Transcripts
1. Introduction: What I love about color
pencils is how vibrant and highly detailed the
drawings with them can be. But because of this, people often feel overwhelmed at the idea of
drawing with them. I want to show you today
that actually if you follow some fundamental
rules and methods, you can easily make
some beautiful art. My name is Gemma Chambers
and I've been making art videos and art
tutorials since 2020. My YouTube channel has
helped thousands of people improve their
drawing skills. But today on Skillshare, I want to take that
a step further. I've written this course with the main goal that
it is completely beginner friendly so if you know absolutely nothing,
that is fine. I'm going to cover
everything from the essential
materials you'll need, the main core techniques, and general method for
completing a drawing, and then we can go about
actually drawing something. We're going to draw an apple. Let's get started.
2. Class Project - Drawing An Apple: The class project is going
to be to draw this apple. I've picked this because
it's relatively simple. You don't need to worry about
building up any texture. It will use all of the methods I'll teach you in this course. I also think it looks
nice and vibrant, so it'd be a good
one to practice. I will teach you all of the skills you'll
need to create this, including how to
make the sketch. But if you get stuck
with any of this, I have included some
sketch outlines in the class resources. I've also included all of the specific colors
that I've used. Don't forget when you've done
your project to upload it, I would love to see
what you've made.
3. Materials For Colored Pencil Drawing: Let's start off by talking about the materials
you'll need both to start with colored
pencil drawings and to complete this course. Now the most obvious
material that you'll need is colored pencils, and it's up to you on
what you buy for this. You could go for a
professional grade like Prismacolor or Polychromos. Alternatively, you
can still make decent art with something
cheaper like Crayola. One thing that you should
bear in mind is that the cheaper pencils
over time might fade. So if you're planning on putting your artwork up on the
wall or selling it, you want to go for maybe more of the professional
type of pencils. For this course, I'll
be using Prismacolor. Now although pencils are
important, in my opinion, they aren't as
important as the paper. Using the wrong paper versus
the right paper will make a bigger difference
to the drawing than using cheap pencils
versus professional. I always recommend to
use Bristol board. It's my personal
favorite type of paper. It's nice and smooth, so easy to control where the
pencils are going, and you can also build up
a decent amount of it. If you try and use
something like printer paper or sketch paper, you're just not able to
control the color pencils in the same way or build up
as much of the color. I'll explain a little
bit more about what I mean with that later
on in the course. Now another thing you'll
need is a pencil sharpener. I personally have
the Swordfish Ikon, but you don't need a pencil
sharpener as fancy as this, although there are
pencil sharpeners that are much fancier than this. Anything that gets
your pencils into a nice sharp point
is what you need. You can use a cheap
pencil sharpener like this and it will work fine. The next material
I highly recommend is to buy a Gelly Roll pen. These are really
good for putting bright white details over
the top of color pencils. It covers over it really nicely. It makes life 10 times easier
than it otherwise would be. You'll see a little bit later
how I go about using this. Now the next material isn't actually something you can buy, this is something that
you'll need to make. I am talking about
color swatches. Now, one of the major
sticking points that people have is that they don't know what the
color pencil is going to look like on the paper. So it's hard to work
out which color you need if you don't know
what they look like. To solve this, I draw out all of the pencils that are in my
set on a piece of paper, the paper that I will
actually draw on. So this would be Bristol board. I tend to be quite
neat about it. I draw out a grid and then shade one color at a time going from as light as
I can make each pencil to as dark as I can
make each pencil and then I label it. You don't have to do
it as neat as this, as long as you can see
what they look like, that's really all that matters. I tend to do this
in rainbow order. I like to have all of
my yellows together, all of my reds together. Again, I find that that
makes my life easier and you'll see why I
do this a bit later. Now I can't stress how
important these swatches are. They are definitely worth
the time of creating them. I have a set of swatches for my Polychromos pencils that
I drew about two years ago, and I'm still using
the same sheet now. So it's not something that
needs doing frequently. Now the last material that
you'll need for this course is some way of looking
at the reference photo. All of my drawings I do, I work from a reference. I personally always load
the reference photo onto my iPad and then I can
zoom in and draw from that. Of course, you don't have
to draw from an iPad, you could look at
it on your phone or you could print
out the reference. You'll need a set of pencils, the right paper, a pencil
sharpener, a Gelly Roll pen, you need to have all of
your swatches drawn out, and some way of looking
at the reference. Next up, let's have
a look at some of the basic techniques
you will need to know.
4. The Key Basic Techniques: Let's talk about some of the fundamental techniques
that you'll need to know. There are a number of different techniques
that can be used, but there is one method that I use in every single
color pencil drawing. This is layering. Layering is where you go in gradually with the pencil very, very lightly, rather than
just pressing really hard. It basically enables you
to mix colors together. Unlike with painting,
for example, all of your mixing
with color pencils basically needs to
happen on the paper. What's actually happening
is let's imagine that we have a nice
smooth sheet of paper. If you were to
look at that sheet of paper under a microscope, it wouldn't actually be smooth. You'd see a number
of little bumps. When you lightly apply
pencil over the top of this, little spots of pigment from the pencil gets
lodged in the bumps. You can see this happening when you put down a light
layer of pencil. You can see little white
spots showing through. If you apply a different
color over the top of that, more pigment goes
down in the gaps and eventually it will fill up
the tooth of this paper. There's a number of reasons
that you would use layering. Maybe because you want to
mix two colors together or maybe if you
want to transition from one color to another. If you're drawing
realistic objects, this is going to be
really important. Now we understand
why we need to layer the colors and go in
lightly with the pencil. Let's talk about how we do that. One thing that will make life easier if you're wanting to press lightly
with the pencil, is to hold it further back
than you would usually. I tend to hold my pencils
back here and what that does is it stops you from
being able to press too hard. If you're holding it
right by the tip, then you have to have a
lot more pencil control, whereas you literally can't press hard if you're
holding it back here. You also want to make sure that your pencil is nice and sharp. You won't be able to
control the pencil as easily and it
won't be able to fill in the tooth of the paper
as well if it's not sharp. I sharpen my pencils frequently
throughout my drawing. I also generally
when I'm layering, want to work smoothly. In this course, I'm
not really going to focus on adding in any texture. If I want to put down the
color as smoothly as I can, I also work in little
circular motions. Rather than going back and
forth with the pencil, if I work in circles it goes down in a much more uniform way. They're very small circles
and when I work quickly, it looks like I'm
going back and forth but I'm always working
in these circles. I think it takes a
little bit of practice, so do try doing it
slowly to start with and then you'll find
that you'll get faster. After adding in a lot
of layers, eventually, that tooth of the paper
starts to fill up and I begin finding that it's getting
harder to put more colors down. It's at this point I do
something called burnishing. Burnishing is where you
do go in harder with the pencil and you completely flatten the tooth of the paper. That'll stop you from being
able to put down more color. In actuality, you can get
down a little bit more, but not to the same degree that you can before doing this. Once it's been burnished,
that's what gives it the nice glossy finished look that you get on color
pencil drawings. Particularly layering,
which leads to burnishing, are the most important
basic techniques you need for color pencils. In the next section, we can talk about
the general method of drawing a picture.
