Intro to colored pencils: Watercolor pencil techniques

1. Intro to watersoluble pencils: Hi there. Out gate and welcome to my school. Shit class Intra Articular pencils, watercolors, pencil techniques. In this class you will learn how to be using water soluble going pencils and two great amazing effects with them. I will demonstrate various water soluble pencil techniques that make this medium so unique in versatile from Dr Pencil layering two different with applications on studying effects. And we will be creating beautiful they things together I will be doing to demonstrations this fear and a butterfly. And in your class project, you'll have to create three projects. Don't go a color wheel sphere and the butterfly. So what are you waiting for? Let's get started. 2. Art supplies: Let's talk about art supplies. So for this class, I will be using two brands off watercolor pencils. One is Albert Juror, the fiber can still brand, and the other one is cooking. Armando. Lose pencils. Both these brands. I really, really liked them. And you can start with a smaller set and makes the colors as you go so you don't have to invest in huge set immediately, as you start with. Then I will be using some brushes. I'm using just simple nylon brushes and a neck wash mental water brush. We will be also needing some, um, erasers awaiting or Joe Pin or an acrylic, um, marker or paint. I will be using also a spray bottle. You can use any spray bottle, even the one that Jews were plans. Or if you have some empty spray bottles at home, just clean them up and filled up with water. Um, then I will need scissors or any craft knife, just something sharp that we can shave off the pencil onto the paper and a sharpener. Of course, you cannot go anywhere with governor when you're dealing with pencils. I will strongly suggest that you get artists brand watercolor pencils because you will never achieve the same result with the students. Great pencils. So if you are just starting out, I would start with cocaine or basic the smallest set, and they're very affordable, and you can get them off Amazon easily, and you will get a very, very good quality for a very small amount of money. It's the pencils that I started out with, and let's head on to the next lesson where we will talk about a bit more about the supplies . 3. Paper for watercolor colored pencils: So the first thing I want to do is compare the papers, have prepared different papers here, and I will show you how the pencils look on different paper. The first thing I wanted to say is that pleased? You're not used office paper. I will show you lie now, some leering. My been salon to the office paper when I had the water. First of all, it's gonna ruin the paper just doesn't support Walter application. And second of all, you will not be able to have as many layers of pencil as you would get with any other paper . So you can see already, Uh, this paper, how it looks. So one thing for sure, the office paper has to go sell no office before event this class. So the next paper, I will show you ISF Adriano de Sena, which is a paper for drawing. You can use it, but I wouldn't suggest if that much, because it doesn't support a lot of water, so it's quite smooth. But if you use many washes on it, the paper is not gonna stand that. So it's better than the office paper. You can see the difference, but still not watercolor paper, but it's quite smooth. Go home. It's going cheap so it can be is a variant for this class, so one or two washes it can stand, so the next paper is cancelled. Mixed media paper. This one is 224 grams, so it's already closer to watercolor paper because I usually use 300 grams per square meter . That's the weight of the paper, how it's measured. So this one's gonna be good to use in this class, so you can see it stands water pretty good. Um, with watercolor pencils. I don't use as many washes beside him with what watercolors. So this paper could do. Are you okay? So the next time is also I wanted to you to pay attention. So this paper is very smooth compared Teoh Cold purse, watercolor paper. So we have cancer. Mixed media. This one is also smooth, smooth ish kind. It's not the smoothest Bristol board papers, but, um, it's quite smooth is a paper so you can see that there is a bit of texture there, but I will show you. I will show you, Um, another one that's even more textured. Also by council. So just so you can compare the two. So we have this one that is the textured one. And this one is the smooth version of basically the same pad. So you can see here. That's the color. It flows freer. It doesn't have those crevices to go into. And here you can see the texture come through and the color doesn't move us much as it would on the smoother paper. So, basically, does the big difference between smooth on and texture papers is how freely the color moves . So these two would be good for this class as well. So this you would be perfect also used it for my watercolor studies a lot. And umm, the last paper I will show you is this Langton much cooler fever. Let's go press paper. You can see the texture of committing troops. There are also rougher versions of papers that are called rough. They are they have even more texture showing through. And those are also good for watercolor, watercolor papers, pencils. It depends on what technique you're working. If you want to do a more realistic thing than you would use hoppers. Papers that are smoother like this one here. If you don't mind texture and you want your look, you're being next. Look more painterly than you would go for rougher papers like cold press or of papers, it's the ones that I use. So my favorite is Cold Perspective paper because it gives that unique look to the painting back. I don't strive to get very realistic things, so it depends on what you want and this one use. This was going to be the paper that I would be showing you in this glass so you can see that it shows some texture through it. And also, the paper doesn't buckle when you have water to it. So, um, most importantly, just to recap about the papers, is that operas is smooth and the pigment moves more freely, and it's a bit more difficult to control it. Um, cold press is rougher, it has a texture to it, and different brands of paper will have different texture. Kempson. It has some kind of line texture to it, and for example, lengthen has just in a regular pattern to it, so archers will have again different paper have it as well. But I will be using it for the colored pencils. And, um, it's better enough to use these papers that are not suitable for water. So you can see that the friends between the two. So you're gonna have a different look depending on the paper that you're using. So this is it for the papers, And now we're gonna have to the next lesson and I'll see you there. 4. Erasers and colored pencils: So before we go on, I want to just talk a bit about the racers. So here I have a needed research. It's kind of a pretty research that you can shape internee shape you want and just create marks with it. More dots, Whatever. Then I have, ah, simple research. Get from any stationery shop, um, thistles. A stick research. You can basically pull it out as much as you need. And I cut it with a knife to give it the sharp edge to create, like, very thin lines with it. You can also create lines on dots with this pencil eraser. So basically has two different eraser kinds are offer one and this after went on both ends . And the last one I wanted to show you is the mechanical Reeser. So this is a nicer that has back to reason. It basically it spins on if I says stronger than you would when you do it by hand. So I wanted to show you two different blues. So the 1st 1 I have here iss my Albert your by fiber Casto I'm gonna play this video here and the other one is gonna be the cooking and working hours. I don't have code names off pencils. They have only the color number. So this is number 18. And, um, this one ISCO problem just for a prince. So now what I'm gonna do is I'm gonna take my racers and I will show you what Marx They can leave on colored pencils. So first, I'm gonna go over my Albert Duer. And with what? Your race. Or you can use it like to lift stuff, lift mental off the paper of the same is with for a fight. So basically, it lifts the big went off show you. I'm sure you two pencils because they behave a bit differently with the racers. So there's a pretty racer. If I take my pencil eraser, that's