How to draw a Realistic Daffodil flower with Colored Pencils

1. Introduction: Hello, everyone. Welcome to a new video tutorial. And in this tutorial, we are going to render this beautiful daffodil flower with colored pencils. I'll be showing you how to achieve these vibrant hues and which colors to use as its shadow colors so as not to make it too brown or too orange or too green, et cetera. As we all know that yellow is a very tricky subject because it has very limited value range, the lightest yellow and the darkest yellow would not have a very wide value range. So which colors to use as the shadow colors is very important. And then how I give multiple layers to achieve these shadow colors without making it look flat and still making it look three D, and yet the retaining all the yellow use as well. I'll be also showing you how to use some tools like battery operated eraser and a slice tool to help get some textures and also to retrieve some highlights if we have missed out any. So these tools really help help us out in our colored pencil journey and makes our life a little bit easier. Layering is a major part of this medium, and I don't use any blending mediums or blending pencils. I just use lots of layers of different use of different colors of colored pencils to make the surface look very smooth and painterly like. Colored pencil is a very slow medium, so one has to have a lot of patience while working with this medium. But the slowness of the medium gives you a lot of control over your strokes, and that is what, according to me, makes this medium so interesting. With colored pencils, you will be able to achieve a lot of details, which is so important if you're working with hyper realism or realism as your subject. So I hope you do give this tutorial a watch and do give it a go if you like it. And I would love to see your work over here or share it with me on my social media. Thank you so much. Bye. 2. Materials: Hi. So let's go through all the materials that I'll be using for this project. Like every other medium, even colored pencils has to be used on specific type of paper. I generally prefer a Bristol vellum paper from Strathmore or even a hot pressed paper from Fabriano artistico or arches. A smooth paper, but it has to have a little bit of. So Bristol Vellum surface from Strathmore is a beautiful surface to work with colored pencils. Now, for pencils, I am going to use fiberssle polychromos for this project, as well as some garndas Pablos as well. These are the two brands that I'll be using for this daffodil. Apart from that, I'll be using a white prisma pencil, prisma color pencil, a white luminous pencil, as they both are opaque white pencils. And then I'll be using a fabricse pencil eraser, a battery operated eraser, a slice tool cutter, from slice, which I have not shown over here. And then I also would recommend making swatches of your colored pencil brands, whatever brands you have, as this really helps in selecting your colored pencils and knowing what colors you have at a glance. So making a swatch chart of your pencils is, according to me, is very important. And this has really helped me in picking out my colored pencils whenever I'm starting a new project. In the next video, you will see how I select colored pencils. So do give it a watch. Thank you. Bye 3. How to select Colored Pencils- a tip video: Hi, guys. So a lot of my students asked me this question that, how do I select colored pencils for a particular drawing? How do I go about choosing what colors I need for a particular drawing? So I thought let me put up a short video on this topic because it's very important. And before we go into how to go about selecting our colored pencils, I would like to tell you more about colored pencils. What are the types of colored pencils available in the market and how knowing about your materials, knowing about your tools gives you an extra advantage in selecting your colors. So let's start. So first of all, there are three types of colored pencils, oil based, wax based, and water based. And I will go into detail for each of them. So these are my polychromos. These are fibrocasle polychromos. They are oil based pencils. They have a hard lead. They come to fine points. They are very good for details. They are transparent, so they are very good for layering, but they take time to cover larger areas. Then these are water based pencils. These are from Carran dash color supra soft. They get activated by water. They can be used in its dry or wet form, and they are very good for base colors. Prisma colors and Durbin drawing. They both are wax based pencils. They are opaque, so they are very good for blending. They don't come to a fine point, so they are not good for details. And these are arndash luminan pencils. They are a mixture of oil and wax based pencils. These are artists favorite colored pencils, and they are absolutely good for everything, but they are a little bit expensive. So these are the types of colored pencils. And now let's move on to swatches. So whenever I buy a new set of colored pencils, I love to watch them to understand how they lay down on the paper, how dark they go, how smooth they are, and how opaque or transparent they are. This is a very important step, and it will help you also in selecting your colored pencils for a particular project. So now let's come to the main topic, which is how I select colored pencils for any particular project. So I'll show you on this reference, which is going to be our next colored pencil tutorial. So as it's a bird, I'll go for polychromos and luminans pencils. So let's start with the head region. So for any area, there are light tones, mid tones, and dark tones, and I will select pencils for each of these tonal values. So I'll start with dark tones first. And I can see a lot of dark browns. So from my polychromos chart, I will select some browns. And I always like to combine some purples or blues with my browns to make it more darker. So I'll be selecting put mootem violet, then maybe burnt umber or walnut brown. These are very dark browns. And then from the luminance chart, maybe burn Ciena or CPA. You can remove as many pencils as you want when you're selecting your colored pencils, but not necessarily that you have to use all of them. So now I'll take put Motam violet first. This is my favorite color, which goes so well with browns. You must have watched my sparrow tutorial. And now I'm just going to swatch it on this scrap piece of paper. Again, the piece of paper on which you swatch is also important. Don't do it on any printer paper. And then I'll just match it against the reference picture. Now, this color requires a little bit more dark and a little bit brown because I can see some brown tones, so I'm taking walnut brown. You can even go for burnt umber. And I'll color it as dark as possible. See, it's almost matching, and then to make it more darker, I like to use dark indigo. Now, this is how I layer and use my pencils. But you can change your colors, try to make it more interesting. And of course, I'll be using black for the very darkest tones, but I usually don't just put black. I layer them with purples, magentas, blues, because even black tones, they should have a very interesting color tone to them. Okay? So our dark tones are selected. You can even add some from your aluminum sheet if you have aluminum pencils. So now let's go to our next tone, which is the dark mid tone color, which will be in between the midtone and the dark tone. For that, I can see a lot of reddish brown colors. So Burnt Sienna is a perfect choice or maybe Indian red. So this is burnt sienna. I normally don't do this so neat. This is just for the video and see how well it matches. And now I can see some orange tones. So I'll go for sanguine, a little bit muted orange, which will be base tone for our dark mid tones, means for the burned Siena. Okay. So these two colors go well with each other. And for all the darker strokes, you can just go for any walnut brown. And for the lighter orange areas that you can see, you can just use this sanguine pencil a little bit lighter. And I'll also be using some orange pencils as well. Okay? This is the initial selection of colors, which is not final. I sometimes add or subtract pencils from this. And now for our light tones, I am going to go for light yellow cor, Naples yellow. I'm just going to remove all these pencils, including green gold. So that is why swatching your color pencils is very important. You will instantly know which colors to go for. So I'm just watching out all these very muted, greenish yellow kind of color. So these can go in a very light mid tones and even the lighter tones. If you don't have a full set, you can just omit one or two of them. It's not a big deal. And this is Naples yellow Okay okay? But I still find a very bright yellow just under the where the light is hitting. So maybe from my brighter yellows, I'll select a light cadmium yellow. So this can be a base for the very brightest yellow parts. So this way we got all of our tonal values, our light tones, mid tones, and dark tones. You can always add more colors into each of these tonal zones. For example, here in the cheek area. I can see more of a pinkish orange, so pinkish red, I'll take Pompeu red. So like that, I will be adding or subtracting some colors here and there, but this is a good start. For any of your colored pencil projects. So I hope this video was helpful, and you will find selecting your colored pencils more easy now. So see you in the next video bye 4. Petal 1.a: Hey, everyone, so let's begin. I have traced out the drawing onto my fair sheet of paper. I'm using a Bristol vellum paper for this. And here, I'm just going over all the graphite lines with my needed eraser. I'm just