Sketching with Inktense Watercolour Pencils

1. Introduction: Hello, welcome to my class sketching with intense watercolor pencils. My name is Imran. I'm a graphic designer and illustrator, and this class is a follow on class from my original introduction to intense pencils class. So if you want to really delve in to how to create beautiful layers and textures, specifically referring to a reference from real life, then you're in the right place because this class is perfect for you. In this class, we're going to be looking at the application methods that we went through in the introduction class. So if you haven't watched that, then do give that a go before you start this class. However, it's not a prerequisite. If you've not watched the first class, then you can still jump into this class. We will cover some of those aspects, but we'll go through really quickly so that we can really get involved in creating our beautiful artwork using these lovely, intense pencils. So we will start the class off by going through the basic class supplies that you're going to need for this class to follow along in the exercises and then we're going to quickly go through what your class project is all about. The process is going to be super simple and we're going to go along step by step. I will be providing you with a reference image of a beautiful apple that we're going to draw together, but we're not going to focus on super details or hyperrealism, or any type of realism, but just focusing on how to use these wonderful intense pencils to create really nice deep sketches that you can do really quickly in layers and add textures so that you can really explore this wonderful medium. And then once we've gone through the step by step exercise where you will have three examples of this beautiful Apple sketch that you've done, applying all the methods that we learned in the previous class, you will then be ready to have a look at my full sketch where I will go in with a lot of detail and I will cover it really quickly so that you have a first hand experience and view of how these pencils can be used. And then once you've completed the exercise and you've had a look at my full sketch, then you're going to be ready to start going into this wonderful adventure and creating your own beautiful artwork, using your own reference images, or the reference images that are provided in the resource sheet, and then you'll be able to really explore the magical wonders of what these pencils can really do. And that's it. So we're going to keep it nice and simple. We're gonna keep it nice and steady. So grab yourself a nice drink, get yourself a nice treat, sit back, relax, get your intense pentels ready and sharpened, and let's get started the class. 2. Class Supplies: Okay, welcome back. Let's now go through what we need for our class supplies. These are going to be the essential supplies that you're going to need to follow along in the class exercise. Firstly, you're going to be needing some ink tense pencils, and the ones that I'm going to specifically use in this class exercise part of the class are as follows on the screen. So there are seven colors. So grab hold of these colors if you can from your set. If you don't have these colors, get some colors that are similar in hue value. If you have a decent red tone, grab hold of that, a darkish red, a yellow. These are the main colors that we're going to use for our lovely ink tense pencil sketch. Grab hold of your inktense pencils, make sure they're nice and sharp. And number two, you're going to need a brush, preferably a watercolor brush to apply beautiful water to the intense pencil. And yes, you're going to need some clean water in order to do that process. Grab yourself some fresh clean water in a jar or in a pot. And also, we're going to need a pencil and a sharpener. Grab yourself a pencil and a sharpener. A will do to do the sketching and you'll also need something that you can make a round circle with. I'm just going to be using the lid from the jar of water that I have. So whatever you have, that's rounding grab hold of that and then you can easily draw a circle because that's what we're going to be doing for the exercise part of the class. Most importantly, don't forget to get your watercolor paper ready because watercolor paper is going to be the main paper that I use. Throughout this class, I'm just going to use a standard, decent quality, smooth watercolor paper. Get your watercolor paper ready. Addition to the essential supplies, these following supplies are just optional that I'm going to be using in my full sketch part of the class. So if you have them, grab hold of them or grab hold of whichever other extra multimedia supplies that you have. Number one, I've got some Posca markers. I'm going to be using these two color Posca markers, acrylic markers. I've got a white and a yellow. If you have acrylic markers to hand, get them ready, so you're ready for your full sketch part of the class. I also got some lovely brush pens as well. These are water based brush pens. I'm using some nice hues of gray, warm gray, and cool gray. If you have these, grab hold of them. If you haven't, absolutely fine. Then number three, I've got a lovely pencil, colored pencil. This specific one is by lumos from my Lumos range, Karen dash one. If you have a nice dark color pencil in a colored pencil range, grab hold of that. Very useful for when you're going to do your full sketch. And some washi tape is always handy, especially if you want those beautiful crisp lines on your artwork. So if you have some washi tape, grab hold of it and put it on the side. Then some extra colors from your ink tints, I'm going to be using a range of colors for my full sketch when I go to do that. So whichever colors that you have from your set, just make sure that they're nice and sharp and ready so that you have access to them when you go ahead and do your lovely artwork. And that's it. That's all you need for this class. Nice and simple. You've got your essential supplies, as you can see on the screen, and then you've got your optional supplies. Again, in a nice list form. You can refer back to this in the class resource sheet if you want a reminder or just pause the video and grab hold of your supplies so that you're ready to go. That's it for the class supplies. We can now move on to what your class project now is going to be all about. 3. Class Project: Ok, welcome back. Let's now go through what your class project is all about. Number one, all you need to do is complete the sketching exercise from lessons four to 14. They're coming in sequence, follow along the best you can and complete them. Then number two, watch the full sketch that I do, which is Lesson number 15. This sketch actually took me quite a long time to do, so it's a sped up version. Just give it a watch, learn from the kind of techniques that we've already done in the first class in the introduction, if you've watched it, and then alongside that, the sketching class that you've just completed in part one. And then, number three, create your own wonderful sketch using the techniques that we've learned in the lessons, use your own reference images, draw from real life rather than a picture, or have a look at some of the gallery pictures that I've added to the reference pack of this class, whatever you like. For a small version or a medium sized version drawing, it's entirely up to you, but do give it a go and express yourself with these wonderful, lovely, intense pencils. Then number four, ensure that you take some beautiful pictures of all of your artwork, whether it was complete or not, and also the sketches that you did in the sketching exercises and upload them to the class project gallery so that we can all see and learn from your beautiful experience and that will encourage us to take part in the selves. Then finally, number five, leave a wonderful review on the class so that other students like yourself can find the class and take part and join this community of ink tense, pencil, traditional mediums. Do leave a nice review on the class so that fabulous students like yourself can get together and learn from your experience and enjoy the journey. That's it. That's all you got to do for your class project, nice and simple. Let's now move on to the exciting stuff and actually start off with the class. 