Realistic Drawing: Colored Pencil Drawing Art Course

1. Introduction: Colored pencils or one of the painting tools that each one of us have used it since we were a child. And we drew and painted. And all of us always loved to be able to draw more beautifully with this specific tool. Now in this tutorial course is to introduce you where the colored pencils, coloring techniques in the most simple ways that you can imagine. In order to do that. Collection of sketches of fruits. And say ours, that has the most some parts of the face with colored pencils. And of course, we explain the methods of coloring and volume and texture creating only and only for you. So get it now, as soon as you can. So you will have paintings. Pencil painting is one of the fastest, simplest, and therefore the most widely used and experienced painting techniques. Special nature and characteristics of colored pencils. In addition to being a valuable independent art, painting with colored pencils is also used in many other fields, such as clothing design, graphics, architecture, interior decoration, so on. To create valuable works using colored pencils, you need to become familiar with the techniques of coloring, to principles of coloring, and how to paint with a colored pencil into curse of painting with pencil, beginner and intermediate level is students will learn about sketching fruits, animals, short paces of elements, and lifeless nature. And we'll understand the joy of creating a work with pencil. 2. Make volume of green almonds: Hello to my dear friends. Today we are going to teach you how to do this picture. First, I'm going to start with the green color on this, but this is the color number 170 that I'm going to use on this element. So we use this color for all of the background of this element, for the background color of it. So your hand pressure shouldn't be too much and am just doing it fast for saving time as always. But you should just do it slowly and focus. When we come to these parts because they are lighter. Yeah, we just reduce the coloring a bit. And before that, WE DO for racer. Just major dry and make this sketching that we did before clear. But if you want to have the tracks, you can use this green color to redo deadlines. After we completed the coloring. Then you fade them, reed brush or a pay per tissue after you completed the whole almonds coloring. Now I'm using a brush for that. In next level we're going to use color 163 from this corner. And I'm going to start, okay, I keep the green color for this part. Just a little bit around these edges to and the other element. Okay, now, we are going from the dark parts to the light parts. Always do this in coloring. Now to color 267, I'm going to use it for this part here again. K, Kp coloring these parts here. And if you pay attention as I'm going to the light parts, just making it more faded and making it lighter. Him, you should do this very slowly. Download cadmium to stand good fast right now, but you should do much slower than this. You see these parts are really faded. So I'm just fading in to the light. Then I will use green color number 170. Again, we're going to completely color the spark except the white parts are the parts that are lighter. But this area, I'm just going to color all over it again. After we used the color 170 for all of these parts, we will use the color 270 eight for the parts that have more dark deaths. Part of the darker parts, we use this color. And then just like here. So in each part, wherever you see a darker green, you should use this color on that. You should just pay attention that you should fade this collar forever. It's connected to these white parts are lighter parts actually. Because we don't want any line between these dark part and the light part. So we're just going to fade slowly into the light. And again, we do the fading. For this part. I'm going to use the black color, so lightly edges here on the price which are darker. All right, just keep coloring like this. As you can see, I don't have any hand pressure on that because I don't want a black color simply on my element. I'm just kinda sweeping it on my other colors just to making them darker and fading phase. Again. I'm going to use classic 370 green color for making my work looking more cohesive, for just blending all of these color together. As you can see, I'm going to color all over this part. At the end, I used a green color again to show that our main color here is green. So as you see, I'm just coloring all over it. All right. This part, you see it? It has a layer. I wanted to do this. I'm just using the same color. But because this part is a bit dark, I'm using color 278, the one that we use for dark parts in previous part. Now I'm just going to use it on here too. We just draw a line here. At the same time. We are fading that line. I actually two birds, one stone. Now this line at the end. It should be done too. I'm doing it with the same color. I did for the first line. Edges. On these edges, I'm going to use an eraser and tapping. So we can take a bit of a layer of color. On these edges. It would have that light and light parts that it should have. 3. Subcutaneous of almond wood bark: Alright, now we want to do this. I'm using the color for this part. These spots. First we will determine these spots. We say color 177. I'm just going to put these dots, spots here. Darken the central COVID and around it, fade the color. To show that these holds. I put darkest spots and completed. Or it could be a 180 to I mean, I completely colored the background of it after putting the spots. Now, I use the color 187 for this part of the element. 4. Make volume of almond wood bark: As I said, we continue with the color number 187. We do work on these dark parts. Again, we are a con them. So don't worry about that. There are fading, getting lighter. We will work on them later again. Now use the color of 183 for this part here, again, I'm coloring over the parts. I have colored. This coloring cohesively and then faded paper tissue. Try to do it will slow pace. And with patients, if I'm doing a fast because I wanted to save you time, I'm going to use a paper tissue for fading it all over it. Then I'm using the color 182. Again with pay for a tissue, I'm fading this part. This time I will use the color 186 for these edge here. I will do the shading. And we use the color 200 AD three for this Spark which has little darkness. Here. Now I'm just applying the lines that we have on this with the same color that I had. Hey, keep drawing lines. Once again, we do. For the last step. We emphasize the holes. Are they emphasize them and we do them again. 186 hole, so little of it. And we did the rest of parse that are here as this. So I did the same for all the holes on the Neeleman shell with this same procedure that I've told you. Wherever you think that there is darkness or a line, you're gonna use this color. Right? Now. We go to this bug beaches a bit lighter, and with the use of our eraser, we just clear some parse with this eraser. Parts that are lighter. Okay? Now we get to the almonds sake. 5. Subcutaneous of Almond fruit: All right. For starters, we will draw the lines with the color number 186. I'm just going to determine these lines and draw them carefully with a sharp pencil. Make sure you cover all the lines here. Just continue like this until you cover all of them. Okay. 183 parts coloring all of these parts. We did a paper tissue. Just as you see here. A classic color. 309. Do them again, but it's okay. And you can use 111 fabric. You can use them as well. 6. Completing the skin of the almond fruit: Yeah. Slowly as you come to this Number 187 for here, this 100 on that sense of color. Now 177. This dark color. The number 188, because the main colors should be this. Now, 180. We use a color 100. At the same time that we are doing these lines be also faith. Their edges. Now use that color 283. So, so inside of these lines, just so am doing it. Hello, hello, hello. With this same color, 283. We use the same color to put the lines here because it gets a bit darker. Fading the edges of these lines should not be forgotten. So always remember that the same time you're doing this lines. She also fade the edges because we do not want hello. Being used the color. So color between lines that we're just making our work look more cohesive, more natural. I'm just using this color for the edges. Now we are 173. Shadows. Shadow for yourself. We take paper tissue and hold it and drag it on this part. First we do this darkness that we've made and then color left on the tissue. See, I'm just dragging in expanding dark here. We have our shadow color 172 for that shadow color. Okay, My dear friend, and I hope you enjoy it. 7. Starting the subcutaneous of Banana with bright colors: Hello to my dear friends. Today we are going to teach you this sketch, which is a banana. Before we start, I've just use my eraser for lightening my sketch. For coloring, we need a background, not only in colored pencil, in all techniques which is needed background. It's benefit is that it's a kind of cohesive color. For this part. I'm just using color 300, four classic fiber castle series. Be careful because we want to get a very light texture. You should get your pencil from the end of it. You see you can't get near to the point of it. Because if you get near to the point, your hand pressure will be more and it will be darker. But when you take it from the end that I'm doing, actually I'm doing it the three fingers as you can see. So I will get a very, very light shading here. I put no ham pressure on it. Sometimes we may have to do the background coloring for even two layers. You see I even go on the parts that I've already done to feel all the white textures of my paper or my cardboard. Just like this. Be careful that I'm just coloring to the direction of inside of the lines. You should keep it to this direction to the inside of the thing you're coloring. If you take the pencil in this shade, there will be kind of shading from the pencil on the white place around it. But if you put, if you pointed toward the inside of your thing, even if there is a shade creating from this part of the pencil, it will be inside of your thing. See, I've just just holding this pencil with three fingers only. Am holding it's so light these, so I can have very, very light shadings. There is another important point that for making volume should just coloring part by part. My banana has two parts. And when I've colored first part, I go to the next one. I would not color this both parts altogether because it may not give me that volume that I want for my shape, any shape that is. You see for this second part, my direction is towards downside, which actually leads to creating volumes. Just as this in color, all the background. Okay? Now that we're finished our background coloring, we use a darker color, 306. I will use this to create my darker shadings. For that previous one. I've took my pencil from the end of it, but now I'm taking this one from the middle because I need a little more, a little more pressure. You see here, our texture should not be cohesively and just all as one. Here, you should pay attention to the shadings and lightings. Which parts are dark, which parts are like? Because this layer is actually our guidance for our next color layers. There are darker colors next to the main lines. And if I get to the center of the fruit, I will have a lighter color. So when I'm working on these edges, simultaneously, I take my hand through the center of the fruit and a lower my hand pressure. So this way I would not have any separate lines or borders and they all blend together. Well, try to keep the way of your coloring in all these steps. The same way. Here you can have a smooth and cohesive texture. If you do this, try to change your ways. Pay attention that I'm not putting any pressure to my color, to my sorry, pencil. If a partner needs to be dark and more, I'll just go over, go over on it more times. Because I'm holding this pencil from the middle, that pressure should be enough, not any extra pressures. Okay, just like this. Here we go, then. Just keep coloring like this. So sometimes I will take my pencil like this, so I can use this part below the tip of it for coloring even. Well. This technique can come to use when you have a very little pencil or at the tip of your pencil is so sharp and it actually leaves lines. I tried to feel all the white places on this paper here. As you see, leaving no spots behind. And just like this, I will shade all of the banana with this color. Okay. Now that I'm done with the coloring, three hundred, three hundred stakes, we go back to the rest of our work. This time for even creating more darker. I'm using the polychrome color 187 for using this. So much darker shadings. You should not put any pressure on your pencil. As you can see again, I'm taking it near to the end or in the middle a bit, but I don't put any pressure. Sometimes in the middle of your work you think that he should have done more of previous layer of colors. But it's okay. After you've done this, you can even edit or add the color again to your work. It would not make any problems for you. Almost I'm just drawing some big circles and they're next to each other. And slowly, I should lower my hand pressure because I'm going to part that is lighter. 8. Creating dark shades with warm colors: Okay, now our goal is to color this part, which is kinda like color. And start with my Paula chrome 187. Just like this. Pay so much attention because this banana has some kind of curved and a crescent shape. The direction that, I mean the way my hand goes is also curved and crescent shape. I can get this volume and the shape of the manana correctly. Now, from up to here, I should just less than my hand pressure. Make my hand pressure less. In overall what curved shape that you want to color. You should move your hand in the direction of that curve. Otherwise. And that thing that you're coloring would not be in that what volume that V12, it would look so flat. If you do not color in that way. I think mustard color is enough. And then I can see even a bit orange team here. For this, I'm using 109 color in the same direction. Just like my mustard color. No difference. And as you can see, I'm not putting any hand pressure, not damage. But because this part is a darker, you should not go too light. You should have a medium hand pressure, but from this part above, because it gets lighter. Your hand pressure should also be lower. C, just lowering my hand pressure here. Let's anyway, as I said, because it's a dark parts, you can have them kind of medium or middle and medium hand pressure. Something that I'm seeing here is this edge. You see this edge is darker. For having that edge, I will rotate my work. So the tip of my pencil would be on the part which is darker. And you want to work on these edges. You should not take your hand through to outside and color it. Always. Keep your hand toward the inside. Now, this way you will have some millimeters shadings around the borders. So as I guess here because it's slider, I will list my hand pressure. I will make my hand pressure lower. Just like this as it is like this. Because there is shading in this part. I'm using a darker color, which is number 176. So I will put my pencil on the part which is darker, but because this color is so darker, I'm just going to make my hand pressures so much lower. And as I go up, I even lower than that. So because this part should definitely be darker. But generally, I'm using little hand pressure because this color is too dark. Now, I don't want my work to get too dark. You don't need to darken these parts all of a sudden because we need other colors for darkening it to we're just going read, you know, the basic layer of the color, the main color that should be kinda darker. It's not this. Okay. Then. 9. Creating darker shades with warm and dark colors: Okay, after I've applied the brown, I start with the color 188. Adding more reds color to this part over here. Just like this. I should apply this also in these outer borders. And also rotate my work. And I apply this so lightly. So lightly as you see, just like this. Okay. Now, for this darker color of the border, I will use the color 380. Just on the edge, just on the outer edge, of course. And I'm put extra pressure on my hand and my pencil. As you can see, just like this, so smoothly vary where it needed to be. Darker. I will just add to the times of how I come and go on that. How much I will go over that. So it will get it darker. Okay. Tense like this. And we will be almost done. Okay? Now that I've done, I'm done with the lower parts of the banana. But may, it may need more darkening. When we are doing the light parts. 10. Creating light shades and bold yellow colors: For coloring this upper part of our banana. Here is C. I'm going to use a dark color number 1, 100th, seven. Just like this from the inside of my dark color, I will come and enter the light part. Just like this. You should pay attention that the center is always lighter here, so our pencil should not go into that. Should not go that direction. These upper parts, it should be done. These cards here. They all should be a dark yellow. He also color this yellow here. But in the depth of that shading, seeing there, I will also determine this yellow color. I don't have just brown shade. You see? I'll just color each part separately. I don't color them all together. So the volume of the banana would stay. This shared border should be done with this yellow color to brown color that I've used before would be blend with this yellow color and actually fades this border. That's why I'm using this yellow on the dark parts and on this slide. 11. Creating light tonalities for better coverage: After that, I've used my yellow completely. I've just used the combination. On the upper part 2. You see these parts have some colors which are cold. It means it has a theme of blue or green color. But I'm using a polychrome 230 that has Lou theme on it. Because it's a very, very light color. Try not to use it too much on your work because if you add too much layers of it, the next layer color won't be good on your work. And I don't do it all over my banana just subparts that I think it needs. Just be extra careful with that because we don't want any troubles. Kay? Think it's enough. Okay. Now, for making these cream color here, I'm using the color 132 and I'm using this white part of the pencil. Actually take over the upper part of the banana from just being, from being just yellow. I took it out of it. And it's kinda creamy now. Just like a normal planet. And I don't come so much to the downside to this opera is, okay. Now, I'm going to use color 103. It's so light and it's almost white. But I've chosen this one because it has a yellow tea theme and it will blend on my banana. Good. With this color, I'm going to blend and fade all of the colors that I've applied on my banana. You see all of the colors. You can use a fader to, but I'm using this, it will be better. Try to draw circles with it. So this color actually leads to the layers beneath it blend together and actually fills all the textures of our paper or cardboard. You can also use the white pen for fading the colors, but because they had, this color, had yellow, yellowish color inside of it. So I've chosen it for blending and fading all of my colors. I will go even on the border as a straight line and going forward and back four then it so you see, I'm just coloring Oliver this part with this so they can blend easily. You see now all the parts of the paper are filled. All the white, purple, all the white parts in the paper was failed. I can use this color on this lower parts as well. Just like this. I continue with this and I make my banana cohesive. 12. Working around the Banana with very gently green color: I'm using the color 192, and I've applied these even darker colors on the outer border, and I've applied some on the dark parts. Now, I will use the color 205. And I will go on this outer border of my work, which is a little bit more green. So I will start from here. And I slowly take it to R Then side of it. Just like this. Because this green is so much similar to the yellow. You may not see the difference between the colors when you're using it, but it has its own effects. I think it's enough. Okay. This part, I'm going to color over there. And now it's enough. I'm going to use the green color 170. And I will go all over this part. But so much lighter because this green is darker than the one we used before. Just like this, I will just cover all the outer borders of our fruit with this marine. So lightly. Then movement of my hand is mostly linear. Meaning I will fade my shadings same way as same time I'm doing the lines. That's so lightly. Just like this, we will apply shadings. 13. Creating darkness On the surface of banana peel: Hello, behind. The same. For all the other things that, I guess Matt pay attention to everything on the Cloud. Or knock-in mice. Does not accurately. Putting some dots over here means Paxton common. There's a stain. Hi Rich, I will create with circular movements, small, small circles, because we don't want it to get so thick. At this part, you should pay extra attention to your model, bringing out misplacing these dark parts, stains and spots all over your banner. Now, lighter, the same. I will use a scholar of normal and 79. Hey, so that homes are smuggled of those veins to desktop. I will not create them. Read name a tip of my pencil or them penalty actually using the side of it as you see on the map it around and actually came out of the tip of your pencil. It would not be faded anymore and it looks like more sharp like the others one that we did. But these ones are just so faded. So I'm using the side of my pencil as you can see. And do you should do it the same way. I want my neck as a feminist dynamicity. Backbone and cold spots, or just the background color for the targets. And later we will just emphasize on them with other colors. Actually do the draw. And just like the Antarctic time and economic engine and parcel, slightly declining. 14. Creating lighter spots with warm colors and more details: Now with the color 186 that we've used before. As the same way, I take my pencil in my hand with this side of it. And we'll work on the spots that have a kind of orange color or brown color. Colors similar to this one. But if I want to create a very dark spot over here, I can use the tip of my pencil and created a small circles. And even some parts which are darker, you can use a darker colors like 192 for this part, which is invincible for here. I'm using the tip of my pencil and I'm doing it like dotting, putting dots. And again with the Bork 187, getting it from side. And having these small circles. Again, just drag it over some parts and your stain would not be too flat. It can show that it has a depth. A bit. Be careful. Next to each of these spots. Some of these spots needs some shading around it, like this biggest battle of area. It needs a bit shading around it. So it will show that it's curved in. 15. Start painting bananas and do the foundation with light and soft colors: Okay, For continuing here, I will use the same color ads I used on the first banana. And I will going to use the same colors on our second banana. Pay attention that again, like the first time. We will just first apply the colors so lightly. I'll hold the pencil like this so I can create a cohesive and light texture for my second banana. So you just go lightly with that same yellow that they've used for the first one. Just like this. You just need to have a very cohesively and light background color. And then the shadings that you see, you will apply over this color with a darker colors. Just like this. Try to keep your hand pressure the same. All the way. Coloring through this banana you see is completely light. Then I'm going to apply my darker shadings with the color 107. Step. I'm just showing the parts which are darker. The process of coloring and a way of coloring, and the colors that are used are just completely and exactly like the previous banana. Okay? And here again, as you go to the center of the banana, you should lower your hand pressure. And the parts which are darker should be done with a normal pressure of your pencil, colorless completely and we come back. 16. Creating darker shades: All right, Now, after with a yellow background color with the code 108, I will also applied the darker shadings on this part. Now with my color 187, I will go even darker shading CCDs parts. Pay attention that first we will go from the other border through the inside. And as we come up, it will be transferred to the inner border from the outer border. For making myself more comfortable. I just rotate nice cage. My sketch like this. And the start right here. You see I'm coming from the outer edge slowly and lightly to the inner edge. At the end where you thought it's, your work is lighter. You can always go through them again, read the colors again. So don't worry about it, but it's better not to do a redo. Now, almost drying big circles over here. So it would not appear to be a line or a border. Because if that happens on your work, if you see a border line, it makes your work so unnatural and unrealistic. Pay attention that I've took my pens, I've taken my pencil from the middle of it. So it's lesson is we'll actually a lower, a little off my hand pressure. Just like this. Here again. Now, after I applied all these shadings, we will come back. 17. Continue shading darker areas and warmer colors: Okay. After I've applied shading, sweet 187, I will use the color 179 for applying the brown shading over that part. I rotate my sketch and I will take this pencil with two of my fingers. And I'm going to use this side of it. Just like this. Pay attention that I'm just coloring so lightly over it. If there is a place that is light, we can always add more color to it and darken it. But if a place we will go too dark for it, we will have to erase it and it will just leave some traces and stains, which of course they will take away our works. Beauty, uncleanness. You see these parts are have some stains and spots, but after we did the background completely, we will apply them to so I don't have anything to do with those spots. Now I should get the basic shadings done. Just like this. As I go up. My hand pressure so my color would be automatically fade it. Just like this. I think it's enough up to this part. For this scholars, enough. If they felt that it's needed more, we will add it later. Now. I'm going to use color 188 and apply some red parts from here. Just doing the backgrounds for them. Again, I will take the pencil from the end of it, and I will use the side of my pencil for applying actually the background for these spots and stains and lines and whatever it is extra on our banana. Be careful. This part. There is actually a border that we should not draw on it. We should go over it with our circulatory movement of our pencil. When you do this, circling, it helps that they would have, this line will have been faded on two parts. And both parts, it will be faded. So it would be so beneficial for just doing this because then your colors will be faded together all of them. And you will not need a fader anymore. So you can just easily, as you're simultaneously drawing deadline, you should not just a straight line. Don't forget the circularity movements. Okay? I will use this pencil. And I will apply all the orange colors that I see in this model. 18. Shading around the work with light green color: Okay, Now I will work the shadings which have actually a very, very light green. So I will apply this green color. So it'll take over the too much orange of these part. Going forward and backward. I will use this color, the color 205. I apply the green parts over here. Although it's again just background. And it will be edited with color 170, but still his background. It doesn't mean that it is not important how to apply them. They'll take my pencil from the end. And because the color here is so, so light than I should, color it lightly. Applying it on these parts again. And no need to put any pressure on your hand as you're applying it. It just takes away too much orange off of it. And it's cool and okay. And it's really, really easy. I don't think you would have any troubles here. What I can see in the bottom parts of them, and banana is and have more orange comparing it to the upper part of it. Because of that, the color that I've applied is actually enough up to here. And again, I will use the 205 color over here. This color actually blends the other colors. And very perfectly to here we're just going to use our light colors to fade our dark colors. All of them would be better. Pay attention that you should not have pressure on your hand at all in this part. If it was needed, you can go over it twice or three times, but no hand pressuring because you don't want to slice the texture of your paper. Okay, from here, the orange theme is more so I'm going to use this dark yellow color again. So I will fade the dark parts over here. And a little bit of the screen she being used here. Because the yellow I'm seeing, it also has a base of green and phosphoric color, which is exactly this pencil in my hand. Okay, go back to this scholar in the yellow one and just working on the parts which are darker. Of course, because I should run more color on them. Just like this. You see how it's just fading the dark colors of the bottom. We apply this and we will fade all of the dark shades. 19. Creating dark shadows around the work : Now I'm going to use a color 384 m. Recovering these shades here. Pay attention that forgiving this part volume, you should color in this direction, exactly in this direction. If you do not want to lose the volume of your banana c. For making it easier, I'll just rotate and I start coloring in this direction towards the inside of the Manana. And so smoothly. This actually separates the texture between these two parts. And that's exactly what you want for making keynote volumes. Especially from and VR's point. This part has some As things and spots that I will use a very little circles for that part. Okay, If finished this part, a little bit more shading, this part should be darker because actually it's lower than the other parts. And then after this, we will go to the outer edge of our banana. I use the color 192 for applying that darker edge. I will sharpen my pencil. And because I want to use the tip of it on here, because we have a very, very thin line. Pay attention again that we do not simply draw a line that we should add these small circles around it. And so Monty new light so that we can use this law. You can use a scholar in this sharp tip for coloring, right? You should shade it forever. It's even darker. I use the color 177 and making it even more dark. You see on these parts, there are some shapes which are right. Of course. Just like this. Now, I've just made my hand pressure. A little more. Family. You thought it was never going to happen when I did. So I will take my pencil from the end of it and using it for the more red colors which are here. Yeah, just to slowly apply it, it can easily fade into the situation. You can also use the color 1707077, or you can use the OR and 946 of praise monk holler series. So I will use this. And so smoothly you will draw this, binds further. There is a point that when you put pressure on your work that you know that line should be so thick. So it's better to just draw these lines so thin and lightly because you don't want to put pressure on your hands so it would be thick. But if he recovered those colors over, run over and over again by them, it will get better. That because I had a rich shading on their eighth underneath it. It helps me that it tells me showing this black color on it. So I don't just cover all of the lines. Because that red actually will making more volume to the brown color here. I will lower my hand pressure. And for this part, at the top, I will use the color 170. So, so lightly, just like this. Okay, that's the end and hope you've enjoyed it. Thank you. 20. Creating dark spots on the skin of bananas with warm colors: Okay, We can make to the rest of our work before we start. For applying these stains, I've used a color 172 and applied the dark shades which were here. It will take the extra yellow of these colors and it gets, it, gives it some kinda smoky color. Again, I'm going to use this scholar, as I told you, I'll take this color from the side of it. Beta color 179. Pay attention that when we hold the pencil like this, we can create stains like these, which you now have faded borders and they are not so sharp or not so separate. Say, I want to do these parts right now. I'll take the pencil from this side of it. And I start creating very small circles next to each other. And also continuously look at my picture. So misplace them. And you see, You shouldn't take your hand like this. Should be about 15 or 20 degrees. The way you hold it. There should use the side of your pencil. And you should do this so lightly, you should not put any pressure on it. It creates some kind of brownish stains, the spots. And you don't need to color all the parts. It should just do this part by part. Make it look more clean. Because nature, you won't see any special order actually, or they're in nature, is that everything is not in order. Should just place them as you see in the picture. It depends. So from this side of it like this and lots of practice, some students might have problems with it, but if you take the pencil like this in your hand, it will make your work very easier, faster and more beautiful. So just practice to keep it this way. You see some spots like this. It has aligned. I don't create anymore circles. I just do it linearly, but at the end of it and at the beginning of it, I try to, I have my hand from the paper. And darkness would be on the middle. Lonely. Just like this as you can stay. I'm placing my other hand on this parts of the picture so I would not lose them or misplace any of them. If it was too hard for you to do exact same like this, you don't have to do it exactly like this. You can just do it in similar way. You can just create something similar to it. And it looks more natural. Of course. Just like this. See, I'm just doing it part by part. I don't do it. Don't go over it all at once. I told you before for you, you should not draw a line around it and then color inside of it. It looks so childish and unnatural. So try not to do that because it's a background color and it's light color. I can use it that as the background color of all the spots and things. Even the parts which are darker. Just like this. Also on this border. Just QC. When I'm creating my circles, I will just give my hand. So one end of it will be faded and it won't be sharp. Because bank part has some kind of more shades. You can use this color and shade this part. Mean. In addition to completing this line over here, you should also shade a little behind it. Just like this. Just like this, I will apply all this pats. The processes is similar. See, some of these spots are darker, knows all of them are in one color. Like this. Alright. I will do all of them and I will come back. 21. Continue drawing the skin of the banana: Okay. Now with the color 187, I will go to the spot speed at a rate base. I take the pencil the same way. And I just work it on the play says, which only have red base, red color base. Pay attention that I'm still just creating a shade of the stains and spots. Just like this. Select the persuaded rich. The only parts which have kind of reddish base. To say this, as you can see, my hand moves toward these parts and tear for creating this, I'm just going to use a little of the tip of my pencil because it snows MY the spot. So I'm just going to use the tip of my pencil so I can create it sharper. Create a shadow, so I can dark connect with another pencil. Here we go. Okay? I think this background is enough. Right? Now I'm going to use the color 188. And, and the parts which are more detailed and more red. I will take the pencil in my hand normally see. And this border and this line here I see a little bit of this color, which I'm going to apply. Read a very small circles. The parts that I think need to be more red. I don't just create these circles continuously, which actually makes lighter and darker lines in spots in this slide. I just don't create these circles continuously. I create some, take my hands up and go to the next part. The part that you feel it's darker, you can use eraser for it to lighten it. And the parts that are lighter. You can use your pencil to darken it again. So these lights parts and dark parts will show themselves depending on the shadings we will do after them. 22. Creating darker spots for banana skin: Okay, Now we use the colour 283 and we add a darker details like these parts over here. You need to take the pencil from the side of aid. You can use the tip of it. So small and with so much attention. I'm creating these small circles. Just play thing, you know, it's kinda placing dots even. I don't create them continuously. I create a small circles. I take my hand off. I do it again and again. Wherever we needed to dark in there, we will use darker colors. See. Now we're just placing the red background of this spot. And then with a darker color, I will apply darker stains on it. I try when I get to the adder edges, like these parts over here, I will lighten my hand pressure. So it will be a very light trace around these edges. Some of the lighter spots you can just work on them like this. You see there's a darker spot near it. I'm just going to work on it as well. Okay. Now, I'm going to use a depends. So 177, it's a very dark brown. I'm going to use it. And I will color over the darker parts of this spot. And I color in a way that it wouldn't it wouldn't erase the red parts that I've done already. So I wouldn't go all over these red spot. I will just go over the parts which are darker. Again the same way. Placing dots and circles, very, very small ones. The process is the same most of the times. For, I mean, for most of these spots. You can also use the same way, but as you can see, M taking the pencil from the middle of it so I will lighten my hand pressure. See some spots on this slide. Sorry, I see sometimes in this spot. So I'm just creating some very, very small circles, but very, very, very lightly. So they will look like a very faded line. You know what I mean? To interpret hand pressure on them. All right. Also this part over here. Sometimes when you want to do the tables, if he felt that you'd see what details you're doing or they're just too small for you to see. You can use a magnifier. You see. And you can also apply these various small spots and darker ones. You use. A can use the way of that sunlight. It means it's not completely in line. It's not completely just dots. Just connects them together and combine both of them. Pay attention that links to some of these stains, especially the ones which are bigger and darker. You should definitely shade around them. Later we will get on it. So tell you all about we have a darker spot over here. I'm going to use the color 283 for its background. You can use this and you can use actually creating line for it because it's so sharp, It's not faded at all. So you can use the tip of your pencil and create a very sharp line. Just like this. Next to this spot we will gain to shade. Now going to use the color 947 PRISMA color. And I want just dark in the center of this spot over here. Just like this, see well, work with conscious. Okay? Now, with this same color 283, you see the bottom is lighter and the above it is darker. So I'm just going to use this color and create some small circles with very, very light hand pressure. I'm just going to shade around this creative various small and light shade. Next. These shade will actually make these spots look like after they have depth or Dave just popped up. You can use eraser on the lower edge. Use a mono 0, your'e, Sir, just a little next to the line. And make it lighter. And if you've got some parts of it, arrays, don't worry, you can always go again in color it. Just like this. Just apply the all of the other spots. Just like this. I said the procedure is the same. Small circles placing dots somehow to slit like the way you see it in the picture. Don't lose sight of that during the whole work. Now with the color 177, the very, very dark parts, I'm just going to darken them even more. As I come down my circles will be a smaller and smaller. They get to even ducts, but these parts have bigger circles. I mean, d parts which are in the above. I'll control my hand pressure always and interests. Lower it. When it needs to be. This part should be colored hissy. They're just dots and lines. Combined, combination of them. They're not connected lines or separate dots. There are dots with Dino, straight lines. Just like this. I'll do the rest of the work just like this. 23. Creates very dark spots on top of bananas and banana tips: All right, Now we get to this upper parts of our fruits. These parts that are darker. I'm going to use a color 177. And I'm just going to do this lower shade of this part here. Small and light circles. Because in some parts we have fading. You don't have to put pressure on your hand to scholar. To this smart shaded. Track it so lightly. Upside because this, this pencil is very dark. But if you just do it so likely it will just make a very light shade on your yellow. Now with the color 946. Praise small. Of course. I'll just redo the parts which needs to be darker. Small circles. You see part by part. Like this. Next to these spots. We have the spattering. And if he just felt that it got off your work, you can use the previous pencil and shade its surroundings. Okay. Now it decode a 188. I will apply these lines, small circles next to each other, just like Nazis actually, you see I'm not drawing any lines. This point is very important. If he actually go over all these, go over this point in all of your paintings, all of your outcomes will be great. And I have a little bit of orange shading over here. Okay? Now, for the parts which are darker, I'm going to use the color Two 183. Just saying way. Now, for the parts which are darker, I used a color 192 and the darkest spots, red, 177. You see as the spots get darker. I'm going to use this color on them. I'm going to use the color 179, of course, and create some shadings. Over here. You see I'm just creating some very, very small circles. I'm drawing them bright over here. Like this. Okay? Now, for this part, we see here different from all other parts and Vive worked on for here. And a pencil. Three helped like this as the same way that we did some details. So it's kind of a, it's actually wood texture. Usually the wood texture will be applied like this. So I'm just going to use the side of my pencil. And I will just draw these lines with going and coming back. You see. These lines will actually create a wood texture because there's some parallel lines and they're also not organized. Who would just like this? Using the side of my pen. So completely. I'm going to use this very lightly over here. And this dark part, say from the side of my pencil, I'm just using it and creating these very, very dark spots over here. Just like this. It just zoomed in so you can get a better site of this. Okay. For this lighter part, I'm going to use the color 1085 from Prisma. And these pencils are kind of like dof and dare. Why did tip of them are wide and you don't need to take this from the side of it, just take it normally in your hand. And for creating the color I want I'm just going from the dark side to the light side is a, I'm just dragging it from this dark part to the light side. And k, It's got almost say, very good background. Now I'm going to use to color 383, which has kind of a, you know, golden base. I'm just going to use it and color these parts over here. You see how it's done. And just do it a little bit in circular movements and throat my handle of that card port. Now, for the price which are rare, very dark, I'm going to use a dark brown. Nine hundred, nine hundred forty eight of PRISMA. Or you can use 175 of polychrome series. You see I'm just coloring it part by part. Like this. These parts are a bit more red. Color them yet. I'll use another color for that. Because this brown is kinda smoky brown. If you doubt what I mean. Okay. Now, we'll use the brown and 946 and these parts for coloring them, creating some lines, even just like this. Again, with dots and lines. Again with the use of 948 for making this spot even darker. Okay. Now, the parts which are darker, you can use a dark blue one hundred fifty seven. Fifty seven. Instead of using black, you can use this color. I actually did combination of brown and this scholar will give you a very, very dark black, which has a very good deep depth in it gives you a deep black. And actually even works better in some parts. Instead of black. Just remember, draw this blue color only on the brown parts. If you use it. On the other parts, it will look blue. We don't want that staying some shadings toward outside like this. 24. Pay attention to details in the final stage and raise the tonality of work: Okay, now, for this upper part of my work, for here, I just used a little bit 186 for making this part more golden red. Then you can use this side of the cutter, not this part. This part just used it and to cough the extra color from my work. And I created some very thin white lines. You should not put any pressure on your hand when you're using the color, the edge of the cutter. Because we use so many layers of color. You can use a color 180 and redo some parts of the work. Now that you've almost complete your work, you can actually do some editing on it, see which parts should be darker or rich parts should be lighter. So likely, just like this. Very easy. I need a little green. I'm using a 172 green in the background now because it's for the background, you can easily go over all the parts with it. But remember, you should do it very, very lightly. On our banana to look brain. Of course. Here we go. Let's have a sort of green 205 for these parts. Skip smoothly to these parts. To be more yellow green. Just like this. I use the yellow 105 for combining the colors over here. Just like this. Okay? Because I'm coloring so lightly and I don't put any pressure on my hand. It doesn't matter that much that which direction I'm coloring because I'm doing so lightly. The color won't leave any traces behind. And when I mean, it doesn't matter that much, you can go in any direction that you are more comfortable with. That we've done these shadings. Looks like that. This part needs some editing summary doing. So I'm just going to go over it. Should have so much patients for this. Don't rush it. If you want to get a good work. At the end, I will use a color 192. And I will just go over this part here. Again. 