5. The Process: In the last lesson, I covered the main technique I use
in all of my drawings. Now let's go through the general process I
go through every time. The first thing I do
before I can even think about drawing is
find a reference photo. Because I focus on drawing
realistic objects, the only way that I can
get them to look as realistic as possible is to
work from a reference photo. There's a few main things I'm looking for when I
select a reference. First up, I want it to have
a good level of detail. I won't be able to work
from a blurry photo. Their drawing just
won't come out as well. I also want to make
sure that it has a really good level of contrast. I want it to have some
very dark colors and very light colors and a
good range of mid tones. If I end up trying to
work from something that's way too bright
or way too dark, again, the drawing isn't
going to come out as well. The next thing I
like to do is take a really good look
at my reference. By taking a good
look to start with, it means that I'm left with less surprises when
I create my drawing. Now I will do this for the apple in a couple
of lessons time. You see what I'm looking at. But generally I like to
take a good few minutes to have a good look
at the reference. From there, I need
to make my sketch. This is one of the
most important parts of creating a color
pencil drawing. If you don't get
the sketch right, the finished drawing
won't look right. The main things I'm
trying to do here is get the main outlines incorrectly. They also mark out any
majorly obvious patches, light spots, dark spots, just any of the
really main shapes. Once I got my sketch down, I can begin to think
about adding some color. The first thing that
I always do is look for the lightest color
in my reference photo. I put down what I
call base layers. Regardless of what
the drawing is, I always make my
base layers smooth. I find that lightest
color by comparing my reference photo to the swatches I mentioned
at the very beginning, find the color that I
think matches the best, then I use the
circular motions I'm pressing very lightly to
put down these base layers. It's not necessarily the
same color throughout. It could be that the lightest
color in one area of the drawing needs
to be different to the lightest color in
another area of the drawing. From here, I work from that lightest color all the
way up to the darkest color. As soon as I finish
my base layer, I'm looking for the
next lightest color. I will put that in the drawing anywhere where I can see
even a hint of that color. I then do the next
darkest color and so on until I get to the
absolute darkest color, I can see in the reference. Throughout all of this, I'm comparing the reference
to those swatches. Once I've made it up
to that darkest color, I then want to start
working my way back down to the lightest color. I don't necessarily go in
the same order for this, and I don't necessarily use
exactly the same colors. What I'm doing is constantly
comparing my drawing to the reference photo and that reference photo
to the swatches. I want to be looking for which
color I think is missing. You'll see a bit
more what I mean about this when we get
towards the drawing. But it's really just a case of I play spot the difference. Once I'm happy that
my drawing and my reference photo
looks similar, then I can think
about burnishing. Now I would only burnish
with a light color, the lightest color
in each section. I wouldn't put a
white over a black, for example, because
that's just going to end up making it look
a little bit gray. But I would, for example, burnish a lighter brown
over a darker brown. After this, I can
start thinking about adding in any final details. On the apple that
we'll be drawing, those would be the little spots that you can see on
the skin of the apple. That's a general overview
of the whole process. Let's start working
our way through it.
6. Studying The Reference Photo: We know that in
this course we're going to be drawing an apple. In this lesson, let's take a minute to look at the
reference photo together. Now the first thing I want to notice is the shape
of the apple. You assume that apples are
going to be perfect circles, but you'll notice that this one is quite a nice rounded
shape on this side, whereas it goes in far
more on this side. When I draw out my sketch, I want to make sure
that I am drawing in the apple shape as it
is in the reference not just drawing a circle. Looking at some of the colors in here and the main thing I'm noticing to start off with is that although this
is a red apple, there's quite a few
areas of yellow in here. Particularly in this
strip down the center, this is a yellowy orange and
the same color is up here. It's then a deep red on this left-hand side and an even dark red on this
right-hand side. In fact, in some areas, particularly this patch here, it looks like a very deep brown. Now there's a few
prominent patches of light over the apple. The most prominent
is this patch here, so is the main light patch here, and then there's another
little light patch underneath. There's also the
strips of light around the top and these areas
of light around here. I'm actually noticing on
these areas they're not so much of white that looks
more like a gray to me, both along here and along here. I'm going to want to
make sure this area is more of a light gray
rather than a white. I'm also noticing in this patch of light
that around here, this looks more
like a purple tone. There also seems to
be some purple around here and a little bit
around this area. Now, as far as the texture
I can see on the apple, although it does
have a smooth look, there is a lot of these strips on the apple, so darker strips. There's these ones which
are a mid-tone red. They get much darker
around the edge. In fact, around here it almost
looks like a dark purple. Then on this side, again, there's these dark brown
strips all around here. I'm going to be wanting
to draw those in. The whole apple is also covered in all of these
little white spots. I'm going to need to
take those into account. I am noticing that
these spots are quite large towards the middle
and then they get much smaller and a
little bit darker around the edge in some of
the more shadowed areas. All in all the whole
apple is pretty patchy, but it's the areas of light that I think
makes it look smooth. The last thing to
notice is on the stem there's a yellowish
brown patch here. Then the rest of it, there's just some strips and lines
going down the stem. But the stem looks
relatively simple. Those are the first
things that I'm noticing on looking
at the reference. Let's start drawing.