creating lines. And then I go over and I'm first thing quite hard, and you can see that I managed to get to some of that big meant off. Not completely. You will never be able to get the white of the paper back completely. So it's best to plan ahead. Like with watercolor. This is the other end of the pencil eraser. Is that bad? It's not that bad, but still you can see that there was blue there, So I'm gonna do the same thing with my over. So that's one. So it and thats theater. So you can see, um, how they lift off the paper is a bit different. They behave a bit differently so I can try in the race. Well, normal pencil with normal racer as well. So this is going to pay that. And this is the albrecht your and it comes off quite nice, but still you can see it. So another thing that I wanted to mention is when you do what? Your pigment. So here I'm gonna add the water. Yeah, just clean needles. And look, this one. So while it's still wet, you can lift it out with a tissue. Just gonna Here. You can see that it picked up some of that segment, and here it lifted off better So depending on the brand and depending on the pencil, it's going to have different staining qualities the same way as watercolor has. So the best way to erase pencil when it's already wet is to lift it when it's wet. What I mean by that is whether you lifted while you just wet it or you can lift it even after it's dry. I'm going to drive this now and I will show you how to lift the color after it's completely dry. Because with erasers, what happens is you're just gonna run the tooth of the paper because you will be taking off the apart layer of the paper ACY You're racing because it's nearly impossible. Juries, the pencil once it's wet. So I'm gonna drive these. Now they're drawing. I'm gonna do the same thing. I'm just gonna try and race and you will see that I'm just scrubbing the paper off. Basically, it doesn't erase. This is not the racing you can. Even I can't even feel it. If you try this at home, you can feel the difference between the textures where you rubbed it off. Um so, basically, did you hear the same thing? You see that lift off very badly and this way you were in the paper. So best thing to do in cases like these, I take my synthetic brush like you can use any birth. Synthetic is best because you don't ruin your good, expensive brushes. That way, I put it in my clean water. I re went the area that I want the paint to come off and I scrubbed with it. So I'm scrubbing with my bristles gently. No need to destroy the paper. And then I take, uh, clean to shift, and I'm David. So is that the same thing you do with watercolor paint? It's never going to lift it entirely, because in my experience, watercolor pencil are more staining than watercolor paints, so you have to see which colors are lifting off easier, which are lifting off harder. But what I think is that it's best to plan out ahead. Um, before you actually start painting, not where you don't need to correct the mistakes. And another cool thing of about order for pencils is that you could always yes, over the area. So this was only ever in the paper. But it's growing too much that you can always pass over the area, so let's do the same here, so I'm gonna lift this pigment off, and once it is a dry just gonna drive the But once it's dry, it's already kind of rougher on the surface, because I've been scrubbing it. But then you can have more color, so you can kind of correct your mistakes that way. So, um yes. This is everything I have to say about erasers. Um, just experiment on if you're really into any pencil drawing, really? Then I would suggest you really get this one. The rest of them? It's not that important, but that needed a research. Really cool thing to have on the pencil racers. Also a very neat thing as a creek can create some reason lines where you need them. And, um, this isn't about the resource. I will see you in the next listen. 5. How to create highlights: So now I wanted to talk about the both creating highlights. Um, I usually use a jump in and the Krulik marker or white ink. So here, hey, have free rectangles and I will show you, um, the difference between all three of them. So the job ends and usually struggle with them because I need to find the right Joe open. That's great or pink. It's not my favorite thing when it comes to highlights, but it's still allows you to create white on top. Also, one more thing that you can do is when you scribble with your job open can just smear it a bit with your finger. So it creates kind of a big, um, highlight there. So this is the gel pin. Then we have acrylic marker. So this is boulder can create different textures like that where you can also use acrylic paint. Just use it whether your brush just remember not to use your watercolor brushes for acrylic paint. So and then we also have, um, the white pink. So the way I think I'm gonna use my brush, just gonna dip it to think, and I'm gonna draw with my white. Think over the top. So I think it's Gretel Peak, and it's one of me favorite. When it comes to creating highlights, you can also, um, diluted with water and create less. Um, let's bury Thailand's it's, which create different defects with it and just have fun. Whatever highlights come into your mind like sometimes it really makes the image pop when you got highlights. So these are the three mediums that I use for creating highlights after my painting is basically done, especially when I paint dog portrait or like animal portrait. I have the highlights in the eyes and really makes it kind of pop. Um, so this is it for this lesson and let's head on to the next one. 6. Sharpening colored pencils: So, um, another tip to remember while sharpening her pencils. Don't do this. Don't rotate your pencil as you usually do when you sharpen them. What I do is I rotate my pencil sharpener, and that way I stood less chance to actually break the tip of my pencil. So it creates a nice and short point and it doesn't break the lead that is inside. I'm gonna do this again. Again. I'm taking my Lebrecht yours. I'm going to sharpen the pencil by turning the shoot pencil sharpener. And that's good like this. Other tricky can use is using sounded paper. So when you have your tip, that's blunt. So you see that my tip isn't sharp anymore because basically, with colored pencils, the sharper detective better so what I do is oppress over my sandwich paper. This is a cool way also, to Sprinkle big men to come to the painting as well. I have a sharp tip without having to sharpen the pencil again and without wasting too much pigment. So those are the sharpening tips, and I will see in the next lesson 7. Dry colored pencil techniques: So the first technique that I want to show you is the simple colored pencil layering layering technique I'm gonna do is I'm just gonna start covering in the area of my paper. And I'm just using, like, pressure here and mostly circular motions to cover up a square. So is gonna be my late value. Then I continue to the segment next to it. I'm gonna do the same thing again. I'm using my circular motions to cover up the second area, and here I'm gonna add a second layer of my pencil. This way, I'm creating more saturated value here. And then if I move on to the next square, I'm going to cover up this square with uneven, more saturated value. Then the 2nd 1 So here I'm using more pressure than on the previous one. Not on this one. So is it, um, rough paper? This is called breast watercolor paper. It's going to have, um, these gaps in between if we don't use any blender in this case, water because thes air, water soluble pencils. But you can see the difference between the values, the lights or one the middle value. And then we have the strong of early. I think I'm gonna just intensified you this one just a bit more. So we have a bigger difference between the later one and the middle value. So, um, the next way to cover an area with dry technique is to do some very similar thing. So I'm gonna be using trying to sharpen my pencil, and I'm gonna be using cross hatching to do that. So this is gonna be my life. Just value. Gonna go here and here. I'm gonna do the same thing, but I'm gonna pass over it twice and again. I'm gonna do cross hatching my leg broke. This happens quite often with pencils. We have to be careful. Never measure been so sharp again. Um, finish up my cross hatching and I'm gonna finish off this part. Gonna do more pressure here. So we create