Transcripts
1. Introduction: Watercolour pencils can create some absolutely
beautiful drawings. But it can feel a
bit overwhelming if you're not sure
where to begin. I want to show you
today that actually, if you follow a certain
series of steps, it's not as difficult
as you might expect. My name's Gemma Chambers, and I've been making online
art tutorials since 2020. I've helped tens of thousands of people improve their art
on my YouTube channel. But today, I want to go into
this in a lot more detail. I want to show specifically how to use watercolour pencils. Now, I will talk
you through all of the main materials
that you'll need, as well as that full
process I always use. I'll then show you how I create my sketches and we can walk through that process drawing this very vibrant tulip.
Let's get started.
2. Class Project - Drawing the Tulip: For the class
project, we will be drawing this colorful tulip. And I've picked this for
a couple of reasons. Firstly, it's not
too complicated. It is an absolutely brilliant
beginner drawing that is lovely and vibrant but not too complicated in
terms of texture. Next up, I selected it because it's got a good
amount of contrast. We've got a good amount
of lights, darks, and midtones, which is the key to creating
a good drawing. I will show you
everything that you need to know to
create this tulip, including how to
create this sketch. If you want to use my sketch, I have included it in
the class resources, as well as all of the specific
colors that I'm using. Let's talk about the
materials that you'll need.
3. Materials You'll Need to Draw with Watercolour Pencils: Let's talk about the
materials that you'll need to draw with
watercolour pencils. And the first and most
obvious thing you'll need is a set of
watercolour pencils. Now, I like using Faber
Castle's watercolour pencils, and I specifically
have the set of 60. But you don't need these
specific watercolour pencils, and you also don't
need a set this big. I would recommend using at
least a set of 36, though, which generally has a good
amount of variety of colour. Next material that you'll
need is some paper, and you want to
make sure that you get the right kind of paper. You'll specifically
need watercolour paper, so we won't be able to build
up the watercolour pencils and activate on standard
sketch paper or printer paper. It's just not capable
of taking that water. I like using hot press
watercolour paper because it is lovely and smooth and it's amazing for adding
details at the end. And I also tend to
look for 100% cotton. Again, I find that the
watercolour pencil just goes down much easier and more consistently
on this type of paper. Next up, you will need
a pencil sharpener. It doesn't need to
be anything fancy, just something that's
going to create a really nice and sharp
point on the pencils. And you'll also
need a paintbrush. I use a specific
watercolor paint brush, which isn't too large. I do have some larger ones, but I like to really be able to control where the
watercolour pencil is going when I activate it, so I don't want to have
a massive paintbrush. The next material that
you'll need is actually not something you can buys
something you'll need to make. This is a set of
colour swatches. Now, what colour swatches
show you is what each color in your set actually
looks like on the paper. Generally speaking, people rely on the lead of the
pencil or the barrel, and that doesn't tend
to be very accurate. And in fact, with
watercolour pencils, what I want to do is first go from as light as I can
to as dark as I can, but I also activate with water the bottom
half of that swatch. Because the color
can be substantially different when it's activated
versus when it's dry, and I want to know what both of those colors
are going to look like. Make sure when you
activate with water, you're always activating from
the light towards the dark, or it'll end up just creating
a big block in mess. Now, creating colour swatches can be quite time consuming, but they aren't something that
needs creating very often. The set of swatches
that I've got are at least 5-years-old. Now, the final material
that you'll need is some way of looking
at a reference photo. So for every drawing
that I create, I always work from a reference. Find this is the
best way to create some beautiful,
realistic drawings. Now, I like looking at my
reference photos on my iPad. I particularly like that I can zoom in to see all
of the details. But you don't need
to have an iPad. You can always print out
the reference photo. So those are the materials
that I always use. Let's talk through the process.
4. The Process of Using Watercolour Pencils: So let's talk through the
full process that I go through for every single one of my watercolour
pencil drawings. The first thing that
I always want to do is select a reference photo. As I mentioned, for every
drawing that I create, I always work from a reference, but I want to make sure that I'm getting the right
reference photo. Trying to draw from the
wrong reference photo is never going to create
an amazing drawing. So the main thing that
I'm looking for in a reference photo is contrast. I want to have a
really good amount of lights, darks, and midtones. I don't want to
try and draw from a reference photo
that is all midtone. I also want to make sure that my reference photo is
from the right angle. Generally speaking, I think
subjects look best when they're head on or maybe
looking straight down. I think usually
things from a bit of an angle look fine in a photo, but tend to translate a little
bit odd into a drawing. And finally, I particularly
want to be looking for something with a
good amount of detail. I don't want to be
trying to draw from a reference photo that's blurry. If I can't see the details,
then I can't draw. Selected my reference photo, I then want to create my sketch, and I'll talk more about creating the sketch
in a short while. I do want to make
sure that my sketch is as accurate as possible. I could have amazing shading, but if it's all
out of proportion, again, it's never going
to look realistic. Once I've created
my sketch lines, what I then want to do is start building up some of the
watercolour pencils. I want to build this up
in a series of layers. Want to start by building up the lightest color that
I can see in each area. So the lightest color in one area might be a
very light yellow. The lightest color
in another area might be a darker green. But I want to be looking for the lightest color in each section. And once I've filled
all of that in, I then want to activate
with the water. That is my first layer. I can then wait for
it to completely dry before doing exactly the same
thing with the mid tones. I want to be putting
down the color on any area that is the
midtone or darker, looking for what the midtone
is in each specific area. From there, I can once again
activate with the water, wait for it to completely dry, and then do the same thing
with the darkest colors. There's not as much that I need to build up with
the darkest colors, it's very important
that I remember that the colors will completely
change when activated, particularly with
the darker colors, but really with
all of the colors, that's what the swatches
are so helpful I can once again activate with the
water for the final time. From here, I can then go
over the whole drawing with the dry pencil to add
in all of the details. Generally smooth out
any of the pencil if it needs it and
brighten everything up. At this point, I
know that I'm not going to be activating
with water anymore, so the color I put down is how that color
is going to stay, is how the color
is going to look. So that is the process that I always use with
watercolour pencils. Let's now work
through that process.