4. Classs Outline: Hello and welcome back. Let's now make a start with the class. So firstly, quickly just going through the process that we're going to follow. Number one, we're going to look at observing our subject and then just creating a small little outline with pencil. And yes, you know what we're going to look at. We're going to be drawing an apple, a lovely apple that I picked out from the supermarkets. It looked absolutely delicious. So I thought, let's use this for the class exercises and the lessons for ink tense pencils. Then number two, what we're going to do is we're going to start analyzing the patterns and colors and selecting those tones and hues from our set of intense pencils. Then the exciting stuff starts with the final step where we're going to explore and create our lovely sketch using beautiful hues and colors from our intense pencils and we're going to be concentrating on the application methods that we covered in the first class where we went into quite a lot of the different methods of applying this wonderful medium. So if you haven't had a look at that before, then quickly recap that in the lessons in that previous class. All of the methods were covered in lessons five, six, and seven of the first class. So do give that a quick little recap. But as I go along in the class, I will be talking through each method. So even if you haven't watched the first class or if you don't have time to go through the previous lessons, don't worry about it. You can still make a start with this. 5. Observe & Outline: Okay, so let's start off with step one, the observing and outlining. So if you can see on the screen, I've got myself a nice sheet of paper over here. This is approximately a five sheet of paper, and I've just got a standard pencil. So grab yourself some watercolor paper or mixed media paper if that's what you prefer to use. This class, I'm going to be using specifically watercolor paper. The one that I've got on the screen here is a nice smooth surface, hot press watercolor paper. It's not 100% cotton. It's just a standard watercolor paper. So you don't need to be too particular about what brand or what content of cotton you have in it. Just grab hold of whichever decent watercolor paper that you have and cut out a nice A five shape so it's easy for you to work with. The pencil, it makes no difference which pencil you use because this is just for sketching and outlining. The first step really is to create some outlines. Don't want to start going into a lot of detail with the outlines. We just want to keep it super simple and clean. So what I'm going to actually do is I'm going to grab hold of my water jar that I've got over here and I'm just going to use this cap from here. So let's just grab hold of that cap, and now I've got the cap, and that's a nice little round shape that I can use to mimic the overall structure of the apple. Again, it doesn't matter if you're not accurate with this. This is just a class teaching you the techniques of how to layer and really create a lot of depth in your sketches. We're not doing realism. We're not doing hyperrealism, absolutely. Don't want to get bogged down into that. We just want to keep it nice and fun where you can learn this layering technique to really enhance your sketches. The first thing that I need to do is I want to go ahead and just place this on my piece of paper like this and then all I'm going to do is when I get my pencil, and I'm just going to draw around that circle. Again, it doesn't need to be accurate. It doesn't have to be perfect. As long as you've got something round to draw around, you can see there nice little circle. I've got a little bit coming out from the side there, but it doesn't matter. Just go with what you have, and then I'm going to do another one in approximately the center part of the paper there. So I effectively have two circles, and then again, just create that nice little round circle with my pencil and then finally, I'm going to do another one over here. So that we have three circles in a nice row that are similar in size. The reason for this is so we can create variations of this technique so you can compare and contrast the results. The next step really is to just mark in a little area on the top. So if you see on the reference image that you can see on the screen, I've given you this as the resource pack, do download that and put it up on your screen. You're doing this exercise so you know whereabouts to place these little elements of the apple. I'll start off with the left. I'm just going to draw in a little circle approximately about this top area down here. So on the top, draw yourself a little circle and then again on the next one in the middle, just repeating that same shape. Again, it's just free hand. It doesn't need to be accurate. These are just really placeholders so we can concentrate on our colors. That's that part done. The next part really is to just draw in that stork so you can see on the picture, the stork has this nice funny old shape don't need to mimic that shape completely, drawing something that looks roughly the same. Just like this, I've just drawn this odd little shape. Just repeat that now on the others. And that's looking really nice. Again, it doesn't matter if they're not all the same. This is just for illustration purposes. The actual reason for doing three lots of these is so you just get a bit of practice and that's what it's all about practice. You can spend your time and minutes and hours and days perfecting your sketches, but it's always good to get in some practice at the start so that you're comfortable with your medium. That part is now done, we've done the first stage, which is the observe and outline, and that's it. I'm just going to leave it at that. What I might do is I might get myself an eraser and with me a razor, I might just go ahead and just clean out the middle part of the stork so we don't have too much lines crossing over, so I'm just going to quickly do that now. Then again over here. Just like that. Move me eraser to the side. Give it a little, wipe. There we go. Look at that. Fantastic. How easy was that, and that's it. That's the basic structure of the apple. So that's step one now done. Observe and outline. We can now move on to step two, which is going to be Analyze and select. So let's move on to that one next. 6. Analyse & Select: Okay, welcome back. Let's now focus on analyzing and selecting our beautiful colors for our subject. So what we're going to do on this stage is, I'm just going to grab myself another kind of small cut out of a piece of paper, so I'll just move the actual sketches of those apples that I did first. So I'll just move that out of the way. Now we've just got this nice little sheet of paper. Try using the same paper that you're using for the sketch so that you get similar results. For this, we're going to concentrate on the main colors of our apple. You can see on the screen that the division of colors really is, we've got red tones, we've got brownie earthy tones, and then we've got this really nice yellowish tone there. My set, I've decided to use these colors that will match closely with those color