189 is going to be used. Sorry. 177. I'm sorry, my mistake. Just going to use a 177 for these darker parts. You can use the same technique over here to use a cutter and create some lighter lines. K, just like this, and have any problems if you did it too much, you can do it again with your pencil. This will make your outcome that much better. And again, address to the background with this color so lightly. All right. 25. Coloring the skin of watermelon: Hello to my dear friends. Today we are going to work on this watermelon and show you how you can draw this. We are going to start from the bottom of our watermelon. I'm going to use and a green fabric cast. So classic color, which has the number 357, you can use this. Again, I say it's a classic color. The bottom of it has a dark color, as you can say. And I just color a bit to the upside to it should be. So, so light and faded. Just you see what I'm doing? No pressure. So light. This parts have a bit more of darkness. So I will use more of these color. Can we can continuing to color this part? And again, as I said before, you have two ways for due to fading part tissue or brush. I'm just going to use the paper tissue for now. To show you again, You see I folded like this and just try to faded. You can use whatever you're more comfortable with or became used brushes like this. Now I'm going to use the color number 370. And again, we color over our dark color. We should pay attention to our sketch, to our model. And wherever you felt that this green color was used, you should definitely use it in your own sketch. Exam, just doing good. So lightly. And Fe debt. I don't put too much pressure on it. I don't want a dark one. This is enough. As more sharp as your pencil tip is. And as smoothly and softly you use your pencil, your sketch, your work will be more realistic and better in terms of coloring and being natural. Here because I don't want to have time to, I don't want to take much of your time. I do it faster, but you should do it much slower. And show the details in your work that makes your work look much more realistic and so similar to your model. So try to do it slowly and with patients. Again, I'm using my tissue for fading. I'm using the color 363 on the top of the other color for AG. For getting to color that we are aiming for, which is used a model. We should just do layers of collars on each other. We should use different colors on each other so we can get that. That's why we are using a high-quality colored pencils like this. So we can easily use them on top of each other. Layers on each other. Some of colored pencil don't have these quality and you cannot use them on top of each other. But Faber Castile polychrome and classic colored pencils are so good. And you can use them. And even priest small colored pencils are good too. But if you just want to start your work, It's better to use this fabric castle colored pencils. They're better than the others. Again, we use the color 357 and we use it for the parts that have more darkness like this part here. And coloring. We'll be faded. You see the parts that are getting blended. Just fade these parts as you see. So we can get a cohesive darkness and we can get the color we want. I'm going to use the black color here. A bit for this space has a bit of darkness. Just right here. Skip a coloring care. Each part that you've noticed and dark part a darkness. You can use this color for emphasizing the darkness. We are going to use a green color. I'm going to use it all over this place. For not making a black color to the green color we want. We don't want to end up with a black watermelon. And we'll fade it again. I'm using my eraser to erase these lines. Here. We don't want any lines in our work. Now. You've faded. You work with a paper tissue or your brush. I'm going to use this color that has left on it. For the upper parts. I'm going to use a little bit more of black for darkening this part here. Now we're going to use the watermelon itself. 26. Start Coloring the red texture of watermelon: Okay, for coloring this part of the watermelon, I'm going to use the red color. We do it with the color number 321. And we'll start the coloring from this top of this here. Your pencil should have a very, very sharp tip. Definitely. This part is a bit lighter. Kind of faded. Just fade. A sketch. Beads. They use DOE for eraser. I'm using a brush here and I fade to colleagues that I've did direct color. I'm going to fade it. Going to use the red color again here. And these lines over here, the percent have lightness. We just let them uncolored. So when we are going to fade them, when we are doing the fading, we add the color left on our brush or tissue on here and we use it on here to give it that light color we want. So just leave them uncolored. And we just continue coloring. Colored this part and I will show it to you. The sad have this seed in it. We've determined their places before, so we won't call on them. We pay per tissue will fade this spot. These edges, I use the color 392 for these edges on top of here. Because they have more darkness in them, they have darker colors. Parts. And that have some kind of roots. Like here you see, we just do this like what I'm doing. You see here there is kind of a root here for showing that we can use eraser. Or we can just leave this part here. White. See I'm not coloring just for a line, just a little. So we would keep a structure in our work cans. You can see I'm continuing to coloring with this. Just leave some parts behind and keep coloring due to fading. Storage color number 318 for that. That has more red color in that. It is Margaret I actually hi. K coloring this part. And remember not to color over departs at our first seats. 27. Adding dark colors and light on watermelon red texture: Okay, Now we use color a little bit for this part to show the dark parts of it. To color number 337, which is a purple. To see using good for showing some dark parts over here. And Alito. And down here. You don't want too much of it. Okay. And under disparate, as you can see, there, where you see the dark parts in your model. B is LA, LA bit of purple cauliflower it, as I told you before. After you did, after we did this, we are going to use a brush or a paper tissue for fading. For darkening, we should not go directly to the black color. You should just get to the darkness step-by-step and phase by phase. Now we are going to use the black color a little just for departs that darkness in them. And, um, to Susan and cube it over here too. Now I'm using the red color number 318 again. Because we want to show that our main color here is direct color. Now black or purple or any other ones? As you can see, our interests. Again, using the red color for our job. Again, I'm using a little bit of a darker purple for this parts. Again. Okay. I'm going to use my eraser for here. You can sharpen your eraser, read this. And if it has any, I don't know, dirty parts. And you can clean it with this. Now. The parts that have a little bit, the parts that are LLL bit white. It just going to make them create them. And these parts here, see, I'm just creating the kinda rude parts that are existing in our watermelon. Okay. We continue with direct color. Again, just like this data, we switch back to this purple color, 337. Again, we use it for this part here. Chris, showing the dark parts that are exists a tear. Okay. You see that it needs some eraser. Just make this white pen or you can create some very, very light and white spots here. 28. Completing the red texture of watermelon : Okay, As you can see, I've colored these parts for you for saving some time. And I did it. I did the background color from color number 318, which is a red. And I've just did it with I've just did the background. Now again, we are using color 303, 37 to add some details on it and tried to expand these dark parts to art the bottom of our watermelon. So when you see a dark spots, you can show it with this purple color. And we just keep, keep out of the parts that we've determined for the seeds after water melon. Very, very UC Doug parts do you see in there are some here. I'm just going to darken the middle part of it and just fade around the edges. But you see the center of it. I'm darkening it. Again. I go to this part, coloring around these areas. Wherever you saw the darkest spots issue to use the purple color just this way. Because later, after this, you should use your white pen, your jelly white pen on here so it can show that this watermelon is the sparkling and it has water on it. It's watery. And around these seeds there are some dark parts to show that they are curved into the watermelon. So, uh, for these, again, dark parts, I'm going to use this purple color. Okay. Just keep coloring like this. Don't put any pressure on your hand. I mean, not extra pressure. Just like this. Make sure to cover all of the dark parts. And I'll show you the rest of our work for showing these white, unlike parts. 29. Forming the seeds and completing the lights : Okay, My dear friends, I worked a little bit on this part here. And I'm going to teach you how to do these strings on the watermelon and these whitening. Now, we did the background red color and we added the purple, darkest spots and some parts that were darker like this part. I've used LLL black for them. Wherever that had a darker color. As you can see in these parts. First we use the purple color and then we use the black color. Now to teach you the seed. It's completely black. I'm using a completely black color for it. To black color that we used in it. As I told you before. Because these edges around here are going to show that It's curved into the water Valen. It's a bit darker than the other places. Then I'm going to use the jelly pen or the white pen for some parts that have some kind of light on it. See I'm just putting spots and around it that has and a bit of white-collar. Again, we're showing it with this. And around it, it's have some red color. I'm using color number 318, which has more rights color. There. You feel like it needs more red color and it's needed. You should just use this color for it. Just the way I'm doing it. Around here. And around this one, just like this. And I think here we need a bit of red to yellow right? Now. There are some strings on our work. And how did I do that with these eraser? Just pay extra attention to make them similar to the ones that are on the model. So I turn on my eraser and just as smoothly, I get this. Depending on how clear and how light these strings are. If it's too light. We work on this part more. And if it's not, we don't Just, I should compare it constantly today. Model here the parts that have whitening. If it has spots. So we do a spots by tapping on it. And if it has these lines were just draw some lines like this. Overall, it's not. A hard job. You just need to be focused and pay attention to your model and concentrate on that. And clean it with my brush. Now, between these lines, because we want to show them, they're a little prominent. I'm using the red color on that part because it was darker. We use black color too, but here we just need direct color between them. And if some parts are lighter than they should be liters here, we can just use this color easily to cover them. And again, I'm saying to show that these lines are a little prominent, I'm going to use a little bit of pink color here. Here for the parts that we've made LIDAR. So use pink color on them. Okay. Now again, I'm back to my jelly pen for showing these shining parts that are just spotted on our watermelon, just like the way I did in that part. So wherever you see these white parts, use it. And if in some parts it's just more faded after you used the pen, you just go over it by your fingers to take a bit of it's whitening. If you felt that some part is more faded. Wherever you see this white spots, you should use it. And this helps your work to be more elegant. And it shows that your watermelon is juicy. And it's kinda shining. Sea. And why we are using it. If some parts of lines have more widening to you can again use this daily pen and work on them too. Just because of, because it's a pen not append. So be careful with it to not put it in the parse that are not in the model. You should pay attention to your model. Here. I'm just putting some spots, spike tapping, you see, and this fires. They're not organized. As you can see, they're just spread it. I think almost covered at all. And I'm its own here on this line. And hair. And K. And a bit. Just like this. And again, I said a few things. Some, some parts are lighter than that. They ship be whiter than they should be. You can cover it with your finger and take some of the lines and y thus from it. Again, we'd use of red color is going to cover these parts. Just going to make it seem more natural and more realistic. In my finger. Now, we are dark green on here or this far. And event black color. You see I'm just using it so lightly. No pressure. You don't want our watermelon to look like black. Of course it's green, but I'm just using the black here for darkening, get more. Alright, with the paper tissue, I will just fade it. I use the white pencil this time. Florida parts that need more light. These parts here and a little here. And here, of course. And it's very useful for making your work more cohesive. These parts of our work should be more red. As you can see, I'm applying it. And again we switch to white. So first we apply the white-collar like this. And then we used a red color over it. This makes our red color to look more somehow like glass and loose and invisible somehow. The parts that need darkness. Again, we use the black color for it. This part here. And this part here. Let's learn here, and that's it. And the use my eraser on top of here. Little while then we finish this part. And now we're going to do that part. 30. Drawing the background watermelon : Okay. We are going to work on the one that is behind this one. And it's kind of faded. We do the dark parts as usual. I'm using the black color. And here in this part that has them faded, like again, I'm using black. And for this part, you see I use red color for this part. And here it's going to be pink. So I'm doing this for making it more faster. You see I've colored this parts black. Again here too. I did a dark parts here. I used a little bit pink on it. And after that we did the dark parts and the pink parts. And also there are two seats on it. After that, we are going to use the red color 300 18, which is color all over our work completely, except this part that has the pink color. So when my red color comes to here, I just kind of fade it a little, but the other parts, I completely cover it with red color, even on the dark parts and black parts. So we show that it's mainly bread. 31. Completing the background watermelon light: Okay. As you can see, I've colored these parts for you because it was easy and I wanted to save time. I didn't show you. And as I told you, you should use a red color completely on your work and faded on this part, which is pink and white. If you pay attention to these parts, have some vague, you know, like bubble. And it's so white. For that we can use our white pen or our eraser for showing these work. You see, I'm just doing it so faded and lightly. Like this. And some parts we used it, we make it like again, I say, this circularity shapes. They look like some kind of bubbles. In some parts we even use our eraser when it's turned off. I'm using it right now. And it's not turned on. Just showing. 32. Completing the background colors: Now my dear friends, as you can see, I've colored these parts here again that exactly I did it the way that I did in my watermelon. First, I did the black color and then I used, you see this part which has green color. I use this green color. And again, I use the green color all over the parts, even on the black parts. So it will lessen the black color on it. So we did it just the same way we did that part. So black color or green color and again, green color on all over it. For this part, we are going to do the same, but this one here, you see it has less darkness, so I'm just gonna do it for you. You see the Parson are darker. I'm going to use black color on them. We don't put too much pressure because it doesn't have too much dark color. It has a little, so you put a little pressure on it. Hong Kong before this part. I'm using the green color, a number 366. I did the background of it. These parts were white and these bars burglary. I didn't use a green color on my white parts. Now, the green color number 359 for this part is going to be used. First. I'm just doing the green for the background again. Rethink. It has more darkness. We use this color for it. Like these parts here. I think it's actually the watermelon which is behind them and these are part of it. So as you've seen and watermelon, we have like these darker lines on it. That's what they are. So they should colored darker. When you get close to these light and white parts, it just do it so soft and faded. Continuing like this. Bar pressure on the price which are darker and less pressure under parts, which are white and light. So you should just color it cohesively so it can blend together and it doesn't look unnatural. And do not forget the fading part with your brush or your paper tissue. Just as I said several times before. Now I'm going to use the paper tissue C for fading these parts here. Now, Landon together, perfect SLI. Here we go. Okay. Now I'm going to use my green color again to on this part. And k can teeny to use my green color over year. Even a bit over here. Can blend them together again. Fading them. To speak careful when you're failing these green parts. Day don't make some parts of the watermelon you have here. Again, I'm using my black color on these parts. As you can see. I'm using my black color. Where are these dark part C. But I'm not putting too much pressure here because I don't want it to get black. One to make it a little bit darker. So now pressure, doing it just self only the parts that are lighter in the middle of it. So it just don't put any pressure on our pencil. And we kind of fade it here. Just as much as we need to make our work cohesive. And again, I insist you should be sure that the tip of your pencil is sharp, very sharp. You can sharpen it again and again. Kay? And I use it all the way down through here and just fade on the over there. Now the color number 360 to, I'm going to use it to just lay it out very little on these parts here. Just want a shadow of it. Color number 383. Our Green. Be using this color, then it's going to make them more. Green collar. 360 is going to be used. Again. Going to use black color. Dark parts that we've done before. Kane, still using the black color all over their parents setup dark skin before. And don't forget to fading ever, just fading it with a tissue. I'm using blue color. That is actually for direct flexion of light. Just for showing up. Light. Reflection. Who came? Think we're almost done here? Just sell it a bit more. And this was the end of our term show as our tutorial afar this model and this paint job to take off these tapes slowly. And we are done. I hope you've enjoyed it a lot. 33. Subcutaneous of sunflower petals: Hello to my dearest friends. In this video, I'm going to teach you how to draw this sunflower. The fiber casts, polychrome colored pencils. I'm starting to color one part for you. For the background color, we use color number 102. As I'm styling in here. You do the background. But this, whenever you want to color from a model. Before that, tried to erase the primary a sketch, not completely erase it, just making it lighter. If you have done it with a black pencil, you should try to lighten it a bit so it wouldn't affect your coloring and then darken your coloring or making it look dirty or not clean enough. Therefore, our identities, and I'm starting to color my background with this color number 102 on my dear friends, I'm using a fast pace for that, but you tried to do to slowly because now I'm just teaching you and I want to save time. So I can teach you more things. After with the background. We can use a paper tissue as always, or a brush to fade it. After you finish the first step, we color 102. We use the color number 107, and we tried to color all over it. See always you should color in the direction that is shown in your model. Here. The color is toward upside, so we do the same. You do exactly the same. You should definitely be in the same direction as your model and as your picture you're trying to paint from. As you see, I'm just doing it in this direction. Model. So many warm colors were used like yellow and orange. Pay attention to the place that the colors were used exactly. So you should always be focused on your model picture as well as mortality. You use the color in their correct place. Your sketch will be more beautiful and sound more natural. Again, you did a fading. In this part, we are using color 111. Again. I'm just coloring over the parts that I've done before. If you pay attention to picture, these parts are dark and it just faded as it gets up. So you should have a saying in your work. The bottom parts darker and as we come to the tip of the petals, they just get faded. And Dale get lighter. Now I'm going to use that orange color number 115. This bottom part of our petal. Orange on it. The previous colors. Just the same direction that are on the pedal and you should fade it off course. After you that the coloring now for the dark parts, we use the color 173 for emphasizing the darker parts. And you see these lines on directions on the petal. We're gonna do that. 34. Continue working on petals: I'm using color 173 for these dark parts over here. The dark parts. And we can also use it for separating the parts that are shaded parts. And alerts a little bit of the bottom of our pedal needs dark color. For a separating the pedals. We should pay attention that if this petal is on the top of that, actually the flower. And when one of them, we want to show that it's on there. Another petal reshoot darken them more. And if we want to see It's on the top of another, like this. One, we are going to color around these edges and making these edges lighter. But for the one that is under, we will darken the parts on the edges to see that it's actually under another one. And for the top ones, we will lighten the edges a bit. Extra attention to your model. That wherever it has a dark color, you use it. All right, on this top part over here. Coloring the followers. You should pay attention to. Keep them elegant. Fading, fading phase. And now we use the brand color number 283 for this bottom part. And we tried to dark in it. This color has been used, should easily use it on your work as well. Now, the shadings, when you pay attention to your model, you see there is a shading over a year and stuff. We should pay attention that in what order? They are place. Now, we did color and number 173. I'm going to place the darkness, the dark color that is on the flower here, fading and on this part that they've colored before, it needs ALL bit darkening. Maybe we have to do the stamps and darkening for a part several times. So don't lose patients. 35. Completing Petals and create texture of them : Dan, I'm using color number 173. And again, we emphasize the dark parts a little bit more and we work on them. Well, you should not forget to sharpen your pencil. It is important. Then I'm going to use an orange color because the orange is kinda the main color for a year. At the bottom of the pedal. For this part, you can use color number 117. You use the color 109. Total for this part that connects the bottom to the top just to make it more cohesive. Now we use the color 263 for the bottom of our work to make it even darker. Then they use of color 170 for the parse that are more yellow. 36. Coloring the petals of sunflower with different colors: I did some of the pedals to save more time. And I did it the same way I did this one. So the procedure was a mistake for all of them. Now, to color 102 is going to be used for this pedal, which has a lighter color tonnage. And a coloring of the pedals are so similar to each other. I use the same color as I told you. But in some parts I've just added some extra coloring dial will tell you. But you see the petals next to that one are just the same as we did it. Now I'm going to use the color 187. Exactly how we see the shades. We are going to apply them with this color. We just do a color background because the main color is actually yellow and the dark parts are kind of orange. For first, for the background, we use brown color. For here. Now I'm going to use color 184. And the point here is that for all of pedals, we should just throw. Depends. So for all of the petals, for coloring them, this is an ocher color that we can say it's, it's not a very light yellow. And as I said, if you can see my hand, you should just throw the pencil at the end of it. That's how we are going to do all of the petals. The color that has been used actually at the back of this pedal is a bit lighter. The color number 107. It has a bit of orange at the bottom of it. Just so you can use the color number one hundred nine forty two. So it will take some shine from it. 37. Adding dark colors to petals of sunflower: Now I is 283 for the dark parts over here at the bottom. You see it's here. Trying to move that direction that we see. The model. I'm using color 115, which is orange color. This part, because it has a little bit of shading and shadow you see here. And it's linearly. So we're just going to apply it right now. Reuse a colour 173. We use it for the dark parts over here and over there. And now we're going to use them over here too. Cell lines, that is C and a pedal. You can lie down with this color. As I said, the colors that we use are pretty much the same. For all off the pedals. And darkness. You can easily apply it and do it with this color I'm holding. And we use their collar around 100 AD, far harder parts that have a darker yellow. Now I'm going to use color 111 for the center part. And we create our shadow with it. And we can also use the color 187 on this part as well. For this side, petal, It's like it's behind the one that we've worked. On now, again, we use the color 180 for print this part that has a kind of darker yellow. Try to do it with much patience and with so much focus on your work and on your model simultaneously. Just take it slow and time for it. And as I've said before, you should be able to recognize color very well. I'll try before you start coloring a work. Just take care of the colors you see. When you want to color. When you have a color tunnel it. And when you have Pusan, the colors that you need away, I mean, you should put the colors that you need. A side of your work. See is you just do a little coloring here and write the number of it. So you would get the exact pencils that you want for each job. So it will get easier for you to use the pencils. So I repeat again for getting a good job. First, you should recognize the color that are used in your model. Then you will try the pencils and a part of paper. Write the color number, and then you can have your pencils. Okay, First I used color 184 for this part, but I see it has a darker color. And now I'm using color 183. Because most of the times for one singular work, you need just a set of pencils that are used in hell. So for separating this petal from the one which is behind it, I'm just darkening this part here with the use of color 173. Now I'm using color 100, 1909, which is black. Applying it on the corner of this petal because it has a bit of darkness and I'm using my bike over here to create it. Right. Now we want to work on this petal which has a bit curved. Let's see how that works. 38. Completing the dark colors of the petals: I'm using color 184. Before we start. As I said before, I'm just trying to lighten our primary sketch so it wouldn't have trace. Like pencil. This color. We will do our sketch again. Just not to lose track. Just like this. We're going to go away and we can make them pedals ready. So I'll teach you one. I'll do the rest for you. So you can do these petals and I'll tell you one or two of these funds. So you can do them too. I just teach you a model for sample and then you will do the rest yourself. Many use a little bit of color 107. The colors that I'm that I tell you. You should just write it down somewhere safe. You want to do your sketch later. You know which colors to use. Here. I'm using orange color. Generally. Petals have some orange color. There are edges or a dare bottoms. And we are using color 173. I have forgotten somewhere to tell you. What color can we use for darkening? If I forgot to tell you in a part of the video, just remember that we use this color 173 for darkening. And also in some parts, you're going to use black. So it's mainly just these two colors. All right? This part that is kind of trace said we showed that twisting the inside. So first we're just should apply the background color and the lines that are in the pedals. As I said before. You should do the coloring in the direction that you see in your model, just in the same direction so they get better, more natural. And you can show your colors perfectly in your work. Hand. At the end. I'll use the color 108 to show that yellow color that it has. This part of flour has the straight line that is light. And with this eraser, you can easily show that light. Just as I did here. Now, you do these petals just the way we did this one. I will prepare them for you and you color them in homes so we can continue. 39. Complete the texture of the petals and draw the texture of the middle of the flower: All right, my dear France. So I've did these panels at the same way as I taught you. I've colored them. Now. I'm just going to teach you this petal. As you can see. It has some lines over here and have some darkness cases you see here. So I'm going to teach you this because it might be an allele different from the others. But just as the same way we did the other petals. I'm using color as my background color. We use the color 183, top of it. Now, you can use the color 107 and put a layer of it on your work at the top part and the bottom part, and we'll just do a cohesive color. This is actually the background of our work. So just use it a little As the same petals that we did before. At the bottom of it, it has an orange color that I'm using, the color 117 for it. We don't put too much pressure. And we don't have to have some on ten pressure. Just throwing your hands at the end. We'll do the job. When the orange color and we applied the orange color, we will use color 173 that we used for the dark parts. We're going to use it again for the parts that are darker. There ever that you thought there is a light. Try to keep that light. If you forgot the light part and darken that part. Actually depends on how much light that part. But sometimes you forget. In case that happens, you can use this electric eraser to make this part lighter. I'll show you after I, that we wanted these parts to be lighter. Actually wanted them to have a yellow color. We'll just make it more cohesive because it has a little bit more darkness, right? I'm using a fabric castle classic gray. Now, we use the black color. Be Ayesha have a very, very sharp tip. Our black color. But I now we're doing the lines that we see here. We are applying them on our work. Some lines are darker, so we're just going to make them more wide. These parts just going to connect to our pedal. But these upper parts, they don't get too much to the upside and dry it about here. Come completely to the top. The lines are organized in some parts, but in the other, they are not. Just do the moderation. If you pay attention to your model. You'll notice that in which parts you should use these lines and which parts you should not hear it and are just coming outside a bit more. Darkness. Use this black color and then to create that dark parts. I'm just using my black color a bit here. Kind of editing my alright, now we're done with the pedals and we want to work on the center of our sunflower. I'm going to use a light brown. And number 187. See there's some circles spots here. So I'm just going to apply them onto my work. Wherever you think these circles are. You should do them with this color. Pay attention that it's circular. So we're just spent in color. It is circular movements. All right. I'm just covering all parts in the sender. Some spots, white as you can see. Now, I'm using a darker brown 283 and some other parts. Cm just doing it between between them. Coloring between them so I would not erase or make the previous color goes away. Then I'm going to use a little, a little of color 111 between them. So we can have the light colors to a again, we are going to use our black color on the parts that have darkness. Pay attention to your sketch, to your model for preventing that. Making some parts lighter than they should be or even darker than they should be. The edges are mostly dark and dangerous. They're just going to drag to the center. Wherever you saw. Darkness should just easily apply it with this color. That's pretty much the same as the other ones. Right? Now I'm going to use the polychrome fabric casts, so illegal. Or days per year. Wherever you feel there is a darkness between them. We can use this color. And I'm using color 187 on these parts here. This is a center part. And some parts have to some lights because of the light that was shine to it. So I'm using my electric eraser to do these lightnings as a spotting. Wherever you see that light. You should just do this like tapping. So the center of the flower looks more natural. Okay. Next level we're going to cover the leafs. 40. Working on flower sepals: Okay, for coloring our leaves, we will use green color. Number 267. Our leaves are a bit dark. So we use this color for the dark parts. We use a bit of this black color so we can get the darkness. We want colored these parts exactly the same green color for these parts. Now, if you can't see, I left some lines between them to keep the space. And then after we finished our coloring, we will just have some green and these white lines. Now, I'm going to use color 270, eight. So for dark parts we use 267 and the black color. But here is a bit lighter and I'm using color 270 8. I will sharpen it. You see, it has more light parts. So I'm just throwing my head at the end of it because we don't want this part to get dark. It has lots of lights. Just slightly coloring these parts. Wherever you see these shadings and lines, you should just apply them with the scholar. After you did these dark parts. Use our brush for fading these colors and blending them altogether. These failings. The green color to be spreaded out here. These parts with our green color again, which you see is these green color on the other parts. So, so, so little dark in the parts again, which are needed. And again, you can use that brush or your paper tissue. For fading these parts. Because some light parts are seen here. Who use electric eraser here to create some white parts on it, to create some lights on it. On the parts that you can see them on your picture too. If you feel that some parts are darker, you can use even black color for that. For creating the dark parts. Because you have already used the green color. So if you want them to get even darker, you can use the black color to get the color you want. Okay? Now, for coloring this, in this leaf here, use a green color 266 for the background. Because it has a lighter green comparing to others. Then we use a green color, 165 to create some shadings and dark links here to some spots. Some dark spots. Now use our green color number, 278 For do the dark parts of color, and 205 for this part. And again, we use yellow color for this part. And a little brown for the center of our work. And the black color for the parts that are completely dark with our brush. And we use the color 102. And we call her the whole part for making our work more cohesive. And give that it will take that shine from it. I will color this as the same. You should do this as the same. Well, we should color it. And also these two petals. 41. Coloring the leaf of sunflower: Okay, My friends, as you can see, I've colored leaves here, just the same way that I taught you. And also this way now in this fight is see, these two parts are so look like each other. I've done one of them and the other one we're going to do this together. Here it has some darkening that I'm using, right color for it. Now I'm using 267 for coloring this part here. It's just the background. Oh my word. Try on these edges are clean. So when you took off, your work would have a frame. As I told. You should faded with a paper tissue or a brush. After each phase of coloring will always have a fading. And then with the color number 173, we will work on these dark parts that has this green color in them. We can show them with this color. If you pay attention to depict some parts, we have prominence or curved parts. First. We use darkening. It a bit here. It should look like because it's kinda like we should show that as well. Fern keeping that takes. I'm just coloring it like this. Now, I'll use a bigger brush for fading. I'll use a color number 278 again. And here. And here. There are some darkness is here in the darkness here. And this part. Now, if you pay attention to your model, you can easily figure out that which part needs darkness, in which part doesn't. Just pay attention where you, where you are putting these dark parts. So you can show that prominence per prominent parts. And if you just misplaced some of them, it will ruin your work and it won't be as much beautiful as you thought. Some parts have. And dark colors. So I'm using black for it. To apply more darkness on our work. Soon, just keep coloring. Right to this corner. I'm using color 160 over here. That green color, that green touch aren't doing this for keeping our work cohesive. As I said, for taking the pace here, I'm doing it faster, but you should do it very, very slow. Much slower than this. So use the color 173 again for this part here, for this font. Okay, for some parts that aren't our care. And again, we use the black color. With each time that we do the fading phase. And our callers will get faded. Each time they will get lighter. So we will do that to make the colors that we want. For making up for that. 42. Coloring the background of sunflower project: Okay, My friends with the main work, that was our leaves and petals. For the background. We should see that in which part, which color is used this far was green, but main color is black. This color is used with color number 173. And here are some light greens. I will just do the coloring for your part. So you see how it's done. I'm using color 173 for this part. I'm just going to color it. When you did the coloring and fading ones. We use the green color 278. We add a layer of this color to our previous color because it has a little bit more darkness. So we use our color on the parts that are needed. For making our colors look more cohesive. We will use a gray color here. I'm using the classic fabric tests, so gray. So it will make our work more cohesive. It this so it would have a good background. We use this same way for all these parts. These parts are just a bit slider. That's the difference. When this part is a bit darker. I'll do a little of that. Okay. As you see, I've colored these parts as the same way I told you here. I used more black color for that because it was darker because this part had a little bit more light in it. We use color 278 for that. So we will color this part. And it has a bit of a lighter color that I'm using color and 266 for it. The colors blend in and making them look more cohesive. Now we use a co-owner 173 for making these dark parts look more cohesive. And as I said, for the power set are lighter. For showing this leaf here. It just had a dark part. Here. It's a bit dark over here that I'm showing you. Again. We use our 173 color for coloring these parts over here. If there was any darkness. We use our black color like this. And then I'm just blending this black color into the rest of the colors I have applied. Okay, I did some parts of it to save time, and I've prepared these parts. And using black color for this part. Over here. We have this parse with our petals pages fading these shades over here. This is the end of our session. And I've took the tapes and here is our final art work. I hope you enjoyed it. 43. Coloring the Rose flower: Hello, my dear friends. In this video we're going to work on this photo. All right, First I've done the sketch of course, on and stem box cardboard. And with my classic fabric castle colored pencil, I'm going to begin, begin coloring. You should have a white paper under your hand so your main work wouldn't get any stains. Okay. I'm using the color 318 for this flower, for this rose over here. Your pencil should be very sharp as always. I'm starting from this corner. In the beginning, we just cohesively and completely, completely color this part. And actually we color each petal for itself. And you should, again, I say, make sure that at the tip of your pencil is sharp enough to feel all the textures on your cardboard. You shouldn't leave any white spots on that. As you know. First we color it completely in cohesively, and then we add the shadings onto it to make it more realistic. Color each petal separately. K tried to do cohesively, please. And we do that. We apply the shadings after we've done this. My dear friend, again, I'll tell you, you should color all of these parts cohesively mean, keep your hand pressure the same and just go in one direction. Okay? You see, I've done this for you. And now with a brush or a paper tissue as always, no two friends reworking to fade it. And you should do it very slowly. You hear me say it will get all blended together and to not put any pressure on your paper or cardboard. If you do it with pressure, your work gets sleepy and oily and you can use other colors on it. So no extra hand pressure. No pressure at all. Just easily drag it onto them so we can blend the colors. And after that, now we get to the details and the lines that are existing in our picture. Some parts are a bit darker that I'm using color 392 for those parts. But after sharpening, get of course sharpening. And then I start from this corner and apply the dark paintings that are on my work. Just like the one on the corner, right. You should do it so carefully and elegantly n smoothly to have a great, great outcome. Because this flower you see, look, it should look so smooth and soft. So you don't want to rush it. You know what I mean? And we work on this as that throwing away essay at the end, I just throw my hand off the paper or cardboard so we'll apply the darkening things here as much as we can and as much as they exist, of course. So continuously look at your model so you won't add extra or lists. For getting more red. I'm going to use color 321 for that. Using a ton here and making this part. And this part is actually, again, we're doing it dark, but we're doing it both. 321. So it will have I done No more red coloring in it. Say it is more red. What we need because our flowers are red. So we don't want just the pinky or dark flower. Just ran it over the darkening. Say I've applied. And now I'm just extending it a little bit more. Oliver, these parts here. Of course, you know, after day, get fader them blended with each other. It will look much moments as it don't rush. These parts are a little lighter so we just let them be the spring. Just overdone SL itself. So I'm using my eraser for that carefully. Okay. This part has just kind of ashamed that I'm showing good that my pencil you see, but so likely, so, so lightly. This is actually our petal color, all of these parts do. This part also has some dark names that are supplying almost up to these parts. And I'm using my eraser and let's along this part here, is it's slider. Clean my work for the brush after I use my eraser, always do that after you work with an eraser because you don't want any dirt or extra things on your work. Go back to coloring again. Of course this part, let's say lightly as you can see, I'm not putting any pressure on it. Again with my brush now I'm going to fade it. See, definitely looks better. Now we go back to our red color again. And I'm just going to go over these parts so much more. Because after I used to buy, these parts, got actually a little lighter than the shoot be. And I need to just emphasize some parts. Again. Okay. Let's see. I think here needs a bit more saying, I say you should always keep looking at your model so whoever miss anything, That's why I'm dealing. And because I want to show that it's a little bit bent, folded, so I will just darken the center of it little bit more. Now, I'll use for this, I use the color 392, which is actually for darkening this part more. As I said because I'm to show it's a bit benton. A little of color 376, which is actually a brown. We are using good on this part in the middle. And it should be so, so, so lightly because we just want a trace of this dark color on it. We don't want to end up with brown petal. Just a trace, no hand pressure. And the tip of your pencil should be very, very, very sharp. Discover all these dark parts. The dots are spots that are here that are very small. We'll apply them with brown color two. And then we declare 321. We will color over them. But also dark. Of course, using a brush after coloring each part. And then we go back to red again. Just like this is a just have to pay extra attention on it and you should put some more time for doing this. Wherever you see those dark and darkness is, I will use a little bit of my brown color. We do not use black color on here because it doesn't have any. But I can use brown color for making it more dark. So I insist again, no black. Don't forget it. So little. We use the color 319 for this part. So, so, so little land night. We will fade with a brush all together and see a little bit more brown. 