5. Creating the Sketch Outlines: Now, the first thing
I want to do to draw this tulip is to
create this sketch. To do this, I like using something called
the grid method. This is where I draw a grid on my drawing paper and I add a
grid to my reference photo, and I just draw what's in
each individual square. So I can look at
where the outlines of each shape crosses the
edges of the square. Use those as markers and draw those into that square
on my drawing paper. Drawing this one square at a time stops me from looking at the object as the
object it is and makes me look at it like it's just a series of random shapes. If I'm creating a
really simple sketch, I can create larger grids, and if it's more complicated, I can use a smaller grid. Once I've drawn in
all of the shapes, I can then erase those grid
lines and I have my sketch. Now, the most important
thing to bear in mind when doing this is that you want to press really nice and lightly. I've pressed quite firmly, specifically so you can
see it on the camera. But in actuality, you
want the sketch to be so very light that you
can barely see it. If it's too hard, it will show through at the
end of the drawing. Also, if you draw
your grid too hard, it won't be possible
to completely erase those grid lines. If you don't want to draw
your own sketch, remember, you can use mine in the
class resources as well. Now, before we get
started with drawing, let's take a minute to have a look at the reference photo.
6. Studying the Reference Photo: For every drawing that I create before I start the drawing, I always like to take
a minute to have a good look at the
reference photo. I want to think about
the most obvious things I'm going to need
to bear in mind. So let's do that now and you'll see a bit
better what I mean. So let's start off by
looking at the flower. The flower is mostly yellow, but has a number of
other colors in here. First off, note that
the lighting on the flower is
generally on the left. The light is coming
from this side. It's much lighter here
and it's much more in shadow around this
right hand side. So all of the yellows on this side are very
bright and light, and around here and
around here on this side, the yellow is almost like a mid tone kind
of brown, I guess. I'm also seeing that there
is some pink to the flower, some very light pink here, particularly in this kind of strip that's
coming down here. And then there's
some much darker, richer pink here because this is in a little
bit more shadow. And again, there's quite an obvious line coming down here. So I want to build up
these few pink patches and generally build up all of the lights and
darks on the tulip. That's going to be the key to
making this look realistic. Also noticing a little
bit of subtle texture. You can see some lines coming sort of down in
this direction along here and you can see
some lines coming down here as well
and along here. They're not really obvious
lines, but they are there. Now, looking at the stem, again, you can see that the bulk of the light is on this
left hand side, and then it's in some
pretty deep shadow on the right hand side and
generally down the bottom. And it's a pretty
dark green here, whereas it's a much
lighter green, almost a slightly yellowy
green around here. Then looking at the leaves, they are a mixture of very
light on the side along here, very light on a crisp line down the edge of the
leaf along here, and then much darker in the middle in this
section along here. I'm noting that down
in this bottom area, this isn't as yellowy
green as around here. This is more of a
cooler blue green. So we'll want to build up this with a little bit
more blue to it. So those are the
main things that I'm noticing initially.
Let's start drawing.
7. Build up the Lightest Colour: So I want to approach this tulip in the way that I
usually would by building up to begin with three main layers of
watercolour pencils. So I'm starting off by building up the very lightest colors. Then once this is
dry, we can build up the mid tones and then
the darkest colors. So I want to be looking for the lightest color that
I can see on each area. Let's focus on the
tulip flour first. And as I mentioned, this flower does have some
very light yellows on it. In fact, the bulk of the
tulip is a light yellow. So I want to start
off by blocking in the lightest yellow
that I have in my set. This is the cream pencil. And I want to be nice and lightly blocking this in
over the whole of the tulip. The key thing here is that I do want to build
this up lightly. Now, in order to help me
build up the pencil lightly, notice that I'm
holding the pencil further back than
you may expect. Holding the pencil
back here stops me from being able
to press too hard. It really helps me apply
that lighter pressure. I can apply light pressure if I hold it closer
to the tip as well, but I just need to have a
bit more pencil control if I literally all I've
done to begin with is blocking this yellow over
the whole of the flower. I'm also going to
add a little bit of yellow onto the stem. As I mentioned when we were looking at the reference photo, I think that stem is
a little bit more of a kind of yellowy green rather
than just a light green. So once I'm happy with
that, I want to move on to the next very light
color I need to add. So I want to be adding in the pink areas that I
mentioned on the tulip flower. Want to be picking
the closest pink that I have in my set. So this is the coral pencil. I've picked this
because it's more of an earthy pink rather
than a bright pink, and I think that matches
the tulip a bit better. So I've started off by building up the color all down
that left hand side, and then I'm going to block
in this pink on the right as well in that large patch
where there is pink. I think the pink will need
to be quite a lot darker than this and maybe add some
other dark colors as well. But for now, I just want to get an idea of what's going
where and block in the lightest colors
and then we can build up onto the darker colors as we. I'm blocking in this pink in this whole patch here going up to the edge
of this dark line. So I want to leave a
little lighter area of yellow along here. I also want to very
lightly build up some of the pink around
this kind of patch. You can see it's much, much lighter than here, but
it is still there. And I also want to add a
little bit of the pink just past this darker
line in this area here. I mentioned, I think
that area will need to be built up with a
slightly darker brown. But for now, I just want to
put a light color there. I think it has a slight
undertone of the pink. So I will add that
in, and it will give me something to build
off of with the brown. So as I mentioned, I want to very lightly build up some of the pink along this
area here as well. And then I'll go along
this right hand edge side, nice and cleanly along here. The last area I
want to add some of this pink is to this
section at the top. It's just a slight hint of It's got a little
bit of pink to it. It's kind of a
darker pinky yellow, both here and at
the top up here. So let's add a little
bit of this in, as well. And then I'm going to move
on to a light blue pencil. So as I mentioned, again, we were looking at
the reference photo. In this area here, it's more of a kind
of bluey green. It has a real light
blue tinge to it. Let's use the light
ultramarine to very lightly build up a
small amount of the blue, making sure that I fade
it out towards the edge. And that's literally
the only place that I need to put this blue. So let's now move on
to the last color that I'll be using in
this first section. And this is the Earth
green yellowish. It is an earthy green. What I want to do with
this pencil is put it over all areas of the leaf and a lot of the areas
of the stem as well. Now, again, the key thing here is that I need to be
pressing lightly. I will actually need to use
this color quite a lot. It can create quite a
vibrant, earthy green. But I don't want it to be the very bright
