Transcripts
1. Introduction: Love creating
drawings, particularly for the different
seasons and occasions. I think it's possible to
create some really fun pieces. And this is no different. Today, I want to show you how to create a Halloween
themed pumpkin. My name is Jemma Chambers, and I've been making online
art tutorials since 2020. I've helped tens of thousands of people improve their art. And today, I want to show you how to create something
that is quite fun. Let's draw a pumpkin. Now, I'll show you
all of the materials that you'll need to
create this pumpkin, and I'll show you
the full process that I used. Let's get started.
2. Class Project - Drawing a Pumpkin: The class project is
drawing this pumpkin. I particularly
selected this pumpkin mostly because of its contrast. It's got some
amazing light areas and some really good shadows, and it's going to create a
lot more spectacular drawing. You also particularly like
that it's got a face. Now, I will show you everything
that you need to know, including drawing this sketch. But if you want to use my sketch is available in the
class resources. I also include details of all
of the colors that I used. So if you do want to use
exactly the same colors as me, they are all listed out there. You finish your
drawing, please do upload it to the class projects. I would love to see
what you've done. Let's talk about the
materials that you'll need.
3. Materials You'll Need for Drawing with Coloured Pencils: Think about the materials
that you will need. And first up, you will
need some colored pencils. So I'm creating this drawing
with Prismacolor pencils, and I'm using the set of 72. You don't need to
use exactly the same pencils as me, though. You could use, for
example, Crayola. The next thing you'll
need is some paper. You particularly want the
right kind of paper that will allow you to build up a lot
of layers of the pencil. So I like working on a really nice and
smooth bristol board. This is a particularly
thick paper, and I find it brilliant for building up all of the
layers that we will need. Tap, you will need some
sort of pencil sharpener. I like using this hand
crank pencil sharpener. I particularly like that. I can replace the blade
when it gets blunt. But you don't need a pencil
sharpener, this fancy. Anything that creates a really nice and sharp point
is all you need. You also need a ruler, and we'll need that for drawing a lot of the straight
edges within the drawing. You'll need something that
actually you'll need to make. It's not something you can buy. This is a set of color swatches. So for every set of colored
pencils that I own, I always swatch out my colors. I go from as light
as I can to as dark as I can for each
color, and then I label it. And what that does is
shows me what that pencil actually looks like on the kind of paper I'm
going to be drawing on. It stops me from using the lead or the
barrel of the pencil, which I don't find
to be very accurate. Always use these when comparing my reference photo
to my drawing. Now you don't need to
make swatches very often. The set swatches that I have
are at least 5-years-old, but it is worth
putting in that time when you first get a
set of colored pencils. Finally, you will need some way of looking at the
reference photo. Because I always focus on
drawing realistically, I always work from
a reference photo. Like looking at this on my iPad, particularly like
that I can zoom in and see all of the details. But you don't need
to use an iPad, you could print out the
reference photo, for example. So you will need a set
of colored pencils, the right kind of paper, a pencil sharpener, a ruler. You'll need to make
some color swatches and have some way of looking
at the reference photo. So let's start working through the process of
drawing this pumpkin.
4. Sketching the Outlines: Fore we get started
putting any color down, I want to draw out my sketch. I want to get all of my proportions really
neatly mapped in. So I know which colors
I'm putting where. Now to create my sketch, I like using something
called the grid method. This is where you put a grid on your drawing paper and a grid
on your reference photo, and you just draw what's
in each individual square. This really helps to get
those proportions accurate. It stops you from looking at
the pumpkin as a pumpkin, and you're just looking at it as a series of shapes
in some squares. Once I've drawn out
all of my squares, I can then use an eraser
to erase my grid. Most important
thing here is that my sketch is really
nice and light. I want it so light that
I can barely see it. You can see here how light it looks before
I start drawing. Why I particularly
don't want is for my sketch to be showing
through at the end. Now, if you don't want to
create your own sketch, do remember that I have included one in the class resources. And if you want to go through the sketching process
in a lot more detail, do check out my beginners
guide two colored pencils, which I will link in
the class description. So let's keep working through the process of
drawing this pumpkin.
5. Studying the Reference Photo: Before I put any color
down on the paper, what I want to do
is take a minute to have a look at
the reference photo. I want to really look at the
key colors and shapes that I can see within the
reference photo before I start drawing. I find this really good as
a way to get my bearings. So let's have a look
at it, and I'll show you the main
things that I'm seeing. So the main thing
that's jumping out to me is the light sections. Obviously, in the mouth
eyes around the top, you can see the light
of the T light sum. And as a result, these areas
are very, very bright. But when you look at them, some areas like around here
looks like it may be white, but actually quite a lot of it is more like a light yellow. So I'm going to want to fill these areas in with a very light yellow before adding in some
of the darker yellow parts, so, for example,
on this side here. This is the wall of the
pumpkin that you can see here. So this is a darker yellow
than this, for example. Actually, looking at all of these inner walls
of the pumpkin. You can see this a lot all around here, all
around the mouth, as well as the right
hand side along here, and you can see the inside of the pumpkin on the
opposite side to here. This is on the left, and
this is on the right. So I'm going to want to
mark in all of these areas. Beyond that, looking at
the pumpkin skin itself, I'm noticing that it's
not all one color. There's actually quite
a few colors in here. Firstly, this section here, this has got a patch
of light in this area. This actually looks more like
a light pink, I would say, rather than a really
light orange or maybe a yellow like you'd expect the patch of light to be. I'm going to want
to add a pink here. There's also looking
around the bottom. This is obviously where
it gets quite dark. This whole bottom half, you can see a lot of
brown around here. And around the bottom, this is a pretty bright red. So there's bright
red all around here. You can see a little
reflection of it here and all around
here as well. So I'm going to
want to be really quite bright with
this bottom area. Then texture wise, there's
a lot of these lines. Pumpkins, as you know, I'm sure, have lines, they have these kind
of dips on them, and you can see that
all along here. So I need to be adding
some darker lines just really looking
at the kind of angle, the curve that's on
each of these lines. Now, thinking of texture, I'm noticing that particularly
in this central area, there is quite a lot of
texture here. I don't know yet if I'm going to
want to draw that in. Mostly, because the pumpkin I'm drawing isn't going
to be a huge drawing. And I don't know how well you'll actually be able to see this texture when
the drawing is done. It'll be quite time
consuming to do, and I'm wondering basically if it will even show at the end. So we'll decide
that a bit later, but there is a lot
of texture on here. So those are the
main things that I'm noticing to start
with. Let's get drawing.
