How to Draw Flowers with Colored Pencils

1. Introduction: Flowers are one of the most beloved themes, inspiring artists from all over the world, and if you like to draw, you have certainly tried drawing them. However, if you want to get better results using only colored pencils, this class may be what you're looking for. Hi. My name is Matos Macedo, and I am specialize in realistic drawing. In this class, I will show you how you can draw beautiful flowers using only colored pencils. Through four different studies, I'll show you how you can prepare the sketch of your drawing, how to choose the right pencils for coloring, and I will also present the best method for using your pencils in order to obtain vibrant colors with a refined finish. My goal is to show you how to get the best results without the painting on tutorials, and using the materials you have, whether they are cheap or professional. Believe me, Colored pencils are a median with enormous potential, and you can create incredible drawings without needing huge pencil sets with thousands of colors. Are you ready to take a floor? Drawing to the next level? If the answer is yes, let's draw. 2. Class overview: Hi, thanks for joining us. Here, I'm just going to tell you what you're going to see in this class. We are going to make four drawings and they are organized by complexity, not necessarily difficulty. I say so because you see that the method applied to each of these drawings is strictly the same. What changes is that each drawing has more elements and details than the previous one. Each one will require more time than the previous one to complete. For each exercise, I'll show you how I choose the pencils I use, how I prepare this sketch, and I break down all the process I follow when using colored pencils. As you can see, each drawing has a different predominant color, so you have the chance to practice with different colors. All drawings were made on a five size paper, so you won't need large paper for this class. By the way, speaking of paper before we start the drawings themselves, I'm going to talk about the materials used in this class. Let's get right into it. 3. Materials: Okay, so in this video, I'm going to talk about the materials I used in this class. Starting with the paper, I recommend acid three papers that are at least 180 grams/square meter in weight. I prefer smooth papers. Papers with more texture give a more rustic finish, which I personally don't like. All drawings in this class were made in a five size. So it's important a paper is at least 148 per 210 millimeters or five dot eight per eight dot 3 ". The paper I usually draw on is Strep More 300 series bristles move. Since the sheets are larger than a five, I'll cut them using a craft knife and a metal ruder. Regarding the colored pencils, you can use whatever pencils you have regardless of the brand. I just recommend that you have at least a 24 color pencil set. As this way, you will probably have two different options for the most basic colors, such as yellow or blue. I'll be using my fabric castl polychromo pencils. I have a pencil set with 60 colors, but individuals, you see that you try to use as few pencils as possible to keep things simple. You definitely don't need such a large set. About the erasers, you see me use two types of erasers. This is an eraser pen, but it's a regular plastic eraser. Only its shape, it's like a pen. I like this type of erasor because of its precision when erasing. The other eraser I'll be using is the needed eraser. This eraser will be useful for lightning the catch lines without erasing them completely. You will need a pencil sharpener, of course. If you opt for a regular sharpener, make sure it is suitable for the pencil you are using as pencils can vary in thickness. Personally, I like to use this hand franked sharpener for my colored pencils. It makes my pencils perfectly sharp quickly and easily. You can also use a craft knife to shape the lead when needed. For the sketches, we will need a graphite pencil, and I recommend a hard pencil for this. I'll use an HB pencil, and you can opt for the g or two age as well. In addition, you will also need a graphite pencil for the tracing method. I recommend that you have a four B or even darker grade. I'll be using an eight B pencil. Also for the tracing, I'll use a red ballpoint pen. I recommend that you have one of these or a blue one to trace the outline of the less drawing. Also for the tracing, I'll use a masking tape or painter tape. To clean the drawing of razor, residue, or even pigment dust from the Colored pencils. I'll use a table brush. I have a large one, but I'll use a makeup brush, since it's a very soft brush. And to protect your drawings once they're finished, I suggest using a fixative spray. It creates a protective layer of ish over the drawing that protects it from the touch of your hands, and also from sunlight, which deteriorates the colors applied with Colored pencils. And that's it 4. Leaf: Picking the colors: In this video, I will show you how I choose the pencils I will use to draw. This is one of the most important videos in this class, because I want you to be independent when drawing. In other words, you won't need a teacher to choose the colors for you. For this reason, in these videos, I will not say the name of the pencils I'm going to choose. Firstly, because it's unlikely that you have exactly the same pencils I have. Secondly, I want you to develop your perception of colors and know how to make choices according to the pencils you have. So let's go. The first thing we have to do is to look at our reference image. It's true that there are various shades of green here, but it can reduce them to a few basic tones. To do this, I open my reference image in an image editing software. I use adobe photoshop, but you can use procreate or even windows paint. We're just going to need a very basic tool that you can find in practically any image editor, which is the eye dropper. Almost always the function of this tool is to identify and select the specific color in the image. So in this reference, if you had to choose the most basic colors of green that you see here, which colors would you choose? Well, aiming to simplify the colors, I identified four basic tones. Using the eye dropper, I then selected these colors and made a sample of each of them, the corners of the image. Okay, these are the colors I'm going to try to make with my pencils because I believe that with these four colors, I can draw the entire leaf. There at the tip of the leaf on the left, we also have a slightly more pronounced shade of yellow and a brown, but I'll leave those two colors for later. Now that we have defined the colors, we need to draw the leaf, Let's choose the pencils. To draw this leaf, I separated tin shades of green that I have in my pencil case. It's good to have a wide variety of pencils, but this also has its problem. Sometimes you can have many similar colors, and you can get lost when it comes to coloring your drawing. In my opinion, it is much better if you only set aside a few of these pencils so that you can simplify the process as much as possible when drawing. So my goal here is also to separate only those pencils that I consider essential to get the colors I want. Reduce your options to the minimum necessary. This will make your life much easier. So let's start with this darker tone. In my kits, I found five shades of dark green, more or less similar to this first color. Make small samples of these colors on the paper and leave the pencils in the same order on your desk, so you'll know which one you use to make each tone. Do. Among these pencils. The first one has a tone very close to the one I see in the reference image. So I'm going to pick this one to use in the drawing. Moving on to the next tone. I will repeat the same procedure. Here, I separated the shades of green most similar to color number two in the reference image and made samples on the paper. Once again, I found a single pencil that has a similar shade of green to the one I see in the image. But here I made a mistake. In this color that I marked as number two, it would actually be number three. It turns out that this color is still too light. That's why I picked another darker shade of green to see if I could reach the tone that I identified in the photo as number two. To darken this green, I chose the same pencil that I to make the first color. So by mixing these two pencils, I got a tone very close to color number two. Summing up. Color number one is made by one pencil, and Color number two is made by mixing the first pencil with a lighter shade of green. Color