color at the moment. I want it to be really nice and light green because
as I mentioned, we're focusing on filling
in those lightest areas. So I just really, really
lightly want to block this pencil in over
the whole leaf area. Now once again, note
that I'm holding the pencil quite far back
to help me with that light I also want to be
trying to get down the pencil as smoothly
as I can here. So I don't want to be just scribbling back and
forth with the pencil. I want to generally
be working in sort of circular or oval motions to try and make it
nice and smooth. The light pressure will really help with building
this up smoothly, and we will obviously
be activating this with the water in
a short while as well, which will again help
make this smoother. So you'll see I'm going
round each section. I'm just marking in around
the edge to begin with, so I'm clear on
where I'm shading. Go over the sketch lines
that I have marked. Once I've gone around the edge, I can just block in
the color nice and lightly working
around that stem. So let's build up the
green on this last leaf, again, going around the edge, marking where those lines are. And then I can do the same
for this last section. So it's also important to make sure that you're
always working with a sharp pencil whilst working lightly and
building this up. The pencil will go down so much smoother and more
consistently if it is sharp. As I get towards that
little blue section, I just want to fade out and ease up the amount
of green that I'm adding to this area
so that I don't have a really harsh
edge to the blue. Now, let's just
add a small amount of green into the stem, particularly the top and bottom
of the stem around here. And then that's all
that I need to do for building up the pencil
in this first section. What I now want to do is
activate this with the water. So I'm going to work
one section at a time. I'm going to start off by
working on the flower, and then we can separately work through each of the leaves. What I'm doing is putting a small amount of water
on my paint brush, and then just
blending the color, working generally one
section at a time, but then within that section, working from the lighter colors towards the darker colors. So you can see on this patch, it's lighter towards the middle. I've started at the middle, and then I've gone to
the pink on either edge. Do the same on this whole petal. Here, I want to start off on the left hand side where it's just that very light yellow, and I want to gradually work my way towards that pink
that's on the right hand side. I'm just going over that pink. It's creating a much
more solid block of color that we're going to be able to build the other colors. So just need to go up this
edge along here as well. And then let's start
working through the other areas one at a time. So I'm starting off here now on the stem, starting
in the middle, which is a little bit
lighter and then going over those green areas at
the top and the bottom. And then I'm also going
to start activating the pencil on the
rest of the leaves. Again, working through
this one at a time. So I want to go over the area
that will be a little bit darker on the inside of
the leaf along here. And you'll see I'm just starting at one end and working my way goal here is to try and make the color as smooth as possible. But I don't expect
it to be perfect. It's always going to be a little bit rough,
but that's okay. We can build up the pencil, and that's what's going to end up making it look much
smoother as we go. So over this whole
longer outside section. This section does need
to be quite light. It's important to bear
in mind that the color, I would say, changes quite a bit when you
add water to it. It's gone from a
very earthy green to a slightly more yellowy, brighter green, which is fine. It's just worth
bearing in mind that the colors do change when you activate
them with the water. By the time that I have activated every
section of this tulip, what I then want to
do is wait for this to completely dry before I
can move on to the next step. So I don't want to go
straight onto the next step. I want to wait at least half
an hour for this to dry. Now note here, I've started on that blue section on the left, and then I'm blending
the pencil up towards the top right where
it's a little bit darker. And then that is the end
of this first section.
8. Build up the Midtone Colours: Now in this section, let's start building up the midtone colors. I want to add in some colour anywhere that is
midtone or darker. So I'm going to start off once again on the
flower at the top, and I want to be looking
for the mid tones in here. So right now we only have
a very light yellow. So I want to build up some
slightly richer yellow, and I'm particularly
looking at the kind of yellow that I have along here. You can see this colour along here around these
areas at the top, and all down this
right hand side, and around here, particularly
and all under here. Really only the odd area that I can't see this
very bright color, which is generally along
here and along here. Now, I want to pick
the closest color that I have to this
kind of yellow, and I'm going to pick
the dark naples ochre. This is a slightly
earthy orangy yellow, and I'm going to nice
and lightly, once again, block this color
in anywhere where I can see that slightly
richer yellow. So I'm starting
off by going along the side of this petal here. I want to make sure
that I fade out a little bit at the edges
on the left hand edges. I don't want to have
a really abrupt line between this color and
the tip on the left. I want this colour to go all the way down the bottom and around this area down
here so that we've got a nice crisp
edge to this petal. So let's also build up
some of this colour on the petal on the
right hand side here. I want to be going over a lot
of this kind of pinky area. I would say that
the pink section on this petal is mostly quite
a vibrant kind of pink, but also has a little bit of
an orangy yellow tone to it, so I can add it over
the top of that colour. Actually, before I
work down that petel, I'm going to add
some of this yellow up in this top section. As I mentioned, I
can see this color over this whole area up the top. This whole petal behind here looks nice and vibrant and
kind of bright yellow. So then let's focus
on this petal here. And as I say, I want
to be building up this color the whole
way down this petal. Now, do note, again, that I'm pressing really
nice and lightly. I don't want to be blocking in tons of the color
because it's not a really rich yellow
that's want to be working in the same way as I did in the
previous chapter, holding the pencil further back, working in circular motions, and just really
pressing lightly. As I get down to the
bottom of this petal, note that it's much
lighter in this patch. I want to avoid this generally build up the yellow around
the rest of the area, though, and all along here. Section along here I did mention before is
quite a bit darker. It's got quite a dark
shadow along there. But the overall
color, I would say, is this yellow, and we can add that darker color
in a short while. So let's fill this yellow down this whole section along here. Do note that I am
again working with a nice and sharp
pencil so that I can really control where
the pencils going. Where I'm marking out
the edge of this flower. I want to make sure that I
have a nice and crisp line. And already, I think this
flower is looking better. It's looking a
little bit richer. Let's just tidy up along
the edge here a little bit, blend it out into the rest
of the petal a little bit. I'm going to go back
to the coral pencil. This is that pink that I used before to build up
more of this color, particularly on this
right hand petal here. So as I mentioned, I
think it's the same pink on the petal on the
left hand side, and in this area, but
this area does need to be a bolder pink and mix with that yellow so that it's more
of a kind of orange pink. So it's just build up some of this color over the top