6. Building up the Base Layers: To start off here by putting
down some base layers, just getting everything marked out so I know what
needs to go where. I'm going to start working
from my lightest colors and gradually working my way
towards the darker colors. And as I mentioned when we were looking at the
reference photo, the lightest color
that I can see on the reference is those
very light patches, the inside of the pumpkin, where the t light must be
lighting up the inside. As I mentioned, I want
to be drawing this in with a very light yellow. So the lightest yellow I have in my set is the cream pencil. I'm just going to go over just blocking in anywhere that
is particularly light. So all along the top here, as well as in these zigzags and in the eyes,
nose, and mouth. Now, just to quickly mention
that around the top, you can't block in
this whole area, where there's these dark patches where we can see the background, I want to avoid
these three blocks. I am putting the light yellow all over the
rest of the top. Now, it is quite tricky
to see what I'm doing here but I am literally just
blocking in those areas. Now, in terms of
how I'm doing this. First up, I want to be working
really nice and lightly. So I want to be pressing
as lightly as I can, gradually building
up the pencil. And you'll see that I'm holding the pencil reasonably far back. I'm not holding it
really close to the tip, and this stops me from being
able to press too hard. I'm also where
possible working in circular motions rather than kind of scribbling back
and forth with my pencil. By working in the
circle or val motions, it's just going to
make the pencil go down in a much smoother way. That is all I want to do
with this pencil for now. So once I've got in
the top section, the eyes nose and mouth
marked in with the yellow, I want to be once
again looking at the reference photo and looking for the
next darkest color. So the next darkest color, I would say is this patch
of light around the top. As I mentioned, when we
looked at the reference, this is a kind of pinky color, and I'm going to
want to get that pink marked in at the top. Closest color I
would say to this in my pencils is probably
the peach color. It's maybe a little bit darker
than what I've got there, but I don't want to be
using the light peach. I think that's going
to be too light. I'm just going to block in
this pencil on the whole of, I'm going to call
it the forehead. I'm not going to worry about those lines that are
going through here. Because I can mark those
in a little bit later on. I just want to block
in this whole section. So going all the way up
to the top to the zigzag. Now, once again, you'll see I'm holding the pencil
quite far back. And I'm pressing really
nice and lightly. In fact, I've got a pencil
extender on this pencil, and I did the same on the cream pencil because
they're so short, I wouldn't be able
to hold them as far back as I would like to
if I didn't have this. But you don't have
to use one of these. I just think it helps your pencil last a
little bit longer. You can get a bit
more out of it. Now, I'm just going to
add a tiny bit at the top as well that's in this
little patch hip. It has a tiny hint of
pink to it, I would say. Once again wants to be moving on to the next darkest color. So from here, I would say it is those slightly darker yellow
patches inside the eyes. So along here here and all around the edge of
the pumpkins mouth. As well as you'll notice
there is a little bit here, a little bit here and
a little bit here. And some of the darker yellow
patches around the top. It's not all really
bright yellow. There is a darker
yellow round here. L et's add that in. I'm using
the sand color for this. It's kind of I say it's a bit more of a kind
of earthy yellow. It's not a bright
and vibrant yellow. So I can mark in either
side of the eyes as well as the edge of the nose. Note that there
is a thicker line on the left of the
nose to the right. Then I can start working
my way along the top. So I'm actually going to want to use quite a lot of this color. Cause a lot of along the top
here is that darker yellow. It's not so much the
really bright yellow. So we can just go over that
very light yellow that we did to start with and make what's
here a little bit darker. I am following what I'm seeing
in the reference for this. It's working all the
way along the edge where that orange is going
to meet this yellow. All the way along the edge here, as well as pretty much
filling in this whole block. You can see a very light patch here that I am going
to want to leave. And there's also a little bit of a light patch
down the bottom, but this is mostly that darker
yellow as well as here. Let's go around the
edge of the mouth now filling in all of those
darker shapes along here. You'll see it very slowly
right now becoming a pumpkin. We don't want to rush to
mark it out really fast. Because I do think I want
to give myself time to really think about what
I can actually see here. So once I've gone over all
of these yellow spots, you can start to
see the eyes nose and mouth coming
out a bit clearer. From here, I once again
want to be thinking about the next darkest color that
I can see in the reference. Actually, I'm going
to add in that pretty bright red
around the bottom. So there's a few colors
that are all kind of, I guess, equally as
dark as each other. I'm thinking particularly about the various oranges
on the pumpkin. And as I mentioned, around
the bottom of the pumpkin, there's a really bright
red around here. So this bright red around
here and around here. So I'm want to get
that marked in. And then after that,
we can start thinking about adding in the general
orange of the pumpkin. This red, you can see going all the way up around the edge. It's coming all the
way around here until it gradually fades
into that orange. I also feel like you can see
some of the red around here, but it's really
prominent around here. Again, going up until it
fades into the orange. So let's lightly add that
in in exactly the same way. And for this red, the color that I think is
the closest is this pale, is it pale vermilion? It's then almost orangey red. It's quite a bright red. I don't want it to
be a really dark red because it is really
light and bright, and I want it to be
reasonably close, I guess to an orange. Beyond that, I'm
going about this in exactly the same way, still working in those
circular motions and still pressing
really nice and lightly. Do you want to be
careful where I go around the edge
of the pumpkin? I want to make
sure that I've got a really nice crisp line here. And I'm going to work my
way under the pumpkin, and I can start focusing
on this right hand side. So you can see how bit by bit we're starting
to get our bearings. We're starting to just
get everything marked out marked out in shapes and
marked out in color. And it's going to make
life a lot easier once we come to adding some of the more vibrant color
a little bit later. So now, before I move
on from this color, there is one other area where I can really see some of
it quite prominently. Is particularly along the
tips of these points. You can see this bright red, here, here and here. And I want to make sure that I mark that in before I move on, literally, just going
over these points. Getting that marked
in, as well as going around the edge of
the mouth here, I can see quite a bright
