Exploring the World of Soft Pastel - Drawing a Middle Spotted Woodpecker

1. Class Introduction: Welcome to this soft pastel workshop. Yes, we're gonna work with soft pastel. They're beautiful medium to work with. One of my favorites and I just loved drawing with them. We're going to draw a middle spotted ****** with it. I'm not sure if middle spot at packers are around the whole world and here in the Netherlands, that quite rare, but I managed to spot one in my vacation. And I figured that would be great workshop that drove this beautiful bird. And that's what we're gonna do together. I'm going to show you how to work with soft pastel. Now what I'm gonna do is I'm going to take you along in my process on how I use software step. So I'm not going to bore you with all kinds of techniques and theory. Now I'm going to take you along step-by-step into this, showing you the techniques I use. Showing you what effect they create and how we can build up a beautiful bird from an empty paper to upgrade finished artwork. Alright, well, I'm not going to see a lot more about this. I would say go to the next lesson. We're going to discuss the materials needed to have some fun together exploring the world of soft pastel. 2. An overview of the Materials: Let's look at the materials. What do you need for this? Of course, you're going to need some paper. You're going to need a paper that takes soft pastel. Now various brands have papers that do well, but what I'm going to use for this is a paper called, let me get it with it. It's always tricky getting your materials if you worked on it, glows, it goes the bird very carefully. I want to use this paper. You're not gonna see anything from it, right? Let's do it this way. I'm going to use this paper Canson XL and it is sand grain. It's a relatively new paper while, while I'm filming this, it's relatively new. And it's made for pastels, charcoal, dry medium. And I'm going to work with this. We're going to explore this paper together now if you have a different paper for your soft pastel, light pastel math, which is comparable to this. That is fine too, of course, any paper you have. But I'm going to use this one. I'm going to use an A3, as you can see now I'm really gone. Huge block. Because the larger you work with soft pastel, the nicer it also gets the grade. More details you can bring in. Now, if you don't have a free, you could work on an A4. Little bit more tricky, but that would work with this workshops. I'll supply the sketch for you so that you don't have to sketch it all. You need to transfer it and gives you the full A3 and also a cutoff. If you have to print to a force, you can overlap them and then trace them, copy them, and whatever technique you use. I've got none of workshop for that. I'm going to put my takeaway and I'll show you we've seen it in the intro already. Does the actually finished artwork. And now I'm back again. Alright, good. That's paper. The next thing of course you need is a pencil, perhaps an eraser, perhaps a light box. You could do it against a window. But I said I've got a workshop for that to cover all of that. How to transfer a drawing to the paper you're going to work with. And of course you're going to need pastels. Now what I'm going to use is a limited selection of pastels. I've got a huge selection and if I'm going to count, I'm going to get somewhere around 200 pastels. Probably. You don't have that huge amount of pastels, especially if you've never worked with it for exploring it. So I've limited myself to 30 colors and what I've done is I've created a box like this. Now this is a box of 30 pastels, and I would recommend not going below 40 pastels because then you have a nice range to work with. And we're going to use quite some calls, even if the 30 bucks. Now this is a portrait box. We're not going to use port and what I don't, but I've done this from the, this brand row Thailand's Rembrandt, which are actually great, My favorite pastels, but you can use any brand, of course, you do like. But I've picked the general selection of colors, which is 30 general colors. And I created a set from my large and Bob. I created a set with debt. The next thing I'm using, I'm going to look for it. I got to close that box to know. I got to do this differently. This all fall down. Are some pastel pencils and picking them up right here. They're looking like this. I'm going to use some pastel pencils too. I'm using these stuff below, caramel telos, but you can use the Germans corners, create a color. Any brands you want to use, even royal talents finger has a nice set and you don't need a huge set of them. Around 30 is fine. I've got a larger set, but we're only using a limited amount of colors to just add a little bit of details. Now, in theory, you could do that with your pastel, the regular RAM pastels, or if you've blocked pastels too, I'm using the pencils, making it a little bit more easy. What else do you need? Well, you need your finger and you can see my fingers are still pretty dirty from creating this pastel because I'm filming my materials after I'm done that I know exactly what to use. Because if I do this beforehand and I decide to change something along the way, then I have to retype this so my fingers, we're going to use fingers. If you don't want to use your fingers to smudge, if you really don't like that, you can use some cotton, just some regular cotton pads like this. You could use them instead of your finger. Something else I'm going to use is a cotton swab. It's around a Q-tip cotton swab like this. We need one like this. And if you using sandpaper, you might need more than one. And another thing which I'm going to use actually a lot is a shaper like this molding to its silicon. And I've got a few here. Here's another one. You can buy them really cheap in the set is a silicone shaper. I think what it is useful is more than clay or cakes, something like that. It's not for pastel, but they work really great for pastel. I'm going to use them because Dave will push the pastel really nicely into the paper, giving a certain effect, a nice, tight look. I'm after personally, I like that. I'm using these. Um, if you don't want to use them, you could theoretically use cotton swap. But yeah, the Q tip, but I would recommend getting a few of these. I've seen them even at a regular store at the baking supplies. I've seen them also at art supplies in just just the red, not even that hard to tell, but a regular stores and supplies were people work with clay. This shape, their figures with this, we're going to use those too. Or maybe an eraser. And if you get an eraser, if you use an eraser for the pencils, I'm using the stuff below, carbon calories or that especially made for pastel pencils. And so far, I think it works really the best for sharpening them. Anything else? You may need a printer. If you want to print a design, then you need the printer. Of course. I think that's it. Paper, pastels and a pencil to transfer the drawing. And then I'm drawing it with pencil first. Some people like to do if pastel, I'm gonna do it of pasta with the pencil. And one thing you need, of course, is the photograph of the bird. There. It is supplied with the class. You don't need to print it. You could use it and work from your iPad or your phone, tablet, whatever you have and clean to clean piece of paper. We're going to need that. Well, when I'm starting out, I'm gonna make a huge mistake. And I'm going to correct that of course afterwards because we all learn from the mistakes, just something I overlooked and didn't think of at the beginning. That's what this blank piece of paper is for. What? To find out what a blank piece of paper for your needs. You can move to the next lesson. I'll see you there. 3. Drawing the Bird Part 1: Welcome to this first lesson. We're going to use a soft pastels right away. But before you can do that, you of course need to transfer the drawing I made to your paper. There's various choices you have for that. You could do the free hand, you can use a grid method, you can use a light box. Alright, so I've done my paper on this, sends green, the Canson XL SendGrid paper. I'm using an A3. You could use an a for too, but that's a little bit more tricky with soft pastel you want to have the room to work with. So I've kept my selection of soft pastels ready. And I'm just going to start right away to transfer the drawing I used in just an HB pencil. And as you can see, if I switch now to the top for a second, you see that the drawing is ready already. And while we're on the top camera, Let's start right away to so that's my drawing. And what I've got two is the photograph. I've kept the photograph here. You don't need to print that. Of course, you can use it on your phone or tablet or whatever you use. But for me it's more handy to have it ready here. Because if you put a tablet here with light that influenced the filming, so I've got that and you don't see it, but I'm looking at that once in awhile. Now, we're using a limited selection of colors. Now, I said in the material intro, plenty of soft pastels, but I realized not everybody has such a huge selection. So I made a selection, just general selection and we're just going to see how far we get with that, or is it