How to Draw Large Detailed Drawings with Coloured Pencils: Drawing an Ice Cream Sundae

1. Introduction: Is possible to make some absolutely stunning drawings with colored pencils that really bring objects to life. But particularly if you're drawing something quite complicated, it can seem very overwhelming. I want to show you today that actually, if you break a drawing down into a series of sections, it's maybe not as hard as you might think. My name is Jima Chambers, and I've been making online art tutorials since 2020. I've helped tens of thousands of people improve their art. But today, I want to focus on something very specific. I want to show you how to draw this ice cream Sunday. Now, I will show you everything that you need to know to create this from the materials that you'll need and how to create this sketch, and then we can work through it step by step. And hopefully you'll realize that it's maybe not as overwhelming as you think. Let's get started. 2. Class Project - Drawing an Ice Cream Sundae: Class project, we will be drawing this ice cream Sunday, and I want to talk you through this step by step. Now, first up, if you want to use specifically the colors that I'm using in this drawing, do have a look in the class resources because I have included swatches of all of the colors I'm using. Also, I will talk you through how to create the sketch, but if you want to use my sketch, again, that is available in the class resources. Once you finished your drawing, please do upload it to the class projects. I would love to see what you've done. Now, before we start working through the process of drawing this ice cream, let's talk through the materials that you'll need. 3. Materials for Coloured Pencil Drawing: Think about the materials you'll need to create this drawing. And first up, you will need a set of colored pencils. Now, if you want to use exactly the same pencils as me, I'm using prisma color colored pencils from the set of 72. But you don't have to use pencils as expensive as these. You could use something like Crayola, for example. What I always think is more important than the exact pencils you're using is that you use the right paper. I always recommend using a smooth bristol board paper. Is a really nice, thick, and obviously smooth paper that I find allows you to build up the pencil really nicely. The most important thing that we need to be able to do here is build up a lot of layers of the pencil, which will build up all of the colors and all of the contrast. It wouldn't be possible to do this on something like printer paper or sketch paper. It's just too thin. Step, you will need some way of sharpening your pencil. Now, I always use this hand crank pencil sharpener. I particularly like that I can change the blade when it gets blunt, but you don't need something as fancy as this. As long as it creates a really nice and sharp point, that's all you need. Next up, to create the sketch, you will need a graphite pencil ruler and an eraser. I'll show you in a second how to use these to create this sketch. Next thing you'll need is something you're going to have to make is not something you can buy. This is a set of swatches. What this is is a way of me seeing what every color looks like actually on the paper. Generally speaking, you'll find that the barrel of the pencil and the lead isn't an accurate representation of what that color looks like. You want to see what it actually looks like on the paper. What I do is I draw out every color in my set from as light as I can go to as dark as I can go, and then I make sure I label it. And that just makes the whole drawing process so much easier. I can compare my reference photo to my color swatches and much easier, select an appropriate color. Now, the final thing you'll need is some way of looking at the reference photo. For every drawing I create, I always work from a reference photo. Because I focus on drawing realistically, I find this is the best way to create a realistic drawing. I do need some way to look at I always like doing this on my iPad. I particularly like that I can zoom in to see all of the details. That said you don't need to do this on an iPad. You could look at it on your phone or print out the reference photo. So you will need a set of colored pencils, the right kind of paper, a pencil sharpener, a graphite pencil, ruler, and erasor, some color swatches, and some way to look at the reference photo. So let's get started on this drawing, and I want to start off by sketching out my outline. 4. Sketching the Outlines: Let's create the sketch for this drawing. We want to put a nice and light sketch down on the paper, which is really going to help map out what needs to go where. Now, first up, I am going to be pressing quite firmly as I'm drawing my sketch. That is because I want to make sure you can see it on the camera. Do you make sure when you're doing this, you press, much lighter. Now, whenever I'm creating a sketch, I always like to do this using the grid method. This is where you draw a grid on your reference photo and a grid on your drawing paper, and you just draw what's in each individual square. It stops you looking at this like it is an ice cream Sunday, and you're just looking at it like it's a series of shapes. First thing I need to do is work out how many squares I need to draw out on my paper. Looking at the number of squares that I've got here on the reference photo. I can see that I need to draw squares that are 2 centimeters wide. I'll draw out the grid just in the center of the paper because that's where my actual drawing is going to go. Then what I want to do is work through this one square at a time. Now, generally speaking, I like starting on the left hand side and working my way towards the right in quite a methodical way. So I want to start with this square here. What I particularly want to be doing is looking at where the key points are crossing the edge of the box. So we're just looking at the edge of the ice cream scoop here. First up at the top, you can see that this line around the edge here is crossing the edge of the box just below the corner. Just a tiny bit below. Down the bottom, this line here is crossing the grid. Just under halfway. I'd say that this is about halfway here, and it's just a little bit more to the right. So I can work out which box I'm supposed to be starting in, so I can count that out, and then I just want to mark where those lines are crossing that grid. So at the bottom just over halfway and at the top just below that line up here. And then I just need to join these lines with the slight curve that I can see within the boox. That's all I need to do for that first box. So Let's look at this box here. We'll start with some of the simpler grids, and then we can move on to some of the more complicated ones. Here, we can see where this line is crossing. The line goes slightly into this box here, and then it's just short of the corner in this box, and this goes to this point. I want to be marking here, which is probably about a fifth of the way in and just under halfway up. I want to put a mark here. So it wants to look at where the strawberry is crossing the grid line. This is just under a third of the way up, I would say, and it curves around and then gets to the edge of this box, maybe a quarter of the way from the right. I can mark in where these objects are crossing the grid. Then once I've done that, I just once again need to join them together. Can see that we're just going through this one box at a time. I'm not focusing on drawing a full Sunday. What I want to be doing is just drawing the individual shapes in each box, and that will create a more realistic and more accurate sketch of my Sunday. Let's do this more box, Let's look at this box here. This is quite a bit more complicated. So I wants to be drawing in both the top and bottom line of the rim of the glass fat. Let's once again look at where these lines are crossing the grid. So this bottom line is a little bit above halfway. This top line is probably about a third of the way down, and it's similar on the opposite side, so I can put little marks on either end. And then I also want to be marking in this little bit of cream that's coming around here. This is going and crossing about maybe a fifth of the way up and about a quarter of the way across, I would say. Also draw in the other half of the cherry going along here, and that ends about level with this cream here. So let's get these shapes marked in. Now, this is quite a time consuming process, but it is well worth really taking the time to get a nice and accurate sketch. It has to be one of the most important parts. If the sketch doesn't look right. Then the whole drawing won't look right. So I'm working my way around marking in all of the key shapes. I want to be getting all of the main outlines, and that is going to make my life so much easier as I move on to adding in the color. Do you remember that if you're drawing in an area with a huge amount of detail and you're finding that the grid lines here are a little bit too large. You could add on a smaller grid, particularly in certain areas, just to help with a little bit more accuracy. Once I've drawn out the whole of the Sunday, what I now want to do is erase the grid lines. So I'm just doing this with a putty eraser. This is the eraser that I have to hand. Use whatever you've got for this. I'm just erasing these lines. If it removes a little bit of the sketch, that's okay. We can always add it back in. I do in actuality want it to be a lot lighter than this. By the time that this is finished, what you should have is a really nice and light sketch. Now that I got my sketch marked out and once again, remember you want yours to be so light that you can barely see it. Let's take a minute to have a really good look at the reference photo. 5. Studying the Reference Photo: Before I ever start a drawing, I always like to take a minute to have a good look at the reference. I think it really helps to get your bearings and see what's actually here. So let me show you what I'm looking at and what I'm noticing on this reference photo, and then we can start putting down some colored pencil. So I would say the ice cream itself is split into two sections. There's a more creamy kind of ice cream along the bottom here, or maybe it's just cream. Then there's an actual scoop of ice cream up the top. Although they might seem reasonably similar in color, I do think that they're very different. Is a more yellowy kind of orangy brown tone to it, and this is much more actual white or the darker shadows are more of a gray. Now, I would say there's more of this kind of ice cream around here as well, more of that slightly yellowish tone. But also a lot of down the bottom here is that much whiter and more gray kind of cream. Well, when we actually look at the cream, as I say, it's not just white, it's white and gray. I think it's often assumed that when you draw white items, you're just drawing white. But you can really see a lot of the shadows on here, are really quite dark, particularly around the shadows made by the fruit. But there's just generally some dark patches all around here. So I want to be drawing in all of these patchy shapes. You'll notice that there are much darker patches on this side, lighter on this side. The light in this photo is definitely coming from the left. Around the bottom, this is a C through glass. The main part of this that I'm particularly going to want to draw is the rim along here. It's a gray. It's a different kind of gray, I would say to the gray on the cream. Then all underneath here, is this wafer? There's all of these or maybe it's honeycomb. There's all of these squares. So we're going to want to draw in. This is all part of adding the detail. All of this has squares. I assume it's honeycomb. There's a lot of detail to add around the bottom here. That said on these patches of ice cream, although there is the odd spot, generally, there's not a huge amount of detail needed to add in these areas. Looking at the fruit itself. I would say this looks reasonably simple. Generally speaking, all of the fruit has a patch of light to the left and then it's darker towards the right. They're generally speaking all very round, except for obviously the strawberry that does have a little bit more detail. These blueberries around here are really very dark, but even so do still have the odd lighter patch like this patch of gray here and this patch of gray hair. So those are the most obvious things that I'm noticing about the reference photo to start with. Let's start drawing. 