part of red around the edge. Let's now start
thinking about blocking in some orange on the
whole of the pumpkin. I want to get something marked down on pretty much
everywhere else. So for this, I'm going to
use a yellow ochre pencil. It's not a particularly
bright, even orange. It's kind of an orangish yellow, but it is much more on the earthy side rather than a really bright
vibrant version. I am going to put this over
the whole of the pumpkin, but I think it's probably a closer color match in
some areas than others. So to say it's probably a
closer match towards the top, whereas towards the bottom, it looks more like a
vibrant bright orange. It's maybe a bit more vibrant in the reference photo
here than my swatch, but I certainly think that that yellow ochre is a
kind of undertone here, and we don't need
to get the color perfectly matched straight away. I'm going to put this over
the whole of the pumpkin. I'm really just filling it in. As I get around the edge of other colors,
say, for example, the pink here, I do want to just slightly fade into that area. I don't want any
really abrupt lines. So just gently
going over the pink a little bit so that
it fades and blends, and it doesn't
look really harsh. Beyond that, I'm working
through this in the same way, pressing very lightly,
holding the pencil further back and working in
these circular motions. I also find it helps to have
a reasonably sharp pencil. So you want to frequently
sharpen it so that you're not trying to do this
with a really blunt pencil. It'll just be harder
than it needs to be. It won't put down as much color. Again, I'm making sure
that I'm being pretty accurate as I'm getting around
the edge of the pumpkin. I want to have a really
nice crisp line, as I mentioned before. And I can work all the way underneath the pumpkin as well. So, you might notice that this
color isn't dissimilar to that sand that we used around the edge of
the eyes and nose. But we will slightly adjust
this color in a little while, so it won't be as
similar later on. I've gone over all of the
pumpkin with this color. Down the bottom. I
don't want to forget to go over the lid as well. And again, I'm just
blocking that in being very careful as I go
around the edges. I want to make sure that I have those nice clean crisp lines. And then, as I mentioned, it isn't looking quite
the right color. Maybe it looks a little bit
too pale or too yellow, so I'm just going
to lightly go over this with the orange pencil. So this is a reasonably
bright orange. And I'm just going to go over the whole thing brightening
it up a little bit. I don't want to be pressing
hard still with this pencil. Don't want it to become a
really kind of garish orange. I just want it to have
a little bit more of an orange tone than what
it's got at the moment. So you'll notice that as
I get towards the top, I am putting less
of the orange down, and I once again want to fade
it into that pink section. And then I can keep
working my way around. Now, whilst I've
got this orange, I am going to mark in
a few other sections. We will do this more
thoroughly in a minute, but I want to start getting my bearings with some
of the lines on here. Some of the more
prominent lines that are particularly going
through this pink section, if I can get them
initially marked out now, so I know roughly where
they're going to go. I can use that as
a bit of a guide as I move onto the
darker colors, and I'm putting in the larger
and the sort of darker, more prominent lines that
are all over the pumpkin. Not necessarily about trying to get it all smoothed out
and looking perfect. I just want to get
a bit of an idea on where those lines
are going to go. So it's keep working over
the whole of the pumpkin. Now, you'll notice that
it's not looking hugely realistic at this point it looks a little bit like a cartoon, I guess. But don't
worry about that. It will all come together. Remember as you're doing this that this is
just the base layers. So we don't expect
it to look amazing. Until to be honest,
reasonably near to the end. Is looking more like a
pumpkin now, though? So it's work our way all
along underneath round the bottom of the pumpkin in exactly the same way
as we did before. I'm trying to be
reasonably accurate while going through going around the zig zags of the
mouth because I don't want to accidentally
shade into the mouth. I want to make sure
that I'm keeping that really nice and bright. And then let's also
go over the lid. So it is worth noting
that not all of the lid is the same color. It's got all of
these lines on here, which is from the carving. It's the zig zag from
the carving of the lid. Want to be adding
in a little bit darker around this V shape, a little bit darker along
here and up marking in this line here and marking in this line
along here and across. So let's get all of that
roughly marked in as well. And then I want to keep working my way towards some
of the darker colors. Actually, looking at
the reference photo, we get to some really
quite dark browns, particularly all around
this bottom section. Also, there's some
darker browns along here along all of these lines, which I would say is a
kind of reddish brown. So I'm going to use
the sienna brown, and I'm going to start marking
in all of these lines. So I can use areas
like the eyes and the nose to kind of get a bit of a bearing on what's going
to need to go where. So I can see that this line's going from in the middle
of the zig zag or kind of a third of the way down
to this zig zag all the way down to just over
halfway down the eye. I can see that this lines coming just over halfway down
this zig zag from about here all the way down to just to the right of
the tip of the nose. So I can use a lot of what I've already
got on the pumpkin to get my bearings for
all of these lines. And I just want to
lightly mark it in. Now I can't stress
enough that we don't need to have this looking perfect at the end
of this chapter. All that I'm trying to
do here is get a bit of an idea of what needs to go where and a bit of an
idea of the colors. It's very important to remember. Work my way the whole
way around the pumpkin, marking in particularly
around the bottom. There's some subtle
lines around here as well that are kind of continuing from the
lines at the top. So I want to mark those in and generally keep applying
this very light color. Now, you'll notice as
I apply this color, I feel like particularly
that bright red that's around here is kind
of a bit lost. It doesn't look as
bright as it did before. But that's okay. We can always increase that in a little while. Then after building up all of this darker color
around the bottom, I can then move
on to the darkest brown that I'll be
using for this. This is the dark umber, is a particularly dark brown. Want to be using this
primarily around the mouth. So just lightly building up some more of that
color around here. But using what I've
marked in with the Sienna brown as a
little bit of a guide here. So at this stage, I am
pretty happy with how the pumpkin itself is looking
in terms of base layers. I don't want to forget
that right now I've got nothing on the I think it's a
crate that the pumpkins on, nothing on the crate, and
also the stalk at the top. I haven't marked
that in right now. In fact, I have nothing right
now down in those areas. So let's take a minute
to have a look at those. And actually, I would say that they're reasonably
