like. Especially 'cause we're not trying to capture, like, like, realism or anything. It's um yeah, I think. And oh, I forgot to say. Look how much the eyelashes extend outwards. It extends until here, pretty much. But I am going to keep it within where I've painted, because if we extend that, it's gonna look quite different. And try to also imitate as much as possible how the hair is moving. They start to move kind of down here. And then we're going to the other side a bit. There's some hair that comes out from there. Now we're going down a bit, but before I do, I want to get that corner a bit. So I talked about how having like 70% of the kind of warms or cools depending on what you choose. Like, you should probably stick with that, right? But here, basically, I would say that this paints gray is on the cool side. So it kind of stands out quite a lot. So what I'm going to do is now I've kind of marked I think I've marked enough of those eyelashes at the bottom. What I'm going to do now is I'm actually going to get the, like, a warm color that will make things pop out a bit more. So I'm going to make the Mars red, and I'm going to cut this out, and I'm going to create some colors for the eyelash. So I'm using the solvent gel again to kind of create like a creamy, fluid texture so we can go over this So I'm just going to add not a ton, but enough. And adding some on the bottom, but also what I am doing right here is kind of bringing in some of those same colors elsewhere as well. Tends to kind of work when painting. I don't know. It's just I think you've also realized that sometimes adding, like, bits of colors here and there makes it more harmonious. And then I'm going to add a bit here just because I think there seems to be a lot of that red color. Don't want to mess it up too much. All right. And then I'm just going to go slightly inside here. And then I'm going to add a bit of that paints gray to that brown that we just created. Then I'm applying it here. Because I could see that kind of, like, almost hard edge, right there. Alright. I think I, I like how it's looking. I would call it done. You could even go really, like, playful, like, creating the ins with even the reds, but I don't think I'll be doing it. I think I like how it looks so far. I might even had a bit of warmth in. Um, yeah, I might even add this. Let's see. I want to brighten up this area. Maybe brighten up a lot of areas, actually. Just to give it that kind of, like, oily texture and maybe even bring in those lovely greens. I just love this color. It's called the don green. Just to kind of play around. Yeah, I think it's quite nice. Right here. Alright. So I'm just gonna scrape off all the big particles just to kind of clean it out. Yeah, the great thing about drawing oils apart from being able to work on paper is that I I just miss the fleshiness of oil, the texture, how, yeah, like, pretty much the closest thing it is to skin. It's fleshy. And I quite miss that. And playing around with drawing oils, like, you could just have so much fun with the textures. So yeah, I hope you enjoyed the class. 8. Bonus: Drying & Protecting Your Drawing Oil Artwork: So the drawing oils are going to take time to dry up. They can take, like, a full week to dry, and some colors would dry faster and some wouldn't I wouldn't want to close this completely. The best way is obviously if you have those drying trays to put it in there. But if you don't would even suggest using, like, parchment paper, like baking paper, and then place a masking tape on top to let it stay and then close your sketchbook. 9. Final Thoughts: Keep Exploring: I enjoyed all of them, really. But the key part that I feel like it doesn't quite change is that drawing oils are not the best at covering because they're stick form, right? So here, I use only the drawing oils, but I had to lay so much of it. So I would really suggest to use other mediums to cover most of the area. Maybe even with crayons, you can do that or watercolor, but with watercolor, you can't really use this oil paper. I might even use acrylic. That would work as well. So I hope you enjoy the class and please share your projects. At the end of the day, what is art? Art is something. You have a vision and you execute output that into the world, right? It's visual communication. So I would love to see your different worlds. I would love to see them. Please upload them. And please, please, please leave a review for me because basically, if we don't get enough reviews, what happens is that Skillshare will delete that class eventually. And it's sad because we put quite a lot of time as teachers trying to make these videos. So I hope you can leave a review for me. It'll mean a lot. And if you have any struggles during the class of using this medium, please let me know, because I'll try to give you the best answer I could. This is a community, right of artists, and we can help each other as well if we know the answer. Okay, and finally, I have a playlist. Down below, you can go check out if you want to deep dive into more of drawngle. So I'll see you in the next class by