6. Build up the Lightest Base Layers: Want to start this Sunday in the way that I always do by building up the base layers. I want to be looking for the absolute lightest color that I can see in each area. Let's start off by looking at the lightest color in the ice cream. Bear in mind that the lightest color in each area is not all necessarily the same color. The lightest color around here will be a different color to the lightest color around here. Start off by looking for the lightest color in the ice cream. Bear in mind that the lightest color in one area isn't the same as the lightest in another. So the lightest color in the ice cream, looking at my color swatches, I would say the closest color here is probably the 20% French gray. It's not a perfect match, and the ice cream here is a more yellowish tone than the ice cream here, but the general underlying color, I would say is probably the same in both areas. I want to work my way around. I like to work quite methodically. I'm going to work from the left and move towards the right. There's a few things that I'm doing here. First up, I want to be pressing really nice and lightly. I don't want to be pressing firmly with the pencil here. We will be building up a lot of layers of color, and this is only the first the layer. I don't want to press really hard because I want it to be easy to put more color down as we go. Also want to try and really start mapping out the main shapes here. So I'm right now putting this pencil down on the lightest areas of the ice cream. But I want to be avoiding other areas. So, for example, where the sauce is dribbling over the ice cream, I don't want to put this gray down on those areas. That has a different lightest color. Is making the process a little bit more time consuming because I need to make sure that I am missing these little dribbles of sauce right now. But it will make life a lot easier as we work our way through. Now, beyond pressing lightly, the other thing that I particularly want to be doing is putting the pencil down in as smooth a way as possible. Now, the ice cream itself is generally pretty smooth, but even if we were drawing a particularly textured area, right now, I want to get the pencil down in as smooth way as possible so that we have some base layers that we can build up some of the darker colors. We'll see here that where possible I'm working in some small little circular motions. So rather than just scribbling back and forth with the pencil, if I work in some circle or oval motions, that helps the pencil go down in a much more smooth way. That is all I'm really doing here to begin with. I want to block in all of these lighter ice cream areas avoiding all of those dribbles. Now, this is where it's really much, much easier if you've taken the time to get a nice and accurate sketch. You can just about see my sketch on the paper still, and I'm just working around where I've sketched in these drips. If you want to use my sketch, it is attached to the post. Or, of course, you could use your own sketch. Now, although I'm working lightly here, and I'm trying to get this down in as smoother a way as possible, you'll notice that it looks a little bit patchy in some areas. Don't worry about that too much. Although we do want to try and get it looking as smooth as possible, you don't expect to get it looking absolutely perfect. The will make life easier though is if you frequently sharpen your pencil. I find particularly with prisma colors, they do get quite blunt reasonably quick. If you sharpen them quite often, it not only helps the pencil go down much smoother, but just generally gives more control. I'm starting off here by particularly focusing on the area above that line of the bowl. I think this is the more complicated area. I'm just going to go over a few parts where I think they could be a bit smoother. I don't want to forget I just haven't gone over this little patch at the top. I'm happy with the top section, I can start focusing on the bottom half of the bowl. Now, this is much, much simpler. They're quite large expanses of ice cream down here, as I mentioned a little bit earlier. I want to avoid where the honeycomb is and also avoid where some of the berries are down here. Generally, just marking around the edge of the bowl. Purposely not going to put this gray on the stand of the bowl, the bottom section because I think it's a slightly different gray that we're going to need, so we'll come back to that. Now, from just doing the gray, you should have something like this. You'll notice that I have missed the strip going around the center. This strip along here. I want to avoid this because again, like this stand at the bottom, I think it's a slightly different gray. Now I'm happy with that first color. I want to look for the lightest color I can see in the next section. So I'm particularly looking at the sauce dribbles. And the lightest color that I can see here is this kind of color here. So that is a very, very light yellow. So I'm going to use the cream pencil. And I'm literally just going to put this over all areas where the sauce is. So once again, pressing nice and lightly, once again, you can see me working in circular motions, and it's much easier doing this than it was a second ago with the gray because I've got a little bit of a template on where these sauce dribbles are going to go now. A particularly bright color, it's not hugely obvious, but that's okay because we're focusing on just the lightest colors, we don't expect right now to be making some really bright and obvious colors. Let's also put this cream pencil over where all the honeycomb is. In some areas, it's really quite light. So particularly along here, for example, you can see how light this is. It probably isn't as light as this. Is very light along here. So I can just put down something on the wafer area that we'll be able to build on top of. So once I'm generally happy with the yellow sections, I want to start looking at the fruit. And the lightest colors on the fruit is still it's very close to white. It's I would say a very, very light red, so a pink. So I'm looking at this light color around here and this light color around here. You can see, it's not quite white. It's probably most obvious here. It is just a very light red. So once again, compared the reference photo to my color swatches, and the closest pink that I think I have in my set is this blush So I'm so lightly, just going to block in the whole of the strawberry shape, and also the whole of these berries down here. I'm perpos be putting it over all of the area rather than just the sort of more light area. I'm putting it over the bright red area as well. I think it would just create a richer color as we go here. So there's a lot of the very light colors marked in. Let's start adding in some of the main shapes. Still focusing on the lighter colors and gently and gradually working towards the darker colors. In this chapter, we're only focusing on the lightest colors. I want to be looking at the closest match, I would say to the next darkest color in these source sections. There are some areas in the source that get really quite dark like here, and particularly over in the shadow around this side. But there's also some much lighter areas like around here, for example. And this is particularly the color I want to be looking for in my swatches. So I would say the closest color to this is the yellow ochre. I just want to be using this pencil to mark in all of the main shapes. I particularly want to be working my way around the very light shape. So I think it's easiest to work one section at a time. This is very nicely divided into sections in that it's got each individual dribble. Along this first one, we want to go around this part here, go around here and put most of it down the right hand side. It kind of goes along here and then down here. This one, we want to avoid this light section here and also avoid this little section here. I can block in that yellow acre on the whole of the rest of this dribble really looking at the shape. We also want to avoid this light patch up here. That is essentially all I'm doing. It's just trying to mark in the main shapes. Not so much worrying about if there's an area that's a lot darker, but if there's an area that is much lighter, I want to try and avoid that area. Most important thing is that I kind of think adding in these lightest values is a great opportunity to be mapping in the key shapes and really starting to get bearings on what needs to go where. My goal is by the end of this chapter, it's not going to look like a realistic ice cream, but I want to really quite clearly see what needs to go where. So that as we work towards the darker colors, we can start really perfecting the shapes a bit more, and then later on we can adjust the colors and hopefully get it looking much closer to the reference photo. See, I've avoided a lot of those lighter areas on the last dribble. I don't know what else to call them. So let's work along here. And I think it gets much easier as I get towards the right hand side. As I said, it gets much, much darker along here, so there aren't really any patches that need to be left very light. Now, whilst I'm using this pencil, I want to think about if there's anywhere else I can see a hint of this color, and so I'm particularly looking at the honeycomb areas.'s going to lightly put this pencil over all of the honeycomb, just leaving any area that needs to be left particularly light. So I'm thinking about those lighter areas of honeycomb that I showed you a second ago. But I can pretty much put this over the rest of the areas. So from here, let's once again work our way gradually through the colors. Actually, I'm just going to add in a little bit more of this pencil. This is the cream pencil. As I mentioned, the ice cream at the top needs to be a different color to the ice cream or the cream, I think it is, a bit lower down. The ice cream at the top needs to be made a little bit more yellow. Right now it's looking