similar colors. Both this area around the bottom and this
area at the top, kind of the lightest color, I would say is a
very light gray. And it's more of a cold tone. It's a cold gray, I would say. I say it's a very light gray. In actuality, I think
the 20% cold gray is a little bit too light. So let's start putting down some very light base layers on these two areas with
the 50% cold gray. So just blocking in the
stork along the top, you can't see a
huge amount of it. And I'll also block in the whole great section
down the bottom. Just blocking it in nice and smoothly just like I did before. From here, I'm
going to move on to a slightly darker gray. This is the 70% cold gray. And I'm going to use
this to begin marking in some of the main shapes. So along the bottom here, there's this very light
line all along here, and then it kind of fades to a bit darker in the shadow here, and then it gets lighter
again towards the edge. So I want to try and keep
that nice and light, but block in some of the darker values just underneath that make
it generally darker. All along here, it's kind of got these lines of the
wood striping along. So I can give a bit
of an idea of those. There's a line
along here as well. And then this is all a bit
more it's still in lines, but it's a sort of
more curved line and generally darker
in this section. And that is pretty much
what I'm wanting to try and build up here with
the 70% cool gray. Now, it doesn't
need to be perfect. We are going to build this
up a lot more a bit later, but I want to get it
very roughly marked out. I want to I'm reasonably happy with something on the
crate at the bottom. Just go to switch over to
the dark umber pencil again. That's that very dark brown. To draw in some of the shapes
I can see along the top. So this doesn't look so much
like a gray around here. It does look more like a brown. And I just want to draw
in the main shapes. So this shape here, and there's this shape here. I don't need to get it perfect, but I do want to roughly
try and follow those shape, but still nice and lightly. And then I want to be
thinking about if there's any other areas I want to be putting this very
dark brown for now. So, particularly, I'm
going to add a bit more around the bottom
of the pumpkin, as well as on the top of
the crate along here. Also add on this left hand side. I want to make this area
look a little bit darker, but I think it matches with the dark brown better
than the gray. So at this point, I'm generally happy with how the
pumpkins looking. The last thing I'm going
to do before we move on to the next chapter is
just go back over, particularly these areas here. So the sort of edges of
the inside of the pumpkin. Think they're looking a bit
too light at the moment, and I just want to make
them a bit darker, so they're a bit more obvious. I think it will make my life easier as we move into
the next chapter. So I'm doing this with
the yellow ochre. This is the yellow
that I used when we were first putting down color on the whole
of the pumpkin. And as you can see, it just
means that you can sort of see what is happening
here a bit easier. So, by the end of this chapter, you should have a pumpkin, a very muted pumpkin, but everything hopefully
in the right place. And then we can build on
that in the next chapter.
7. Brighten up the Colours: This point, we have everything
very lightly marked out. What I want to focus on now
is brightening everything up. Really just going over things a number of times to
brighten it all up. So let's start off
here by brightening up the red sections
down the bottom. So these are the very bright
sections I mentioned before, and I'm doing it with
that very bright red. So's start off here. You'll see I'm still working very lightly. I'm still working
in the same way, holding the pencil further back. And pressing nice and lightly, making sure that I'm doing
this with a sharp pencil. And the way that I build
up the color here is by going over the area more times rather than
pressing harder. We will press harder
a little bit later, but that's not what I want
to be doing right now. So filled in that
area down the bottom, I want to be adding this
in up the sides as well. It's exactly the same
as what we did before. And throughout this,
where possible, I'm still working in
those circular motions, I really want this to be
as smooth as possible. After working my
way up one side, I want to work my way
up the other side. And I also want to
work my way all along the bottom along here. You'll remember
before I talked about how there is a real
red tone along here. You can see the bright
red all along here, really particularly
where there's these lighter areas from
the grooves, I guess. You can see that bright
red underlying sort of poking through under here, and then it's really prominent
along here and along here. See by going over the
area a number of times is gradually building
up that bright red. Now, actually, I
want to build up and brighten up quite a
lot of the pumpkin. And I really want to
be thinking about where else I can see
this bright red. Because this whole chapter, we're focusing on brightening
up what we've got. I want to be really looking at the reference and seeing
areas where I can do that. Actually, as I've
mentioned before, all around the
edge of the mouth, it has this bright red. All around the mouth,
as well as you can see, it's kind of a reddish
orange, I guess, sort of line around the edge of the nose and around
the edge of the eyes. There's a lot of this red over
the whole of the pumpkin. And generally speaking,
I would say it's where the light is really concentrated
going through the skin, so, particularly
around the edges here. Still reasonably
nice and lightly, I'm going all the way around
the edges of the mouth. Making sure that
I've got a really nice and sharp pencil for this. Don't worry that it looks a little bit peculiar
at this point. It will all come together. And I'm literally working
my way around this mouth, brightening up
around those edges. Once I've done that, I want to move on to the Pumpkins nose. So again, brightening up
around the edge here, adding a really
crisp bright line. Want to do the same to the eyes, although I am doing this
a little bit softer. I'm not building
up as much color here because it's generally towards the top
quite a bit lighter, so I don't need as
prominent a red, but I do want something here. So before I move
on from this red, I also want to be building up
some of the red down here. As I've mentioned a few times, there is quite a prominent
red from the reflection, I guess on the crate. I haven't built up
any extra color. I did build up some
in the last chapter, but I haven't built up
any extra color here. So let's do that now. And then I want to
be thinking about the most obvious
color that's missing. And I think it's
that reddish brown. So generally speaking, the
bottom of the pumpkin, those darker areas are not
looking dark enough right now. I did build up some color in the previous chapter of this, but I think we need a lot more. So you'll once again see
that I'm pressing lightly, holding the pencil far back. And the main thing
that I want to be conscious of is that I'm not going over these
strips too much. The lighter strips that are created from the
grooves in the pumpkin. These lines here, I don't
want to lose these. So I'm working my