hues that we have on the subject. These are as follows, I've got a nice light red shade, which is the poppy red and the number is 0400. If you remember if you watch the first class, I used a lot of this color in the first class and then for the darker red, I've got this color called Shiraz, which is 0600. Now, if you don't have these colors, that's absolutely fine. Just pick out a lighter tone of red and a darker tone from the selection that you have. And if you don't have two tones of red, just pick whichever red you have. So you can start practicing this. It's not about creating the exact colors that you have in your subject. It's really just about picking something that's as close as possible so that you can really start building this sketch and building your illustrations. So just to demonstrate what I'm going to do is, I'm just going to go ahead. I'm just going to do a little swatch over here to show you the kind of red color that I'm going to use. So there's that poppy red light red color, and then I've got the dark red color here, and this is just like a little swatch example just so that you can see the colors that I'm going to use. You can see got a nice bit of variants over there. And then I'm going to look at the browns and for the browns, you can see on the screen, I've decided to go ahead with this beautiful willow color and leaf green color. And that's mainly going to be used on the stock of the apples. So here they are. I'll just give you the numbers of these one. So we've got the leaf green first, 1600, and then I've got this beautiful brown called Wow 1900. So if you want to follow along with these exact colors that I've got, then get these colors ready. And do remember to sharpen your pencils, keep them nice and sharp before you start your sketch. As we mentioned in the previous class, it's really important to keep your tips really nice and sharp so that you can get the best results. So I'm just going to do a quick little swatch of these colors. So I've got my leafy green color there. Beautiful color there, isn't it? So just a quick little swatch over there, and then a nice swatch of that wow, beautiful brown, like so. Then finally, I've got my yellow shade and the yellow shade that I'm going to go for is the sun yellow, and this is going to be the main base color for this apple to produce those variations of colors between red and yellow, creating a gorgeous orange effect. So that sun yellow 0200, just a quick little swatch of that over there, and that's about it. So what I'm going to do is I'm just going to do a quick little wet of those colors, so just rid of that dust from there, just to show you really what the colors look like, and it's always a good idea to swatch out your colors before you start your sketch just so that you know what to expect with the colors that you have. So you're just dipping in me, brush into me water. I'm just going to create these nice little swatches of color so I know what I'm working with, so I don't kind get surprised or shocked at any stage when I lay down some color and I'm thinking, where did that color come from? I'm sure I didn't pick that color, but there you go. It's always nice to be prepared, and it's a nice little exercise, this, isn't it? Just swatching your colors and relaxing. So therapeutic, isn't it? So let's just quickly do this one. Look at that gorgeous color, that one, that chiraz color. And then finally, I've got my poppy red, fantastic, vibrant red over there, and that's it. So that's my kind of selected colors. Select the colors from your set, give them a little swatch and it'll give you an indication of where we're going to move forward with for the main part of the class. So that stage is now done, and now we can move on to the exciting stuff and explore and sketch our beautiful apple with our chosen colors. So let's have a little break, and then we can move on to that one next. 7. Explore & Create: Okey doke, welcome back. Let's now do the exciting stuff and start exploring and creating beautiful layers of colors with our intense pencils. Let's get our attention back onto the screen where we have our lovely little three easy style sketches with pencil of our Apple. We're going to concentrate on this left one first. Then we're going to move on to the next. Then we're going to move on to the one at the end, and each one of these, we're going to explore using different application so as a quick little recap where we went through in the first class, if you watch the first class, you would recall these lovely little things that we created. These were just two of the application methods that we went through, which we are going to focus on in this class. This one on the left here, we did the dry first application method where we went on with dry beautiful intense pencil, and then we wet it with our water just like I did with this swatch sample that I did. So this was the dry first method. That's what we're going to concentrate on this first apple here, and then we're going to go with the wet first method, which was this method that we had where we add water first, and then we go in with these beautiful color. We're going to concentrate on this middle one with the wet first method. And then the final one that we're going to do is we're going to do the dip method. So we covered that as well. The first class and we'll explore more of that when we come to it. Let's just move these cards out of the way, the quick little recap from the first class, and then let's concentrate on this first one. As I said before, what we're going to do is we're going to do the dry first method here. So what I've got here is now, I've got my three colors. I've got my beautiful yellow, my mid tone, red, and then my dark red. These are going to form the base color of the layer of this apple. Let's start off with the lightest tone first. I'm just going to move them through pencils out of the way and I'm going to go straight in now with the dry first application method. I'm going to look at the area where we can see where we have the yellow tone of the apple. From what I can see, we've got quite a lot of yellow in this section on the right hand side, just like this, I'm just going to add in my beautiful yellow color over here, just like that. I'm going to really get that layer of color in there in this up and down motion, effectively just coloring it in, getting as much of that beautiful beautiful pigment on the circular motions is good for this. If you find that the actual pigment isn't coming off that quick depending on the surface of paper that you use. Use circular motions, go over it like this in one direction, do whatever works best for the taking off the color from that pencil onto your paper. The application method will work great. Then what I'm going to do is I'm going to go in and I'm going to add that color onto this side here, where we've also got a lot of that light shade of yellow, just like this, just filling it where we see the color. Now again, from the image that I've provided, it's the same image that I'm actually working on. So you just fill it in the best you can see exactly it's not going to be in the exact kind of position that I've got it in. You might see the angle slightly differently, where your yellows ending or beginning, not to worry. It's just about practicing this kind of sequence of layering with this first base layer. So I think that's enough for me. I think that's going to work quite nice. That's enough for the yellow. Let's move that one out of the way. Let's now start off with the midtone red, the poppy red. And just like so, what I'm going to do is I'm just going to add poppy red now into those areas where I see quite a lot of the red that's quite predominant. Just like this, just going to add it