going to do this petal by petal so that I don't lose the drawing in the process. So make the line drawing as light as possible as we are working with very light colors. So I don't want any graphite drawing pencil lines to get mixed up with my colored pencil tones. Now, I'm taking my white prisma color pencil. This is a wax based pencil. You can take any wax based pencil you have like Durbin drawing or aluminums. And with this, I'm going to secure all the lightest areas on this petal, all the highlighted sections that you see on the petal, the white areas, especially. So with the very light pressure, I'll be coloring the areas which are white looking, the brightest. You can even say the highlights of this petal. And this is just our first layer, so don't go in with heavy pressure. Otherwise, we'll not be able to do multiple layers on top of this. So this wax based layer will secure all our lightest colors. So I'll just go on with my white pencil in this area. Now the next light color I'll be taking is cadmium yellow lemon. This is from polychromos. And again, with a pointed pencil and with a very light pressure, I'll be going over the entire petal, moving in the direction of the veins that you see this way, you will start creating a three D kind of effect right from your first layer. So I'm ignoring the very brightest white areas on the top. So I've just faded away my yellow into the bright white areas. A I'm again, lightning this other pal. Don't want to make the graphite pent by going over with the colored pencils. An accurate line drawing is very important when you're working with the realistic drawings. This way, I've filled up the entire petal. Here, I'm again coming in with my pencil to further lighten all the black pencil lines. Try to make them as light as possible. So after securing all our lightest areas. Now I'm coming in with light olive. This is from Garnda Pablo, and I'll be going in I'll be coloring in all the veins and the shadows, which is basically our darkest tone on the petal. Keep your pencils pointed as we are going over very thin lines. Just follow the reference picture and follow the direction in which the veins are going. Here, our line drawing will really help us. And this color will only go into the areas, which has a little bit of this green tinge to it. I like to secure all my darkest stones at this initial stage so that I don't lose my pencil drawing. Because with multiple layers, we might just lose the pencil drawing, and then we'll have to just eyeball all the details on it. Here again, I'm trying to e of the vein. And it's a difficult after we have gone over with colored pencils. Again, even if the lines are looking very dark, don't go very dark at this stage and still keep your pencil pressure very light. I will tell you when to increase the pressure of your hand, which will be almost at the end of the finished line. I can see this color even in the shadow area. If you don't have these exact colors, which I'm using, you can always mix colors on the paper. Just go with whatever green you have, and then mix it with a little bit of yellow or gray, and you will get the exact same color. So this is the shadow underneath that fold of the petal. It is still very dark in the reference picture, but we will not go very dark at this stage. I'll be taking these veins into our brightest areas as well. These petals have too much of texture in terms of wrinkles and in terms of linear texture. So we'll try to incorporate all these in our drawing as well. Keeping your pencil lines light at this stage also ensures that if we make any mistake, then you can easily erase them off. In the The next color is green gold from polychromos. And with this color, now, I'll be giving more of a warmer tone to the veins and the shadow region. Move in the direction of the veins and the petal that you see on the reference picture. This particular area looks quite warm. See which veins need a little bit of tones. H. Oh. Oh. So colored pencil is a very slow medium, but then you can give so many details with the point of your pencil and because of the slow process, you have full control on your drawing, and it's a process I really enjoy. So I'm taking this light olive again for the very outer part of this petal. Now, this is cadmium yellow again from polychromos. All the pencil names and numbers and brands are mentioned in the list of materials, which comes with this tutorial. So please remove all those pencils if you have the same ones or else. I've also given alternatives to the Pablo pencils. If you don't own pab colored pencils and only polychrome, if you own only polychromos, then then you can just see the alternatives as well. I feel polychromos is a very good initial investment, if you are very serious about this medium, because it's highly pigmented. It comes to a very fine point. They are oil based pencils, and they have a very good range of mostly all the colors. So with this pencil, cadmium yellow, I'm going over all the deeper yellow colors. So this is our dark midtone. Because we have that lemon yellow down, this will further brighten up this can yellow. Now, with light rome yellow, I'm going to fill up the area. This is a mid tone color, and this will be a nice transition color between this very deep yellow and the lightest yellow. I use only layering technique as my blending technique. I don't use any other blending mediums like OMS or any blending pencils. So with every layer, I keep on blending the layers below by using appropriate colors and by using appropriate hand pressure as well. I'm still going with very light pressure at this stage. I don't want to flatten out the tooth of the paper. At the same time when we go with this pencil on the darker color, the darker color starts blending it blending out a little bit. So the more layers you apply, the more smoother, your drawing will start looking. I'll start looking like a painting than a colored pencil drawing. 5. Petal 1.b: So I've turned my board and my reference picture, and I'm going in with earth green now and we'll darken all the greener areas. If you feel you have made a very dark mark, you can just erase it off because we went in with very light pressure. It will easily get erased off. Earth green is a beautiful grayish green color, which will give which is very useful for the shadow areas, especially on yellow subjects. Oh. After filling up all the light tones and mid tones, you will realize that your darker tones needs to be more darker. That's why I'm going again with earth green. And I've just created a shadow underneath the petal, which is a small bit of petal, which is falling on the bigger one. And even this shadow needs to be a little bit darker. Darken your darkest stones in stages that way. Even if you make a mistake, you can easily erase them off or you can lighten them off. I'm also going to extend some of the vain lines into the shadow region. Pay attention to all the folds and wrinkles on the petal. Giving some hatching lines on this area. Now, this is olive again from Pablo to further darken this shadow region. With lighter subjects like yellows and white yellow flowers and white flowers. Be very cautious when you are doing the darker tones. We don't want to lose the brightness of the yellow colors. At the same time, we do have to give the shadows to give it a three day look. So I like to work in stages slowly increasing the depth of all the shadows. This is green gold from polychromos. Again, green gold is a beautiful color, just like yellow ochre. It gives a beautiful muted shadow area for the yellow tones. So this is a good base for your orange light orange tones. Otherwise, it'll look too orange. If you just use orange on all your darker mid tones, the flower will start looking to orange. I'm going over the earth green as well just to mute down that color as well. 's This is just cadmium yellow from polychromos. And I'm going over the green gold that we have done. So this way, we are pushing that color into the paper, thus blending it and smoothing it out. And this is cadmium yellow lemon. The first color that we had used, using that as the petal, the Outermost part of the petal. I'm taking light olive, just to give sort of an outline. Otherwise, it will get lost, that edge will get lost, and I will not be able to see much. So just a very faint kind of outline, a broken outline so that it doesn't look like an outline. And now with white, I'm going to further lighten it and also smoothen it out. This is light gray from Pablo. And as you can see on the reference picture, the white highlights are not completely white. I just giving a light base of light gray. And also going into these areas to create a little bit of shadow as that petal is bending. And now with white luminans, I'm going to further lighten it. At the same time, I'm just going to burnish it. Burnishing is nothing but blending your layers by using a little bit hard pressure to make it smooth. With light olive, I'm again going over this area because the more lighter colors like white and gray we use our darker and our darker midtones, they tend to become a little bit lighter. So always keep on checking your tonal values. I'm still using very light pressure. This is light yellow glaze, and again, I'm going over all the yellow areas. Even outside here. Dark *** yellow to give a little bit of oranges stones. And this is green gold. Again, light yellow glace. Go over the veins with your lighter color, we also push the veines further into the petal and make it look a part of that petal. This is light gray again. I just creating a shadow around that white area, and this is earth green, just want to darken the shadow. This is light gray from Pablo. This gray will give a nice silver kind of shimmery look to the yellow petal. Earth