44. Completing the colors of Rose flower: Okay. We will do the shavings. All of them and each one of them. We don't miss even one, even if there are small, even if they are. So I'm doing some darkening with 392, just like these places. And if a place is more darker than this, then I will use my brown color for that set. Now I'm just going with this 392, which was fine. For now. Then we got these dark parts again with our brown color. Just as you can see, I'm going over them with my brown color. And of course, using my brush. Now with the color 320 one, I will make this bar more and make this part more red because it's too dark or too light. But I want it to be red. And these parts needs some dots. And we'll leave the light parts as they are. This part should be a little bit more lighter and more grid actually that we are applying with the scholar because that looks brownish and we don't want that. We wanted to be a red. So that's what we're going to do over these parts as well. All right, again with our brush, we will fade them and blend them all together. And this stage back to the red color and we go over all these parts here. All right. Now, but to brown color, we will apply the dark parts which are here. So again, I will just do these parts that needs to be more dark. She didn't cause any trouble. Try not to do it so much so it would look brown. We want our petal to still look red, but a darker one. So don't overdo anything. Or if you did, you should definitely use your read over it again. That kinda makes it not good. So try to keep it safe. And that will be possible. We do. Putting your focus and concentrate with my red again. He work on this on our pedal. It the very same red colors. All right. We will work on this petal as well. Just like this so easily. Now. We are going to play so dark parts here with our brown color. And as I said before, from K2 slight this and this, the other one should be done just in the same way. You see. First just doing that the signings, the shapes, getting them correctly and completely make this part read. And also here, this petal is kind of folded backwards. And I will add to darkness here to show that it's a bit folded, bent it. And of course cover this part and do darkening here as well. Now these shadings are that what gives a volume to our work. And taking it when they hire new order of anything being realistic, being looking beautiful, and some Ultron. Go with my red. Although rates and all over these dark parts I've made here. Now, this should look better. Of course. Here we are. It's almost done. 45. Coloring and construction of sepals: You want to work on this part of the flower and I'm using the color 306 66. Just do a background color for it. At first of course. Light parts over here. I'm going to create them. But my eraser here, another one here. I'll just easily turn on my eraser and go over these parts here and here until am using my green color. In all of these parts that I've just created. Okay. With the color 359, which is actually a darker green. I'm going to do the shading zone that see there are some year to darkening says our existence on this part of the flower. We're just going to create them with this color. Easily. Apply some of the dark parts with our brand color 376. Don't put too much of that. You see lights Li Li and just wanted to be more dark. And we don't want it to be brown. So I'm going to use a color 370 after sharpening. Get to use this all over these parts here. See, it just gives it that green color. They normally see in a flower. And again, with some brown colors for the dark parts. In some parts, which actually is the part that the green connects to the red. Because we don't want any line, specific line in our work set. Now here we can use to love black color for these parts which are darker. Green part I can use a little of black. Let's start at the bottom of the flower. As you can see, these parts should be colored so the way to black, because I want these lines to show darker. That's basically what I do. I use my black over them a little bit. And here of course. And then we will fade it with our brush. Now we go to this one over here. The second one, which is up to here. We will call our, our second sepal. First, we applied the color 366. And I'm just doing this line over here and a little bit of shading. And now I'm going to use color 357, which is darker actually. And also my brown color for the bottom of my staple. Again for this part. So we kinda do all of the sea Pauls the same way. Colors are the same. The procedure is same. I'm just going to show you how to do it. This one here is folded, as you can see, k. And for each one of them, we should completely look at Mondo. I'm going to work it on this. First, the color 366 as the background color. And then I apply the color 359 and my brown color for the dark parts. Just like this. As I told you, the procedure, colors are pretty much the same. And I applied a color 370 on here because it's a bit lighter. I'm just going to use it over them. And my brown color which should be placed in the center of it. Ellie, Toby's of color 357 is going to be used on here. And I'd last for this part, you see I am drying, which has a very dark color. I'm using black for this part. As you can see, filling all these parts with my black. Okay. And a little on this one here. Cool. This part is also dark. It's a here. So I'm just going to color inside of this part as well. Some done with dark parts, almost. Right. And now being used the color 370, which is a green for this part over here. P1 to k. This is our stem. We use a little of color 359 for this part over here. And a little bit of black colors should be applied here. As that little line has shadow and trace of it on our work. Because we want to show a kind of dark green. This part is actually lighter. That I'll use my eraser on it, not turned on. It should be turned off because I just wanted that little bit of more light here. And I will use my brush here. Blending these cards together and go to color green for making this part look more cohesive and stuff. So I've used it for here. K. This part also is a bit darker that I'll use my black color tone it because this part, this dark color, this black ones to show This part is actually more prominent than the other parts. You see that looks prominence. Now, we are going to use this color. Again. We use the color green background, and I use this color, which is actually 300, the seven for creating some shapes, as you can see. And again, we 359, I told you colors are the same. It's just the order of them and where to use them, that you should really do that by paying attention to your model. And of course, I'm going to use a little of black color for just darkening, get more. Some parts have dose, some dots in spots. Now I'm using the color 370 for making it more cohesively. I'll just go all over it with this color completely. Now I've used color 370. This rose is almost completed. As you can see, just some need, some details and editing, but generally it's kinda over. Alright. Now we go to the other parts. 46. Drawing the third flower: Okay, I did this other rows that because it was exactly as same as the first one we did. So I've done it for you. And I applied some dark parts. I mean, the places that were dark. I did them and I will just show the rest out work to piano and the others. Okay. So after supplied some dark parts to call it three hundred and twenty-five, twenty one. As we did for here. I'm going to color it with color 392. And this part which is darker, I applied black first, is the first I've applied black, then 392, then black again because it's so dark. Parts that are so dark, we just color over them with our plaque. Sharpen it because we don't want any thick lines. Thick lines. Sorry. All right. Let's see. What can we do about that? I place the tissue under my hand so I can get these parts without touching. The other colors beneath my hand. Apply and a black color. It's will create darkness we desire, we want. Then we use our red color again over it. So it will be completely dark, but also it's will be read as well. Just follow the instructions and it will be alright. I'm sure you will get it. So good parts, I think I believe is easier than the light parts. Okay. Now, we use the collar 320 one, which is actually a sharp red on here so we can give it that reddish color. It should be read. So rows. So I'm just going to color all over it. As you can see. All over my rows. And toured upside of the flower. We color in this direction toward up. I'm just going to color all the flour, all my rows that this color over here, this panel k. And after I finished this pedal over here, to move on to the next one. Now with the color 392, we will apply the parts which are even more darker, but do not too dark. So I won't use my black. But I'm using this dark red because they're not, as I said, too dark. So I'm just using my dark red for creating these shadings over here and the shapes of them. If they're too dark, you can use the blank, but if they're not, the brown or the dark red is enough, which is a dark red for here. So you should pay attention to the stage of your darkness. Comedians it too strong or is it light? And as I said, some prayers that you feel are darker, have a strong darkness. You'll use black color on them. To student work. Here we go. Now. Going to use, just going to use my 321 for the next petal over here. Again, all completely, completely. See. Very easy. So make sure to cover all the parts and leave a white spot or lightest spot behind. Clearly just be sure of that. Now, in my color 392. And work on the parts which are even darker. And I will apply my black color. Inside of just dragging these lines over here. Shows the volume of it. My red again. You don't want to leave anything in just one color. 47. Completing the flowers: There's a pedal in this corner as well, and we apply darkness, weighed 392, and again with our lighter red color, we go all over it and that might be a little use of dark with black. It has a bit of it here. So as you can see, I'm just doing this with the same colors for creating this beautiful, beautiful flower here. Okay? And again with 392, we create the darkness here to dark parts. Up to here. 48. Drawing the leafs: Okay, We use 370 green for this part over here. And we go with our darker green here. Go back to this color again. Just as you can see, we're constantly switching these two greens. Okay? Now we use green a little bit over here. For this part. I'm going to use a very light gray. For example. We will use white color this time, this part. So when we go over it with our green, it's whole game with us. A very, very light screen. First we color the background with white. Then we will use our 370 greens over this part here you see, it's giving me a very, very light green, as I told you. My other green. So lightly I will just drag it on these parts here. So, so, so lightly. I'm using 359 for dark parts, too dark, so this will work. And then use the brown color 380 as well on these parts to make them darker. Because we applied white for the background first. So all day well get too dark. So I'll just use a bit of it. This bottom part, because actually it's connected, the bottom of the pedal is connected to the top of the leaf. So it's so darker. Can I move that? We apply a little black on it to show that. Then see Paul is above this leaf over here. So we use color to show that It's beneath the sea. Pull the bottom of leaf connects with the bottom of the sea poll. We should work on this leaf here, which we use the green column 370 for it as well, is under the other leaf. Just going to work on it than 359. Along these lines and edges over here. Placing the dark earnings. So you see these parts are going to be darker a little to show it's on there. The other one. I'm going to use this flat color to show that these leaves go on top of each other. This one is beneath the other one. Okay. And add a little bit of color to the whole leaf. It would make our work more cohesive. Then it takes the extra darkness. Then I use 359 color. Over here. And in this corner, we should use blank again here. Okay, good. This part is completely dark. The edges of this li, I like this similar tone. And I'm using brown sharp parts. I use the brand for these parts as well. You see just some lines that are existing in our model. See if you look at a real rose, you can see all these lines and all these sharp parts around the leaf and in it. So we just want to make our work more realistic. For this leaf. We will use color number 359, just here. Okay, we sharpen our pencil and we use it for here. We'll just bring our hands off from the outside toward the inside. Say just dragging them in. Working on these edges. As you can see, try to keep the direction correctly. Was a bit darker. Now, the edges of these part as well, they're the same. The direction is different, as you can see, I'm going from inside to the outside. Okay, for the first one. And again, here you see each line I'm doing. I'm also fading it with these extra coloring around it because we don't want any specific lines. And the separate lines. Now, this middle parts should be colored so, so lightly as you can see right here. I'm just going over them, so almost no hand pressure. All right. I use the color 363 for these parts. And I will color over these bars again and adding these shadings and adding these dark parts over here. Or just highlighting these shading and blending this color into the other parts. Again, the use of colored 359, which is a bit darker. Just to emphasize on these parts over here. He began, and it will look perfect, I promise you. I'm sure you can pull it off. And a little around these edges. Of course. C should not forget about the edges. But it should be a little dark in it too much. The color 306, the sig, the color it. So for this leaf over here, again, we apply the white color at first for the background of it. Then we use 359. So, so lightly on this part, just like this. So this part should be dark and a bit more. As you can see, I'm doing it. Again. I insist. Each line that to create the shoe faded as well. The coloring around it. And that there is L on this corner here, but it's really dark. So I'm using this dark green and then I'm going to use my black on it. And then my light green on the overall of it. Get down to business. And we should also do all the leaves over here. Say the process is just the same. Okay? This leaf has a little bit of red color and very, very light. Again, we use the car 370 and for this part, which has a lighter for this part. And then we use the color 329, adding the dark parts of a mushroom around the edges and soever. Okay, We're almost done here. This center part and a little bit lighter. After we did darkening. The leaves are just as the same as the one we've done. 49. Coloring the piano dark chassis: Okay, I've colored leaves, and now I'm going to the pianos, keyboards. So I've done some parts of it as well, but I'm going to teach you the other parts. It's so simple. First, I'm using my black color over here on this key. The point that is so important is that because there are straight lines here, you should pay attention that you do not fall out from the lines and you should be very, very careful about the area you are coloring. So we should pay attention here. Okay, here we go. With your paper tissue or your brush. You should fate all these parts. Just like this, as you can see, I'm doing it. Sorry. Flipped Anna my hand. After you did that, fading. He use the black color left on the brush for this top part. Okay. Just clean the extra parts. It's gonna be amazing. This part should be done as well. Just the same way. We're going to work on this part two. If there are extra lines, you can just erase them with your eraser. Just like I did go into coloring here. And there's a little, little part over here to color. Okay? Now I go to my brush for fading this part and color here with the black color left on my brush. Right here. Now at my eraser, I took the extra part. So a it needs a line here. Okay? Okay, This part is finished and now we want to work on this part and we want to color it completely black. Disbarred has less black color. It has kind of a gray color, of course. So. We can first use a little of our gray color and then use our black. First. I will apply the black color for this part for you to see how it's going to be. Okay, see, I've done this part, black. Now, I'm going to use the gray color for this upper part here. Says you can see all the way down to the end of it. Okay. Now, we use a little, little, little of the color, brown number, 380. Just the slide you see. So, so lightly I'm just going over it. Stein just wanted as a trace. Now, with my black color. Go over this part, all over it, but still lightly, not too much pressure on it. So in these colors blend all together to give me the color I want. And then I fade it with my finger. And after that, I will use my gray color again all over it. And it will just give it a nice touch. For this upper part, Of course, we use our brown color first. Here you see I'm using it's so lightly, no hand pressures. Then push it too much. Because this part is not just brown, is just the basic background colors. So we can get the color we want. Actually. Then I'll go over it with my gray color. Here we go. Okay. Now, I'm going to use my black first line here. Around the edge of this line. Fainting, get my finger now and use the same gray color. Also thought this part here. But he shall use it very, very lightly. Now Han pressure, no pressure on your pencil. And also so little of our brown color should be applied here. And gray again. Let me just sharpen my pencil. Okay. He should sharpen his anger over it all again. Just like this. Now, with our brand color, we will work on these line here and this edge. And we will work on it up to here. Try not to lose a straight line. And let's go here. And also on these lines over here, I'll go over them too. And I fade it with my finger. But enough are getting a better fading. I'm going to use my paper tissue folded in a sharp angle and I will rub it all over my work once more to get the colors and blending way much better. Okay, In this part of piano, we are going to use a so little and so light of color 352 on it just as a trace of color because it's white. But we need some, some of this color and so lightly off this color to be applied here. Anything is not completely white. See, I need a little black color over here. So, so little that the shading, it's actually kinda the shadow of the flowers on here, which I'm going to fade with my brush. So it's giving me a great look of that shadow. So this part over here, should the end, that's all dark and actually has darkness up to these parts. Okay. Keep going and I think it's looking good. I see as I'm coming down, I'm listening my hand pressure. Now with direct color, 318. I'll go over these darkening swans more over these dark parts. Okay. So it will show the shadow of the flower on our piano. And I'll use a little bit of my gray color for hair for making it more cohesively. Know what I mean? It looks like it's same color. And Lazada up here. Here we go. This part has a line. So I'm just creating it, but my black color. And then I will use this to complete the line. We actually applied the lines between the keys with our color 350 to set the lines between the keys should be applied and create, created with this color. One more here. We don't emphasize on it so much reuse it lightly. 50. Drawing the note notebook: Okay. And now we are going to the rest of the piano. I wanted to bark on them. We'll use the color 350 to so, so little on this part of the piano. Just as a trace, just as the very, very light shading. And this beginning of our work. Say I don't go too much forward. Just this part here. And so lightly of it. And then I go over it with my finger and rabbit. Well, for using these lines, for creating these lines 4 and getting them more straight and recognizable. You can use a ruler here. You can use it for here. And also an edit. Me. Just trying to figure out these lines. And for this part you should pay really extra attention to your model for not misplacing the lines are not drawing them lower or higher. If you draw. So, so thin lines, it should be really, really thin and narrow. Make sure you adjust your ruler well before you continue the lines and before you add more to them. Okay. After you drew these lines for making the beginnings and the ends of them, a straight. You place a ruler like this. And then we near death eraser, you will erase the extra lines. So it will have, they will have cohesive and one beginning again with our color 350 to go over these parts. And we also go over these lines to lead to just like this. And we will fade them. Now for this part over here, I'm just going to draw a line. I can make sure that your ruler is safe and it doesn't move, it's still. So I'll use it to create a color here, to create a line here, sorry, that this color and eye color to show that there are more pages. So this c, I'm just drawing these lines as well. Now, this is how we show. There are more pages. Now with my gray color. I will color the center of my notebook for showing that it's the center of it. Just like this, we determined that and we also faded to this direction to write to actually. Now we use are at it again because it's a, it has a very, very thin tip. We actually want to draw the notes, the musical notes here. I just want to draw the shapes of them. Creating these details will help your work to look better and greater. 51. Adding the notes and also completing the works: Okay, still just making these shapes over here because N, As you can see in your model, some of them are clear, but most of them are not even that much clear. So just in you just need the general shape. I'm doing my best over here to get them correctly. Then lose attention from your model, from your picture. And keep going like this. And then you will fade them. You should do this lightly, as I said with that. And so like this which has very, very thin tip. Okay. Keep going on. I make all of them. Okay. Just adding these details will make your outcome or similar to picture. This bar t should go even lighter than the other part because it's kinda further. And also fader set. You might just want to lightly trace is enough. Even hear some dots is enough to last parts, as I said, just dots are enough that are too faded to see. Okay. So it's all done here and we're finished. My friends, I hope you've enjoyed it and use it so much. And thank you for giving us your time. 52. Start coloring the car body: Hello to my dear friends. Here we want to teach you this sketch, which is an car, which is an automobile. First starting. My goal is to, I'm color the body of the car, and I'm using color 110 for giving it a background color for coloring this because I want to do background. As always. I will take the pencil in my hand, notes even in the middle and near to the end of it, as you take it, near to the end, you will have a lighter texture and layer. And this is our goal because we want to add and darken these parts layer by layer. Now we're going to start see the tip of my pencil is toward the inside of the car. I don't take it from this direction because the rest of the tape will have a shading outside of the car. But if the tip is inside, the shading will be on the actually inside of this sketch of the body. So it will be easier even just like this. Pay attention that a part in this area should be very light and say I'm just doing it lightly. I don't put pressure. And very varied needs to be darker or more emphasized. I will add to my layers of the color. Just like this. I zoom in a little so you can see it better. In colored pencils, especially in advance form. You should be really careful in your work so you can get a very good outcome with a high-quality. Be careful that I don't color all of the body in one. I will do it part by part so I can get the curved parts, the prominent parts, and the different parts of the body of the car. Just like this. See here I'm getting into a part that is light. So I, I had lowered my hand pressure slowly. I will lower my hand pressure so there will be no border between my dark parts and light parts. And also as you pay attention, you, you see a border here. But it's a very, very faded, bored, not too sharp one. So I will lighten. I will actually decrease my hand pressure so I will not create that border. Justice. You see, I'm just adding it with the pencil. So the border will be faded. You see also this bar. Again, I'm coloring toward the inside of my sketch. To thank this. Further works which are actually needs to be done with more details. I'll take the pencil near to the tip because this way I have more control on my pencil. But if you don't have to put any details like coloring these parts, you can take the pencil from the end of it, but here because it's a small part and it has some details. And you should determine the outer lines. So carefully. I'll take the pencil near to the tip. Just because having more control. To cite this, there is a triangle here which has faded edges and this centerpiece of it is our darker. I shouldn't leave that part lightly. K these lower parts. This is sketch has so much details. So it's better that before you start to coloring, you sharpen the tip of your pencil. To snake this. Some parts should be done with a darker blue that I will show you. Two are an upside I'm just coloring because the upper part is lighter and the lower part is darker. And just throw my hand like this to the upside. So this way the surface will be more smooth and controlling of the color will be better. Pay attention that when I throw my hand in the upper part, you see I take off my hand from the cardboard. And this makes these parts look lighter. So you shouldn't put your hand completely on the paper or cardboard. For the background. I think it's enough from this color. I'm using the color 141. It's a little purple, needs a little purple. And before that I've used a little of color 150, one on this background and may made it a bit darker. See this outer edge is darker from here up to here, and K, lighter from the other parts. Now, for this part, I'm going to use black color so lightly because you can always sense it's a bit of the base of this color is warm and the base color of that is cold. So if you just combine these, it might ruin your work, but you should use this very lightly on it so you won't take off that purple and blue color off your work. If you use it so little and so lightly, it will come out very well. If you use it tomorrow to just run your work. Just like this. Work on the lights after we've completed the body. Okay. That the black part, I'm going over it with the purple again. You see a gap shaded. It also has some shading server here, which I'm applying. Try to recognize the colors very well as you do a color pencil or any other methods. Because it's very important. The difference between the colors you see I'm using, it's so lightly over here. I just want to feel the empty spaces. Just like that. As this, I will color all of them by the car, body of the car. We'd all these three or four colors. So I will do it and it'll come back. 53. Adding darker blue colors to the car body: Okay. So I've colored the body of the car from the colors 110, 150, one, 141, and the blue sky from the classic series. I left this part so I can explain the shadings to you. Okay. I used the background with I use a color 110 because it's kind of a sky blue, but it's darker. So I've used it for the background color. And the color of the body of the car is a combined of Blues, sky, blue, or purple. Because when you use a purple, it has a kind of a pink base. But Lenny combined blue and purple. It will give very good blue base for you. But they're not just to showing too obvious. You see I've used so lightly of color 110 just to fill the background texture. For getting the main color, use the blue 150 one. Now you can use it on these parts that have dark colors, but don't get in the parts that have light colors like that part which is white. So use this color for getting the darker background color. You see, I'm using it. I'm taking this color in my hand from the tip from the end of it, sorry. So I've used a sky blue in this work because I need a collar and to combine the other colors together. Can also be the combiner of these colors, but it gets the shine from your work. But the blue sky will combine your colors. And it will also give it a lie. Like color. See in some parts like this that needs to be darker. I don't started from here. First, I'm just putting this background, dark background colors to send these parts. And then after that from the, read the purple and with this color and also so little of black for some very dark parts like these parts. And you can use back butt. Generally, I will use the purple and my blue again for that. This thing's first three use the color 110, then I use the color 150 one. Then so lightly with our purple color, the very, very dark shadings. You see, this part is so dark. So I will use this color, this blue color for the background of it. Just like this. Here I have some dark shadings, dark shades. And I color this part as much as it gets to this background color. And let's a bit lighter now. With this purple color and the same blue color, I will start to create these darker shadings like this. When I come to this part, I will lower my hand pressure or little because usually I'm just against very sharp lines. All the lines, even the ones that are so sharp has some shadings next to them. So I will never end my worry. Create sharp lines that have no border. Just like this. Okay? I want to do the shading. I will take the pencil from the side of it for this part you see because they are so faded. I take it, try to use the tip of it because the sketch is small and you don't have too much place, uh, but the pressure that you put on it should be very, very light and you should lower your hand pressure so much because you don't want any extra color on it. I will draw some very, very small circles without putting any pressure on the paper. See, just thank this. See, I'm using the side of my pencil so I can create this sustain here and see these parts here is the spots on to create them. See, adding these shapes with the side of my pencil and I create that little circles next to each other. You should always do the shading like this. It's like a stain which is also faded. So you should always draw a circle. You should never. Colors. In literary movement. 54. Adding the third colored layer of the car body: Now I want to work on these parts over here and I have to use at the tip of them. I mean the tip of my pencil because there are no places for using the side of my pencil. But as you can see, I'm still creating my small circles. Near to very light spots. It we should always, you should definitely use dark colors. So it will create some borders and it will actually look more prominence. See now I'm using the tip of my pencil because these parts are very small. Just like this. After you've finished. Dense, I'm comfortable with a color, these parts. I can use my cutter and take some of the color and add some white lines that are needed. You see I've changed the direction of my movement and change the direction of my hand. And I should color from this direction because I don't want any extra shading on my work. I explained before. Pay attention that the beginning is darker, but as it gets to the up, it will get lighter. So I control my hand pressure. So it will it will all of this little canal in one color. Just like this. Be careful about this bottom part. I will get my pencil from the side because it's kinda looks like a mirror and flexion of the ground is on it. And it has some things which I'm adding like this. I'm doing it part by part, and I'm using all of the side of the pencil completely saying I will create a texture like this. You see, can see how thin and fragile this m, this bottom part, you should have a texture like this. All right. Line here. And this line because it's actually a prominent part on our car. So I will so lightly shade beneath it with my black color. Man, because I need to lower my hand pressure. And I give that prominent look to this line over here. So I'm shading beneath it. This like this. And after you did this shading, we can use this same color and create a very, very thin line beneath it. So it will make it more prominent. But before that, you should definitely do these shadings and you don't need to drag it too much to add to the bottom. Just as much as when you look at it. You see that it's prominent. After you did some parts, you can take a picture from your work and you can see the problems of your work comparing to the model picture. We'll use a little of my black all over these parts. So, so little of it just to make it a little more darker. So if you want to see your errors theorems, thanks to count, always. Take a picture of your work after you did some parts. This will always help. Next, it should be shaded as well. Now. I'm going to draw that very thin line that I've told you. But it's better that a huge shape, the tip of your pencils. So much. So I'm using my cutter to sharpen it. So it will be very, very thin line. You should not forget it as well. You see I'm just rolling depends cell in my hand. Because when you want to do vary, you know, thin lines. You should do this because when you back after a few seconds that you drag your pencil in a place, that part of the tip of your pencil will get Tina like a circle. It would then be that sharp. So I will roll it in my hand so I can get the sharp parts for creating the lines. Here is the same. First I do the shadings, then I draw the line. Here, it has a little bit of blue. I'm using the blue 150 one, which is darker because it's not too obvious and it doesn't have a very light color. I will use other colors in it. Now, you should use your cutter or cutter and make some white spots on this bottom part of your buddy. As I did these textures, you see the this and the distances and the shapes. You should just do the same and you should not put any pressure on it. Just touch your cardboard. Create the same texture. Kind of saying, you don't need to do it exactly like that. I mean, it's just should be similar to it. Saying look at the movement of my hand. Just like this. Okay. Now use the blue 151 and use it in here. Because I think it's more purple then blue. It's too purple. So I'm using blue on it again. Just like this. Also on these parts because they are too white. So I'm using a little bit of blue on it. The tip of my pencil is sharp. And I'm going to use it on these parts. That needs to be no more black. And also here we should use our cutter. Seeing. Just think this. We can use a very, very thin white line next to this. Okay? Also the same for this. You can see I'm using the tip of my Cutter, but not too much of it. And also some white sustains should be implied here. You can always show these spots with your eraser later. Just like this as I did here. We will do for this part as well. So we do the shadings with purple. I will apply some of it for you to see. With purple eyes start to create very small circles next to each other. And I tried to get the shape and attack can see, See I don't draw any borders and then I will color them. Now, I will create the shape that I want to color. It might be a little bit hard for you for the first time, but you can practice it on another cardboard or another paper that we doubt even sketching a shape. First, you can create the shape itself with coloring, not with lines. And I mean, say there is some here. See these parts here which are white. I will use my jelly pen for them so you can color the background and you can see feel it and not leaving it white. Just like this. Don't worry about it. And jelly pen, which cover all of that. Here we have of pink and actually it's pinkish. Can use a pink color or you can use purple, pink, which also classic series habit. So you can use purple, pink. But be careful that remember that before you use pink on this part. First, you should lighten your background with your eraser. Because this blue background will affect that pink. Just like days, slowly you'll add the colors and these parts will get darker. I will do it and come back. 55. Start coloring the car lights: See, the body of car is almost done for the lights. I'm going to use this color, the gray 272. Or you can also use a light gray of classic series. My goal is to create this slide over here. I've applied background with very light gray. Just like this. You see some parts are a little blue, so you can use a very light blue dye used on the body of the car. So lightly say, I'm taking this pencil from the end of it and I put no pressure because I just want a trace of blue color on it. To say this. Now you should use the brown color 172. And here I also have a little yellow base and it as well should darker these parts more. And you see the tip of my pencil is a little bit circled because you don't want to get lines over here. But yet it should be sharp. You can use ascending for getting this shape of the pencil. But I'm using it lightly. You see this part is a darker. I don't increase my hand pressure, I just put more layers. Also in this part here. In addition to these, I will use the color 263 because we needed for these lower parts to it. You can use it for here too, because these parts need to be darker. And you will darken it like this. I'm using It's very lightly damped. Forget that. Okay. Now, use the blue color. You've, that you've used for the body. 151. If you add this test to that gray color, it will give you a darker theme. C, just like this. It looks like that you have used a dark brown. I use the same color and work it on this part that I've used blue on it before because it needs to get darker. Again with that brown. I will darken these parts to SEC. This is the US colors lightly because I want to use a pastel pencil on it. So the colors should be very light because we don't want too much layers of color in here. It's a very useful pencil. You see how great a blend these colors together. And it gives that faded look to our work, which actually makes it more beautiful. So makes your work and see don't smooth. That's when you want. Even add more color on the part that you've used past. So you should very, very, very decrease your hand pressure. And it should be very little hand pressure. Not until. Okay. Now you can use the first gray color that you've used. For making some parts more smith. Some parts need to be lightened, which you should use an eraser for it. I've sharpened the tip of my eraser with color before. Just creating some parts here. I don't drag my hand on my work. I will just blow the things off of my work. If I use my hand, I may get it dirty. Now you can use your black color for coloring. Inside of this part here, you see I am applying these black color and with again a small circles. Give it a volume. Actually. Add this inside part machine. Use a little, love this color because the reflection of this color is here. And the gray again. So we'll take the yellow base of my brown and the edges should be done. We black. You see these parts? Let me zoom in. These bars are on the edge, but I'm not drawing a line here. You can see I am again creating small circles. We don't want a separate line, specific line. We should always shaped them. Just like this. The lower parts directing inside. You see I am using it so lightly just to determine the area. Now, I'm using this color for the outer part is the plural of the wall have actually an effect. And the body of our car. I'm using the color 189 for this outer part to create those reflections. Again so lightly and lead the love it is here. Before I apply the blue. First, I will use my blank on these lines here. Because I've applied the blue before. We then need to shade this black because it has a shading already. Okay. Now we use the color 150 one, It's a darker blue. And I will start to create these small circles again. The shades of this specific part. As I get up, get slider. Now, from that lighter blue that we used for the body, we're just going to use it over here a little bit, just like this. And these are just extra details. Depending on your level. You can decide that you can add these details are not as more advanced your, you can add more details. This part that I've shaded with, 189, I will use 263 for emphasizing these lines a bit more. Why? Because you see this color 189 has very little pink color. It will get dark and of RID. And it won't go to the direction of purple or blue, it goes to the direction of red or brown. So I use that color over that. Now I am allowed to use black so it can show the depth of the color. I won't go over that, just some part. And again here. Don't be afraid. When you do it. Once, you will enjoy it yourself and you will learn. So don't be afraid. Just think about that at the end. How much your sketch looks like the original photo or model. Okay, these parts like this. Should be colored. Okay. Now again, I use this light blue over here. I have taken it in my hand from the end because needs to be very light. Now again, you can use the past. So pencil you can sharpen it and fade all of these parts here. You see it will give a very great combination for you. And here should be more blue shirt or obtained my work. So I can get a good angle with the color 263. Right? Just think this. And it is shading to ordain side. And again, I use this pencil for these parts. C, without and drawing a line, I have a border. Again with my gray. I will go over these parts again. You see how it looks. There is also a dark spot here. You should take the pencil in your hand from the side of it and work very small. And this part eight. I now, it seems like the first time you cannot do it. But believe me with doing it once, only once you get the you will get it. I use a little black here. And we should just dark and the browns of a here is the tip of your pencil. Now, we will go to our eraser with a sharp tip. Can create some white lines here. Just like this. You can do this process for this, for all of these lights here. I will use the same range of colors and the same procedure. 