in circular motions where I can and in between in this gap over here and then making sure that the white area gets a lot of that pigment being applied to it because essentially, the more pigment you add, the more color saturation you're going to get and we want this to be nice and vibrant, especially on this first layer. Just like that, I'm just going to add in the red. Then what I'm going to do is I'm going to overlap this area. So where we've got the yellow, I'm going to start overlapping it and you can see, while I'm doing this circular motion, you're kind of getting a bit of a color change. You're getting the orange being formed. So that's really interesting, isn't it? When you're doing the dry first application method, you can actually predict where the color change is going to happen. So that's a huge advantage of using this technique. You can really plan it out the way you want. There's a lot more control in this method. Again, we went through this in the first class, give it a recap if you want to, but it's not necessary. You can do this class without even doing the first class because it's quite simple and easy to follow. Just like that, I've got that nice overlap of that color and I'm going to do the same here on this area where I've got the yellow. I'm just going to go in with that poppy red, nice circular motions, not pressing down too hard, just keeping it nice and light. A nice and easy just like that. I think that's enough with the poppy red. Let's move to the darkest red now, the haras. So with the chase, I'm going to add the haras into this kind of bottom left hand side, where we've got the darkest area and just applying it in the same way, getting it into all the white areas over there. Circular motions, and then just filling it up, that's looking great. Just like that with the haras, Shres is a very nice color that a beautiful dark shade of red, looks absolutely fantastic, then maybe just a little bit over here underneath the sok where we've got some shadow area, but it's not necessary, just a little bit there on the left hand side, and then maybe just a little bit of an overlap where we've got the poppy red there, just very gentle. We've got to remember that the darker colors do tend to overpower and oversaturate the actual paper itself, you do have to use them with a lot of less pressure and really sparingly, keep it nice and clean and simple and not overpower it with the dark color. That's about it. The stork, we're going to leave the stork as it is. We're going to work on the stork once we've covered the basis of the main shape of the apple. That's it for the first part of the dry first method. You know what we're going to do? We're going to add in the water, so let's start adding in the water now. You can see over here, I've got my water. I've got me watercolor brush here, giving it a nice drench, making sure that it's nice and wet. Now, if you remember from the first class, we want to make sure that our brush doesn't have too much water dripping from it. Otherwise, then it's difficult to maintain any control. So this is just about right over here. It's nicely drenched. The bristles are nice and drenched. There's nothing dripping off the tip of that brush. What I'm going to do is I'm going to start by going in to the yellow area first and just giving it a nice little wet in circular motions here, just wetting that yellow area first, just like this, nice and wet and I'm going to give it a little bit more of a dip of water, just like that, a little bit more water. Then what I'm going to do is going to drop that water like this onto those edges where the yellow meets the red, just like that dropping it in. Not pressing down too hard, letting the colors merge into each other, blending to each other like this. I don't want to maneuver them around too much, adding these little dots. I've not gone onto the dark area yet. I'm just keeping it into the light area first. So just like this, another dip of the water on the brush. We don't want the water to completely dry out. So just like this, just adding in these dots and just letting it melt away. Into a wonderful world of color. So just like that over here, I've got the red. Now I've got quite a lot of red on the tip of my brush here. I want to go into this yellow. But if I go into this yellow with the brush as it is, it's going to overpower the yellow with the red. So we need to give our brush a nice rinse. So I sure when you're wetting the areas that you've got dry and you have different kind of shades and tones of color, you do tend to clean your brush in between the wetting process, especially if you're going back in from a medium to dark color to a light color. Otherwise, your colors are just going to merk up see like this, I'm just adding back into that clean yellow, just adding in those dots, and then I'm just going to go into the red area and just double dabble it all the way just like this. Let the water do all the work, not using too much water. Otherwise, it gets all over the place and you lose all that control, and then it just really becomes a pool of marbled colors, and that's not what we want. Well, it might be what you want, but at this stage for this dry first method, let's try keeping it nice and controlled, and you can maybe explore the marbled effect in your own class. Project. So let's continue over here. And again, I'm just going to now bring in the actual brush as it is into the dark area. So just like this, I'm going to go into that charaz color and look at that. Look how beautiful that looks. Gorgeous, isn't it? Beautiful color merging into each other, that dark tone to light tone. And you can see how quickly we just created this beautiful pattern design in our drawing, going to give my brush a clean. And now I'm going to go into this area here where we put the chiraz color there, wetting it a little bit with that brush and letting that water merge into the other colors, letting it spread on its own accord, and that looking fantastic. What we want to make sure that we do is we want to make sure that every part of our pigment that's dry has been touched with water. Otherwise, you know what's going to happen when we move on to the second, and we activate the second layer, that first layer is going to start muddying up the second layer, and we don't want that. Otherwise, it just creates a lovely abstract variation, and we don't want that at this stage. So just ensure that wherever you have the dry pigment, you've kind of touched it with water to just avoid having a muddied mess at the end. And remember, from the first class, we did mention in the information about these pencils that once these are fully dry, completely dry, once they've been wet, they become permanent. They effectively add as a lovely base tone that you can add on top and you don't have to worry about wiping the first layer away, great advantage of this pencil. Let's now just keep adding a couple of dots here and there to make sure that we've got decent coverage. If we look back and have a look at this, that looks rather nice, doesn't it? Let's just put the brush away now and you can let this dry on its own accord, go for a tea or a coffee. I think I might go for a nice little cup of tea because I'm getting a little bit warm now because of the weather. The weathers actually turned out really nice. You can tell with my Hawaiian shirt that I'm wearing. I'm in the mode of summer. Let's let that dry it'll dry up fairly quickly and I'll see you once that's done. 8. Wet First Method: Oh, that's quite nice, that. Bitter licorice and green tea, isn't it? Licorice? Oh, no, not licorice and green tea. It's licorice and peppermint. I've not had one of these before. Actually, quite nice that. Nice little change from me ginger herbal