going to work with that? Now we've got a few elements here. We got actually three elements. We've got a background. We'll leave that to last. We've got a tree and we've cut the bird. The bird is on the tree. So what we need to do, we're going to work on the tree first, but that would not be logic. Why wouldn't it would be logic to start with the tree first, but then you run into a huge problem. And that is simply, I would have to put my hand here and I can put a paper on the red, but still there will be a mess. So the best thing is to work from the left to the right. Or if you're left-handed, then you would actually start with the tree probably first. And then I would pick that lesson to start with that one first. So then you could start actually at right and work this way. If you're left-handed, you can start with the tree and I would go to that lesson to the tree. Then do the boot, the new backgrounds. Now we're gonna do it slightly different. We're going to start with our bird. Then we're gonna do the tree. And then we're gonna do our background. Because when we have our focus on the bird, we know how it turns out. And then we can play with the other elements to make sure that they're not overpowering our main subject, which is the bird. If we start with a tree, firstly, we create a really beautiful tree and we don't manage to do that with the bird. Then all the focus and attention goes to our three. Alright, so we're starting with the tree. Sorry, I'm seeing three. We're starting with the bird. The bird here. Now, the bird has, what we observe is probably some red, some black, some white, some pink in it. And that's it. There's some brown, but there's actually a lot more colors in it. But because we have a limited selection, of course, we need to play with that a little bit. What we're gonna do is I'm going to start with the spot here with his beak. And for that I'm going to pick the gray and I have only two choices. I think I have a green gray. Was it something like that? Yeah, a green gray. And I have a regular gray and I'm going to use that regular grief first to just simply coloring that after birds. Okay? And what I'm gonna do is simply I'm going to pick that pastel up just like this are the two that camera, that camera as you focus, I'm just holding it like this. I'm supporting it a little bit with this finger, but play with that. There's not a rule how to hold this, just hold them because the short, we're just going to hold them between the firm, the pointer finger. Alright, so what I'm gonna do is I'm going to sketch a little bit with these pastels as the way I like it the best. And I'm just going to sketch in the beak. There you go. That's the peak already. Alright, Now, next thing I need to do is I want to make this nice and I'll just take my finger and do it like that. And add a little bit more. And it leaves some residue. So I'm just blowing away. That is just the general shape of the beak. Next thing I'm gonna do, I'm gonna leave the eye for later. I'm gonna do actually do the eye with the pencils. That is way easier. And around this already smear this way a little bit, right? And I have that cloth here. Do my finger. I might just put it. Down there somewhere where you won't see it. What I'm going to do next is I'm going to pick a brown. That may sound strange, but I'm going to pick a brown. I've cut that English. Is that that's Shannon? No. Burned Shanna or whatever I have. Let's see. English read. Do I have an English reds are picking that English red. And I'm picking the English red. And with the English red, I'm going to start up here actually putting down a layer. And I'm going to draw this in with the English read. And later on we're going to go with the bright red. Then we get a nice mix. And what I'm gonna do is with my finger Smith, and then the ego might go a little bit around there to that step part. Now I know there's quite some red here. And I'm gonna just put that in even at the bottom there. And here does love rates according to the photo. And do the same again. You go. Alright, good. Now, the only problem we will have is that most of our drawing will slowly disappear, but That's the way it is. Alright? And that is the part I want to do with because English red. Now I'm gonna go to the black and I'm going to get my photograph of it. Now we see, our eye sees a lot of black, but black is actually made of some blue tints, some violet tins, and all mixing to get this dark black. And later on we will use a little bit of black, but we're going to use start with some violet first. Let's see if we have that. That's the thing, of course. And we actually do have that. That is a kind of file. It is dead. A blue violet. We pick that one first. Yes, I'm fine with that. I'm going to bring in that a little bit as a base to where that one next to it, to where diseases. And right away, I'm going to smudge, smear that much debt. And I'm going to do the same with the wing, will make sure that some widen it. But the nice thing about the bus stele is dead. I'm not going to worry about that because later on I'll bring that white bread back. So I'm doing the wing. That huge part. There you go. And as you can see, I'm just letting this rest on my paper and drawing it. Then I'm going to use my finger and she can see, I'm not even worried about doing it. Really neat and all complete. So coloring it all like you would do with colored pencils because I'm going to use my finger to spread it out anyway. Fit more there. And then we've got some base layers. We're just putting down an underlayer from which we can work. It's good. Alright. And two, we're gonna put this color down too. Alright, good. So that would be R on the layer. The next thing I'm going to get myself the darkest blue I can find in this set. And that would be a Prussian blue if I'm right about that. Yeah, Prussian blue. And I'm going to just add that to that wing to now later on I'm going to use the same blue actually for some shadows. Since that is the only blue I do have. Well, I've got some lighter blues, but now we're just going to mix in that color. And I'm also going to just look at the photo again. I'm noticing this white, so I may want to go a little bit around the white, although I'm going to add it anyway. There you go. And why we're doing this with these colors is to get some new answers, some nice tones in the black so that not everything is black, black. And there you go. Right now, as you can see probably already right away. That Oh, you don't want to go super accurate and have a totally accurate details picture in mind, you're gonna get something fizzy first, although later on we're going to of course, add our details and make it more interesting. Now, let's see at the tail, I'm noticing that some brown, they're putting that Prussian blue. I'm gonna get my darkest brown light right away and that is gonna be the eye can see that on here. It's a number, just a regular umber. And I'm coloring in this part with dense regular number. Alright, got that over. This is not going to work with my fingers. I'm going to use that sculpting tool. I've got. I'm going to just use that to start coloring. Interesting, to start coloring. There you go. And I'm going to let the brown go into that black. What's gonna be black later on too? Alright, now I'm going to clean that thing. Here. I'm okay. Yep. Alright, so I've got that brown peace now and see that looks pushing that a little bit there, fading it into here. That looks already nice, good experience. I'm actually gonna take that brown again, that same brown. Where did I put it here? I'm going to use debt in here too, a little bit. Slowly, surely working towards the black. In doing. There you go. I think I might stick to this four, push it with my now I'm going to use for the larger parts my finger. Again, this tool works quite differently than my finger, but it's still pushes the pastel into the paper which I want the ego. Now starting to look like a wing. Wing is actually on top of the other ones. I'll make sure I've got that. And there we go. See, and now you're slowly already, you see that a black color is appearing because of these mix of colors, but still having a hint of different colors in it. All right, it's time to put down a little bit more of this brown. Using that sculpting tool to push in that graphite and creating my subject. Which is in this case doing, There, we go, see, that's going to start to look nice. And because of the interesting undertones, actually getting some nice tones here, I'm going to blow the residue away and see where I haven't been. Alright, Good. There you go. I'm putting a runaway. I'm going to get that black carefully around the edge. I'm going to add some black under there. I'm going to add some black around here. I'm going to add a little bit of black in there. And right there. I'm leaving it for now like that when we take that same tool. I want to spread that black around and created this idea of some fell apart. There you go. There's probably some black and brown on it. There you go. See what creating some nice fell apart. And I'm just picking up that pastel and just moving it around a little bit into different areas too, because this tool picks up the color. Obviously, that's my finger