green. And then green gold. Um yellow. And then with white, just going to give some highlight. This will show the very shiny parts of the flower of the petal. And this is dark yellow. There is a little bit of orangish reflected light in the shadow over here. I'm also taking chromium green opaque to further darken this shadow and even a ayer. So see how many layers we have given with different colors to create that darker shadow. Working in layers will help your drawing look very realistic, and with more layers, your drawing starts becoming more smoother. And I'm taking olive yellow here from Pablo. This will again give a nice shine to the yellow region. Try to use as many colors you have. Try to mix colors on the paper. Don't shy away from mixing or using more colors. With every layer, every pencil, I'm applying. I'm smoothing out all the layers which we have done below. Again, I'm taking white. Do. Cat being yellow. We are in the final stages of this petal. This is green gold. Just giving my final adjustments in the tonal values. And just assessing all the tonal values over here, the dark tones, the mid tones, the light tones. With this, we finish our first pedal. I'll see you in the next one. 6. Petal 2.a: So let's begin with pedal number two. So again, I'm going over all the graphite lines with my needed eraser to make them light. Next, we are going to take the prisma color white pencil, and I will apply this pencil whenever I see all the very brightest white areas, the shiny areas. And I'm using very light pressure again. Going in the direction of the veins of that petal. This habit is always very helpful. There's a nice highlight here on the end of this petal as well. Next, cadmium yellow lemon, and we'll fill up almost the entire petal with this color. I will be going over all the areas, except for the very white grayish areas. So these two areas, I'm leaving a little bit lighter. You can always come back on it later on. But at this stage, I like to leave things a little bit more lighter. Now, I'm taking light olive and we'll start going over all the veins and the shadows, especially which are more green in color. Okay. Following the direction of those lines as seen in the reference picture. Let your line and guide you as to where you have to apply which color. With color pencil medium, you have to mix colors on the paper. You will never find the perfect color in any of the sets that you own. So a little bit of color theory knowledge is always very helpful. So if you want a very muted green and you have only brighter greens, then you use some gray with it. If you don't have lighter greens, then just mix some yellow with your greens. So that way, some knowledge of color theory will be really helpful while selecting your colors and while layering the colors as well. So in many areas, you will see that I am giving a base layer of this light olive, and then on top of it, I do go over with green gold, which is much warmer yellow. But both of them mixed together gives me a beautiful, muted kind of olive yellow, dark olive yellow color. So try to experiment mixing your colored pencils in your sketch book before going into your final drawing, especially for projects that you're working on your own. With a lot of practice and experience, you will be able to gauge these colors more better. So a good amount of practice is always a benefit. So this color will also go into this shadow region. But the top of this shadow is more warmer, so I'm taking green gold. And even the left part of these veins, the petal has more of tones, which is getting reflected from the center of the daffodil flower. A sharp pointed pencil. I'm able to do all these details. So this color will go into all the areas where I see some warmth that to the shadow. I'm taking cadmium yellow. From polychromos. And there is a nice warm yellow, deep yellow reflected here. I'm just going to erase of this pencil line. Leaving some areas for our lemon yellow also to be seen from below. The advantage of using colored pencil, especially polychromos, is that they are oil based, and they are pretty transparent. So you will see all the layers that you have done. You'll be able to see all those colors. Now, this is light olive from Pablo. And this color will go into more of more lemon areas, which is on the further end of the petal. More cooler yellows, you can say. Knowing the temperature of the colors is also very helpful. I'm leaving a gap of that white pencil layer, not completely covering it. Pay attention to all the folds of the petals, the direction of the veins, the texture of the texture and the direction of all the lines that are seen on the petal. As those details will contribute to the realism of the drawing. I'm taking earth green from polychromos, and I'll be making all these greener areas a little bit more darker. Making a very crisp edge, especially where the petal is folding up. Where I see a very soft shadow area, I just go in circular motion. Taking light olive again. This is earth green. I want to darken some of the veins here. The more time you spend on a particular area, the more details you will see, the more colors you will start seeing. So invest a good amount of time in studying your reference. S. Keep on sharpening your pencils in between and keep on rolling your pencil, don't work in just one direction. Otherwise, you will be just coloring on the surface of the paper and you will not be able to reach the tooth of the paper. So I'm switching between earth green and light olive. Wherever I feel, this area could get a little bit darker. I'm coming in with earth green. I The next color I'm taking is brown cur from Pablo to darken this shadow area beneath our previous petal. Try to make your shadows as dark as it is seen on the reference picture and your bright lighter areas as light and bright. This is dew. The range of tonal values and the contrast seen in your drawing will really make your drawing pop up from the page. So don't be scared of going too dark. Do it in stages if you're scared, keep on reviewing your drawing from a distance and slowly, but just go and make your drawings look better. Now, this is Oca from Pablo. This color is a little bit darker than our green gold. Green gold again. This is khaki green. This color is a little bit darker than our light olive. Try to use whatever color pencils you have and try to mi some colors into it. Olivia. Light chrome yellow from polychroms. This color will cover up almost the top of the petal. Light or live again. I'm taking silver gray to color in all these lighter gray areas. Y. You can leave it white if you want. You can just go over it with your white pencil, but I just like this silvery effect which it is giving. This is a light, a bit der than the silver gray. Just to darken up some of the shadow regions. O. Giving a crisp edge to the top of the petal. Now this is a very dark olive green color. Just to some of these shadow regions. And even the shadow underneath this fold, especially the line where it is touching the inner line, and even here, Oh 7. Petal 2.b: So Let's continue. I have turned my board and the reference picture. From time to time, especially in the last final stages. I like to change the position of my drawing and look at it from a very different perspective. This allows me to see all those tonal value changes, which I'm not able to see always from looking at it from one angle. This is a very good habit. Especially if you're working on a drawing for a long period of time. This has really helped me, and I always do this in all my drawings and paintings. It gives you a fresh approach to your drawing. So just put your drawing upside down and even your reference picture, and you will be amazed to see how much of more improvements you can make to that particular drawing. So this is khaki green that I'm using from Pablo. And now with olive yellow, I'll be blending these darker colors into the paper. So this will also smoothen out and it'll smoothen out the grains that colored pencils leave on the paper, just making it look very smooth painting like drawing. Cadmium yellow, for the top portion for the inner portion of the petal. And this is dark cadmium yellow to further deepen all the deeper yellow colors. This is light olive again. Cadmium yellow lemon from polychromos. Smoking out all the lighter bits. In your final stage, you can use a little bit of hard pressure. Now I'm going in with white pencil, and I'm using a little bit more pressure to further brighten up the center of this petal, and I'm also burnishing this petal, especially the lighter areas. And now I'm taking earth green yellowish from polychromos. This is olive from Pablo. Further darkening this line, the shadow line. And with olive yellow, I'm just going to color the folded part of the petal, which is much more lighter. And with this, we finished this petal as well. 8. Petal 3: Similarly, let's start with the third petal, the one which is peaking behind from behind. Again, here, I'm doing my usual thing. I went over all the graphite lines with my needed eraser. And I'll again start with my white prisma color pencil and go over the brightest areas. So the reason I'm going with a white pencil on all these areas which are looking white and more lighter than the rest is if I make a mistake, if I go over it with other colors, and I can easily erase it off or scrape it off. So the next color is our cadmium yellow lemon, and this color, we'll be going over almost the entire petal. The procedure is the same for all the petals. Again, I'm seeing which areas to leave. Not going with yellow on all the areas. We'll be leaving all the brightest white areas. This color will also go under the shadow region. This will just brighten up the shadow as well. Next color is olive