number three is this second pencil of a lighter shade of green. In other words, I'm doing three colors using just two pencils. Maybe I could even make one of these three colors using three different pencils, but I find it easier to just use two and mix them together. Number four seems to be a less saturated version of the green tone number three. By less saturated, I mean that it is a weaker, duller shade of green, closer to gray. Generally, to make colors less saturated, I blend my color with a gray colored pencil. In addition to being less saturated, color number four is lighter, close to white. So in addition to needing a gray, I will also need a white pencil. First, I tried to combine the green I have here only with white, but I didn't think that was enough. In fact, I need a shade of gray too. So to make these four colors identified in the reference image, I will use these four pencils that I have here in my hand. Make a gradient on your paper using these colors. So you can see how you can transition from one tone to another using only these pencils, going from the darkest to the lightest shade of green. You may also include black if you want. Do you remember those shades of yellow and brown that I identified on the left side of the leaf? I also looked in my pencil case for pencils that could make these two colors. For the yellow, I chose a tone from two different pencils and the same holds true for the brown. It's true that in both cases, the pencils I had here were very similar to each other, and perhaps it didn't make much difference choosing between one tone and another for each color, but it was necessary to at least separate a pencil for each so that we could go through the drawing at ease. 5. Leaf: Sketching: Now we are going to sketch our drawing. Again, I work under the principle of simplification. Regarding the reference image, once again, using photoshop, I simplify the outline of the leaf into a polygonal image. After all, working with geometric shapes is easier than organic shapes. When drawing the sketch. First decide how large your drawing will be. Then mark the edges of the drawing on the paper. Then trace the shape of the figure using short lines. I'm using an HB graphite pencil here, which is a lighter and more precise pencil. Avoid soft pencils like 2b4b or six B, as they tend to get messy and mix with the pigment of the colored pencil. Prefer harder pencils like HB, h2h. Using geometric shapes, it is easier to trace the outline of the leaf as it actually is. You can finally draw curved organic shapes just like the reference image. I. Having drawn the cotter of the lif, we can now erase the construction lines, which are those geometric lines that we've just used. You can also try lightening the counter lines like I'm doing here. For this, it's even better to use a needed eraser, which I'll show later in this class. Anyway, you can use a regular eraser like this one I'm using. It's an erasor pan, but it's a common plastic eraser. 6. Leaf: Shadows: Finally, we can start to use the cos. Remember, I only chose four different pencils, a light green, a green, a shade of gray, and white. In addition to them, I will also use the black colored pencil. I start using the light green to highlight the outline of the leaf. This way we'll have a well defined shape to work in. Then I enhance the counter lines in some specific points using the dark green. My guide will always be the reference photo. In the process of coloring a drawing, my suggestion is to start with the darker colors. This will help you understand the drawing from the beginning, and you can use the shadows as reference for the next colors. In the exercises of this class, I will always start by the shadows. That's what I'm doing here. Using the dark green pencil, I'm marking where the darkest areas of the leaf are, starting from the top half of the leaf. Try from the beginning to imitate its texture if possible. It's not necessary to copy the texture in its smallest details. However, it's interesting to scat its shape. This is just the first layer of colors we're going to do, but that doesn't mean it could be done negligently. After all, the colors that we'll add later will overlap those of the first layer, mixing with them. Try to map out from the beginning where you see the dark green tones and doing circular motions with the pencil mark the shadow areas. Now I'm using the light ring pencil, but I'm still highlighting the shadows. It turns out that these are lighter shades. For now, I want to leave the light points blank and mark everything around them. Notice in the reference image that on the left, we have a brighter area in the upper half of the. Here I added some touches of black color. These will be the darkest areas of the entire. Still, these are these great touches that will be mixed later with the dark green tone. The shadow areas are already more or less defined. I'm just making some adjustments to enlarge a dark green area here and there. I'm trying to make the drawing look more like the reference image. Oh. Regarding the shadows, the top half of the leaf is already done. I'm adding a layer of light green, but I'm already getting a head to the next step. The truth is that this separation between the shadows and the subsequent layers is a purely didactic division. The different stages actually end up mixing with each other. I will insist, however, on this division between the steps so that we can better understand the process I am following. Let's move on to the lower half of the leaf. The procedure is the same. I marked the darker areas of this part of the leaf with a dark colored pencil. As it is lighter than the upper area, the dark green pencil will be less used here. Before that, I highlighted some counter lines using the black. If you want a more realistic finish, try once again to bring some of the texture from the reference into your drawing. Oh. 7. Leaf: Layering: Now, let's start working with layering. This technique is the foundation of working with colret pencils. If you're using good colored pencils and good drawing paper, you will be able to overlap many layers of pencil. This is great for getting consistent coverage, blending different colors, and achieving a smooth finish. The only downside of this technique is that it requires some time and dedication. However, if you want a smooth, more realistic finish, try following the process presented in this class. In my opinion, it's worth dedicating more time and effort to produce higher quality work that makes us proud. I'm using the light green pencil to give a more general coverage, not putting too much pressure on the pencil. There's no need to exert force here, invest in circular motions that are a expensive, a little wider. As the shadows almost disappeared, I went back to using the dark green here. It is normal to have to do this type of adjustment. Now I'm going to start using those two extra colors that I identified on the left of the leaf, brown and yellow. This yellow specifically has a tone closer to green, and I found it interesting to use it throughout the rest of the leaf. I thought this tone was needed to make the leaf more vibrant and interesting. Once again, I'm using the pencil lightly without applying too much force to make a more general coverage. 8. Leaf: Blending: From here on, the colors are more or less well defined throughout the entire drawing. For this reason, we can move on to the next step which is blending. The goal is to give a smooth finish to the drawing, removing the grainy look by covering it consistently. Most of the time, I will use lighter colors, which in this case are light, green, yellow, gray, and white. Now, I do add a little more pressure when using these pencils. Try not to push too hard though. In addition to breaking the tip of the pencil, you'll risk overdoing it, and it's difficult to make corrections at this point. Alternate between the different colors to achieve the desired balance. If you think this drawing is too yellow, then use the green again. If it's too green, add a bit of yellow, and so on. The top half of the leaf is where I see more shades of gray, especially on the left. I'll use the white more for the final touches. Add a bit more of light green and add some touches of yellow here too. As we are close to finishing the drawing, we can now add details more assertively. Here, finally, I will use the white color by adding a little more pressure on your hand. The white is excellent for blending the colors of the lower layers. Use it more in the brightest areas obviously. The fact that I'm using Fabacstal pencils from the polychromo series is important