different values in the same of the same color. So these air to dry techniques that we can use the pencil. The next technique is when we can use to colors. Basically, I'm going to be using the same blue, and I will have a red do it. So in the next technique, I will be using the same cross hatching is headed here, but I will be using two colors. So that way you can create, uh, visual effect off. Ah, third color. So what I'm gonna do is in the lightest value. I'm gonna do this one way, and then I can either do it in the same direction to create kind of this purplish effect. I think I'm gonna just have a bit more violent here. I blew to this violet. So this way you can build up the colors and they will actually look. It's likely different. It's likely they will look different, Teoh what they originally are. So this kind of looks purplish already we have red band blue here, or we could do a cross hatching with them. So I'm gonna just sharpen it with my blue just a bit to create the sharper point and I'm gonna do you opposite Gonna do, Chris. This is had the hatching and then cross hatching. So this way I'm gonna build up the colors with cross hatching. So this is another way how to use watercolor pencils and similar to drawing colored pencils . In the next lesson, we will pass to How would you use your pencils with water? So most important thing about the watercolor pencils. I'll see you there. 8. Watercolor pencil techniques 1: So now we're going to be doing one of the basic techniques with watercolor pencils, and we're gonna layer them dry and add water to them. Basically, what I'm doing is I'm covering this rectangle with a thin layer of my red first. And then I will leave one end untouched and the other one I will add more value to its impressing Carter on the such and as I moved closer to my life just value. I listen, the pressure. So basically, I'm creating this kind of a gradation between the two values, and I'm just gonna add a bit more right here. Now you can see that visually, already it's different. This one is more intense, the color more saturated. And this friend is a lot more light. So I'm gonna wash up my what her brush, And I'm just going to start from the latest part from the latest and because if you start from the more saturated color, it's going to drag that more saturated color into the latest, and so you don't want that you want to keep the latest part of it is latest possible. So there's the difference in value and then going from my latest part into the more saturated port. And I'm moving always from left to right. In this case, you can also do circular motions like that to blend it. I found that water brushes have the perfect water, too. Pencil. Um, the question, uh, so I'm just gonna have a bit more water here because I don't like oh, saturated, it looks and I'm just gonna push the pigment further away towards the saturated end. So this way you can create gradations in one color. I will do the same thing now, but this time I will use my brush with water so you will see the difference how different it's gonna look. So again, I'm covering. You're here with a light layer of color. First, you can even leave this part white so it doesn't have that much bigger Internet. Wiccan remove a bit pigment here just to make it later. And then I'm gonna add again more saturated color on this end. And as I go closer to the latest part, you could also use hatching across fetching. So if you're used to working with think, for example, with Ben, and you used to have change where you can use this technique as well. So dependence found which mark making you prefer. But when you have the water, it's not gonna matter that much because it's kind of soul. So now I'm gonna take sorry. I know I'm gonna take my water. And every time when I work with watercolor pencils, I don't go straight from water into the baked here. I always dabbled a bit against my tissue. And then again, I start from the lightest part and I move into my saturated part. So, like this, I love it when the pencil the watercolor pencils did, activated by water with water, it's just too beautiful. Um, so now I'm gonna just lift up a bit of the pigment here on we're good. We have a gradation. So don't forget to dab your pink brush against the tissue because otherwise you can have a bit too much water unnecessary. They contracted with too much. Here, just remove it. And here we go have a nice gradation. So the 1st 1 is with our water brush, and the 2nd 1 is without were brush. So the only difference being that with the brush, you need to pick up water every time that you touch the pigment. So let's head to that next to take. Now 9. Watercolor pencil techniques 2: So next one, we will do the same basic thing. But we will have our saturated and on this side. What I'm gonna do is I'm gonna add color only to a small portion of our rectangle. Okay, I had one here as well, so we can, in order to use it with the brush just a sense the difference between the two. So I'm gonna take my Walter brush and I'm going to start solving Start activating my pigment on the left side. Know what I'm doing is I'm just simply dragging it out. Towards the right is my water brushes filled with water. I don't need to worry about adding more water. Just gonna add more water to the bristles as it flows on. Its gonna give me a lighter value so I can drag it all the way I want into the white. So this is the first, um, approach. And then we're gonna do the same thing with our water again. I'm gonna dab it against the tissue. I'm gonna dissolve this pigment. Um, activate this pigment with my brush and now I'm dragging it out with my brush, and I can go so far as my bristles. Allow me, Um, as far as they have water in them. So you can see it's quite different. The result that you get with a water brush pen and with a simple brush. So here I am out of water. I need you. But it inside the water again. Rinse it off dab, and I can continue pulling the pigment away. So, um, this is a simple radiant with one color and you can see how different it looks with the water brush been and with our brush. 10. Watercolor pencil techniques 3: Now let's move on to two colors. But I'm going to do ISS. In this first example, I'm going to create my ingredient with two colors. So I'm going to start with my red gonna add a saturated porch on the left and I'm gonna hatch it out into my right and creates a greedy int as we did here on going out. Make it less pressure and very saturated right here. Now I'm doing the same thing on my left on my right with the blue. So making a saturated end here the right part and then I'm gonna create ingredient into my left and I'm listening to pressure, so it covers the paper less so I leave less pigment onto paper. So that's OK for now. Now I'm gonna take my watcher brush. I'm gonna wash it out because it was red. So now that is clean. I can start from one end. I'm activating the big mint on my left, so I start with my red. Usually it's the best idea to start with the latest color that you have in your ingredient , because that way you don't risk pulling the darker color into it. But as These are both equivalent. That's not gonna be a problem. So you can see here that already I'm moving into my blue it starts to become purple. And as I'm moving further into my blue, it becomes more and more blue with every move. And now here that I got into my blue completely. You can see how rich the blue color is now. We lost the purple together. So this is ingredient that you can create with two colors by applying the full, um, hatching the full shade from one side to the other. Now, let's do the same thing. But as we did in the second example here, we will apply color only to the ends. So I'm writing Ah, lot of my red here, just enough so I can cover so I can drag this big. Meant out until the blue and I'm gonna add another square here on. I'm gonna apply a lot of pressure here so that I can put pigment onto paper. I'm gonna use again my water brush pen. I'm gonna rinse it out just to be sure that it's clean. Dab it. I'm gonna activate my red color. I'm gonna drag it out all the way out, washing up my brush and then I'm activating the blue color. Well, that one is still wet. I'm dragging out my blue and now you can see that they're meeting. I can start to mix them on the paper washing of my brush. I'm gonna take more of this red and pull it into it. It's basically like watercolor. Just pull the colors into each other. You