very gray. Let's just add a very light layer of this cream. It's not about trying to get this ice cream perfect. I just want to try and really map out what's going to go where it is going to make life a lot easier as we go. I'll also just add a little bit of the yellow to this area down the bottom. From here I want to start mapping out the shapes of some of the berries a little bit clearer. So we put down a light layer of that very light pink. Let's now take a reasonably bright red and mark out some of the main shapes to start with on the strawberry. So not looking at all the detail here, just looking at the main shapes. All I want to do is mark in these few dots along here and mark in this zig zag line. And then for the rest of the strawberry, I just want to block in the red. Maybe avoiding the odd curved shape around here, for example. Same on these berries. I want to mark in this circle here, leave the outer area alone and then mark in the rest of this and just put some red down on these berries. So I can mark in the dots mark in the zig zags, trying to get it as accurate as I can to the reference, but it doesn't need to be perfect. Then once I've marked out the shape around the edge of the strawberry, I can just begin shading this in and putting something down in this area. You can see once again, I'm pressing nice and lightly, and I'm working in some smooth oval motions to try and get this down as clearly as possible and as smoothly Same with these berries here. So as I mentioned, I want to be mapping out around the edge, around the edge of those light patches, and then shading in the berries. Now, already, I think this is looking quite good. I think the Sunday is starting to look a little bit like an ice cream. We've obviously still got a long way to go. So at this point, I want to be still working my way gradually down towards the darker pencils, very, very slowly. Let's put something on these blueberries. These blueberries are again a gray in the lighter areas, but not the same gray as on the ice cream. I'm going to use a cold gray just to go over the general blueberry shapes to go around the edge, I can map in where the edge of the blueberry needs to be. Then I can use circular motions to block these in as well. I'm also going to use this same gray to map in some blueberries a little bit lower down. There will be filled ins with some pretty dark colors, but for now, I just want to get something down with this gray. So I'm looking here, for example, and here, these are more kind of patches of fruit. Then let's carry on thinking about the white section of the ice cream. Going to carry on with a French gray now. So we use the French gray the lightest French gray to put down a base layer over the whole of the ice cream. I now want to use 50% French gray to start marking in all of those darker shadows within the cream here. So we talked about this when we looked at the reference photo. There's all of these darker shadows all throughout the ice cream here. There's the old light patch that I want to work around. But generally speaking, it's really quite dark. There's some pretty dark shadows all around the cream here. I'm going to make my life ten times easier if I get these marked in now hopefully reasonably, accurately. All I'm doing is looking one area at a time. Because I've marked in things like the syrup, I can use them as a little bit of a gauge on what needs to be marked where. I'm once again working from the left to the right. Just trying to get these marked in. Now, I'm looking for the main overall shapes rather than trying to get in every single detail and getting it looking absolutely perfect. Because we will be tweaking this a lot as we work through the darker colors. Although right now this looks like a very dark color in comparison to what we've already got down on the paper. It's worth remembering it's actually pretty light, and when we add in some of the really dark shadows, it's not going to look anywhere near as dark. Now, I'm not going to talk through every single shadow that I can see here. I'm really just looking at the darker shapes within the cream and trying my best to match the shapes as much as I can. Don't think it needs to be absolutely perfect. Partly because, as I say, we're going to tweak it so much as we go. Also, I think it would be really difficult to try and get it perfect. Now, I'm happy with the gray towards the top. Let's just look at if there's any areas that need to be added along the bottom here. The most obvious area is this here. There's some pretty obvious shadows around here. There's some light spots, and then there's also some really quite dark blotches. I want to try and map these in as well as maybe this line along here. Think this is all looking pretty good so far. We've got a general mapped out shape. Before I move on to the next chapter, the last thing I want to do is put down one more gray. So as I mentioned, the glass, I think, is quite a different gray once again. It looks more to me like a cold gray. So let's just lightly put down some of the lightest cold gray along the edge of the glass here. I'm also going to put this along the stand here. Not worrying about any of the shapes and reflections in here right now, I'm just blocking in the whole area with that light cool gray. So by the end of this first chapter, you should have something that does look like a sunday. Obviously, it has no contrast and no real detail. But we can start building upon that in the next chapter. 7. Build up the Midtone Colours: This chapter, I want to start building up some of the mid tones. So we've got the very lightest colors marked in, as well as some of the key rough shapes. Let's focus on the mid tones, and then in the next chapter, we can move on to the darkest colors. So I'm starting here with light to medium brown. And what I want to do is use a lot of this pencil in the first half of this chapter. This is kind of I think of it as a pretty bog standard brown. It's not particularly dark. It hasn't got any main undertone, so it's not a kind of reddish brown. I think it's the main color that's missing in a lot of areas. So I'm going to start off by focusing on the drips section at the top. And what I want to do is mark in where the slightly darker areas will need to be. This is still very much a process of me trying to get my bearings, trying to get everything mapped out. Starting off by looking at this drip here. You can see that there's a little dark patch here, but generally speaking, all along the underside of the drip, it is this darker brown. So I want to fill in the brown all along here. Really looking at some of the shapes towards the end in. Now, I did already mark in some of these shapes with the previous color in the previous chapter. I just want to make them a little bit more obvious. So for example, down here, it's got this kind of curve and then a little shot coming off here. As always, I want to be building this up really nice and lightly. I don't want to be pressing firmly. Even after we've added in these mid tone colors, there's so much more brightening that's going to need to happen. The same as in the previous chapter, I want to be pressing lightly, as I say. I also want to be using a nice and sharp pencil because it's going to be so much easier to control the pencil if it is sharp. I also want to try and get down the pencil as smooth as possible. You see here I've moved on to the second drip that's coming down here. And once again, I want to be building up a lot of the brown sort of to the right hand side, the underside. So along here, there's a dark patch particularly here. There's then a dark patch coming along here. All along the edge here. This right hand edge, it's much darker than on the left. I want to be filling in any lines that are around here. Now, something I also want to be looking at is the spots on the ice cream. So the ice cream isn't all perfectly smooth. You can see it's got all of these little dips. There's some odd lines along here. Some just odd kind of spots. When I have finished a section, I want to look at the ice cream between these two drips, and I can just fill in any spots that need to be added. I'm finding that the easiest way to kind of try and work methodically. Now, again, I don't need to get it absolutely perfect. Do just want to try and get these spots and dips in roughly the right place so that I can build upon them as I work towards the darker colors and also a bit later when we come back to these lighter colors. So this is essentially all I'm doing to start with is working through these drips. So let's again have another look at the reference photo. Really see what I'm looking at here, but I'm going to start working a bit faster through this. Remember, if you do want to watch exactly what I did, you can see that in the real time section. Looking at this drip here. There's a lot more of this brown towards the bottom around here. Again, on the right hand side. I want to add a lot more here, and then there's all of these lines along here and dots that I just want to mark in. Then on this drip, I want to focus a bit more towards the top, still really looking at the right hand side. Then there's some pretty interesting kind of zig zag shapes in the ice cream along here. There's a line along here, a line along here, and then this zigzag. Say, it's once I get towards these few drips around here that the main area that I need to be adding the brown in is more on the left hand side. So you can see this very prominent line down the left. And then it's also very dark around here and generally up here. And saying on this area, it's very dark around the left here. We still need to build up a lot of the brown to the right, but most of the color seems to be on the left here. I feel like very, very quickly, these drips of syrup are looking much better. They're not looking completely realistic, but they certainly look closer to the reference photo. They're getting a little bit more form. It's getting a bit easier to see what needs to go where. I'm happy with all those drips. I'm just going to add some of this brown towards the bottom. There's a big patch here that's particularly kind of this light brown, and we will need to build this up with a darker brown as we go. All along here, I need to add a bit more shading. There's some very dark shadows. So along here and along here. You can see how dark this is. We can fill it in with the lighter brown. And then as we work our way through to the darker colors, we can build that up a lot more in the next chapter. So now, I'm generally happy with the brown on the top half of the ice cream. I want to start filling in some of the patches of honeycomb. So the honeycomb has a lot of detail on it that we don't currently have marked in, and it's also got some much darker color to it than we currently have. So what I'm going to do is once again work on these one at a time. Starting off looking at just this area above the rim of the glass. And I'm seeing that there is a pretty prominent line along the top. Then there's kind of a line coming down here, a line coming down here, and then there's the odd kind of darker shape. It's almost like a zigzag line along here, and then a few patches here, but there's not a huge amount of detail in this area, and I just want to approach this like a