yellow. This petal is more of a greenish petal because of all the leaves surrounding it. It's getting a n green glow from the from its surroundings. I Oliive yellow from Pablo. Taking light live now for our shadow area. Everything everything There is a line over here, which is a little bit away from the edge of the petal. I think the petal is a little bit folded from here. And then I'm giving the outermost line. I'm still using light olive. Let's take just olive now. This is olive from Pablo. The shadow is on the top section. Yes This is earth green yellowish from polychromos. This will just brighten up those greens. I'm taking earth green. Keep your edges always very crisp and clear, taking light olive again and we'll start working on this area. Is going to erase off this part. Taking O olive yellow now silver gray for our brightest areas. And then light gray to further darken. Now, with white, I'm just going to smoothen out this shadow region. I'll go in the opposite direction, and I'll go with a bit of hard pressure again say medium pressure and taking green gold. Just give this a little bit warm color. Light yellow glaze from polychromos. And light olive from Pablo. There is some green on the edges of the petals that I can see. The petal of the petals of this flower has a lot of texture. It's not a very smooth petal. Try to create that kind of texture with a lot of lines. This is khaki green from Pablo. Again, our light grow yellow to brighten up the yellow yellow area of this petal. Dark cadmium yellow. Just some warmth on the top part of the shadow. And again, green gold. This is earth green. Now I'm taking my slice tool slice knife. You can even take an exacto knife. And I can see a highlight over here, a white line, which is just below that darker line, which I forgot to leave, so we can just scrape it out. Do it very gently. And then on top of that, I'll go in with my sharp luminous white pencil. I'll also go into all these lighter areas thus burnishing the petal, smoothing everything out. You can even move in opposite direction. And with this, we finish this petal. So see you in the next video. Bye. 9. Petal 4: So Let's start painting this tiny petal over here. Lightening the sketch with my needed eraser. Taking my prisma color white pencil and securing all the white areas. This color, I mean, this white pencil will go into all the reflected light areas. I'm taking light grom yellow for this twisted petal. And mum yellow lemon for the base of this petal. The process becomes much simpler after the first petal. The first petal is where I experiment with colors, with techniques, with what colors to layer on each other. And then the rest of the drawing becomes a very relaxing process. You can even do. Sometimes I just if it's a very complicated flower, I just practice one of the petal, the most difficult one in my sketchbook. So that way, I establish what colors will go on top of each other, the sequence of the colors, basically. So that's also a very good habit to cultivate. This color is going on the entire petal. Taking light olive now, and we'll start doing all the veins and all the shadow areas. This will go as a base. Still light olive. Leaving a little bit gap on the left hand side for the thickness of the petal. Again, move in the direction of all the vines and the lines that you see on the petal in the reference picture. As you can see, I'm going with very light pressure. It's very dark on the reference picture, but I'll be going very gradually in stages, mixing different kinds of shades for this shadow as it also has a bit of reflected light. Again, the thickness of this bottom part of the petal is quite dark. And I'm mimicing the texture which I can see. Leaving some gaps in between each lines. Leaving a little bit of reflected light over there. Now this is green gold from polychrom I'll start giving some tones to the light olive that we have done. S. This area is going inside the fold of the petal. And there is a little bit of warm even here. The reflected light is coming from the orange parts of the center. This is dark cadmium yellow. Now, the right hand side of this petal is quite orange. Just observe how the strokes are moving in what direction? And this is cadmium yellow, a little bit lighter than the previous color. And with this color, we will be transitioning the darker color into the lighter color. Cadmium yellow is also a warm color. So just apply wherever you see the warmth on the petal. Sometimes I go in opposite direction just to blend the layers below to smoothen it out. But I'm still using very light pressure. Keep all the edges of each petal very crisp and clear. This is dark chrome yellow. I just want to increase the orange part of this petal. The reason I'm going very slowly in stages to darken any color, especially for this yellow flower is because yellow is a very light color. I can get easily contaminated with different colors. If I make it too orange, then it will become an orange daffodil. If I make it too green, then it will become a green color. So With your yellow tones, you have to be very careful, especially when you're working with shadow areas with the darker colors. Work in stages, use different tones wherever you see. And that way, your yellows will still look fresh. At the same time, you have given the darker shadows as well. So this is olive black from Pablo to further darken my green tones. Olivia ello. So this will smoothen out all the vines and lines that we have drawn. Olive again. Still want to make this area a little bit, but I'm going very cautiously, as I said before. T earth green from polychroms. The defining this edge. Still darkening the area which is going inside the petal. This is light gray, Gray will further push the shadow areas down into the paper. Khaki green from Pablo. Leaving the reflected light areas is very important. Taking light olive again. I'm just going to fill up the space. This is green gold. Light yellow. I want to brighten up this section. Silver gray. And then cadmium yellow lemon from polychromos. This is green gold again. I'm just going to define the edge and increase the shadow on the petal below so that this petal stands out. And with cadmium yellow. Now, light chrome yellow, I'm just going to color that area again. Olive. Again, I'm darkening the darker areas. Colored pencil, it is a slow medium, and you have to have a lot of patience developing your drawing. But it is so satisfying in the end, you have so much of control on your colors and your strokes. So I think I enjoy the slow process of this medium and gives me the results that I want. This is occur from Pablo. 10. Finishing details on Petals 1,2 &3: In this part, I'm going to work a little bit more on the other petals that we have already done, the surrounding ones. What happens is once you do one petal, and you will suddenly realize the petal that you have already done needs to have a little bit more color, maybe more shadows, maybe more darker, because initially when we did that first petal, we were just comparing it with the rest of the white paper. So that time we felt that this tone is correct. But as soon as we do the surrounding petals, then we always should check the tonal values of the previously done petals as well. Because now we are comparing it with each other. So this is a good practice. Don't just leave that petal thinking, Okay, I have finished the first petal, and I'm not going to go back on it. Always keep on comparing the tonal values of the previously done petal as well, because after all, it's just one same flower. So I'm giving a little bit more color now because as soon as I did this fourth petal, which is quite dark compared to the other three, I realized that I need to work a little bit more on the previously done ones. So I'm increasing the shadow This is green gold from polychromos. If I miss saying any of the pencil names, then just pause the video because I'm showing which pencil I'm using in the video. This is Ok from Pablo. Little bit of changes here and there will really make a good difference on your drawing. This is light olive from Pablou. Taking occur again. Compared to the shadow on the third petal, this area is looking very light now, so I'm going in with more darker colors. This brown oc from Pablo. Keep on coming back to your drawing, maybe twist. I mean, maybe just turn your drawing around, as I said previously in the video, keep it upside down and then keep on checking your tonal values because tonal values is the most important thing when it comes to realistic artwork. More than colors, your values have to be so to make that flower or bird or any subject look more and realistic. This is olive. And now I feel like darkening this shadow area a little bit. Taking occur and just giving some color to this area as well. Light olive from Pablo. This will give a very rounded kind of effect on the petal. We'll be working more on this smaller petal later in the video. This is not done. This is earth green from polychromos? And now with white. I'm just going to lighten some of the areas and blend some of the areas. I'm just using a little bit hard pressure over here. Don't want to burnish the whole area at this moment because I'm going to come back on this petal. So I'll see you in the next video then. Bye. O 11. Petal 5.a: Let's move on to the next petal. Lightening the sketch. Going over with my white prisma color pencil in all the white areas, the brightest highlights, giving a very light coat of this color. Taking olive yellow, and this color will go as a base for the entire petal as this petal is of a greener shade. It's getting more reflected light from the leaves surrounding it. But I'm still following all the direction lines, and my pencil is moving in the same direction as I see the different