way around that, and then I'm just adding a
good amount of extra shading. On the bottom half
of the pumpkin. But as I work my way up, it's not necessarily
only on the bottom half. I'm building up the most on the bottom half of the pumpkin. But there is some brown that I'm needing to build
up towards the top. You'll notice that
here, for example, this is primarily orange. But there's all of
these kind of patterns, these reddish brown
patterns on here. And this reddish brown
section up here. They're all the same kind
of color, I would say. There's a faint line of
that same color along here, and this line along here, where there's the shadow
created from the dip. So although we
don't need to build up as much brown at the top, we do still need to do some. This brown all along here
and then this shadow here. And then there's a lot,
generally, in this patch. This really has that
reddish brown tone to it. Now, I'm not going
to worry about building up the texture
that you can see here. I don't think you'll
be able to see it from a normal viewing angle. And as I always say
there's no point in putting texture in if you're not going to be able to see it. Build up some of this brown both along the bottom
around the mouth, but also higher up. So you can see here I'm
pressing so lightly to build up all of that those patterns of the brown that I mentioned. I don't need to add a
lot of it necessarily. But I certainly do want to add something because
that top section, as I say, isn't just a
bright orange. Work my way. I like working quite
systematically, so I'm going to work from
the left towards the right. Looking at each
section at a time. It's actually, I think, made a lot easier by having
these grooves in the pumpkin. Because because I had previously marked out where these
grooves are going to be, I can now just draw and shade any shapes in between
those grooves. It kind of helps me get
my bearings a bit better. Add some light shading
around the top. Really looking at each section. So, for example, this section here to the
left of the nose. You can see there's quite a lot of brown in this patch here. But we also want to be adding
quite a lot around here, there's quite a lot around here, kind of quite patchy. And I need to be adding some all around here,
as I mentioned. That said, even around
these darker patches, there's still a lot of
brown just generally. So I still want to be gradually
building up that brown, even around those sections. Then I can move on
to the next patch. Again, around here, I
would say that a lot of the shading is built up towards the bottom
near the mouth. So it's particularly
dark in this patch here. There's a really
dark patch here. But can see, there's
also a patch here. There's this kind of
line that's coming down. There's a lighter line here, so around it is a darker line. And then there's
this whole patch, particularly dark up here, this whole patch that
I want to add in, as well as this patch here. Think the key is to not rush it. And to not worry too much. It doesn't need to be perfect. I just need to build up
a lot of this brown. Ideally following those
patches on the reference, but if they're a little bit out, I wouldn't worry too much. So let's keep going underneath the pumpkins eye in this
section around here, and then I can move on to defining this dip at the
top a little bit better. So I'll take a minute
to just point out any other particularly
darker patches that I can see around the top. But it's very much a case
of just going through and doing the same thing
over and over again. You see that there is a lot of extra dark shading all around
here, particularly here. There's this line
coming along here, and then this patch here. It's also darker sort of towards the level with
the middle of the eye. And I want to add
a little bit of shading on this groove here, as well as this groove here, but being careful to leave
the lighter areas alone. I'll want to build up a lot
of the brown in this area, as well as towards the top, I can kind of use the brown to define the shape of the
lines up here a little bit. Before I'm then really focusing on these areas
around the bottom. So all of this, shading gets
a lot darker around here, all around here, around here. Just working through this
one section at a time. This is probably one
of the darkest areas, this line along here and
this line along here. I'm just going to
work my way round. So I am going to speed
through the rest of this now. But as I'm sure you
know, if you want to see exactly what
I've done here, then you can see that in the
real time footage section. But it's very much just a case
of filling in the shading, building it up gradually, not pressing harder,
can't stress that enough. And bit by bit really adding to the darkness
of the pumpkin. Before we move on
to the next color, one other thing to particularly note here is along the bottom. So I hadn't really added any
shading along the bottom. But you'll see on the
reference photo that it is much darker down the bottom, and then there's
a lighter strip. It'll be easiest if I show you. There's the darker
bottom along here. Then there's this
kind of lighter strip that's more like the bright red, and then it's darker
around the mouth again. So if I add in extra
shading down the bottom, it's going to help create
that more curved look, and we can see it, so
we should draw it. Thing I think it's
worth remembering, or just at least bearing in mind when drawing is if
you shade an area in, make it darker, then
you're pushing it back. If you make an area lighter, generally speaking, you're
bringing it forward. So by adding extra
shading down the bottom, we're kind of pushing
this bottom section back and making the
pumpkin look curved. Just tweak a few
areas around the top, really start defining some
of these lines up here. Because right now, we don't have a huge amount of shading
around the edges, and you can't really
see the zig zag. It's going to make my life a bit easier if it's a bit clearer. Drawing it in in the
lighter areas and then lightly fading that out into
the rest of the pumpkin. L et's also add a bit of shading around the top, as
I mentioned before, we following the lines
that are around up here. And again, that's making these zig zags up here
look a bit more defined. It's going to make it
look more like a lid. I'm just following exactly the
same as what I did before. When we were in the
previous section and I marked in all of these
lines initially. Whilst I'm adding
some of this color, I'm also going to
add a little bit of extra shading around
the edges of the mouth. In some areas of the mouth, particularly here
and along some of the bottom and these
two patches here, it kind of has this
reddish brown tone. Right now, I've only built it up with the more
yellowish color. Let's add to that, adding in those two marks
on the right here, and generally adding some
very light shading just to begin to slightly
adjust the color. From here, I want to
be thinking about the next most prominent
color that's missing. So I'm still thinking about
some of the darker colors. I think we need to really build up some of
those darkest values. Now, as I mentioned before, the dark umbra is
the darkest pencil I'll be using in this drawing. It's very dark brown. Generally speaking,
where possible, I don't like using black. I'd like to try and
avoid it if possible. Only because I think it looks