56. Start coloring the subcutaneous of upper part of the shield: All right. As you can see the lights on it, now I want to color these steel parts here. See all these parts, they are still and they colored just the same way. They don't have any special point. You just have to get the correct shapes and get the correct colors for them. For example, eye color this part. As a sample for you. For this first, I'm going to use color 189 that I've used also for the steel parts of the light. I'm going to use it over here as well. Again, like the last time. You said these parts that are so white, like these, I will apply them with my jelly pan. Meaning that if you call our under them, well, because you want to use a jelly pen, It's okay. You can color the whole part and then use your jelly pen for it. For example, we have a stain here. So I'm just going to color under it as well. Until the end of my work then I will use my jelly pen. Just like this. Also I will apply to these parts and let's fill more. I see L is of this color over here as well. Now, with my blue 150 one, use the side of your pencil. Pay attention. Pay attention that there is a metal here with this curve. So I'm taking my pencil from its side. And when I'm coloring, I will definitely do it in the direction of the curve. From here, I just throw my hand off to cardboard as the same time as I'm holding my pencil like this. But here because it's the center of my work, I will use my small circles just like I'm doing right now. It's pretty well. Then I can use the color 263 over here as well. For making these parts more brown. A little of blue 110 I needed for this part a little. Because the actually the reflection of the car's body is on here. Again, I will darken it a little bit more. And I will use my black for it, am just going to shape behind it. I mean, these parts. So I will shade behind it. So this slider parts, they just show off themselves. Just like this as you can see. Alright. Again, I come back to the color 189. I'll use it just like going coming back. Just continue color with this. 57. Adding colors to the front of car : I'm going to use a little bit of my purple color, number 141. I'm just going to use it a little over these parts here. Just like this. We don't need too much pressure as you know before. Now, I'm going to use my black. I take it from the side. And I'm just going to drag it over here. Just like this. Take your pencil from this side of it. Don't forget that. You don't want any sharp lines here. Also, this part should be dark and more. Sam just shading behind it because it needs to be darker. And as I come out, I will just lower my hand pressure. But it's very easy. It's actually because we want to make good volume for our steel parts. Just like this huge escape color here. And as faded as you come down. So you won't be just abrupt. It suddenly say, my hand pressure is very, very low over here. Just like this. I will go to my purple again, take it from this side of it. This part, which has a very lighter shading just on this part till the end of it. Say just create some purple shapes. Okay? From now on, you will go with the blue 150 one with the same process. Same way, which is taking the pencil from the side of it and just go over these parts. This part that is a bit darker. Again, I'm going to use black for make it darker. This is easy. I will add these details. Read the side of my pencil most of the times you see, right? Now don't use of color 200 C3. You see days parse, just needed trace of these color because of the color of the wall next car. Because there's parts are is still so day will have reflections on them. Again, we had 189. I'm just coloring the background. Going back to Brown. Say I'm just switching the colors because these posts have many colors, but they're not hard and they're all done the same way. Right? Because the layers, we're not too much for several. We can use these pests so so we can land and fade the colors of these area. Kind of spend some very good together. I will use the tip of this color coming from inside to the out. Don't forget that in the same way I told you first issue. Shade these parts and then you use the tip to emphasize the color. Now it might cutter. I'll just erase some parts like this. Just like this. Doing good. Now, use dark brown color 280. You can also use the color, I think 380 of the classic series as well. I'm just using this one now for darkening. Of course. If you didn't have these colors available, you can use black as well, but you should use it very lightly. It's better to use these colors. Now for making a grade our outcome. Again, a little love purple ship be used here. Right up here. We see the details. I will add them slowly one by one. And y at a time. You can just add them all at once. It will ruin your work. These lower parts should be darker. Say the upper part is light and the bottom part is darker. But this side, no, it's all dark here. 58. Lighting the front part of the car : All right. You should do this still like this. Until the end of your work. Wherever it needed to be lighter, you should use a our eraser and wherever you need to be, you need to darken a use your dark colors. And you should look on your work from far away so you will find errors and mistakes. I will do all the buddy of color, which is like this. 59. Additional description of painting the middle part of the bumper and lighting the front part of the : Okay, let's get back to work. Some parts that were the same as this upper part, I've colored them, and some parts that are a little harder and more complex. I left them to explain them to you. Now my goal is to color this part. If you look at the picture, you see this part has so many details on it. It means that you should be very careful that where where does have what color or how it's colored. And if you do them, if you know how to do them, the outcome will be great. I start from one side. I don't start from the middle or the center. Part by part. I start from here. See there's a background here. I use this color 189 for the background and the base. This might be hard for you, coloring things like this. But before coloring it, you can just separate the big spots of colors. You can just use this pencil for determining the lines a little so lightly. And then you start coloring. Let me zoom in so you can see better. Just like this. I will create various small circles next to each other. Alright. Tell you something right now, when I'm doing this, I don't do the darker shadings and near the lines. First, I will color all the background and then I will come back and do the details on them. Now, I'll get my light blue. It doesn't matter what blew this, it should be just light. I start coloring the background of here. So lightly. You say even this upper part should be with this blue color, but a little more dark. For that part, I use the middle of the pencil, but for this part I take the pencil near to the tip as the distance of your hand is less to the tip of your pencil. And the color will be more intense and more emphasized. But as you take it from the end of the pencil, the color will be lighter. Also cover this lower part here. And k. For the parts that are not completely obvious or you see these details are so much and we cannot completely gets all of them except the sketch would be much more larger. So I can draw a shape, a shape, these shadings over here, see I will just make some obscuring, faded shade because I can't get all of those details unless my work is bigger. Okay. Little orange in one part. You can use any orange. It doesn't matter what it is. Now I use the color 186 because they use of this color is not too much for me. I'm saying it doesn't matter which orange it is because I'm not going to use it so much anyway. So again, I'm saying just try to shake the shadings. But if we had to use it too much and it was one of the main colors, it was important that what color you use. Right? Now you can use a little bit of color 263 on it, so it will get a bit darker. Just like this. We're almost done them. Background color for all parts. I'm going to use a bit of color 179 and create the shadings over here. Just like this so lightly and she use it so lightly. Because in my model it slides. Okay. Now we go to the dark colors, now is the same color 263. First shading this part here that I've colored beard 189 before. Okay, and let's sell bit of black should be used here. Yes, thanks to these edges here. Say just as a small dots, I'm using them. As smaller as your sketch is. Well, he should work on it very elegantly. A third of time that you get a, that you become more advanced in this, we'll see the details much more better because your eye will get used to it. And don't worry if you don't see all the details right now. It needs practice, of course. Do not push yourself too hard and do not worry. You'll get it. Just needs time and patience and practice. I tried to apply everything. I see. It's a little bit of hard work does anyway. When I think about the outcome, the hard parts even get easy for me. To be like this. Try to think like this. Because that's the way how you become a caret painter. Great artists that are saying, I'm using the side of my pencil for some shadings over here. Alright. So again, as I say, when I think about the outcome will be piece of cake for me. As a say, No pain, no gain. All right. Here, this darker blue that we used on the body of our car. I'm just going to use it a little bit over here as well. See, because this has so much reflection, might be a little hard for you, but don't worry, I say again, you can pull this through. Shaw, believe in yourself, and don't ever give up so soon. Just through hardworking, you'll get better and better. I'll take my cutter and I use it on the parts that need to be lighter. You see? As always, I use this part of the cutter, knows only the tip of it from the spot that is in a wider. As you can take your coloring your hand from the end of it. You can easily, more easily use those parts of that. He began node if a call is here. Okay. You can use your jelly pan for the parts that needs to be white. Like this part over here. And this part over here. Just like this. Don't overuse it and then not use it at all. Try to keep it in moderation. All right. Now we can go to the size and needs to be dark. I am going to use black, of course, for these parts. Just like this so easily. Put any pressure on yourself. Sure. Pen the tip of my pencil a little bit more because it gets so, so little and small details that some of the lines should be really, really small. And you see these outer lines, they should be really thin and elegant. Just like this. Middle part should stay light. Then going the be careful about that. I think we're getting it. We're almost done here. Now you can see it from a zoom out better. Say details are like this. As you watch them from the far away, they look. They will be more recognizable embedder, I do the same for the other side. 60. Completing the dark part on the left side of the bumper: Okay, I've colored this second part as well. Now, I'm going to teach you these parts. All right, for these parts, I'm going to use color 263 for the background color because as I can see in the model, It's not a cohesive texture and it has some kind of lines in it. So I will take the pencil in my hand from this side so I can use these parts for coloring. See, the direction of coloring is this way. From upside to downside. With a curve. I will do the same when I'm going to color this. See I'm using the side of my pencil. Just like this. Just like this, keep continue like this. This line that should be dark and I'm just determining, determining get here. So it won't get faded during the coloring. Now, the lower part, use the side of your pencil. See the movement of my hand. It goes and comes back. Okay. If I take my hand like this, I will color that part too. So I will rotate my work. So that part won't get extra color. Same way from top to bottom. Okay. Now because there are some sharp lines and some clean spaces, with the tip of my pencil, I will edit some parts. Okay. Now with the color 200 AD, you should shade the Brown Band parts over here. If you have a classic series, you can use the brown 380. Just like this is saying, when I apply the brown, I will color it part by part. Not completely. Just like this. Because theme is yellow. Don't drag it on the parts that we've used 263 because that has a red base. And this color that we are holding now has some kind of base of yellow. So I don't want it to be and are in space. So I will use the purple again that I've already used on the body of the car. And I'll take depends from the shape of it near to the tip. So I can get a better control. And I'll take it to a cold base. So, so lightly. Same for this one. You should use the blue color 151 for coloring here. There's a little bit of dark blue over here. Is 179. And these parts also needed here. Again, I use the color 189 over here. It's better blended with these other three colors that we've applied here. This will give us a better color. Here. I had too much of college, so I'm going to erase some of it with my eraser, electronic eraser. And then I'm going to apply some of this color on that part. Okay? Just like this, we call our pie part by part, so it will get darker with the same colors that we've used. And also needs some of this gray color here. This part needs completely. Now. I will add the details on it. Just like this. Should be dark and a bit more. So again, I'm going to use black over a year. Before that, I'm going to use it here. And you should color the blue part. And with shading, you should get the line. Because even if you look at the sketch itself, it doesn't have a specific line. Now, use my black over it. It will get darker lines in the same direction that you've colored. It should apply the lines over here. Now with gray. You should refresh this part of the beds. Brown. You can also use a dark blue. When you use this will darken into very, very good. Hey, dark and this part here. So I'm going to use purple, black. You see the order of the things. All of these parts are going to be colored like this. Same procedure. See I drew the line, but these parts, I'm just gonna shaped just like this. Okay. Ld of blue and this brown. So, so lightly because I want to be so light. I don't want it to be I want I don't want my blue to be the main color. And you may say that how should I know as much as the color that you're creating doesn't get a blue base. It means you're good. If it gets a blue base. Now you've done too much. Working with colored pencil is like this. You cannot add details all at once. You should add them one by one, step-by-step. See, that's why I just do a part. Then I come back, add some details again and continue. So always like this. I think it's good. What do you think? Bed to think the same. We need some spots over here. Also this part. Now with cutter, he can't add some lines like this. We say this line over here. We'll see with cutter, I'm just doing next to it. I will erase a little bit of color next to it. So the shading, which is at the side of it, will get correctly. Just like this. The part that I use the cutter on, I'm going to use black on it. That has details. You should look at it from far. 61. Completing the bright part on the right side of the bumper: There's another light over here that I think it has some points that I should mention. But before that, I'm going to use that part. That little part is the same like the other steel parts that doesn't have any points, but this slide has a little point, so I'm going to explain it to you. Let's color it together. For starters, we're going to use the gray for the background. It has a curved part over here. The depth I actually, which looks like this. The risks facing out, degraded I've used up to here. I will apply this background. Then I'm going to use the brown color 179. Fussy. Here it has some kinda look at the background. It has a blue at the top. The middle is gray and the lower part is a brown, yellow. First, we apply the background in with darker colors. We use, we use it music for these dark parts and shadings. And at last we can use our cutter for making them lighter. This was just a general explanation of what can we do. Say first, I apply this brown current of the lower part. Then I'm going to use the blue 110. Blue on this side is darker. As I come up. I should learn my hand pressure so it will look lighter. Color for here is actually gray. With this brown, I will create a border here. Then you should use a bit of color 189 on it. Now, use the brown color 200 AD. Take the pencil from this side of it. And I will create some stains and spots towards the upside. Just like this. I'm right now on this brown that I've just apply to, you should use a blue 150 one. But I'm doing it so lightly as you can see, very, very, very lightly. Okay. Now I'll come back to purple again. And I will go over all parts with my purple all parts. It has dark spots over here that's I even apply that with my purple. And adding the details you see, we've just done the colors so easily deployed is that you should use dark brown and a dark blue for coloring these parts. We can use any dark blue or any dark brown. Meaning that you should apply exact same colors for creating the snot unnecessarily necessity. I use a bit of gray on it. Now let's go to our dark colors, which I'm using my black for it. And paying attention that the curves are in which direction. Because here it has some and you should definitely get them in the correct direction. Say you should shade this bottom part over here. Don't be afraid of the details of a painting. Don't forget that as much details as your work have, the outcome will be much more beautiful. Say I'm just drawing these lines so lightly. Because only some parts are dark and not all parts are, say this one here. This color is dark, like this. And k just like this. Dark and some parts so much now, after we've drawn these lines, some of them have a little bit of shading, so you will do them slowly inelegantly. These parts need to be dark and more. Okay. I will rotate. It. Should be good for my hand to color it correctly. Should do the same. Then forget it. Say I want to color these parts. I will use. And light-blue sounds spots of light blue next to some stains of this color 189. She was so easy. Now with the cutter, I'm going to apply some vertical and horizontal lines because it's satellite. Then just gonna do the same. And a little bit of days. Of course, CIA usually work them in the middle. I will draw the lines that are faded by the use of color. It was so easy. 62. Painting the headlights of the car hood: All right. So the parts now I'm going to explain this to you as well. I start with the light colors. Then I'm going to use color 189179. Because these parts are so small, the tip of your pencil should be very sharp. So don't forget that. Sam just supplying small circles. Wherever I see each color, I will apply it through recognizing of the colors in especially pencil colored is just m possible. You know, with practice, some might say that these colors that you see, we don't see them. Achievable with practice. Again, use any light blue that is near to this scholar. And you see how a small I'm applying these scientists. So on this upper part, I should just learn my hand pressure. These paths which are darker, you should use a darker blue. Because even how much I will go over these colors, it doesn't get that dark. So I'm going to use that color 150 one, which is a darker blue. To apply this actually. Ok. Now, for the brown parts that are darker, you should use the color 200 AD. Remember that whenever you are using a dark color, it should be so little. And so the light color will show itself. If I use too much of these brown color because I don't have too much space over here. So if I use it too much, it'll actually take away my light colors. So everything should be in moderation. Just like this. Try to use less colors as far as possible. In some parts, I just can't because it's going to affect the result of my work. Just like this. 179. So, so little of it. It's almost done. This part in the middle has a bit of gray color. So I'll apply lightly blend, and then I'm going to use blue. This part also has a bit of dark blue and the rest is like blue. I will cover the border with my darker blue. Now with my light blue, I will take the pencil from the end of it. And I color over this part again, I say because the space you have is so little b, so much careful in these areas. The details are almost done. Now we go to the tires and wheels. 63. Coloring the subcutaneous of windshield of the car: Okay, I've also these parts over here in the Windows. Now I want to work on the front window. As I can see in my photo, I'm using and a color 189 US did for shading next to that part in the corner of the class. Okay? If you look at your photo, the blue colors are part by part. So you should pay attention. You should actually extra attention to your model, so you will not misplace any shadings. Now, I will use my light blue over this part that I've used 189 on here already. So I'm going with my light blue on it. So lightly. F their dad, I use the color 179. See this part here. Seems like it's lighter in here. So I will apply a light color, a light background for that. Whoever looks at it says, Oh, it's dark but it has a base. It has a light base that has a trace of dark color on it. You see as some parts are light, some parts are dark. But when you see is some parts of the work is dark, it means that it has a light background. That's what I'm doing here. See, I'm just applying it back ground. So lightly. I'm doing here. This lower part here. You should use a darker color, 150 one. For example, you can combine the sky blue gray color with a warm base. You can combine them and make it look like literally no dirty. Now, when I want to use this blue color that I can make it a little bit more dirty, which is in the same base, is black color, meaning I'm applying this blue right now. And then after that, I'm going to use back over it. Say it's exactly where I tear. Since this bar looks a bit dirty and color is black, I'm taking the black from the end of it. I'm taking depends solely my hand from the end. It has a yellow base. Is seeing. Now I'm going to use a little bit of my light-blue on it. So in a color being dirty would be more obvious. Is it is brown that we've used here. I'm going to use this blue for making it look dirty. For next dark color. I'm going to use 280. It's a dark color for a here. These light blue lines here over here. You see the Qin not completely dark in the background and then apply these blue because it will make this color dirty and it won't be even showing. So before that, darkening the background, I will use my blue or you can darken the background and then you use your eraser on it, then they apply to blue so it won't get dirty. But my suggestion is that first you apply the blue. Because if you use your eraser, you dark in your bag and you use your eraser. I'll trace of that background color will get into the white parts. And again, you would look a bit dirty so we don't want that. So just go buy a suggestion. I think it's better for all of us. And the light blue first. Okay. Just like this. This blue. I will apply it. I just do it so lightly as you can see here. Ok. Now I switch back to my brown and I will darken the background again. Be careful. Go in these blue lines, just shade beneath them or move them but don't go. Pay attention. Especially for that. You should remember that sharpening the tip of your pencil. These are very narrow parts. This part's going to be dark. So I'm just gonna do sorry, everything would be fine. Just like this a slowly it will apply the colors and we will darken them. Say these parts like Slack, they have blue theme. So I will apply very light blue collar on these parts. Part by part. I mean, for not getting these colors blend together first, I will darken this part. For not getting blend with the background color. I will apply the light blue for the background and I will come back. 64. Additional descriptions of coloring glasses: I've used a little bit of light blue on these glasses over here. Windows. On these parts. I use a bit of gray. And on these parts I use darker blue or you can use a very, very light black. Now I will get back to the color 200 AD and I start darkening. But this time you should hold the pencil like this from the side and near to the tip. So you can get a good Control. C, I'm just creating texture over here. So easily. Read the US side of the pencil, years it and create these shapes. 65. Completion of painting and gender of car windshield: Just like this, should also shader lets a near this blue because you don't have so much space, so you can use the tip of your pencil. But I'm just using it so lightly. Here. It should be shaded a bit too. I try not to get too much of that color. Just like this. I will leave that creamy color over that. Now I'm going to dark in these parts with a light background. So I will take my pencil from the end of it and use the tip of it so lightly on the parts that should be darkened. Okay, now between these parts, between these lines, again, you should sharpen the topography or pencil and use it for these middle parts. Try not to leave any white lines between these dark parts or the blue bars. You see there is a wide place here. This is not a good thing for your work. So I'm just going to feel it. Don't worry if you got a little into the blue, but do not leave any white place as any white lines. Because it's not just not good. Just like this. And it needs some dark lines that I'm going to add them at the end of my work. Because if I would add them right now, and inner parts, I need a light color. It will just make these colors to get spattered and it will make our work look 30. That's why we add the dark colors at the end. I use the color 110. From the side of your pencil. You see how I'm using it? Just like this. Easily. He has 263. This bar has more red. Just like this. This part has very blue collar which are faded or just blended. Okay. You look at your picture. You see how these colors do not have any borders and they are so faded. Light sleigh of my colors because I want to create these traces with my pencil. Because it will say that there is no extra texture on it. Before I use it. We'll apply the colors that are needed. So when I'm using this color and I will show just like this, I think the blue of the spot shouldn't be more. Okay. Kids going to be used here. I'll give it a very, very light green theme. This below part needs to stay bit of blue again. Now I've sharpen my pencil, so it will be perfect for my texture. Complete this part first. You see these bars, I have so much layers of color. If I put it here, it will slip. So from this part that I have less color and I will move my hand forward. It won't slip on anymore because it has some kinda, you know, Chucky shape. And when you are using good you should feel it's crunching. So if you don't feel that it means something is wrong about your work and you're using its own add too many layers of color. So you should immediately corrected or else it will ruin your work and there's nothing you can do about it. Let's be careful when you're using this. Using this pastel pencil. Can use it on these parts. In this upper part should be blue, right? Be careful that I shouldn't use this brown color and blue. And just drag these colors into each other. Because I don't want them to get blended so much it for my work look dirty. Parse that should be dark and I will do them. Gray for its background color. Light blue. And a little bit 200 AT you see, I'm using it's solely to just to take the color blue as of it's very blue base. That will be enough. Because I've said before, color has yellow base and the blue we use. They would just actually neutralize each other basis. So I don't want too much of their time here. Just a little to get that shape that we want. Okay. You can use a color 157. And if you don't have it, you can use black for the spot. But for a better result, it's better to use this dark blue rather than, you know, black. Just like this. And continue adding the details with the colors that I've told you. Trace of the color style. Does he use that? Keep the pencil. The end of it. Okay. Now because we've used passed along this, it will get these colors blended together very well. So I'm using this E or cleaner. Am using a movement like I'm just holding a pencil. So I'm just going to fade it with this. And because again, I say because we use past, so it will make our work much more easier. They'll just blending in so good. Just like this. Now I'm using my black this time for darkening parts because I think there are just too dark for using any other color. Now. Just like this, the process of completing the glasses just like this. I slowly move forward and each color I see, I will add it. The order of the colors are just like this. And say this part has shadings but the rest now, so just like this so easily, no pressure. Because it's very easy. I'm not, you see, I'm not drawing a line. I'm creating circles. So first I create a skull circles and even if I wanted to add a line after that, I will use a line on the circles. So, and you'll have a shading. Okay? Now, this upper parts over here should be done. If we didn't use past lover here. So I'm just going to use it because it just gets the color blended so good. Now, okay, I guess we're almost done here and just drag over these blue parts. It will also feel the empty parts between blue color and brown color. You do this same process and the same colors for the other two windows you see. For these dark parts, you can use blue and brown together. And for the light parts for here, you use the 110 blue and the gray 270 to combine these colors. It's very easy, you'll get it and I will do them and come back. 66. Creating the rubber caps of car with pencil: Okay. All the places that were left on Don and I needed more details, I did them. And I'm going to explain the last tire and we'll for you how to color it. Here we have some light colors, near some very dark colors. We start from the light colors MV leave the dark ones for the next step. Start with the great color and color. These middle parts. Pay attention that some places need to be blue. And because this gray has warm base, we shouldn't just color all parts and then add blue over it because we don't want to blend them. The parts that should be blue. You should do it at the same time you're applying your gray mean, you're doing your gray. And whenever you encounter with a part that should be blue, take your blue and color it. In some places this gray is dark, in, the other ones is light. See from this part on it, it gets lighter. So I will take my pencil from the end of it and I'll try to color it lighter. This parse that need to be black. It's okay that you go over them with this lighter colors. Just pay attention that you don't color in the parts that are in other colors like blue. So the parts that are blue, you shouldn't go in there. You see how lightly I'm coloring this. All right. Now we use a bit of color 189 and have a kind of creamy color here. Then I change to the blue. I take the pencil from the end of it in my hand. I apply a very light layer of it. Two slides. A part of the circle, part of it is blue. So lightly. Because you're coloring it lightly. Some parts needs to be lighter that I will use my eraser for that later. Another 150 one, which is a darker blue and you should apply it here in this part. So I should just determine the parts so they won't get faded. Like this. Okay. This part is blue, this part is a darker blue. Let's light. So I'm just buy this other part that I said should be more lightened. You say, I'm using my eraser for it. Just to get the right color. With my gray. I will go over it. Just like this. All right. Almost applied the light colors. We go to the darker ones and adding details. This part there is lw line. You see how small and detail now I'm working. This way. Your work looks more beautiful. You can use two hundred, eighty and three hundred ATF classic series, of course. For making it darker on the gray parts that because they need to be darker. 151 again on it. And little. We just want to make it a bit darker. We don't want the blue to be the main color. We just wanted to be a darker brown. So use it lightly. And again, using the gray color to just, you know, phase out that dark border. Again, use my blue color. And these parts creating the parts that are darker. Use my brown to dark in here. See, because I'm working on a very thin place. I do not create circles. I'm working with lines because it's a very thin and small area. I don't have a place for that. Now. Black pencil, you work on the parts that need to be darker. So slowly. You don't need to put any pressure on your pencil. It has enough color of its own. Because if you put pressure on your pencil, you'll get thicker lines, of course. And that is exactly what we do not want. A one thin lines here and that it's a very light line. I drew this slide. I will just color beneath it because this line is a bit curved and it has depth. So I will shade around it. It will just show the prominent parts and parts. On this side. Shading toward inside. Coloring this in a special abilities. It needs and little purple over here. Just like this, I will color the center and I will apply the black around it and I will get the light parts with cutter. 67. Drawing the car tires and create tire ivory texture with eraser and cutter: So I've colored the tire almost completely. You see, darkness we want before using the eraser is enough. As this. Now, read my eraser, I can start marking the parts that are need to be now. Why to stains? You see, I do not press my eraser on the cardboard. We don't want it to be so light. But if you even did put pressure on it and it got to y, it's okay because you can always use your pencil again to go over it, but you know, why doing it again? When we can be careful and that, of course, this is how it's gonna go. Turning non my eraser and applying these parts to save this middle parts need to be erased. Some of it, because I want to use a blue color on it. Some other white lines over here that preferably we will use our cutoff for that. I should rotate it to get a good angle. And I will put my pencil in the correct direction on the cardboard. Now, this thing, the spots that you've created, I'm going to shade beneath them. You see, this is a tire. It has this curved direction, crescent direction. I will color in that direction. So this tire rule, you know, get some volume. So as you can see, I'm just shading beneath and a Y, two spots that I created. See it's a semicircle. Then I will just repeat it with going and coming back for this part because it doesn't have any volume. I will just move my hand and circularity movements. So I can get this part. You see, like this. Coming back to this way. This part over here. You see from the inside it's darker. I saw shading from here. So the end of the parts that I've created BY with more shadings mean they will get faded in the darkness, which is in the depth of the car. This lower part, because it doesn't have any space. I'm just going to color it this way. Okay. These bars sooner. I should use the color 189 for these, but because they're not gray with these curved lines, I'm just shaping this tire just like this. Now I'm using a bit of color blue 110 on these parts. I also drag it on this black parts too. So it won't be just this part just will be blue. You know what I mean? Now we go to the color 189. You can take the pencil from the side so it will get less pressure. But it just needs the trace, very live trace of this color. Okay. Now let's begin darkening the other parts. Just like this. Pick up that color and start working on these parts. You say, Well texture I'm creating. I'm using the side of the cutter. So I will get a now thicker lines here. Now in the shadings that are in this bottom part, I'm going to use this color over them. 68. The stage of tires completion : Now I'm going to sharpen my black pencil and apply these darker lines with my black pencil. So thin. You don't have to make a continuously line z. I'm just doing this line part by part. The inside of it is a bit darker, so I'm just going to shade it. Now with a cutter. You can lighten around these lines. If this part is to white, I will just take it away with this 189. I take the extra white color because there is a blue trace on this part of the tire. So I will apply the blue. So the white dots that are still here will get the blue color. I don't want any white parts. You can also use your brown for darkening this black. You should not use only black. You can use other part, other colors, like very dark blue or even dark brown. When these two blend together, they will give you a very good color. The end of these should be shaded K. Okay? Now for coloring this part, I'm going to use color 179. I'll take the pencil in my hand from the end of it and eye color just like this in this direction, no hand pressure. We can also use 189 to take a little bit of that yellow base off of it. Don't worry about these dots when I use my pastel on it, it will take them away. Just like this. Slowly. I will color this part and I will darken it more. Now come back. 69. Coloring the bright part of the car roof: So I've colored the tire and also these parts. They are the same as these parts because there's still and they don't have any special point. The last part of this car will be deriv okay, that you see a white color but it's not completely white. So always she use a very, very light color to shade this part and the other parts will live. I mean, we would be left lighter. See, the tip of my pencil should be two. Are this side. This is wrong because they're gray color will be on the glass tube. I'm taking my pencil from here, from the middle to the end. And this borders that I know, this will be curved. I will just make my shadings darker and you see just small circles. As I come to the center, I will lower my hand pressure. At the end of this car, I'm seeing a little bit of blue color. So I will take this blue and I'll color over it. And the price that I can see blue, I will use it. Because I am using both colors so lightly and they won't effect on each other. Okay. See, I'm just spattering this color because I just want to get a trace of these colors. Now I'm going to use my pesto pencil. And because this is light color, you should be sure that the tip of your pastel pencil is very, very clean from the parse that you have used it before. See how great this is blending these colors. On the movement of my hand is insert color. And don't overdo some parts. For example, for three seconds or two seconds for each part, and just move on to the next part. Now I'm using this with a clean end of it. And I will just make my pesto cohesive. This ending parts of the car. They're just looks like there's too much lights. I'm using my jelly pen for here. Just part by part. You don't need to do it completely. Let's hear. Stay like this. Because if I put too much pressure on it, that trace of the pen will, will be on this. I'll take my 110. And I just go over this border a little because we haven't colored background of the car yet. So using blue over here. Okay. Now we are pastel pencil. I juice faith this line. Say, I'm just going go over it. We're almost done here. 70. Additional explanations and end of work: Okay, in our car is almost done. I've colored the background for the ID 110 again, and you can use even lighter blue. It's done. 71. Drawing the eyes and mouth of a fish: Hello to my dear friends. And in this video we are going to teach you how to fish. First start. We, we're going to begin with the fish lit. And we're going to use the father casts of polychrome colors. For its lips. I'm going to use number 133, which is a purple color. We will do it slowly. Very slowly. The parts that are purple, the color those parts. And we do it in the circularity way. In circularity movements. We will color them. So wherever we see purple in our model, we're going to use this color and apply it. We used color 133. And now we're going to use color 134 on the same spot and be faded very slowly. And it has a bit of color. Number 127. It's a bit reddish. So we're going to use this scholar. I use the black color number 199 on the same purple that we did the first time, because it's a bit darker. We are going to use a black over it. And we use it. We don't use it too much, so it won't lose the purple color. Wherever we think. There is a darkness created with this black color. And blue color number 110. Because the purpose is somehow it has some blue in it. As you know, for fading. We use a brush or paper tissue. Whatever is more comfortable for you, you can use it. Here. I'm using a brush and I will fade the color that we used here. A Beta of black color in here. In this part, I'm going to use a bit of black. We continue on here. I'll color the fishes eyes with black. I will sharpen my pencil. Continue again because these parts are not so big. So you should be sure that our pencil is sharp enough. Right? Spots that it has on its eyes. We create them with black color, as you can see. And then we use the blue color number 110 for around the eye. The parts that have darkness. You should do this with a number 144, which is a darker blue. On the parts bit more darkness. We use this color instead of the previous one. We use the black color again. To emphasize the dark parts. Some parts are a bit lighter. So we use this eraser to make that light parts more clear. More similar to our model. Actually has some color. And it's I, which we created with the color number with a color 127. Put some red spots, which is in its eyes. With this red color. As I said before, you should be strong in recognizing that what color has been used in the original model. Here we go again. If he felt that in some parts you need to do an over coloring, you should definitely do that. Okay, we did the lips, we did the eyes. And now we're going to the body of the fish. 72. Subcutaneous of fish head texture: Right now we want to do the summations of the fish. We're going to use the blue 110. This part just above the lips in circular movements on here. And we use a color 140 1. And we draw squamates lines here. You should pay extra attention to your model so it will be exactly the same. And don'ts, we don't apply the sky summations by our imagination or what we've remembered, we should just look at a model and apply them on our work. First we do the lines, and then we will color inside of this combinations. Hey, again, we use a color number 110. And we place the blue collar, which is inside desquamation. As you watch your model. The insides are darker and the edges of this summations are more light. Lighter. Color 127 between discrete summations. This part is more dark and the black color was used here. And the right eye is not completely shown. And a bit of it is shown here. And it's kind of dark. And again, we do the lines of squamates with the black color but so lightly and without any pushing. And again, we use the blue color for inside of this combinations. 249 is going to be used on some parts like here and here. And these parts here. We continue just like this, be First determine the lines and then we will color the inside of them. We will do the same for all of this combinations. This is how we get it done. This combinations are not so organized in this beginning of the word. And we should definitely show this that they are unorganized. Bit messy. Shown here. This part. It's going to be a circle. Again, we use the color blue. First. We try to just fade the first sketch that we did with black. So it will make our work darker. We use this color on here, this blue because it's light. Is the brush and fade this part here. He's dead. Spots here. 185 with this color. I'm going to put some spots on here. And here, and here. We continue with our blue, again. Blue and black continuously after each other. 144 to apply some darkness around here. And for the lower part, I'm going to use the same color with the same number. So light so light. The black color. And again, we show some spots here. Coloring. As you see, we will continue the rest of the fish body and I'll color. And again, I'll show you the video. 73. Exposure and completing of scales: I did a part of coloring for you. And now I'm going to tell you about how to shading for making some parts more white and having a good background. I'm using this eraser. The parts that recolored regions, move on them with our eraser on the lines that we did for the summations. And it leaves just a track of the lines that we drew before. So these are nearly using it amusing. Here. Each part that you felt like you should do it, you'll get better at using the eraser just by practicing more and more with it. Allow you to be so precise. We are lightening the parts eraser. It will leaves the background color and we will get darkness as much as we want. The parts that are dark hair color 141. And we use it too. Colored these parts. This middle part is darker. I'm going to use the eraser again for these parts here. And I'm using the brush to fade them all together, to scan of blending them together. And details of fish that have a bit Squamish nations on it. We just do the same for it and we just do it so light because as we and I get near to detail, it gets lighter and lighter. But the process will be the same. The process of colorings and colors. If you want some parts to be more white, even then this, we use the white pen for that. Smoking, good, to love the fish. First, draw on that edge. And then here, as you see, I'm doing it so lightly. I don't put any pressure on my pencil because I don't want so dark lines to remain for me. And as you can see in the model, as we get closer to the tail, the colors are lighter and lighter. These parts have blue color that are connected, are, have some darkness that I'm using color number 110. Spotting these parts. Make sure to cover all this combinations here. By continuously looking at your model. We fade this part a bit. So we will spat are the blue color at the end of it. When it gets to the tail, you see it's red. Here, it has some red color. And I'm using the color number 126 spirit. At the end of detail when it's getting close to the main tape. Here and this address I'm using. We continue up to here, as you can see, them just determining these here. Then that parts at the end are going to be faded so I don't put too much pressure on it. Some pink color has been used in these parts too. And I'm fading them with my brush. As always, never you should forget that. I'm going to use for continuing this work. Again, a, continue with the blue parts. That blue is being used. Among these pink colors. You will apply deep blue color over them. But not too much of it, of course. And as always, fading with the brush. This because this part is rotated here. It's a bit darker that we use color number 144 for that. We show this darkness and we emphasize on it more. Just like this. Take too much of your time. This part of the fish. 74. Drawing the fish fin: Okay, First we're going to do this little thin here. We have color 219 and just pull some strings and lines from red color. This fan has a kind of glass C shape. And so we do it so light. We do the colors lightly because it looks like glass. So the background of our work is being seen somehow. Color 144 is being used again on this part. Just like this lines that go together. It looks like some veins actually parts of the fin frying these lines like this. Because the background of our work is black. So I'm using black for these parts too. You have it in your model to say, I'm using black here and here as well. You can also use some color number 110 for these edges here. Smoothly. To down, downside. I'm going to use colored 299 again. It's under the previous S1 D0 other fan. So I'm just going to follow the sketch like this. First we do the sketch and then we determined the parts that needs to be shaded. And now here, look and try these lines. Just as same as they are. Model. First we do the black parts. The parts that need the black color. From the edge, it's started. And these parts that aren't some wrinkled like here, see, first, we determine these parts. We start from this end. And the use the black color and the press where it's needed. We did a black color first because the red is more shown here. So the background should be black on a year. So when we use the read on it, the red will be perfectly shown and that, that red color won't be anything near black. Because the color which is mostly used is red. So we don't want any black to get mixed in it. That is the reason we're doing the background with black first. Just like this, we continue and continue until we make sure that we covered. 75. Drawing the fin under the body of fish: For the lower fan of the fish, we're going to use the red color number 118. And we just draw the lines. Say, here. You see these lines, here is a strings bringing to show them. Right here. As you see, I'm just trying these lines. Here. We just draw exactly as it is on the fan and the model. No more, no less. You just at the end of it. So it will be faded at the end of this. And there is some blue used. But first we just do the red parts and then we go to the parts. Up to here, this part, we draw all the strings all As exactly as they are on our model. You should pay attention to the picture that you have, so you won't miss one or you don't do an extra one, or even doing one wrong direction, that can be problematic for you. Okay. Now, forget the dark parts. We are using the purple color number 133. The parts that are darker here and here. So the purple color will be darkening them. There are some parts that are between red color and purple color. All of the purple parts. 144 for this part. It just use it so lightly. Should be in light blue. We're using it for the parts that are a little dark and I'm just throwing the end of it through the inside of a Fen. See, I'm just throwing it at the end. So get better faded. I'm using a 110 blue for the parts that are more blue in here. And here. K, it's blue. It's blue. And now I'm fading them. So I will fade the colors together and lend them all. You can use a paper tissue as well. Just like this, you see, they're blending so nicely. Okay. 144 is going to be used. And the parts which are a bit darker, then the other parts. I'm just saying it all because I'm looking at the model at the same time, I'm not losing sight of it. So you see these parts even some places. The blue is going into the thin k with our eraser that they've sharpen them. You can use this for sharpening your eraser. I'm using color 118 for between these colors that we've already applied. I'm just coloring in between them and over them to still little. And now with the eraser, I'm going to apply the white parts here. You can clearly see them in your model. So wherever it's needed, I'm just going to draw the white line. C, just like this. So it's, it's like stripped. Some are white parts here. And a bit here. The purple color with the number of 133. We sharpen it and we're going to use it in some parts here and just draw some lines. Here. We sharpen tip to the end of the spin. C just like this. Yes. You've got it. And again, I change my colors using 219 for departs that have more red color. All of the parts that are needed should be red. Okay. He is a my eraser again here. Brush. And using my eraser again, use different kinds of erasers here like this. And some of them are shaved in triangles, or some of them are circulatory. So we can use any of them that you have, any of them that you are more comfortable with? Okay. This part of our work, when we darken this part, I'm blanking this part and this would show better. Now we go and work on this spot, which is during this phase. They used a black color, 199. These parts here. The blue color could just do over the black, completely over it. And then the red one. The red color will be placed here, here and here. Then we fill it like this up to this end. And here it's just a bit lighter and lighter and lighter because in the model is Slider. And as we come to this part, it's darker. Okay. The purple color written number 133 is going to be used here again. And also we did color. Now more 144. This middle parts, just as padding, just as the spotting. Because these edges are a bit lighter, which is erase them. With our eraser being turned off. You don't need to turn it on to erase them like this. You make it lighter a bit. And then I'm going to use color number 118 and use it here a bit. All right. Now we do the spine. 