here. I'm not pressing hard. I don't want to build
up tons of the colour. Want to lightly go over this area here a little bit as well, make sure that I don't have a really harsh line
to the pink section. And then I'm going
to start using that same earthy green that
I used in the last section. So I want to use this
color to just block in all of the areas that
are midtone and darker. So starting off by blocking in the right hand
side of this leaf. And I'm starting off by
just like I did before, neatly marking in the
line around the edge, and then I can shade
up to that line. It just makes it a bit easier to see where I'm planning
on shading, too. So I'm going along
the lines that I can still see from my sketch
and from my first layer. And then I want
to be once again, lightly working in
circular motions and gradually building this up. Because we're building
more of this color on top of the same color
that we did before, it's going to create
a much brighter, more vibrant color than
it was on its own. Building it up makes
it a more vivid color. So I've worked in
circular motions to shade in this whole area. Let's just add a little bit
onto the left hand side, the outside of the leaf. So now I filled in
that whole top area. Let's do exactly the same for the area underneath
the stem here. Once again, with a
nice and sharp pencil marking around the
edge of this section, using all of the lines that
I already have from here. And once I've marked
in that outline, I can then lightly shade in once again with
those circular motions. So I just want to
block in this area. Am trying to make it as smooth as possible, just like before, but if it's not
perfectly smooth, I can always smooth
out with the water. But the goal is to try and
make it as smooth as I can. Now, on this leaf on
the left hand side, you'll see that it's mostly
a much lighter green. But there are the odd areas
that are darker green. So, for example,
this patch here, this patch around here, there's a line coming down here. And generally, this
whole section here is just so much darker than this section need to build up
a lot more of this screen, but in this kind of patchiness
that I can see along here, you can see a line here,
a line here, a line here. But they're not really
solid and clean lines. So I want to build it up
with a nice and smooth edge. I almost want to build
up that patchiness. So you can see I've marked in the overall line separating this to slightly darker section. And then I'll add in patch
that's a little higher up, marking in generally
the edge of the shape, and then I'm working
in circular motions to just build that up, a slightly darker patch. I don't need to build up
tons of the pencil do remember how much darker it gets when you activate
it with the water. I also want to add a
little patch here that I can see and a bit
lower down, as well. Now let's move on to
the next section, the next leaf and something
to particularly notice is the very light line
around the edge of the leaf all around
here and around here. So where I'm creating my line around the
edge of this section, what I want to be
doing on this area down the bottom is to just leave a little line so that
there is that light line between this section and the
section to the left of it. You see that I'm
leaving that light line and then shading in the rest of this section because
this section is going to need to be much darker. Now fill in the rest of
the leaf, and once again, you can see me filling in
and leaving that light line between this section and the rest of the leaf,
the leaf to the left. I do want to once again, make
sure that I fade this color out as I get towards the bottom and towards
that blue area. The leaf gets much, much
lighter in the bottom left. Then I can once again block
in the color on this section. So that's all of the
main leaves marked in. What I want to do before I
start activating the water now is just build up some of
the mid tones on the stem. Let's start off by building up the green at the
top of the stem. We have already done this,
but I want to add in more. So I'm noting that
there's quite a vibrant green at the very top. There is also a vibrant
green around here, but the other color to note on the mid tones is this color
going down the middle. This is a sort of mid to
light brown, I guess. It's much darker on the
right hand side, but here, it's quite a so let's add that green in nice and
lightly at the top, being careful with the line I create around the
edge of the flower. I'm also going to add
some of this color down the bottom of the
stem here as well, making sure that I fade out
higher up into the stem, and from here, I
can start thinking about adding in
some of that brown. So this is the Van **** brown. It's not the darkest
brown in my set. I would say it's
the second darkest, and I'm just going to very, very lightly mark in where that midtone line is
going down the stem. I also want to very lightly shade to the right of that line. I want to keep the left much lighter because that's where
the shine is on the stem. I need to build up some of this color along
here and also I am going to build up a little bit just along this bottom section, which will need to
be a lot darker, and we'll do that in
the next section. But for now, I
just want to add a bit more than what I
have at the moment. Now at this point, I'm
generally happy with the julip. Let's once again
take the paint brush and activate this
with the water. So I'm starting here on the flower just
like I did before, and I want to start on the
left hand side of the section where the yellow is
lighter and work towards the more vibrant
yellow on the right. So I always want to be
starting at the lighter areas one section at a time
and working my way towards those darker areas
just like I did before. So let's start at the bottom of this petal and gradually work from the left towards the right and from the
bottom towards the top. Can smooth out the
edge of this line before it dries so that it's
a little bit less harsh. And then I want to go over
this whole pink section and you can see that
the yellow that I added in and that pink are mixing together to make more of a
orange kind of pink color. Now, you will notice
that I frequently get more water and wash
my paint brush. I don't want to have loads
of water on my paint brush, but equally, I don't
want it to be dry. It doesn't blend as
well if it's dry. So you do need to
put more water on the paint brush really quite frequently. So I'm
happy with the flower. Let's go over the green, and I'm once again
working through this, one section at a time
and generally working from the lighter colors
towards the darker colors, making sure that I smooth out the edges as I go along here. So once I've done
that outer leaf, I can then start working
on the inside of the leaf, starting from the top here and working towards the bottom. This section is a bit
easier because it is all one solid block of color that I'm
adding in right now. And you'll see that
I am working in circular motions as
I'm doing this as well so that the
watercolour pencil goes down a bit smoother. As I said before, I don't expect it to be
perfectly smooth, but I do want to make
it as smooth as I can. On the stem here,
I'm starting off on the middle section where
it is that lighter brown, and then I can work
up to the green at the top and also the green
at the bottom around here. And then let's move on
to the next section, being very careful to avoid those light lines between the leaf and the
rest of the tulip. Generally speaking,
you'll note that I am activating the
sections from the left to the right where I
can simply because I don't want to put my hand
in an area that's wet. Now on the leaf
here, once again, I'm starting at the bottom and working my way up to the top. And then at the end of this, once I've gone over
all of these areas, I once again want to let
these mid tones completely dry before I can move on to the darker colors in
the next section. So once again, make
sure that you wait at least 30 minutes
before moving on.