does too. And I can move that around a little bit. Alright, this is obviously too light on the hair, so I'm going back to that dark blue. That is that approach, Prussian blue. Add that in here a little bit. And I'm going back to that. Violet, I used giving that a little bit mixed to around here, especially where I think there's not enough color in it. Alright. Don't want to mix in more black yet, but I'm using the tool without cleaning it. There you go. Create some nice color accents in it. There we go. Mixed descent bit better. All right. There's our wing, least part of the wing. Now, this is obviously slightly too blue round here, so we need some brown in it. There is quite some brown endeavored. It looks black to us, is actually more brownish color. But a set we want to create is interesting, right? And I'm pushing that in. There you go. Now we've got a nice wing. Now. Normally, if I would paint, I actually want not to use that black at all. But I would use a Payne's gray. So if you have a Payne's gray in your set, you may want to consider using that. Alright, But I'm not having that Payne's gray, I'm only having light gray. So I've got to work with this a little bit and carefully adding in some black here. And on the hair too. Alright. I created here to live with that when effect. And taking that to not cleaning, it's still not clean. I'm moving this pastel around quite roughly like that to get some nice stripes and affects. In doing, There you go. I think we're looking good and nice. Step four here. I look at the photograph. There's definitely more pastel around there. So I'm gonna go back to the really dark blue around here. And error, especially around they're not add any other color yet. Oh, me, do that blue. Right? Now we're getting from pushing, by the way, for this silicone to reasonably. Alright. There you go. Now on the bag around here. There's definitely some black to around there. And of course this part is black too. I might leave this for now. I'm having done this. I got to do this a little bit. Alright, well, I'm gonna do here, I'm actually going to do that black around there. And just adding a little line, black going into the red head, slightly more there. And around here. I'm actually gonna do that black and give it that shape. And now I'm going to use that to create this part first. And I'm on purpose picking up that black. And as you can see, pushing it a little bit into what's going to be the whites. And around here too, it's definitely in there. And I'm noticing that around that slightly dark to light do that differently. Let's avoid using too much black. There you go. And of course this part and some black there. And there is black on this tool. So I'm making use of debt to push that a little bit into the bird color. There we go. Alright, and of course we need some more color there. We're going to do that with that dark blue, the Prussian blue. Bring that shaping. Add some of that purple that we go. And let's push that into the paper to go. All right. Once you get a little bit more, February, there we go. Nice. Let's see what some of the brown on the edge a little bit. Alright, good. Let's see around here. Smudge this a little bit. Bringing some color already, actually cleaning my brush. But since there is black there, I'm making use of that now, as you can see with my hands, I made a huge mistake. So far. It's looking good, but probably you already noticed a problem. I'm creating a huge problem for myself by making a mistake. The mistake in where I'm working at, but somewhere else, I'm showing here. Let me show you that. What's happening here is you probably noticed that slowly my drawing is disappearing. And I don't want that to happen, to present that what I should have done instead is put a paper on it. Put my hand on the paper where I don't work. I'm doing that for now just to make sure I'm not letting more disappear. But since I have not worked on it yet. So I can just bring this part back later on only we have this mess here, but the pastel, we'll go into that. As you can see here, most of the pencil has disappeared Anyway. Alright, what I'm gonna do next is I'm going to clean this tool a little bit. I created a second problem for myself. I actually broke my sculpting two into two pieces and just pop that out, unfortunately more by cleaning it. So let me give you a slight tip. If you clean it, do it carefully and don't pull it, then you just pull it down and I'm never gonna get that in that little hole. It's not going to work. So I'm just switching to another one. Alright. Don't pull that, that's not going to work. Alright? What I wanna do is, I want to paint, this painting is colored this up here. A little bit more intuitive with my finger, but I want to do it with the sculpting 22 and here to pushing the graphite a bit more into the paper and get rid of the rest right there. That is better. Okay, good. Right now we've got this bid. Go over with IT. Tool again. Alright, good. Let's see what are we gonna do next? We're gonna work on that. Yes, we're gonna do this. Later on. We can work a little bit on his beak. Now I want a little bit of dark blue under there because that's the shadow line. So heading that in like this and painting that in nicely on. There. You go. And pushing that in there with more so that you get a nice peak like that. Alright, and now very carefully, little bit of black on the red. So I'm just doing a line like this. And with this tool, I'm pressing it in. Also a little bit like that to get a nice big seeded. That's nice. We're going to work on the highlights later on, they're adding them, but for now, this looks good. Alright, I'm going to leave it like this. Alright, so we've got this black here, we're going to add some white later on. We've got this, this is gonna be white. And on the hair this is going to be white. And I got to bring back later on this bit of the tree and off the bird, which I close, I just let them disappear. Yep. Alright, good. Let's see. Here. Let's work on the wing down here a little bit more. Let's put this, push this in. First of all, a little bit better. Now I've got to add some brown under here. This one making really brown. And later on we're gonna get rats on it. Pinkish red. There you go. And for the second bit, I'm just going to add around here, looked up some black. And on the bottom of that second tail, that's two parts of the tail. And I'm going to just push that in the paper to be more careful. There you go. Nice, good. Alright, want that dare to know, I want to leave dislike this. Alright, well, we need some dark around. They're not going to use the black for it. When actually stipple n. Little bit of this brown going in there too. And then you're just looking at the photograph. Now I'm going to use this to spread this around a little bit and into this part to creating this part of the head. While I'm on it might take the graphite that I have on the hair. Create little bit. This part here. Good. All right. That's it. Let's see When it to some brown in here too. I'm just drawing some lines that are there. Like go on the bottom two. And let's push these lines in it like that. Alright, good. Bringing back the chest a little bit with the residue that's on here. And now let's move this purple, which I really don't want that, that straw around it some more. Here to, There you go. Now, that's starting to look nice. Alright, when going for some red. Let's see, should we do in the next lesson? We're gonna do that in the next lesson. Okay, I'm gonna stop this lesson here. We've got part of the bird already. What I'm gonna do now, I'm going to bring back the pencil part which I smashed. And then once I've done that, I'm going to come back and we're gonna work with this red a little bit. Alright, see you in the next session. 4. Drawing the Bird Part 2: Welcome back to the second lesson. Okay, We're off to a rocky start. At least I'm off to a rocky start. You shouldn't have this rocky start at all. I'm breaking my tools. Well, smudging everything. But we can continue. I've redrawn the parts which I smudge the way. So now we can continue with the birds. As you can see, I've redrawn the part that was missing. I'm putting the paper on it now. And we're going to look at our middle spotted woodpecker. And it has of course that red. I want to bring in that red. And some there, some pinkish reddish tones. So we're going to play with that now we've put a tone under it for color. And one of them take is now a permanent red. And what I do, I have four choices. I have a very dark red that is Metabolic. Don't want to use that yet. I might be going for the bright one. First. I have some pink in this set. Probably know Pink. Yeah, there is some pink here, but that is too much pink. So I have to work with this reddish color. So I've got the regular red, not a metal Lake. I'm going to put that one away right away when you use the bright red first. And what I'm gonna do is I'm gonna give this nice red color and just add some spots here and there. Because someone smart, she didn't first add some color around there. And a lot of color. The goals to move this box a little bit down here. So the ego. And I would say, since around there, this is going to be nice and red to go put the runaway