lines and the texture on the petal. This is olive yellow from Pablo. I'm going to leave the area, which is more lighter than this greener area. Also in the shadow areas. Taking cadmium yellow to give some warmth to the top of the petal, which is getting the reflected light from the center of the flower. Green gold from polychroms. With this, I will be coloring the shadow area. Giving a crisp edge to the center. Observe your reference picture closely. I'm still following the direction of the lines of the texture on the petal, even in the shadow region. Here, I'm going in a diagonal fashion. Khaki green from Pablo. I'll go over the green gold to give it some color. Carefully define the shape of the shadow. The shadows is what it's making this flower very interesting. This is light olive. Now I'm switching to a little lighter color. As it's going towards right, it's receiving more light, and the shadow is becoming more brighter. Whenever you're selecting any reference picture for lighter flowers, like yellow flowers or white flowers, select reference pictures, which has interesting play of shadows on them. Those will really make very beautiful drawings and paintings. This is just a small tip from me. If you select a picture which in which the white flower or the yellow flower is in a very diffused soft light, then showing that rendering on a white paper will become very difficult, and it will not look interesting enough as well. So I'm just filling up this area. And now with light I mean, olive yellow, I'm going to fill up all those white gaps that you can see in between these two colors, and this will blend the light olive into the paper. It'll make it more smoother. Again, if you want to blend something, just take a lighter color. In some cases, even white will work. And then with a pointed sharp pencil, that is very important because that will go into these fine crevices of the paper, just making it smooth. I'm also going in this area. This will also help in blending the darker two colors. Taking khaki green from Pablo. And here on the left hand side, there are some folds on this petal, so just going to give those details. And here, I'm giving some lines. If you look closely, you can see some lighter green veils. And at the same color, I'm just going to darken some of the shadow region. This is olive from Pablo, and again, I'm going to darken the shadow further. Ss colored pencil is a transparent medium. I like to layer all the very brighter colors underneath my darker colors. This way, the brighter colors will definitely show up a bit and just brighten up even your darkest shadows. Go in small circles and to just tighten up that area. And I'm holding the pencil also nearby to the point of the pencil. This way, your strokes are tighter. Oh 12. Petal 5.b: Let's continue. This is Brown ker. I'm going to darken the top part of this shadow a little bit more. But you'll definitely be able to see all the greens that we have added below. So whenever you're selecting colors, just try to see the colors just not the superficial ones, you know, but what other colors you can see in that particular reference picture in that particular area, and the more colors you make, the more beautiful result you're going to get. This is green gold from polychromos. Light grow yellow. I just want to brighten up this part over here, and then the rest of the petal as well. This is light olive. For that light yellow to stand out, I'm just going to make the surrounding b. I'm giving more layers to smoothen out this part. So going in opposite direction, this is earth green yellowish from polychromos. Light olive again. This is cadmium yellow lemon from polychroms. Using this pencil to fill up all the whiter grainy surface that you were able to see. So I'm just going in opposite direction as well, in circular motion, just to fill up and smoothen out all the colors that we have applied. Light chrome yellow a Dark Cadmum yellow from polychromos. Little bit in the shadow also. Shadow is also a part of that petals. Don't treat it differently. Cadmum yellow again. So many yellows, and each yellow will shine out in the end. Light grow yellow. As you go further down, it's not that warm yellow, it's becoming more and more cooler. Cadmium yellow lemon again. So this will be a good transition color between your white areas and your warm yellow colors. Going to brighten up the shadow, also, especially on the bottom most area. Light gray from Pablo, we'll start working on the center area. Using very light pressure. And I'm going to define the edge This gray will also go into this shadow region on the left. I'm taking white and further brightening the area and also blending the surrounding areas into the white areas, just making it a transition, a nice gradient. This will also smoothen out, burnish all the colors. Burnishing is always done at the very last where you go over with your lightest color pencil. In this case, it is white. It's not always white. And then just going in with a little bit hard pressure, this will blend all the layers underneath it. But then this has to be done in your very final layers because then on top of this, you will not be able to go with more layers as you have now flattened out the tooth of the paper. So always do your burnishing when you feel that, okay, I'm not going to go more with my layers on this one. So that is the time you do your burnishing or your final blending. Light chrome yellow. And now after you have burnished, then the next layer has to be super super soft and very light. You cannot press the pencil now, otherwise, you'll start removing disturbing the layers below, especially after burnishing. I'm taking olive. I want to darken some of these shadow areas again. And especially after you have used white and burnished the area, some of your darker colors might get a little bit lighter, so you can still go on them with your darker pencils, but just use it very gently. Light yellow. Cu yellow. Cu yellow lemon Oliive yellow. Giving a final glazing of colors. And with this we finish pedal number five. I'll see you in the next video. My 13. Petal 6: So let's move on to petal number six of our final petal. And this one will require a little bit of work. Here I'm again lightening the graphite drawing with a needed eraser. Taking prismacolor white and preserving all the lightest areas on this petal. By now, I'm sure you know the method, the technique that I'm following on this drawing. So I'm only going with this white pencil in the most bright whitest highlights. This will also go as a background for the petal which is folded, a little bit under the brightest yellows as well. You can always cover it with your yellow pencil, but it's better to give a little bit white if you are planning to go light. Now, this is olive yellow from Pablo. And I'll start with the darkest shadow areas and all the darker veins. This color can also go as a base as the yellow on this petal looks very greenish yellow. Again, I'm moving in the direction of the veins of the petal. Next is light chrome yellow to brighten up our greenish yellow olive yellow. I'm also applying in the shadow region. Let that shadow area also get some beautiful reflected light. I'm working on the top of the petal, where it is mostly in the shadow. So try to look for the lightest color that you can see in the shadow area as well and then apply that first. So I'm taking Cadmium yellow lemon for the very cool yellows. Every layer of pencil is contributing to the final colors and the final outcome on the petals. So don't think that we're just covering a particular color with another pencil, so it's waste. This is khaki green from Pablo. And now I'll start working on all the darker areas. I'm working in with very soft rendering using circular motion or just hatching, but all the lines are very close to each other. This is earth green yellowish from polychrom And now green gold to warm up that color. The green gold will also go in all our warmer shadow areas. Giving a crisp edge to the petal above. Taking again. Establishing the shape of the shadow. Again, I'm moving with very soft touch with very light touch. Try to drag the veins into the shadow area as well. It should just not stop in the brightest areas. This is olive from Pablo, and I'm going to darken this right hand side. And even the left hanside shadow area. This is cadmium yellow lemon. For the more brighter left inside area, taking light olive from Pablo. Just giving a thin outline so that it just doesn't get lost on the white paper. And then, I'm just going to brighten it furthermore. If your shadows are important, then your highlights are equally important, so keep them as light as you can as you see on the reference picture and the shadows as dark as you see on the reference picture. And now with green gold, just going to warm up this shadow region. This is olive again, going to darken the shadow area under that center, the deep inside of the petal. Admin Mellow, I'm just going to use some warmer tones. Cam yellow lemon. And with this color, I'm just going over our lighter areas again. So this will just soften all the layers below. It will just start blending them out, smoothing out the layers. So go in with your sharp pointed pencil. Earth green from polychromos. I keep on coming back to this petal. I still haven't finished the petal number four. I will be doing more work on this because it has beautiful reflected lights and shadows in a very interesting way. And I am still not satisfied. So I will be working more on that smallest petal. Green gold. This darkening of the veins now because we went over all the darker areas with our cadmium yellow lemon. So you need to darken the darker, the darker veins again. Occur from Pablo And this is earth green. The more shadow