9. Build up the Darkest Colours: Now that those midtone colors
have completely dried, let's now move on to
the darkest colors, and we want to be looking for the darkest color in each area. So it's not necessarily
a really dark color. I'm starting off here with
the burn ochre pencil, which is kind of
an orangy brown, but not a particularly
dark color because that is one of the darkest
colors on the flower. What I'm doing with this pencil is starting off by putting a nice crisp line along
the edge of the petal, and then I'm going
to add a little bit of this color around the top to define some of the shapes a little
bit along here. So let me show you
what I'm seeing. So I'm drawing in this
little shape here, a little bit along this line. And then I want to be filling in the main dark patches in
these petels at the top. So I want to be filling in
this shadow around here, which is that kind of
orangy brown color around the top and
along the top of here. There are some lines and various other details
around this section. I'm not going to add
those in at this point, simply because we will be
activating this with the water. So if I add all of those details in once it's activated
with the water, you wouldn't be able to
see those details anyway. Let's also add in some of this color on this
darker patch along here. I've mentioned a few
times that this patch is a kind of pinky
orange kind of color. I do want it to be a little bit darker than it is at
the moment, though. I'm going to add some of
this burnt ochre simply to try and get it slightly darker, slightly closer match to
what is on the reference. Also going to roughly
mark in some of the stripes that I've mentioned
around this section, too. So there's various slightly
darker stripes along here. I want to add those in sutly. I don't need to add in loads of detail or spend ages
adding these lines in, but I want to get an idea
for the most obvious ones because these obvious lines will show through once it's been
activated with the water. I also want to be adding a little bit of
this colour around the darker shadow on the
edge of this petal as well. And then I'm
generally happy with the darker areas on the flower. As you'll see, though,
I'm not adding tons of dark to the flower because it is generally
quite a light color. So let's now focus a little
bit on the green sections, and I want to use
a different green to the green I used before. So this is the darker version, I would say, of
that first green. I want to be using this to block in a lot of the darker
areas on the leaves. So I'm starting off by focusing
on this dark underside, I guess, of the leaf here, the right hand side of the leaf. I'm doing this in a similar
way to what I did before. I'm once again going
around the edge so that I've got a really clean and crisp line on where
this is going, and then I can work
in circular motions to just block this color in. So I want similar to what
I've already got here, but I want it to be
that little bit darker. You can see I'm going over this in the same way
that I did before. Once I've defined that edge, I then want to work
in circular motions to try and smoothly
get down the colour. I am looking for any
lighter or darker patches as I work along here. So I'm noticing that there is a slightly lighter patch here, but generally the rest of it
is a reasonably even color. So really, on the most part, I'm just blocking in this pencil, but you will see
that I have left that slightly lighter
patch lower down. So now let's do the same for
the leaf down the bottom, and there's a few more
prominent lines down here. There's a dark line coming down here and a dark line
coming up here, and the rest of it
is pretty even, I would say, beyond that. Want to mark in where
those lines are going with this
darker green pencil. I actually think
that these lines will need to be
darker than this, and we will add that
in in a short while. But I want to get the
lines marked in on where I think they need to be
going with this pencil. And then I can just put
some again, light, smooth, even coverage over the rest
of the making sure that I have avoided that
very thin light line between this leaf and
the leaf next door. Let's add a little bit
of the green along the top on the right
hand side under here. And then I'm going to add
a very small amount of this color onto this
lighter leaf on the front. So this is very similar to what I did in the last section. I'm just adding the
odd patch where it does need to be that
little bit darker. So just down on the right hand
side and near the bottom. Can see I'm not adding
tons of the color. It's still very important
to remember how the pencil will change when
we activate it with water. So what I'm putting down here isn't what's going to
be here at the end. Once all of these lighter
colors have been built up, it then gets much easier because when we are adding in the details towards the end, the color that I put
down on the paper is the color that it will be
at the finished drawing. It's blocking this color
on this section of leaf. Again, being careful not to
go over those lighter areas. I just want to block
this color in. And then I want to
just build up some of the color on this section
of leaf, as well. So you can see that
I've faded out towards the left because I want that to stay
nice and light. And then I want to be building this up a bit
more in the top section. I'm happy with all
those green areas. What I want to do
now is think about the darkest color
in the next area. I'm actually at this
point, going to go back to the brown that I used in the last section and
build up some of this brown, specifically down the right
hand side of the stem. So look how dark brown this
top section is along here. This is about a third of
the stem, I would say. And then it gets a little bit of a thinner line along here, and then it's all very dark over this whole bottom
section down here. Let's build up some of this
pencil down the bottom, but also down that right
hand side and up the top. I don't expect to get all of these darkest areas
perfect, I should mention. What I want to do
is get a good idea of what color is going
to be going where, and then we can refine it later. So let's also use
this same brown to just be building up a
little bit of color on anywhere that I
think needs to be a slightly darker color than
just the green on its own. So you can see I'm
adding this to those two lines at the top
and bottom of this section. I'm also going to add a little
bit along the top up here. The last color I'm going to use, I'm actually going to go back
to the tulip at the top. I'm going to add a very small
amount of this earthy red. It's a sort of deeper, richer version of
the coral pencil. This is Venetian red, and I'm going to add a tiny bit onto the flower at the top. And then I can start thinking about activating this
all with the water. This is the final time
that it will be activated. Again, I want to be starting on the lighter areas and
gradually working my way towards the darker
areas to try and make any lines as smooth and
consistent as possible. So I'm going over
this red patch here, and then I'm just going
to smooth out any of the edges that I think
are looking a bit abrupt, just with a nice
clean little bit of water on my paintbrush. I'm also going to go along the
edge of this section here, just like I have done before. From here, I can start working
over the green section. So exactly the same as
I already have done, I'm going over one
section at a time, starting from one end of a section and gradually working my way
along that section. So I'm starting here
at the bottom of this section and working
towards the top. You can see that the
green and the brown are mixing together here to make
a slightly darker green, but we will build
up a lot more on this with the pencil
in a short while. Also go over this section
of leaf at the bottom here being careful that
I'm not blending onto that stem on the middle, and then I can move on from
here to the next section. So I'll go over some of these odd darker
patches along here. And once I'm generally
happy with these, I can just go around the edge, tidy that up to just smooth out any areas that
I think should be. And then I can start going
to this next section. So here, this section is
darker at the bottom. I built up some of the brown towards the bottom
of this section, so I'm going to start at the top and work towards that bottom. Before I do that last leaf, I'm just going to
go over the stem here simply because
I would have to lean on that final leaf if I do that area
before I do this one. And I think it'll just end
up getting all smudged. So I'll do the stem
here, go over this. I want to be really focusing on fading out areas like
this little area of stem. I can start going over
the last green section. So once again, starting from the light areas and gradually working towards
the darker areas, I've put a little bit
of extra water on my paint brush just to
smooth out the edge, and then I can keep
going over this section. So what I have by the
end of this chapter is a tulip that has all of the key colors and
shapes marked in, and I'll be able to add a lot
of details over the top of this being very clear already where
everything needs to go. It will really just be
kind of details and final tweaks but that is
the end of this section. Once again, before you move on, do wait for this
to completely dry, and then we can move on
to adding in the details.