76. Start coloring the fish tail: Okay, I colored the background in black. So when we want to do the fins, the tail fans, they will show themselves good. Now for coloring that it can use pesto or coil or this fabric castle pencil for the black color of the background. L1 to work on this tailspin, I wanted to use fiber casts are classic color. Or you can use 118 of polychrome color. A farmer casts. So I just wanted to use the classic one. So you can see you can use them to. The quality is a little more poor then polychrome. But for beginning of our work, for beginners, it's okay. T is this. We've determined the area here. As I told you before, you just should just throw to end up to here. Some lines here. Therefore, the other fin, hence you can see different directions. Here. It looks like it went on there. The other one. That's what we want to show. All right. We will use blue color. Number 144. I just sued so lightly and coloring so lightly with no pressure. Okay. We use the white color here too for blending all of these parts together because this part has light colors. We use white to blend them all together. Making them look like one. For making them cohesive. And a bit of purple color is going to be used on here. Ok. We finished the bottom part here. And now we're going to do this top part, which is actually the fishes tailspin. The background and the main color was red that we applied it here. Okay, Now we're going to use a purple color again. Again, it's the classic that I'm using here. To some parts. Have a purple color. Just throwing some lines on it. Is C like this. And here as well, I'm using 249, that is a purple, which is more closer to blue. And the middle parts of here are darker. And because we want to show that it, it, it looks like veins are strings. So we just draw lines. Throat, the end. Let it go at the end. You see how my hand moves. We use a bit of black color for parts that have even more darkness. To use. Color number 134 of polychrome. And videoed a final call on that. And a bit of color 188 is needed at the end of this fan. A bit of ocher color. See here the end of it. Also this part here. All right. Now the color 126 of polychrome, polychrome color will be used for this part in here. And which has again some purple. And we just do it as same as with before with that pattern. That hand movement, convinced of dark for making it more darker. And then they use of color 118 again, right? With it, this part, we colored this part. And there is the tail which is here. I'll color some part of it to show you. And the rest you should be due at home. So we get to the top her tail. 77. Completing the fish tail texture: All right, My dearest friends here. As you see, I've completed this part of the tail. And I'll show you this part. It's just the same as we did on that part. We use the same colors for here, for getting the best out of the time. I color that part and now we will color this part together. Color 119, which is a light, light purple, will be used for the background. And the beginning of the this part. Again, look at the movement of my hand. Now I use a color 118. Again with this movement. Letting go at the end, not completely continue the line. Just pay attention to the shapes. Look here on these shapes and these lines. So you should pay attention and you should draw yours based on them. So your work will be more natural, more realistic, of course. Just continuing doing this with the same color. I told you it's all the same color, this part by part. So you'll achieve the colors you want. Now, this is a color 209. I believe. The purple colors here has been used as a spots. So we do the same here to scan spotting these black parts here. And then f course, I use the color 127. On top of this. Brings everything together. Drawing these lines. Again, I'll use color 119. Alright, then it changing colors to the color 249. You work on these dark parts here again. Now for showing this top part here. And the edge tip-off. Tail, we use the blue color 110. Interests can just gonna show off these parts, this parts a bit of a wrinkle which are shadings as we are doing now. And bit. Continuing down. I'll change my soul to the black color. And I'm using in here. So we can separate. This part is saying, now it's separated almost. And the parts that shows they are separated, we're just going to work on them with our black. My bass parts. Don't forget them. And how can you not forget them? By looking at time to time? It needs some here too. Spit. These parts. Just keep coloring and coloring. Okay, I think I've got it and I'm going to use my eraser, applying and showing the parts which has more whiteness and more light that are separating. So we're just going to show them with our eraser. It's the best way to show that on your work. And then with the red color number 118, again, we just come and do the separation. Again. That's why you need so much patients. That is colored pencil, painting, color over color. Step-by-step. Again, I use the blue color number 110. That bit's use of eraser here. Again. You can turn it down or you can use it. Turned off. Just turn it on here a bit. And now again, I'm working with it. While it's turned off. See you just get these beautiful, beautiful lights. Actually it's looking more like the model as we proceed. And I'm going to use the white color again for making our work look more cohesive and altogether use it for all the parts. So we go back to black. Has the same. I'm just editing some parts with my black, with my purple. Because we want to fade this part. I'm just using these back over here. And a bit on these edges. 78. Drawing the fin above the body of the fish: Okay, this part as the previous part B, if Don, and now this upper fin of the fish. We're going to work on that and I'm going to show it to see these parts that we shown here. I'm using color number 127 on that. They are so easy to catch. First, B will make the premier shape of it. Just like this. I'm just doing the shapes, not shades yet. I am using the color 118 for this part because it has lighter red. The shapes. You should pay attention to the shapes. So you can just do them the same way that them sorry, Does same way you see them. Don't forget to move your hand like this. Let go and Dan, and now we take k to the end of this part. Now we fade them. As always. Every color 219 is going to be used di me on here. Some parts that have more darkness or even darker reds. Or between these lines. We are going to use this color for all of them. All of what I've just mentioned. The color, the purple color, color. Number 133 is the color I'm using for here, which are actually some dark parts. Okay? Just coloring with purple on top of these. Actually over these. Okay, we just continue doing this until we cover all the parts that are shown in our motto. Okay, I think we're getting it all as we are going to use the purple. Also in here. Wherever you see, dark edges are kind purpley. We use this color for it. Now. Use of color 249. That is a purple, which is closer to the blue, is also dark. Just going to continue this. So again, we just do them like a strings wanes, lies or whatever you wanna call them. C, they should be tripped at the end. Kind of. See, I'm just drawing these lines here. All right? And now we're going to use a blue color. Before we use it. Just going to sharpen it. Now, I will apply it here. And this per fan. And all the tips here, here in the front. It already is somehow showing the curve and rotation of the fish. Now, color 134, which is a lighter purple, is going to be used here. In the middle of these colorings. We take another sip lighter for our purple, and we change back to blue. Again. I'm going to use an eraser here. And these ages and the spaces between these have some white spots. As I'm applying here. Some white lines in between them. And as I said before, we use the white color for blending work and for make it more cohesive. It works. Okay. We're going to use the eraser a bit on here again and showing some white lines here. Again, I said I, I'm not taking it out of my imagination, but I'm looking strictly at a photo. So as much as I pay attention to that and try to make it look like that. Well, the good. Okay. We are done. Finished fish. I really hope you enjoyed this. Coloring together. 79. Drawing the bee's head: Hello to my dear friends. In this video, we are going to teach you how to draw this. B. We use fabric castle classic colored pencils for this. And I'm just going to show you how to do it. Right? We start from the head of the B and the use of black color. And I just stood in my circularity movements and I do it so slowly. Make sure that the tip of your pencil is sharp. To say this. We keep it white spot in the middle and continue with the black color. This part of the bees has a little bit of a whiteness here. It has a white color. So you just paint wherever. You just color wherever it has a black color on it. According to your model. I'm using color 300 1906, which is a gray color. I'm going to use it a little in here. So lightly. And again, we switch to the black and we try to fade some of black into that great. We just applied hello, right? Using just a little bit of white pen on here for making this line for separating these two parts from each other. If you forgot. To put a white color behind, you can use this pan. You can use this white pen over here and fade to black color in it. And you just see you can drag, drag this up site. Okay, here we are going to use and a yellow color number, 307, just right here in the center. They yellow color is not too bright. And so Alito, blank in it. K here again, for making a separation for these parts. I'm using the black color. I'm just coloring on these lines over here and a bit more in this part, again, using this yellow color sub b, so it's mostly yellow and black. And again, I'm using this black color over it. And again, religious. You see it continuously. We are switching between the black and yellow. Yellow for the background, and a little black on it. Now for fading it, you can use this brush here. This is cosmetic brush art. You can use a paper tissue despite that has a black color and also have some yellow spots. If you forgot to apply these spots. You can definitely use that jelly white pan as you did for that part. Now we're going to use a brown color, the color 300 AD three. So lay them on here. So lightly. And a yellow color just applied over the yellow color. So little of it. Now we tend to call the ZAB to be or the antennas. They are in black, so just simply color it black. Here. You also do this antenna. In the middle of this antenna year. He should just leave us spots so you can feel it, but the yellow color later. And the same way for the upper part of it. Hey, can we use some brown color? 80. Drawing a part of the bee's upper body: All right, For the antenna of this side, first, I'm applying the yellow color. Then the color number 383 is going to be used again. All over the yellow part. And a color number 387 here. Just spotting some parts. These parts and the tip hop down antenna. And then the black color over the brown spots. Here I used the color 383 and then 378. There are some shadows. It's 10 us. For getting these shadows correctly. Well, you can use a brush. You can use a fader. Here. I just want to use a fader because I've used my fader before. There are some color left on its tip. But you're using something that there are not any on it. You can just use it on another paper with the same color so it can take some color on it. Using a fader has a benefit that it shows the shadows Very good. Because it's name of it, It's fade. So it will just give us a great shadow. All right, Here we go. Okay. Now we come to the body of sub B. See how we can do this part here. Okay. Just the same way with yellow background. And of course, at a layer of lights by comment, lines with black. Thus far it has a gray shading. Saying with it, that part. First we applied a gray and then we continue with the black. Tried to cover this all part with black. Just some here. As I go into the white part, I tried to fade it a bit. Okay. I continue a little bit here on top and bottom. So I colored this part and her fading gun, you can use a brush. 81. Draw the front legs and part of bee's body: Okay, So as I said, we will continue with the black color in here. So here I will just pick up the pace to save time for you. But when you're doing it at home, should do it slowly. So I want to make time and then we can do a complete and food stereo width. Given time. You can't have a great, great sketch. Paying attention to the details because it's so important. As much time you put in it, as better it gets. These parts that have yellow color. There are also some black colors sitting in it. For fading these parts you can use fader because it has a dark color. We applied a yellow color, and then after that we use the color 387 for the edges of our job. Just draw, just color all of them in brown. It's actually the borders between these parts. It's kinda heard these parts of its legs. For this part, I'm going to use the color number 380. And just so PE love it so light, no pressure. And we switch to color. Number 376. And the black color for separating these parts. We use a little bit of gray color in here. Say just blends in naturally. And the color is the color number 350 to its niche. And we use it for this part. In this part, the use bit of light blue and little. So Soleil, again with gray color and number 383 is going to be used in this park, these parts of his knives. And then after that, I run gray color over it. And again, the use of color 387. There you see brown. Like this place, he should use this color. Okay. And I can say rules are the same, the process is the same as strong days colors over each other layer by layer. I use the color 352 again on this part here. 82. Drawing the end of the bee body: Okay, For this part of it's legs. And again, I'm using the black color. I continue with the yellow here. So I did as the background color and just same. But I'm using color 300 AD first for these edges. So to try to keep the shape of its legs, we'd these curves. And you should just do them with this column. So for that, tried to keep here. Took off the pencil sharp to show it better. The black color, I'm going to use it. Okay. You see this part? I have some shadows that I do at the end. But now we're going to the bus him to be Hey, I'm using black color to determine the black parts. This part is completely fade. So we just do the same. So as I told you before, you should just do this work. We'd full details. So your work will be high and it would be even 3D. If you consider the details correctly and just apply down wherever they're needed. In this darkness. We have some light spots that we use the jelly white pen to create them. First. We put spots on here, and then we use our finger to fade it. And could this, but we are using our fingers, drag it a little too upside. They'll be faded and blended perfectly. Okay, again, we use the yellow color for the power set are needed. These bars said I've left behind. 83. Coloring the wings and creating its texture: Okay, My dear friends. Sorry that at the end, I couldn't say it completely. I was saying that map because the wing is a transparent, departs behind it are faded. Now, I use the color number 387 on some yellow parts up there. So because our work has some brown in it, our model, we don't use it too much, just support that have a little brown color. Okay. Now we want to work on this part of the wing, which is the right-wing of the B. I'm using the gray color and number 396. So pay than light. It just draw a line of it. The lines that are on the wing itself into straw, then this part of the wing is a little bit darker, so we use this bound on it. There's some green on it. It color 359. I'm going to use it for here. Just so, so, so little. Just the halo. And then again we use the color 352 for the same spot. You see I'm just running this color over the previous ones. Just use this for the bottom of our wind too. Again, I use a gray color for this part. So lightly. For this part, I'm going to use a paper tissue to slide this fading it all together. And again, the color gray is going to be used here. Here, it's too dark. So to set that star current debts, shipping, ever that and there is a gray color. I'm gonna use this. K for this bottom part, I'm going to use 350, 78, which is a brown. And I'm just going to use it for these lines here. Sharp tip is important here. So because these lines are so narrow, just going to use it over here. All the way up to here. 318 be used here steadily on this part. Here again. But suddenly they love it without any hand pressure. I'm just sharpening my pencil. And the black color. Again. These parts that are lighter, deadlines that are here, you're just going to complete them. And these parts are yellow. And as we did for derived when we apply some gray here. Here. This part that is not on the body at, as we did for the same rink. We do it here too. Just going to fade it with the tissue. If you got out of the line, it's okay because you can always erase it with the eraser just like this. Make sure to get a good fading and blending. Kay? We are going to work on the shadows. 84. Drawing the Bee’s shadow: Okay, for doing the shadows for our B, I'm using the black color, but I'm using it so lightly. Wherever I see a shadow, I just use my pencil like this so I can get a queen shadow out of it. Tim, just using it so lightly. First, determine this parts. And after that, we will faded into a great, great shadow. This part have a darker shadow. So I'm going to color a darker. And it's a bit darker here to around delay. M-bit up to this part. Again, read the paper tissue, scarring to fade. Fading gears completely. Okay. Don't get to fading for now. Just a little bit more of black here, this shadow. And down its bottom, right here. And again and go back to fading. Looks more real. And it looks like more of our model. I'm just doing some finishing touch ups. In this part. Here will do for the shadow. Its legs. I'm going to use the fader. See, the legs of a b are so thin and we can just get it correct like this. It will be more realistic, more natural. Careful about to curves of it. And really pay attention to your model. And even when you're just applying this shadow, you should compare it to our model, this leg cuz we started from here. So I'm going to just track the shadow from there to here. This fit. We'll look at him. Look good. All right. I think I'm done with the fader now. I'm going to use my eraser, my eraser on these parts over here. And on the wings and lethal because these parts have just some Whiting whiteness. Okay. This was our tutorial for our w0, and I hope you have enjoyed and used it. Good. 85. Drawing the nose and mouth of the horse: Hello to my dear friends. In this video, we are going to work on this horse. Okay? We start with the head of the horse and we are using the classic fabric castle colored pencil. We have it on cardboard desk. And we start from the bottom to the top. This bottom part has a color of black and gray. And then it slowly gets into the brown color. I'm working with the black color number 399. So we to determine the parts with the black color, should look at EarSketch carefully. So you can do to coloring as same as here, our model. As much attention as you pay. Your sketch will be more beautiful. Of course. First, I just determine the area in which part this color should be applied. There are some shapes in here. For example, in the nose of this horse. He's are some shapes that we can do the sketches. We let them to be pale and light after with the black part. But you should definitely dried with details. For example, you see this part. It is so light, but you should definitely sketch it with all the details on it. So don't say that because it's light and it won't be seen. I can just simply color it black all the way because that's not how it's done. So I've just determined dark parts. And now do the coloring and these parts. Make sure that your pencil is completely sharp. Because when it's sharp, it just cover. All of the texture of your card. Just darken it completely with the black color. And the same time that you're working on it. Lee, check here modal. In case you have not misplace anything. You can do scholars some parts, certain circular movements. You see, but these parts, because it has some crescent shape, you should do the colorings the same way. No. Just keep the black coloring. Dark parts. Now, we get a little into the light parts. The parts that needs a bit shading like this part here. This part is dark and it's connected to here. But the other parts are just shaded like this. And then we just complete their job with the fading they use of our brush or paper tissue. And therefore the parts for the parts which are completely white, I'm using my electronic eraser to put that y two spots on it. Again. This time I use the gray color for the parts that are a bit dark. Part, ship be colored gray color as well. And again, we use our eraser to place the white parts. 86. Drawing the horse's snout: For the next step, again, I'm using the black color, shading this part a little bit. So light. Not so much of it. Try to keep it up, up to the part that this shading goes. This part of the horse's nose, it has a little bit of whiteness that we keep it that way. Determine the darkness in here too. Then we pay per tissue part. We did a fading for the smart as well. But this paper tissue, you can make other shadings that are existing here already. The background shading. For this part. Why we did the background shading, again, we use serve our colored pencil. We will show the dark parts that are existing here. So now we've done the background like this. And then you see with this black color, I'm just placing the dark parts that are more obvious and more recognizable. It is faded. Dark parts that are spots, speeches, place them here. Just like this. So all of these spots here. So we keep doing that until we make sure that we have done all the dark parts that are in our motto. So this part completely forecast because it has lots of details. Then we fade it a little better. All right, now we use this eraser, the dark parts that are in it. Sorry, to create the light parts that are in it. Why two spots? Spots that have even more white collar that incase of them. I'm going to use the jelly pen, which is a white pen. Determine those parts with this pen. Pen, you've done it. Then you've determined the spots. Again with the black color. Just y two spots. So they will show themselves more. 87. Drawing the lower part of the Trappings: Okay, My dear friends, we continue it to work. We work and rest of the face of the horse. And I'm going to use the black color again as same as I worked at here. In the same way. I'm just darkening this part a little bit more because it shows the prominence part. Prominent part. Wherever you felt that should get more work. Sometimes even it's after you've finished the work completely and after you look at it, once or twice, you figure out that it needs some editing. As much attention you put on it, as much details you put on it. The greater good. Okay? Now, when spotting with the electronic eraser like this, it should be very careful with it. And whenever we do this, we will dark in around them so that spot will look prominent. And also the lines that if done here, I can just use this eraser alongside them. Just like I'm doing. So your work look more prominent. Alright. Okay, Now we're going to do this part. But this brush that looks like a fan, I'm just clearing the cardboard, especially when I'm using an eraser. So no leftovers. Left will be left on my cardboard. Alright? And this part, I'm just going to draw these lines with my black color. Exactly as we did. The nose part sound, just placing some shade, dark parts, light parts. And then we a paper tissue or a brush, we will fade it to get that gray like color. And a little bit of brown color on that corner with the color 387, background color. And the color 378. Just adding some darkness here. Then the color number 380 is going to be used in here. Last, that black color. Finishing jobs. Alright. It's kind of sad for the horse. Is the color 350 to 400 it the parts that are kind of shaded. We're just going to show it that this and we left the white parts white and untouched. As usual. No big deal. And these parts are here. I'm just going to sketch of it so we know which parts we should color and rich parts we should not. Just this part has a low GPA, Golden it. And go back to our black color is complete. Much attention you pay to the details here. As greater your work will get. You should do it with a lot of patience and a lot of focus. Just pay extra attention to what you're doing here. And tear mono. At the same time. Just working rare the black car. So kind of like shape. This part here. This part that has a circle shape. I'm just going to use a bit of shading here. Black pen, so I've got, so the shading will go in that circle. And again here too, It's a smaller one. So you shouldn't be a problem. Just make sure that the tip of your pencil is sharp enough for that. Alright, then editing here, chain parser. 88. Start drawing the leather strap: K, just cleaning my cardboard again. Now, in this part that has lines here, KM just a starting for it, that black color for these ropes or bandages. It has I'm just trying straight line. Pay attention to your model and do it exactly as it is in the picture. There's a black line in the middle here. And then again, it's just a bit wider. Then I trigger it. Just going to make it why they're up here. And again, here we have another line, another straight line. Actually there are three lines here that this middle line is actually darker and a bit wider. Of course. This middle part we're going to do, It's shadings just like this. And you just fade this as you go inside. And then the part below that, the lower part, which is darker. And this part also, it has a completely dark color. Is a little bit of gray color number 396. This part that if he had a use the black color. I'm just coloring get and the bit the part above that. And we applied a gray color here. Okay. See the leather ropes and bandages that are here, which is do the same for all of them as we did here. So we apply the black color and we do the shadings, and maybe a bit of use of gray color. And I will do this part for you. Say it would save time for you. 89. Continue to draw leather straps: Okay, see my friends, I've just colored these two parse nm going to show this center part. Because these parts are they have. You see first, I determine the place of it with the black color and this part here. And then we use a color 350 to just use it so, so little for the background color. And then after that, we use our black color for the parts which have darkness. And for the rest of our work, we use a gray color number 396. And we completely collar it. As you can see here. Completely. So this gives our work a kind of a shine. Shows that it is shining and just some parts that are more wide, we show them with this eraser easily. These parts are a little bit wider. So I'm showing them like this. This part is exactly the same as this one. So first we do this color as the background color, 352. Then black color is going to be used to determine the place of f. Because this is for its face. And it kinda has a circle shapes. So this goes is circle too dark and sit has that is more black. We just determine them and then we need our gray color. Become plead. No work completely. I mean recolor the work completely. This part is the kind of shaded. So for showing good, which is use the bit of our eraser or you can do the darkening. And then we, they use of jelly pen. You will show this edge. Just like this. Okay, great. And a little bit this here. And we drag this whitening side, right. 90. Drawing the right side of the horse head: Okay, I've completed this part for you as the same that I taught. Now I want to color this part of the horse's head. We to column number 383. He placed a background color for here. This part should remain white. So down to that, It's the forehead of the horse. We serve color 378, which is place a very light color on here. You should choose color this part dark. This should be light. So I just color some parts darker and some other lighter. As you can see. Synthase parts have darkness. That comes to our diopside from one side. And these parts that are empty, which is color them so lightly with this color. Now, the black color, we've applied a dark brown color. I'm just going to use a black color over them. So if applied to black, brown color, first step, when plaque comes on it over it, it will give us a very darker brown. And as we come towards the upside, which is darken it more with this black color. Just like this precursor, completely dark. Then number 387, which is color all over this part here. This part in the center of that white color, I'm just determined its surrounding the plaque to this side because it's darker area. I'm just going to throw my pencil at the end. And he uses it. So it will be too much disciplinarian. He should look natural. So exactly from this part that we done lighting for the other side, just doing the dark part here. And this side. Then we brown color and number 383, you will color over this part here. Color is part 2, the upside because it's a background color. 91. Start drawing the left side of the horse head: Here, we use the color 370 eight. And we start to color over this part here from this dark part. As we did before, we do the same for here because we want to show it's kind of hair. So first it shouldn't be that much disciplined, organized, and should just throw your pencil at the end. Now, dragging it all the way down. Because the edges are a bit dark black color. And we just emphasize its darkness just around the edges here. So because these edges are darker, just make them more darker than they already are. As I said, you should be editing. Your work. Always. Can. Now use the color number 378, sorry, 387. From its heat drag a shape like this in try to actually, and k in here. You should just do it lightly. And we continue to the top. So we get to this part here. From this, these parts here. There is shade like crescent. From here to the upside that we use this color. For that. I will use a brown color number, 300 lines, which are existing spots that come to these parts for the start. And then we will fade it. More comfortable with. We're just going to fade this part here a bit. In this part there are some strings and veins. The head of the horse to just determine its place here on this part. To place them here. So later we can do darkening on them. Here in this part. 92. Drawing the horse eyes and skin texture: For this part, 370, brown color. For here. We'll just color this part over here. In the shape of a crescent. Connect these two parts together. The horse's eyes. Anymore. Now, I'm using the black color for it, definitely. Yes, sir. Here. Just to make sure I had enough light. When it comes to the end of it. Goes in two ways. This is the side of the eye. Just pay attention to your model and draw exactly the lies that is seeing your model. Just skip coloring the horse's eyes so carefully. So your work, your outcome little bit better. Pay attention to the details. As well as you pay attention to they. Generalist sketching should consider both. Now we use the gray color for these empty parts here. I have not covered. Because you can see that easily. All of them have this gray color. Inside of the eye has a bit of brown color. So why parts, as well as we do to darkening these parts? Darkening for some lines here, kinda darkness here, and continue to downside. As much as it is here. Here it gets more like a dark brown color. 387 is going to be used. Is orange color number 309. In our engine, yellow. We use it so lightly. You do not want any hand portion that do not forget. And again, you can use an eraser to create some white in life lines here. Now we come to have these veins here. Now I'm getting 387 first tried to fade a little in here. Here you see darken it a better. And little. Dark brown means number 380. I'm just going to use it of its own here. This car is completely dark. And there is another vein here. There has been a bit of darkness here that I am showing good with my black color, brown color. I'm going to show this vein over here. We apply a line here. We're just trying to, we now determine it. But there's a circularity movements to do a faded work. So wherever there is a vein, we can cover it just like this. A Goliath for that and for recognizing the colors that are used. Now I'm using a color 370 eight on the same spot that I've used that darker brown. A little bit too. Same spots. There's one here. Is black brown too. First we use our dark brown a bit more. How should choose color all the way down through here and cover all domains. So wherever you see a dark color, you should do this spotting. In when you did this lead a paper tissue. We're going to fade all these parts here saying like this. So you will get a color. So first we will fade this part. And again, we use the brown color to spreading these parts. 93. Continue creating the horse's head texture: Continuing with our the exact steps as we did in the first part. And then we apply the light parts. So the steps are pretty much the same. These parts here needs a bit of black color too. All right, Now I'm going to use my eraser. You can sharpen it before using it. But you don't need to even turn it on. And these parts that are showing veins just scan Leiden. The central of them. We, they use of these eraser. Just as easy as it sounds. The same piece of paper tissue there'll be fused. Now we want to do this forehead of the horse, this upper part with the color 370. We're just going to color this. 94. Completing the left side of the horse head: Okay. Now I'm just marking here the veins near dead horses. I I'm just applying these first. You should just mark them so lightly, how they should be colored or darken. And you will do the actual coloring and say I'm just marking lightly first. And then I will go for the color. I'm just determining these parts. Just like this so easily. Just look into your model and you won't have any problem. Now with the same color, 378. And I'm just going to darken them, which is I think the easiest part of your job. And it'll be fine. Don't be afraid doing this. And always go with courage. Even, even if you miss some part up, it's okay. Because you can always make it better and better by practicing. But if you do not practice well, that's bad. I will do two things with this color. And then after that, the ones that are darker, I will use the brown color 384 that for the parts which are darker, you see seasoning good. Oliver, these parts, for example, these parts also here. This part also have black in it that I will show it to you later. But let's just first do the parse. Rich have brown in it in them actually, because there's more than one color, 300, 87. I also work on these edges of my work and a background of it. So after I apply the dark colors, it won't get too muddy or dark and you can still see the details. In some parts are lighter, for example, in this between, okay. Now I will use a pay per tissue and folded like this and drag it all over this part and fate. So very beautiful horse, horses, my favorite envelope. So I'm just going to get it clean and beautiful. Now with my black color, I will work on these designs and shapes which are here. The veins, the ups and downs. Just going to show them with black color, which actually darkens this part. This part is our embeds darker. And also here could just completely dark. Okay. Great. The parts that are very dark, we are just going to show it this color. Renowned. Then don't forget to blow off the extra pencil power off your off your work. Again, we use the color 378 first, making those dark parts a little bit more dark. Just like I'm doing. Just going over the dark parts once more. Then we go over this part completely with the same color. Just like this. Easy-peasy. You just need to pay attention about the placement of the spots and veins and dark coloring this direction over here. We are almost done in this part, I think. Parts that are a bit lighter and I can use my eraser on them and make them look lighter and fade this part and little. All right. And this forehead of the horse that it has this whiteness. So lightly Entrez. Draw some lines with my black color. Just some lines with throwing of my hand over at the end in the same direction of the shape. Just show that there is hair. And here, just like this, it's enough. Move on. 95. Coloring the horse's throat: Okay. We are going to work on this part here. My friends. We take color 387. We are kind of color in this direction. So just a throw your pencil at the end so it shows that it's kind of hair. Or you can do this. I mean, color it completely at first. And then determine the wrist. It will add the details. The parts that are darker. You can fade them out. Before you do anything else, you should fade it here with the same color. You should do some parts that are darker. Just going to show them like this. Just look at the way my hand moves and tried to do the same. Then I'm going to use color number 380, which is a brown color. Chicago the spot. And let's say you should do this smooth in some places like this. So you want to show that it's hair shirt, it should look like a hair. Black color. I'm just going to darken this part more than it already is. With the same color number 387. Just going to do these plants and little bit here. Exactly. We did that part, the previous part. Because actually the colorings are just pretty the same way. Step-by-step. It just needs so much for your patience. This part here. 96. Working on ears and hair of horse: Okay, Now we use the color 383. Tracing and determining these places here. It's the ear that has and now the vein on it. And this part, horse that is kinda keep coloring with the same color. Okay? Now we express some of those aims and streams with this brown color two. And again we use this column 3834, background-color. Both parts. This part is kind of a lighter. Then we do number 387, which is ads dark and CM to smoothing around some parts darker and some parts are remaining lighter. As you can see here. Just pay attention to your model because that's where you should know where to connect or lighten it. With this 380. She's a brown color and darker brown. Use it this way. And I use this paper tissue, aria keys a brush for fading to black color, dark and the bottom of everything you do. So I'm just doing some black lines. So whatever I then I'm just using a black color. At the bottom of it. My colorings. The 300 AT brown color again. This part that some veins on it on the dark parts. A sink here. All right, So first we applied to a black color as the same with it in that part. And then reuse the brown color over it. So it gives us a good dark color. Good dark brown actually. The same steps as before in this inside of the dark color. I'm just applying the black first. Then we need a dark brown. We color over the parts that we've done. Black color. To just emphasize them with this brown color. And forever, forever it's needed again. Use this brown color. Again. This part here has a bit of this brown color. Then we use the collar 378. And we color all over this part here. And then we use a bit of color 333. And then with the color 387, use it for here. We create the parts that we want to show. They are light, 300 AD brown color. So for this part here, 387 for the inside of its ears. Just like this. This part needs a bit of black color. 97. Drawing the Horse's mane: Now this part for the horse's hair. Just drawing these lines. Let me just show that shape. Just like what I'm doing right here. And then I use the color 383. I'm just going to teach you two of these. Just this narrow which is honest main. Just going to teach you two of them. So just pay attention. First, I start with the color 387 to separate this part. Then then pay attention. It should definitely be sharp. So because it's in kind of a crescent shape and just drawing lines in that shape. So it also show that it's hair. Say the ones that Yeah, I'm just drying in the exact direction that I see them in the model. So try to draw these lines exactly in the direction that you see them. I'm just showing these lines like this. Now. Say these lower part. Just making this part a bit wider and thicker. If you can do it like this, It's been paid better. You should just drag them towards the inside of the horse's neck. So when we come, as well as we go to the downside of the neck, it will get less. Now. We add some to the top part. And just like fated Lee, we color here this parts with the same color. Should know hand pressure. It should be so, so light. Then we'd pay per tissue. I'll just faded. And the color number 308, which is a brown. You emphasize some of its lines. For this neural on its main. First switches do sketch before we start coloring. The neurons are pretty much the same. All of them. So the process is the same for all of them. So it has darkness. You do it in a linear way. Mostly these edges, these parts are dark and the upper part is light. And this bottom one, the center of it is light. Then we use the color 300, a V3 for delight part, and a bit of color 387. And now we can use even black color for the parts that I've said are darker. Some parts that have shining. We show them with our white pen. We are brown color. 380. We show it with the scholar. First be just darken these lights with the same color a bit. And it comes to these parts, it's gets linearly. Then use the color 384, darkening these parts more. And I'm using the color 300, 80, which is a brown too dark candies hair. 98. Drawing the lower part of the horse's neck: So I did this part for you just the same way that I taught those two nouns. Now we come to the neck and the part of the horse's body with a color number 378. First, I determine its part. All say just determining which part is which is the body. For first step, we determine the dark parts. The color number 300 AD. First we determine the dark dark parts with these color. That's a bit of black color I'm going to use here. Just making it darker. Color 378, Color recolor all over the work of color 3834387 for the rest of the work. Dark and these parts again. Then we use the color 309. Just update for here. And also this part. Just do a background here, it's enough. And it should be so light in so much of it. And as always, we fade it, be it a pay per tissue or a brush, whatever you're more comfortable with. Then we use color 383 brown for creating these spots here at the bottom. And we took brown color number 387, this line here and here. And then we are going to color inside of it. It's actually the shadow of this chair. Then we darken it later. But in the first phase, I use to color 387. Far that work on that next steps. It's just the first step of it. Actually now we're just adding spots that are the body of this horse. First bit, the scholar 387, a little bit of color 350 2, is going to be used here. So, so light. And here should be so lightly. And we can use to color 378 for the bottom of its neck. So why is it dark brown or black? Doesn't matter. We use it for darkening this part. I'm just going to use the black first. It gives it more darkness. Again, the brown color and black color for each part. Again, because it just dark bar. We need a dark brown color over it. Because it's not black or brown. 99. Adding dark colors to work: We use a color 387 and we generally to color all over it. And then they just fade it. 378 for showing that dark parts. Just like this. Make sure to cover all the places here. And then change again to the black kids. It just needs a little bit more. Dark color. Is darker than black. Family to color number 309. We create the light parts. 