information. This pencil has its own specific behavior. If you are using pencils from other brands, the white may leave marked, more apparent lines, actually drawing white lines over the other colors. The Fabacstl pencils tend to be more delicate, slighting lightning and blending the colors. Then before using a white pencil in your drawing, do some tests on a separate sheet to see how your pencils behave, especially if you're using pencils from brands such as Kohontah and Prisma color. Avoid unpleasant surprises by testing first. And this is the leave done. I hope you are satisfied with your drawing as I am with mine. See you in the next video. A. 9. Blue Phlox: Picking the colors: Moving on to the next exercise, let's not draw a blue flower. We'll always follow the same procedure. First, we identify the basic colors of the reference image. Then we'll see which pencils most resemble these colors. Finally, we'll try to cut down the number of pencils used as much as possible. Again, I have broken down the flower into four main colors. With these four colors, it will be possible to draw all the petals. Now, to choose the pencils to use, I'll start with the darkest color once again. For this color, I found five candidates that are more or less similar to it. If none of our pencils come close to a certain color, consider mixing two or even three pencils to obtain the desired color. In my case, for this first color, I mixed two different pencils and included a black. Maybe it's a bit too much on my part. After all, it's a very dark color. A dark blue pencil combined with black should be. The second color, which is less dark, I can do with a single pencil. In my case, the pencil is one of the pencils chosen to make the previous color, which is great. For the third color, I only found three pencils that would suit me. I knew that a blue pencil alone wouldn't be enough, but maybe it could be used in some mix. As you can see, I took two violet colored pencils and the one on the left. The lighter one seemed closer to the desired color. Then I mixed this lighter violet with a light blue tone. Okay, I was satisfied with this mixture. Finally, for the last color, I separated two shades of light blue, one of which was already used in the previous color. I wanted to know which of these pencils will be most similar to the desired color when used combined with white. In the end, the two colors were very similar, so I chose the same blue that I used in color number three. This way, I was able to simplify my range of options even more. This less lighter color is more diluted throughout the petals. It will be used more to blend the previous colors, a process that you could already watch in the previous lesson. This ability to choose colors and can also be developed over time. Then these exercises are an excellent opportunity to practice your color perception skills as well. In the end, I separated six pencils to draw the flower petals, including black and white. Now let's catch the shape of the flower. E t. 10. Blue Phlox: Sketching: Okay, so this flower is known as wild blue flux, and I give you this information just out of curiosity. I confess that I'm not a flower expert. And if you chose this class because you like the subject, you probably know about flowers much more than I do. In any case, it's a beautiful flower that will give us the opportunity to work with blue and violet color red pencils. To draw a sketch, I always recommend using a harder graphite pencil, which in my case is the H B. Start by defining the size and how your drawing will be placed on the paper. I myself had problems with the sketch of this drawing because initially, I drew the entire flower before I realized it was too small. I wanted to take up more space on the drawing sheet, which is in A five size as for all the drawings of this class. Then before starting to draw the flower itself, pay attention to how the simplified shape represented by these red lines is placed on the paper. Notice not only the size, but also the tilt of the image. All of this will define what the drawing will look like in the end. Oh. After erasing the first sketch, I gave it another try. I the image, noticed that I drew a pentagon around the flower. This is an interpretation I made of the shape of the flower. After all, it has five petals. I thought these guidelines would help me in the process, and they actually did. I also tried to connect the ends of the pentagon to the center of the figure, which was also helpful. So I tried to draw the petals using these lines as a reference. Another reference I used was the space between one petal and another inside the pentagon. We call this space negative space. This is an additional reference that helps you draw the petals more precisely. Satisfied with the outline, we can then erase the construction lines. After that, I will also light in the sketch lines using a common plastic eraser. You can do this using a needed eraser as well. Now let's use the colored pencils. 11. Blue Phlox: Shadows: To start coloring this drawing, I'll take the lighters, blue, pencil and make a light outline on the flower. I'm going to give a more detailed explanation of how I color this first petal. Then I'll go through the other petals in a quicker, more summarized way. After all, the process will be repeated on the other petals with only slight variations in tone. Finally, I'll pay special attention to the central area where we'll have more shades of gray and white. A Da Da Now, on top of this blue, I'm going to darken the shadow a little more using a black pencil. Black is a very interesting color because it gives more depth the drawing. On the other hand, it's best not to go overboard with this pencil because black is not a very natural color. It is usually mixed with other colors in nature. It is rare to see pure black. Now, with the second shade of blue, a little less dark, we can extend these shadows a little more. Here it is easier to observe what the texture of the petal is like, how it extends from one end to the other. Notice how I finish each of these shadow marks. Try to finish them lightly as if it were a gradient that dissolves until it disappears. This will make a difference so that we have a smooth transition between the shadows and the intermediate tones of the paros themselves. I'm going to limit the marking of the shadows with these three pencils. Later we'll come back to make adjustments when we have a coverage done and have a better sense of the colors as a whole. Thank you. Tank. D. 12. Blue Phlox: Layering: With this light shade of violet, we can start covering the petal. Once again, I'm going to try to emulate the texture I see in the reference image. Try to observe places where the coverage is lighter. That is where we have highlights. If you can vary the amount of color in each area, you'll be able to give the petal a greater sense of valume. It is true, however, that we are still in the first layer of color. With this shade of blue that I separated for this flower, I'm going to repeat what I did with the violet pencil. Since the shadows almost disappeared, I'm going to reinforce these shadows now once again with the dark blue pencil. Alternating the colors between them, I overlay several layers of colors. Now I'm using the violet pencil once again, reinforcing and expanding the shadow marks I made at the beginning. Using a light blue pencil, I'll try to adjust the general tone of that pedal. There is still plenty of room for using black, because as I use other colors, the petal becomes lighter. 