from now cleaned or too little bit carefully this time that I don't break it. So don't pull it. That's going wrong. I'm going to start down here. I'm just pushing in that color. Again as if I'm using more or less a paintbrush. I'm painting a little bit. By applying some pressure. I'm actually pushing in this color. And I might need some more on the there definitely I need some more on that day or two to really go over that, right? That's better. And today you go. This one has flat sides. That's nice for doing larger. And it has that point. And there you go. And I'm using the point to create these little feathery. Excellent, excellent, excellent, excellent. I'll see that start to look right away like that. Spot at ******. Alright? And we're gonna do that up here too. Now, if first here, that's mixing that red, a little weird. And by these little parts, you get some nice new answers in its, alright. And what I'm gonna do that two ends we're going to do is head. I'm looking at this crest and that has all the Fed is going in this way. He really like oppressor with, so I'm going to just hold my paper and push it in that direction. Actually. Now what you could do is you could turn your paper all around to making yourself it easier. Trying to create a little bit that effect. After crest. All right, Good. There you go. Side to look nice. Gets some color in here. Actually does have some of that pinkish tone in here. And since I don't have pink, I'm just going over my red again, picking up some red and then adding it to the body. Alright, but now it's getting a lot of nice colors in it. The ego. Just keep on going with this a little bit more. This is too much here. Let's see if I have a clean thing. Well, we're going to add color there anyway. Right there. I might want some color there. Okay. And now he's starting to look like a ******. Smashing in that blank, blending that in a little bit. Now, Nice. Okay, Let's see what's next. We need some Definitely little bit of red in there. Let's do some spots. And on here. We need that two. There we go. And let's smush them. Here we're going to use follow the direction of the claw. And there we go. And I might so much in that pencil color right away that there is actually the right color to red. There. There you go. Now look, let's take a look at that. See, we're getting a nice bird. Alright, what are we going to do next? Let's see, we've got this here, we've got that here. Now. This is red, so I want to make sure we're getting rid of most of this red one. Just a little bit more. All right, good. Okay. Now that is looking actually quite nice. We need to get that chest in. But that's shoot. Not a problem. Once we're gonna do the light, we should get the background, we should get a nice chest. Okay, let's see. We're going to leave that for now. We're having these stripes here. And let's see, we're gonna get some of the lightest gray or actually gone a little bit of light gray around the eye. Moving into here. Heading sum here. And let's see, move on to add. No, fine. Some they're cleaning my tool. And you go, I'm doing the same here to adding that little bit of color there. Not much. But it creates the effect of fellas here. And that's the whole idea. Doing the dare to, alright, I might wanna do that here too, a little bit. Pushing a little bit of that color around there too. There we go. Let's blend this in. Slightly down. All right, good. Um, let's see. Let's get the light gray back again. This is the lightest gray, green gray or we have the other choice is just a gray. Let's go for just the gray. Let's see. You want to have some gray and this claw down there. His legs, I think you call them class. And let's create that chest a little bit already. And later we're going to work with the white. Alright? Do this one. First. I'm pushing in these grace. And I'm making a bit of a, sometimes there's little bit of random motion, but most of the time, so I'm making these stripes. Once in a while, I want a little bit of a texture coming there. Now. The legs and the class we're gonna do later on in better with the pencils. But smudge the color in already a little bit. Okay, good. Alright, there we go. That's starting to look nicely like a word. Okay, Good. Um, let's see. This is pretty good. That is pretty dark. Nice one to have a little bit of around here, the bottom, a little bit dark color. And they're a little bit to just create a little bit of a darker color. Clean the brush is good as I can. Starting down here again, bringing in that dark color. And while we do that is to create some shape. We're now creating some form. So if you use the same color, same red everywhere, you don't get any form or shape dimension. Now you get some deep tones. So you get a little bit of a body back here as if that has a little bit more of a shape. And under here you could do a darker tone to, we'll do that right away. Create just a bit of a sense of a shadow under there by using a color. Pushing it and there you go. That looks nice. Here too. On the bottom a little bit. Got to make sure I'm not going to go over that with my hand again. So much debt again, just at the bottom here. A little bit of darker red to get a nice deep tone. And on top of it, I definitely want some of that light to read back and try to create that crest a little bit better. There you go. Nice. See you in the body right away, gets some form and shape. And with the fetish, we will do that later with the pencils to a little bit more. Let's see, I want some brown here to create a better transition between the red, the wing, the wing feathers here. Not that when the Fed is here and the tail they're doing is up there. So that it has some more color in it. There you go. That's better. All right, Good to know. I need to bring back some of that light red for sure. Alright. And pushed it in, create a little bit of the illusion of feathers. Okay, good. Let's see, we've got this one. It's looking really nice already. We bring back the white later on, we're now having these posts were nulla, pause, the legs, their claws. Um, I got some of the red left. So let's much that in here. Just a little bit more. Pink, They're very little. Okay, good. Alright. Let's take a look at it. And that's our bird. That's the part of the bird. Well-read now, okay, I'm gonna close this lesson here. The next step, what I'm gonna do, I'm gonna get myself some pencils so that I get some details in the bird I want to work on his eye, of course, that's gonna be the eye-catching. And then we're going to work on that tree in the lesson after that. But first we're going to work on that route and get now the details in it. Alright, see you in the next lesson. 5. Adding details to the Bird: Welcome to the next lesson. What I'm gonna do now I'm going to get myself a box of pastels, soft pastels, these other stuff belongs. What are the core cocktail or something? Yeah, stably low carb or tallow. You can use any brand you like to create a color varies coin or there's all kinds of pastel been Roy towns finger okay, for them to pick whichever ones you have. You could also keep on working with the pastels and then you make sure you have a nice edge on it. And you use the Edge to do this, but that's a bit more tricky to make it ourselves easier. Probably use some colors out of here. Alright, let's do that. Let's see what we're gonna do. We're gonna get a white. But for that, I'm also couldn't get that white of the royal titles because that is a very strong winds. And I've got this white here. Now this is a bit blunt, so I need to get a sharpener. Now if you sharpen pastel pencils, most likely you're going to break them with irregular sharpener. It's tricky. People do have a knife, but what I use is this one, the stomach below, that is the stuff below. Sharpener, that especially made for now pencils and it works great. If you want a sharp and pastel pencil, I really recommend that one was great with various brands and also of course with the cartels itself. Alright, I'm going to sharpen my pencil, sharpened my pencils now, don't expect a really sharp point with pastels because they're gonna be blunt anyway. It's very soon. Okay, I'm going to use this one probably to put my hand down so that I can see it. What I'm gonna do is I'm going to try and bring some nice white in it. And we're going to create the illusion of feathers. And you get, and as you can see, I'm turning my pencil once in a while a little bit. Alright, That's good. I want this white background here and I'll probably want to say this pencil might not cut it. What might be surprising? But that goes a lot quicker with this pastel. There you go. So I'm going to bring back this right around there you go. And it goes around here. Has some white around there. And then we have all these little parts. But we're gonna focus on this first and I'm going to go back to it to blend this in. And then it's going to pick up that white. And I put down some here and there. Right? Nice. Let me use that flat side. A little bit more. Push it really in to the paper. You can hear it too. All right, Good. Now we're getting a bit off the wing effect. Now I'm going to go back to the pencil. Put something on it again. Alright, good. I get that a little bit longer. Okay. And I