tea. So I think I'm going to put that to the side. Gonna have to remember that name peppermint, licorice and green tea, something like that. Anyway, I think Walworth, I think is time for the class now. Oh, hello and welcome back. Okay, so I was just enjoying one of my new tea varieties over there. It was a peppermint and licorice kind of combination type thing. Really nice, actually. I was wondering what it was going to be like kind of, you know, you've been watching me recently on my classes, I've got into tea these days. You know, I'm a coffee drinker, and I always will be. But I thought I'll try tea and see where it takes me, and it's taken me to very nice places. So let's continue with the class, and I'll sip on me liquors as we go along. So on the screen, you've got the first application method. That's an early dried out. But we don't need to wait until it completely dries because we're still on the first layer. Let's go ahead and work on the first base layer of the second method. What I'm going to do is, I'm just going to shift this sheet into the middle over here so that you can see it better. Then while this dries, we can go ahead and work on application method two, which is the wet first method. Again, we're just concentrating on the base layers for now. For this method, what I'm going to do is I'm going to get my water, give it a nice drench on the brush over here. And make sure that the water is clean. Now, how do I know that the water is clean? Well, what I can do is I can just go ahead and see if it's clean. Do a little swatch over there. Yeah, that's nice and clean over there. So I know me water's clean. Always make sure that you're using clean water when you're doing these techniques or working with watercolor so that you don't get all this muddy stuff everywhere. So let's get a bit more of a drench on there. And for this one, we're going to have to work fairly fast for this particular technique. What we're going to do is we're just going to add the water in onto the apple surface over here, going to get a bit more because we're going to need a fair amount of water. Otherwise, it's just going to dry out. The weather is very hot, like I mentioned earlier on, and the water does tend to dry really quickly because it's a little bit humid at the moment in the UK, which we don't usually get that much, so might as well enjoy it while you can. But again, for watercolor and water type mediums have liquid in them, you do tend to have to work fairly fast. I've got myself a nice amount of water there again I'm going to add in a couple drops just so that we have a nice pool of water. Then what I'm going to do is I'm going to use the same colors again that we used previously in the first method over there, and I'm just going to go straight in now. What I'm going to use is I'm going to go with my pencil with the yellow straight into that water. You can see as I'm adding this in that yellow is spreading out beautifully. That's the difference here from the first method where we went in dry first. We're just going in wet and then dry onto the wet effectively working like an ink, thus the ink tense pencil, but I'm sure that's not the reason they called it ink tense, but anyway, it's just another fun little fact or fun little analysis. Again, I'm just going to work really fast here, get the yellow in roughly the same area that I did before. And then just like this, I'm going to move my pencil away. But you've got to remember when you're doing this, when you're using the tip of your pencil onto wet surface, that's going to remain wet for a while and to avoid it going all over the place, make sure you place this on a clean surface or on a tissue where it's not going to interfere with anything else. Let's quickly move on to the midtone value, the red there, the poppy red. You can see it's so nice and beautiful. It's just like you're using watercolor from a marker, and it just adds it in so nicely. So it looks absolutely fantastic. So just like this, I'm just going to go in and add that red, where I added red before with the midtone value, making sure that the base in surface remains wet. Otherwise, it's just going to be the first method again, the dry first method. We want to work really fast on this. So just like so, move that onto my paper towel on the side. Then let's go in with the chiraz, the dark color. You can see it's still nice and wet. We're getting this really nice velvety, inky effect. And all I'm going to do is I'm just going to fill in that area. So that we don't have too many gaps. So if you're working on this kind of method here, try your best to work as fast as you can. But don't panic if it dries out so you can see the water started drying out there, not to worry, not about stressing. All we want to do is practice and try these techniques, so we just get a bit of experience. What I'm going to do now is I'm just going to get me brush, dip it into water. And then I'm just going to encourage the blends of the colors like this by dabbing onto the edges where the colors meet. What that will do is it will avoid this stark contrast between the colors and give it an encouraging blend because that's what we effectively want to achieve. Beautiful blends, just like that, in between the colors, not doing too much, just dabbing the tip of the brush to just encourage that movement from the colors into another. Then again, over here from the dark and red, and you can see that the effect already looks quite different, doesn't it? It looks a lot more vibrant and saturated, a lot more contrasty compared to the first one. And that's what it's really all about just to explore how these application methods produce different results. And then you just pick the method that you like to use or if you want to just experiment further, mix and match them, and that's what this class is really encouraging you to do. I've done that now for this one. We can actually go ahead and move on to this one as well. So let's quickly just shift the paper on the side while these two dry let's just move into this final method, and this was the dip method. So 9. Dip Method: This method, let me just get a little bit of a clean on the brush. With this method, all we need is our water to keep me water over here on the top corner over there, and we're just going to basically just get our pencil, which is already a little bit moist, which will work in our favor. And then all we're going to do is we're just going to dip it into the actual water here, you can see on the right hand side, I'm just dipping this in. We went through this method in the first class, so just dipping it in over there while the tip is nice and moist, I'm just going to go straight and I'm going to start laying down that color just like I did in that previous one and you can see, we're not getting any movement here. This one's going to be the most contrasty in effect, but you've got to keep wetting that tip. Otherwise, you're just going to get dry onto the dry surface, just like this. Keep wetting the kind tip of that beautiful pencil to maintain that beautiful gorgeous flow of ink like so. So just like there's roughly in the same areas as we had before. That's all I'm going to keep doing just giving it a nice dippy dip in me water and just adding it on. Really nice and easy. So beautiful. The actual color. It's so vibrant, isn't it? Absolutely love this color. So that's enough for the yellow. I'm going to move that onto my paper towel. Then I'm going to go in with my poppy red color, dip that in, give it a nice little dippy dip, and then just go straight in onto me paper, just like so. Then again, keep dipping it in. And you've got to remember with this method, the more kind of you dip, the more flow you're going to have of that ink. So do bear