7. Sketching The Outlines: Let's create the sketch
outline for this apple. Now there's two main things
that I need to achieve here. First off, I want to
make sure that all of my proportions are accurate. If I don't, then
the whole drawing will end up looking peculiar. I also want to make sure that the lines I create
are very, very light. I tend to create this with
quite a hard graphite pencil. I'm going to use
a three-H pencil. If you only have something like an HB pencil, that's fine. You can just go
over the top of it lightly with an eraser
when you're done. All you really
want to achieve is very light lines by
the end of this. Now this apple is a
relatively simple shape. We could just
freehand the apple. But I want to show
you the main method I use for more complicated shapes. I'm going to use
the grid method. Now the first thing that
I've already done here is put a grid onto my
reference photo. Now there's a few ways
that you could do this. You could either print out the reference photo
and manually draw a grid on, or I created
this grid in photoshop. The main thing that you really
need to do is make sure that all of the squares
are the same size. I've gone for
relatively big squares here because as I said, the apple is a
relatively simple shape. Once I've got my reference
photo with the grid on, I now know how many squares I need to draw on
my drawing paper. With this small amount of maths, I can work out that
I need my squares to be four centimeters wide. I can just go along, mark
four centimeter intervals, both horizontally and vertically and then I can mark the
lines and draw the grid on. Now you want to do this
extremely lightly. I'm doing it a little
bit more heavily than I would usually just
because I want it to show up on the camera. But you can do this as
lightly as possible. Then it'll make it much
easier a little bit later because you will need
to erase these lines. Now we have a grid with
the same number of squares as I have on
my reference photo. What I want to do here is look at each square individually. I'm not drawing an
apple as a whole, I'm just drawing a tiny section. On this first
square, for example, you'll notice that I'm doing a slanted line on the corner. When we look at the reference photo and the reference photo
in the squares, you'll see that this is the
first square that I've drawn. I'm looking at
where this part of the apple crosses this line. This is just over
halfway, I would say. It's curving round and crossing the other
line of the square. Maybe it's a quarter of, maybe a bit less than a
quarter of the way down. Then once I've marked in
this point and this point, I can just join them
with a curved line. Then can move on to this square. I already know where the line is crossing up here at the bottom. I'd say that's
about two-thirds of the way along the square. Again, it's quite a curved line. Once I've marked those two
points so I can connect them and work out that's roughly what I can see on this square. I pretty much want to
work my way around and do that for the
whole of the apple. Just focusing on drawing
that one square at a time. Some of the squares are a bit simpler like this
one for example, there's really only
a very small section when we're looking
at the outline here, just a very small
corner that's cut off. In some of the squares
towards the middle, we don't really need to do
a huge amount of anything. Now what I'm focusing
on drawing here is not only the outline of the apple, but I also want to be drawing some of the other major shapes. Say for example, the apple stem, that links down to this
little section here and I do want to mark this
lining as well. A bit later I'll be marking in some of the other more
prominent shapes. Now while I'm drawing the
rest of the outline here, if you don't want to draw
your apple this way, you could either sketch it
freehand or if you get stuck, I do have a sketch outline
in the class resources. You can use my sketch
outline if you'd like to. Don't get disheartened, though, if you feel like your sketch
isn't looking amazing. You'll notice that mine looks a bit questionable,
but that's fine. This is what you expect
it to look like. Now once I've drawn the
whole of the outline, I also want to add in any
other prominent shapes. I'm particularly looking at some of the patches of light, for example, this
very large patch of light here and this one here. There's also a line going around the middle
around here and I will say, I want to add that in. It's just going to give
us a little bit of a helping hand later on. Once I've drawn everything in, what I now want to do is
raise those grid lines. Now I'm using a potty
eraser to do this. This is what I have to hand. You could just use a standard
eraser and that'll be fine. I am ending up erasing a little
bit of my sketch as well, but that's okay, I
can add that back in. By the time that all of the
lines have been erased, you should have something
that looks roughly like this. I'm just going to add back
in some of these lines that I've erased, and then
that is our sketch done. That is all of the prep done. In the next lesson, we can
start with the color pencil.
8. Build Up The Base Layers: In the previous lesson, we sketched out the
outlines of the apple. Now we can think about
adding some color. Now, in this tutorial I'll be
using Prismacolor pencils. It's up to you which
color pencils you use. If you want to use exactly
the same color that I am, I will always put the color I'm currently using in
the top corner. Now, before we begin, I particularly
want you to notice the sketch outlines that I have on my piece
of paper here. Even though when we
marked everything out, I was using a much
darker pencil. You can see it really clearly. I want you to
particularly notice now how fame my sketches. Really you can barely see it
and that is what you want. Now in this lesson, we
really want to be focusing on just putting some
color down on the paper. We want to begin by building
up these base layers. Now what I like to do is
start with lighter colors and work my way towards
the darker colors. So let's take a look
at our reference photo and have a look for
that lightest color. Now, I would say that it is this very light gray that you can see particularly around here, a little bit along here
and also around here. I can also see this
same gray a little bit around this area and a
little bit down the bottom. I want to start with the
closest match to that gray. Now there's a couple of very important things
that I'm doing here. The first thing I'm doing is
pressing extremely lightly. Because these are
the first layers, they're just the base layers, we don't want to go really
hard in with the pencil. We want to be able
to layer a lot of pencil on top of this. I'm not holding the
pencil right by the tip. I am holding it a little
bit further back and that stops me from being
able to press too hard. I'm also working in
little circular motions, so I want this to be as smooth
as I can possibly make it. At this point, I'm not
thinking about any texture. I just want to get a
really smooth base layer. I'm making these tiny
circles and that will distribute the
pencil in a smooth way. It will make it look softer. I can go over those
couple of areas that I saw around the
top of the apple, either side of the stem, and just underneath
the stem as well. I can also add a
little bit of this gray around that patch of light. I want to avoid the
very bright patch, but work lightly around it. And you can really see here
how lightly I'm working. Then I also do want to put
some of this gray down in this bottom right-hand
corner because I can see a little bit of it here. I'm once again working in these little circular motions
and pressing very lightly. You can see a bit clearer here how I'm holding the
pencil forth back. Once I've got this
first color down, I want to start thinking about the next lightest
color I can see. I would say that the
next lightest color is this yellowy orange. You can particularly see
it around this area. You can also see it around here. In actuality, I