a little bit too harsh. I think it looks a bit nicer and softer if I use a
dark brown instead. Let's go over this
area down the bottom. This is one of the darkest
areas in the whole drawing. Really filling in the lines
and the patches I can see. I have marked them in
already a little bit. I want to be
particularly filling in. There's kind of a
rectangle shape here. It's then also very dark
underneath the pumpkin. And then this area down here is particularly
dark as well. Also going to shade a little bit up onto the bottom
of the pumpkin here, just to further accentuate that kind of curved look
that it has down here. So going the whole
way along the bottom. And then I can start focusing on this dark area over to
the left hand side. Just going over this patch that I previously added in
in the last chapter. You'll see I'm
still not pressing really hard, I'm still
pressing lightly, just letting the
color build up by going over it a number of times. Once I'm happy with this
area down the bottom. I want to be working over
the rest of the pumpkin, adding in any other areas that need to be
made a bit darker. So I'm basically going to work over the whole of
the pumpkin again, just going over these
darker patches. So this is very similar
to what we were doing a second ago
with the Siena brown. Just going over those
darkest patches now, all of the patches that
I mentioned, really. So like how this
is a darker patch. Here, this patch, this
patch, this patch. You can see that they actually darker than the Sienna brown. It needs a little
extra something just to make it that
extra level darker. Particularly all around here, it's just really got
that very dark brown, dark, umber kind of feel
to it. Don't stress enoug. This is very similar to what
I was doing a second ago. Now, you'll see
that it's looking very peculiar and patchy, but that's fine. Don't
worry about that. That's how we expect
it to look right now. Now, I am more focusing
with this pencil on the bottom section
of the pumpkin rather than looking higher up. Obviously, when I was drawing
with the Ciena brown, I added a lot of shading
towards the top of the pumpkin. I'm really wanting to focus
on the bottom half here. This is really where
those darkest areas are. Once I've gone all
around these sections, I can once again think about the most prominent
color that's missing. So from here, the most obvious difference
between my drawing and the reference photo is that it's not bright
orange enough. Right now, it looks
a very muted orange, maybe even just a red. So I'm going to do is go
back to that orange pencil and go over most of the
pumpkin brightening it up. I'm once again using
circular motions. I am still holding the
pencil further back, but I would say I'm
pressing a little bit firmer here than I
have been previously. I don't want to be applying
loads of pressure, but I don't want it to
be really light now. I do really want to start
building up more color. Really brightening this up. I'm working my way
up the side here. I don't want to add as much orange though
towards the top. I do want to brighten
this area up, but I need to press
a lot lighter here. I can press harder,
a little bit harder, still not full force, but a little bit harder
towards the bottom. But as I get to this section, I really want to
be fading it out because the top section is so much lighter than the bottom. I can work my way mostly
around the mouth, I would say I'm focusing on, really brightening this up. Now, as I get around these patches of light
towards the top, I don't want to go over those. I want to be focusing on working my way
around these patches. Those patches of light,
if you'll remember is more like I would
say a very light pink. And I can just fade the
orange very lightly onto those pink sections so
that it doesn't create too much of a stark
contrast, I guess. And then I can build up some
reasonably bright orange around the eye, but gently fading up from
the edge of the eye. Keep working our
way around building up that orange,
brightening everything up. I do think it's making it
look more like a pumpkin, which is obviously what we want. We're certainly getting
closer color wise. And I'm working my way
around the pumpkin. I, as I've said before, like to work reasonably
systematically. And once I worked my
whole way around, I don't want to
forget about the lid. So now I'm focusing particularly around where I
added in that darker pencil. So particularly around
this line along here, it's a little bit darker in this V shape down
the bottom. A little here a little bit
sort of brighter orange here and along here, but generally all
along this edge line. I need to be building
up some of that orange. And then once I've built
up the orange, once again, want to be thinking about what's the most obvious
thing that's missing. I'm actually going to go
back to that yellow ochre. This is a kind of earthy
yellow, I would say, to build up some more shading
in these areas of the eyes. We did previously add this
in and block this in. But I just think it's not
looking bright enough. So again, with a kind
of medium pressure now. I'm just going to go
over these patches. Building up the color a little bit more so that it's a bit more obvious that the inside of the eye that is kind of
the edge of the pumpkin. So working my way all
around all of the edges, I'm literally just going over
them and blocking them in. And then once I've done that, I can think about if there's any other areas that I want
to build this up as well. And actually, I'm going to
focus on adding some of this around the edges up here. So around these edges, this is really quite
a bright yellow. You'll see, it's a
similar yellow to this. It's not really a bright yellow, but has that kind of
earthy yellow undertone. So I want to be adding it all
along here along here and And it's going to
begin to define. At the moment, we
can't really see these dark shapes because we're not doing a
dark background. They're probably less obvious. But I do want to be
making sure that the yellow isn't
getting on these areas. So I can add in all of
the shading along here, and I also want to be
adding some of this yellow along the edges of
the orange section. You'll see that you can
kind of see it here. It's got that earthy yellow
kind of color to it. There is definitely some
bright yellow here as well. We can add that in a bit later. So I'm going around
the edge here and defining the edges of
these bright sections. And then I can also, just, as I mentioned, shade up into the orange and really mark in this top
section a bit better. It's all becoming a lot clearer, what needs to be
where, what is where? Though it still
looks very patchy at the moment it is
coming together. So let's also use the
same color just to add a bit of the earthy yellow
to the top section, as I've mentioned before. I don't think it's all a kind of generic orange around the top. So I'm just going to add some
of the yellow in as well, and that's just going to tone down that bright
orange a little bit. Hey, by the end of
this second chapter, you should have a very
thoroughly marked out pumpkin. That is looking a
bit more vibrant. It's looking a
little bit better. There's still a long
way left to go, as in terms of brightening
up the colors, but everything should
be much clearer now. In the next section, we
can focus on giving this a final brighten up and add
in those final details.