basically kind of mix it down the paper, gonna pull a bit more of that blew into the mix. Also the red. I don't like this art here. Just gonna pull it up more. And there we go. And we have this purple in between. So that's another ingredient. Another thing you can do if you remember that we did the cross hatching of two colors. So I'm gonna layer my colors here. This is going to be useful for the exercise of the color wheel that we were gonna be doing as well. So middle ear, my colors here, one on top of the other. It depends what color you want to achieve. More bluish for more reddish. So you add more off that color into the mix to know what I'm doing is just I'm activating my pigment and it's going to mix on the paper as we did here. But if it's layered went on top of the other, it's going to mix together, not being dragged from one it until the the other, as we did in the greedy int. So we get this purple mix our violet, and there we go. So we created another color using only two pencils. It's a great way to mix your colors if you have a smaller set of watercolor pencils so you don't need many watercolor pencils. You can create your own colors, depending on the set that you have. So if you're just starting out and you don't want to invest a lot of money, you can just buy a pencil, set off 12 and create your colors. From that, I will talk more about that in the color wheel that we're going to be doing. So now let's move on to the next techniques 11. Watercolor pencil techniques 4: So in this next tutorial, I will show you other cool techniques that you can use with your pencils and you can't use them with watercolor. So the advantage of political or pencils is that you can basically do all the things you can do with watercolor pained. And you can do things that you can do with your pencils with watercolor paint. So they give you some more extra things to do with. Um, So what I'm doing is, um, lifting the paint off of my pencil tip I'm going to apply it is I would watercolor gonna create ingredient just by lifting the paint off of the pencil tip that's gonna give me later wash. I'm just gonna drag it out. So we created a greedy in this way. So, um, another week Or you can use your pencils is a blind Ah, pencils on the paper, for example, a scratch piece of paper. You had your water. Basically, you lift the paint off of it like you would off of a palette and paint with it, and we can create, for example, and even wash up right here. There we go. Admittedly, it's the same way you would use your watercolor paints. You could have more water. You could also do it on a pallet. If you scribble it on to the be breaking, lift it and then mix it on a ballot like pick it up with your brush and mix it on a palette to create later washes. So this is another way to do it. Um, I've seen artists that work in watercolor pencils dipped their pencils inside the water. Be careful not to dip them too much if you do like to dip them to dick, the very tip of it. So when the pencils what, it's gonna create marks on the paper that are more vibrant than would while it's dry. The problem with that as be careful. If you really want to create these marks, they're wonderful. You can create some interesting texture, for example, of a C show, or where you really need to see these marks. But if you use water to blend them out afterwards, you can see that as much as I'm passing with my brush over them, the lines still stay, so when the watercolor pencil is wet and you applied to the paper, it's going to leave marks that will not blend. So be careful about that. Next. I wanted to show you, um, the techniques how we can use a pencil marks spent how we can apply water with different, um, things other than brushes onto our pencils. And we will do that in the next lesson. 12. Watercolor pencil techniques 5: um Now we're going to be applying lines to our paper, and we're going to be adding water with different things other than brushes. So first I'm gonna at this one stole it. I'm gonna use my blue. I'm gonna add some lines to the paper. Let's make them its crumbly, also just to get them but of difference, then one more. So if you apply home water with your brush in water brushing when I use my brush, this time washing it out, dabbing it away. I'm just applying water. You can see how the pigment has drawn towards the water, and basically, the more you Passover and the more you dissolve the pigment in the water and this is what you get. Another thing that you can use is a sea sponge, for example, or any other sponges that you have actually picked this one up when we were on holidays and Southern Italy over visiting my mother in law and we were walking on the beach and there was like a load of these brushes lying around. So I have my sponge loaded with water, and I'm just gonna the water here here. I had a lot of water with my sponge, But here, adapt it off And I'm just gonna do this like pressing motion. So you will see that the pigment is gonna kind of soak into the places where the water is added. And the next one, um this is kind of Ah ah, messy, childish technique. This is what we do with my daughter. But be careful not to take your fingers back inside your mouth. So I'm gonna put water on my finger and just gonna smudge it with my finger. This is a cool effect that you can have. You can create clouds like that. Basically, the more water you have, the more it's gonna dissolve. And you can just smudge it the way you want. So great and interesting texture that way. And you can practice with different things to apply your water with. So, um, the last one I'm gonna do just with my water brush because it has a different amount of water coming out of it than the brush, so you can see the big men just going where the water is. This are These are the different ways that I've learned how to use different mediums. with, like, hands and sponges with my watercolor pencils. And in the next lesson, I will show you some other cool techniques on. After that, we will. Pastore, Cholera, veal. 13. Watercolor pencil techniques 6: so the next techniques I want to show you are going to be even wetter. So, um, the first thing I want to do is I want to show you how to use splatter with your watercolor pencils from waiting my brush quite a lot. And then what I'm doing is I'm spluttering my paint on to the paper. It depends if you want one color or more. This is a cool way to add flowers to a field. For example, if you want to add more colors to this, be sure that you let it dry because if you are going to flick more paint into the wet colors that are there are there they're going to mix. For example, if I wanted to create a purple effect than I would have my blue directly onto my red and would mingle together and mix into purple. So give me three colors at the same time. Um, that can greet awesome effects. So that's one thing. Now, another thing I wanted to show you. So if we wet the area and I prefer to work with my pencils when the area is dry to machine , so I'm gonna remove the excess water, so it's not very wet, but it's what, enough for the pencil to pass over it. Now what I'm gonna do is I'm gonna draw inside, for I can scribble inside here, and you can see that big man kind of the souls still in the water. That's the year used to colors, for example. But the lines are more prominent. And again, as I've mentioned in the previous technique, when the pencil is applied wet or if it's blood into wet, it's going to stay that way you will not be able to move it. So if you don't want to blend it, this is a great technique. If you want to blend it, then make sure that the area is dry. So that's another thing. Um, we are going to need scissors for this one. So what I'm gonna do is I'm going to with my area, just gonna worship my brush. Um, again, I'm watching my area here and now I'm going to take my scissors and I'm gonna shave my pencil into this. Went there. You and I need a dry pencil for this. So I'm shaving my pencil into this area and basically the parts that come off the lead, the ones that land into into the wet are going to stick to it and are going to stay there. Um, when you blow on it, the rest of the parts are going to dry. I have some shavings of my pencils here that I used to shape to sharpen my pencil, so I'm just gonna drop them in. So these are the techniques that I'm using, um, with wet and wet. Let's say now the next listen, I will show you how Teoh do do more, more cool things with your watercolor pencils, and then we will move on to the color wheel. 