10. Add in all of the Details: Now that I've built up all
of the initial base layers, what I now want to do is focus
on adding in the detail. I want to brighten
everything up, refine everything, and generally
finish off this drawing. So I'm going to start off by focusing on the
tulip flower itself, and then we can move on to the leaves and the
stem after this. So I'm starting off with
the burn ochre pencil. This is the kind of orange brown pencil
that I used before. I'm going to start off
using this to refine and crisp up that line that's
going down the middle. I also want to refine this
little patch at the bottom. Just I have marked in
all of these areas, but they look a little bit
fuzzy because of the water. And now I've got that marked in. Let's start building up some of the extra shading
along this edge here. When you look at this
flower, you can see that all along this edge here, there's this kind of yellowy, browny orange kind of color. We did add something
in for this before with the dark Naples ochre, but I want to make
it a lot darker. So you can see along the kind
of middle of this section, there's a slightly darker line. I want to start off by
marking in that darker line, and then I can start
adding in some of the lines and the texture
that's going all along here. So you can see I am very
lightly with my pencil shading along that slightly more
prominent patch along here. Working as I did before with circular motions to try and get the pencil down as
smooth as possible. We need to make it as
smooth as it's possible because we aren't going to be able to blend
this with water. How I put the pencil down on the paper now is
how it will look. And then once I've got a
little something there, let's start working
along and adding in some of that texture
that I mentioned. Now, it's very important
when I'm adding this that I really pay attention to the
direction of these lines. Note that they're all sloping towards the left in
a particular angle. I want to try and replicate that angle as much as possible. Let's add a little
bit of shading to tone down along that line, and then I'm going to
keep working along here, adding in those texture lines. So also note that these
lines aren't going consistently the whole way along all of these lines
are going along here, but then there's a slightly
more prominent line and then a little light patch. And then there's a darker area along here, another little gap, and then another darker
line and another gap, and it's a little bit less
textured in this top area. I'm also noticing
that the lines here look like they
curve around more, whereas here they look
like they're going more in this kind of direction. I am following those lines and trying to make
this accurate, getting the spacing right, the length of the lines, and the direction of the lines. As I always say, it doesn't
need to be perfect, but I am very much looking at the reference photo to try and get an idea on where
they need to go. Now let's just tidy up this
darker patch up the top here. I've marked this in
a number of times with the pencil before we
activated with the water, and I just want
to clear this up, make this a little bit darker, a little bit more prominent. And then I'll keep going
along these lines and building up the shading
going around the actually, I think a lot of the shadows on this tulip flower is
this kind of color. This is kind of
like a dark yellow, I guess, if you wanted
a shaded yellow. That's what I feel this is. So it's good for adding in
all of those darker patches. Let's look at the shapes around the top as well and add to this. So you can see that all of
the colors that I built up before building up
this pencil were really base layers so that I'm not just adding all of
these shapes on nothing. They're giving me some sort of color that I can
build off of and add. I also in this section want to think about adding in
some of the lines. So I did mention
these lines before, but we weren't able to add
them in until now because they wouldn't have
shown when we'd activated with the water. You can see all of these
little lines coming down here and here and this little
triangular darker shape up the top up here. With a really nice
and sharp pencil, I want to start adding
in those lines to add in these small
amounts of detail. If I add small details like this in every area that I
can on the drawing, it'll end up looking like a really detailed
drawing in the end. Also use this color to brighten up down this
right hand side, as well. So I want to build up quite
a decent amount, really, of this color down
this right hand side, because this strip is probably darker than
you would expect. And the goal is to just keep building up this
pencil until I feel the general more shadowed areas match that reference
photo a bit better. I think right now
it all looks very, very light, and it needs to be much deeper and much richer. Going to keep building up and come back to this
area on the left. I'm doing exactly the same
as I have done before. But now that I've built up
some of the other areas, added color in other areas, I see that I actually need
to add more of this color. So I can also repeatedly go back to the same area to build
up the color gradually. I don't need to build
it all up in one go. And then once I'm
happy that that's looking a little bit better, I can start focusing
on building up this color on the red patch
or the pink patch here. I'm particularly
focusing on marking out those darker strips that
I mentioned before. We added some of them
in a little bit before. I want to build them
up a bit further. Going over some of the marks
that I've already added. I want to mark them in for now a bit clearer
with this pencil, and then I will continue to go over them with some
darker pencils. I just think it often helps, particularly with
texture like this to generally go over it without
too much of a dark color, particularly because it
will need to be quite dark. I can check everything's
in the right place before I move on to
those darker pencil. Also add a little bit of
shading over this area at the bottom to just generally
tone down what's here. And I'll do the same in
this area at the top, and that's making the light
areas stand out even better. So let's now at this point, brighten up the burn ochre area to make it more of a yellow, and I can use the same earthy
yellow that I used before. I generally want to make all of the tulip that
little bit brighter, that bit more vibrant, so it does look more yellow. The flower does generally look like a bright
yellow flower, and right now, I think
it looks too muted. So I'm just going to go over the top mostly places where
I put the burnt ochre. But generally, anywhere
that needs to be a little bit darker and also has a hint of this
brighter yellow to it. So you can see me just
lightly going over all of these areas with those
circular motions once again. I'll go along this
area at the top. I really don't want to
be pressing hard because I still want to be gradually
building up the pencil. I do want to add some
yellow into here, but if I add too much, I think it's going to
be a bit too bright. So if I add it gradually, it'll be easier to
see when I need to. Also focus on this
area down the bottom, build up some of the
pencil along here as well. I can add some along this right hand side to partly smooth out
that burn ochre, but also generally,
again, brighten it up. Now, at this point, I
want to think about the most obvious thing that
I need to add from here. So I now think the pink areas
aren't looking pink enough. And actually, on this area on
the left hand side, so far, I've only put down
a small amount of the oral pencil and then activated with water and I hadn't done anything else. I'm going to just
add a little bit more with the coral pencil, just brightening it
up a little bit, and I'm also going to add
some of this same color on the right hand side to smooth out a little bit
what I've got here. So you can see I can go
all over this patch. I think that the
patch needs to be a much brighter pink or red. It's looking a bit too muted, but it is a good
opportunity to blend this area a bit better
into areas like here, where there is that
very subtle pink that I mentioned earlier. It looks a little bit
washed out at this point. I can build up some more of that subtle pink and