8. Adding in the Final Details: Brighten up and finish
off this pumpkin. And I want to start off by going back to the Sienna brown. Now, as I've mentioned
a number of times, the bottom half of this
pumpkin is really quite dark. It's still not dark enough, and I want to, at this point, really start defining
these brown areas, adding a bit more pressure and just trying to
smooth everything out. Now, because we've
been building up so much pencil
here up until now, order to get this to be as blocked in as
I'd like it to be, I need to start pressing
a bit firmer now. So what I'm doing here is
what's called burnishing, where you press a lot firmer, apply a lot more pressure, and it kind of just
smooths everything out and fills in the last
parts of that tooth. So particularly doing this
down the bottom section. I'm not going to want
to do this as we get higher up in the
drawing, because, as I've mentioned,
a number of times, the top half of the
pumpkin is much lighter. I do want to be applying that firmer pressure down the bottom. As I start getting higher up, I'm starting to
press a lot lighter, so it kind of fades out so that we don't get
any abrupt edges. So I'm going to work my
whole way along the bottom. Now, you'll see that even though I'm pressing pretty firmly, it's not stopping you
from being able to see particularly that dark
umber that I built up. You can still see the kind of
patchiness of the pumpkin. I'm going to add a little bit of lighter shading on
that light dip. And I'm just going to
work my way around putting a decent amount of
this Sienna brown down. Now, I'm bearing in mind
as I go here that I don't necessarily want to firmly put this color down everywhere. So some areas where I want either the light areas towards the top to show
through a bit more. Or if I want the red around
the bottom to show through, I will leave some areas so that I can build
up the red a bit. So add some extra light
shading around the top. This is similar to what we were doing in the last chapter, I think, I just need
a bit more of it. It was just not
looking dark enough. So very lightly building
up more of the brown here. And also going over
the sort of dip here, building up that brown
a little bit more. I can go back to applying some firmer pressure as we work our way around the
top of the mouth. So I'm really just doing
the same, I would say, or very similar to what I did at the start
of the last chapter. But for areas that need
to be a bit darker, I'm now applying firm pressure, whereas higher up, I'm
applying the light pressure. So you can see me applying
that firm pressure down here. You don't want it to be so firm that it breaks the pencil, though, so do you
bear that in mind? I can use this pencil to
maybe tidy up some of the edges around the nose, for example, it's not
looking quite crisp enough. Just going to work my way
around building up this color. So let's speed
through this section. I'm literally just going over all of these same
areas, but much firmer. Do you be very careful as you go around the edge of the mouth. You don't want to accidentally
go into the light area. I want to make sure
that it's really nice and crisp
around that mouth. Now, you'll see
that as I do this, there are some areas which still have some white spots of
paper showing through. Okay, particularly at the
top just under the eyes, because I can smooth that
out with a lighter pencil. I don't necessarily
want to just block in the whole pumpkin with
this It's not really dark. It's a kind of mid
to dark color. But everywhere there is
this sort of darker, more orange brown is where I want to be applying a
decent amount of this. Once I've worked around the top, I can continue working
around the bottom, and I do want to add quite a lot more of this
color around here. Although it is worth
remembering that I will also want to add some of that red over the top
of this in a second. Because a lot of the red that we added is all looking
quite muted now. I find that the more that
I build up the colors, the more I add, the more I
need to do up until the end. Is at the beginning
of the last chapter that red was really
looking quite prominent. It's now looking quite sort
of soft and weak, I guess. After working my whole
way around the pumpkin, it should look
something like this. So we now want to focus on briefly building up
some of the top section. So around here is the same
areas that we did before. So going along the edge, building up that brown literally did exactly the
same in the last chapter. And just needing
to do a bit more because now I've added
some of that orange and that earth yellow over the top that we did
in the last chapter. It's all looking a little
bit kind of muted. Once I'm happy with that, I
want to go back to the red and really brighten up
these red sections. And again, I would say that I'm applying a firm pressure here. And I'm going to use this
pencil to smooth out and brighten up the whole of
the bottom of the pumpkin. Now, I am still working
in circular motions, even as I'm pressing hard because I do want to have
a solid block of color, but I want it to be as
smooth as possible. I don't want it to
look really scribbly. And you can see what a huge
difference this is making. It's looking much more vibrant. To go up the right hand side as well and then just
really build up a lot of this color in a
lot of the darker areas. You can see that I can
build this up over a lot of the brown
just covering up, and it's helping
smooth out some of those patches of the paper that you can still
see showing through. Go all the way along
the top of the mouth. And then I also don't
want to forget to go back over these brighter
areas down the bottom. We've built them up a few times. But as I say, they're not
looking bright enough. And I want to make sure
that I'm doing this on both sides just
like I did before. Now, generally, the
pumpkins are looking a lot brighter already, but we want to keep
building it up. There's still a
lot of white spots of the paper that
are showing through. It's not looking as
smooth as I'd like. So let's go back to
the peach color. So, as I mentioned at
the very beginning, this patch of light towards
the top isn't so much white, I would say, it's like
a very light pink. So I can use the peach pencil, partly to go over this section, I can kind of apply
some firmer pressure around the edge to
smooth this section out. This is a good pencil
to do it with. There is a hint of pink here, but also it's not
too dark a color. So it's a good one
to smooth this out without losing all of the
shading that we've built up. I'm just going to sort of fade into that light
spot in the middle. So use this to kind of
smooth out the edges. I can apply some
lighter pressure around the edges so that it smooths
in a bit more gradually. So I can go around the edge of this light spot here as well. Just working my way over the
top and you can see that it's kind of softening
those light patches. They still look like
they've got a pink hue. But they haven't got
really abrupt edges, and it looks nice and
smooth around the edge, which is my main goal here. So once I'm happy
with these patches, and I've softened all of this, I can once again
be thinking about the most prominent
color that's missing. I'm going to move back
now to the yellow ochre. This is that kind
of earthy yellow. And I'm going to use
this to really blend together the top
sections of the pumpkin. So the bottom section is
looking quite nice and smooth. The top section still has a lot of white
paper showing through, and I just don't
think it's blended particularly thoroughly. So, I'm again using