14. Watercolor pencil techniques 7: So now I'm gonna show you one more technique. I'm going to be using my flat brush for this and two colors. So what I'm doing is I'm gonna with my brush until it's what. And then I'm gonna add the pigment off of the pencil onto the brush. So I'm adding the blue on one side of the brush and the red on the other Just gonna add a bit more water here. And what happens is that when I paint with it, it's going to create that to color effect. Look, can you close the door for a sec? Almost done. So one more thing that you can do is, um when you apply your pencils, I'm going to use other colors here. So I'm just gonna let my pencils into the paper, Okay. Like this Just randomly and just a purple one. Also yellow at the bottom. So what I do now is I take my spray bottle. This was actually a bottle or, uh, here product, but I washed it out, and I'm using it. There's a spray bottle, or you can just buy any spray bottle that Yeah, you can have in the shops, so I'm spraying onto this with my spray bottle, making sure that I don't spray too much because it always is gonna be too wet. So now is the water settles into the crevices on, is it? What's the paper? You will see the big men dissolved, and this creates very beautiful blending of color. They're becoming very supple that now you will see it very bright. But when it dries, it's going to look completely different. Is gonna be very, very a lot later, and the way you mix the colors, you will never be able to mix them the same way with watercolors because obviously you don't apply them dry. But this is a very cool technique that I learned, and I've seen paintings off landscapes then in this technique, and they are amazing because the way that they blend into each other, the colors, it's just it looks very, very beautiful. Another trick to use with this technique is if you apply masking fluid beforehand before applying your colors of the same way as you would do with watercolor, and then you apply this technique to your pencils. After your mole removed the masking fluid, it just pops those white colors out, and it's really, really beautiful technique. So if you would like to try these out on and do your project with this technique, I would really love to see it. So I will let it dry, and I will show you how it looks when it's dry already. But one more thing is that you need to let the dry on its own. I'm just going a bit more water to my yellow. Here's I see. But it's not does what was I wanted to be? When it dries on its own, the colors have time to mix and mingle. Do not drive with your blow dryer, because that way you will not achieve that subtle mix of colors. So I'm just gonna leave. It will be, and I will show you how it looks when it's already dry. 15. Color wheel: So in this lesson, we will create our color wheel. The first thing I do, I select three pencils, a yellow or red and the blue. I'll be using Gilbert jurors for this demonstration and on top, I, um, coloring in my yellow, so that's going to be one of my first primary colors. Um, I have a class for watercolor mixing where you can learn more about primary colors, secondaries and her series and how to mix colors. So Aziz Air, Water Club, but pencils? Then it could be also quite useful just to know how to mix colors. And, um, but here we will make it simple, because in the other class, I haven't a more end apps kind of mixing theory with split but primaries that, as with primaries that are cool and weren't but here, we will be using just three colors just to mix colors for you to get acquainted off. How the colors behave one day are mixed together and just to see how the basic color theory is applied. So impressing over with my water over the yellow part. So I'm activating all the pigment, and you can see how much brighter it looks now that it's activated. I seriously love to see watercolor pencils be activated, so the next that will pass to my red, and that's going to be my second primary color. I'm going to place it on the right side of my, uh, color wheel, because the right side is the warm side and the left side is the cool side. So this is going to help you a lot in mixing colors, especially if you have a limited palette with your colored pencils at the moment. So you will avoid making mud knowing which colors air cooling warm again more about that in my other class. So now it will activate the pigment the same way as I did with my yellow, just to make it a lot brighter. - So now that I'm done with my red, I will take my blue and I will do the same thing. I will cover all the area for my primary color, and then I will apply water to it. So these are the main primary colors in the color theory, the yellow, the red and the blue. Again, I will not go deep into the color theory in this class if you'd like to learn more, just go ahead with to another class to my other class. But just so that we know the basics. So the primaries are yellow, red and blue. And then for the secondaries, we will start mixing our primary colors. Now that I'm happy with all my three colors, I will start by mixing my yellow end red. So I have the metal off my kind of color real flower in between my red and yellow, just the one in the center and I will cover it first with a layer of yellow. And I'm not being too careful creating marks, just covering the area with medium pressure. And then I will have my red. So making sure that I add red with a slightly lighter pressure because red kind of takes over. It's a stronger color than yellow so that I create an orange that is kind of in between the red and the yellow, making sure that everything is blended nicely. And now that I'm happy with my battle of the secondary color, I'm going to pass over the battle between the red and the blue with my red first and then I will add a layer of blue on top. So this way we will create a secondary color that is violent in between the blue and the rent. I'm just making sure that I don't tapped too much blue. Um, I'm trying to use the same amount of pressure off, blew a sided with red, just to be sure that I don't have too much off one or the other color. Now with water, I will activate my big moment, and I will mix them together on the paper. You could do the same thing by rubbing your pencil against a rougher paper, then began the pigments of red and blue and mixing them up so you can see how the mix and at the proportion that you want. But I think that this is a great exercise to make the colors here on paper, because that way you will know just the amount that you wish to add for obtaining color that you require for a certain painting. So, for example, I'm happy with this purple, and it's just the amount of red and blue that I need to because then we will be mixing tertiary colors and I will talk about them soon and you will understand why. I mean, why the amount of pressure is so important. Why they want pigment is so important down the paper. So I'm adding yellow and again I'm not a very little blue. I am very careful with blue as that's quite a strong about color and it can overpower yellow very easily so we can end up with a very blue looking greed. I can always have more blew into it, but it's gonna be a lot more difficult to add yellow into the blue because I will need a lot more yellow just to get it back to the lighter, yellowish green. So motivating all my pigment was just clean water. Also, when you are passing from one color to another, make sure that your brushes always clean because it's very easy to carry a but too much pigment on the tip of your brush and to contaminate another color with, Let's say, a rent in this case that if I was doing red previously and I added a bit more blue into my mix because it kind of felt a bit too yellow. So now we're passing to our tertiary colors, so tertiary colors is a mix between a primary and a secondary. So in this case I have a yellow and in orange. So yellow is the primary and orange is the secondary. So I'm creating a layer of yellow, and I'm making sure that it's quite a strong layer. And then I'm adding a very send layer of red, so in this case, I'm making it a yellow orange, so that's going to be our first tertiary color. Yellow orange. We will places in between orange and yellow, and I'm activating Bregman, and you can see that it's not just yellow, as that yellow color is. It's quite orangish, but still not as orange as the