13. Blue Phlox: Blending: Now that I've reached a reasonably satisfactory level of coverage, I'm going to start using the white pencil. Then it's a matter of alternating the colors, once again, trying to achieve the desired tones. In this step, you can increase the pressure on your hand when using each of these colors. This color mixing technique that we do by increasing pressure on the hand is called burnishing. In this last layer, then, try to fill in these small white pores that give a grainy appearance to the drawing in order to obtain a smoother and more homogeneous appearance. Oh. 14. Blue Phlox: Other petals: Well, this is the process. It is the same as what we saw in the leaf exercise and will be repeated until the end of this class. What will change in the next exercise are the colors used and the level complexity of the drawing. But the process will be strictly the same. This second pal has a piece cut off in the reference. So I imagined what that tip would look like and drew it here. We will go through the next petals in a more summarized way. You will notice that I'm doing practically the same thing on all the petals, starting by the shadows, moving on to the intermediate tones by overlapping layers, reinforcing the shadows again to achieve a balance between the colors. And in the end, I come with the lighter color to blend all the previous colors applied to the paper. If you find it hard to do the texture of the flower, you can draw a simpler version, ignoring the texture. Try to at least bring out the variation in light and shadow that each petal has, varying the amount of dark and light colors within the area of each petal. Let's watch them as the process is repeated on the other petals. Don't get it wrong. Coloring each of these petals takes some time. So don't rush when coloring them. Take your time and take the opportunity to practice each of the steps presented so far. You already know rationally what you have to do. Now it's a matter of putting everything into practice. In the end, I'll share some tips for the center of the flower. D. Tech. For the center of the flower, I'm going to use two shades of gray, both of them code, which I thought went well with the overall tone of the flower. Try noticing these shades of gray in the reference image. Here, I start with the darkest gray pencil between the two I picked up, the limiting the hole in the center of the flower. I also tried to link this area with the surrounding petals. I'm using the dark gray pencil because once again, I'm starting by the shadows. Here, again, I use the dark gray pencil to make the transition between the black and the surrounding petals. Here the shade of blue is very light, so I'm going to use a light blue pencil. It is indeed a subtle intervention. Notice in the image that this area is almost white, so I'm preparing the ground for using the white pencil in the end. Now I use a lighter shade of gray also in a subtle way. Yes, this area is white, but not purely white. There is a slight shade of blue and gray here. Add some touches of these colors. I then come with the white applied with more pressure. In the cases, white pencil does not need to be very sharp. In fact, it is too sharp. The tip will probably break. So don't worry about sharpening your pencil first. By using this pencil, the colors applied here will blend. However, much of the white will actually come from the paper itself. Oh. To finish it up, I take the black pencil for the final adjustments. And here we finished another exercise. After coloring five petals, you're certainly more confident at using Colored pencils, right? I hope so. 15. Yellow Rose: Picking the colors: Now let's move on to the third exercise of this glass, which is this yellow rose. I loved doing this exercise, and I hope you'll like it too. As usual, we'll start by identifying the essential colors of the reference. Here, we have the yellow area of the flower, but we also have the green leaves. I'll treat the two parts separately. Focusing on the yellows, once again, I broke the flower down into four main colors. As a matter of fact, I noticed that the shaded area is predominantly brown. The choice of colors is not always so obvious, and we have to believe in what we're seeing. As you can see, the shaded area is not a yellow mixed with black, but a dark brown tone. I have four options in my pencil set, and as usual, I made torches of each of these colors. However, none of these pencils alone left me satisfied for co number one. In the end, I decided to mix two shades of brown with an awkward tone. Yes, I ended up using three different pencils here. This is color number one. I have many yellow color options. This may seem like an advantage, but it can also leave you quite overwhelmed. In my case, these colors are very similar to each other. Then choosing just one of the yellows is a great help as I don't want to get lost among my own pencils while drawing. My color number two is the result of mixing one of the shades of yellow I have with the same shades of cor used in color one. I've already decided about color number three, which is an intermediate shade of yellow. I can do it using just one of my pencils, which is great. The same goes for my fourth color, which is a lighter shade of yellow. It is certain, however, that I will combine this color with white just as I will use black in some parts of my drawing. So in addition to the black and white pencils, will use five other colors to color the yellow part of the flower. Regarding the shades of green, I will use the same pencils used in the first exercise of this class, giving special emphasis to the shades of green closes to yellow. In the case of greens, I identify the three most important colors. Now I challenge you to select the best pencils you have to make these colors. There is no need to make a perfect copy of these colors. What really matters is that you're drawing has coherence, maintaining a pattern and continuity between the colors you have. 16. Yellow Rose: Sketching: Shall we sketch our flower? Once again, I will do the drawing on an A five side sheet. The first step is to define the size and placement of the subject on the paper. Then I start by marking the edges of the drawing, paying attention to the empty space that will be left by the flower. Notice the distance your drawing will leave in relation to the margins of the paper. That's what I mean by empty space in this case. As I am using an HB pencil, it may not be very easy to see the sketch I'm making. However, you already know the process. I always start by drawing more basic dramatic shapes that give the structure of the drawing. A Notice that I started the drawing from the outside to the inside. This is what I usually do in more complex drawings. This way, I don't run the risk of making the drawing as I add details. By defining where the stem and leaves are, I feel relaxed about adding the details of each part. The yellow part of the flower itself has its complexity, but that is exactly why it can and should be simplified. Start with geometric shapes, drawing the structure using not too long straight lines. Having made the structural lines, I use the needed eraser to reduce the intensity of these lines. Take care when using this erasor, if you have one. Do not rub the erasor against the surface of the paper. Just tap the pencil lines a few times so that the erasor lifts back up the graphite from the surface. This erasor can be very useful, but sometimes it can some stains, if not used properly. After drawing the structural lines, I once again use my HB pencil to draw organic more natural lines. This becomes an easy task with this geometric sketch made in advance. With the sketch finished, just use the razor once again to clean the and with the needed eraser, we once again, reduce the intensity of the strokes, touching the razor and pulling the graphite without rubbing it against the paper. Mm. 17. Yellow Rose: Greens: It's time to color our drawing. I'll start by the leaves and stem that is with the shades of green. In addition to black, I will only use three green pencils, one darker, one intermediate, and one lighter. White and gray will also eventually be used in more specific situations. The stem is certainly the easiest part of this drawing, so it's a good idea to start from it. Using the darkest pencils first, I started always by doing the shadows. Do as we did in the steps in the previous exercises, gradually overlapping layer upon layer. This reference features some more intense shadows, and for that reason, you see me use a black a lot here. However, notice that even in the darkest areas, I add at least a touch of green. This helps to reduce the weight of the black while contributing to a more natural appearance to the drawing as a whole. Mm. Use this stem to practice layering colors. Don't be in a ruh to finish any part of the drawing. Pay due attention to all of them, taking the time you need to do them with care and dedication. St. At the end of each part, you can increase the pressure on your hand a little to blend the colors and obtain a smoother or more homogeneous finish. Here, I use the sor because I accidentally scratched the paper with one of the plenzos. D. 18. Yellow Rose: Sepals: The process is repeated in the leaves, so I won't dwell too much on these parts of the drawing. Even though I'm showing this spot faster, believe me, I made each of these leaves very carefully. While making the shadows of the drawing, I added some details little by little, especially the thorns of the leaves. To do this type of detail, always keep her pencil sharp. Oh, D O D. Oh, D. M. I. C. O ccasionally, you may find some errors in your sketch. Here, I had to make a correction with the eraser. As