would say a lot of these spots are probably
lighter than this, but at this point, I'm not
worrying about the spots. We're going to deal with
them right at the very end. So I'm going to pick whiter,
light yellowy orange. I'm once again doing this in exactly the same way as
I did with the gray. You can once again
see that I'm holding the pencil a little
bit further back, so that that helps me
to press very lightly, and I'm once again working
in circular motions. Now what I want to do
with this yellow is cover pretty much the
whole of the apple. There's a couple of areas
I am going to avoid, particularly that very bright
patch and also the stem. But beyond that, I want to
put this yellow everywhere. I am trying to be as consistent as I can
be with the color. So I'm trying to press equally
on the whole of the apple, so that is one solid
block of yellow. A final thing that I can
do to make that a bit easier is to make sure that
my pencil is nice and sharp. So you might find that halfway through putting down
this base layer, you need to sharpen your
pencil. That's okay. Just keep it nice and
sharp and you'll have more control over
where it's going. Now I am also going to
put this yellow over this gray patch in
the bottom right. Although I could see a
hint of gray in this area, it very much still has a
yellow undertone to it. So I also want to
put the yellow here. Once I put this yellow over, The whole of the apple, I want to take another look
at the reference photo to see which color I think
I need to add in next. Although I can see a lot
of that yellow color, particularly around this patch
here and this patch here, most of the apple is actually
more of a red base color. I do want to add in some
red in here as well. Now this color is still very much part of
our base layers, so I want to carry on putting
this down nice and lightly. I am slightly varying wherever
I put this color though, I am going over some
areas more than others. Say, for example, on this left-hand side, most of this area is a
consistent color red, although I would say around
particularly this patch, you can see more of that yellow. I'm just outlining
where that's going to be and I'm going
to go over the areas around this patch a few more
times so that they look a little bit darker and go over that lighter patch a bit less, just so I can begin very
roughly marking in the shapes. There's a couple of other areas that I'm doing this as well. Although on the most part, I am trying to make
it even throughout. You can see that
I'm slightly making this area in the top left
a little bit darker. I'm making the patch to the left-hand side of that patch of light a
little bit lighter. You can also see as I'm moving down towards the
middle of the apple, I'm making this area
head a little bit lighter and over here
a little bit darker. Although I can't stress
enough if I'm making an area look a
little bit darker, I'm not pressing harder. I'm just going over
the area a few more times so that I build up
more of the color that way. I don't want to be pressing
hard at all at this point. So I can work my way around these patches of
light at the top. I don't want to be
putting anything in these areas either, and I'm also going to avoid
this yellow patch up here. Then from there,
I'm just going to once again shad in this area in the bottom
right-hand corner. So by the time that
I've put this color over the whole of the apple, I have something that
looks like this. It resembles an apple, but a very washed
out, muted apple.
9. Marking Out The Key Shapes: In this lesson,
I'd like to start marking out some
of the key shapes. I'm actually going to start
this with the same color that I did in the previous
chapter, that same red. Let me show you the key
shapes that I mean. I'm particularly
looking at all of these little stripes
on the apple. There's a lot of them
on this left-hand side, all of these in this dark red. Then there are the same stripes
on the right-hand side, but they are a bit
of a darker red. But because in this
chapter we're just marking everything out
and getting our bearings, I'm going to do the whole
thing in that same red. All I'm doing is looking
at the reference and looking at my drawing,
comparing the both. I'm just trying to get these
lines in the same place. I'm not trying to make
it absolutely perfect. It doesn't need to
be exactly the same, but you want to get them
roughly in the same place. I'm finding it helpful to
start near the patch of light, look at some of the shapes
around here and work out where the other stripes
are in relation to this. Using that as an anchor point, as a starting point. Now as far as what I'm
doing with my pencil here, I'm still not pressing hard. As you can see, I'm maybe pressing a tiny bit harder than I was
in the previous lesson, but I'm definitely
still pressing lightly. I'm still using some very
small circular motions, although I do want to
mark in these strips, I still want them to
look nice and smooth. I can press lightly working these little
circular motions and gradually build up these
darker patches of red. Going over the same
area a few times, bit by bit, that will end up
being quite a bright red. I'm noticing that on
this lighter patch. There are still some
of these stripes, but they look a bit more
like spots instead. I can add those in and keep working my way around the apple. Generally liked working
quite methodical way, so I'm starting more towards
the left-hand side and I'll gradually move my way
over towards the right. Now something that I am noticing about these
little patches and these little stripes
is that they are following the
curve of the apple. Notice that these stripes
around the bottom are pointing in this direction. Then around the top they're curving again around
the shape of the apple. Towards the middle
of the apple here, it's always pointing down, maybe slightly curving this way. When we get around this side, these little stripes curving
around the apple this way. Noting that just makes life a bit easier while
marking in these strips, just being aware of that. As I get towards the
middle of the apple, I'm noticing that there are
some much larger stripes and spots and much longer stripes
I'm noticing as well. Now as I get round to
the right-hand side, I still want to be
marking in these stripes, but I will be going
over them with a much darker red a bit later on. You'll notice that
it's looking a little bit peculiar right now, but don't worry about that, it will all come together. This is really all part of
just getting our bearings so that the drawing is a
bit easier later on. Once I've gotten through all
of the body of the apple, the bottom half of the apple, and drawn in all
of these stripes, I also want to just focus on this area around
the top as well. I'm noticing that this area also has some
stripes that they're going more in a curved angle like this and like
this, and like this. That's what's helping create the shape at the
top of the apple. Let us mark this in as
well, on both sides. Just really more than anything
I'm just trying to get the lines at the top here
going in the right direction. Then now that I've drawn all of these key shapes on the apple, I just want to add a
little bit more shading. As I've mentioned before,
the apple is quite a bit brighter than my
drawing at the moment. Although I don't
want to get it to its full brightness
at this point, I do just want to darken
down some of the areas. I can go back over the top
of what I've done here using the circular motions,
still very lightly. This is very similar
to what I did for the base layer
at the beginning. It's just going to help make the base a little bit stronger
and a little bit clearer, just gradually build
up these colors. You'll notice that
going over the top of all of these stripes
in these stripes, we're not losing them because
I'm doing it so lightly. You can still see them. It's just stopping them from
looking quite as prominent. By the end of this lesson, you should have a slightly
patchy looking apple.