orange that we have mixed from our previously from or yellow 100. So now I'm doing the same thing. But as the color secondary color is a mix between red and orange. I'm adding a thin layer of yellow and then quite a strong layer overhead, so these two will mix and they will create a red orange that's our second tertiary color. As you can see when I'm mixing it on the paper again, it creates that red orange, but it's still not as red as our red initially is. And there we go. So that's our second tertiary color. Now we will pass me to about to the red violet, and the first thing I do is I'm adding blue and my money quite a thin layer of bloom that even covering the whole circle. And then I'm adding a strong layer of red. So is these two colors are quite strong, both of them. I want here the red to dominate because I wanted to be a red violet. So I'm betting quite a strong leader of it. And now that I activated with water, you will see that it's going to be a very beautiful red violet. The thing that I love about watercolor pencils is that they're so bright. If you're a fan of bright colors, then you will definitely love watercolor pencils, because to get the water cooler so saturated, you have to really know how to use it. And watercolor pencils are great alternative for someone who's just starting out. It's initially what I started up with before I actually passed a watercolor. So now I'm doing the same thing for my blue violet and first I added a layer of red and then quite sent. And then I'm adding a strongly or blue pressing quite hard so that I leave a lot of pigment on the paper. And now I'm gonna do the same thing. I'm just gonna blend it up with my water and you can see that this violet is I think of it too strong. So I'm gonna add a bit more balloon. There's too much resident, so you can keep on adding the color from your pencil or from house crippled piece of paper that you use for balance. And it's quite handy the way that you can still just the color while the pigment is still wet where you can do it all So over the top adding a second layer So now I think that my violet is still lacking a bit of blue and I'm gonna add the blue taking it off the tip off the pencil. And this is the color that I was looking for its blue violet. So that's our fourth tertiary color. The next one I'm going to do. I got my hand into my yellow orange the next I'm going to do. I'm gonna add yellow to both of my remaining tertiary colors because I have my the tip of my blue wet. And if I put it on the paper, it's going to leave marks that I won't be able to blend out. So what I'm doing is I'm adding a strong leader of yellow, and I'm gonna add blue straight from the tip of my pencil. So that way I added too much. I'm gonna wash up my brush so that I can create a yellow green. So that way, I don't risk off putting marks that I will not be able to remove from the paper with my blue that is still wet. And I can still add color to my mix is so basically like you would with water color just added from the pencil instead of the talent. So that's my yellow green. And now I'm gonna do the same thing. I'm gonna add yellow onto the remaining circle and I'm gonna lift the color from my pencil and added to the mix and mix it with my yellow. So that's the remaining tertiary color. That's the reflect. A bit of paint onto the color wheel but it's okay. I can always get up with my clean tissue, so I'm adding my blue and mixing it with the yellow. I think at it just a bit too much of yellow there. So I'm gonna keep on adding the blue, so I get that blue green color that I need. It depends on which pencils you choose for your red, blue and yellow on the color mixes that you will get well, very from that. So if some colors, for example of the violet you mix is very dull, then it might have something to do with the color of the with the temperature of the color . And don't worry, it's not something that you did wrong. It's just demonstration this Carl color wheel. So just so you know that this is how the color wheel looks in color theory. So I'm happy with my color wheel. If you would like to post your color real into your project section, I would love to see it and let's head on to the next lesson. 16. Watercolor pencils tutorial: Sphere: So now we're going to be drawing this fear, and I will be using two pencils for this fear. I'm gonna be using the number 47 number eight by cocky Normandy Lose Brand. So the first thing I'm going to do is I'm going to draw my sphere. You can draw Freehand or you can take something on and that has a round shape and just draw around it to make that sphere. So I'm quite happy with the shape. What I'm gonna do now is I'm gonna decide where I have my light coming from. I prefer my leg coming from the left. So there's going to be, Ah, highlight here, and I will have my main shadow over here. So it's basically drawing principles. Um uh, light and shadow. And, um, when we have a round object, if the latest coming from one side, then on the opposite side we will have a reflected light. That's something that is always present. If the shape is round and no matter what surface, there's gonna be still some reflected light coming off, even if there are objects next to. But it's just not getting too deep into the drawing theory. Let's draw our sphere. So, um, I declare it and I draw in my shadow. This is my base value based color off this fear. So now I'm gonna use lighter pressure, and I'm just gonna go in circular motions as if I'm caressing the shape of this year closer towards my highlight and the closer I get, I can just leave some scribbles around here, just not even for motions. And then I'm gonna move towards the bottom and add a bit but the bottom as well. So now that I'm quite happy with how it is, I'm just gonna intensify my shadow with this darker, purplish read. And I'm gonna add it onto the shadow part here. I think I want my sphere to be more bright, so I'm just gonna pass over with medium pressure around the area of the shadow. I'm not passing over this air, you know, because I will drag the color out with water when I will be passing over it. I'm just starting more color. Here's and this I go towards the center. I'm creating that ingredient as we did in the exercises. So I think that's good enough. I think we can work with this for my shadow. I think I'm gonna ask some blue and is the latest falling this way. So this is But where are shadows going to with blend Andi here. So I think I'm okay with this blue, we can have some Great. If you have a great color in your palate just gonna have a bit of grey with my blue So just to give a cooler talk to my shadow on I'm quite happy with it How it is now So now I need to take my brush and some clean water And again, as usual, I'm using some clean tissue to die Thank brush off because I don't want to use too much water And I start around my highlight And as I move away I pick up more pigment So I'm gonna be washing up my brush while I'm working around my highlight I'm gonna leave it completely white I think for this fear so moving around and the further from the highlight I go, the more pigment there is on the paper. So I'm making sure that I activate all of it either Want to leave any parts of it dry and the further I move away. I don't need to care that much about washing out my brush because it's getting darker now. We're getting into the shadow now. So if you know, just making the strokes that go as of caressing this fear, so even my strokes, um, if they will be visible, they will still suggest that's shape off this fear. So that's another. But what was a deer? I'm just pulling out the pigment. Now I'm gonna wash my brush and I'm going to start again. From the lightest part, I don't go into darkest. So here. I don't need it to be that light because it's a reflected light. I can drag more pigment into it like so, and I'm just gonna smooth out the transition here and just smoothing out. But more around here and now. I can go to my shadow, and I can activate the figment of my shadow, like so, And since it's not, it's not water guard. The colors might leak into one another here where they're touching, because if you've ever painted with watercolors, you know that when to what areas are next to each other, if they touch, then the colors might bleed into each other, but with colored pencils, they dry fairly quickly, and there's not a huge week here. So for now, I need to let it dry, and then we get at