series of shapes. So you can see me going along that line at the top, just trying to get the shape marked in a little bit clearer. And then I can start filling in some of the shapes I can see in this patch. Doesn't yet really look like a patch of honeycomb, but that's okay. It will come together as we work our way through. Right now I am literally trying to draw in the shapes in this area, and that's it. So once I've drawn in all the patches, what I then want to do. It's just very lightly go over the top of this, give it a little bit of extra shading, generally make, particularly the right hand side of this patch look a little bit darker. So just using those little circular motions and very lightly going over. But I don't need to add a huge amount. I'm happy with this top section of the honeycomb. I can move onto underneath the rim of the glass. Here there's just the odd patch. It's not as detailed as this or this, for example. This just has the odd little circle or rectangular shape in here that I want to mark in. But generally speaking, it's lighter along the top. It's got a light patch here and it's darker on this right hand side. That I'm happy with this top section here. Let's just fill in this little patch here as well. Just a tiny little patch above the top of the rim here. It's a little bit darker on the left and generally a bit darker in a few spots along here. Then I'm pretty happy that I've got all of the honeycomb above the rim of the glass. What I want to do is start focusing on the shapes in the honeycomb a little bit lower down. I think this is something that seems very complicated, but it's not as complicated as you might think. So I want to work on one section at a time looking here first. And you can see how obvious some of the shapes here are. So I can start off. This one here is kind of slightly to the left of the middle and slightly above the middle of this wafer or this honeycomb. And this is almost like a teardrop shape. So I can draw that and draw the outline and then shade in the middle. This shape here just beneath it, slightly to the right beneath it is it's almost like a kind of oval, but slightly more rectangular, maybe slightly hexagon shape. Then the rest of the shapes in here, I would say, are almost like squares, but with particularly rounded corners. I just want to try and get these in roughly the right position on where they are on the wafer, using particularly this first one as a guide to get the rest in place. Can draw the shapes and then shade in the middle of those shapes for the whole of the wafer. Now, something worth remembering is that because this is actually a reasonably light color despite what it may look in comparison to the colors we've already got down, there are much darker colors that we will need to put over this. So because I can map this in with this lighter color, it means if I make a mistake if something doesn't look quite right, I can correct it with a slightly darker color. It'll be easier to correct. As I always say, I don't think it's about getting it absolutely perfect. I am trying to work in the grid that I can see. But I won't necessarily be able to get it looking exactly the same as the reference. So once I've got all of the grid marked in, I can then draw in any of the outside of the wafer. So long this right hand side, it's got a pretty clear line next to the ice cream or the cream. So I can draw in that line and then shade up to that line. Then I can also add some light shading over the whole of the honeycombe here just to make it a little bit darker, and we will build upon this a lot as we go. Is essentially what I want to do for each of these pieces here. So let's look at it a little bit faster. So this section of honeycomb is a lot more subtle. It's just got the odd few spots, but it's not as kind of regimented, it's not as perfect as this one. This one is more similar to this, but with slightly smaller holes. I'm noticing that some are pretty long rectangle shapes, and some are much more square shapes like on this one. When we get to this Wafer, the squares that need to be marked in are a lot more kind of random, I guess. I will still try and follow them as closely as I can, but I don't expect to get it perfectly looking the same as this. You can see that, although we've marked in the Wafer, we've got a much clearer basis for building up the rest of the colors, none of it is perfect, and that's okay. This brings me towards the end of using this color. On this chapter. We can start adding in some of the other mid tones and really getting our bearings a bit more here. And what I now want to do is focus on the berries. So particularly on this cherry and this cherry, you can see that although it's mostly a very dark kind of brown or maybe gray, it has a real deep purple to it. So I'm using the dark purple pencil. This is the closest match, I would say to that reddish purple in the reference. Start off by putting down a covering of this color, and then we'll build up some of the darker pencil over the top. You can see I've drawn the outline shapes like I did before, and then I can use circular motions nice and lightly just to fill this in as smoothly as possible so that I have something to build on with a slightly darker pencil. I can do the same to the section underneath the glass rim. Here. Once again, draw in the shape. It's a little bit more of a random shape because the glass is distorting the cherry slightly. So I'm just trying to follow the shapes that I've already got in the drawing already, the shapes I've got in the reference photo. I have already drawn this shape out in this sketch. I can use a little bit of purple, just a tiny bit around here, and then also fill in this cherry under here. Once I've got the purple down, I'll then be able to add gray to that in a second. Now before we do that, I'm just going to fill in the glass rim a little bit clearer. Adding in that purple really shows that it's not dark enough at the moment. Actually, I'm using cool gray to do this. This is the 70% cool gray. I just want to be going along that rim and anywhere where I can see a colder tone. Notice that the rim is an all one color. There are lighter patches like here and like here, and then there are much darker patches like along here, particularly along the bottom here. I want to draw in on the corner here two prongs going around this lighter section. I also want to put some gray along here around here and across. And then along here, there's a few different kind of lines drawing together this rim. It's much darker on the right hand corner here, though. Now, as always, I think this is going to be far easier if you have a sharp pencil. It's just going to be much easier to control where this is going. Once I'm happy with this rim section, I also want to use the same pencil to start mapping in the very bottom of the glass. Just lightly marking this in. I want to particularly look at the shapes and the lights and darks on this area. You'll see that there are some really bright whites down here and then some particularly dark values. I just want to try and mark these in. So there's a slightly curved line along here, and then it's a little bit darker here, a little bit lighter here. As I say, this strip is much darker. I just want to try and draw in these shapes and these strips. There's a big circular patch here. Not going to worry too much right now about making the darker areas as dark as they are on the reference. I just want to try and mark these shapes in. These are going to be what gives this glass the shape and helps give it that kind of curved look. But actually, particularly towards the bottom, I think it is much, much darker than this. Then once I'm happy with this bottom area, I want to be thinking about if there's any other parts where I can see some of this 70% cold gray. So I'm particularly looking along the side here. Particularly here, look how dark and cold gray this area is, and then there's also a thin line going around the edge. Let's just very lightly block this area in. Add some very light shading around the edge. I don't need to add a huge amount. I'm just trying to give the glass a little bit of shading, as always, I can see a cool gray section here, so I should draw it in. Let's still work on the grays, but I'm going to move on now to the 70% warm gray, and I'm going to use this to go over some of the berries. First up, you can see here me slightly changing the shape of the berry where I think it's not looking quite right, and I can do that. It's a bit clearer to see from where I built up the lighter color that is not looking quite the same. Essentially want to block in this gray over the whole of the berry, except for the very light areas. So there's only a couple of very light areas. There's a little curve here, a little curve here and this patch here. So I mark around the edge of these patches, and then I can once again shade using circular motions to try and get it down as smoothly as possible. Want to do this to all of these darker berries, the blueberries. So going over the purple as well to make it a little bit darker. You can see it still keeps that purple look, but it is just making it a richer color. To this area along the top, I also want to go over this light patch to the right hand side. As I say, it's just looking too light at the moment, and I think making it a little bit darker. I still want it to show, but I just want it to be a little bit darker. There's a blueberry here that I marked in with a lighter gray. I just want to go back over it going over these shapes, making it a lot darker. Also want to go over these blueberries on the right. So now at this point, we haven't got in the darkest values. We have got in some darker mid tones, and it's starting to look much better, much closer to the reference. In the next chapter, we need to start thinking about adding in those darkest values. And once we've done that, I think all the main shapes are then marked in, and we can really think about adjusting the colors and getting it looking much closer to the reference photo. But by the end of this chapter, I would say you should have something that does look like an ice cream Sunday, even if it hasn't got the right amount of contrast, and the colors aren't looking quite right. All right, but that is it for this chapter. 