know I'm not going for super accurate with this. I just wanted to give a nice impression. Alright, The next thing is, now that I have some white, I'm going to nowhere. I'm going to add some spots in it. Let's see. Some here. Some there. I want some white in there. And now I got to come very careful that I'm not going to smudge this because then all that work I've done, it's pretty much got some in here to create a D effect of feathers. Alright? Because some, they're just here and there. I'm looking at some of the parts of the picture day ago. Alright, good. I might bring this up slightly. You go, wow, look at that bird. That looks rather beautiful. Alright, let's see My bring in some here and we're gonna do some more later on there once we've done the background. And I want some in here to create those feathers. A lot better. Alright, And while I have this one, a little bit on the beak there, Good. One more leaf. It's like this one, so definitely a little bit more there. Alright, we'll lift the bird like that. I'm going to do that. We're going to work on that. I now, before I'm going to work on the I want to bring in some white color there on the bottom. I'm going to use the pencil for it. Right? Nice. And I'm going to use the pencil a little bit to smearing that white. A little bit nicer. What I might do it here to the white a little bit. That is perhaps slightly less wide, blending in with the rest. That's nice. Okay, that's better. Good. The eye, the eye, the eye. The eye. I'm seeing red and black and blue in the eye. So I'm gonna go for those colors. I'm gonna give myself nice red. I'm going to get a very dark blue. There you go. And of course there's some black in it. Let me see if I have some black, but with the pencils, I actually do have some gray. So I'm going to get myself a gray and that is called a what does the gray now they're only having numbers on it. It's a gray, not black. When I'm using a gray, I'm going to begin with the red. The red is, I'm looking at the picture and I'm seeing that the red is mainly on this side. Might go down. Oh, a little bit there too. Alright, good. The next color I'm going to use is that blue. So not the black, but the blue, not the gray. And we're going to actually create that. I move this up a little bit. First, create the eye. Color it. Let's see. Oh no, but more that we go, There's the eye. See if we can use the tool to blend this a little bit better on. That's the broken tool, hipster to clean my tool. And there we are trying to blend these two colors nicely. There we go, pushing that graphite in the paper, but now using really that point, not the flat side, blending in that red into dark blue. Now I'm going to go for that gray. This one on one side, add gray. And I'm going to use to, to push it into the eye. Sorry for the low end. Alright, Good. Now I'm seeing, noticing there's definitely some more red in the eye. So I'm going to do that also. Don't want it that's strong and blend it in. There you go. That's a good eye. All right, we're going to get that read black now. And on this side, a little bit black. I still have that red and blue on it. And I'm just blending. He didn't know. He go. And that looks pretty nice. Now I've got that black so very carefully with what's still left on the tool, I'm just painting in this line. Let's clean it this way. And there's our, I now want to have a little bit of a reflection in it, of course. For that I'm just going to pick up that white. Well, let's see if I can get a little bit of my pencil first. Let's see if that works. Yeah, that works. The reflection like that. And now on the little bit of these white dots, there we go. There's the, I. Now move this paper. Look at that. That is our middle spotted woodpecker. It looks great, doesn't it? I want to play a little bit more with that white problem. We're like, Yeah, I want this here. This is white or something. I'm going to just add the illusion of feathers and more like dots, spots. And there he got and I wanna get some brown. Um, we could use the pastel for that. I'll get that dark brown back again. Which one was added? Ombre is checked. If I have the right one, this is an umber, burnt umber. And this part, we're going to bring in just pushing spots. They go there too. And that is a lot better. Now, what I want to a dark gray is add some feathers like this. Here too. Just giving you a hint, a little bit of feathers. Alright, and if it is white, I'm going to add feathers here too. And I'm just using that same gray here and there. All right, Good. How about deaths? There we go. I'm want to bring back some black there. I've got black here. The black I gotta sharpen tool because that is not a point. What's good for the little bit I used it for. Now, I want to sharpen it a little bit just to expose a little bit more of that pastel and towards the black. I'm going to create feathers here. All right, good. Now I want to create them more like that the other way around, please. Yes, that is better. Alright, good. I'm like Dude, same here. Just end a little bit into white here. And just a little bit of dark till there. And I want to have some darker tone on the hair too. There we go. Now, there is a nice book backup. I'm going to get this pastel back again then read my paper. A little bit of darker red. Some spots. There you go. Alright, little bit. Nicer rats. Okay. It's the bird now, defeat. I'm gonna do that with gray. I've got that gray here. I've got no idea what grade is. I'm just going to work with this gray drawing in the nails and the claw. Now, when I'm going to do the tree trunk, it'll be quite carefully here not to destroy what I'm doing here. I'm actually going to leave the graphite here. There we go. I just don't mind it's there. Okay. This is the dark part. Next thing is I'm gonna get a light gray. I've got a light gray. And I'm going to get that light gray color in it a little bit too, that we're not sure who can hear that? Well, probably you can hear that noise. Some machine, Something doing the sidewalk, cutting the grass out of the sidewalk in the street and the street. Alright. That is that one. And we might add some white later on, although we're going to wait with that for now. There you go. Here's our birds. The bird is pretty much ready, honest is a nice gray to add a little bit of color here and there. Let's see my sum there too, okay? Right. That we hear later on that will be white again. What we're gonna do is next Stata tree. But we're going to work from this side to this. I'm gonna do my background in the next video. Okay, then we're stopping here. The bird is pretty much ready for now. Later on we may do some final touches on it for now. I'm going to leave it like that and create a background behind it, and we'll do that in the next lesson. See you in the next lesson. 6. Creating a Background: We're gonna do the background. Now, if you are left-handed, you wanna do the tree now because you want to work from the right to the left. So go to and less than three, do the tree, then do the background. Because I'm working with my right hand. I'm going to work from the left and right and do the background first, then the tree so that I'm not getting into dangerous smudging everything again, like I did previously. Okay. Let's start. I'm looking at my bird. And what I'm seeing here is that this is too big probably, but for now I'm going to leave it like that grabs the attention. But probably I need to bring in some color there, but I might do that later on. Vocs like this, and you want to get that white hair, is all this white? A little bit less than yes, you can do that. Alright, what I'm gonna do is I'm gonna get that paper. And I need it on here so that I won't smudge that again. The background is not a background is boring. I think it is. That is boring, isn't it? I want to bring in a little bit of color, at least the boring background. We're going to bring some color and some blue, some greens, giving the idea this bird is in the forest. Yes, we're going to definitely do that. For that, we're going to go back to the pastels. I'm going to start with yellow. Yellow. Yes, Let's start with yellow. I want to do some yellow at the bottom. What do I have four yellow. That is a lemon yellow or do I want a lighter yellow on the lighter yellow band? There? Is that other yellow, this is lemon yellow but a light tone, lemon yellow. And what I'm gonna do, I'm gonna create the illusion here, probably of some pushes behind it. But since it's all one big blur, don't really care about the colors and stuff. I got that now I want to have the lightest blue I do have. There is one. Good. I'm gonna go for this. What is that? Yellow, blue. And it's a very light one and put it on its side carefully around the bird. All right, create some nice tones here. Go in there, in the green and the yellow. That should create little bit of a green tone there. Alright, good. And now I'm gonna get myself a nice bright light. Green and I've got a very bright one that is almost yellow. What is it called? Yellow? Permanent yellow, green. It has that color. Put that in right there. Right, And might get some darker green to and it's gonna be a regular green. What is it? Spring, spring green now, what's this called? Just cinnabar. Green