you create over here, the more lifted your petal number four and your center will look. Taking light gray now for our very light parts on the center of the petal. And the silver gray for the lightest days. And then white luminans white. Blend these 2 grays together. Aluminum pencils are a mix of oil and wax based pencils, so they are not very waxy. At the same time, they are opaque, more opaque than polychrom white. That's why I really love using aluminums, especially to blend and burnish the final layers. So we'll leave this petal for now and we'll come back to it when we're doing the surrounding area. No. 14. Finishing details on Petals 4 & 5: So as I told you, I'll be coming back on this petal number four to work more on it. So here I am with my battery operated eraser. This has a very fine point. And I have further point made that pencil like point by going over a sandpaper block. So I'm just removing some of the highlights, which I feel that I had just accidentally covered them with my pencil. This is the advantage of giving your first light bas, your white pencil, and your light yellows. That way, you're easily able to erase them off at whatever stage. This eraser is a very helpful tool in your colored pencil kit and go for a thin point battery as. And this is a pencil eraser from Faber Castle. And again, in the same way, and just removing some of the highlights, erasing some of the highlights, bringing them back, just trying to create a nice contrast between the lights and the shadows. D. Ticking light yellow glaze and I will go over the areas that we have erased of. This will just smoothen out the erased off area. Even this reflected light area, basically all the erased areas, Earth green, Observing the reference picture closely a little bit tricky area over here. Again, I want to make this area a little bit more darker, which is going inside the fold of the petal. Light yellow glaze again. Green gold. Yeah. Dark cadmium yellow from polychromos. This need a little bit more of orange. This is light chrome yellow. Taking brown ocher. I just want to increase the shadow area just below this petal so that this petal number four will just pop up from the page. And with light yellow glaze and is going to blend that color into the background. This is dark cau yellow again. Occur. So I'm working on petal number six now from this angle. And this is light yellow glaze again. I'll just erase this mistake. Whenever you're going into a very white area with your eraser, just e to it that your eraser is very clean. I'm going to work a little bit on this petal number five as well. Taking occur. Light olive. Earth green. Mostly, I do all these very final adjustments at the end of the drawing where I have finished up with all the components of the drawing. I might still come back to each and every petal after the stem and the center of the flower is done. So your drawing is just not complete till you decide. So with this, we finish all the petals. Now we will move on to the center of the flow to see you in the next part. Bye. 15. Center- Part 1: So let's start working on the center of this flower. I'm just going to lightly dab my needed eraser on all the pencil lines. And for this now, we're not going to use the white pencil as the base. We'll directly start with the lightest color that I see. This is Cadmium yellow lemon from polychromos. So this will give a very nice bright yellow base. Always start with some bright colors as your undertones. This will really brighten up all the layers that we do above this layer. So search for the brightest and the lightest color in that particular area and start with that. Again, I'm moving in the direction of all the veins that are seen on the reference picture. Keeping a very light hand pressure. And I'm ignoring the shadow areas for now. This going over all the brightest areas. I'm covering up that the topmost shadow area. Next color will be light chrome yellow from polychromos again, and this color will further deepen our yellows. Let's take light yellow ocur from polychrom now I will be jumping on to the shadow areas since our light is covered. You Once we get our darker tones in, then we can easily gauge how much dark our midtone should go. So that is why I freeze my light layers and then directly jump to the darkest layer. That way, I know how much dark or light I should go for the mid layers. This is my technique that I use, and it has really worked well. The center has a lot of details, so this is going to be a very long video. That's why I have divided it into three parts. Take frequent breaks between your drawing sessions, and that way, you will always be fresh, and you will not finish your drawing just for the sake of finishing it. That really ruins your drawing. Believe me. I have done that. So what I do is I just work on multiple drawings so that it keeps me fresh and not get bored very easily. So this yellow occur base will be good for our orangey tones. It will not make the orange very bright. It will just mute them down as they are in the shadow areas, and they're not very bright orange. So carefully observe your reference picture and observe all the frills and how the shadows are moving, how the lines are going in which directions. Sometimes it does get confusing with all these very small, friendly details. Rotate your pencil in between so that you don't lose the point of your pencil. So for that, I'm just going to show you a small hack. You don't need to sharpen every time your pencil. You can just take a sandpaper block, and this way you can get your pencil point back without sharpening your precious colored pencils. This color will also go on the veins. And here, I have just increased my speed a bit. It's a very tedious work, and I'm going very, very slowly because it's so easy to get confused where you are in the reference picture. You can pause the video anytime and catch up with the video. I M Now, I'm just going to fill up this shadow area with the same light yellow occur pencil. You can go in circular motion or just with very close lines, very close to each other. Even this shadow area, I'm just going to fill up with this yellow occur as the base light yellow occur. This shadow has a lot of light passing th. I is going to keep it very light at this stage. Okay, way back to normal speed, and this is dark grom yellow. And we'll be giving some orange tones to our shadow area. Okay. I'm taking sanguine. This is again from polychromos. It's a beautiful, muted orange color. This will further darken up our shadow areas without making it to orange or to brown. Selection of colors for your yellow flowers is very important, as I told you in the previous videos that you can easily contaminate yellow tones by making it more green or more brown or more orange. Green gold from polychromos. Again, I'm just muting down that sanguine which we have done. Sanguine again. I. And now I'll take cadmium yellow to fill up the base. I'm also going over the shadow area, so this will incorporate all those colors into the base, and in the process, it also blends them. This is a little bit yellow, so I'm using it in all the areas that I see which are than the lighter yellows that we have done. If you can identify the temperature of the color, then it'll be very easy for you to select your colors. Dark cadmium yellow, a little bit than your previous color. I'm taking brown cher. Just want to crisp that edge between the center and the petal. If I make this a little bit more darker, the center will come forward. Sanguine. That that made me. 16. Center- Part 2: Now I'm taking terracotta from polychromos. This is again a very muted brownish orange kind of color. Only going into areas that are darker. Next, I'm taking olive. This is to increase the shadow behind on the petal. Giving a crisp edge back to terracotta. I'm also giving this for the petal behind. Green gold. This is light olive. Skating that greenish light from the petal which is overlapping. Light grom yellow again to just blend off and further brighten our lightest areas. For blending, just use your lightest pencil that you have used in that particular area and use it with a little bit of hand pressure, and all the layers will start to blend. And in that process, if you find that your darker tones have gone a little bit lighter, then just give a touch up on your darker tones as well. This is green gold. D admi Malone. And am alone. Terracotta. And I'm giving this color to this shadow as well. This is dark yellow for a little bit of orange tone. And then admi Mellow, as you can see, I'm leaving this shadow area a little bit more transparent. This is light olive. Both these brands of pencils are oil based and they are transparent, so which really helps in the technique that I use in the layering technique. And flowers and petals. They are transparent subjects. So this really helps. Taking green gold again. So whenever you want to show something transparent, don't give very firm edges to that, keep it more of a soft blended thing like a blurry line between the shadow and the rest of the area. Now, this is dark cadmium orange. And here I can see a very bright reflected light in the shadow area, a very bright orange. I'm just going to introduce this color. This is from polychromos again. So I'm just using this color wherever I see that vibrancy in the orange. Terracotta again. I'm going to go over this orange just to mute it down a bit. Let's take *** yellow. Now I'm going to fill up the base of this side of the inside part of the center and also give one more layer to the top Also going over the darker colors to blend them out? This will fill up all those white grains of the paper that you see. We can always come back and darken the darker tones, furthermore, but this will help in blending out