8. Add in the Darkest Values: Chapter, let's think about getting the darkest values marked in, and I'm going to start off by focusing particularly on the strawberry and on the cherries on the left hand side. So, I'm starting off here with a slightly darker red than the red we used before. So before I use the poppy red, which I would say, is a reasonably light red, I'm going to move on now to the crimson red. This is just a much deeper red, and I'm going to use this to start with to mark in all of the spots. Actually look at the strawberry, it is obviously a very spotty fruit. There's all of these dark red spots, which are particularly prominent around here because there is a lighter patch and around here. The spots get a little bit less clear and lighter spots as it goes higher up. I particularly want to be marking the spots in this bottom and left hand corner. Now, just note that it's really dark around the edge around here and around to here on the strawberry. This is actually a very dark red or dark brown, whereas, as I say, this strip here is much lighter except for the dots. I can start off by marking in these dots with the red pencil. I don't necessarily think I need to get the dots absolutely perfect. I am noticing that on the strawberry, they're spaced, reasonably kind of equally. They're not just random dots. So let's get the dots marked in in a rough grid. Now, I do think it looks a little bit messy right now, but that is okay. It's something that we will build upon as we build the other colors over the top and make them a little bit less prominent. I think that they will blend in a lot better. As I'm happy with the dots, I'm just going to add a little bit of the red, particularly around the top around these areas that I marked in before. Now, around where the edge of the strawberry is meeting the lighter area. It's not all one consistent color. Some of the dots up the top here are a little bit darker than what I have right now. Or maybe a slightly different shape. This dot is actually curving around here a little bit. In some of the, I'm going to call it the zig zag along here, it needs to be a little bit darker. So I'm just going to lightly use the pencil to add to this and maybe define the shape a little bit more really looking at the reference photo. Then I can start adding some of this color to the darker areas. Once again, using the circular motions. Just to build up some of this colors. So as I mentioned, there's the lighter patch running through the middle, and it's generally very dark around the edge. So I'm going to avoid that lighter spot in the middle, but use circular motions to build up this pencil. Little bit more, just make some of the areas a little bit darker. Particularly around the top up here. We just generally want to redefine these areas a bit more. So I already think that this is looking much better. It's looking more texture. It's looking more like a strawberry. I'm just going to build up a little bit more particularly around the edge, where it will be a lot darker, we will need to add in a very dark brown. Before I move on to a slightly darker color on the strawberry, I'm also going to build up this darker red on the cherries here. So right now on these cherries, we have just it blocked in in a solid color. I want to be looking at any areas on these cherries where it does need to be a little bit darker, particularly around the center of the cherry here and around this part, but it's a bit lighter around here. And again, all around this part, particularly here, but it's quite a bit lighter around this patch. Once again, I want to be pressing nice than lightly here using circular motions. Just building up anywhere where I think it could stand to be a little bit darker, which, to be honest, is a lot of the cherries. There's really only the odd area that needs to stay as light as it was. I think in comparison to this color, the poppy red that we used earlier almost looks a little bit like an orange red. Which is good for the lighter areas, but I think for most of the cherry and the strawberry, we want a much richer red Now I'm happy with the red around here. Let's think about any colors that I want to add to the strawberry that I don't currently have. I'm particularly thinking about the green of the stem. I'm actually going to use the olive green here. This is quite an earthy green, I would say. I just want to use this to fill in the little stork here and also a couple of the leaves. It's really not a lot that we need to do. The stork noticed that it's a lot darker at the end. This is more like a brown. But generally with the green, it's darker on the right hand side and lighter on the left. So I want to probably outline the stem, but then add a lot more shading on this right. And then I also just want to add some kind of triangular shapes to give an idea of where these leaves are, but they're not hugely clear. So you can see, I've drawn the shape of the stem here. And now let's add that shading up the right hand side. I do want to add a little bit to the left, but I want the darkest shading to be on the right, and then just draw in some triangular shapes. I think that that is making the strawberry look much better, much more realistic. This point, I want to be thinking about the next darkest color within the strawberry. I'm actually going to use a very dark brown now. This is the darkest brown in my set. I say it's the darkest color except for the black, but the black can look a bit harsh. I want to be using this to go over the darkest areas. As I mentioned around the edge of the strawberry, it is much darker, particularly around the bottom. Let's press lightly use circular motions to build up some of this color around here. Where the strawberry is meeting the ice cream, I do want quite a firm line. I can go along that edge quite firmly before shading. Then I want to add some extra shading going around in almost like a semicircle up here. As I mentioned, that patch in the middle is much, much lighter, in order to make that look lighter, we have to make this section here darker. No, I'm going to go over some of the spots a little bit with this dark pencil. Just coming over the red that we already did. I think it helps make the texture stand out a little bit more. I want it to be a very dark red, and I think it was looking too light. I also want to use this same color on the cherries down here. So going over that center spot. Then mostly going over the bottom where this cherry is meeting, the next cherry is looking again, too light. So just want to build that up, particularly along the back here. Now, at this point, I'd say I'm generally happy with the strawberry and the cherries here. What I now want to do is work my way round, adding in some more of this pencil. This is the dark umber, that very dark working from generally the left to right and top to bottom, really adding in any refining shadows. So again, with a nice and sharp pencil, I'm going to start off by focusing on the strawberry up here again. Just tidying up the edge where the strawberry is meeting the cream, but also going over this darker patch towards the top a little bit more. I want to look at all of the sort of dribbles of the source here and think about if there's any areas that are particularly dark. And it's not a huge amount on particularly the left hand side. There's a lot more on the right. I'll show you some of the areas I'm particularly looking at. So up here, I'm looking at this shadow here, this line along here, as well as a couple of dots. It needs to be much darker around here. Look at all this dark shading all around here around the edges. And then probably some of the darkest areas up the top is the lines along here along here, along here, as well as around this patch, and where this honeycomb is meeting the ice cream. So just going through these areas one at a time, working my way along building up the darker tone. Now, something that you'll notice as you're building this pencil up is that it's really starting to show how kind of muted the color of the actual source is. The source is a kind of earthy orange, I would say. And it's just not looking very vibrant right now. That's absolutely fine. What we want to do is really get the contrast right right now. And then we can build upon it, get those more mid tone areas added in a bit clearer in the next section, and really tweak the colors more in the next chapter as well. Would say that this is reasonably simple this part here. Also, I quite enjoy it. I find it quite therapeutic cutting in the darkest. I'm working along these dark patches along here, and then I can start working around this particularly dark bit of, I think it's a bit of honeycomb coming out here. I'm also going to use this brown to go over the blueberry at the top I've previously added a lot of gray onto this blueberry. I could have added in black to make it that little bit darker really make the darkest values pop. But I'm going to try and avoid using the black if I can because I think it can be a bit too harsh. You can see that just adding this very dark brown is making the blueberry look at darker a lot more kind of uniform. The only area that I'm kind of avoiding or putting less of the color on is the area right to the right where I would say there's a slightly lighter patch. Let's add some of the darker color onto this cherry. Building up what we've already got here. Again, we use I think it was the gray before to build up some of the darker shading on here. I'm just going to go back over it with this darker pencil to really try and help it pop. So once I've done these blueberries up on the right hand side, mostly just blocking them in, I would say. What I then want to do is start focusing on the area kind of underneath the rim of the glass. Main part is the honeycomb. So as I mentioned, I drew in the squares here before. And then if something is a bit wrong, I can go over it with a darker color to adjust it. I'm not necessarily changing the shape of them, but I do want to add a little bit more darker shading to help them pop and stand out a little bit more. So you'll notice on these squares that they're not all one consistent color. Generally, I would say that they are darker towards the right hand side, so I can just add a little bit of extra shading around that right on all of these little squares, and it really helps them pop a lot more as you can see. I'm just going to work from the left to the right going over this cherry, for example, this needs to be made a lot darker, as well as tweaking some of the other honeycomb squares. So I'm not going to dwell on this too much. Again, you can watch the real Time section if you want to see exactly what I'm doing, but I'm really just working over each of these little honeycombs to make any little dark spots look as dark as they should and also go over some of these honeycomb squares or shapes here. Just think it makes such a huge difference, and it's going to make adding the extra colors in the next chapter so much easier. So there's actually not a huge amount to add on this right hand side. Only on this honeycomb down here that I'm working on now, there's just a really prominent edge, I would say, both top edge and to the left. So I can build that up. But on the most part, I'm pretty happy with how it's looking down the bottom. Just going to draw my attention to the glass stand and just fill in the darker areas on here a little bit more. Right now, we've really only used, I think it was the cool gray, a darker, cool gray with a lighter cool gray base. But there's not a huge amount of varying color down here. So I can use this dark brown. To just fill in some of the darker strips like this strip here, this patch here. All of the darker lines along the bottom. The last thing that I want to do for this chapter for now, this isn't so much a dark value. But right now we don't have any sort of shadow whatsoever around the base of the glass. Now, I'm not going to add in a huge shadow, but what I am going to do on the right hand side because that's where it is on the reference photo. It's just use a couple of light grays to add something here. So starting off with the very light cool gray. I'm just going to very lightly mark where I want the shadow to go. So to the right and a little bit underneath, you'll see on the reference photo that is where the shadow is going. Once I'm happy with the lighter color. I can then use the cool gray, the 70% cool gray to go over this patch a darker, but you'll see it's very subtle. I don't want to have a really obvious shadow here. By the end of this chapter, you should have a very clear ice cream Sunday, but the colors aren't looking quite right. I think the contrast is looking pretty good, but a lot of the colors just need adjusting and really brightening up. So we'll have a look at that in the next chapter. 