that in mind. If you don't want to do this method for your class project or you don't really like doing this method, or you don't like the results it achieved, that's absolutely fine. I just think it's worthwhile giving this a go really to get that first hand experience, to see how these pencils can work in different methods. So that's enough with the lighter red. Let's go in with the chiraz, the dark red, giving it a dip into that water. And then just adding this in now on the bottom area over here, just like that. Round circles, just to really fill in that space. You can see it looks really nice, doesn't it? It would be great abstract art this. This method using it to produce beautiful abstract paintings. It would be fantastic. Again, dipping it in again, just like that. And I think that's about enough. What I'm going to do now is while it's all wet. I'm going to get me brush. I'm just going to dig me brush into the water and then I'm going to encourage this blending that I was talking about before, just like we did in this one. Otherwise, we're just going to have the color lumping up on one edge and not really creating much of a blend, but we've got to work fast with this because if the color dries out, then it's not going to be maneuverable, and then we're going to really have just pure color in one section. Just like this, encouraging the blend. And that's looking great. I'm just going to clean me brush because we don't want to overpower with the dark color. Otherwise, we'll have all sorts of issues and it'll just be one huge pool of darkness all over the place, just like this. Very nice and light. Keep it moving. I think that's about enough for that so let's move this back onto the screen so you can see all three. You can see that the results look similar, although they're not been dried yet, so you can't really compare and contrast, but the general look is very similar, and we've used three different application methods. So let's let that dry and I'm going to enjoy my lovely licorice tea. And then once it's completely dried out, then we can move on to layer two. 10. Second Layer: Oh, that was really nice, that one. Oh, what a fantastic tea that. But it's a shame that I've all finished it and I have to get myself some more, but I wonder if that shop still stocks this particular brand. I'm gonna have to find out. I think I might have to make a note of that one, actually. Yeah, let's do that. Ok Dog. Let's get back to the class. So where are we? Oh, hello and welcome back. So we're back to the class now. I was just thinking about restocking my licorice tea because I'm enjoying it so much, but it does kind of run out from the local shops that I go to, so I do need to stay on top of it. So that was just a kind of reminder to myself. But anyway, get back to the class. Now you can see on the screen, we have all of the three methods that we applied with Layer one, and they have dried out beautifully. And look at that. They just look gorgeous, don't they? Subtle differences in them. Some are a bit more contrasty. Some are looking really nice and kind of beautifully blended together, and some are different, aren't they? So you've got different results with the three methods using the same colors for layer one. Now that everything is dry, we can now move on to layer two. For this part now, what we're going to do is we're going to get our medium tone, which was the poppy red. So I've got me poppy red, pencil ready, and I've given it a nice little sharpen over there. Make sure that for layer two, you have your pencil nice and sharp. Also ensure that the tip is dry, especially if you've just done that third dip pen method or dip tip method, then you've got to make sure that this is completely dried out before you go ahead and sharpen it. Otherwise, your sharpener is not going to be very happy and then neither will you. Do make sure everything is completely dried out before you go ahead with the next step. What we're going to do now is we're going to concentrate on the first one the dry first method and start doing layer two. I'm just going to move this into the center so that we have a better focus and you can see what we're doing. We're going to do for this second layer is, we're not going to go in and start coloring anything in. We're just going to add on top, what we're going to do is we're going to add on top with some hatching lines. The reason we're doing this is to build texture and depth. That's what it really is all about sketching with these pencils in different layers and using slightly different methods and styles just to build up your lovely sketch of your subject that you're doing. Let's start now. What I'm going to do is I'm going to use that middle tone and I'm going to go ahead and just create these really nice loose lines like this. So just like that, I don't know if you can see it properly on the camera, it should be able to. So just like that, you can see, I'm just going in this direction. I'm going over the yellow here just in this half of the apple. Again, just like that over there, and then I'm going to do the same for the one in the middle. I'm just going to move that in the center. And again, just very loose. They don't all have to be the same height or kind of the same spacing. Just try keeping them nice and loose. And again, I'm just going over what I've already got and that's it. So again, with that dip method, first layer, doing exactly the same. And you'll notice that depending on how much of this particular color you already have in layer one, it will give the effect of an actual line going over it. And what I mean by that is that if you've got too much of a saturated color and you're trying to do a hatching line on top of it, it's not really going to show, but don't worry about that. Just go along with what I'm doing for layer two. And what you'll see is that eventually building up this wonderful texture. We've got that now for all three of them. They look very similar. What we're going to do now is we're going to go ahead and start creating further lines now using that same color just like this. What we're going to do is we're going to effectively create a cross hatch. Just like that with my lovely intense color there, I'm just creating this beautiful cross hatch pattern. Then let's move on to the one in the middle and we're going to do exactly the same. You don't need to worry whether your lines are going to be a little bit wonky or here and there, or if one line goes above the other, don't worry about it. Just relax and just follow the steps so that you get familiar with this method and technique in using your lovely intense pencils. That's what it's all about, just enjoying the experience. You can see now if we move back and have a look at all of them at the same time, we've got this beautiful cross hatch going on, and it's already started adding a little bit of texture. What we're going to do now is we're going to get our lovely brush now and give it a nice dippy dip in the water. And for this section now, what we need to make sure we do is we don't overdrench our brush tip. So I'm going to get a decent amount of water on there, but I'm going to just get that water to kind of trickle off on the edge of my jar. I'm going to put the jar away on the side so you can see this. And this is what we really want. So we want a nice drench on the brush, similar to what we had before. And all I'm going to do is let's go back into the first apple here. I'm just going to go ahead and I'm going to follow along those lines that I just put in with the pencil. So just like this, we put the lines in first going upwards, and all I'm doing is following along, and then I'm going to go ahead and do the cross hatch lines all the way across. So effectively, we're just