10. Building Up The Texture: Now that a lot of the key shapes from the previous
chapter are marked out, it gets a bit easier from here. What I'm particularly
noticing is that most of these little marks, those little strips
are a fair bit darker than what we did
in the previous chapter. All I'm really doing here
is going back over it, but with a darker red. Now I didn't just want to go straight in with the dark red to initially mark them out by going in with
that lighter red, it gives you an opportunity to put things in the wrong
place and then correct them. If you go straight in
with a dark color, then you're just
really committing to marking things in those
particular places. I always like to give myself
a bit of a margin for error. I'm still looking very closely
at my reference photo, I'm looking at these same shapes that I've marked out before and where I need to go in over the top of
them with this red. Now you'll notice that
all of these strips aren't the same
color necessarily. Some of them are a bit darker like this strip and this strip, and some of them are a
bit of a lighter red around here for
example, and here. As I'm going through
and adding these in, I don't want to do them
all necessarily the same, but this is all made far easier because we marked
everything out already. Now as far as how I'm putting
the pencil onto the paper, I would say that
I'm pressing maybe a little bit harder than I
did in the previous lesson, but I'm by no means
pressing hard. I'm working quite
methodically again, I'm starting on the
left-hand side and working my way towards
the right-hand side, I would actually say
that I needed to put a lot more of the
red on the left. A lot of those little
strips are more of a red on the left and more of a brown on the right as I've
mentioned before. I am going to begin to
treat them a little bit differently as we move
towards this right-hand side. But before we get to
that right-hand side, I want to focus on
the top left up here, carry on marking
in these strips. I'm still avoiding that
patch of very bright light. I can't see any of these
lines on that area. I also want to be building
up a reasonable amount of this red around this
light patch at the top. I'm noticing that
around this area here, you do still have
these darker strips, but generally it is just a
darker red around this area. I can mark in those
strips and build up a little bit of that
color around here. Then I also want to go around
this top section and put in some more of
these lines like I did with the previous red. Just building up a bit
more of the color. It's not so much these strips that I need to be
adding in here, it's more like lines
that are going around the top of the apple
and making it appear curved. As I'm working my way more towards the right-hand side now, as I've mentioned a few times, the strips on this side
are more like dark brown, but there is a lot of dark
red still on this side. I'm actually marking in
some larger patches. Say, for example, this
patch that I'm marking in here is this patch here. Then this extends to a dark red patch
around here as well, which you can see me
beginning to mark in here. Now you'll see that I
am still marking in the strips in
exactly the same way as I did with the previous red. I'm just putting a
lot more of this dark red in a lot more places
on this right-hand side. That helps with gradually
building up the color. Now that I'm making
the color a little bit darker on this right-hand side, it really shows that
I need to be adding quite a bit more to the
left-hand side as well. Particularly around
the edge of the apple, I'm once again going to
go over this area with the light pencil strokes and circular motions like we
have done a lot throughout, just in a band around
this left-hand side. It's going to help, again, make the apple
look more rounded. Now as we're building
up the colors, I want to be constantly
thinking about the next darkest color or if I've missed out any
lighter colors. Looking at this area, particularly around here,
around this light patch, I can see quite a
lot of purple here, so both here and around here. I mentioned this when we were looking at the reference
photo together. I'm going to take a
very light purple, which I would say is my closest match to the
purple in the reference, and just very lightly add this in all of the areas I can
see a hint of this color. Now I'm once again doing this, holding the pencil a little
bit further back and using these little circular motions,
pressing very lightly. Although it looks a
little bit peculiar, adding it in at this point, it will come
together at the end. My rule when drawing
is if you can see it, you should draw it. Maybe at times it looks a
bit to be adding it in, but it does all work
out in the end. Now that I've added this in
on this area towards the top, I'm also looking
for any other areas where I can see a little
hint of this purple. I can see a bit around here, I would say as well. I can add that in
over the top of the red I've been building
up still nice and lightly and you can
see it is slowly and gradually building up the
colors of this apple. From here I want
to be looking for the next darkest color I can see within the reference photo. I would say that now I'm looking at quite a dark brown
and particularly noticing these strips on the right-hand side
and how we haven't really got them marked in
very well at this point. Doing this in
exactly the same way as I did with the darker red, so going back over these strips and marking
all of these in. Now you can see that I'm still pressing very lightly here. I really don't need to be going in really firmly
with the pencil. You can also see that
quite quickly this is building up more of those
marks from the apple. Now, this is once again
made easier because so many of these strips have been marked out with lighter colors. It's really just a case of going over the top of what
I've already done. Once I've gone over the area
on the right-hand side, I'm looking for any other areas where I can see some
of this dark brown. I'm particularly
noticing these couple of strips at the top. Now let's not forget
that this apple does also have a light
shadow underneath. It's actually got quite
a crisp firm line around the bottom and then it
gradually fades out, and it's also got a
light shadow that's coming over to this
right-hand side. That's what I want to be
marking out with this pencil. Putting a nice crisp
line along the bottom and then very lightly
shading out from there, maybe going over the area
a little bit more towards this bottom section
and then being a lot lighter over
to the right here, because I would say that
this is a lighter shadow. Then I'm also just going
to have a look for any other areas that need
a little bit more shading. I can see a little bit of brown, and particularly
looking at a few of these strips on the
left-hand side, particularly on
the very far edge. Generally speaking, it
will be darker around the edges of the apple
because that's what makes the apple look curved. I can go over these
areas as well. Then I once again
want to be looking for my next darkest color. Now I do actually have
a brown in my set that's a little bit darker
than the dark brown. It's a very dark brown. I can once again go over these same areas in
exactly the same way, just any that I think should still be a little bit darker. You can see that I am
bit by bit building up going over the same
areas that I have done before until I'm happy with the level of contrast
that I have for now. Before we move on
to the next lesson, I just want to go back over this area along the
bottom of the apple. I think it looks quite a bit darker in the reference than
what I have at the moment. Then I can also tweak a few of the other areas around the side. Don't be afraid to
go back in and make areas darker if you
think you need to. It's always better to start
off too light rather than too dark because you can
always add more pencil but it's much harder
to take it away.