9. Add in the Final Details in the Top Section: Now I'm generally happy with the contrast on the ice cream. What I want to do is really brighten everything up and adjust the colors. What I'm going to do is really just focus on the top half in this chapter, and on everything above the rim of the glass to be much brighter. And we're just going to work through this constantly thinking about the main color that's missing. Starting off here with the drips of the syrup. The main thing that I'm noticing is that they're not looking anywhere near bright enough. So I'm using here the same earthy yellow that I used before. This is the yellow ochre. I'm just going over those same areas once again, all of the same areas where I put this color before, just trying to brighten it up a little bit. You can see it is making a bit of a difference, not a huge difference yet. But it is making them look a little bit brighter. As I've gone over all of these areas, I once again want to be thinking about the main color that's missing. I'm going to use the burn ocher pencil now. This is a kind of orangey brown, particularly on again, these syrupy sections. But focusing more this time on the darker syrup sections. So as I've mentioned before, it's much darker on the right hand side of the drawing, lighter on the left, so I want to add a little bit of extra shading on this right hand side to make it much darker. So I would say that the syrup is looking too light, and I want to make it darker. This is making more of a drastic difference, I would say than the yellow ochre. It's really giving us a lot more depth on these sections. Now, in terms of how I'm pressing, I'm maybe not pressing as lightly with the pencil here as I have been in the previous layers. I wouldn't say I'm pressing full force by any stretch. I am pressing a bit firmer, just to try and get that brighter color down, just to try and get it to go over the top of the pencil we've already got. Now I'm working along from the right hand side towards the left. So this drip here, for example, does need to be quite a bit darker. It's looking way too light. And I'm focusing on putting this on the darker sections of this drip. So I have marked this out already a lot before. All of the dark patches here, for example, there's a dark strip going up the middle, it's darker here. I've already mapped these out. I just want to be going over it a little bit more, just to give it that extra pop of color. On this section here, again, I don't need to put as much as I put on the very right hand side, but I do want to get some of this color down. Generally speaking, I think I want to put this over all of the drips in one way or another so that they do all look cohesive, so they all match. But it's very much a case of just going over the darker areas in the same way I did before, really looking at the reference photo and thinking about where I can see a hint of this kind of orangy brown. Once I worked my way along here, it once again gives me an opportunity to look at the reference and really think about the main color that's missing in my drawing. So at this point, I want to focus a bit more on the actual ice cream. So as I've mentioned a number of times, the ice cream here is a very different color, I would say, to the white cream section here. So I want to be really focusing on changing this ice cream color. Now, when I look at this ice cream, what I'm particularly noticing is the color really obviously around here. This is very much a pretty dark gray. And actually, there is this dark gray in a few places, so around here, around here, all around here, as well as up here and across here and around the edge here. So what I'm going to do is use the 50% French gray. So not the darkest French gray, also not the lightest, and I'm going to use this to work through one of these sections at a time, so between the drips, each of these little strips. Build up some of this gray, build up the shading a bit more. Now, this isn't going to change the overall color of the ice cream. This is actually very much the same color that we've been using up until now. What it is going to do is get that underlying kind of different shading so that then we can adjust the color in a second. So I'm going to work through, as I say, each of these sections one at a time. And I would say the darkest area is in the middle of this section. Just going to build this up in the same way I did before. Pressing nice and lightly, I don't need to press hard in this section. We don't have a huge amount of pencil down here at the moment. Building it up bit by bit going over the same area with these circular motions to gradually build up that pencil. Now notice that I'm holding the pencil pretty far back, and that stops me from being able to press too hard. Allows me to just continually build up. The pencil build up these grays until I feel like it's looking about right. And I think this is really helping to give the ice cream a little bit of shape. Once I work through, one section, I can keep working my way along. I think it's made so much easier by having it all split into the different areas, so I can work on between these parts of syrup, and it just really helps look at this less like it ice cream and more like we're just building up the different colors. Just makes life a lot easier. Round the edge around here, I really want to build up quite a lot of shading, which is helping give this ice cream shape. So, as I've mentioned before, on the right hand side of this ice cream, it is really quite dark. It's much lighter on the left, so I do need to build up quite a lot of the pencil. Touch up a few areas around here, just add a little bit of extra detail on this little bit of cream at the top. This is going to be a different color this part. But for the shading, I'm fine to build up the French gray. And then let's move on to the darker French gray, the 70% French gray, and just go over those darkest areas. So it's particularly on this middle section. A few of the areas, particularly as I mentioned, around the top and around the middle. I do want that to be really quite dark, so I need to keep building up the pencil, working in these circular motions. Still pressing nice and likely to hopefully build up a really nice and smooth color. Go to add a slightly more defined line around the edge, but making sure that it blends really well into the rest of the ice cream. Then let's go along the bottom and really smooth out. I've mentioned a few times these very dark patches at the bottom. Let's just blend those quite nicely into the ice cream area above. Then at this point, what I want to think about is adding in some color. So let's really look at the ice cream and think about the main color that's missing. On the most part, I would say that the underlying colors here are kind of a yellow. But when I look around here, I see an ever so slight hint of a very light pink. Just particularly around here and along here, it's quite subtle. You'll probably find you can see it better on some screens than others. So I'm going to use the same pink that I used earlier in a previous chapter. This is the blush pink. And I'm just so lightly filling in a little bit of pink anywhere where I can see this color. So once again, working, as I say, really lightly, working in circular motions. And I'm putting much more around the left hand side where it is much lighter than round the So maybe a little bit on some of the lighter patches like here, for example. I want to make sure that I don't put any of the pink on the areas that are more of the white color. So the little bit of white, I think I seem it's cream below the strawberry at the top, or the white icing along the bottom, I don't want to be putting it there. And that's given a little bit more color. Now, the next most obvious color that I would say is missing is a more kind of yellowy bage. So I'm going to use the Bige pencil. It's not dissimilar to the peach pencil, but just a more yellow, lighter version. I'm going to go over again, all of the ice cream cone section. I am pressing a little bit firmer, although by no means hard. Just to slightly blend out the gray. I'm going over everywhere. Now, once I'm happy with this, I want to be thinking about if there's any colors for now that I want to be adding to the ice cream section. Particularly noticing that along this line here on the ice cream, here, for example, this has a yellow tone that isn't dissimilar to the yellow tone in the syrup. So let's use that same yellow ochre and just lightly go over the bottom in these patches, and that's really helping to brighten the ice cream up, and again, help it stand out from the cream at the bottom. Now, I do find that with every color I add, it makes it more obvious the next part that's missing. So right now, the really obvious thing that's missing to me is that the syrup is looking too washed out. It's not looking dark. Let's go back to the light umber pencil. That's that kind of mid tone brown that we used in an earlier chapter. I want to go over all of the darker areas of the drips, particularly generally the right hand side. What I'm hoping to do is just define these drips a little bit more, help them stand out from the ice cream and make them look a little bit less washed out. This is very much a case of going through exactly the same as what we did in a previous chapter. So just looking at all of the lights and darks on each of these drips one at a time. And just trying to match that to the reference photo. I've gone over all of these added in this mid tone. There are a few areas within the syrup that have a pink tone. Particularly looking at the pink around here, there's pink on some of these lighter spots here. So I'll jump back to that blush pink and go over these areas that are maybe a bit too light that need toning down, but also have this pink tone and just shade those in. Adding a little hint of this color. Now, whilst I've got this pink, I'm also going to go over just the lighter areas of the cherries here, that looking way too bright, and they need toning down. Let's add a little bit of that same blush pink over here. Still the drips are looking too light. So I'm actually going to use a much brighter orange. This is the yellow orange. It's probably the brightest orange I have in my set, and I'm going to once again go over those same areas where I put the lumber and where I previously put that yellow ochre, just to really try and brighten these areas up. So you can see how many times we need to go over the same area to make it as vibrant as is on the reference photo. That I think has made quite a big difference, and it again helps me work out what the main color is now that's missing, what the main difference is. For now, I'm generally happy with