blend it into the area on the right in a much
smoother way than if I were trying to do
it with a darker pencil. So let's now move on
to the Venetian red. This is a kind of richer version of the
coral, I would say. And I'm going to use
this in any area where I think it could stand a
little bit of the red. So you can see along this
crease on the flower. On the bottom two thirds, it is quite a bright red. I also want to use
a lot of this color over the top of the pink on the right
hand side around here. So I'm once again, working in circular motions, working lightly to build up and adjust the color that's here, really
brighten it up. And I'm really focusing on going over some of the patchy shapes, again, that I can see here. And this is so much easier
because I've already marked in a lot of these patches
with the burn ochre pencil. And now I'm using
a slightly darker, richer pencil where it's
going to show a bit more. I know that I'm putting the
pencil in the right place. If there's a darker strip that I want to create a
darker color on, all I do is go over the area
more times with my pencil. Sometimes it's tempting
to press much harder, but we're going to
get a much better, softer color by going
over the area lightly multiple times to
make a bright color rather than using
that firm pressure. This flower is looking
so much better. Now, I often think for
every color that I add, it makes the next color that's missing a little
bit more obvious. So once I'm happy with this red, once I'm happy that this side of the flower looks more
like the reference, I can start thinking about the next most obvious
color that's missing. I now think that it all looks
a little bit washed out. I want to start adding
in a darker color. So I'm going to use the
same brown that I used earlier to mark out some of these lines
a little bit better, but also make them a
little bit darker. This brown is good because it's not an extremely dark brown, but it is pretty dark. So it's good for going over the top of this line along here, for example, where I
just want it to be a little bit darker than
it is at the moment. To be putting this
pencil anywhere where I think it should be a bit darker. So I think the
color on the shadow at the top up here
does look about right, but it's not looking
dark enough. So I want to go over
that color lightly with this pencil to make it a
similar color but darker. And we can always go
back over it with the burnt ochre in a little while if I think
it's looking a bit too brown. Let's also go over this
line along the edge. Because I think what
this tulip needs more than anything is a
bit of contrast. I'm happy with that, I can use this same pencil to go over those same strips again that need to be even
darker than the red. So this is now the third time, I think that I'm going
over these same patches, gradually going from
the lighter colors towards the darker colors. I feel like the tulip
flower is looking so much better and so much closer
to that reference photo. I'm always going over
it in the same way, always lightly, always
in circular motion. This has shown that,
again, I don't think that it's looking red
enough in this area. So I can once again go over this patch with
the Venetian red, making it little bit darker, that little bit brighter. So I'm just going over
the whole area now, and going over the
dark brown patches is turning them more
into a dark red, which I think is matching
the tulip much better. I'll just add a little bit around the top here
where I want to slightly adjust this color to be a little bit
more red, as well. Let's once again, think about
the main difference between the drawing and the
reference photo and think about the main color
that's missing from here. And I'm actually going
to use a much brighter, more vibrant yellow now. So this is the cadmium yellow. I kind of think of it
as the standard yellow. I want to use this pencil
very lightly going over the top of all of
those yellow areas to brighten everything up. I think that the tulip just
isn't looking yellow enough, and it should be
much more vibrant. Just going in circular motions over the top of the tulip in any area that I think does need to be more
of a bright yellow. So I'm avoiding going over the very light
areas of the tulip. But generally
speaking, I'm going over most areas
around the edge of that pinky red patch and generally anywhere where I've
built up a darker color. And it's making the
whole tulip look so much brighter
and more vibrant. But adding in that
brighter yellow has made me realize that I think this area isn't
looking a bright enough red. I actually wants it to be
brighter than the Venetian red, I think, not
extremely bright red, but brighter than I
have at the moment. So I'm going to use what I
think of as my standard red to go over the tulip here and just brighten
this up a little bit. Again, I'm using
a light pressure. I don't want to be pressing
really hard because I don't want to be creating a
really bright red area. I just want it to be a bit
brighter than it is right now. This point, I'd say I'm
pretty happy with the flower. I think what I need
to do from here is fill in all of the leaves, really refine those, and then if I need to add anything
else to the flower, it'll be a bit easier to see
when I filled in the leaves. So what I'm going to do at
this point is switch back to the darker of the two
greens that I used earlier, and I am literally
just going to go over everything in the same
way that I have done before. So I'm once again going
around the edge of the area, so making a nice clean line around the edge to begin with, and then shading in
from that point. Where I've built up all of the pencil and then activated
with the water before, it just looks a
little bit patchy and building up over
the top of it with just a small amount
of this pencil is keeping the vibrancy of that color that we
added in before. But it's just making
the whole thing look much nicer
and much smoother. So let's go all over the top. Note how careflove been going around the
edge of the flower. And then let's do the same
on this next section here. So again, refining the
pencil around the edge. The pencil lines
around the edges of the drawing just look
a little bit fuzzy, again from activating
with the water. So I just want to create
a much crisper line. Be tweak the shape a
little bit if necessary, and then I can work, again, in circular motions
to block in the area. Now, I do want to be
thinking about if there's any spots within
here that I want to keep a little bit lighter
or alternatively that I want to go over more times
to make a bit darker. So I'm thinking about
this line that's along here and going over this darker
patch a little bit more. It's a bit lighter, I would say, to the right of that dark line. So I don't need to build up
as much pencil along here. And then that first
leaf is already looking so much
better on the inside. Let's keep going back over here. I'm just filling in the same
shapes that I already have. So refining around
the edge here, making it clearer, and tidying
up in this little section. And once I filled in some of the patchiness on
this leaf again, it's going to be so much easier to see what other
colors we need to add. Now, I once again want to
make sure that I'm keeping that light line around the edge. And I'm going to go over some of the darker strips that I've talked about
quite a few times on going to go over them again to just make them a
little bit more obvious. But because a lot of
these patches were already marked in from
when I did this earlier, this is all made so much easier. So I just need to fill
in these few patches, and then I also want to add
to this little patch here, but pretty much everything
else I would say on this section of this leaf is
a slightly lighter green, so I don't want to be adding
it in with this green. I'll do it with the
other lighter green. Do the same to this next leaf. Building up the pencil along here so that it's much smoother still being careful to go around that line
around the edge. Note that there's a slightly lighter patch on the leaf around here and around this
right hand side here. So you'll see that
I am being much lighter on those areas to
keep the lighter spots. So although I'm generally trying to remove the patchiness, I am noting where the green
is that little bit lighter. Let's finish off