11. Brightening Up The Drawing: So at this point, I have everything very
thoroughly marked out. I want to start thinking about
brightening everything up. Now, what I like
to do is compare my drawing to the
reference photo and constantly be thinking
about what is the most obvious color
that is missing. To start with, I would say
that the main thing that's missing from this
drawing is a bright red. I can go back to that red that I used towards the very beginning and start placing this over the top of what
I've already got. I still want to be working in a similar way as I
have been throughout. I'm still working in these little circular
motions and I'm still pressing quite lightly. I maybe pressing a tiny
bit firmer than I was but by no stretch pressing hard. I'm mostly focusing on pursuing this color towards the
edge of the apple. As I mentioned a few times, it's generally more
vibrant around the edge, and then it gets a
little bit lighter towards the middle of the apple. I'm once again, wanting
to be following that. You'll notice that going over
the apple with this red, I'm still not losing all of
those marks that I added in. I can still see them. It's just generally
brightening up the surface of the apple. Now, I do want to make sure that where I'm brightening things up, I'm not going over some of the areas that I do want
to stay very light. Particularly thinking
about the light patches that I've spoken
quite a bit about. So I can work my
way around these, but carry on shading. Now, my main area that I want
to use less of the red on is the yellowish patch
towards the middle. Around here, you can see
some of this bright red, but it's got much more yellow to this area there are
some red patchiness. Then I would say that
that's all the red that there is around here. So I'm particularly bearing
that in mind as I go. In fact, I'm finding
it a bit easier at this point to just
avoid that area and I can come back to it in a little
while as I'm getting more towards the right-hand side of the apple, where I've
mentioned a few times, it's much darker on this side. I can be a lot more
rough with my shading because it's going to end up being so much
of a darker color. I don't need to be as worried about lighting some
of the other areas. You can see here,
I'm lightly, very, very lightly going over this more yellow
patch in the middle. Then I can carry on shading
on this right-hand side. The main thing that's important on this
right-hand side is that I avoid that yellow
patch towards the top. I'm talking about
this patch here. I don't want to shade
this in with the bright red because
I want to make sure that I can get a
lot of yellow here. It's important to
remember that once you go in with a darker color
with color pencils, you can't really put the
lighter color over the top. It will never be as light as it would otherwise have been. Now, don't forget to keep frequently sharpening
your pencils. It's going to make
your life far easier if you are doing this
with a sharp pencil, it just makes the pencil
far easier to control. I'm also going to
use some of this red down the bottom
on this shadow. You can see a lot of red
around the bottom here. It's from the reflection
of the apple. I wanted to add that
in and then I can start focusing on adding a bit more of that
red texture that I mentioned on this
yellow section. As you can see, I'm
doing this very, very lightly and
I'm just adding in a few subtle strips around here. I don't want it to
look perfectly smooth. This point I would say,
I'm happy with the red. I want to be thinking
about what's the most prominent next
color that's missing. I would say that
it is that yellow that we added towards
the very beginning. Although we did put yellow
down at the beginning, it's all become far more muted because a lot
of the other colors, like the red, for example, is a little bit firmer now, it's looking far more vibrant. It is making the yellow
look less obvious. I can once again use these circular motions, press lightly, go over all of the areas where I can see a
little hint of this yellow, which I would say isn't just
this section in the middle. You can also see a lot of
yellow around here, around, all around here, as well as
obviously in this patch here. I can just be using this yellow going
over the top of that red and it's going to help blend these areas
together as well. The most important
thing that I don't want to forget is I don't want to
go over that patch of light. I wanted to through
out this drawing, makes sure that that
does stay white. But you can see putting
the yellow over the top of the red because we didn't press really hard with the red because we
did it quite lightly. You can see that that
yellow is there. It's making the color look a lot richer and
more interesting. Add this yellow to this little
patch at the top up here. Then I want to be having
a think about if there's any other areas that I can
see some of this yellow. So I'm particularly
thinking of these couple of patches at the top around here. So from here, I want to
start thinking about the next color that I
particularly think is missing. I'm looking at some of
these patches of light. I'm thinking that
they're looking a bit too bright at the moment. So right at the very beginning,
you remember that I put some of this light
gray in these areas. I want to go back
over the same parts, pressing a tiny bit firmer
but still not hard, just so that this looks
more obviously gray. At the moment. It feels like it's looking a
little bit white. I don't want to
forget to go round this patch of light
down here as well, adding a bit of
gray around here. So now, it feels like the apple is beginning to brighten up. In the next lesson, we want to take that
a little bit further.
12. Further Brightening Up The Drawing: Now I want to keep adding to
the vibrancy of the apple, is still looking too
dull at the moment. Looking at the reference
photo, I once again, want to look for the
most obvious color that I think is missing. Actually, particularly
around the edge around here and a lot of
this area around here, I would say that I can see
quite a lot of purple, quite a lot of dark rich purple. I'm going to begin
adding this in anywhere where I can see
some of this color. Now at this point,
because we've built up a lot of layers on the apple. We really built up a lot of
light layers of other colors. It's beginning to
get a little bit harder to get the color down. It's not extremely
hard by any means, but I am needing
to press a little bit firmer at this
point just to get the color to be as bright
as I need it to be. I'm just going to wet my way in the same way that I have before starting on the left and working my way
towards the right, adding in this purple anywhere where I can see
a little hint of it. Particularly on a lot
of these stripes once again and around a lot
of the patches of light. Now my general rule when
I'm drawing at this point where I'm trying to
get all of the colors to eventually match
the reference, is that I don't really think more than the
current step I'm on. Right now I feel like the
picture needs purple adding. It may be that once
I've added the purple, it really shows that there's a different color
than it needs adding. I don't need to worry about what that might
be at this point. I'm just focusing on the
fact that I know that the purple needs
adding and then I'll see where I'm at
once that's done. You'll notice that
I'm working in the same way that I
have done before. I'm still working in these little circular
motions and I'm still not holding the pencil
really near to the end. I'm still holding it
relatively far back, although not as
far back as I have done previously.