more layers onto to make it even brighter and to make those colors, but even more so I'm going to drive this now. Um, one more thing. Do not apply your pencils onto the wet paper, because if you do, apply your pencils onto the wet. Um, they created those marks that we spoke about. What we're doing, the techniques, and you will not be able to blend them. So so be careful and make sure that your papers actually dry and it's gonna be a lot easier to apply actually more layers onto dry paper than if it were wet. So are passing again over my shadow. I just want to make it. I want to intensify it even more, and I'm gonna add more red here to just blended in more so as I have already. The first layer is very light there, So I already maintained that reflected light. Even if I pass over with my red so as we're not using these pencils as dry colored pencils . It doesn't matter if you go into tiny circular motions or if you're just create marks like me and just going I'm squiggling here now, um, because eventually it's gonna be blended out with water and you won't see those marks is good. Like if you blend them out good, you won't see them at all. So again, this is the second layer we could leave it Is that if you like the grungy kind of look off the Cullerton so or weaken blended out again. So again, I'm moving from my lightest part. No, I'm gonna pass over my highlight here because I don't want to pop out that much from the lightest part over here. Please, And I'm activating. I'm making sure that I'm activating old pigment because if you don't, it's gonna still have that dry colored pencil look underneath. It defends a few lake. It's you're very welcome to leave it like that. I sometimes leave it. I have my dog portrait's that have these pencil marks on them and they look awesome. So just gonna blend it out here like that on the highlight. I'm just making sure that I activate all the pigment. Also on this reflected later as well. For this fear, you can use any colors you like, as long as one of them is darker than the other. It's good just so that you can create that shadow part on your object. You can even create this fear with one color only making the shadow the most saturated part of yours here. So a little bit over here, it's gonna live that up. So in case I can correct these mistakes, it's fine. I can correct them later on as well. So I'm blending it out, and I'm just gonna add I think about more blue as well to this shadow to make it cooler because we have a very warm object here and just going back to this blue and great here. If you have too much color somewhere, you can lift it up the same way with as you do with watercolor. And now that I drive, I can correct my mistakes in case here. So, um, now I can take my marker or my job in, and I can just order white think whatever I can just make sure that it's clean. First I can pass over the side and correct those tiny mistakes. If there are any to make it smoother and that is it. Here is our first sphere. So, uh, I would like to see your spheres. You can post them into your project section. And if you have any questions, just ask, and I will be very happy to answer. Let's we want to the next lesson. 17. Watercolor pencils tutorial: Butterfly: So the next thing but I'm going to do is I'm going to take my gray pencil and I'm going to sketch in the body of the butterfly first. So it's gonna be approximately the here and now I'm gonna is kitchen the wings, and I'm making sure that there are the same height they go about the year like that. Then the swing like that. And then the swing goes all the way around like that. I'm not using a graphite pencil for this because I don't like how it might shine through my butterfly. Um, if I'm gonna be using the graphite sketch underneath, um, so now I'm gonna use my black. Yeah, and I'm gonna help line those darker sports. So for the highlights on the wings, I will not, um, leave them white. I will add my white ink order, Krulik. I will see which one is best. I will add that to my butterfly's wings, then. So I'm gonna draw in this shape. But I see shapes that I will need to leave out with my black and the shapes here. I'm just breaking it into the easy shapes that I see on my butterfly. And then here I see that there is a darker part like that that separates one and its three parts here of that wing two and the 3rd 1 here. Then there is a tiny work here as well. I'm quite happy with that. I'm gonna do the same thing with the second wing. So doing the outline, then I'm gonna repeat gonna see approximately when this thing ends here on the swing and I'm going to sketch it in. Then here we have one shape to shapes one shoe and then three like that. And here we have one that goes about another one and another one and here to bottom like that. And now we're gonna draw in the same way the lower wings, the bottom ones. So I see that it divides the wing like this. And then there is this shape in the middle. That gold. The rest come from one here, one here. I don't have to do it precisely as I see it on there. A friend. But I just using it to approximate were my black is going to divide. There's a dark here, another one here on another one like that. So I could help you with this. And I'm gonna do the same thing with the other side. Notice how? I'm not trying to make it very smooth. This the edge of the wing, I'm gonna be that smooth. So this one is the dark side. I'm going to sketch in this middle shape now because I already know how the wing is built. Thanks. So, um, that I have two parts here. This is quite good. And then we just can't these approximately the same. Some good. Happy with it? Um, I'm gonna sketch in that head. I'm not worrying about the highlights. Now, as I said, that's quite fluffy. The body here, I think I'm gonna leave the pencil strokes from Not very diluted here. I like how fluffy it looks. And now I'm gonna My black I'm gonna go away around the villages, make it quite dark so that I have a contrast on my butterfly's wings and I go Oh, around the edges. And then the parts inside there will be orange. Intends to find this one here and then the bottom part, so that's quite good. Could do the same thing here, can intensify those lines I just work here and I'm going over all the edge of the wing, intensifying this as well. So that's great. Did I'm gonna do the same thing exactly the same thing on the other side. I'm pressing quite hard so that my black leaves more pigment on the paper, and I'm constantly rotating my pencil as well, so that I draw with my sharper point every time. It is not that important. It's more important when you are using the colored pencils, just as they are without adding water to them, the non soluble ones. Then you will have to pay a lot more attention to your mental point, she in turn around. So it's easier. I forgot this mark here. Another more click that so I'm being careful not to color over these parts because it's going to be very difficult to get them back to a lighter color, like orange and yellow. So with watercolor pencils, you basically build up older colors, and then at the end, you add water to them and they come to life. So this is my favorite part about watercolor pencils. So now that this is them, I'm gonna take my yellow and orange. So, um and I'm gonna start adding orange onto my wings. Just a thin layer of orange. That's gonna be the base color of my wings. Starting it, add it all over. And then I will be adding my yellow and intensifying orange where I needed to be darker. For now, it's just layering in tow. First color. We could also makes this orange by layering red and yellow. But usually you have an orange in your code pencil ballot when you buy any set, so that's quite good. Now, um, onto these parts, I'm gonna more yellow because they're going to be later the same here. We're gonna more yellow, impressing quite hard just to leave more pigment own it. And then I'm gonna use a bit of red. Just intensify the color here on, and I think so. On the corners of each like shape again, the quarters of each shape, I'm adding more red, so there's a contrast between the shapes, and then I'm gonna add a bit of yellow here on the other side. So we create that ingredient that we were doing the techniques exercises for, and I think what I'm gonna do now is I'm gonna add a bit of blue to my black So I create I add a bit of blues into all the composition because it's gonna beat you red and yellow ish . I'm gonna hand on