you can see, I like to start the process by lightly tracing the outline using one of the colored pencils. This helps me visualize the drawing better and understand what I'm doing. To do this, the pencil must be well sharpened. After all, the most important thing is to have precision in your line. It is very important that the strokes are light. Otherwise, the drawing would look like a cartoon. It will be less realistic. Of course, this will depend on your goal. Let's watch for a while the coloring process of each of these leaves. A h. Oh. Here, once again, I made a small mistake when I failed to notice that a yellow part of the rose appeared here between the leaves. If I let this error go, it wouldn't be a big deal. This is a small detail. But in any case, I wanted to stay true to the reference. O. When we get close to the end, it becomes easier to see if the colors are well balanced in each of these parts. After all, we can compare one part of the drawing with another that is one leaf with another. Here, you saw me make each part of the flower separately, starting with the stem and then making each of the leaves. You can try another approach, drawing, for example, all the green parts of the flower at once, finishing them all at the same time. It's another possibility. Here I'm passing the light green colored pencil over all the green parts of the flower. The goal is not only to mix the colors, but also to seek coherence between the parts, a pattern, a unity to the whole. I'm also applying dark green and black pencils over the shadows with the same goal, seeking a balance between the parts, intensifying some tones and reducing the intensity of others. This is one of the most enjoyable parts of the process, as you actually see the drawing in a more general way. So this was the green part of the yellow rose, and it already gave us a lot of work. Now let's move on to the yellow part, the flower itself. 35 35 19. Yellow Rose: Shadows: Now we get to the yellow rose itself, and I'm going to do this part using basically five pencils in addition to black and. Once again, starting with the outline using the lightest yellow pencil I have. I usually outline with lighter pencil because I don't want these lines to be seen in the finished drawing as I want it more realistic. Now I'm going to map the shadows. And for that, I chose this occur or colored pencil. I'm already doing some gradings with this shadow as the shadows are responsible for the volume of the drawing. This petal in the middle, despite the predominantly yellow tone, is partially covered by the petal on the right, which is blocking some of the light, so the ocher and brown will be very visible here. Here I'm going to darken the outline a little bit to make it easier to see as I can do that here because one of the sides is dark. Never draw counter lines around the shadows, always try to finish them in a soft and faded way, unless it is the case of a harder shadow, probably the result of artificial lighting. That's not the case here. In any case, always be guided by the reference image. In this lower area, we actually have more intense shadows, and that's why I'm using the black. Now, to push the shadows a little more, I'm going to start using brown pencils. As they are darker colors than ocher, I work with them in a more restrained way always within the areas limited by the ok. A These petals above are indeed darker, but don't rush to darken them as there is a risk of overdoing them. Let's color this drawing little by little to avoid exaggerating one color or another. This other shade of brown I'm using is a sienna brown. It's a warmer brown. I want you to use it because it will give me a lively, more vibrant tone with more saturation. This will greatly contribute to the overall tone of the drawing. I For now, I'm still using this brown very lightly, just to test the waters. Later, when I have a better general idea of the colors, I may or may not put more pressure on my hand to apply this color. Here I use the black very carefully. Depending on the area you're working in, the use of black should be quite subtle, and is the case here as it is a relatively light area. I chose to use this color because I really see a little bit of black in these shadows. After having made a base for the shadows, now I add new layers with these same colors, aiming to adjust the shadows. I'm going to use this car color a lot as it is intermediate tone between brown and yellow connecting the two colors. It will serve as a base for all the shadows in the yellow area practically. Browns are used in a more restrained way, appearing in more specific points. The more I use these colors, the greater depth I get in the flower. Ohh 20. Yellow Rose: Layering: Now, focusing on this middle petal, I start working on the layering in a more general way. For this, I chose this slightly darker shade of yellow. I'm going to use this color to practically cover the entire petal. Still, I'm going to leave some empty spaces where this petal is most illuminated. In these areas, I use lighter shades of yellow in addition to white. It is in these lighter areas that the texture will be more visible, at least when it comes to this darker shade of yellow. I'm going to use a lot of card tool to work on the texture. Speaking of cer, here it is. In this step, I will use it in a very subtle way as I'm drawing a very delicate texture. With a very sharp pencil, I made a series of very light lines, trying to create a texture that I see in the reference image. It's impossible to make a perfect copy, and that's not even my goal. What I want to do is something that resembles that texture. This is a quite delicate work. I think it's worth a try, even if you're a beginning artist. After working with longer lines, it was time to work with shorter lines, as this is how the texture appears in this area of the drawing. I also reinforced some of these longer lines and reinforced the general shading, always with the same walker pencil. Here, I'm using the Sienna brow once again to warm up the general tone of these shadows and the touches of cher. With this lighter shade of yellow, I will cover the entire petal in focus. We are not at the blending stage yet, so we will make a lighter coverage. This lighter yellow can be used even over the shadows, just to have a greater integration between the colors, working on the transition between them. Do you remember that gradient that I do at the end of each video about choosing the colored pencils? With the last lighter color, I usually come up with it and use it over almost all the other colors going backwards. This is a way to work on the transition between them smoothly. And that's basically what I'm doing here in practice. Here, I confess that I got carried away and paid a lot of attention to the details. This is a slightly more advanced approach to drawing. You don't need to work on the texture like I did if you don't feel comfortable. You have to be careful here because this is a very subtle work. I'm using this car pencil very lightly, barely touching the surface of the paper. It's very easy to overdo the details. As my approach to drawing is more realistic, I love making these textures that explains how much attention I give them. Here, I probably entered a unit state of law and joined the process to its fuist 21. Yellow Rose: Blending: Being finally satisfied with the texture, I took my yellow pencils to finally work on the finish of this pedal. We can apply a little more pressure with our hand as the goal is to reduce the porosity of the coverage and mix the colors. So I alternate between the two shades of yellow that I e for this flower. Obviously, the lighter shade of yellow is for the brightest areas and the darker yellow is for the shaded areas. Oh Check your drawing to see if you have shaded enough these areas. You may still need to wear the more consistent layer of ocher and brown there. For the most intensely lit areas, I'll use the white pencil. Observe the effect it produces on the other colors and evaluate whether that's what you want for your drawing. And so this is what this pedal looks like. I just love the result, and I hope you'll like your drawing too. After making the final touchings, we'll move on to the other pedals following the same approach. T. 22. Yellow Rose: Other petals: In the other petals, we have two different situations. Here further to the left, we have darker petals, so we have a predominance of ocher and browns in this area. On the right, on the other hand, that petal is brighter. So we have a predominance of yellows, especially the light yellow and white. Let's start with the darker