Light. Sounds good. Cinnabar. Alright, good. And add that around. Dare put it on its side, really roughly. Get some color in there, but more careful around arrived. Now this is going to be interesting when I take my finger, make sure it is reasonably clean cut my club head. Start on top. Nicely. Blend it in. You could do circular motions, whatever motion she wants and then around it. Well, this is the tricky part. Alright, good. You could do, of course, your background first. And I made the choice not to do that. And that makes it slightly tricky. You go, um, let's see. All right, Okay. Let's push that a little bit closer. Now. The nice thing about this is whatever, I'm accidentally going over that part, I can redo. I'm going to move that green into that yellow, enter into the blue. To create something really interesting. I'll probably need more blue around that. Now I'm going to move that yellowish green into the darker green. Alright, creating some nice blends. Pore. This is the time in part, pushing it really into the paper, creating a nice background. But my hand and arm lame already, but we keep them going. And we do indeed keep on going until we got something really nice look at that. Now that burden really get some contrast. Not boring gray cost. Now if you want to do boring gray color, so it's up to you, of course. It is your artwork, so do whatever you like with it. Like at least some color in it, a hint of that this is in the forest. And I don't need the hallway because I'm going all the way here because I'm going to frame this in a 30 by 40 and this is 42. I should be fine. Well, I think of with the SpO2 in it, the frame into frame. The frame that covers a little bit of this to planning on framing it. Now this is nice clothes and I've got that green on my finger. There we go, and that is to black. We're going to see if we can read off the debt. Now this is the tricky part again. And there we go. Alright, good. Now, as my clean now I'm not going to clean my finger and just watch it into that blue somewhat. Okay. Now remember, it's definitely good as I can and if I really want to clean it, well, I need to water, not to steal some green on it. So I'm going to add that green to this part here, to pushing a little bit firmer here too. You could use a piece of cotton for this. Then you get a soft, soft look. Alright? But I like it like this too. So you could do that to set up your finger circuit piece of cotton and then create a really soft background. I want a bit of an outspoken backgrounds and getting the texture of the paper in a tube a little bit. Alright, here I definitely have to do blue. And I have to refer to one of these. Let's see, I want to have a flat one for this one. Now notice lead one I'm stumped varies. One I'm using this one now. If this can like pick it up a bit Stump, I'm going to use debt now, blue or if my blue, the blue graph put in there. So I'm going to add that blue really around the edge here too. And beak around the edge, the head around the edge. And there are two rights. And let's see. Let's do there too. Let's go for that yellowish light, yellowish green around this edge. And in dare to, we've cut that still here I've touched up. Alright, good. Now, let's give this one a try. Starting here. Right? And it's pushing that pastel really nicely here too. Blunt, and that is what I want here. Belongs to. You go. That's a sharp point on it too. So using the sharper edge now to get closer to the edge here too. And I don't mind that this is getting some red mixed in with that blue. That's not a problem. But what I didn't need this that rat to be gone when I'm up there in the blue. Let's go. Here you go. Alright, let's go for continuum of disk. Blend this in. A little bit nicer, going right to the edge with the sharp point. That's better. Let's see, take my finger and then get rid of this line here, that's now the obvious line there. So trying to get rid of that one. Okay, That's a little bit better. Let's see harm when I do this now, you should probably is way easier for you to turn your paper. Out here. Right? That is better. Okay. Not carefully. Also want to say when I take my finger, but let me push that blue blend in with that edge first into what's Peck here. That's nicer. Let's do green here too. I'm going for the blondes again. Alright, good. Now, whatever style is laying on my paper, I'm just pushing it to the paper. See if I can blend this in. A bit nicer. Tricky. That's some green and blue on the wings. I don't mind. Gives a nice effect. Now I'm going to add whatever is left in here. Alright, so we're almost there. Looking good, except for up here, that's not looking good. I need a piece of cotton for that. Let's see if that will solve this issue around the edge. That is quite obvious, I've edited later, so we're gonna wanna do next is use this little thing here, the cotton swab, Q-tip, whatever you call it. And I'm going to try and work away that slightly too obvious at shunt now she can hear I'm really stretching now. It's trying to get as close as possible as I can see that it's getting better here too, or scraping away some of it, but that is good. And now using my finger again, whatever residue is left to put it in there, push it in the paper. Look, that is a lot better. I gotta do that here too. There's some green on it, but that is not a problem. Push that in some effort. But it creates something really beautiful. Now with the blue and green here mixed in, I might as well do it here. Even a little bit here. There you go. That's the paper That's not the residue day. Now look at that. That is a really beautiful pastel drawing. Alright, I think I'm happy with that. Let's see who I leave that like that. Yes, I'm probably going to leave it like that. I'm going to clean my hand, put that, swap away. Alright, let's see. Let's take a look at it. Now. This looks really good, like this. I like the background. It's way better than boring, grayish down. I'm sure some people really like it. I like this little bit is still off D, blurred background effect, bouquet effect. There's a book called bouquet. I think the bird really stands out nicely. Made a little bit of an error there, but I'm going to leave that blue and green in there. Kind of interesting. Let's see. I'm still not sure about the eye, but we'll see. Okay, now what I'm gonna do next, I'm gonna get my red back. That really nice red. Since I've kept my background now, I can enhance the crest a little bit to really get that crest idea going. Right here on the hair, just a little too. And this is going slightly there. Good. Now, that is good. This is good. Now I like this a lot better. Good. All alright, the rest I'm pretty happy with. I don't think I want to touch except for is that dark gray. I want to add some there on the bottom. Now, this should really be the tree. I'm going to correct that. I have to correct that later on. Definitely. With gray, they're there to there we go. Oh my gosh, them do a little bit here too with debt. Nice and sharp. And that looks great. Well, that's this part I've got my background now. The next thing is, what's left is dead tree. We gotta do that trunk. We'll do that in the next lesson. 7. Doing the Tree Trunk: We've got the background, we've got the bird. We now need to tree. Let's work on the tree. The tree is reasonably detailed in the photograph. I don't think I'm going to do it that detail because that will take a long time. But we want to give the impression of depth, nice tree where the bird hinging, latching onto. So we do want to do some work on that. Let's do that. Now here's the tree. We've got quite a lot of tree because that bird is not a huge burden. This is the middle ******. It's really a lot smaller than the large packet, a real ******. But there's also a small line right away, but I haven't I don't think I've seen that one. I'm not sure about that. Alright, we're gonna do the tree and the tree has some nice colors. We want to just bring in those tones. There's some holes in it. Obviously, we want to bring those in to give that really ****** idea. But they're all details in it. I'm not going to worry too much about the details of drawn them in, but we're gonna do that's a bit easier. Alright, we need a first layer. And I'm going to go to a yellow ocher. I'm going to start with debt as my tone at the bottoms and add a underground. So I've got a number, a light umber, this is a light yellow ocher. Sorry, not a number. A yellow ocher. And with the yellow ocher, I'm going to use this as my base and I need to bring that back. Get that line two. And basically if once I've got this over, everything disappears, whatever I've drawn. I'm just doing basically the same as I did with the background. But not with that. I'm going to get because there's a tree, I wanna get the treeline in it. And there you go. Alright, I'm gonna see if I can move myself now in a different corner a little bit. All right. So if all those details are gone, now, that's not a problem. Let me to move to strike because otherwise I don't have room enough. Make sure I'm not hitting that cameras ten that's there. And bringing them back their shape of the tree. I gotta do that by eye a little bit. Because after this, everything is gonna be