firm pressure and circular motions to
blend this top section. And I'm going to go over the whole thing with this pencil. Now, I do want to
be careful as I get to those pink sections. So I can blend here. This is more of the yellow, but I don't want to be going
too far over to the right and risk ruining all of that nice shading I've
built up with the peach. But I can fill in, for example, this area where we can still
see a lot of spots of paper. You can see how nicely
that's smoothing it out. And I can add a little
shading around here. But you can see I'm
not going all the way over into the pink section. Going to work my way along from the left to the right
as I usually do. Just going over, you
can just see any of these spots of white paper. That's what I want to
be going over here. Just firmly blending
it all together. You might notice I'm not being hugely accurate about this. I am being, as I
say, more cautious around these light spots,
but generally speaking, I am just giving it a
really good firm blend, and it's making
the whole pumpkin look much more vibrant
and realistic. Once again, once I've
gone over all of these sections on
the main pumpkin. I don't want to
forget about the lid. So I can go over all of the
areas where I put the orange. As we get into the
yellow, though, I am easing up on my pressure. I don't want to put as much of this color on that yellow
section towards the bottom, 'cause I do think it
needs a brighter yellow, as I mentioned a
little while ago. But I can use this
to really blend together those orange
sections towards the top. And it's just making the top of the lid match the main pumpkin, I think, a little bit better. I'm generally happy
with the main pumpkin. I want to be thinking
about building up some more color on the
crate at the bottom. So we're going to
start off by using a ruler and just
tiding up this line. It doesn't look right, and it's because it's just a bit wonky. So let's use a ruler to
straighten this line, and you can see that
there's quite a lot where I need to add in some
extra shading. A line down here as well, because there is
that light strip separating the lid of the crate and the
side of the crate. And I also let's just use the
ruler along here as well. I don't always need to do this. But I think in this case, it's going to look
a lot better if we use a ruler to make
it more accurate. So I'm going to use This is the 50% cold gray pencil to just mark in where I will need to add that extra shading
along that line. And I really want to think about where I need to
build up this color. So, first off, I've picked the
cold gray or the cool gray rather than the warmer gray because looking
at the reference, just if you compare
it to your swatches, it definitely has more of a
cold gray feeling than warm. It's definitely a colder
kind of color wood. Going to work along
building up the shading, particularly along these strips. So there's quite
a lot of darker, gray, darker shading,
particularly on this corner. And then there's a
lot here and then you can see all of these lines. It's the grain of the
wood that we can see. But basically, I just want
to draw a series of lines, some darker and some lighter to kind of try and roughly
build up this texture. Now, I don't need it to
be absolutely perfect. I want it to kind
of look like wood, but it's really not the
main focus of the drawing. Once I've built up some of
these lines along here that I can use a darker color to
build up a bit further. I also want to be adding in
this dark line along here, for example, this is
kind of a cool gray. And maybe build up some of the lines along here,
although, primarily, I think that these are more like the dark umber that
very dark brown. So I can build up some
more shading along here, but I'm not going
to worry too much about building up
all the details. As I say, I think it needs to
be with that darker pencil. I am going to really
start blocking in this area over to the left and generally start building up some more of the gray along here to try and build up those
darker colors a bit more. This needs to look like
a reflection in the end. I am going to use a tiny bit
of the 70% warm gray here. Only because it's so much
darker than the cold gray. The 70% cold gray just
doesn't have the same edge. And we can always
go over it with some other colors to kind
of take that warm edge off. Particularly maybe a
lighter cold gray. We can go over the top
of it a bit later. To go again over these lines, particularly those darker
lines that I mentioned, to try and give it some
of that wood feel, as well as along the edge
here, as I mentioned. And then I just want to be roughly marking in some
of the wood grain here. So you'll notice that there's these kind of sweeps
of the wood grain. There must be a knot down
the bottom. We can't see it. And it's creating these
kind of curved lines. So there's curved
lines all along here. We're going to want to add,
and then towards the top, there's curved lines curving up. And it's particularly dark level with the left hand
edge of the pumpkin. Going all the way
level with here. Go to bit by bit, build this up. It doesn't need to be perfect. I can't stress that enough. Generally, I think, just
building up the idea of the wood texture and because
it's on the color it is, that kind of creates the
feeling that it's wood. So I can build this up bit by bit and then add some light
shading over the top, just to make the whole
thing look a bit darker. But as I said, it doesn't
need to be perfect. I'm going to switch to the
very lightest cold gray and just smooth all of this out. So again, I'm using a
firmer pressure here. It's smoothing out
that wood grain. Again, we don't need
to worry about adding too much detail here because that's not what this section
is about, I wouldn't say. We just want to be creating something that
kind of resembles wood. Also going to add some
of this lighter gray on the stork at the top. You can't see a
huge amount of it, but I just want to block it in. It does have this
cool gray undertone. And then I'm going to go
back to the dark umber and just define a few
of the darkest parts. So, particularly around the
edge and around this area, as I was mentioned a few
times, is particularly dark. Although I don't think that's blending in quite well enough, so I'm just going
to go over it with that Sienna brown and just blend this in
around the edges. That's looking a lot more
like a reflection now. Going to go over some of these darker areas on
the stem at the top, just with the dark umber again. And then I want to brighten
up a lot of the yellow areas. So I'm actually going
to use a much brighter yellow than I've
used before now. This is the canary yellow. And I'm only going over the
brightest and lightest parts. So some areas where it looks like it's that
extremely light yellow. I don't want to go
over those areas. But actually, a lot of it is a brighter, more vibrant yellow. L et's brighten up
some of these areas. As well as I just
want to go over, there's some yellow
that's kind of going over the
mouth and the eye. So like along here. This area is actually
quite a bright yellow, and there's this strip
going along here, which is a bright yellow. So I'm just going to
lightly add these in. It doesn't need to be perfect. I just want to add
a final kind of brightness to it.
And then that is it.
9. Summary: All right, that is the
end of this course. Now, if you've enjoyed this
course, please do review it. And don't forget to upload your drawings into
the class projects. I would love to see
what you've done. Happy drawing, guys, and I'll
see you in the next course.
Gemma Chambers, Pencil Artist