100. Completing the horse neck and also background : Okay, My friends with the color number 300 AD seven, just color this part completely. And also did the shades which are on the body of the horse, just like this. Now you're saying, OK. Now we use the color 387. Again. I'm just coloring this part, but I'm doing it lighter than the part which is beneath it. Just like this. I keep coloring and also these part. So here, as you can see, my friends, for saving time, I just colored this part as the same way I did in here, which is the same. He just had two or three veins that I did the same like the way veins on the face and the dark parts to. Now. Do you think that now we need to do is to add some darkness in here? It can get a bit darker. I'm doing it with the color number 378. Just to make sure we're on the same track here. Just showing the darkness which is at the bottom of its body, which exactly showing it with this color. All right, This part is finished. And I can use a little bit of this color in here to see my friends for the background. You can use colored pencil or you can use pastels. Or you can just leave it white. Or you can use cosmetics and eye shadows for that. Totally depends on you. What color do you want to use? Cts are the eye shadows that you can use them, but you should use them. I shadows that are powder oily that I'm going to use this brush and color my background here. See, just like this. I said, you can use different ways and it's totally depend depends on you. What color do you want or what I don't know. Equipments do have here using the brush, try to use it in circularity movements. So it will make a cohesive coloring actually. And actually an eyebrow shadow. As I could say, as I did say. You can use different things. Came to see him to having it all over. But be careful not to miss your work. You should be very careful about that. If you put too much of it on a place that may affect your original color of the horse. Stop. This corner. Should do it completely circularity to have a cohesive outcome is a patch of black color on these corners and edges here. Just keeps it a pattern. This part should be darker. I think we're almost done here. I'm just cleaning my current bird like this. Okay. This is the end of our work here. And I hoped you enjoyed it. And if he instead very well. Thank you. 101. Starting from the dark inner part of the ear: Hello to my dear friends. In this video, we're going to do this EarSketch with the color pencils are fiber Castile polychrome. Okay, Here I have the sketch. I start from the inner part of the ear that has a dark color, and I use the 100 1909 number of black color. And we are going to color this in circularity way. We should do this with so much patients and we should do this smoothly and also so calmly. If you intend to do this with a fast pace, it doesn't come out good and you cannot fade it correctly in good. So try to do it slowly and smoothly. As I said before, you should not rushed through. What do you want to use the colored pencil, you should pay attention that it should have a sharp tip. It's very important when you want to do a coloring. When you get closer to the edges, because we are going to fade these edges and we don't want a line on them. Just try to color it. So pay LED light to the outside. It should shade it very pale and very little. So you can faded with the side color. So it turns out so, so much more beautiful. If you fade it correctly. While you're doing this, you should really pay attention to that photo you have. So you won't get off the track. For coloring the edges of the year. We used the color 183. As you can see, I'm just trying to blending the colors together here. Again, you should do is slowly with patients. No rushing. We have is time. We should blend in this edge with our color. As you can see, like this. I'm just blending the two colors together so it would seem nice. Then again, we tried to color this part with our color. Just like this is so easy. Don't need to. Harry. We do it slowly. In a circulatory movement. When you're working with colored pencil, again, I insist you shouldn't do it fast. It is important really. So you will have the outcome as you like. As, as much similar to the photo here. Now, this inner side for the background, we use OK. color and we completed recolor it completely. So in next phases when we want to use the dark colors, we can do it. So first, as the background color, I do. Ok, or color. 102. Methods of fading colors: Okay, my friends, I colored this part. As I told you. For fading this, you can use a brush or you can use a paper tissue. But you can use all of these for fading or any other tools that might be easy for you. I'm using a brush here from low size brash. And again, for fading, I use circular movements. I use paper tissue too, so you can learn how you can fade the coloring with paper tissue. We don't put too much pressure. So we can use a more colors on this sketch. Just like this so easily without any pressure. Always you should put clean or white paper under your sketch. So if your hand was oily or Lidl or it was dirty, a little red colors. It won't affect your sketch. Okay. Now that we've done the fading and shadowing, and next step we're going to use the color number 187. The darker parts here. Look this parts. We want to do these parts which are a little bit darker. Again. We do it just as the same old way and silk circulatory movement. We put another layer of color on this. We want to make a color realistic. Comparing to our picture. We don't use the original color, just the way. For example, for this darker color, we use layers of colors with different numbers of pencils. So you should never use directly a dark color. You should use lighter colors. The colors that are more pale. Then three data, you get to the dark color. As we did before we started with lighter colors, and now we're moving into darker ones. Don't forget to use it and circulatory movements. The color of his skin doesn't have a special number of colors because we have different skin's black, a scan or white skin, yellow skin. They are different. So we cannot give you special. So you can not use, we cannot give you a specific range of colors and tell you that it will do for all the skins because we have different scans, so different range of colors will be used for each one. For achieving that coloring. A realistic coloring. You need to do so much practice on that. So you can make it more and more realistic. So never forget patients and exercising, practicing In working with coloring pencils or generally the painting and sketching. It will needs patients and pectus. For showing the prominent parts. You can just show them with this shadowing and findings. So read the darker and lighter, lighter shadows. You can show the prominent parts at, it would be like three, 3D and realistic sketch. It's all depends on the shadowing. You can show the curved parts, the prominent parts, and difference there is between them. Okay, Then again, I use a brush or a paper tissue, as I told you here this time, I will use a paper tissue so you will learn how to use it for fading. You fold this paper tissue like this. And you will do the circular movements on your sketch, but without know, without any pressure. If you put pressure, it gives some oily effect. So you can use both brush or paper tissue. When you're fading the colors gives you as smooth layer. So you then do the next phase on it. The next phase of shadowing. Don't forget No pressure. 103. Adding darker colored layers: Okay. Okay. They are my friends for coloring with color pencil. You should notice the cars so good. For example, the colors that are used here, you should be able to choose them and notice them. For a year. We used ocher color and there is a little bit orange color. You see the color 283 as my hand now. So I use a little bit of orange in this part. So as I said before, you should be able to recognize the colors. So good when you're using with the color pencils. Just think this again, circular movements. Paula, chrome colored pencils have some benefits. One of them is that you can use different colors and some colors. You can use them altogether, combine them and get the color you want. You can use the classic Faber Castile colored pencil to. It has almost the same quality, but not exact of polychrome quality. And also from the range of color. The polychrome has more range of colors. That classic certainly does not have. A. For starters, it's better to use classic until you get to the level that you can use polychrome fabric castle palindromes. So I use the orange color for the parts that has a little bit of orange in them. Just like this, as you can see here. Then put too much pressure on it. Just lightly. Sanctuary. Make sure to cover all the parts. Orange color and then it's easy. Now you're doing the fading. It helps you. A, gives us the benefit that the texture of our paper won't be showing anymore. For that, for the work of colored pencil. Definitely use a cardboard. So you can do the fading easily on this kind of cardboard. Especially for sketches that are for the face or ports rate. You should definitely use. Steinbach cardboard and Fabriano cardboard has lots of textures and when you're coloring it, it's so hard to fade and cover the texture. So it will leave white spots on your sketch. This part doesn't have orange on it. It just have ocher color. So I don't integrate the orange in there. Again, we start the fading to cover the texture to make it more smooth. And before you want to start a fading, we brush or with paper tissue, makes sure that you test it before you use it on your sketch. So to see if there is any color left on them. It shouldn't be. Because if there is a color left on them, it might have a bad effect and it might ruin your work. So make sure to taste, to test them before you use them for fading. Just takes seconds. Not much. It's better than burning your work. Now with the orange. Now we use the color number 283. And again, we apply the darkness on this sketch. When we are using the darkness, we fade these edges of the darker, darker part that we did here. If you see this part, the edges, they are faded. So we're going to do the same. Our sketch. With these color up 283. We fade the edges here and we use it for the lower parts that have this color too. As I told you before, you should be sure that the tip of your pencil though, is Mary sharp, should sharpen them. Therefore, are you using them? So when we come to these edges, these parts are a bit lighter. So when we get these parts, we make the colors more pale. So it will get faded. Again. We use the black color and we drag these dark parts in here. And with the color 283 that we did before, we try to combine them together. So it will get faded, get more realistic. Again, I use the color 283. And these parts, The color, these parts too. Don't forget the circulatory movements. And these parts, we also can see that this color is used in the original picture. 104. Volume the inner part of the ear with dark colors: Okay, As I told you, my friends, we use more dark color here and little the black color. We use it again on these parts because these cars are the edges and are a little bit darker than the other parts. And again, we used the color number 283, which is kind of brown, red color is brown but also a little bit reddish. We use it to cover the edges in the parts that are dark. He used this color. Pay too much attention for the parts that we are going to give volume to it. Because with just a simplest mistake, a little mistake, it may cause that we may cause that we won't be able to make the volumes. We wanted to pay extra attention here, especially in the dark parts. And again from here. This is the inner part of the year that this bird has darkness and the brown, red kind of color, which we are applying just right now. Like this. When we come to this and we just try to fade this color into the background color. Make the color more pale. Here again too, we make a more pay low light. And we faded into the background color around these edges and this, and we do it until one color. Again, we do the fading. Wet my brush edges smooth, they fade them. The color 192. It'll just for this part. So it gives a little bit of red to work. They should be, as I said before, it should be reddish. So we use it here, right here. In these parts to this very little, no pressure. This part of the ear, as you can see here, it has darkness, right? This part. And it's the part we are doing right now. As I say it, you should be really good at recognizing the colors. So you would know it has a little bit of red into it too. We continue our coloring right up to this and back. Moving because this red color continues to the upper side as well. So we go to the like this until this edge, to this edge. Then put extra pressure on this edge. This file is actually completely dark up until this area. But we don't do the dark parts completely. We do it phase by phase, step-by-step. In this middle part, a Gatorade has some orange part that I use. For the second time. Again, I use orange here for this card and it goes chart the upside. I use the black color for here that I told you have darkness. I applied and black colors so I can get the main darkness. As In this part we have completes the dark part. And this part just gets faded. As you can see here. When it gets to these parts, address, fade the darkness into the other colors. Because the main darkness is here in this point. Now, where we got it. We try to lighten the colors towards the downside so we can fade it in a clean way and in a correct way. It gives them more realistic look. Up until here it has darkness, but in these parts, it's hail and faded. So I will lighten my color as I come towards the down. Okay. Now we're going to use color number 188. On this black color that we did a gain. We use this color on it. So it won't be completely black because the color that was used here is a dark color. And it's not completely black. It's orange, red, and brown. Like 192. It's a dark red that we used before. And now we use the color number 188, which is also, you can see the numbers here on this part of the pencil. Easily. It's not circuit on the camera, but the numbers are here. As I said, it's not completely black, so we try to blend the colors with the different colors that we use. We use the color 263 a little on this part. Because this part is a bit darker. As you can see. We are using it here. Okay? Now we do the fading again with the brush. As I told you, you can use a paper tissue EPI don't own a brush. 105. Completing the subcutaneous of work: My dear friends with the color 183. I did the background. Color, the background. It's an ocher color. And now for shading it, I use a number 187. For this part, you see this darkness here. We don't use black directly. So first we use the scholar. As I said, I did the background with ocher color. And now I'm shading on top of it with this color. You can see here. It's good, is going good. And circular movements just like before, for a dark color pencil, in colored pencil or any other artistic drought we're doing. We never use the black direct Lee. We get to it. Step-by-step, phase by phase, shaped by shade. Because this is the inner part of the ear, IDA has a darker color for making the volumes. We can use this shadings. See, this is the inner part of the year. When we make this part dark, this part's prominence will be shown in our work. So well. So we can give the volumes, the prominent parts, the curved parts. Again, I say we can do all of these just by shading. As I said before. For fainting, you can use a brush. It makes your work smooth. Setup. Now use the color number 283. It's a brown color and we use it for make our work a bit darker. So we can get to the darkness we are aiming for. A use the sprinkler here should just pay attention that it choose your colors wisely in correctly. You can rotate your work in the direction that you can work easier. We can work on it easier and you can have more focus on your work. Also, you can rotate your reef reference picture. We do a background and a base color for this part. To see which parts are darker. You say, almost up to these parts we have darkness. You can see I'm just coloring dates parts until I can cover the dark part, which is almost up to here. I come down through here. These parts are also dark. In this video, I my color subparts faster, but because I don't want to waste so much time on it, I don't want to put so much time on it. But when you are doing issue, you can give more time. It's better. Now when we get to the lower parts and the parts which are going to be faded into the lighter parts. Just lighten your color. Make it more pay land faded as you come to the down because we don't want a line appeared on our work. It depends on how the darkness go down, how long. But anyway, as you come to the point that the darkness reaches the light part, you just lighten your color a little bit, make it more pale, make it more faded, make it more realistic. In other words, Let's continue like this. 106. Adding dark colors to the earlobe: Okay, I use black color 199. And this upper part here, we use the black color, we apply it here. We slowly come to the lower parts here and this edge, again, I insist that a should sharpen your pencil. When you come to the brown color. We will lighten our black color. So it will make a dark brown color, not just black. So make it lighter. So we will have a dark brown instead of just black. When we come to the lower parts, of course. Like here, as you can see, I'm just lightening it, making it painting and blending into the brown color tone. We connect this part to this lower part here. I rotate the low bit. Here. Continue frown. This side. It's just like the parts before some circular movement. And these parts are so pale. And so light is a light black, just like this as you see, I'm using a little black just to give it a taste up to that part, to the end. And again, I use black here. Any coloring that you're doing, you should always keep your attention on the original, on the reference picture so you won't get, you won't actually apply extra shadings or extra light. If the shadings will be a little more or a little less, it will ruin your work and it won't be realistic anymore. It will be a masterpiece, which I'm sure you're gonna get. If we follow the steps. Keep coloring like this. I lighten this. I can lower and lower to this part k. Okay, then, now again, I use the brush for fading these parts. Each step we knew, we go to the next step. With fading. Now, I use 188 color again and again. I color on this dark part. Over this dark parts. Again. We did the brown color, we put the black color on top of it so we can get a dark brown. So it won't be completely black. Now we are using this color so we can get the color of our skin. They are all important. So we see she didn't forget about your skin tone. We move forward. You should look at your Pictures so you can get the shadings correctly and you will get closer and closer to the original picture you have. Because that's our final girl loving, isn't it? There is kind of a halo around this dark color of our NADH. When we're doing this, we blended with the previous color. Just flip. Like like what I'm doing here. Each color we put on top of another, we try to blend it with the previous color. You see here we're getting all the shadings we want. This way you won't have a line between our different colors. And it will be easy. And we blend the colors together with the brush. We fade them. If it needs more darkness, again, we use the black color. These upper parts, a little more black. Apparently. If your work needs anymore, you should add it to just like this. Move forward. On these edges. We got a good shading here, right? Keep going like this. I'm doing a great job. I'm sure you're doing it perfectly. Here we go. As I told you before, try to do your colorings and paintings to spit sell much patients. So you can get your mark. So you can get the best out of your work. And it would be so realistic. I use the color 191 because this is the pinkish. It's dark dirty pink. So I use this color here on this and this part as I can get the original color just as it looks. And this dark parts. So we can blend the colors together. It's really easier than it appears to show you can do this. Okay, We continue this up to this bar. That is, and here again we blend the colors. We fade the colors together with our brush. But before that, I think is still and need for dark color here. As you can see, I'm using my black color again on this part. Always look at your sketch. From above. You will recognize the parts that the more dark or need more light. We can easily notice them when you're looking at your sketch from above. Now, we want to work on this part. At the end. I use the color 187 again and apply the next row of color. Next to color 191. We use a layer of this color too. You see I said, it leads so much patients because you should do just layer by layer. And to get to the color you want is not just that, okay, use this color. It gives you the exact same one. We should use different layers of colors, different steps. To achieve the color we want. Fade it again with the brush, as I told you, fade in each step for not losing the reality of job. 107. Volume the inner part of the earlobe: I use it ocher color number 100 AD2 for continuing our work here in this part. But we make it dark, which is as likely as you see, uses color so lively on our work. Just like what I'm doing. And you can see this, this part of the ear, as you can see, has a darkness that separates the inner part from the upper part. That's what I'm doing right now. You see I'm trying to make the volumes with this coloring I'm doing here. Here you see I use a circulatory movement. I faded with a brush again. I use the color 188. So pay earlier. And when it comes to this part, I make it more dark. Darker part here, darker color here, very edges. And gave them the brush. Here. All the way down, all the way up. The color of 191 is being used here. Just a little love it. I use it a bit here to get the right color. And it has a bit of orange color. With the number 113 set. I use orange color on this part because it has a little love it. When you do it several times and you look at your picture carefully. You can easily recognize the callers and notice that, uh, what colors are being used in these parts? And which colors do you need for doing that? This ability comes from lots of practice and the way you pay attention to the picture. Now, I use the brand color 283 on this line. That is the middle line. And as we are doing the line, we drag it into our sketch. So it shows its own darkness. Need lots of practice. Lots of attention on your original picture. Hey, can I use a brush for fading these parts? Blending the colors together. Again, I use the orange color 113 because there is a little more here. And this middle part. So we'll see, I'm putting no pressure because I don't want so much of it. I just want a little on top of the other colors to get derived a scheme town. And again, as you can see, I'm not using a circle. Every movement for these parts are fading process again. As always, after each step, we have this color number, 263. And so just to express some darkness here, it's actually is putting here some spotting. Putting some darker spots in here. So light, so lightly. We don't want any trouble with this color. We don't want too much on that. Here we go. On this slide. I use my blank again. Just to complete the darkness here. On these lines. And little bit down here. Alright, then in next step, we are going to do this part based on the darkness we had here. And we can show the separation and prominence. 108. Adding color to edges and fading them: I use to color with number 183. I use it on this part. As you can see, all the way to here. And up here LL bit here to the down part. Right? We continue coloring here. And I continue coloring through this lower part here. Still using that color change to the brush for the fading of these parts. They'll look more natural. I use the color 263 for this part. Here. And here as well on this part we use it to now use it so lightly on these parts here, I don't want too much pressure on it. I will fade it with my brush again. The parts that I did, make sure that I fade, all the parts. I cover all the parts with my brush. And again like this. Again with the number 283, I use it for darkening this part here. Just among this part. Because this shows the prominent part of our work. There should be a difference between the prominence part or the carer parts. As we can see here. We use the same color for this part's a little bit around these edges. Because as I said before, we don't want any lines in our work that will be so natural. So I use it around these edges and I use the color and 188. And this part. See this part, if you pay attention. It has a prominence part here that we want to make it and show it here with the black color. It's not that hard. You should just pay extra attention to your model. I'm using the black color to show this prominence part. And alongside with it, I use this color for making it pop up. Just like this. The C. Now we have the part we wanted to. Now again, I use the color 183 for this part. 185 for having a light spot here. And also in here. So we can share a border in the middle with the light. We fill this with a brush and blend the colors together. I use brown color here. We use the same color that we used here. If you take notes about the colors. Pretty much the same colors for both parts. Okay? Continue with the coloring. As are permanently step. After each coloring, we should do the fading to make it look so Smith. Again, I use the color of 185 so we can blend the colors together and we use the color number 189. I use it a little bit for this part. It gives it a nice blending. Continue to face. Up to this part. I use this brown color again. For this bar that has a light color. I am going to use the color number 189. To see using get a little bit. This inner part in this part here, which I said was a bit lighter color 187 for making a shade here. And make a border between these two parts. So slowly whip patients. You've got this, don't worry. Just try it. And little bit of color, 185, yellow. I'm going to use it on here. You see these parts are a little bit lighter. For having these. I'm going to use an eraser. 109. Exposure with electric eraser and adding earlobe color: I'm using the eraser off mode because we don't need to turn it on. It does, because there isn't any big whiteness. Just some parts should be more white. Like hitting, spotting. Actually. Just like this, you see I'm making some spots. And if you felt that in some place there is a lighter space, you'd we'll turn on your eraser and you show that the spots on the ear heated as strongly. And you should do to smoothly, slowly, lightly because there aren't any huge spots and does parse just have little prominence that we show it like this. You see if there's a part that you mistakenly whiten, the more, No worry about it. You can revive this and make it back with your colored pencils. Again with this spotting on here too. Hello on the word, so you get the extra things off our sketch. We can work better in this way. I'm going to use the color number 188 a little on this part, near these edges, which are a little bit more red. So I'm going to use this on here. And a little bit on here, which is wider. Okay? If you see someplace that you use too much color, for example, I'm here with spotting and heating. I use and a Fourier sir. So you can take little layer of color of your painting. And again, you shouldn't use the brush to blend in all these colors and faded. And you add the color you want. Here. I'm using a little bit of color number 189, which is pink. I'm going to use it here. And little hats gets me closer to the color in the picture. I'm going to use a brush to on the parts that we use the eraser just to blend it in and make it look more natural. And this part of the ear, I'm going to do this right now. I'm using the color 183 for this bottom part for this year. Okay, again, with the circular movements, literary movement, I'm just coloring all over it. I'm going to use a little bit of color number 188. So little, so, so little of it. I'm going to use so little of it on this part here. Not, not much. Just a bit of it here, especially this part which is a bit darker. And again, with the brush, I'm going to fade. It faded all the way. I'm using then color number 182. And this part here, just the bit on here. And changing my color to 188. For darkening this part a little bit more than eight is states getting darker already. Number 183. I'm going to use it again on this part. To skin to feel this part a little bit more. It's more failed into picture, so I'm going to fill it here too. I'm going to use color number 187 on this part and may kid. And our parts. I'm going to make it darker. So it can show this border just separation so beautifully and a smoothly simultaneously with the brush, I'm going to fade this part. All right? Now, I will use color number 183 for this part. And I'm going to color this part. Just darken this part. And then Amar. 110. Volume the lower part of the ear: Okay, My dear friends, for note, taking your time so much. Before I start the video, I colored these parts with the pencil color number 183, just the same way as I did for the previous part. I completely, completely colored this Part two. Now we're going to work on it more. I'm going to use the color number 187 on here that it has more darkness. I'm just going to work on it a little bit more. Again, I'm doing it with the circular movements. As I told you before, you can rotate your sketch to work on an angle that you are more comfortable with. A little bit here. As you can see, I'm going to use a color 113, just a Lidl. And so light on this part. And just want to have a little bit of it, a little bit of orange color over here. And not too much. I'm coloring this part and the rest of this part of the ear will be colored the same way. So I'm just doing it for now. Doing this part for now. I'm using brown here on this line. Then erase this part a bit. As I told you before, you use a dove eraser for taking the layers off. So if we have too much color, we can take a layer off. Now I think here in this part we should have less color. It should be lighter. And then again with the brush, I'm going to fade this part. After a while you get used to how you can do this. I'm going to use a color number, 263, brown color for this part. Here on this line. Because it has a dark color and the dark color comes down and fades. In here, you see. Continuing with this brown color, we are going to the upside. The darkness is getting less and less. So the upper parts. Here in this part, the darkness will be less. See as we go out, we lessen the darkness. I'm going to use the color number 192. And again, I color over dark parts. I colored just right now. And the same way as we go to the upside, we make it less and less. And over here, it's more darker. I'm just going to color all over the previous one. I'm going to use the color number 188 on these edges. That again, we can come to these edges from the dark part as the way I'm doing now. So as I explained before, because I want to take less time from you, I'm just doing it with a faster pace. But when you are doing it, you should just do it more slowly and with more patients. Okay. Because our ear lobe is a bit more dark, I'm using a bit of black color. Just so little on here. It has a prominent pars here. And I'm going to show this prominent part with these shades that I'm creating. As far as we see these dark parts, we're going to use this black color, but as we go to the upside, we just make it more pale, lighter because it's just fading on the tip of the ear. For making your work look more natural. I'm going to use color 191. And again, on the top of that darkness with David, I mean, over the dark colors that we have already applied. I'm just going to call r over them. And as you can see here. Just rotate it a bit to get a better angle for coloring. I'm just papers so there's anything left on it and a faded again with the brush. And I change to the orange color. Again. Here, a bit of it here. They continue to coloring this part here. And the changing colors because I'm using the color 191 because there has been more red color and this part. So that's why I'm using red. A little bit on here more. Again, as I said before, you should just pay attention to the colors into picture. Now, this is the color number 113, because it's an orange which is more dark, and we're going to use it here. And color 187 for this part. So we ship, combine different colors to get the color we want. And this color was our base color to these parts here. I have some light parts on it that for creating them, I'm using a Dilfer Acer. This part of it and this part. And these edges. It has some light parts on it. You can also use electronic eraser for that too. Okay. For not taking too much of your time and we can make the best out of our time. We do this part. You see here, we're going to use the color 1871834. These parts as the same we did for here. We will do it for here too. So I'll do a part of it and then you should complete it. 111. Volume with bumps around the ear: All right, my friends, exactly as I colored this part, I did this part two. I'm going to rotate it. And you see this part here, look here in the picture. It has a light part here. So I'm going to teach you these parts. Again. I'm going to use color number 183 that we use so much on this work. I'm using it to color this part here to make it a little bit more dark. We keep this likeness untouched and tanked because it's exactly as we see in the picture. Now. We did orange color number 113 for this spot here. And a bit here onto tip of the ear. And again we faded with the brush. And then we use a little bit of color number 191. And these edges here just surround these edges. We should get this darkness here so we can show the prominent part which is here. So get the dark part correctly. We can show the prominent parts. It's all about a shading. Color number 188. For coloring these parts as well. The polychrome color has this option that when we use some colors on the same spot and we color over each other, day, we'll get faded into each other very well. And the blend perfectly. This is one of the benefits of polychrome color. This whiteness is a bit more so I'm just erasing dates to making it more light, to making it lighter. So I will erase these lines a bit. Forgetting the color I want. I clean the paper board with my brush. That bits of our color 187 on here and this top of this part, and faded with the brush on the paper tissue as I said before. And in color here to coloring it smoothly. And again, use the eraser to get the extra color off my work. Now I'll rotate my sketch so I can paint, color this part here. But you can do it on the angle that you are more comfortable with. I prefer this angle. So onto it like this, I'm going to use black color here because of the dark parts we have. And the parts that you think should be edited and gets better. You can do it right now. Because he shouldn't being a hairy and she just pay extra attention to the photographs so we can edit the parts which are not as day meant to be. I am failing these parts needed some editing here. Using color number 187 for this part and coloring here. We are near to the end, so it will get more and more precise. Cover all the parts here in this color. Just like this. Pressure and fading with the brush. As I told you before, You shouldn't forget to fade each part. After coloring. After each step we should do a fading. It makes it more natural. And we use the colour 283 to darken this part a bit more, right? Because we showed that prominent parts again. So we will darken this part more. Cages as ASEAN's this, we work on these lines and these edges here. You don't forget and single part. Right then. Keep coloring and fading after each other. Now, we need a bit of color 192 for this part. Now so much of it, but we need it. Dick gray color. We are going to use the gray color and bits here and here on this end, continuing to this part. So color that I use, but now are using it and fading it after coloring. Just like always, like the Calas. And reuse a color 100 AD2 again on the top of this part. And this part. Here again. Some use of death for eraser. Here. We want to embed them all lighter. So it take a layer of color off of our work by using the eraser life event. Here we are again coloring. All right? We do that this part of coloring with the number 183. And again, it's basically, it's our basic color for our skin tone. That is why mostly we use this color first for the background. Then we place other colors on top of it. The orange color number 113 is going to be used here again. A little of color 191. And again with same color, we use it at a little bit on here too. And a little of color 185. So, so little of it to us to get a shade over here. Just like this. You seeing me doing it. This little, not so much and not any pressure on it. You don't want too much of it. And they use a black color here. It should be done again. And just a little bit here it needs some more black. Some are editing the parts that we think needs more. Darkness. We shall do it. Just don't use it too much. Don't overuse it. Just enough to get there right now. I just do this up to a part, the color of the skin. I do it up to a parse. So one take so much fovea time. And you will be able to do the rest yourself. 112. subcutaneous of skin and hair: And the dark parts in here, here, and all the way down to here. I did it for not taking too much time for it. A color of your skin, for your skin tone, you can easily use the colors number 183182. This part that has a little bit darkness. I use the color number 182 for that. So you see this part is darker. So I can fade this part into my work. It should be easy. Here. It's this sense between our ear lobe and our face. Here's the space between them that we are coloring it. Here I use a bigger brush to faded faster. Then I use the color 283 days is a more, I mean, that is a darker brown. Down while we were using just so elegantly and smoothly around the ear lobe here. So the parser and these darkness, so we can cover the space between the ear and the face. We use a color to a 183 and we fade our coloring. Then it's time to use color 191 for this part. And it has a little bit more red on it. And a color number, 183 is going to be used. Here. Again. All the way through here. Because you wanted to share that this color of scan just continues through the ear and three to face. Okay. Okay. I'm going to teach you a little bit of hair to how to draw that hair. This hair that has been too much use of different colors like 183182 and 187. We just draw your tip of your pencil should be very, very sharp. To get these hair correctly. And naturally. See, I'm just drawing some lines here. Strings here, here. And just pay attention. They should be in the right direction. As you see them in your picture. You see some of them are them are going this way. Now, we use the black color which also has the tip. It has a sharp tip, can help us to come plead, leaves the hair. As easy as you see here. E, just need to not lose attention from picture. Sake, this is going to be easy in different directions. As a natural hair would go. And again, we use this color and draw more lines and strings. Between the dark ones that we already applied. Then with our eraser, we get the hair here. This is one of the use of the array so we can get Our hair done with it. Making them look more natural and more alike to the picture we have here. And again, when we do this part, exactly the same using the color 189. So way of coloring is saying the color number 183. And arrests of their work will be done with the black color. Just like this to say. So the steps are the same and the color, the colors are the same. To see if I take this tape off. We do these part of hair as the same with the other parts. And I don't do. 113. Completing the hair: Okay. The parts that you think are darker between the hair, we're going to use the color 283, which is brown. We're just going to feel these powers that you think are too dark between the hair like this. Continue to come down here. Which is AZ series, just adding some color to make it more and more and realistic. This part that connects to the ER, colored pencil number 283, darken it more. So you should always check your work that which parts should be dark and more, or which parts should have less darkness? Because both can be possible. And you should definitely check them both. That's why I say it should be constantly looking at your model for not losing touch of it. And color these parts here. Now I'm just going to fade it with a bigger brush because there is a bigger area. And I've colored so much. So I'm using a bigger brush for fading this. You can use the smaller one too if you want. I helped idea of enjoyed this tutorial and you've used the most and thank you so much and goodbye. 114. Drawing the Iris of the eye: Hello to my dearest friends. In this video, I'm going to teach you how to draw these eyes. For coloring, we use the classic fabric casts, so colored pencils. So we have already draw the sketch, and I'm going to start from the iris of the eye. Make sure that the tip of your pencil is sharp enough. We determined the white part, riches in the eye and recolor just inside of it. This completely and cohesively. The texture of the paper should not be read, kick, should not show. Right. Now when VIF color completely. He also color this part which is inside the whiteness of the eye. Now we come to the iris. See, we put no pressure on our pencil. First of all, we so lightly draw over these sketch with your black pencil. Just so lightly. Go around it. Alright. Now, we want to start about the lines which are in the iris here. Start with this. First. We just do it with the black color, but we put no pressure on it. So you start from this edge to point. Is that because we want to make it looks like a circle. It is a circle. Peaches move our hand like this. So you shouldn't do straight lines. You should make a crescent lines. So you want to show that it's a globe, it's sorry, it's a circle. So check your model so carefully. So it would be so similar to your model. When you come to this part. Because we went we were on the left side and a crescent on that the side. And when we come to this side, we just changed the direction of them. And as you can see, the curved part is again facing down side. So we've just changed the direction that the process is all the same. Now we come to this center part, just so little from the darkness you've created. It has come to the outside. So, so, so little. Alright. Now we will use the color number 349. Just as we did with the black color. We do the same with this Scholar. Just making these crescents. Because the color in her eyes is a dark blue. So we are using that redo these lines. Line. So it will, they are one piece. So carefully we should do that. So here's the point. My friends in painting and coloring and sketching. You should give it more patients and more focus. Because if not, your outcome won't be beautiful and realistic self. In any style that you're doing. That you should be just patient. And also you should pay attention to the details. Of course, these parts here are darker. But for the bank crowned. Also, just do these lines that are in the iris. Recreate them exactly as we did as we were doing. So it shows that it's a circle, not a flat line. Okay, now we should just fade this before we go any further. So I'm using a brush here for fading. Just make it look like. Here we go. Fade the inside of the eye. Okay, Then again, we continue with the black color and determine the parts which are darker. So for example, this part because it is under the eyelashes. It's just darker. Okay. On the parts that are darker lines. These parts this part is also darker almost up to this part. And this continues. So you see it's darker. Use the black color to darken it. And again, we color you will go over it. This time using the blue color number 344. We color the inside as well. There is a wide part here that say, Hey, just faded. Again, read a paper tissue. Now with our eraser. Who will just create those white parts that are exists it here in the center is a bit lighter by whiter. Now we to color 349. Again. We did this. And when we color for it, and again, redo it. C, two parts of this. I just slight light, which I'm going to create this eraser. Turn it on, then just create those two little parts. We also create this light here with the same eraser. And again, we fade it as always. After each step we fade it. 115. Completing the inner part of the eye: All right. It is still a little bit of this islet. Islet at the line of the eyelid should be done with this brown color. Number 380. You see this line? I mean, I actually above the upper eyelid with the black color. This part a, actually it's the eyelash here. The same kind of same almost up to here. This darkness has been applied. But this same black color which is still a part of darkness. So before we do the eyelashes first, we do this. This darkness is actually an eye liner. And also it's the eyelashes that are next to each other. So first we do this. It's exactly up to this part here. So I should just completely dark unit. And we fade it after coloring. All right, into this inner part of the eye. Then we go to the eyeline. Because of the eye line which is on the lower eyelid. That is blue. It actually kind of a shadow in her eye, which makes it a bit blue. Apply some of the color on it and you just faded with the brush or a tissue. You can also just fade this part which is the iris color. So you can just fade it a bit into that shadow kind. This blue color continues until here. This spot should be so, so light. You should just do it so lightly because it's thought to use a bigger brush for fading this. Here we use it. Because we just want, unless a bit of hair, blue color and not completely tenses that after each phase, you must fade your color just like this. I corner the orange color 314 for it. We use it lightly. You should just pay attention that the tip of your pencil sharp. This part should be so light. The end of it. He fainted. She should pay attention that if you search for the black color first, you should clean it, fit a paper or a paper tissue and then use it on. Now are colors like this, orange here. Now, I bet you have color to 321. Use it. So, so light for the part which is darker. Then again, he faded. Brown color number 387. It's a bit darker. This corner of the eye. Brown color. Number 376. Some parts like here that into the other colors. This part is darker. This separate. Then this upper part. And this part here. Here there is a light which we use jelly pen, my pen for it. Hey, can we use a little bit of orange color 315? Then? We create this light here. Just as easy as you've seen in the eye. As a little bit of gray color in it to 396. This part here, as it comes down, it's enough, matches enough. You don't want to motivate just a trace of gray would be cool. And a little of orange color, which is actually a reflection of this color. So, so little of color 316. And we use a paper tissue. She your choice for fading it. I feel that there should be a little bit more of darkness that I use 300 four color. As a CompStat gets lighter CM to creating a trace of the scholar. And again, cyst, as I come down, I make it lighter and lighter. Let's say you would be darker and as a layer of okay, now we go to the eyeline. We connect completely. When you've completed this part. To be cohesive. He should become exactly what I'm doing. Care. If God can complete the painting as well. All right. 