your darker areas. Dark grow yellow to further darken some of the areas over here. Again, I'm going over the shadow area. L et's take green gold. That can me alone. Then C be me alone. Oh. Observe the light falling on each part of the center. And you will notice there are so many tonal changes from one part to another. And the more tonal changes you notice and the more tones you gave, the more beautiful and interesting your drawing it will look realistic as well. It will make it look more interesting. Back to dark Cadmum yellow. Areas which are a little bit lighter leave them light. Keep on comparing constantly with the neighboring parts, how light or how dark, should it go? With a lot of practice and experience, you will immediately notice all these subtle changes in the tone. I'm back to terracota. And I'm further darkening all the veins and the wrinkles, the folds. Try to give as many details as you can because realistic drawing is all about details. The more details you give more realistic it starts looking, and according to me, it also looks very interesting. When people notice all these small details, we actually help the viewers notice these details on a simple subject, whatever we do. So I'm giving one more layer of terracotta on this light yellow ocher layer that we had done. Go. Now I'm taking orange glaze. This is a little bit lighter color than the dark *** orange that we used before. Um This is khaki green from Pablo. Light grown yellow. I'm just going to blend the edges of this shadow area with the background so that it looks a part of the flower. This is dark cadmium yellow. Again, I'm using them on the darker toons to further blend those colors and to fill up all those white lighter spaces. Light chrome yellow. Sometimes just giving another layer with the same pencil is enough. This is *** yellow. You don't need to always change your pencil. H. Including the shadows as well. Dark yellow. So with this now I'm going to give a little bit of darker tones. Like yellow again. So this will blend the cadmium yellow back into the background. There are blender pencils available that you can even use those. This is again, dark cadmium yellow. Dark chrome yellow. These are all from polychroms. All the yellows that I've used are from polychrom It has a beautiful range of yellows. Green gold. The bing yellow again. O. Keep your hand pressure light. If you work so many layers with a little bit hard pressure, then you will get some wax blooms. This is dark chrome yellow. And the color, then the top layers will be just floating on the surface of the paper, and you will not get a very nice blended look. So till the final drawing stage, keep your hand pressure very light. I cannot emphasize this enough and pointed pencils. O. Green gold again. And now I'll work on the centerpiece. This light chrome yellow. And cadmium yellow. And for the edges, I'm taking dark Cadmium yellow. 17. Center- Part 3: So I've turned my board and let's do some finishing work on the center. I'm using Brown Ochre Here now. I I will be tackling all the very darkest tones that I see in the shadow region. Whenever you are in the finishing stage, start with your darkest tones first, and then you move backwards. This is sanguine. As we have layered so many lighter yellows on all these darker tones, our darker tones have definitely lightened up a bit. So it's very important to get your values correct over here. This is terracotta. And then green gold. And again, as I told you previously, also, the moment you turn your bow to A and look at your subject from a different angle, then you definitely will see some areas of improvement. This is dark *** yellow. Keep on doing this from time to time. I still da caring me alone. Sorry, that was dark rome yellow. This is dark awe yellow. Just pause the video and check for the name of the pencil. If I miss out on telling the name or if I mostly, I will not see anything wrong, but sometimes it's difficult. And of cose, the list of names with numbers and brands are in your list of materials document. L grow me alone. So this is our finishing stage. At this stage. I just look at the whole center, the center as a whole and check all the tonal values basically on the whole area that we have done and not individual like the shadows here and the light parts there. One more technique that will help is just keep your drawing at a distance and then observe, and immediately, you will find where you have to give more darker tones or where you have to lighten some of the parts. Sometimes, working on a particular piece for a very long time, your eyes just get to all the total changes. So it's always better to give a good break to your eyes and just come back to your drawing with fresh eyes. Dark rome yellow again. Cadmium yellow. You can even go in opposite directions because after so many layers, your paper gets saturated and your pencil point might not reach the depth of the paper. So go in opposite direction, do cross still maintaining the light pressure of hand. This is bring gold. Now, last but not least, we'll come in with a white aluminum pencil and just brighten up all the brightest areas and thus blend some of the lighter areas. Now, I'll not be going with this pencil in the darker areas. So with this, we finish the center of the flower as well. 18. Stem- Part 1: Hey, everyone. So let's finish the final component of this drawing, which is our stem. And this stem is so interesting. All the wrinkles and the folds and the colors on the stem is what attracted me in the first place. So I'm very excited to render this stem. So let's start. So I'll start with dark indigo. This is from polychromos, and I'll start directly with the darkest shadow seen on the top part of the stem. The stem is highly detailed, so I have divided it into three parts. Indigo is a great color to darken up your greens. Instead of reaching directly for a black color, even if you see black color on the reference picture, always try to give some blues and violets, if possible, in your darkest tones, and then it up with black. This will create a very interesting black color, and the shadow will also look very interesting. Next color is permanent green olive. This is again from polychromos. I'm going over the dark indigo to incorporate that color into the green stem. Using very light pressure, and I'm going in circles, sometimes just in hatching lines next to each other. Whatever suits you. So this is our dark midtone. Give a nice crisp edge to your petals. I'll only go up to here with this color and for the light color, now this is may green from polychromos. I'll go a little bit over the permanent green olive color. This way, you will not be creating bands of color. We are going to make this into a n gradient. And I'm going over our darker color as well to fill up all those white spaces. Now, I'm taking black from polychrom and I'm going to darken this shadow further. And this is pine green, very bluish kind of green. This is also from polychrom this, I'm going to create some vertical lines that I see on the reference picture. Um, And this is earth green yellowish from polychromos. This is going to be a mit green tone. And again, this color will go on the entire stem, except for the very lightest left hand side of the stem. So this color is going to blend your light and your dark green. And I'm coming back with permanent green olive to darken the dark tones again. This is dark indigo. I always like to layer the black with blues, or in this case, it's blue because we have a green stem. This way, even the black color will get a nice color. This is may green again. And now with green gold, I'm going to color some of the reflected light from the petals, which is falling on the stem, which is making it look a little bit warmer, especially on the top of the stem. Oh. Now, I'm taking the put mootem. Again, this is from polychromos, and we'll start building up our that papery kind of papery kind of stem. So I'll start with the darkest color. This is a beautiful, violet brown color, and with very sharp pointed pencil, but with very light pressure. I'm just going to draw all these lines first, all these veins. So carefully follow your reference picture to see where all these lines are there, where the direction of these lines, the thickness of these lines. Everything is important. I know it's very confusing sometimes. So just take your time. Next is earth green yellow age from polychrom Oh Some of the veins are green in color. The reason I'm giving the veins first is also because I don't want to lose the drawing. The multiple layers will not be able to see a pencil drawing below. So it's always better to freeze your line drawing with these pencil colors. Taking chrome oxide, very dark green from polychrom And I'll start working on the very shadowy areas. And again, as I said, though they look black, but don't start with the black first, try to give some color, try to see some color into your shadow areas as well. Taking green opaque again, a polychromo color, and all these colors have a different. This is more of a brownish green color. A lot of fine details. But as I told you previously, and as I tell in every tutorial, details is what makes the drawing looks realistic, and we are doing realistic drawings. Enjoy the details. Very intricate work. Take your time, go slow, take frequent breaks, can pause the video anyt Oh I'm taking care that all those lines are matching when I'm taking them down. So just see to it because it's a continuous line, continuous veins. And I will give this color wherever I can see this muted brownish kind of green. Next is green gold from polychromos. Again, this side is getting a warm light. This is olive yellow now from Pablo. I'm going over the green gold color to mix it in the background. And this will also give a nice shine to that part of the stem. And I'm coloring over the veins so that the veins get pushed into the paper and they don't look superficial. So they will just look part of the drawing. And we can always darken them again if they become light. No, this is light yellow glaze. This I will use to brighten some of the top part of this membrane. I don't know what it is called. I'll call it as a membrane. Oh. Going over all the colors to blend them in and also to brighten them up. Next, I'm taking white, and I can see some areas have a nice highlight on them. Earth green yellowish again from polychromos, going to make this bottom portion a little bit more darker. Earth green. Now, I'm taking light bage from Pablo. This is more like a very warm gray color. And very lightly, I'm going over this area even on the veins. Even on this side, a little bit more darker just under that petal. Taking brown ochre again from Pablo. I'm going to increase the tone on these darker sections on these darker veins. I And I will take olive again from Pablo and darken the green veins on this side. Just giving some color to the golden area as well. Now with white, just going to lighten some of the very highlighted parts. 