by doing the same on this leaf on this
side of the leaf here, generally building up a lot of the colour in the
top right hand side, and going over that darker line down the middle of the leaf, you can see that I've added to. And then I generally
want to smooth out the edges of the
rest of the leaf. So now I'm happy with the green. What I think is particularly
missing is that we now need to get some
of the darkest areas in. So I'm actually going to use the black pencil at this point. I think that the brown that I've got isn't quite dark enough. Going to use the black pencil to fill in all of the darker areas. So starting off on the stem, the stem has the darkest areas, I would say, of
the whole drawing. And a lot of these areas
are those that were already added in
when we built in the darkest colors
in the last section. So I need to build up a
lot more of the black towards the top of the
stem on the right here. It also need to build up a
lot more down the bottom. But generally
towards the middle, it is much lighter. I only really want
to be filling this in on the absolute
darkest areas. If I think that an area needs to be more
like a dark brown, then I can leave that and fill that in with the
dark brown instead. So let's smooth out the top of the black section
a little bit, and I'll just add a slightly
darker line going up, a small amount along here. I want to be adding the
black to any area on the green leaf that I
think needs to be darker. So as I mentioned, on these leaves, they're
not all perfectly smooth. They generally have some lighter areas,
some darker areas. So I want to look at
those patches and start very lightly filling them
in with this black pencil. So you can see there's
quite a dark section here. It's quite dark
around the corner, and it's also pretty dark along the top
of this leaf around the So those are the sort of areas that I'm marking in
lightly with this black pencil. And remember, if it's
looking a little bit harsh, I can always go back over in a short while
with green as well, and that will tone
down that black. So I once again want to work one section at a time to
just add in this black, build this up a
little bit so that the contrast is looking more
accurate in this drawing. So I want to be filling in this dark line that's
going up the middle up I'm particularly
noticing how dark it is in this fold along here as well. I'm still just lightly building up some of
the pencil along here so that I can add other colors over the
top of it if I need to. I also build up some of the black towards
the top of the leaf. I'm just looking at the
leaf and seeing where I want the leaf to be
that little bit darker. This is going to create a
much darker green than if I just go over that area with the dark green
that I've been using. Once I'm happy with this leaf along here, I'm happy there. I think it's matching the lights and darks on
the reference photo. I'm just going to add
a very small amount onto this leaf on
the left, as well. So once again going
over those patches, which generally speaking, do need to be particularly dark. I'm also just going to use
this pencil so lightly to add almost like a light gray
along this left hand side, which is going to
make this leaf stand out a bit better
from the background. And now let's move on
to the brown pencil, the same brown pencil
that I did before. And any area that didn't need
to be particularly black, like along this edge here, I want to use the brown
pencil to just tone it. I need the right hand side
of the stem to be very dark. I need the middle to
be sort of a mid tone, and it's looking a little bit too washed out at the moment. I don't want to use the
brown everywhere because I think there are some areas
that did need to be black. So let's just tone down
the black by going over the top of it
in some places and generally add what I think is a dark mid tone to the green, building up more of
this color until I think it more accurately
reflects that reference photo. And I'm just going
to add small amounts of this pencil to
all of the leaves. Already, the leaves are looking so much better, and actually, I think it's making the flower
look better because it's got this darker backdrop
that it's sitting against. From here, let's think
about the next color that I should be adding. Although let's first
just add a little bit of light shading like we did with the black down this
left hand side, where I want it to stand
out from the background, but I don't want it to be as
dark as the black pencil. Let's finish smoothing out
and brightening up some of these leaves and the stem with
the lighter green pencil. I'm adding this into
a lot of areas that I already have around the
top of the stem here. I just need it to be
a brighter color, so I can go all up
this middle section to make it more of a
kind of green brown. And I'm going to use
it to brighten up this area down the
side of this leaf. As I mentioned, a lot of
the darker patches on here. Are particularly
dark brown or green. But the bulk of this half of the leaf is a
much brighter green, so I can go over what
I've already added here. Lightly with a little
bit of this color. I do want to make
sure that I'm keeping that slightly lighter edge, and I can do the same for
this leaf on the right. So I'm starting to get into
the final details now. I want to think about any
other colors that need adding. So I'm going back to that
blue that I added before. I'm going to add more of this color because
I think a lot of the blue that I added
at the beginning looks like it's got
a little bit lost. Just lightly add
some of the blue and on the left hand side. You can see I don't
need to add a lot. It's adding an ever
so slight hint, but I don't want it to look
really bright blue here. I just want it to be a little bit more blue than
it is right now. And then let's go back
to the brown pencil and just tidy up around
the edge of the flower. So I'm really getting into
the final details now. A final areas that I think
don't match the reference. And now that I've filled in all of the drawing
on the leaves, it makes it much easier to start looking at the
drawing as a whole, and I can start
seeing any areas on the flower that maybe
isn't quite right. Also going to use
this color to just make the stem that
little bit darker. It's not looking dark enough. I don't want to use
the black for this. I think that would be too much, but I do want what's here
to be that bit darker. And then I'm also going to
use this pencil to make any other area I think should be darker,
like a along here. So let's once again think
about looking at the flower, and I want to think
about any other colors that maybe I should think about. I'm going to go back to that bright red to just
brighten up this line, which actually is a
much more red line than maybe you would expect. But I can see the red line,
so I should draw it in. And I'm once again going to go back to the burn
ochre to build up extra darker shading along
this edge here as well. You can see how I go back to the same area multiple times and gradually
add more of the color. I don't want to just go
really hard with the pencil because until I've built up a certain amount
of the drawing, it's quite difficult to see how much of this
color, for example, needs a more the case, I would say, on lighter
areas like this flower. It's easier to come
back multiple times. I'll end up looking
more accurate. So I'm happy with
the flower now. The last thing I want to do
in this drawing is go over all of the particularly
light areas on the leaves. An area that I think should
be that little bit darker, and I want to go over it
with this bright green. So I'm now just tidying
everything up, finishing it off, maybe smoothing out
some areas if I think it's looking a
little bit too grainy. But then that is the
end of this drawing. I hope you've enjoyed
the tutorial, and I look forward to
seeing you in the next one.
11. Summary: And that is the end
of the drawing. I hope that you've enjoyed this and you've
found it helpful. Hopefully, it's really taken the mystery out of drawing
with watercolour pencils. Now, don't forget to upload your drawings into
the class projects. I would love to see
what you've done. And if you've
enjoyed this class, please do leave a review. Happy drawing, guys, and
I'll see you in the next.
Gemma Chambers, Pencil Artist