basically gone. Careful around. Yeah. Alright. Now, when you use this a first layer, I'm going to use my finger again. Use a cotton swab, whatever you like. Oh not a cotton swab I want to use for this piece of cotton you could do and make sure you moving straight up and down. So when I'd like this, because we need those themes in it from the tree trunk. So once I have that too, now this is gonna be slightly tricky around there. My Houston codons swap for these parts. Careful that I'm not smashing away. Some of the tree might still be on there. Now a few things probably shaking for a little bit. And in this case, I don't mind if the paper comes through it. I have no issue with Dead Sea. That's why I didn't want to move this way because you get all those lines like this and this tree doesn't have that. Definitely not a close my pet. The better. See me right away by doing it like this. By going with your pastel like that, you create that impression of why even in your first bottom layer already. Alright, so I need to do a little bit like this. Alright, good. Can enough cotton, making sure I got a clean side. Pushing it. Pastel. Around here to making shots, getting nice and even blending it in. Now this could swap will not suffer lifelong with this paper, the Canson paper, this is really sends green paper. If you have some residue, then just push it in the paper again. That looks good. All right. No, that's good enough. Careful there. That stuff first, nice layer, the ego, the bird has a tree. I want to bring in some towns, some colors. And I'm going to start with the green, I'm going to get light green. And just at some random spots with the tree on the paper. We're going to bring that in. Now I got to look at one thing does it, does a whole industry in which looks pretty nice. So what we'll do, we'll bring that in first and then go for it. Dark umber. Let's see, There's a dark amber. I'm seeing dark combo but might be Shin and now it's darker and darker. Burnt umber. See it's around here. I can see it a little bit there. And then it's around here still. I can see that a little bit. And that goes live. Alright, and there's a hole in it. I'm still following the same pattern as I have. All right, Good. Now I'm creating that hole with a dark color. I got. That's good. Let's give that a try and push that color in. There. Finished shaking on my desk. There you go. I'll create that whole effect in the tree. So taking these edges, all right, there is our whole scene bark, whatever that is there too. Then I know where that is and now we can do the rest. Alright, I got some on my finger. I want to get rid of that little bit, right? And I'm gonna come back to that green. Where is it Here? Some green here and there. And nice, I'm gonna go for a really darker green that isn't should be in our phi guess. Yeah, olive green around this edge. I want that olive green. And just maybe some spots there. What a blend that in any way. So that's gonna be gone around there, somewhere here. There you go. And take my finger again. Blend this color nicely into the tree. And making sure I'm still going up and down. Nice. Right? We're going to get rid of that tree effect. Blend it in there to Earth Day go, alright, clean my finger. And now we're gonna work on it a little bit more. Now there's an obvious line here still. The graphite, so on I do train my finger to blend that way a little bit. Well, I see it really obviously. We're going to use some color there and we're going to use. Darker brown there. Let's see which one do we have? We had a very dark brown. I'm missing my column. This one will be what does this number up at English read hopefully not burnt sienna. I'm going to go for the burnt sienna here. Create also a bit of a shadow effect on the red. And give this part really the dark tone here. Her2. And don't go under here because you want to create the illusion that the claw is grabbing something. What I'm gonna do the same here, but not here, this is not grabbing, so we can do that here. Alright. Let's blend it in. Really blended in the other color too. And now we're working away that line. Now we're getting a little bit contrast between the bird, the background, and the tree. Right there. Good. All right. Well I'm a little bit here too, but only a little bit for color. Alright. Let's see, we have the tree, the tree goes right there. So that's at that tree. Right there to that there's much better. Alright, now we're getting a shadow part two. Right away. We're going to add some blue to that too in a minute. Okay, and let's go for it. Whereas the blue, Good question. Somewhere, Prussian blue, we need the ArrayList approach in blue. Yes. Alright, want to add a little bit of shadow only under the bird there. And let's do some on the dead way and pushed it into a tree. There you go. There's not a photograph, but we're doing that on Irish, showed that we can get a little bit more contrast. There you go. That looks good. See if we can still use some of the Q tip. All right, good. We're getting there. We've got this huge hole now. We've got our bark. We're going to work on our bark a little bit more. We can make the choice now to, let's see, we've got pretty much the base. I think that is good enough for the color. You can work now with the pencils again, or you can just keep on going with your pastels. Let's see which am I taking now the English red. I want to create a sense of bark. Now. I'm using as much as I can. A bit of a sharp edge off the bus style. So I said, you could use your pencils for this to this part. Right there. I'm gonna do lighter. I'm going to go back to the yellow ocher. And around here, I'm going to really create that, sends that back. There. Is definitely a hole. There. And push that a bit rough up. There we go. That's better. And we need stronger line on this side, too. Good. Alright, um, let's see here we have darker now, we only have that gray. I'm going to go for the pencil. And this is the really dark gray pencil. And a little bit of a line inside this so that you get that idea. That was actually with a hole. That's better. Okay? And I'm gonna get that white pencil right at the edge. When I do, this, creates the effect of that You have, really have a whole, I'm gonna do it right there to letting the light catch onto the bark. Going back to the dark pencil, creating contrast between light and dark. All right, good. This in a little bit, careful with that white. I'm not blending all that away. And deeper in. We can use some black. The black isn't on. There's the dark brown. Well, the black decide to leave us now it's here, put in a wrong tin. There's black in here. Looking at the photograph. There is some real black. So let's create that illusion and let's blend that in to create indeed the illusion of this being a darker parts. They're holding my paper steady. Alright, that is okay. Right, there you go. Now we're creating the illusion of a whole by adding some depth to it. So the lighter parts, they're deeper parts there. Alright, so I need to clean my finger. Definitely. I need to bring in the light. This is the town's white. Really bring in more of that edge stronger than the other side. There you go. Good. Let's see, we need some more buck effect. This is a little bit less. So going forward, the darker brown here and there, we're adding some lines. Even in they're still, there you go. Now it's starting to look like a bark because some more brown. Let's see. I don't want that. I'm okay. Blend in a little bit. I'm still moving the same direction as I was. There we go. Some blended in there. Right. Now you could do the tree. Very accurately as it is on the photo, what they will actually take quite some time to reach their park. I'm going for some pencils. Let's see. Some brown, some ocher yellow, looking like that, some dark colors, some lighter colors. And we're gonna just finish this tree nicely. Creating some contrasts here under good. Kinda keep my hand from the paper. Cuts it. Really lighter car around and behind. He suggests, nice. All right, let's go for the middle brown. That is this one. Now I'm just going to create some things. Day go, that's better. And we've cut the really dark brown. Might do a little bit in there, definitely will do something. Around here. Are the newest. Some more. There you go. Let's see. Now that two has disappeared. So we hadn't bringing that back in a minute. Let's see, light gray. We still have that laying around. There you go. There's the two back. That is a lot better. It's comforted, really dark brown on the detail. Good. Let's see. No, it's pretty decent like this. Okay. We're going to go for we have the light gray somewhere here. Bring in here. It off. Light grays as it is in the photo. Alright, I like that better now we cannot support this with some really dark things. If you really want the nice feign effects, take the white pencil. I don't want is gone. There it is. Now on the lighted side. We're going to add just some white to create nice effect. Alright. And we feel it's time to get a nice street. Some highlights. So my lights there. No one there to perhaps some random ones there. Okay, let's go for the beak now. We do have a really black carefully adding depth to the beak. Now we've got to go back to a light gray. Next it in a little bit. There you go. Now, that looks pretty good. Let's see. I'm gonna do something with that tree. Still. Got that nice edge here. Might want to take a middle brown hair. Just a little bit stronger there. All right, good. Planning this in a little bit. Now, there's one more thing we do need. Black. Looks nice, not overpowering the bird. The bird gets all the details. And that, and the tree. That's Trish, like that. I and others a lot better. 