116. Coloring and make volume of eyelid: Now, before we work on the eyelashes, see this upper part of the LED should be coloured. First, we use the color 314 for that. Near to the skin tone. So it came up to this part here. The tip of depends, so should be completely sharp, completely color this part here, up to here. Then we fade. It has always. After we use color 316, the tip of the pencil is sharp. I said before. It will just feel the textures of the cardboard. So it won't be shown in your work. Sketches that we wanted to be hyperreal. And we want to make him more realistic, is just details that makes it what it is and makes it Maria. So do not Harry, to not rush. And again, after coloring will faded. Then we will use to call it a 320 one. These parts, because these parts are darker when it comes to this corner of the eye. And it goes back up like this. So these parts are completely darker. And when it gets to the middle part here, and to the end, it gets lighter and lighter and it gets faded in that orange color. We see in these parts, It's just faded. Again, we use the color 314 for this part should be orange till the downside. Now with sharp eraser and clean eraser, I'm just going to create. Lights and just create some, see why Part C, create some light as a line. So it shows that it's kind of shiny. So edges light these parts here with eraser. Because we wanted to show the color brown 376, some lines under them. So it makes that white parts, the light parts to pop up. And they will show off more. Set before wherever we put. Light spots can always use dark to make them share more. One part is bit more shiny. That anchoring to use a jelly white pen for it. From making it shiny. We use a brown color number 387. And they tend to spur the spots. And also the little bit of color, 376. I'm just drawing this line. These parts are just a little darker. And as I said, is darker. See on there this islet line, I can see some darkness to supplying it. This part is a bit lighter. That a turned off eraser just to state it. Toured the upside and I can I'm fading it. Pit this brown color 376. Continue islet line. And we do it's shadings, which is the downside. See there are some lines here. The king like feigns. Just draw them. And we just do it toured the inside. Just a little bit. Use of black color here. Should be toward the inside and the outside. It's not just darkness. Now we come here at the end of our work. And I use this orange color here. It comes up to these parts here. As much as it goes to the upside. It just making it lighter. In this part, it's just so, so light. Just like this. And we color this background with this color. 117. Coloring the back of the eyelid: Okay, We continue our work, beat them the color 314 as we were using it. We completely cover this part with this color. Almost did that part. And as we go, as we move up to the app. Okay, Just making it lighter and lighter until it gets faded. So our shadings would be cohesive. We use the scholar exactly for days. And here, when we get to these biases faded, this is so important and it actually makes your work more cohesive. So it will make a good balance between the dark parts and the light parts. You want to jump from dark to the light, it won't be good. So that's why we just slowly get to the, get from the dark part to the light part. Here it's light again. It's kinda her nose and this is her eyebrow. Okay. Now we should just fade this. We'd our crash. We will do this and we make it more cohesive. But the color 316, again, we'll start from this part and renewed the same procedure for filling this part completely. Just moving my hand in circularly movements. You see I'm moving my hand and circles and little by little. I mean, I'm doing these little circles. And when we feel one per, we move on to the next one. And after you that this this it should be Fe, that just like the orange color. Again, we use a brush or a tissue for fading gets. And we color and number 321. We color this part, which is actually the final part. When the red color comes to this part here. When the tip is sharp, it did a coloring completely. So make sure that the tip is sharp. And when it comes up as same as the orange color that I've told you before. It gets faded. And it doesn't get to these parts. It's, it gets faded. I comes through the app side and it gets faded away. Do the same for this part. So I'll tell you the next phase. 118. Volume the back of the eyelid and draw the lashes: Okay. Just disappear, just shading this part toward the upside of purple color is seen here. So I'm using color 334. As we get to the upside. It gets faded. Their ship, it just a trace of these colors is should be too much of them. Okay, continues until these parts here. And then we will fade it again with a tissue and just fade it. For these parts here. I'm using color 306 scene. Then they're brown color should be used here to the AP site. And fading. Of course, after each part. For this part, we will use to color number 387. So Mike Lee. Then we have white color. We go over this part here. This part is a bit darker and for showing that the 321 color. Black color. Up to these parts here. These parts should be completely dark to fade the line. The number 318. Now, I want to do the eyelashes for you. See because it's artificial eyelash, it's not natural one. So it's too crowded. To foo. These price, they're just shorter. These parts are definitely pay attention, please. Just like a circle gets longer. Do this. Thicker that you're getting a sharpened the tip of your pen so a little and then carry on to this part. It was like this. And he have kind of a change of direction here. It's kinda similar to the things within IRS. The lines that fifth tone and IRS just sharpen our pencils. Our younger Faker. Crowded. Here is a bit more red brown color here. 119. Working on the subcutaneous of eyebrow: For continuing our work, we will use the color 337, which is a purple. Here's a trace of us here who just wanted to be too dark. Just the trace is enough to show this corner of the eye. And and let's help it. Brown color. In these parts. Yes, here. So I'm just going to create it. In this part we have bits of light that we can create the eraser. Now we go back to color 318. And we use it for in this part here. And again we fade it. Then we will work on the eyebrow for having me. You see, I'm just using some lines of DAI, well, so the tip of your pencil should be very, very sharp for it. And then the second tip is that you should use a brown color thing that kept my hand. I'm just drawing a very, very thin line. And in each direction that I went in our model. Here the same. Here you should always look at Model 2. It's really necessary so you can get the directions of the eyebrows well, okay, before retaking the rest. This brown color. I'll make a background, color background here. Then we fade it. And we do it again. In this price, there's some eyebrows doing it as a background because after we fade it, we should redo the brass. Pay attention to the direction of the eyebrow. Chain, the basic work for it. All right. We use the orange color from beneath and throw it. Brand color number 387. We go back to the eyebrows and we fade it again. This time we use 380 brown color. And we use the color and we use the color 376 LFO. Now, the purple color 334. I'm using it just a bit around it. The color 325. And this part here. Now we're just doing so our background color would be dark. Now we use our brown color. I'm just going to sharpen it a bit. 120. Completing the eyebrows and subcutaneous of forehead: So we do the rest of the work. Now we page 376 color her actually drawing these lines for the eyebrow again, as I said before, you should continuously check your lines. We DEA model. So day would be so similar and it will look natural and look like Sam arch. To defer to the direction neuron should be exactly as your model. Some parts are bit darker that we use, but color on them later. He and just crank these lines every year and that these lines should be completely cohesive. Looks like take along one eyebrow and of course the tip of your pen size should be very sharp for your eyebrows to look. Because you are drawing some sharp lines here. Now the part stash are darker. Have some lines between them with our black color. These parts are a bit darker for me just to put any pressure on their hands because the main color of hair is actually brown notes black. I'm just emphasizing some dark parts more. Now that I a brand is filled like this. And just sharpening my pencil, needs some more of that here. Pay extra attention to it. Because the shape of your eyebrow can change with these lines. Now we want to color the top of the eyebrow. I'm going to use color 387. So, so lightly because this part here is light. The top part is light. You shouldn't put any pressure on your pencil. You start from this corner. And so smoothly. Off course, these parts have some white parts, some light. But later with eraser or a jelly pen, we create them. I just worry about this part. And as much as you work on the details here, work gets better. As it hits this part. It gets slider. Now with the paper tissue. I'm just going to fade it a little. Try to use a clean paper tissue for here because these parts are white. We just faded and drag that faded shape and colors through the four word. And I'm just using a bit of color 300113. I'm going to use it here. Just says there's a same way as did for the previous one. You just stood says so slowly. Now. So light and so wind. Come forward up to these spots here. And we fade it. We purple that we have applied here. Okay. You know, pay impaired tissue and clean paper tissue. We did a fading again. This helps your work to look more cohesive, also more realistic and natural. Now I want to create this light parts which are above her lead eyelid. This eraser. We turn it on and do some spots here. I actually spotting them. When you use this eraser. Be so careful. Because just rotates and effect is so much made just ruining the area you want if it goes too much. So please, please, to speak careful with it. You need some small dots and small lines here. So the sparse to spill out the eyebrow. They should all be more light. When it gets to these and pass him pots. He really gets like that's spots. And these part spat art. Think I gosh, has all four here. Clean it because I want them to show themselves better. We use the 380 brown color and just around these white or light parts. Trying some on there, then it will look more and more natural. And some lines. Of course, there is a wrinkle in her. I led that I'm showing you with this color to Columbia College should be very, very sharp. Please pay attention to this because so, so important. Because we want to fade It's a little bit the brush, just so live liberty, no hand pressure on our brush all over it to fade it. I feel that in that part we need a little bit of red, so we use the color 318 for that. K-mer doing fine to coloring with this red. Here. Now we use SEC brown color 387 for this bottom of the eyebrow. So first we use it and then we will just faded. Two are down because we don't want any. I showed we don't want too much what the sunlight being seen between them. Or in this case. Now we use this color 380 to apply some new lines. Definitely should first look at your model. Then add these. It's actually a dashed lines that faded. Just draw, drawing them back again. Okay. Now we come to this part on their eye. We use this 344 blue color for coloring this inside part of amine here. We'd add definitely, definitely sharp pencil that so many times. But suddenly because it's so important to this corner, to this end, this color is being continued, making it a bit darker. He is the color 350, 1, 2 range is surrounded ever it. And let's have a bit of black color should be going on that. 121. Creating blue colors under the eyes: So for this bottom part here, and use the color 344, which is a blue. And we use it, choose to write on there this part. And the rest of it, I will work with the color 349 because it suits it better. This color just makes more sense for this. As I'm comparing it to the model. See all over it. We kind of faded at the end. So it's just like what I'm doing here really comes today. And the rest of the parts should be colored completely. This part comes up as you see. So this part will be just faded. The dark part is up to that corner of the eye. And here would be just like kind of faded. Okay. Then we use that color flip 351, making it darker. Color 344 furniture that stark in these lower parts a bit more. For getting the volume of this part on there. Her I just darken these parts a bit darker just to get the correct volume that we want. Then we use the black color over this part because here our darker, these parts are darker. Beautiful. Anyway. Just a bit here. And here. Learn parts should be more dark when using a bit of black over here. And this line and getting faded into the blue part. As I said, we can get to correct volume under her eye because I want to show even its prominent or it's not, it's curved and other things. Anyway. Again, we use the color 349 blue for this part because this is our main color. Somehow. We don't want it to look black or anything like that. The parts that are needed issued to use this color again. Now, with our jelly pen, we're going to add details in here because it has a lot of it. So we do it with so much focus. 122. Creating textures under the eyes and lower eyelashes: Okay, see, I've colored this part and I'm going to dry the eyelashes from this lower part because that is the inside of the eye actually. Pay attention that do the eyelashes just right. Each design it has pages and do it as it ends. Sometimes they are interests to stick together and sometimes they're not. Okay. Now we're going to do the lightest spots. First read that, the eraser and k. So I'm just using my sharp eraser. And these parts here between the eyelashes, these parts that are actually the connection between the flesh and the inner pair part of the eye. These parts also have some white spots that we are just supplying with it. Sam, it's more in these parts. And we even have light that is kinda like a line. So as much as we can, we apply them with our eraser. Then I'm just going to faint this part a little. And then after that we are gently pen. We just apply the parts which are actually even lighter than that. So we just show it like that. It will just shared sophomore. When we do this. So we do these glide parts between the eyelashes. I'm just going to apply it with my pen right here. Now if you feel that there is any lighter parts or any darker part two, you will apply it for India pan media eraser or with the append. So you can do all of these editing here. Should continuously edit your work in. Compare it to the photo you have, or the motto. Right? Now. For the inside of the eye. I feel like we can add some more blue. So little c m just using, so, so little bit careful with that. And I'm just going to fade it and until toward the inside. A little bit use of color 300, 18. And then we the tissue or brush. I'm just going to fade them and blend them all together. And is a little of color 318 for this inner part, for this inner corner of the eye as well, because it's just a little bit darker in these areas. Then I'll use the black color on that tab. And blue color for this lower part. You see this red color. Just get faded a little. And the color of the skin just do the same way as they did for the above the eye. I'm going to use color 387. Just so lightly dragging it here. 123. Completing the texture of eye: Alright, and this blue color that is on here, for just adjusting it to this, can we try to faded from here to down? Just subtly dealt with no wanted to drag too much down. And we use the color 351 as well. So it would get darker. So it wouldn't be just Saddam me. I just wanted to blend in London to the skin as a nutshell, eye shadow will go on your skin. And we fade this part too. And now we do the fainting part with a tissue or a brush. So, so slowly, slowly and it just blends in. This part is a bit darker. I'm using this darker blue on it. Darken it, gets a bit too much. Of course. You see we can do it with the black color to, in literary movements. What can we do? We can apply these wrinkles which are actually under her, I say M to so slowly and it's still showing these wrinkles. It doesn't go too much downside. It's more in the blue part here is mostly in the blue part. So first I'm just showing them with the black color, showing these wrinkles. And again with the color 344, which is dark in it a little bit more. And we can fade their exact color toward the outside and inside. We don't want to trace a line on it. You know what I mean? Now, I'm using my eraser for this bar, Just lightening them. And then we will fade. But this ending part here at the corner, it is still dark. Dark in it. A little bit more. First we did the black. Then we did the blue parts that are a bit darker. We use this 344 color. Okay, Now, we want to work on the color of our skin. I'm using this part here, which is students so light and put pressure on our pencil. Thank you, Zachary apps in this end here. So in this part here, whereas lighter is better. I just want to connect this to the part beneath it is that we've used before. And we tried to fade this collar. Two are down. And then paper tissue blend them all together. Fading them easily. Just like this. And we will work on some lines which are on it. We sharpen this completely. Thank you. First, apply Bayes lights. These parts here. You can clearly see them in your photo and applying them. I just Queen my cart book with the brush. And this part has shaped things that we just want to apply them on the skin. They just lines here. The tip of the pencil should be completely, completely, completely sharp. Otherwise you'll end up with a very bad and thick line this direction. And as you can see it here, and actually some lines on the skin, veins maybe. All right, on to sketching here. And you can see their notes, a straight wages feel paths between them. And then we'd use of our white pen. They put some light between these lines that we had applied. You see when you place here in between. You can also use the eraser. All you gotta do is to sharpen your eraser, turn it on and slight parts here. And as I said, just between the lines that have already made you have already created a clean my current board or at my gosh, because these lines are a little bit darker, are going to use column number 329. The lines of this orange bit darker. So I'm going to use this color over them. Make them show more. Try to keep the light that you have created. A white parts between your lines. This bird here is almost. These parts are a bit darker when we come to this side here. So my pen, again are between the lines. This corner of the eye has also some white and my words refer using the eraser. I should fainted. Now. Breathe. Eraser. Turned on. We just determine here the area of this white. We're just making it a color 392, just darken this part here. I use a brown color number 370 for this part over here. And we fade it. And then again we'd the razor sharp eraser here. Perfect. Ensure that you are doing a great job. Okay. We are going to the rest of the work. 124. Subcutaneous of nose: Okay, I am going to use color 387, which is actually kind of a light brown. And I start coloring here. So lightly. So light from here. And I color this part completely. We actually going to do that. We need a very sharp tip and completely slowly with no pressure to append. So up to this part B, this area, I color it completely. So we have a background color in order to apply other different colors on it. So I've colored it completely with that color. And then read a paper tissue, we're just going to fade it but written no pressure because we don't want it to be to get sleepy and oily. So it No pressure refined it. Now with the color 313, we are going to cover this part, which is her nose, where the sharp tip, which is cholerae, tore it down. Don't put too much pressure on it. You should have a smooth color. We darken this part. So it will get a kind of pinkish color. And a little bit of color. 360 is going to be used. But before that, we just have to fake this part here a little bit. After we use it. We use it a little bit in here too. Just as much as we get a trace of this spot. This part at the end, it needs a bit of more color. So the rest will be here, which should not be colored yet. This spot in this corner on this edge, e is this color for it. We have just faded a little tour and side. So the ship B is stable line here. Again, we use the color 300 for this part, which is a bit darker. This but like this should be colored. And let's be careful when you're using a paper tissue. Don't use a part that is colored. So if you use a Iran gets any stains on your work. We use the scholar 316 for a year two. This part again, that's a bit of brown color and number 387 for this part, that is a bit darker and it comes down. Each color that you see. In this picture, in this model, you can use it. Even if it's a trace. Choose your colors wisely. Is the brown color for these parts too. This parts here a bit more red. So I'm using this color just a little bit over here. We just faded and then we use the brown color number 376 for this edge here. This edge actually go and connect to our eyebrow of the other eye. I use the brush here, but it doesn't marry can use a tissue as well. And that's a bit of color. 330. You just wanna use it over here with 316. He is it for this upper pause here. And we faded after each part. We're just going to fade it. So it's just dark in this part. The tip here a little bit more. It's kinda enough for a year. 125. Completing the skin color of the nose and forehead: So we're just going to color these fights so lightly with this color. Cohesive lake in completely colored this part except here, which has a bit of light and standard white. So you just column. I've colored here and as we've done before, and I fade it. Now, we use this color 330. And again, we'll start coloring from this area up to The Rat Park. As we go up. They just make it lighter. Exactly above her eyebrow. Now, a bit of color 325 is going to be used on here, this spot, just as a trace of color 329. So we come to this. 126. Draw the eyelid from three quarter view: Okay, my friends, the iris of the left eye is exactly as same as that one. And I did the eyeline to now. We want to work on the shading on her islet. It's similar to what we've done. I'm using the color 314. We just sharpen the tip of it completely. Now. 316. Sharpening this parent over here exactly as we did for the other. We are going to do this part as well. It has a little bit difference from that. The difference is it has more light here. So I will use a bit of color 321, the color 387, which is a brown. I'm just going to use it a little for this spar. And a little bit of brown color 376. So this spot darker. Toward downside. It's fading. Firstly, they reduce whitening. You put some light. Our y emphasize on parts which are more shiny. Liner. 127. Coloring the upper part of eyelid: And we came to this as we did for the other eye. First, color 316, and we start with it. And recolor this part here, up to here, shading completely and it gets faded as we go down. And when it gets to this part, it just gets faded. Because here has just some brown color. And read tissue. We faded our 314 color for this part. I'm going to use the black color here. This line. True. As we can. We just try to fade it in this part here. And then brown color. Using the brown color. Here, it's completely Brown. As we go down. Keep coloring brown. The brown color. Now, 380, we use it. Exactly like this. To remove. Now here again, we use a black color because it's darker. Just too much pressure on your pencil. We don't want it to come out. 376. Applying different colors after so many steps of coloring. Just fading these parts here. We use the color number 318, our final color. I'm going to use a bit of color 392 far here. 128. Complementary stage of textures and eyebrows: Okay, my friends, I've colored this part of the eye. It's the same as the other colored the skin. I've used the brand color number 387 for the background, and then I used 330 over it. And then a bit of color 327. The procedure is again the same for the both eyes. I did the eyelashes, the eye shadow, and everything was the same. So I did it to save time. This part have a little bit of light, which is use some line. We just use it to create some lines. And now with this color, this pen, we will put white or lighter spots between those lines. Some more light. It should just do that. A lot of attention and focus. And as I said before, if you pay more attention to the details, here works, just get better and better. The light parts continually to here. And it just been drawn a little downside to this part. And just do it. In this part. We just got spatter it a bit more. Not as close as the other part. But again, we just do it with spotting. And if you put if you put in some places than you needed to be lighter. I've said it before. You can just put your finger on them and wrap them in. It will get lighter. And there is a line inside of her eye. As same as here you see. It's actually kind of a reflection in her eye. Reflection of light. In this part. They're just some kind of hair on her face that I'm going to show it. So leave it this pen. I don't want it to be so emphasize, so just lightly keep it light. And as you do it, you just wrap your finger on it. This part looks better. And just do it a little faded. Read a paper tissue or a brush because we don't want them to be seen too much. Then we go to the eyebrow. I ended the background coloring of the IRA dress like the other one. And now we. Do the hair on the eyebrow with the use of color number 376, but should be completely, completely sharp. Try to do the hair as exactly as you see it in your photo. This part is completely failed to brown color. Number 380. Do some lines with that color which we sharpen for these dark parts here. All right. Now with an eraser, first we sharpen our acid eraser and some lines which will have some kind of shine on them. Who create them? And this eyebrow. And I just do the background color. Brown again because the eyebrow. And then we will use the eraser again to parse that, have lighten them with a brush or a paper tissue, we will fade them. Just sell off 330 for this part. This part is a bit lighter. So eraser 334, this part too. Just a little bit of it. With the paper tissue. We fade this part here. Because you've used colored pencil. And you have layers of color on top of each other. You can use a cutter to actually create a hair here. You can use any kind of car. Just be careful with it. But it will do to Merck. And this part also. So we use brown color between it, so it would be seen. Our work is almost complete. If you felt that software needs to be detailed more, you can always do it. As I said, even after finishing, you can detail some parts. So at the end would check the whole picture and whenever. And this is needed. We're just gonna do that. For example. They can just make the eyebrow little bit wider and thicker. They use brown color 387. I just feel it's a bit thicker. So I'm doing this. First you should get at with this. And then you overdo it with black color over it. Black. I think it's enough. Always look at your sketch. From a feather. Weight, the column number 378. To need to work on the spot a little bit more. Well, just gotta work. And the iris just want to fade this edge more. As a circle like that. We try to lighten the edge so it will get a kind of faded. And you can fade it with a brush or a tissue, your choice, totally. So this part here. So I guess we're done here. And yes, we are finishing. Came my dear friends. This is our final job and I hope you enjoyed it. 129. Starting subcutaneous of lip and cherry: Hello, my dear friends. We are going to work on this lip. I did primary sketch for you and I've actually kinda erase it when my eraser. Now I'm going to color the background with the polychrome 192, which is kind of a reddish brown. I start from the lower lip and I've sketched all the details for the lips. So when I'm coloring, I would know which parts are darker and which parts are lighter. I'll take my pencil from the middle and you see this part, outer edge of the lip is lighter and this inner part of the lip is darker. But for this light part, we need to color like this, like going and coming back. So it will keep a trace border between the dark part and the light part of the lip. If you went to the dark side of the lip, it's okay. But be careful not to go inside of the light part of the lip. Just like this. This coming and going. I tried to keep it light. The coloring shipping line, just like this guy said, if you went into the inner nt which is dark, it's okay but try to keep the light parts light and don't go in them. Now we are going to the part of a part that it should be more red. The background color should be read. So you just lower your head pressure to just leave a trace of this color and slowly gets faded. That part's background color should be read. Just like this. The cages like this sushi color all over the parse it needs. Which is these parts, these parts of the cherry and this part of the upper lip, the inner parts of the upper lip, color them and then we'll come back. 130. Continue subcutaneous of lip and put the shape of its texture: Okay. After I've applied the background color with a 219, I start coloring on the par set. I had my previous color. So just like this and, and as the same direction as my previous color. So that means my coloring direction has not been changed. And as you can see, the movement, my hand is just going and coming back because I wanted to have volume, this lip should have volume. And in order to do that, I should see these prominence part here are the curved parts. So when you want to do this, you can do it and these directions, it doesn't give any volume to the Leap. You should color it in the direction of that. In the direction of the prominence part. Actually, it's like looks like a Chris and Sam just going into that direction for coloring as well. So let's just go all over the price that I think colored. Just like this. First we start with light layers and then read the repetition of the layers. We will darken now color. So it's just repeating of the layers and colorings. Just like this. Okay? You see all of my coloring is all in the same direction. The texture of coloring is, aim is actually so effective on volume being the thing you are coloring. The texture of it is important direction that you color. Usually when you look at the lip, you can see this middle line, which is actually the longest part of the lip, is lighter. So then we want to get that light in the middle. You see, you just guide your hand from the bottom to the middle. But you should get it in throwing off. You see, at the end I just throw my hand off of the paper. So this part gets slider. And from the top, I will go from the inside, I will come to the inside. Actually, This makes that these parts, these lines will end the, will meet each other at the end, which is the center of the lip. And the same parts we will get a light line. But you should pay attention that you should keep the same distance between your lines or they should cover each other. Because if you see, if I don't keep that this stance or I don't cover it, you will have separate lines that is not good. So do the lines as the way that you want to cover each other. They should cover each other. Do the lines like that. So it won't let any white parts or light parts between them are empty parts. You see, I just want to do it's lighter. I'll take my pencil from the middle. And whenever I want it to be darker, I will take my pencil near to the end of it, to the tip of that. Actually. You color the whole lik just like this. This is for the lower lip and for the upper lip is just the same way. From the bottom. You come to the center and from the top you come to the center again, you come downside. And the upper loop is the same to the lower, but it has less light parts or prominence part than that. Just these parts are darker and these parts are lighter. It doesn't have something light line like the lower lip. And for coloring this part, you will completely rotate your work because this part is lighter and is wider. So you should put the tip of your pencil on the dark parts and move toward the lighter parts. Just like this. For coloring this part, I will take my pencil in the middle or near to the end of it because here, I don't need my pencil to leave any traces or lines like the parts on the leap. With just circles. I will go over the previous colors. Pay attention that as we come from the outer edge to the center, I will lower my hand pressure. You see from here I'm lowering my hand pressure. Just like this. Like this. Okay. You will do this same process with the same color for all of the lip. 131. Texture and volume of lip: Okay. Now that I've did backgrounding be 219, now I'm going with the colored 263. I will work on these shadings on the upper lip here and these dark parts over here. So I'm just going to add them with this color. For doing these shadings, it's very important that we're in what direction the lights come froms and where you should do the shading. For example, you see this line. This part has shading on it a little and rest is light and it has shading again. So you should pay attention, where are you shading? Because if you don't, it won't get it, you won't get the correct volume actually. For the parts that are so dark, you can also use black color for them. But again, I say you should pay attention to your picture and the direction of light so you will get the shadings in their correct places. So elegantly I will just draw some small circles next to each other for doing the shadings for these parts because they are dark colors. I'm using this color. And then after that, I will use black color. Just as the border. I don't go over the parts that I've colored is a very, very small circles. The border, That's it. I know are going inside of my color. Just like this. Some parts, these to be lightened more. You can use your eraser or cutter for that parts and erase them. Because they are, you know, sharp. Just like this. We should apply dark color over here as well. Tried to go forward as much as you can in the direction of your model. You should keep track of your picture or your model. You see just so little icon from the border up to this part. And when I get to these parts, you should just lower your hand pressure. This makes that your black color won't be just abrupt at suddenly. So I just come solely to the inside. So light will keep it for real, keep it like this for now. And after you've finished, you can edit it at the end. Because we shouldn't get all the dark and things at once. We should compare them to the light parts as well. And as we complete our work, they will make more sense. So at the end you can just edit it. Again. This is enough for now with our Cutter C, because it has a very, very sharp tip. You should then work with it like this. So I will take it from the middle and we then angle. I will put my tip, sharp tip on my cardboard and not to horizontal, not to vertical. You should do it like this. This millimeters of the colors should be on your cardboard because if you take it the other way, it might actually cut your cardboard or tear it apart or not placing the light parts as well. And very, very good to light. And you can use your background color again for fainting that. So don't worry about some parts being too light. For getting too light. You can always make it up your colors. I will show you also the use of eraser. But the tip of your eraser should be very, very sharp. You see like this, It's sharpen from one side. It's not correct to get it from two sides, you should always sharpen your eraser from one side. Now, from this sharp edge, I will put it on my work. And just so lightly in smoothly, I will erase some parts that should be lighter. This eraser will be used and good for the light parts that are more faded. You see like these parts, you see these parts are lighter. This erasers for a good for these, but color is better for these lines which are so thin and toward upside. These can be created by the eraser, so you should use your cutter for them. But the eraser is good for the parts that are planar. Like the price I've shown you. Again, I'm going with this small circles because this upper part is still dark. And the I should still apply detailed parts here. As much as I can. I will keep the parts that should that are light. I just keep them light. But the parts like these upper parts that are dark but has some light lines on it or like parts on it. You can use cutter or eraser for them. But the course I normally light by themselves. We're just going to leave them. This part because it gets a connects to the fruit, should be darker. Because the shadow of the fruit will be appear on our lip and gives it actually prominence look. Prominence are now with our black color. And just using black so, so lightly am actually have engaged not on the paper because I don't want it to be so dark, so black. Sometimes some parts needs to be dark and more dense. I will add them at the end of my work. You see how this part GOT volume? Always. When you want to create a volume, you should keep the combination of your colors and the percentage of how much you use them. Because the wrinkles are so much to say because you are doing a hyperreal car in, because you're doing a hyperreal work, that you need to get all of the details. But you should add all of the details here. But and that's all of them. I mean, as much as you can. And as you see, you should apply these details and lines because we want to get this lip like, you know, realistic because if you add extra These, your sketch will get out of its natural order. So you should add details to your work depending on your model and compatible to your sketch in model. So it shouldn't be like You don't apply 50 or 60 percent of the details now it shouldn't be like that. But try not to add extra details on that. We don't know all of them just want enough to make realistic and natural. So be careful about that one. Each one of them needs a different way of shading. As you can see. As far as I see the details, I will add them to my work. Just like this. Just like this, I will work on the rest of the upper lip because the rest is the same like this. 132. Continue the texture of the upper lip: Okay. After I've done the darker shadings for my upper lip, now we get to the part that we should actually apply the light shadings with my cutter or my eraser. I've done some of them before now we will work on the rest of them. Because this lip is so dark, you should always put something under your hand for working so the par study of colored won't be spattered. I want to work on these parts that have a wider light parts. Now I will add them with my wide parts of the eraser. White edge of the erase or not the sharp one. Because I want them to be small. I want the stains on spots to be a small. I'll just have my pen pressure increased. So I'll get the light parts. But if I light line, I will use this side edge of my eraser. But if I want to use these, want to have this light spots here, I'll use that part of the eraser. Now. I want to create a light line near to the dark shading. So I will turn my eraser and I will use it from the side. And if my dark line was erased, I will use my pencil again and I will actually go over it. Making it correct, make it up. So don't worry about the colors. Good to be erased. Because wherever we do that, because we're taking off the layers of the texture. You can use your color on it again. Some parts needs to be lighter. Just like this. You see, if you go on by the sketch in your model, you will not miss or lose any parts. As you can see, I'm dragging my hand from the outer edge, stored inside. Just like this. The point in coloring your lip is the direction of the shadings that are applying near to these lines as are being implied meaning to these lines, just like this. So you should be aware that which direction these shadings is going to be applied in. Where are the light parts and where the dark parts near to that shape. Now, I have some light lines over here. So it should be more darkened in this Part. C. While working, I would just figured that that background should be darker. No problem. I will darken it more. Okay, now, I want to use, I want to draw very thin lines. I'll use cutter. Never use this. Sharp edges of the cut are never used this point of it, the tip of the color. And it's for the part with so many layers of color and it will just get the layer of the cardboard off of it. I'll use this part so I won't hurt my cardboard or my color. So this part is dark and I just have white line before this. Behind this actually. So I will not create my line on the dark parts. I will get it behind the dark parts. I will use this side of the color. So I would not hurt my cardboard texture or my colorings. Just like this. I insist again, do not use the tip of the arrow color. Is it? This is the darkness of our DRM black line, and this is the light line next to it. Just like this. Some parts that I need sharper lightnings, the cutter for them for working on this upper lip because it has more wrinkles. It needs more patients and it needs more time. So try to work with more patients because it has so many wrinkles on it. Next to the thicker lines like this that have shading from both sides. Do not get a Sony or to the dark parts because it shouldn't have any sharp lines. See little by little, I will take off my color. You see, I literally got this Kudrin my hand from the end of it. So you should not put any pressure on it or else it will actually hurts your cardboard or your coloring. So no hand pressure and using it so lightly. And the benefit of it is that the cutter won't make it completely white. So a trace of your background color aids at the end of it, at the under of it. So it will get a better light than when you use your eraser for doing it. Because as I said in leaves, a trace of your background color. It is a still light. So two birds, one stone. Let's see, I'm working the side of the line. It's very important that you should pay attention to that that enrich direction you are placing the lines and shadings because d is actually these lines are the things that make your work with volume and a make your work more realistic. This part should be lighter, which I'm doing, I think just like this. So I don't get all of the dark parts. Just some porous needs to be lightened. Just add some light on its prominent parts. See some parts are too light. Now we're down to 117. I will just go over them and make the colors up again. I will not cover all the light parts that I've created, just the parts that are too light. I'll do the shading over these parts. Could, shouldn't be actually darker. Just like this. Okay, here that I've created some white lines with the same pencil in your hand. Color next to the white lines. There sides. Tried to tried to keep them tip of your pencil so sharp because we are just coloring some really, really thin lines next to the wide lines. Some parts should be dark and more than that, I'm using black for them. You see these parts. I'm just having it's so likely and so thin. So you just a very, very thin line for making the shadows. Sorry for making the shadings. Because it's the actually end up the lip and it's darker. You see the shadings that I'm applying. I am drunk, small circles and I'm fading them. Just next to the lines. It's something like this. You say like a triangle. It should just shade it and leave it next to the line. Okay. Some white lines added from the outside here. For lightening it. I go over the same spot over and over. And if it was to, we collaborate again. I go back to my black again. And the next time, I'm just coloring next to these white lines. Because some parts might have being faded or erased. Well, I'll just make up them again. Now. We 263. Just like this. I'm using the tip of my pencil because I need some narrow and thin lines here. I want him to be colored and darkened. Don't lose sight of your model. For keeping your work. Write up the track. Despite this, this part should be dark and more that I will use my black for it. Again. Connect more. Just like this. I mean, in the same way I will work on the whole upper lip. You see I'm just creating a small spots and dots. So you will go to the rest of the leaf just like this. Applying the dark parts and light parts. 133. Creating the upper lip lights with white pen: I finished my work with my eraser and then I've applied the white shading so it my white gel pen, you see, it's just a small. What should we do when I want to apply these here? I will take my jelly pen from the middle. Because if I take it from near the top tip, it will just like pencil. It will apply more color you see. And you should use this side of it more. You should not use strictly the tip of it. And it gives it too much color that it doesn't make our outcome look better. So, because I want to apply a little enlight kind of color. You see these parts have still the red background color. You see these parts are sharp white that I've used the front of my pencil tip, pen tip, sorry. So I will take the pen from the side of it and in the middle of it. Then you want to use I or jelly pen. You should first try it on another paper. You see you when I want to apply these spots, I'll take it from the side so it will leave a background color behind my white parts. I just touched the cardboard. I don't put any hand pressure. Just touching it is enough because I don't want too much color. When you use jelly pen on your colored pencil. After sometime that you've applying it, the tip of your pen should is going to be dried. So you will take the color off of your tip, you'll try it on another paper as well. And again, you're good to go. The parts that I can see are here and I will shake them. Okay, some parts here should be done again. And they should be more emphasized. Of course these and left that I should work on that too. But first I'm just going to finish up here. Then I'll do the rest. I'm just looking at my sketch carefully. And because this is the jelly pen, and if you make a mistake it will get arrays, so hardly. So it's better not to make any mistakes. So pay attention to your mother. You see I'm just doing this so small and over the parts between the par says between the light parts that I created before. So as I get to the side, I even take my pen from further so I can create even lighter parts. Just like this. See, I should try it again. Okay. He shouldn't get too much lines here. You see, I just wanted like this. Now pressure. It shouldn't be. To emphasize here. See I put any pressure on that. Just a little. Brightness of these parts are less. All right. Just looks shiny. Now, another point about Jelly pen is that the parse that you thought are too light. You see, for example, this part is too light. Here. First I'll take my white pencil and before it gets dried to see I'm just spattering. Get it got cut. You should do it only with your white pencil. So it won't get any shading on the background of your pet. Just like this. Whenever I feel that the anchor of the pen is coming too much out of it. I'll take my pen from the middle in my hand. A lesson. It, it will make it less actual. Great. All right, We are almost done here. Now I work on the parse that should gets wider and make them more white. Just completing these parts. Just like this, it will look like this at the end of this phase, of course. 