I'm working my way. I have all of the strips and all of the dark patches
on this right-hand side, and really adding quite
a lot of shading down this right-hand side
because it is going to end up being so dark. Once I've gone all
over this section, I don't want to
forget to go over that section towards
the top as well. I would say that I'm adding
this color into a lot of the areas where I put
that dark red before. Particularly around the edges
of this patch of light, it has quite a dark
and purple tone to it. Once I'm happy with the purple, I once again wants to take a
look at my reference photo, compare it to my drawing
and work out what is the next most obvious
color that is missing. At this point, although
I do like the purple, I think it's probably looking a little bit too purple
at this point. It's maybe has a little
bit too much blue. What I can do is I want
to keep that dark color, but just add a bit more
of a dark red to it. I can use this dark red. This is different, dark red
to the red I used earlier. It's actually a much
darker, dark red. I can go pretty much over all of the areas where
I put the purple. As you can see, that's just
toning it down a little bit, but you can definitely still
see the purple is there. I can also use this color to add some more general shading if I think an area generally should be
a little bit darker. This is where it sometimes
helps to take a step back from the drawing and the reference
and it become a bit easier to see what
else needs adding. It'll be a bit easier to work out where the differences are. I'm going to shave my way
around on top of the purple. Notice how I'm putting a
bit more of this color, particularly around
the edge of the apple, as I've mentioned a few times, is a fair bit darker
around the edge. I really want to be
building out some of this color around
some of these parts. Then it also wants to
go back over some of these patchy areas on
this right-hand side, is literally a case of
going over the purple. I'm making what's
there more vibrant. Now at this point, I'm pretty happy with all of these
underlying colors. I want to once again compare
my drawing to the reference. Now at this point,
I feel like it's missing more of a bright red. I've got a lot of the darker resin and I'm very happy with
how they're looking, but I just want to brighten
the whole thing up. Actually, I'm going to go
back to that bright red I used earlier and I'm
starting to press, I would say a bit firmer now. I'm still not pressing
full force by any stretch, but I would no longer say that I am using the
pencil lightly, and I want to go over all of
the areas that at the end, I want to be read. I have all of this
area up the sides, avoiding, for now, that yellowish patch
towards the center. You can really see that I am
pressing a lot firmer here. Notice that whilst I'm pressing firmer I still want this
color to be smooth. I am still using the
circular motions, which again is helping
this pencil go down in a more consistent way. I can work my way all the
way up the left-hand side, still avoiding those
patches of light. I don't want to go over those. I want to keep those nice and
light and I'm just going to work around this more
yellowy patch in the middle. Going down the sides and going
over some of these strips. Before just adding a few more in some more light red
little flecks here. Still is looking a
little bit too plain. I did do this a little
bit earlier on, but I'm just going over
it a little bit firmer. It's a bit more obvious. Once I'm happy with
that middle section, I can once again begin working my way over the
whole of the apple. Now another reason for going over the top of what
I've got here with this bright red is it's just going to make the whole drawing
more cohesive. It's going to all end up with a similar tone that's going
to make it all come together. We still want to be
careful that I don't go over this yellow patch at the top to keep that
yellow because it is a nice bright yellow
in the reference photo. But the rest of this area
down the right-hand side, I can brighten up by putting
this red over the top. Finally, for this section, I don't want to forget
this area around the top. Once again, I'm going over
these parts where I put the purple and where
I put the darker red. That's just slightly
tweak and tone down this patch up on the
top right a little bit, and then by the end
of this section, you should have something that is looking more like
a vibrant apple. From here, all we
have left to do is some final tweaks
of the colors, as well as some final details.
13. Adding In Final Details: In this lesson, I want to
continue to work my way through a lot of the colors that
I've used up until now. I'm going to go back to
that very dark red and just begin adding a bit more of this color over the
top of what I've got, particularly on the
right-hand side. I'm going about this in exactly the same way as I
did in the previous lesson. I'm still comparing my drawing
to the reference photo and seeing if I can work out
which color is missing. Right now I think that this right-hand side needs to
be a fair bit darker still. I know I only want to be
adding more colors here, but I also want to think about blending everything
that I've got together. Because I'm wanting to
blend this together, I am now pressing
quite a bit firmer. Once again, adding this
color anywhere where I think I need a bit
more of the dark red, but it's mostly going back
over those patches that I have marked out previously
with the same color. But now I'm doing
it a bit firmer. It's looking more vibrant. It's really starting
to stand out. Now I do want to avoid this little patch
down at the bottom, the patch that will
be this section because this section
is so much lighter. You can see I'm
working my way around that little spot and
I'll be able to add to that later with a lighter color. Once I've gone over
the right-hand side, I want to do the same around the edge of the left-hand side. Again, it's exactly the same as what I was
doing earlier. I'm just pressing a bit firmer. I want this area around
the left to be quite a bit darker than towards
the middle of the apple. As I've said before, that is what's going to make
it look curved. We're also going to add a little bit to this
shadow down the bottom. As I mentioned before, this shadow looks a bit red and I just want to
add a bit more to that, making sure they pop a bit more. From here I, once again, want to be looking at the most obvious thing that's missing. Actually what I would
like to do now is blend a lot of the
lighter areas. I'm going to use this
very light gray again. I can go over all of the
patches where I have seen gray, so like this patch
down the bottom and you can see
family going over this area is blending and
smoothing this section out. It looked quite rough before I went over
it with the gray. I can walk over these
patches at the top as well, again, smoothing these
out and blending them. Notice that although
I'm pressing hard, I am still working in
these circular motions. I'm just making quite
small circles so that I can have really good control
over where this is going. Now as well as that gray
patches around the top. I also want to smooth out some of this light patch in the middle particularly
around the edge. There's the very light patch in the center and then
there's gray around it. Whilst I've got the gray,
I'm going to go back over this shadow to the
right-hand side. Just help that stand
out a little bit more. Now around the edge
of this shadow, I'm being quite light. I want it to fade into nothing but actually
closer to the apple, I'm going to use a slightly
darker gray as well, because I want it to be a stronger shadow
closer to the apple. Then I can gently fade
that out into the lighter gray and it ends up looking like a nice and natural shadow. I'll also add a tiny bit of this dark gray around the top. Any areas particularly
around generally the edges of these light
patches where I think I would just let them stand out a
little bit more and then I can tweak a few other areas
on the skin of the apple. For example, very lightly going over this
yellow patch just to tone it down a bit so it's a bit less of
a bright yellow. There's also a darker patch here that actually I
think should have the darker red on it and I haven't put it there
at the moment. Just these few final tweaks. I'm also thinking
that this light patches looking a little
bit rough at the moment, and I would like to
use the white pencil to smooth it out. Now, as I've
mentioned previously, putting a light color
over the top of a dark color isn't
going to show up. It's not going to
look bright white by putting this over the
top of this area. It will slightly lighten
than what's here, but more than
anything, I can use it to smooth this area out. You can see that that's
left this patch of light looking much softer. I'm going to do
the same to any of the other patches of light that I think would benefit
from being smoothed out, like this patch
along the top here. I'll also add a little bit
to this yellow section just to brighten and smooth that
out a little bit as well. Then it's at this
point that I want to start thinking about the stalk. Looking at the stalk, it's got a number
of colors in here. First off, I would say
on this patch here, it looks like it's got quite
a lot of yellow to it. I'd say that the lightest
color is a yellow. It's got a very deep shadow
down this right hand side, whereas on this top left-hand
side section is more like a lighter brown
and it's also got some lines coming
down from the end. Let's start as we did
on the apple itself. We want to start with
the lightest color. I want to start with
this very light yellow. I'm just going to put
a really light layer on the whole of the stalk. Notice that I'm working in these little circular motions, once again, try
make this smooth. I really just want to
cover the whole area. From here I want to go for
my next darkest color. This is quite a light brown. I want to put this
anywhere that is the light brown or anywhere
that is darker than that. I'm just avoiding that
light yellow patch I mentioned on the stem, so over on the left-hand side. Then I can start adding
in a dark brown color, particularly on the
right-hand side, where that particularly
dark shadow was. Now don't forget to have a very nice and sharp
pencil here because it is going to make your
life so much easier. As they get to the top
of the stroke here, I do want to be making some
little flicking motions. As I mentioned, you could see a couple of lines
going down the stalk. To add these lines and you
just want to make flicks with the pencil going in the
direction of those lines. Now finally, I want to go over the absolute darkest areas of the store with my
very darkest brown. I really want to
look at going on the right-hand
side of the stalk, right on the very edge here. Going back over those
lines towards the top, then I am going to
add a little bit on the left-hand side as well, just to help the stalk stand
out a bit from the apple. Whilst I've got this color out, I also want to have a
final look out if there's any other areas
that I think could stand to be a bit darker. Particularly around
this area here, I just want to make the lines of this area a bit
more prominent. It also wants to go
back over some of the strips on this
right-hand side, just one final time
to really help them stand out and
really help them pop. I don't need a great deal of it. Now at this point, we do
have a drawing of an apple. The only thing
that is missing is the little white spots on
the skin of the apple. If you have a Jelly Roll pen, you could join me in the next
lesson or alternatively, you could leave it here.