wetting those lines. And what we don't want to do here is we don't want to press hard on our brush while we're doing this. Otherwise, the line is just going to melt away and it's going to melt away into that first layer, and that's what we don't want. We want to preserve this kind of textured pattern with our lovely brush and that intense goodness that we have. And just like that, I'm going to leave it. You can see most of that has now been touched with water. Let's move on to the next one. So same method again, I'm just going to go ahead and give me brush another little dip so it's nice and clean so that we don't rk the colors up, even though we're using the same color, it's always good to use a clean brush every time you do this. So just like that, Nice just a little bit of water on that brush and I'm just going to go ahead and do the same. I'm just going to go up on those lines that I can see and don't worry about it if you can't see your lines because the colors are the same. No need to worry or panic, follow the steps, the more you do this, the more practice you're going to get, and then you can adjust it however you like when you come to doing your own artwork. Or creating your class project. Just like this, got to make sure that we get that water to touch most of the dry pencil work, and that's looking good. Again, just to clean on the brush and I'm going to follow up and do the same for that third one, just so that these lines look a bit more prominent and they have that lovely inky effect of these intense pencils. So just like that. And then across coming across, maintaining this wonderful texture, especially when it goes over that yellow, that lighter color. That's when you'll be able to see it the most, and that's looking great. So let's just put the brush away. And what we're going to do now is we're going to wait until that completely dries. We don't want to go in with anything else until this kind of first step of the second layer is completely dry. So I'm going to let that dry, maybe go for a little naughty snack. Might get myself a little chocolate. There is a lovely Cadburyse flakonry table, which I can see over so I'm going to go grab that enjoy myself, and then hopefully by that time, this should be nice and dry and we can move on to the next step of layer two. 11. Darker Texture: Mm. Ah, what a fantastic chocolate that. Cadbrees flake. Better put it on side. I've got it all over me hands. What am I doing? Get some tissue. Clean it up. I bet I've got it all over me face, as well, right? Quick please, get rid of all the evidence. Get rid of all the evidence, right? Okay. So what are we doing? Something about intent, watercolor pencils. Mm. That's it. Oh, dear. We're recording. Hello. Okay. Welcome back. I think you've caught me having me chocolate there. I snuck it in while I was waiting for this to dry, and I don't regret it because it was gorgeous right hunky hook. Let's continue with this now. We've got a nice bit of dry, lovely cross hatching work on our three apples. So what we're going to do now is we're going to add few more hatching lines on these top areas just to add a bit of curvature to the shape, so it looks like things are flowing nicely and that we have a nice kind of curvy shape going on. So with that same color now, I'm just going to go ahead and add in some lines like this or just bring this into the middle again. So just like this, all I'm going to do is I'm going to add in some lines coming down from this side. So it effectively looks like there's some curves, and then from this side, I'm going to bring in some lines like this, just some normal lines going like that, normal hatching lines. And you can see it's just added a bit of depth to the actual overall shape. And again, I'm going to repeat that now for these other two. So just like this. Very loose. It doesn't matter if the lines go wonky, don't worry about anything. I don't want you to stress. This is just a method. You can follow it along the best you can. If your lines turn out completely different, then don't worry about it. You can practice because practice makes perfect. But as I always say, we're not here creating perfect realism. We're here just to enjoy ourself and enjoy the journey in art. Let's have a look at this now looking great and what we're going to do now is we're going to go ahead and get our darker color now, our lovely chiraz color there, the color that we used on the bottom. Now what we're going to do is we're going to go in on the first apple and we're just going to start adding in some hatching lines like this with a little bit of a curve to the line, so not completely straight, just a bit of a curve, and you can see like this, it's adding more depth and more texture, just like that. Then on this kind of base of where the actual stalk is, just a couple of lines like this coming out of that stalk. Fantastic stuff. That's all I'm going to do on that one and then I'm going to repeat the same on here, so just like this, curvy lines going over the cross hatching work that we did before, beautiful curvy lines, and then just from here, a couple of lines coming out like this from where we have a little bit of dark going on over there, and then again, we're going to do it on the last one. Lovely curvy lines like this. Nice and loose, but just following the curvature of the shape of the apple and then again, some lines coming out like this. Nice and loose on the base of the stark. Look at that. That looks gorgeous, doesn't it? Again, what I'm going to do now is I'm going to go ahead and do just a little bit of cross hatching in this direction here, just like this, cross hatching on the base of the apple like this, just to add a bit more depth. Do the same on this one, little bit of cross hatching lines like this, creating effectively more pattern and more depth to the overall sketch. Just like that again on this one, like so. Just add a bit of variation, and I think that's looking fantastic. So you know what we're going to do next. We're going to get our brush, and we're going to add nice little drench of water just like we did before. And you know what we're going to do, we're just going to go ahead and we're going to wet these lines that we put in the darker lines of haras and look at that. See how that texture started to form now. I'm trying to follow those lines the best I can. It doesn't matter if you don't follow them exactly or if the wet color goes a little bit all over the place. As long as you maintain the texture of the line and don't completely melt away the beautiful inky, painty stuff that comes out of this beautiful pigment, then you're good to go. Just like really nice and easy. I noticed a dry line here and there. Going to add that tip of the brush just to give it a bit of a wet and look at that. Look how it's enhanced that overall beautiful shape. We're going to do the same for this little part over here under the stalk. So, give it a little bit of wet. Now I'm going to use the same brush to wet those previous lines that we put in, those curve lines because I'm not that bothered whether it mixes or merges with the chiraz color. We also had some over here on the top, it will just add to the overall balance and flow of color, and that's looking good. Maybe just add a little bit of that color at the back there to complete it. Look how nice that looks. Fantastic stuff. I'm just going to go ahead and repeat that now quickly on these other two and then we'll see once it's all dry what results we get. Ok Dokey, we're done now. We've put a little bit of wet onto those lines that we added on, and that looks absolutely fantastic, doesn't it? So what we're going to do next is we're going to actually go ahead and add a few more textural elements to this just to