area, making heavy use of ocher. Then I adjust the overall tone using the Sienna brown pencil. Now, I'm with the intermediate yellow to make a more general coverage layer. Oh. There are some touches of dark brown to intensify the shadows in a smaller area. Notice how this brown lowers the overall saturation. It's a shade of brown closer to gray than Cena brown, which is warmer. In other words, every time I use each of these pencils, there is a change in the general tone of the drawing, sometimes becoming, sometimes becoming duller, more neutral. Notice that even in this area, I use the lightest yellow available. It's true, however, that I use it in a more restrained, more subtle way. Once again, the goal is to provide coherence to the drawing as a whole. After all, all the petals will have the same colors, right? What changes between them is the amount of light that each one receives. Hey. To finish this drawing, let's now move on to the right most petal. To no one surprise or start with the shadows using cher. There are almost no shadows on this pedal, however, the light comes from right to left, eliminating this pedal almost entirely. Now, moving on to the darker yellow And now with the lighter yellow covering the entire pedal. Do this layer more lightly, avoiding putting excessive pressure on the pencil. This allows me to assess whether I will need the darker yellow again and add new layers with it. If I saturate the paper with the lighter yellow, it will be more difficult to make this adjustment later. Also, I know I'm going to use the white, so I need to leave room for it to With the darker yellow, I even tried to add a very subtle texture here almost imperceptible. I just can't help myself. Now, with the lighter yellow and white, I will finally mix these colors until the paper is saturated. Time to put my pressure on the pencil. A 23. Yellow Rose: Last touches: I'm done with the petals. Y. Now I'm just going to make some adjustments to the green areas of the drawing. I left some areas blank, which will be covered mainly with light green, white, and even some touches of ocher. I also felt the need to intensify some shadows using mainly dark green and black. These adjustments happened because I have a better sense of the drawing as a whole. And eventually, I noticed some flaws here and there. I make these final adjustments to all the drawings I make, whether they are in color or black and white. Thank. And here we finish another exercise for this class. I hope we had fun as much as I had making these yellow ros. Let's end this class then with the drawing of a red rose. 24. Red Rose: Picking the colors: Now for the final exercise of this class, we will once again analyze the colors of the reference image. Don't be scared by the complexity of these rows. This exercise is not necessarily more difficult than the others. It just takes longer. You will notice that the process for coloring this flower will be strictly the same. The only new thing I'm going to bring in is that I'm not going to draw this rows free hand, but rather using tracing method to sketch it perfectly. In other words, you don't need to know how to draw to do this exercise. But first, let's find the colors. I have a lot of red options in my set. There is no way to work with all these options at the same time. Even because the colors are very similar to each other, and I myself very noticed the difference between some of them. Having once again summarized the reds of the rows to four main colors. Let's find the best pencils for each of them. The first color is a very dark shade of red, and to my surprise, none of my pencils look like it. The solution, however, is simple. Just mix some of these shades of red with brown and black, and we will have our color. I decided to complicate things a little as one of these basic tones is not actually red, but red violet. It's not that I had seen violet in the reference image, but I thought that using only shades of red from start to finish would be a bit boring. I wanted some variation of colors. The decision to add a violet to the mix was more artistic rather than technical. Allow yourself to do this type of experiment, adding different colors to your drawings. This can yield quite interesting results. The second color that I highlighted in the reference image is quite similar to the first. In fact, I'm going to do it using the same pencils of the first color. In other words, it's the same color. What changes is that I will cut down the black to create this tone. The next two colors I highlighted are also very similar to each other. The difference is that one of them is more saturated than the other. So I thought about using a maximum of two pencils for these two colors. First, I need to separate these colors from those seven options that I have here. It's an excessive number of options. In the end, the solution I found was to make the red less saturated by combining two pencils. Since color number four is a more common red, so to speak, I knew that one of my pencils would be similar to it. So the solution for color number three was to use this common red with some less saturated red. In the end, I chose this neutral shade of red called venetian red. If your color set is more limited, you probably don't have this red. Don't worry. Use the colors you have. To obtain a less saturated red, you can use some shade of gray or brown, for example. The fewer color options you have, the more mixing you will have to do. And these are finally the pencils that I separated to create the red tones of the. To the selection, I added the white color. D D. 25. Red Rose: Tracing: Now I'm going to show you how you can sketch this rows perfectly. I decided to bring this method because this reference is actually quite complex, due to its amount of details. Feel free, though, if you want to draw this rows free hand. To follow this method, you will need the reference printed, the sheet of paper on which you are going to draw, and a sheet of common print paper. These three paper sheets are all in A five size. Let's start with the cheap paper sheet. Using the darkest graphite pencil, you have covered this sheet in its entirety. I usually leave just a bit of the margins empty, so I can manipulate it without getting my hands dirty. Use the softest pencil you have. I'm using an eight B pencil. If you have a four B pencil or six B, that's great. If you don't have any dark pencils, no problem, use whatever you have available. Then with a piece of toilet paper, I will spread this graphite over the surface of the paper. I usually fold the toilet paper into triangles to have more control over it. This step, however, is not necessary. All you have to do is spread the graphite. Repeat the procedure once or twice to darken it more. Now let's fix the printed reference on the sheet we're going to draw on. Use at least two pieces of tape to prevent the reference from moving when we are transferring the lines. Now, position the graphite sheet between the reference and the drawing sheet with the graphite side facing down. Now, with the help of a pen, I will trace the contours of the reference. So we will transfer the reference lines to the drawing sheet through the graphite sheet. Avoid using excessive force when tracing these lines, however, press just enough so that you can see the lines on the drawing sheet without damaging it or creating grooves. You don't need to use a pen for this. Any pointed tool can do the job. However, I suggest using a pen that is not black so that you can see which parts of the reference you have already traced. I particularly like using a red pen for this. Transfer as much detail as you can. The goal is that you don't have to imagine anything when you are coloring the drawing. This way, you have one last thing to worry about when working with the colors. You may be wondering why the reference looks like this with the counter lines already highlighted, looking like a drawing. This is a trick that I do with photoshop and that I also use it to spare printer ink. Additionally, this makes it easier to see the counter lines. I will make this reference ready for printing available to you, so you can use it to And so we transfer the details from the reference to the drawing sheet. From time to time, observe how the counter lines are turning out. You may have to reduce some of the lines. When you're sure that you have transferred all the necessary details and that the sketch is finished, you can finally detach the reference image from the drawing sheet. So let's move on to the colors. 