14. Adding In The White Spots: Now in this lesson
I'm going to be using a Jelly roll pen. This is a pen that goes
really nicely over the top of colored pencils and comes
out really nice and bright. So I'm starting off by
painting some of this pen on some of the light areas. Some of these have
been a little bit lost and I just want
to add them back in, particularly over the
top of the apple here. I also want to add a brighter white line
just along here as well. I think it's just going to
help this area pop a bit more. Now, the other thing
I would like to use this pen for is to add in all of the white
spots on the apple. So let's take a minute to
have a look at the spots. There's a few main things
that I want you to notice. The first thing I want
you to notice is that the spots aren't
all the same size. This spots around the middle, around this section are quite a lot larger than the
spots around here. These are quite small
and they're also quite small along the
edge of the apple. In fact, some of
the spots around the edge look like ovals
rather than spots. Particularly looking
at around here, for example, around here, because you're looking
at them more side on because it's the
side of the apple is changed their shape. It's exactly the same
up here they look like quite long shapes. I'm also noticing that the white spots
aren't really white. They definitely lighter, again, towards the
middle around the edge. They are more like light
pink or maybe a light gray. I wouldn't say that
they're white. So those are the couple of
main things I want to bear in mind while I'm
adding in these spots. I'm going to start at the top
and work my way from there. Notice that I am making more like elongated spots up the top. I'm not making actual just dots. Then I can start working my
way on the apple itself. Now, something that's
actually helpful from having drawn in all of these
little strips on the Apple, is that we can use them as a
guide to get our bearings. Now, I am looking at
the reference voltage to try and get the spots in
roughly the right place. Not because I want it to
be perfectly identical. That's not a tool what
I'm trying to do. That because the
spots on the apple are all ready quite random. It's hard to be actually
random so if I just put the dots where I thought they went without looking
at the reference, they would probably end up
being roughly evenly spaced. Not deliberately by me. But if I try and
follow the spots where they are on
the reference photo, they're more likely
to look random. This works towards the
middle of the apple, around here, as I mentioned, are a bit bigger and
then it needs to put it far more of them
around the bottom. Then also for smaller,
far closer together. I think the main thing to think
about is that you do want to be making very small dots, just working very
lightly with the pen. What I want to do once they've gone over the whole
of the apple, adding these spots
is I want to make sure that this pen
has completely dried. I'm going to want to add color pencil over
the top of this pen. But if I do it
before it's dried, it's just going to
smudge everywhere. It won't look very good. So I'll just give it about
five to ten minutes. Then I want to begin
toning this down, so obviously, because
this is a white pen, it is bright white, way whiter than
we need it to be. I'm going to start off by
taking this peach color. I'm going to go over a
lot of the white pen, just toning down what's here. Starting off on the white
section at the top, it looks too bright
at the moment. I can go over that quite
firmly, I would say. I'm not being particularly
light about this. I really wanted to tone it down. Then once I've gone over the two lights
sections at the top, I can begin focusing
on the spots. Now, I'm literally going
to go back over each spot, just making little
circular motions over the top of what's there. You can see how much
that's toning these down. So you can still
very much see them. They're just a bit less bright. Now, I only really need to do this to some of the
spots around the edge, the ones in the middle, I am happy for them to be a lot brighter, but the
ones around the edge, I really want to be
much less, much softer. Now, as well as adding
in these spots, I also want to at this
point of the drawing, look for any final details, any other final
details I want to add. I'm noticing particularly
around the edges of some of these white
areas that I can see a hint of purple in the
reference and I don't have it where I've just gone back over these
areas with the white. So I'm just going to
lightly put some of the light purple over here. Then I'm going to come
back to this very light gray and just further tone down some of these spots so I can put a few colors over this until I'm happy that they match
the reference until they're subtle enough
to match the reference. I might as well as going
over some of the spots. I can also turn
down a bit more of this white area at the top. But if I can use this very light gray and I
think it should be turned down a little
bit further with this slightly darker
gray as well. The final thing I want to do is smooth out this light
patch one more time. I'm just going to
use the white pencil and go over the top of this. You'll notice, again, isn't
making the patch bright white is just smoothing out a
bit better what's here. I can use this on
the light patch. Also I'm going to add a
little bit on this stem as well on this white
area of the stem. That is the drawing finished.
15. Class Summary: That is the end of this class. Thank you so much for going
through this with me. I hope that you enjoyed
it and you learned a lot. I hope that this has
helped you see a bit clearer how
color pencils work. The most important things to remember when drawing
a picture with color pencils is to not only
have the right materials, that's already going to make
your life substantially easier then take your
time getting a lovely, accurate sketch and
from there you can just gradually work in light layers
building up the colors. Starting with
lighter base layers, working towards the
darker base layers. Once you've got
everything laid out you can then build up the
vibrancy of those colors. That'll make the whole
process much more forgiving. Once you've built up the
vibrancy of the colors at the very end you can add
in the final details and the odd tweaks that really give your drawing that
extra kick of realism. Please do review this course. I would love to
know what you think and I will see you
in the next course.