19. Stem- Part 2: Let's continue. I'm going over with white pencil in all these lighter areas. It'll just give a nice highlight and nice shine to these gray parts. This is earth green from polychromos. Since this part is turning the other way round, I'm going to give a little bit more gray tones on the extreme left hand side. Carefully observe your reference picture because it's very very minute details. This is khaki green from Pablo. I'm going over the dark area, and giving it some color. Oli of yellow now for the lightest green color. Earth green yellowish from polychrom I'm still going to make this area a little bit. And earth green again. Earth green yellowish. This is olive from Pablo, and brown curve again from Pablo. Here on the right hand side, I can see more of brown tones, more of areas. K fore giving a very dark tone to these shadow regions, I want to give all these colors. Now I come in with dark intego to further darken this shadow region. And on top of this, I'll be taking black. I want to crisp out this edge as well. A crisp line chromium green opaque from poly, another dark green color. Just dragging those veins from top to see the direction, how it is turning. Initially, just give a very light line. So even if you make a mistake, it's it's easy to erase them off. And now this is green gold from polychrom L light yellow glaze, Oh, earth green. And with white again, I'm just going to give some highlights, soften that region. This white pencil is from arms. And this is again from polychrom here, I'm darkening all these veins. White again. This is light page again from Pablo. I'll take caputmotum again from polychromos. Give more finer details. This is May Green from polychromos. Again, capumtum. Earth green yellowish from polychrom This is a very tricky area, and I don't want to make any mistakes. I'm going very slow, trying to understand the reference picture, trying to understand the lights and the shadows. And again, I'm taking light bag from Pablo to give some gray tones on the edge of this stem. Now I'm taking olive from Pablo. So I've made a mistake over here. Very confusing and you can just get lost sometimes in so small details. But as I told you, if you just gave very light lines, then you can easily ae off your mistake. So there is one more fold which I had missed. And if you do miss one or two details, it's completely fine. Your stem will still look beautiful. So don't get too much hung up on details. I love doing details, so I don't like to miss anything, but even with me, sometimes it happens. This is brown Ochre from Pablo. Now I'm taking light olive from Pablo. Still light olive. This is olive from Pablo. Always start with the darkest tone first so that way you will know how much dark your midtone should go, midtone and your light tones. This is brown ker from Pablo, and here I have rotated my drawing board and the reference picture. No. This is earth green yellowish from polychromos. I'm drawing all the darker veins first and then going over them with the lighter color. When you're not sure, just give very light lines, and then you can darken it. Once you freeze all your veins and all your lines. Once you're sure about them, then you can just darken them. This is olive from Pablo. And I'm taking light yellow glaze now. This is the brightest color that I can see here on the left hand side. Light olive again. This is still light olive from Pablo. Green now. Now, I'm taking my battery operated. I'm just going to lift off some highlights that I feel have gone a little bit. A This is pencil eraser. And now with may green, I'm just going to color that area. And with green gold. This is putt again from polychromos. I'm taking chromium green opaque. Hey. This is earth green yellowish. Now, light bage and then white pencil to brighten up some of the areas. 20. Stem- Part 3: I've again turned the bore to draw in this stem. And this is permanent green olive from polychromos. Taking earth green now. Here, you have a nice grayish green color, and even it just bulges out a little bit. Then I'll start with the shadow region, which is just below that bulge area. And both sides of the stem, since they are turning, it's a round cylindrical object. I'm just giving this grayish green color on both the edges of the stem. This way, it will just give you a feeling of three D rounded look. And I'm going in again with permanent green olive. And this is may green now for the lighter green color. So first, apply all the tones, and then with a lighter color, you just go over every color and then just blend them off. Leaving that gap which is lighter, continuing with permanent green olive from polychrom I'm giving vertical strokes here. You can go with a circular motion, rounded motion or hatching. Just see to it that you don't see any visible texture. It should look very smooth filling. The whole stem, I'm going to cover it with permanent green olive. Keep your edges nice and crisp. This is earth green yellowish. Your first 23 layers are going to look very grainy, but don't worry with more layers. You subject is going to look more and more smoother. You drawing is going to look more and more smoother. So have patients and with very light pressure, and in circular motion, keep on filling up those white spots with lighter colors. This is olive yellow. With this light color and just filling up all the lighter spaces, I've again turned my drawing board. And now with a white pencil, I'm just going to lighten up the lighter grayish green areas on this bulge of the stem. Also over here. This is chromoxide green from polychromos. And I'm going to start building up the darkest shadows on the stem. Try to give a very straight line as much as you can. This is permanent green olive. Earth green again. This is dark indigo that I'm using to darken the shadow underneath that bulge. Earth green again. And the more layers you do, the more tighter your hand gets, not hard pressure, but with very small strokes. And now for giving this blue color, I'm using this light coup turquoise from poly Just to give it a nice tinge of turquoise color. It'll not look very bright because we have already given layers of earth green below that. I'm taking leaf green, which is a very bright green now for the top section of this bulge. This is again from polychromos. See how it has just brightened up that stem. I'll continue this color in the bottom part of the stem as well. This is earth green that I'm using for the edges of the stem. So I'm going on tightening the layers to make them look smooth, very well blended. This is leaf green. This light olive from Pablo. Oxide green from poly, And this is brown ker from Dabloo. Earth green yellowish from polychromos. And this isoxide green, the darker green. Brown occur again. We are almost on the finish line, so bear with me, have some more patience. Earth green, yellowish. And now I'm taking white. So I'll take my battery operated eraser again and see this is how I make this into a fine point just by going over a sandpaper block. And here, I'm just going to start lifting off the highlights on this section. It's a very useful tool to have in your colored pencil kit. It really makes your life so easy. So with this, I'm just going to lift off some of the highlights. And on all the erased areas, I will go over with my white aluminum pencil. And with this, we finished our stem. 21. Final finishing touches: So let's give some final touches before we call this done. So as soon as I did the very darkest tone on the stem, I just realize that the darkest shadow on the center of the flower is looking a little bit lighter. And as our eyes keep on comparing the tonal values, The moment we do something darker surrounding the lighter areas, then you might need to go a little bit darker on your lighter areas. I hope you get what I'm saying. So this is put mootem from polychromos, and I just feel that I need to darken some of my shadow areas. So I took a good break after finishing the stem, and then with fresh eyes, I came over and I could instantly make out the difference that I really need to make some very minute adjustments, but this will really make a lot of difference to your drawing. So a little bit here and there, not much. You just have to spend, I think another five or 10 minutes maximum. But this will really elevate your drawing. And with this, we finish this tutorial. I hope you enjoyed watching it, and do give it a try. It's a beautiful flower. And I would love to see your drawings if you attempted. So see you till my next tutorial then. Bye.