26. Red Rose: Greens: Just like I did with the yellow rose, I'm going to start the rows with the greens. Using a dark green pencil, I make a light outline on the leaves and stem. For the greens, I'm basically using these four pencils, one of them being black. The greens are the same ones I used on the yellow rows. Later on, I will need brown, white, and gray as well. You already know the process. I start using a darker pencil to map the shadows. From the beginning, I leave some areas empty for the lighter shades, which will come next. Take advantage of each of these steps to practice layering and become more experienced with using colored pencils. Although the greens are not the focus of this exercise, they do require some time to be well done. That's why I suggest that you enjoy every part of the drawing and do your best. For example, with this first leaf, try to draw the most beautiful leaf you have ever drawn in your life. It took me more than an hour to finish it, drawing calmly and paying attention to all the details. Here, I use a bit of black to intensify the shadows. And here, I use an intermediate green tone, which is a little more yellowish. There's a bit of lighter green here that won't be used much on this leaf as this leaf has a darker overall tone. Now I'm going to make more layers with the same colors, adjusting the values until I reach the desired tones. Black and dark green will be dominant here. Notice that I left empty spaces for lighter grooves in the leaf. I think that drawing them like this is more efficient than trying to use an razor later as razors in general can't erase colored pencils very well. It will also be difficult to make fine details like the using jot an razor. Then after using the intermediate green, I use light green and gray to fill in these empty spaces. The gray serves to reduce the saturation of the light green. Notice how this light green clashes with the other colors. As I don't have a light green that it's not very saturated. The way to decrease the saturation is to combine it with gray. After that, it's a matter of making adjustments, overlapping these colors once again, but to blend them together. 27. Red Rose: Stem: We can then move on to the other green areas. The process is the same. Difference is that in the stem, I saw some shades of brown, which will be added soon. Although black is present in all these green areas, be careful not to overdo it. Use other shades of green to balance the colors. Even the shadows are green, being a very dark green. On the stem, the upper area is more greenish, and the lower portion has some shades of brown. That's why I divided this stem into two main areas. Overall, this stem is very similar to that of the yellow rose. Try to make a gradient from left to right, making a smooth transition from dark to light. This will give naturalness and valume to the stem. At the bottom, you will notice that I changed the colors a little. Here I'll use more black and brown. I'm used the same browns used in the yellow rose. So, have you already separated your brown pencils for this part of the drawing? I hope so. This is a very dark area, but it also has shades of green, even a touch of light green. The connection between the stem and the leaf is a little lighter, and in this area, I use a bit the ocher, as well as light green and gray. 28. Red Rose: Other leaves: As for the other leaves, there is not here. Just pay attention to the different shades they have. Let's watch the process of the next two leaves. At the end of the second leaf, I used a little the co grade to reduce the saturation, and then I came with the white pencil to add some details. These are subtle details that are visually very interesting, so much so that I decided to go back to the previous leaf to do the same type of detail using gray. Now let's move on to the third leaf, which is the darkest of the three, although the difference is small. Here I'm going to use dark green and black even more. Don't forget to leave empty spaces, though. Here I'm using this yellowish green tone that makes a big difference in the drawing. If you don't have a green like this, combine whatever green you have with a yellow pencil. After I came up with the black Benson, once again, I wanted to darken this leave even more. Notice that I make a series of small gradients within it. These are small transitions between dark and light. Now, some touches of light green and gray in these lighter details. And then I continue with the same dark colors until I get consistent and well finished coverage. And now the last touches of cold gray to finish this third leaf. To connect the leaf to the stem, I used black, brown, and ker. Gray came later to blade these colors. 29. Red Rose: Sepals: To finish the lower area of the rose, we will make these small structures called sepals. As I said, I am no floor expert, and the name of these structures is a mere curiosity. What matters is identifying the colors found here. What I see is mainly a combination of lighter, green, browns, and grays. Let's see how to work with each of these colors here. As usual, I start with the darkest colors I identify. In this case, it's brown with some touches of plaque. I also see a bit of brown on the tips of these structures. Then I add greens to the mix, especially light green. It's worth adding a few thorns here and there with the brown always based on the reference. And here is the gray, which is quite present in these sepals. In the best areas, I will combine it with white. Then I make some adjustments with brown and gray once again, and this part will be finished. The other sepals are very similar, and the process for drawing them is the same. I'm going to use the same colors for them. This sepal in the middle is the lightest of them, hence the predominance of light green, gray, and white here. This intermediate shade of green was the darkest pencil I used here. And finally, the fourth and last sepal, which is made just like the others. Let's watch the process to finish this first part. 30. Red Rose: Shadows: We are finally at the main part of the rose. This drawing is actually more complex and will take more time than the other exercise of this class. But you will notice that the strategies applied are the same. The first step is to define the coors well. And for that, I will use this shade of violet very close to red. This step is very important because it's easy to get lost among the different parals of the rows with a well sharpened pencil, slowly go through the lines of the sketch, leaving each part of the flower well defined. Look at the reference whenever you're in doubt and take your time. Now we move on to the next step which you already know. I'm going to map the shadows. And for that, I'm going to use the same pencil. In some areas, it is visible that I make a gradient going from dark to light smoothly. This is more visible on the larger petals. Try to work on the two. See this As you can see, I'm not just mapping the shadows, but I'm already defining the intensity of each one of them, defining where they are more or less dark. This definition will give me guidance when I start using darker colors such as black and brown. It's easier to think about this kind of variation when you're working with a single core pencil. So it might be a good idea for you to do that, too. This makes the step longer, but it will make the following steps easier. Now I use the next color, the black. Strictly speaking, I'm going to go over the darkest shadows I've done so far. However, the process will be easy, after all, simply go over what was done with a violet. In some places, I dark at more, but it's important to note that this is still the first layer of shading. After I use the other colors, a will change, and it will be necessary to make adjustments again with the darker colors. This reference has some very intense shadows in some areas, which creates an interesting contrast and renders volume. There is not a variation in colors here. What varies most are the light and dark values. They are what will define these rows. Each petal hides a gradient and knowing how to make these transitions, is what will define the quality of our drawing. We will see soon how this will be worked out. Tete penalty penalty. Penalty. 