134. Finish the upper lip and start the subcutaneous of the lower lip texture: After we've finished with the upper lip, the lower lip, and using the color 263 that we've used for the dark bars for the upper lip. And we use it for shading the darkness. In these parts as well. The rain kills and Laura labor are less than the upper one, but it has more texture. That should be created with only coloring. So I won't color just in one piece. Some parts should be darker, sound parts should be lighter. But I pay attention to this part here at the bottom. That's the cohesiveness of the dark parts here are more. So the distance between the dark paintings I'm applying should be less. And as I come to the side, I would lower my hand pressure. This is one line. And when I want to do the shadings, I will consider a straight line. And as it goes this way, it gets, it gets lighter. Just like this. Kay? Just like this, you will go all over the lip and shade the dark parts. Some parts that the dark parts are wider. I will take my pencil like this and using this side of my pencil for creating those spots. Just like here. Let's see. I'm still doing it part by part, not in one piece. And then continuously. Okay. You should use more black on these parts, so make them even darker. Just like this. And now it's also the same for these other parts. So I will, I will rotate my work so I can get a better angle for coloring. So this part is the same. I will use the side of my pencil for creating these shades over here. Just like this. So it's the same process, applying it over this side of the lip as well. And now I will go for the bottom of the lip, this bar, it should be dark and much more than it already is. Just going over it. See movement of my hand is just like going and coming back because I don't want any borders or any separate lines here. So I'm using this way. We'll drag the color to the inside and I will lower my hand pressure as well in the same time. Just like this. So after that you have used this color completely. For this side of our lip. I'm using 217 color and I'll make my work more red. And I also applied on the dark parts so the depth of it will get more. And a whole work will look more red, which is exactly what we want. Just like this. Just like this, you will cover all the lower lip with these two colors and we come back for the light shadings. 135. Finish the subcutaneous of lower and volume the textures: I came after we've completed the background color, I've applied some black color over here and do the darker shadings. S3 as the upper lip, I will shade next to the lines and be careful that in what direction it has the shadings or light. In this way, you can make these lines prominent. Because at the direction of the light and the shading has been created after that is very important and effective on our shading direction. This part has also, so that has also have some details. And it's up to you that how much of these details you want to place in your work. Some of the lines should be darkens, but you should just dried so likely to the upside, but the bottom of it can be darker so we can just increase our hand pressure. But as we go up, you should just lower your hand pressure as you get to the center of the lip. Just like this. And k dn, dt of them lines will meet the shading of the bottom of the lip. Just this middle part is a little bit darker, but the upside of it and the downside is red. As I get near to this part, my lines will get last, but I should still have my dark shading. See i've I've decreased my hand pressure. The shadings for this lower lip, they don't have too much black color like the upper lip. Use a brown color or very dark threats for the Spark mostly. Now I will use a dark red 225. And you can also use the very dark red of classic series, of course, shades next to the line. This red will be used in the parts that are so dark. Let's say this part, I will just shade the middle of it and later with some dark lines like this. Now with the cutter, just like the last time, we're just going to create some lines next to these lines over here. But that difference that here, these lines should be really, really thin arrests and smaller. And I'm using the tip of my cutoff for that. I just place light shading next to the dark lines so it will make them pop up. All right. Now that you can use a cutter and also add some disorganized lightest stains in spots. So it will look more real for that, I will use the white part of the cutter. Mean this part, the side part. And you can place the cutter in your hand near to the tip of it. And as you can see, I'm just creating some spots here. I'm just actually creating a background, preparing a background so that later on can use my jelly pen, white gel pen to create very, very light shadings. Just like this. We have some lines are horizontal. To cite this. See, I'm not just showing everything in my model, just adding a, for example, the most of the details. If you have done this before, if you have worked on a lip before and placed all details for it. So you will have a background of lip and its details. And you can do better if you work on the lips that have more details on them like this one. Better in your next jobs. And your next sketches. We will be easier for you. It's sang, practice more and achieve more. I'm using this and creating these lines over here. We're just going to be almost done here, just some details on here. Great. Skip going. Make sure that you get these fights correct. Now we go for the jelly pen and adding very light shading. 136. Creating the lower lip lights with white pen: Okay, Now we want to work on our light shadings with our jelly white pen for the lower lip. Just like what we did on the upper lip. And the same rules apply here. Just be careful. And that rich place you're going to place them. After each time. Using gates, I will clean the tip of my pen. So I would have clear lines, more clear lines. You see this part has gone to light and to white. And as it's still wet, you can take up some of the ink. It can scratch it with your cutter while it's still wet. So if it got too wide, you can use that. Like to apply all the details. So am I sketch will look much more natural and realistic. You see, actually this is my lights. One line. As I get down, I will just lower my hand pressure and I'm just touching the cardboard with my pen and just dragging it all the way. So good the smaller shadings and better, better ones. Of course. Just like this. Just like this. Like this, you will apply all these white parts on your lower lip. 137. Adding darkness to show the volume of lip better : I finished my work with my white gel pen and I'm going to use 219 color again. And using this pencil. And I will shade around the saints and spots that I've created with my jelly pen. Just don't spatter discolored too much just next to the white parts that you've created. I'm just doing some shading so it can show that around them we have this depth. It's real gravity, great volume. And with this, these white parts will actually shine more. They will look more shiny. And some parts you should go over, it gets kind of pinky. See, there's a line between that time using it for that that part. Because as you can see in model, this parts are faded, so I'm just doing the same. So wherever you wanted to fade these parts, you should just go over them with a little bit of your color. Now I've sharpened tip of my pencil so I can add details very good. For the parts that you need it to be darker, you can use 263 color for this part's okay. It's better. Just like this. I'm just adding some more darker shades. Now that the shapes that you've created radio or white pen is not correct. After it got dry, do you can use your cutter to take them off? I'm just going under these parts so thin. These parts should have a pink layer on them because they are, why, but not as much as the other parts are white and sharp. C, So despise should get more faded. So they need a pink layer of this color I'm using for it. Just like this. Some parts here. So much darker. So you can use your black color for that. You see there is a thin, very, very thin line here. And for creating that, I will use this kind of texture. If that has a line, I'm creating these very, very small circles. Remember, do not draw a line. Create the line with those very small circles. Just like this. Now as enough that color and I'm using my red again. Just alongside these parts here. We say a just make some more realistic. This upper part should be darker. Also here is detailing and editing. Will give your OUT. Come a great, great look. If you actually be patient and put time for it, the outcome will be exquisite. And I'm sure you all can do this. Just needs a bit of patients. I know it gets some frustrated sometimes, but this is painting mean this is love. Needs time. These parts should have shadings beneath them. Here we go. And don't forget about these corners over here because they're as important as the other parts. I'm going to use my cutter alleles on these parts here. Just going to take some white out of them, off of them. Actually. Here we go. I'm going to use the side of my pencil for here because I want a texture that is not cohesive. As some parts should be darker or some pies should be lighter. If I want that texture to come out, I will take my pencil from the side and I will use the side of it. That will make some parts slide here and the other one's darker. You can use your eraser. So if didn't have 0 tip, you can use direct and cut it. So it will give you a sharp edge, sharp tip. But I've got a 0. So I'm going to use it. And I'm going to use it on these parts. I will just put my hand a little and take it off immediately. I don't push it too much. I don't drag it. Ok. And now I will use my red color 219 and I'm using the side of it for color, kind of these white parts here that I've created using my eraser again. Remember to turn it on. Don't forget that of course. Turn it on and just hitting these parts, touching these parts. There are some so little, little textures. And also you can use cutter for these parts as well. But I'm using this eraser. So you can use a cutter, a mole 0, or this electronic eraser. It depends on you that which one you can work with. More comfortable. Just like this. Okay. Now, but I'm looking at it from afar and from the top. Parts should be dark in more. I will rotate my work and I use color 263 for darkening this bottom part even more, but I will just drag my hand so, so, so lightly to the upside and don't worry, the light parts we've created, they won't get erased. They won't get all colored. But depending on the color I'm using, I mean, compatible to that day will going to be lighter or darker. So don't worry. Even if you went on the parts that you've created with your jelly pen, don't worry, you can use your Delhi pen again to create them if they are lost. But don't worry, nothing is going to be ruined just like this. So I will use my jelly pen to create all that white parts again. 138. Finish lip work and start working on cherries: Okay, so I'm done with my lips now. I'm going to do cherry. I used color 263 and 219 for the background color of cherry. The dark parts were 263 and the light parts 219. Now with the color 188, I'm going to color the central of the cherry because this has some kind of orange brownish theme here. So I'm just going to use this color for a year. Just like this. Only these middle parts. C, and I'm just going around this center. The lips and this cherry have also to kinda same theme and range of the colors. So I'm going to use the same colors that I've used for the lips, for the Cherry as well. Almost. They had the same rate range. Sorry, not completely. See, I've colored on that direction and now I'm coloring in this direction. It, it kinda likes the texture of the fabric. Now, this helped me to get feel this white parts and empty parts here and the cardboard. So I'm just coloring in both directions. Just like this. The important part in coloring this is that when you want to color in different directions and you don't have the permission and to go some of this in this, some of this in this direction, some in the other. And you want to go color this part. Use it to the end, you see, use the same direction to the end and start over with another direction. So don't go part by part. If you want to color apart, is you start with a direction, finish it, then you start in another connection and finish it again. This will give you a great, great texture and fields all the empty and white parts. This is not correct. If you go some of it like this direction, some of it in another direction. Now it's just wrong. You should coloring in one direction. And when you've finished your part, now you are allowed to change the direction of your pencil. In this way it will get even more beautiful and better. Just like this. Just like this. I think this is enough as much as I will do that. More white parts will be filled. Now I'm using the color 217, which is a little bit more darker for the darker parts like that. I'm going to use it. Pay attention that how I'm using this. You see, I'm just having small circles here. So using a different way for this, I'm using a small circles. Because from here on, you have to call our part by part, because the main shadings will come into your work. You cannot just color it all at once. There are some parts that are just exactly like live like this PARCC. These are white. These parts is, it is our light. These are allied, these outer edge. For this, I'm just coloring inside of it. But anyway, if you've covered all of that, you can use erasers and you can clean them and erase them and you can just shade beneath them. That's exactly what I'm doing now. I'm just coloring it. And when I've used my cutter, our eraser, I will shake beneath the part sets. I've created my white parts, light parts better say. Okay. So. This far as we have also a light lightening. I would not go into this part so much because I want to use my eraser. If, if I use it too much on this, I will have to use a cutter. So when the layers of your color are less, you can use your eraser on them to erase them for getting the texture you want. But when the layers of your color is too much, you should use cutter set to skip over these parts. Color the shadings, thanks to this light parts. Just like this. All the parts you see, these lower parts are too dark. So I will, I will use black or brown or another dark color in the field. These parts, if I feel these parts with this color, actually, I will feel all the empty places here. And when it's filled, I want to add the next color. I will miss a problem. I will have a problem because that won't go on my cardboard well. So we will look at my model and I see which parts I can use this color on. Very well. So be careful with that. Don't go into the dark parts or the light parts. There won't be a border between these two parts. Don't don't worry. Just like this. See, as I go in that direction, I lower my hand pressure but not too much because we have to feel these cars, we darker pencils. Just like this. I will color the whole cherry and come back. 139. Make volume of Cherries : Yeah, you should use color 263 for the parts that needs to be darkened. Be careful from now on we're doing the details. So pay attention that you should know color all parts, just some parts that need to be darkened. Just like this. On the border here. So slowly. I will fade. The border site just right next to it. And yeah, like this, this pi should be darkened. So because of that, I will use this color for create a background before I use my black color on it. Because this part is so dark. Just like this. This part should be done as well. Just getting darker already. These details should be, you should just add these details until the end. Okay. Very good here You're doing great. Skip down and get I think it's enough. Yeah, I'm going to use my black color and color these dark, very, very dark parts here. First you will use it to slowly and lightly, and little by little. You will darken this more. Just like this. So little by little, you add a hand pressure on that. You will darken it more. You don't want to apply it all suddenly. See as you can see, I'm holding my pencil from the end of it. Just working on this very, very beautiful and delicious cherry. I love cherries by doing. Okay. And remember, wherever you need to make it more dark, you should not put pressure on your pencil. You should just add to the layers of color. Never forget it. My friends. Because it's a black color. If you have it too much or you have a put pressure on it, it's going to be hard to correct it them. So we will redo all the colors that we've done on this cherry until the all parts are filled and Cherry would have colored. 140. Adding shadows and also creating the cherry stalks: Okay, Now that we've colored the background of our cherry, we want to work on the stick of it. Wishes start from here. I'm starting with 263, and I will begin to shade a dark color. In here you see very, very small circles next to each other. It's not all that hard. And a little part here. See from the out, I'll drag it to the inside because the spattering of it is through the inside and the out part is more sharp. Also, this part circles next to each other, in each other. Actually. This part is actually darker too. Alright? Now we take our cutter and we add our details. You see, I'm using the side of the cutter, not the tip of it. Just like this and take off the color of your work. Do not put any pressure. Reduce want to take up some of the color. So lightly. Just like this. If you put pressure on this, you will just scratched the texture of your cardboard. So that's why I'm saying she didn't say you shouldn't put any pressure on it. Because you just want to take the layer of the color of the texture of the cardboard. Because actually the thickness of your coloring is even less than one millimeter. That's why you should not even put any pressure on the cutter. Just to take the color off. To select this K. Rotated under my hand side, I will get better angle and use the tip of the color. Let's see. I'm just touching it. No pressure. After some minutes, after some time, you should, you must actually clean and clear them tip of your cutter. So the parts you have to cough would not get into the other parts. Now I will use my pencil for the part says should be dark in amine to ask next to the light parts right beneath them. As I told you before, the type parts of the cherry and lip all is done by the color 263. So if I don't say it, it means it's debt. I'm using the color 219 and faint, faded end of this white part here. You see this part should be whiten more. But I've used my 219 to fade the end of it. Okay. If the color layers are munch when you want to clean it and erase it, and the color is the best tool for that. But if the layers are not that too much and our light, you should use your eraser for that and it's easier for you. Because when your layers are getting more, the eraser would not work as it should be. So the color is a better choice for you, of course. Oh, okay, here we go. I will darken these parts again. And all around these edges. Don't forget the small circles. I will use a blank color and it's L. And I will take the pencil in my hand from the end. So because I don't want too much of this color. Next to the stick in stem should be dark and a bit more. And also these outer edge of it here, a little behind this shade that we've created with our color is sigma. So I will take a little of it with my color. Here we go. Using my black again, all of these parts do not lose sight of your model as well. You see, I'm just putting my picture under my sketch so I can compare them continuously. Now. After we use the cutter, the parts that should be even lighter should be done with this electronic eraser. Again, I will not put my erasing too much on my sketch because I need some of the background color, some of my background color and needed so I'm not putting my eraser actually on the sketch too much. Just holding it in the air, a little touching, just touching my sketch here, just like this. And I start coloring angle these parts. Now. I'm going to use color 288, which has a yellow base. I'm just using it here and spattering get here so little of it. Then you can use a dark gray color. It's better to use a warm base, but 141. Adding details and lights: Okay, I'll use the gray color number 272. A little on these outer edges. Some of it here. Just like this. Alright? Iq, use the black itself. But you should take depend saw from the end and you should use it very, very lightly. Just like I'm doing. You see now next to this part here, you should use the color 263 and shade it. I don't go over it. I'm shading next to it so it will make it more prominent. Also beneath it. The side of the line is dark and as I come down as I come out, I lower my hand pressure so it will get faded. Okay. I rotate my sketch and I'm going to use a little bit of blank again because the shadings needed to be pointing outside. So I should have, I had to rotate my sketch to get a good angle for creating these shadings. Just a little over these parts. And the shadings that I've created, I go over it so lightly, so little. Don't push too much of it. I rotate my sketch again. Because I want to work on these parts here. And just throw off my hand at the end of it. So it will get off the cardboard cake. Because I don't want any borders to be created. I don't want any step back separate lines here. Then going back to this color, need to use a too little on here again. And a little down here. Just like this. Just a little on the outer edge. And that would do. You can use your jelly white pen for these light part, which is actually white in the center. It's going in a place, I think it's almost here. Use my pen over here to create those white parts. I will clean the tip of my pen. Color, stick on it. And I will go on again. Actually, I'm just getting the outer border first. And then I will color inside of it cohesively. One piece. There's some lines in our work. We can just cohesively color them in one piece and then use your cutter for creating them better. We can do this of k just like this. Little here over the air. Same like our primary skill. That we do not create all of the details. Just like this. Now start filling it. 142. Completing the light and darkness of the cherry with light and dark colors and cutter: Okay, I've covered all the parse bit, my jelly pen, and I used color 219, so lightly here, so it will get a little more pink here. Now I'm using my pastel pencil color, which is white. And I'm using it over here, which will actually give it a nice texture here. And because we've used eraser before, now we can use this. But if you had used so many layers of color, you cannot use this pesto because it will slip away from the work. But because we used eraser here, we can use it now. I will just clean my pencils tip because I don't want any red lift on it. Now because this part is completely white and we don't want it to be colored. I come from outside to the inside to just fade the border that was created here. Just like this. Because the layers of colors where light here. It's easy to color. This part with our pastel pencil. It's, it's given it a nice texture as you can see. I use it a little on here, but it doesn't have any major effect. I'm just doing it for not creating a border. You see, if I move my hand like this from the dark part, it will get it from the light part. But if I use my hand like this from outside, the list color will be add ane to the light part. Now we need a dark color 263. You can also redo this part. So lightly redo it. And I could use it a little on here too. The part that I have used an eraser. And go back to my dark color again. After I use the past cell, I will add this dark line. Before. You hadn't done this. Before you use your pustule, you shouldn't have drawn this line. Because if you do it after, if you use pasta on the line, it will just get faded and it will color the light part. But you should draw the line after you did the PESTEL think. Use the color 192. I'm used to getting my pencil from the end of it for this part because I want a very light color here. Okay? Now with our past slow pencil, it go to the bottom of the cherry because we need to use it a little on here. I just clean the tip of my pencil. Just like this. You say. I used a little red in here before. And you see what color is turning to because our Pat pass. So Pencil, this part has been pink. And you can use your eraser with a sharp tip for creating a very, very thin line over here. On this pink side. I left the cutter and the parts of here should be done with it. I should create a stain here a little. Now with grey. Work on it, it gray. Another thing that you can do for getting a nice texture for cherry is that you can use a pencil fader. That you can have it from the market. It has a little poor quality, but it's good for here, it has a more reasonable price. And you can also use prisma. Prisma, fade our pencil. Say I'm taking it, it, this is Prisma. And I've sharpened its tip. And then I start to work in on it. It will take away the texture and it gives you a very good texture. When you're using this, you shouldn't put any pressure on your hand and you should be sure that after this, you will not use any color. So if you want to use color after that, the quality of the color won't be the same as the first. It gives you a very, very bad texture. So I'm sure that I'm not going to use any color on this chair anymore. So I'm using my texture. So sorry, I'm using my fader to get the textures right where I want them. Undress, smooth, thin it, it's making it looking so smooth, just like this. Because it kind of feels all the textures of the cardboard. Just like this. As we feel all the white parts of board see at this end edges and have a movement of coming and going. So get a good light part here. Just like this. The white parts because it will just take them away. We'll erase them. Just in the circle, move. In circular movements. I will straighten these outer edges of here. Just like this. I will use a little of this. I will drag a little bit of this dark color to the light part. So it will get a fade border between my dark side. So the chair is almost done and the stick of it is less, the sick of it is left. That you can use a very, very light green like 200, five. Or you can use yellow. But before I color it, because these colors are black, that these lines are black and I want to use a very, very light color. These lines should be erased or very lightened. Now I take this color 205, as I said before, it's a very, very light green and I start coloring with it. Now I'm using color 182 for this part, which is a little darker. So, so lightly. I'm using my 219 for this very little part that has a kind of a red color in it. I'm using the green color. 173 degrees are also, I mean, the similar colors are also existed in the classic theories of the pencil. So you can use some kind of grains and clasts six series as well. And I'm using again the color 182. A little. I'm going to use it a little on the greenstick. Here. Just like this. We can use the color 263. I mean, there when you use this color on this background, it will actually create a kind of brown color. So I'm using it. Again. With this green color. I will shade this part because it's so little. I don't have any place for editing relate. Now much. Now it can work on these parts. Just like this. Now. You can use this, pass the white pencil and go over these six. You say it's still just Fe to color on it? Just like this. And it's almost done. Yes. Okay. 143. Starting the subcutaneous of tongue : Now, for coloring inside of her mouth, I use the color 131 for the background color, which I did before. But I'm just going over it once more to making it a little bit darker. So I will add next shadings. This part should, should be left glider. So I'll take my pencil from the end of it and I will go over it. More likely. After you've used this, you will go to the color 219. And from this top, we start applying these small circles next to each other. The parts that should be more dark end, I will not use this color for them. Is a different color for that. Be careful that when you're using this color, some some parts should still have that pink color of the background. So I will not use this color over all places. I'm just using it over some parts, just like this. And as you can see, just follow my hand. And of course you can see it in your picture as well. Since you're watching this study, just better to follow me. As I go to the center. I will decrease my hand pressure so the color will be faded. In the middle of her tongue, which has more shading. It's kind of a triangle that is getting the shadings from the inside, not outside. You see the direction of the shading is toward the inside of this triangle like this. For the tongue, we're also going to use the same range of colors that we've used for the cherry and the lips. Okay. Now, use a little color 217, which is actually more red, brownish. I start using it for the parts that are darker. Because this color, it has a kind of brown brown base. It's kinda like an ocher color. I'm using it and the price with and needs to be a bit more pinkish rich. Are these parts. See? So I'm using it so, so lightly. For the darker parts of the tongue, I will use the color red, 192, and 263. Like this. Color, little by little, step-by-step to feel the layers and we'll get the color of the tongue. Now, I will use the color 192 for the gut and tonk. I do that black part at the end so it would not put any strain on air. Other parts of the tongue. You don't want any extra color of that. You know, just like this. I will use all the colors that I've told you and I will just make this tongue darker. I will just add these colors layer by layer and one by one. All the colors that I've told you. I'll complete the tongue. 144. Make volume of tongue : Okay, I have almost completed the background here now, I'm doing this part. We'd color 189. I'm shading these parts. I, I used a little bit of a 132 for that very light part. But now I'm using this color for here shading this part. I've colored this part with the ones I've told you by still needs to get more darken. Like this. We'll put collars layer by layer on top of each other and a blend together using a little bit of 263, which is darker. I'll take the pencil in my hand by the side of it. Because I want to get a good texture on here. Just kinda spotting. So I'm using the side of my pencil for applying these shadings over here. Just like this. These parts should get black. Because of that. I'll just give it a light background with this color and here, so it would not make a separate line in between the black and this part. So I'm just giving it a kind of a background color with this color. This part needs a little bit more red, which I'm using 219 for it. Just like this. Be careful with this shading in the center of the tongue because the direction of it actually shows the direction of the tongue. So this phi should get faded. Be really careful about the directions of your coloring in these parts. Just like this as you can see. Now, I will take 263 in my hand again for coloring these parts around the cherry. Because these bars need to be darkened. Here the colors are blended. So I'll use my eraser, that a sharp edge for that. Okay? And again, so easily problem. Okay, we get back to our work. These parts needs to be darkened again. Just like this. Be careful as we proceed in these parts. They should get lighter. And these middle parts, this color doesn't work anyway anymore. So I'll use black a little. And again, I'm using my 131 for these empty parts and sharp parts, and I will just fade them. To select this. I'll take the color 132, then use it over these parts again. Okay. And now we use the color 217. I'll take my pencil from this side of it to just add some very thin lines here like veins in a just like this as you can see. First I will use this red color and then I will go over all these parts with black. I'll apart that I'm creating with this thread. I'll go over them with my black. Just the same way. See white dots and spots on my tongue. There are kind of still pink. Which is why I'm going to use my eraser for it because they are faded and they are light, but there's still have kind of a pink color in them. So the jelly pen is not good for here. Unless there are some parts that are completely white, which I am going to use jelly pamper them. Those parts. Now I'm using 192 for this part here. A bit darker border that was created here. Okay, now we get back. After this. We get back to our eraser, electronic eraser for creating the y to suggest that certain Halley, pay attention. You shouldn't just put it to my turn your paper or cardboard. Take it in the air. Right. Just adding these parts here until we've got all of them. We continue like this. Okay. Pay attention that when you using your electronic eraser and there is needed that you shade up beneath these white spots here. Here's 132 for this. It's okay. We're just doing the same thing that we did for these darker spots. Just shading around the light parts. Just beneath the spots that you've created. If you shade it a little. You can also get that spotted and dotted texture of the surface of the tongue. Just like this. And be sure that the tip of your pencil, it should be very, very sharp because it's not, you can get good spots here. Just like this we will just got and all the rest of the texture of the tongue. 145. Adding lights to tongue: Okay, After I've used eraser and these parts, I used my jelly pen for departure, way or way more light. And after that, my Delhi Penn got dried. I used like color 131 for getting these some of these parts more pink. So just take off that too much whiteness out of it. Somewhere around it should be more pink. Okay, like this. I will use my black color for a start for coloring the inside of my mouth. So this part is curved. Okay, because that word is prominent. So I will rotate my work so my hand will get minimum touch with my work, and I will get the correct angle. I will take my pencil from the end of it and I start creating these small circles here. To select this, you'll see I'm just doing it part by part because I don't want all parts to get a black color just at the end of it, which has a kind of V-shape that I'm using my black color for creating that. C because the other part is more prominent. The shading will be on this side. I took my pencil from the side of it so I can use the side of it. Saying I'm not putting the tip of my pencil on it. Shading, I'm using it so, so lightly. This side of it. I start from the outside, coming to the inside. Just like this. And I start making by color from these parts. Just like this. Color, all of this black and I come back. 146. Creating the darkness inside of the mouth and make volume of it : Okay, So I've darken this part. I make the black, but first, I should call her my teeth first because I don't want them to get dirty or black. And then I will do the rest of black color. I see kind of a bluish color on the teeth set. I'm using color 146, which is a very, very light blue. You can use purple, a very light purple of the classic series, and a very, very, very light blue. It will also give you the color. I'll use this color so lightly on my teeth because you just feel a trace of it on your teeth? Not your teeth. I mean has sketches teeth. Okay. So M to C using it a little bit on these. So lightly. Just like this. The parts that are white, you can use your eraser or jelly pen on them so be comfortable. You can call her all over the teeth. Now, after I did that, I feel like I am seeing a creamy color on the top of it, which I'm using the color 132 for that. So lightly I will just drag my hand from the top to the bottom and lower my hand pressure. I'm doing that just like this. Now. You will use the color 179 because as a kind of brown with a yellow base on the teeth. So I'm using this color for it. Do not put too much of this color on it because it has a very yellow theme. Now we will also use the color 230 two, which is a gray with a yellow base. You can also do it with the light gray of the classic series. Using this. And just drag it over the parts that I've used the brown on. Okay. That part's just like this. Because a reflection of the lip, a cherry and tonk, is also on which I am using color 188 for that. And I'm just applying it only for these parts. So lightly. Just as a reflection. Like this. Use blue again. Haven't done so much layers. You can use your PESTEL light pencil. Make sure that the tip of it is clean. And you start to blend all of these colors together and whiten your teeth. If there is a white pass though, near your hand. And you're doing with colored pencil. I gave you a gray texture for you. I will do the same for the other tooth. 147. Work on the teeth and continue to add more shading to it: Okay, So if gleam completed the teeth with the colors, I also use a bit of color 176 for making them darker. These parts still need some more. But i've I did them. I've done them. We did the colors that I've told you. And after I've colored them, I used my white pastel colored pencil all over them. Just needs a little bit here. Not very clean teeth, are they? Because the shadow of the slip and Cherry has been on the tooth, you can use colored 263 for darkening. This part. Does like this, or maybe the hard clean teeth, but there's lots of shadings and shadows on them. Now. Well, we use our eraser and create the parts that should be lighter. And we do the shadings. These leverages an attorney to be some y to saints here. You can turn off your eraser and create them. You can also use mole 0 for creating these spots over here. No difference. Okay. I'll use the color gray 232 again. On this part from the outer edge of the tooth, I will come to the inside of it. Now with black. I start and create these lines beneath these teeth. You should make sure that the tip of your pencil is sharp enough, which is very sharp. Just like this. Here we go. Where you felt that after you this part with black, you can use a color 263 again and use it on these parts again. Can I was just saying that whenever you felt tip of your pencil is not sharp, you can always sharpen it again. Now with the color 176. After I colored this and this is showing to me, and I saw the difference. Now. So little puts a shading, so, so, so lightly. And the top of this tooth over here. Say, when you apply other colors, you'll see the difference. That's why I say always you can edit your work until the end. Needs a little bit of this, blue, more like this. And we switch to black again. And the other two teeth at the bottom. Just the same way as we did these two same colors as same procedure. Unless the same. The part that you need to be darkened. You should always uses dark colors over each other. It means you shouldn't just dark and then only by black. Now, I will use my color 263 as I told you before. And you see the difference in coloring. Now you see, it seems like the darkness got deeper. Just like this. Some parts of the work is done. These parts are just starting to show. If there is any editing. We will show just like this. And after this layer is done, again, I will go with black. 148. Creating the subcutaneous of skin: With the color 132. I just did a very background color for this. As I'm saying, the model, I'm using 102, which is a lime yellow on here, but I'm just doing it so lightly without any hand pressure. Just like this one to get this skin tone correctly. Just want to have a cohesive color of the hair. This yellow is very light and bright and make sure that you should not put so much of it. Because it's very light. It may not be very visible for you in the video, but I'll explain it to you. As you can see, I'm taking my pencil from the end of it, meaning that I don't want too much yellow color to be added to this up to this part is enough. Now, with the color 187189, we will just add all the shadings that you can see here. This is skin that I'm saying. You should just do the most of the shadings with this color I'm holding now. Using 189 for just in some depth of the shade. This has a darker line, which we should use brown for it. Yet. We should use it later. So just think this is getting the skin tone. I'm just coloring so lightly because I'm coloring actually a scan and I shouldn't pressure my pencil too much. Just like this. Heel color all the way up to here. With these two colors. 149. Creating the skin colors: And k. So I've colored up to this part, as I told you. Now, this is the skin color Lira series pencils. And these are just big pencils. This is a usual, these are big pencils. And if you really want to continue this major, I will really advise you to get this 12 pack of it. It's so useful. Actually, you can say these are more financial. It's better for your financial. Now. If you didn't have been, have this colors, you can also use it 132 for these parts. But because I want to put up the pace, I'm just going to use this. The covering of this on a cardboard is very good and also the variation of the colors. See all these 12 colors that it has. The polychrome series doesn't have to see how faster it gets colored. Because my pencil is bigger and these are just useful pencils. I use a little bit of lime yellow in here. Okay. I want to do the shadings here beneath the lip. You can use a color 188 for the background of this shading. So I will put this under my sketch and my hands so I will see what color and where I'm applying this. Just like this. 150. Creating a little darkness and texture under the lips: Keep using this color right beneath this lower lip here. I should rotate my sketch so I can get a good angle for coloring. Remember that next to this line. The shading color is darker as I get down to center. The shading should be lighter, so I will control my head pressure. And these parts is a ban near to the line. Next to the line, my hand pressure is high and as I get down, I will lower it. And also color this part. Say this shading almost here gets to a very thin line. Transfer to a thin line. You see this is actually under the chin, so it has a prominent part. It has a curved part. So you should remember to color in this direction. So you will show that this is a Chen and it's permanent. And slowly from here to the upside, it should lower your hand pressure so and intensity of the color would be less. We get back to the chair. We apply this color. You can use the color 176 that we've used before. And use it for this part. Here. This start shading. First, we will apply it lightly and then slowly we will darken it. And this work has actually almost have the same range of colors in all the parts of it. It had a limited color variation as the work that we've done before. I mean, opposite of them. So very, very light trace of this color here. So it gets a border between this light part. And then we move on. We apply other colors, and then we get back to this color and darken it. Because I don't want to apply the dark color. Just right now. Okay. Everything's good so far. I'm sure. Just don't lose attention. Okay. I feel a little bit of red color that I'm applying get with the color 190 to apply the scholar here as well. You see I'm just saying small circles but do not put so much pressure on it because this is a very dark color. And we just want a trace of red color over here. Like this. We use all these three colors. So we will shade this part. Elizabeth of color 187, again, just some little of it. All right. So lightly because this but should be more prominent and more lighter. So I will apply a lighter. So it will complete this path with these colors. 151. Completing skin color and drawing the finger and nail form: So I did the shadings of all these lower parts completely. Now I'm using the color 186. And I will give a yellow orange theme for and as part, I use the same color for these shadings here as I used for the lower lip. I mean beneath the lower lip. And I added a little bit of color 179 to it. Like this. Okay. Now we come to this upper part. Now again as the same way I did and that side. And start coloring from here. Just like this. I'm just applying a background color. So it's not important that Sadat, important that what kind of texture I'm applying. Let's just enough that is kind of a cohesive texture that will do the work for now. I will rotate my sketch so as always, I can get a better ago. As we come to this VD and our colors should be lighter. You should pay attention here. So I will color the sparse, slowly. K and little 179 on this parts. Smokey of brownish or even God's kind of olive. Theme. Here. He can show does shadings of face. But this color, which is a very, very useful color, you can show it easily with it. You see this mistake. It looks like it's been faded a little. It's got lighter. So I will use the same color here again. Phosphoric yellow. I think I got it. And that her skin. Be careful that we should add the layers one by one. And slowly. You should use a little of color 189. Rotate to sketch. Aside from here. Here, I actually see em bays of brown and pink. That's why I'm using this color here. Just like this. We call these parts for the parts that are darker. I'm using the brown 176. I take the pencil from the end of it. So lightly, just drag it on my cardboard, which you should do as well. Now use a little of 188. We added just a little. And here you see, I'm just adding the layers one by one. Just like this. Just like this, I will add the colors and I will call cover this part. 152. Completing the skin and finger: Okay. With the pencils that I've shared here, I did the same for this parts and you can see it's almost done. I colored the fingernail and for the skin, I use the color 132 189131. And the work is done.