8. Working on the Final Details: Okay, We're almost there wearing a cloth away. We need one more thing and then add a whole industry. This ****** of course made the holes. So we're going to add those to give that idea has really been working at this tree already. Let's do that. So the last bit, we need some flack for that. I'm going to go for black pencil, simply backbone. So I want to look where those holes are. One of them was near his claw. Let's see. And that's just drawing black, nice horse. And I look at this photograph where they are. I'm not sure where I had them on my sketch. I can get my sketch with it. Of course. Let's take a look at my sketch and I know exactly where I put them. I've got my sketch and now I can see clearly where I cut the hole. So I'm putting that up there. Yes. I'm gonna go for the holes in those positions. So one of them I have already. Then I'm going to do the larger one. There. Good. Might be even larger. And there's one around here. Nice. And there's one here at the bottom of that paper or harris touched upon this around here. Doesn't really matter where these holes are exactly. Let's see. Move this paper now I need to move this paper. There was a little bit of a stump them or what I'm gonna do if that stump instead. I'm going to turn that into a whole two. In here. There was one. Now it definitely is one. Um, let's see, there's one here. Small one, large one. And there's a large one. More down than I've done, but this will work too. Now we've got these holes. Now, they look like holes. Not Don't do that once you know the way. But we need to give them a little bit of a light at psi2 so that they really start looking like whole. So what I'm gonna do is with gray, Let's get a grey. See the dark grade and it's this one. No, that's a blue, I guess. Don don't want that one. Black, whereas the gray, this is a gray, not dark enough. Probably. You agree you're a gray. That blank. I used the same color. Payne's gray, Here's a gray. Blue-gray. Stably low should have really put colors on their pencils because I have no clue which one is the gray? There it is. I got the gray. Yes, here's the gray. What do I do if the Grace, I'm going to add a little bit of a line carefully. Like that. Especially around this one. Not that one. This one I'm okay with. Blend that in with k. Now you're getting a little bit more whole effect, but we need definitely some different color. Let's see, let's try something. I'm worse than whites. I need the white, light gray and the white. Alright, what are we going to try and see if we can enhance this? But adding a light side, they're on the bark. I'm not sure if that is student on the writ. That might look good. Let's share about della conveying my bank, my dark back in a minute. All right. What does that very white one. That's going to be very tricky. Man. That is too tricky. What I'm trying to do is add some white on top, but this one should work because I see what I'm doing. If you do this, you really want to get close to your drawing so that you can see what you are doing. And not like I do this on this line back to, by the way, there you go. Just more or less guessing what I'm doing. Um, my needs some tricolor to move this. That's the nice thing about stealth. Now it's gone. I can try and rice. Alright, now, trying to bring these holes, now I need that black. Pushing it up against the whites to create the effect of holes. There we go. I think that looks pretty good. Sense. That one, I got to bring that one right a bit higher than wanted to. Diigo. Don't touch it. Let's see. Now that's pretty good. I'm now going for the final details. So I'm going to look at the bird for just a little bit of luminance. I see if I want to bring that ring around, this IS stronger. Yeah, just some details. Okay. Let's look at it. I want some definitely some black black in the eye. Now I'm going to look at the photograph and I'm looking at this. This should really be closer. So I'm going to do is very carefully with the black. Create an edge closer and I'm going to follow the light gray I still have. And do it around. The wrist. Is better than N2. Look away that light. There you go. That is a lot better than what I had. Let's see around. Okay. Good. Bird itself. I think I am fine with the rest of it. I just want to take a look at this pause, get a darker gray and do the bottom off the pause. A bit better. Right? The agar know I've got to get that light gray and do definitely the top better than what we have. Right now. I love Paul. I'm saying pause again. That was nails, the legs, the floor, and not the poll. There you go. Now we need to get that really dark brown hair. That is good. But around here, I want some dark indefinitely. Alright, now let's take a look. I want some dark brown smudge it in there. That's better. Let's take a look at that tomorrow tillers. Okay. Like this, I would say just a little bit brown there. Go for the dark, gray or black. Just adding the final touches to this. I'm working with a really dark color. Adding a little bit of detail to date tree. Let's see. Look, I'm needed gray and he's right around there. I want some dots. And his better. Yeah. Alright. Let's see here. Adding some dots here and there. I think we're doing pretty okay now with this bird. Alright, white back and making, trying to make white dots now. And with the white adding a little bit off shiny side to Nepal to get close, not the path. I keep on saying it. Let's take a look at it now. I think I'm happy with that. I think we've got a pretty decent results. Just get some really dark blue around here still. Now, let's look at more of that dark edge going. Perhaps a little bit Around down. We need some there too. Let's see. Okay, We're going to look for a moment at the bird. Want to know, while I have this dark blue, I'm gonna do that under his wing. And the only reason I do to do that here too, to create a sense of depth. I want that see on the bottom too. And around their carefully. There are two. Alright, now we need some here too. You might do some random here and there. In his fellas. Could decide to even here. Don't dare to read carefully. Okay. Then we need some right there too. Okay. The last thing we're going to do now, I think that's the last thing. With the white create. Some fellow's mother working with that wide. Now it's OK. All right. Ned, align back. I think I'm okay. I'm looking at the photo. Think I cut that. They're stronger. White's probably some there. Bring back up just a little bit. Highlights up in his hair. Is crest up there too. And around there. Yeah. We need definitely a darker red. And add a little bit of town dare to some deeper reds around here to shape the wing. Good. Well, we can do this for hours. Really. Might add some dark there. You could keep on going and going and adding details, adding details. But for now I think we're doing pretty well with this one. Find a red pencil which has disappeared as have all the other pencils There it is. Good. Bring it back a little bit more. Red. Here too. Hey go. And that's nice. Just looking at the photograph scene, whereas see some red extra goods, like bringing some white. There you go. Now we have gotten a nice, um, let's see. I want to bring in some white feathers. They're not sure if the pencil is gonna do that for me. I guess. Good enough. Let's see. Right now. My light here it is. That's better. There you go. All right. Bring back a little bit of white here. Let's see around that you would like that. There we go. Alright, I think we're going to just stop here. I want to take a look at our middle spotted ****** while he's getting really spot at now too. And I think we've got nice focus on here, the bird. We've got the tree and then the blurred background. And we're going from focus less focus to really out-of-focus. And that is nice. Alright, and I think we're just going to quit here. And I think we're okay for, except for one little detail here in just a little bit more blue there. And now we're done. Let's leave it at this. I said we could keep on going adding some more details, but for now, I'm just calling it done. We're done with this. We have a beautiful spotted ******, the middle spotted ******, to me correctly. And we've got a great scene, rounded, nice tree with a nice blurred background that helps to support the ****** and keep the focus at the packer. Well, that's it for this. And we're calling it done. I'm going to quit this class here too. Yes, we're done. We spent quite some nice time exploring a little bit of pastels, creating a beautiful pastel drawing together, right? Thank you for being with me in this class. I've had more classes on different subjects. What else you might want to discover? A little bit more to enact? And I hope to see you in another class.