the tips the yellow again the same way as I did there and red in the very corners. I'm just gonna intensified, but more with that orange in between the red and orange and yellow Just a bit more. So this is remember, this is just the first layer. We're gonna be still working on it. And this is just a rough first layer. Um, we're like, what? Your soul evil pencils over the colored pencils is how quickly you can actually draw and paint with, um, because if you compare it Teoh um what? Bush? Their taste If you compare to, um, simple color pencils, they take a lot a lot of time, and it's really big, big job to do with using colored pencils. So now I'm taking my water brush and impressing over my black. I'm creating these shapes because tests, um, let fluid motion fluidity that goes around the shapes like that. So I love how the colors get activated. I'm not touching anything that has any other color than black. I'm just letting it be for now, I will add it. I will add a water and activate the pigment off our oranges after my black, his try Quite happy here, passing around here No comes out like that. Um, activating that black. And it's not very even if you look at the butterfly's wings, they're not very even. I'm just gonna go out the border here to so create that, not even inch on here. I'm gonna tragic very soon like avarice in line here, and it goes out like this here, so that's quite good. It's already very dark with water colors with black. Udal managed to achieve such a black black. Uh, so we're going Pencils are a lot brighter. Um, if you were doing something that's going to look realistic than it's best if you create your own blacks from But it's another story again to mix the blacks. I have a class on mixing colors. It's for watercolor, but basically the principles are the same for watercolor pencils as well. I guess I'm going over to blacks here, and this side is that I'm gonna go back into the other side and had my blacks on this side . So I'm being careful again not to unturned into any areas that I don't want to very dark passing around him. And again, I'm gonna create that done you a nudge here, Just go out of the borders, likely. And this is black, and it's going to really pop as the black pencil is so brightly black that it's very, very black. It gives that depth the highlights, the little dots that we will be adding with our home acrylic or Angkor Zhou open, they're really going to pump. They're gonna bring it all together. So now if you can see, um, the yellows and reds and oranges that we added, they look very awful compared to the black. But as soon as we activate them, you will see how bright they will become is gonna be amazing. I'm going over here again, going carefully around the edges. Okay. And here I'm gonna just go a bit out of the inches. Well, so on here for the body. Now I'm gonna do the same thing. I'm just gonna pass over the body on and I wanted to be not as dark as the wings. I wanted to take over there. Um, take away the prize from the wings. So I'm quite happy here. I need to wash up place. What's your brush? No, we can start on our lightest parts. So I'm starting from my yellow. And I'm being careful not to go into the black because it was It's gonna pull it, my yellows and now moving towards the red. So as we did in the exercises, we're going from the lightest. Pour it into the darkest, and in this case, the lightest is yellow and the darkest is red. And you can see how it creates that beautiful, um, ingredient between yellow because we also have that orange in between. There creates that beautiful ingredient as we pass from one color to the other. Like so. And I'm just gonna I think I'm just gonna take a bit of color from my orange directly and put it here. I'll let the dry now because it's what I don't want to go into it like so just activating all the colors here, and you can see how much more brightly it looks already compared to the dry pigment? No, no other wing just blending it all together. So it is just the first layer we're gonna be adding to it about already. Like how it looks the year and now here, always a moving from the yellow into my reds. And you can see because I was moving my pencil in this way in this motion, and I'm moving also, my brush strokes, um, caressing my wing. So basically creates thes semblance of lines. Just gonna blend it up. We're here because I have still the pencil. Marx is visible here. Okay, Andi, I put in a bit of color there. So again, I'm gonna blend out these. We go from the yellow, blending it all out good and into the red from the yellow and into the red. I have a bit of black if I take it on the way. It's fine because the colors are very bright. That's they still can stand a bit of pollution with black. So that's not the problem. So and I want you one wing. What? And you know when I want to leave it dry so we can see the difference between the techniques So now I'll show you what I mean. So for now, our butterfly is here. I think I need to make it a bit more darker on the body. I just had a bit of semblance of the shape of the body here in the head. Um, now what I'm gonna do, So I'm gonna just add a bit of shading around here, cause that's what I see on my reference photo just a bit very lightly. Now, what I'm gonna do is I'm gonna take my yellow. I'm gonna have some texture to the wings and around on the black as well. Just to blend it Intimate, running a bit more yellow here. Oh, still went here to dried. We'll just drive fast. Okay, so now it's dry. Now that it can have more can end a bit more yellow, but with the very tips. So that kind of lends it in. And I'm gonna add a bit more orange here over the read port Just a bit. Then I'm moving in the direction from the corner about and here again. So because of the nature of the pencils, you will still see the layer underneath That gives us more depth. So on. And so So for now, I'll leave this wing dry, and this one I'm gonna blend it again, was my water. He's gonna wash it out. And so just that we can see the difference between dry application And what? Because, as I said that we can leave the pencil because it is dry or we can re wet it, the second layer just blending in those colors. And now what I'm gonna do is I'm going to show up in my black pencil again. Remember that you sharpened the pencil by rotating the until sharpener take that one. So I have my black and I'm just gonna outline I need to dry it again because it's still moist. Theo, What I'm gonna do is I'm gonna outline those lines, make them more precise and like so because when I was blending out the black, some parts of it are not is there because I want them to be And I wanted to be really black , So those little white dots that we will be putting around them are really going to pop. Just gonna end a bit of shooting like so here and here is what? I'm gonna just intensify about that black, because, um, one of the most things that you can create in your images that look very beautiful. This contrast when you have the right kind of contrast Andi here I'm leaving. Also, the pencil and touched so scared of creates that butterfly's body that it's slightly uneven and it gives it that texture. So I'm not gonna blend this out with water. And I think I'm gonna leave this layer of black as it is a swell because it gives it that hand drawn charm to it. Because I'm not trying to achieve a realistic butterfly with this. It would take a lot longer to create a realistic butterfly, but this is, I think, a wonderful illustration. So now that we have the butterfly almost done, we will take our white acrylic or our white ink or Joe open, and we're gonna create those highlights. So I'm gonna start here at the top. I'm gonna do the highlights. As I see them. There are these little dots that go all the way around him. From here on, may be more spaced. A bit more dots here and so here. So that's quite good. Um, Now I'm gonna create the highlights from the rest of my wing. So now our butterflies old done. And I hope you enjoyed this project, and I will Really, really, I'm looking forward to seeing your butterflies in your project section. If you have any questions, ask them in the discussion section or when you post your project, that will be very happy to answer. And thank you for watching a really appreciate that you took your time and you watch this class and I hope you learned a lot along the way. And I will be seeing you in the next glass. So good luck on by So you said.