the drips. I will be adding a bit more to them, but let's add some more to the actual ice cream. I'm noticing that in some of the darker areas, it's not looking quite dark. Go back to that darker French gray and go over these same areas, again, particularly the darker areas I mentioned on the ice cream, build up some more of this color. So just still pressing lightly using circular motions, allowing the color to bit by bit build up so that hopefully, we're looking a bit closer to the reference to. So literally going around these same areas, just trying to maybe tone down some of the lighter areas, and that helps the white cream stand out a little bit more. I'm actually going to switch to the 70% cold gray now, and just add this in a couple of areas. Particularly on the white, there are some areas that are a darker gray, but are more on the colder side than the French gray side. So particularly this strip along here, this strip here and quite a few areas around here. Now you can see how different the cool gray is to the French gray. It's a much bluer, obviously, cooler kind of color. Now, in actuality, I think the darker gray areas on the cream is probably a mixture between the French gray and the cool can add some of this cool gray in for now, and maybe we can tone it down with the French gray in a little while. But for now, I'm really just going over those same areas I've already been over, marking in all of the shapes I can see within the cream. And this is made so much easier because I mapped in so well in the previous chapters. Let's look back now to the syrup here. I'm going to use some of the poppy red. There's a few areas that are still not looking bright enough on the syrup. And the poppy red, although it does look like quite a bright red, it's actually more of a reddish orange, I would say. So this is good to just brighten up those orange areas a little bit more. Then I can go back to the dark umber. This is that very dark brown. Go back over a lot of the darkest areas. So we have previously gone through and gone over all of the darkest areas the chapter before now. But where we've built up so much more color, it's got a little bit lost. So I can go back over these areas with this dark brown. And that just really helps to give particularly the syrup a bit more contrast. It is helping it stand out quite a bit. It's just going mostly around the edges, although I am making a lot of the syrup on this side much darker. It's looking way too light. Now, let's also use this brown to make a few other areas a bit darker, so there's a shadow behind this cherry here that I haven't really marked in at this point. So I'm going to build this up, add this in, as well as going over some of the shadows like the shadow along the edge of this area here. Now, I'm going to need to flit about through colors quite a bit. So I'm going back to the poppy red to add in this shadow here has a hint of red to it, that I haven't added in right now. So let's add that in. And then I'm going to move on to the Sienna brown. This is kind of a reddish brown to once again go over these darkest areas on the syrup here. You'll notice how many times I need to go back to similar colors to repeatedly build up some of the areas, particularly like this, where it does need to be quite a bright color by the end. But once again, doing the same thing. Now I'm generally happy with that. I want to really focus on the cream section. So starting off with some of the grays. So I'm going to work my way from the darkest French gray down to the lightest French gray. And so I want to be looking at the darkest colors first. So we're only looking at the cream above the line here. Some areas are really dark like here, around here, particularly around the shadows here, around the shadow here along this line and around here. These are all just really quite dark. I can use this darker pencil to go over these areas. So either pressing a little bit firmer on the darker area to really make it look as dark as in the reference photo, or as I get towards the edge of these areas, I can just ease up with the pencil. Start pressing a lot lighter and that'll help. So create a gradient from this area out into the surrounding areas. You see, I'm really looking at the shapes in each of these sections. Don't worry that it looks maybe a little bit peculiar, a little bit stripy. If you can see the shapes in the cream, then you should draw it. Notice that I am going over the cold gray areas. As I said, I think the actual color on the reference photo is kind of a mixture between cold gray and French grey. I'm okay to just go straight over these areas. Once I'm happy with the dark gray, I can then start looking at all of the mid tone areas. So this is the 50% French gray. I can use this to be going over all of the mid tone areas. So blending out the edges of the particularly dark areas and starting to add a little bit of extra shading in the mid tone. Say that this is reasonably quick, I'd say that the longest section is probably the darker gray. And then once I've smoothed out a lot of the areas with this mid tone. I can then move on to the lightest gray, and I want to be pressing quite firmly with this now to smooth out a lot of the gray, make it look a lot softer. And it's only the very light areas of cream that I want to avoid. So, for example, along here, around the edge here around here and around here. But for most of the other areas, I do want to be pressing quite firm with this pencil to just get it all blended out. I think that the cream here does still look white. It just looks like it has some texture to it. It doesn't look as plain. Let's think about finishing up this top section now. I'm going to brighten up the cherries on the side here using the crimson red that I used before, but just adding a bit more of it, building it up a little bit more. Before going back over some of the dark areas with that dark purple pencil, we used it for a different cherry, the more purple colored cherry. Just over any areas that are darker. I think the darker areas do have a slight purple tinge to. I can start focusing on these biscuit areas, beginning with the yellow ochre, to add in some kind of yellowish tones, and I can move on to the pink pencil. It's very much the same colors that we used for the syrup. I adding in a little hint of pink, and then I can use the light umber to go back over all of the shapes that I've marked in before, make them stand out a little bit more before using the dark umber to really define some of the darker shadows. See, I'm just really working through those same colors. It's really not a dissimilar color on the honeycomb here to the syrup above, so I can start adding in some of the sienna brown to make it a little bit more of a reddish brown. I am generally happy, I would say with the wafer. I'm just going to use the white pencil to finally smooth out, particularly some of the lighter areas on the cream. I would say I'm pressing reasonably firm, just trying to smooth the all out, make it look nice and soft. Now, feeling much, much happier with the top section of the drawing. We want to do very similar in the next chapter to the bottom half of drawing. And then we should be able to see if there's any other final tweaks to really finish off this drawing. You can see how much smoother this is for blending this all out with the white. Let's just finally go back to that darker French gray add in this little detail here. Literally just this little curve here is missing. And then that is it for this chapter. 10. Add in the Final Details in the Bottom Section: Now filled in the top of the ice cream. Let's really focus on the area under the bottom of the glass. So I'm going to pretty much start on one section at a time. Let's look at the bottom of the cherry here. So I haven't really marked this area in very clearly at the moment. What I'm going to do is use the same colors that I used on the top of the cherries to build up some of the color down the bottom. So I've started off with the poppy red. Let's move on to the crimson red, the slightly darker red, and let's look at what we've actually got here. It's a pretty simple shape. There is a little bit of texture here, but I'm not going to worry about drawing that in. I pretty much want to have a really dark purply red over to this right hand side, and then there's a little bit of red coming along here as well. Let's use this darker red more over to that right hand side. Just putting down a nice, smooth, even coverage like normal. I'm going to move on to the dark purple pencil. I use this on the cherry at the top, so I want to do the same at the bottom. It does have that slightly reddish purple hint to it. Both on top and here. So let's add that in, and it just generally makes it match the top much better, so it looks like it is under the glass. Now, I'm pretty happy with this cherry. Let's just add in a small amount of the dark umber. This is that very dark brown. I want to start gradually working my way around the bottom here. Generally speaking, I want to draw all of the honeycomb, for example, at the same time. We get a much more uniform color doing it that way. I'm also generally going to work from the top left towards the bottom right. Looking at this top left corner, I'm going to use some cool gray to add a little bit more of the gray here. For example, in this area, you can see how cool and gray this is. I can fill this in, really marking this line down the edge and also a line along here and then add a little bit of gray underneath. It's kind of a subtle area, but I do want to make sure that I'm adding it in. Then let's also use this dark cool gray to just refine some of the line of the rim of the glass around here. For example, on this area, there's a very prominent line through the middle, and then it's also it's a little bit darker where the cherry is. So I want to add that extra shading before adding it a little bit more in this area here. I work my way along the whole of the rim of the glass doing exactly the same as I did before. I just want to add more. So more of this gray and just defining the lines a bit better. But the same as before, I'm noticing there's more gray around this area. There's generally more gray along the bottom of the line. There's also a few different lines in this section, three along here, and there's a lot of gray around the corner, and this corner here is very similar in its gray to this corner. So I really want to be adding a lot more gray in this area. Think that's looking much much better already. So now, let's focus on the honeycomb here. And I want to work through this in a similar way to what I did on the top. I want to work through those same colors. So I'm starting off by just putting a light covering of the yellow ochre over the whole of the honeycomb areas. Maybe if there's an area that's particularly light, like towards the edge of this honeycomb here. I just want to ease up a bit with the pencil. But on the most part, I want to get a nice solid block of this color. And you can see how already that's looking much, much better. Now, in actuality, when you look at the honeycomb here, they're really quite dark. Particularly around the more shadowed areas, it's much, much darker than what we have. And I'm really going to need to build up a lot of the