31. Red Rose: Layering and blending: From here, I chose to work petal by petal. You don't have to follow the same path. You can very well work all the petals at the same time. However, if you want to follow along with me, do the petals one at a time. Even though I'm starting with red here, that doesn't mean that the shadows are finished. I still want to tone these shadows with brown. It is a slightly saturated brown, which will slightly reduce the intensity of the red while at the same time, it will make a transition between black and violet with the reds. Despite all the base made with violet, I will still use the color a lot. I think it adds a special touch to the drawing. As the light comes from right to left, these left most petals tend to be darker. Hence the more pronounced presence of black, brown, and violet here. After defining the shadows well, I've been using red more intensely, already putting some pressure on the pencil and mixing the colors. This is the process that you will repeat on all the petals, but with the Caveat that there will be variations in tone between them. This petal is further to the left, but it's very exposed to light, having a vibrant shade of red. So I used one of the reds practically without mixing it with other colors. Only after I used a little bit of brown and violet to adjust the tone. These next two petals are an example of the tonality variation that we can observe. The first darker has a greater presence of black and brown while the second will give more space to an intense red. A Brown in theory would be more related to shadows, but in some cases, it will be part of the mix with red. That's what we're going to see in this petal here. I think it's a good idea to work petal by petal because if I did a general coverage with red, perhaps some details would be lot and I would be lost between the petals, not knowing when one begins and the other ends. Plus drawing a single paddle is a lot less intimidating than doing them all at once. Don't you think? I think that drawing each part at a time is much more friendly. And this is for several reasons. You may look at this flower as a whole and think that drawing it is very difficult. But what about when you focus your attention on a single pedal? Drawing one single pedal is definitely easier than a whole flower. The process as a whole can also seem very long, but focusing on each part at a time gives you a better sense of progress. So forget about how much time you will need to finish the drawing, but always focus on the part where you are instead. Interestingly, that flower that seemed so challenging is actually the sum of several parts that are relatively easier to draw. The big secret is not to allow the parts to be incongruous with each other, transforming your drawing into Frankenstein. That's why I always set aside some time in the end to make adjustments in order to link the different parts. We'll do that in this drawing too. When coloring with red, I leave some empty spaces between one petal and another. This is because there are small light lines on the edge of some petals. As I always say, my guide is a reference image. From here on, you see me use more of these less saturated red, the venetian red. The truth is that the variation in red tones here is very subtle. You may not even notice this variation. By the way, this variation in tones can be done with violet and brown pencils. So don't worry too much about having another shade of red just because I'm using two of them. Of all the colors I'm using here, this venetian red is certainly the important. 32. Red Rose: Central area: Now let's get closer to the central area of the flower. Here as the petals are even smaller, will sometimes do them together. I don't have to change the pencils all the time. These petals towards the center tend to be darker, which is why there is a greater predominance of violets and browns here in addition to black of course. At first, I'm going to use more brown and violet. I'm also going to combine a lot of the two reds I chose for the drawing in this area. Don't worry if you don't get the shadows right the first time. I'll have to make some adjustments myself in the end as the rest of the drawing isn't done yet, and it's difficult to compare this area with the others this way. The amount of shading we should do also depends a lot on the context and that it's still missing here. Now you can see that even in the darkest areas, the red will still be present. M. Here, we can observe that despite the presence of reds, brown and violet predominate initially. But this drawing is still very light, so I'm going to use a lot of black here later. As I said, this central area is not as I would like it to be yet. I will work on this area again later. Let's move on though. The bat. Here, I work once again on the shadows with the brown, continuing what I did on the other petals. This is a way of giving coherence and unity to the drawing as a whole. I'm also using more venetian red, which acts as a transition between brown and pure red violet itself also fulfills this role. Finally, I come with the most intense red to blend the colors. O M Behind this petal, there is this strange detail. I don't know exactly what it is, but I did it anyway. This doesn't matter to me because I see the reference image as a set of shapes, stains, each of them with different hues and values of light and shadow. That's what matters to me. Even though I don't understand exactly what this slighter stain means, I make it anyway the way I see it as an abstract form. For me, it's a lighter spot within a darker area, and that's what I'm going to bring to my drawing. 33. Red Rose: Last petals: Here we are back to this larger petal, and I start by making adjustments to the shading with the brown. In the final stretch of this drawing, I will add some nice details here. Before that, however, I will worry more about the shadows and the red tones leaving this petal in harmony with the rest of the drawing. This petal is divided into two parts, one darker and the other brighter. So on the left, I work a lot on the shadows, now adding brown. While on the right, we will have the predominance of reds. When adding reds, try coloring in different directions. This will prevent pencil marks from being visible, allowing for a smooth finish. As you progress, you can increase the pressure on the pencil to reduce the porosity of the surface. This is probably the area where the red will appear in the entire. In these petals on the right, I thought the reds were a little less saturated in the reference. It's a very small difference. Maybe that's just in my head. Anyway, for this reason, I used more the venetian red in these petals. This gave me more peace of mind when using the more intense red as it wouldn't leave an overly saturated finish. This is the area that, in my opinion, presents the most interesting shadow play. That's why I invested a lot of time in this area working with brown and violet. Black also plays an important role here, especially in the end. At this point, after you have made so many pedals, you should be doing it pretty well. I hope this exercises allow you to learn a lot about using colored pencils. And so, shading layer after layer, we managed to build a very well done coverage. It does take time, but it's worth it for the result. 34. Red Rose: Last touches: Now that we have a sense of the whole, we can improve what may not be so good. The first thing I felt necessary to improve was the intensity of the shadow in the middle of the flower. By making this area darker, the flower will gain depth as we increased in contrast between the central area and the other petals. In some cases, I may adjust the tone of the red by using other colors such as brown. Just pay attention that your drawing will probably be different from mine. That means that your drawing may need other adjustments, not necessarily the ones I'm making. Here, I finally add some details with the white pencil. It's just a few touches here and there, nothing too exaggerated. In some cases, the goal is to add a bit of light. In others, the goal is to reduce the saturation as with this petal on the right. Here, I add a very subtle texture detail using the same white pencil, and then I add the venetian red to adjust it giving a more defined shape to these white lines. And here we are done with our red rose. In fact, it's a more complex and laborious drawing. I hope you weren't intimidated and that you challenge yourself along with me with this reference. It was a pleasure for me to do this drawing with you, and I hope you enjoyed the journey too. O 35. Conclusion: Thank you so much for watching this class. And I hope you had fun and learned a lot with the exercises. Don't forget to post your drawings in the project section. I'll be happy to give you feedback, give you tips on what you can improve if necessary. Since you've made it this far, please leave a review for this class. This is very important so that I know what I can improve when creating new classes for you. Thank you very much again, and I see you in other classes. Bye.