different browns, as well as this yellow, for example, to build up that honeycomb color and get it as dark in the contrast as it should be. Just pressing lightly in the same way as I usually would using circular motions, trying to get this down as smoothly as I can. I pretty much want to work through the same colors that I used for the little patches of honeycomb just above the glass. So I want to start off with this yellow ochre, and then I want to add in any areas of the pink I can see. Now, I would say that there is a hint of pink, particularly around the edge here, but also around most of the lighter areas. So for example, around here, this has a real pink tinge to it, around the edge along here. There's maybe a little bit around the edge around here. Let's lightly add in that same pink that we've been using up until now that blush pink. To add a little hint of this color. Again, you can see how lightly I'm pressing with this pencil. I just want to get a little bit of it down. Now, as usual, I want to generally speaking, start from the lighter pencils and gradually work my way towards the darker pencils. I've put down a little bit of this pink. Let's move on to more like one of the mid tones. This is the light umber pencil. Now, I would say that this pencil is probably the one that most closely matches the color of the honeycomb. It's it's kind of a standard brown. I wouldn't say it's particularly kind of orange or yellowy, or reddish. So it works great for this. So all I'm doing is lightly putting some of this pencil down to make the whole area much darker. I'm going over this bit by bit, building it up gradually in the same way that I usually would, again, pressing lightly, working in circular motions. And even though I haven't spent a huge amount doing it, you can see how much darker that top honeycomb is in comparison to the rest. So let's work around the rest of these. Now, I want to make sure that I'm avoiding the lightest areas. So on this patch, for example, I want to avoid putting down too much of the pencil on the left hand side because you can see how much lighter this patch is. Along the top, I want to avoid putting too much along here. Look at all of these white patches or light patches. Again, along the side here. This section here, ug, for example, I reckon I can build up a lot of it because it's so much darker than on this side. I'm just going to work around these building up this brown bit by bit. I don't need to add too much because I will be building this up with a little bit of a darker pencil as we go. But I certainly want to change the color of what's here to make it more of that honeycomb kind of color. You can see that it's already matching the honeycomb above the rim of the glass much better. That does have a little bit more of a red tone to it. So let's add in some of that red, and I'm using the Ciena brown. This is more of a reddish brown. Again, particularly in the shadowed areas. As we work our way towards the darker colors, I do need to add less of these colors because I don't want to build up absolutely tons of a really dark color. So I'm putting this in all of the shadowed areas to make it look a little bit richer. So pretty much everywhere there isn't the very light patch generally towards the right of each section of honeycomb. Thing you may notice is as I'm building up more pencil on here, the patterns on the honeycomb that I marked in the grids of all of the holes are getting a little bit lost. But that's okay. I can still see them, and I'll just need to go back over them with a darker pencil in a second. So it's built up a lot of this color on this section of honeycomb, particularly again, over to the right hand side, particularly where the honeycomb is meeting the cherry. And then I want to build up a lot more of it on these sections of honeycomb around the right hand side. Let's move on to the darkest color, the dark umber. Really go around the line where the honeycomb is meeting the cream in this case. And I also want to go back over, as I mentioned, some of these holes here. So I'm not going over them too perfectly, just quite quick and rough and ready, particularly like we did before, in kind of the bottom right hand side, that seems to be where it's generally the darkest. And then I can go over all of the other holes, not all of them, quite a number of them to build up that texture a bit better, and I think this is looking much closer to the reference. We haven't lost all of those holes now. I'm also going to use this brown to add in some extra shading, as I said in some of the more shadowed areas. So generally, particularly where the wafer is meeting those berries, but also here we've got two sections of honeycomb that are meeting together, so there's a bit of a shadow between them. I can also go on the more shadowed areas of this section. I'm generally happy with the honeycomb. I want to start focusing on the cream and the ice cream. So similar to what we did in the top section, I'm going to particularly start focusing on this area. Now, as I think I mentioned before, I think some of the ice cream towards the bottom looks very different to some of the cream around here. This is more of the white as is this, and this area down here is more of a yellow kind of cream. Particularly want to focus on using this is the darker French gray on the top white sections, really filling in the shadows up here. Now, if you'll remember, before when we filled in this area, we were really looking at the kind of patchiness. So there's some light spots like here. And then just above generally these light spots, there's some much darker patches. I have marked this in already, but I want to mark it in much, much clearer, much darker at this point, now that I've got my bearings a bit better. I mark in the pattens on this area. I can then think about marking in some of the same color, particularly around the top anywhere where there's more of that cream. I'm also just going to build up a little bit more over this is a cool gray we added in earlier. I just want to tone that down maybe a little bit and add a tiny bit of extra shading here, but from here, I would say it turns into more of that ice cream kind of yellowish color. Can move on to the 50% French gray, the slightly lighter French gray, go over these areas a little bit firmer and add some light shading on any of the mid tones. So very similar to what we did in the top section. Maybe just adding a little bit around the bottom very, very lightly around here, just to make it slightly darker and give it a little bit of extra shape. But I don't need to add a huge amount as you can see down here. So over the whole of that lighter ice cream color, just a little covering of this pencil. Can once again move on to the lightest French gray and just fill in any areas that I think need smoothing out a little bit. Or maybe here, for example, where the cooler gray may need toning down slightly. So this area here with the ice cream, I think is just looking too bright and white at the moment, so I can lightly put this color over it to tone it down. The same on this area down the bottom, I lightly put some of the 50% French gray a second ago. Let's lightly put some of the 20% French gray to smooth out what we've got here and just make it a little bit richer. Looking at that ice cream section towards the bottom. I want to do a similar amount of color adjustment to what I did on the ice cream at the top, because I do want these areas to match. So let's add a really light covering of the Beige pencil. Just very, very lightly, you can see that it just changes the color, helps it to match the top section a bit better. It's making this look more like an ice cream color rather than a cream color. Generally happy with the colors down here. Let's use the dark number to add in some of the dots. We've already added the dots in, but they've got a little bit lost where we've built up all of the color down here. But you can see I'm just going over those dots that I already marked in. So all of these odd little dots and patches and lines all around here, and we'll need to do the same with these ones along here. These are very small details, but I think if you don't add them in, it doesn't look as realistic. Also use this pencil to just adjust any areas that need to be made a bit darker. Some of the areas along the rim of the glass here are not looking quite dark enough. So I can go over that lightly with the pencil. Then I'm also just going to touch up just this area at the top. This is the cool gray. Just going to use this to smooth out the cherry here because again, it was looking a little bit patchy and maybe use the slightly darker cool gray as well, just to slightly adjust the shape on the swell at the Now, at this point, I'm generally happy with the ice cream and most of the ice cream glass. What I now want to focus on is the stand of the glass here. And to add to this, I'm doing very similar to what I did before. So I can use this darker gray pencil to go over all of the darkest areas I added previously. This is made a lot easier because all the shapes are already marked out. I just think it's looking a little bit grainy down here right now. So let's use this gray to go over where I put the dark umber before, the very dark brown, and that's going to make it a little bit more on the gray side. Any other area that I think just needs to be made slightly darker, particularly down the side here, as well as some of the patches along the bottom, all of the areas with the brown, but also maybe this patch towards the middle. I already think that's looking much much better. Let's not forget to build up a bit more of the pencil over the shadow. I don't want to make the shadow too obvious, but I do want to make it a little bit darker than what it is at the moment. And then I'm going to use the lighter cold gray to just splend this area out pressing reasonably firmly. I just want to smooth out all areas except for the areas that are really bright white. So, for example, here and here and these couple of patches around here. Just finish this up by going over the darker areas one last time, and then that is it. I hope that you've enjoyed this tutorial and I look forward to seeing you in the next one. 11. Summary: Right, and that is the end of the course. I hope that that shows you how if you break a drawing down into bite size pieces, it's maybe not as tricky as you would think. So I always start off by putting down a really nice and accurate sketch. I then take a minute to look at the reference photo, really look at what's here. From this point, I can start with the lightest colors, the lightest color in each area, so it's not necessarily the lightest color for the whole drawing. Can then gradually work my way towards the darker colors. Once I've got a pretty clear template for the drawing. I then like to focus on one section at a time. So in this drawing, I focused on the top section, really focused on getting those colors to look as accurate as I could to the reference photo before then doing the same for the bottom half of the ice cream. Now, please do remember to upload your drawings into the class projects. I would love to see what you've done. And if you enjoy this course, please do review it. Happy drawing, guys, and I'll see you in the next course.