give it a final enhance. And then we can start looking at those storks, which are going to be really easy to colour in. So let's maybe move on to that one next. 12. Dot Texture: Ok Dokey. Welcome back. Let's now move on to adding a little bit more texture with another technique that you're going to be familiar with because we've used it before. We're going to use the dip tip method. So we're going to go ahead and grab ourself our lovely, lovely red, that poppy red, that first red that we use. So the poppy red is going to go in, and I'm just going to go ahead and do a nice dippy dip like I was doing before for third application method that we did on the third apple, just like that. A nice bit of dip, and I'm going to keep dipping it in as much as I need. And then what we're going to do is we're just going to move this in the middle so you can see what we're doing. And it's just going to be a case of adding in some beautiful little dots like this. You can see on this yellow area, there's no point adding them where we've already got that color. So in the color area that we don't have this particular color, so where the yellow is, I'm just going to go ahead and add a couple of these dots, random dots like so, and now the tip is getting dry, so I'm just going to give it another dip into the water to get it nice and moist. Just going to shake off that excess water because I don't want water droplets going everywhere, and then just like that, a little tip here, a little one there, a little one there, and you can see how beautiful that looks now with those gorgeous little dots of red. Going to do that now in this area here, I can see a few here and remember with these beautiful pencils, the actual ink itself is going to be opaque, so you can still go over with a lighter color on dark and you should be able to see it. That's a huge advantage again, of this pencil and this beautiful formula that it has that it dries opaque and I think that's about it. For that one, maybe just add some really teeny teeny weenie ones here using the edge of the pencil, maybe just add a couple here, just to make it complete and maybe just scatter a few across, even if you can't see them, just to make it look a bit more complete. So just like that, I've done it with this. What I'm going to do is I'm going to go ahead and put that on my paper towel now so that it doesn't smudge everywhere. And I'm going to go ahead and I'm going to get the darker colour, the chias. So with this chias again, I'm just going to go ahead, do my dippy dip now into the water, same method, same technique. And I'm going to go straight into the apple and where we have more of the red area here, that poppy color over there, I'm going to start adding in some beautiful dots of charaz there. So just like this, look at that. Look how fantastic that looks. We're using the same colors in a different sequence using different application methods, and we're getting some fantastic results. Again, my tip is getting a little bit dry, so I just going to dip it into that water, shake off the excess, and then I'm just going to continue adding these dots into this kind of area here, this concentrated area down here, and then maybe just throw in a couple where we've got the edge of the stork. Really to bring out contrast. What you don't want to do is you don't want to put the darker dots on the darker color. You want it to contrast with the color that the lighter tone. So just like this, adding in a nice bit of chase. We wouldn't want to have too much has coming on this side because we're actually thinking that the light source is coming from this kind of corner here. So really, although we're not doing realism, but just to make it a little bit more decent, we want to keep this area nice and dark. We concentrate our dark dots onto this left side and we have the lighter dots on the top right hand side. But again, if you want to just scatter them around just to make it look nice, you can go ahead and do that. I'm just going to stick to this kind of method and sequence. So all I'm going to do is maybe just add a couple more here. I don't want to overdo it because again, this is just an exercise. You can spend your time doing this when you're doing your class project, spend as much time or as little time on it as you want. I think I'm going to leave it at and all I'm going to do now is the exact same method that I applied here with the poppy red and with the charaz we're going to do the same for the other two apples, and then we'll see what results we can get. Ooky, welcome back. You can see now I've done a similar pattern and sequence on all three of the apples, and it just looks beautiful, doesn't it? So it's still a bit wet now, so I'm going to let that dry completely. And what we're going to then move on to is we're going to move on to the stork area. So what we want to really do is just kind of, like, move this onto the side, let it dry, and then I'll go through the sequence that we need to do for the stork which is really super easy. Not too much textures or layers on it, but let's maybe have a little break, and I think I'm going to end up eating the rest of this flake. So I'll see you once that's done. And 13. 13 Apple Stalk: Oh, dear, oh, dear. I shouldn't I've eaten all that chocolate. I'm gonna have nothing left to have for me dessert later on today now. I'll have to come up with a plan. Yes, indeed. Okay, Okay, welcome back. So, what we're going to do now is we're going to have a quick look and see if this is dry and I can see that it's not completely dry. So what we'll do is let's just move this to the side for now so that we let it dry on its own accord. And what I'm gonna do now is I'm just going to grab myself another sheet of that same watercolor paper that I used previously. And we can start looking at how we're going to colour in the stok of our apples. So before we start, let's get our colors out. I've selected these three colors for the stork, and again, we're not doing realism or any type of imitation of real life. We're just doing sketches and having a bit of fun. Select whichever colors you have available. I'll read them out to you which ones I've got. This is a beautiful leaf green color. The number is 1600. Then I've got this lovely color called Wow, 1900, beautiful brown shade that. Then I've got my charcoal gray color, 2100. And these three, I think will work really nice. If you've got these colors, then get them out and let's quickly go through how we're going to color in our storks. I'm going to do this on this sheet so I can do it a little bit bigger for you so that you don't have to concentrate too much and might miss some of the details when I do it on those apples because they are quite small. I'm just going to grab hold of my pencil, put me colors to the side. Let's just do maybe let's just do it this way so that you can see more of it. Generally with the stalk, we just had a that was similar like this, didn't we it was just curvy from the top and then we had the bottom part of it coming in like this and then we had the edge of the apple over here, and I think that decent enough size for you to see, or shall I make that a bit bigger? I could possibly make that a bit bigger. Let's just make this a little bit bigger because it's just for illustration purposes so that you can apply it to your drawing when you go ahead and color it in. I think I'll just make that a little bit bigger like this, give that a nice little erase so that you can see that this isn't just some funny little abstract shape, just like that. I think that's good to go. You don't have to practice this. You can either watch or you can maybe do this little drawing yourself or do the version from the picture that you have and maybe for your class project, the exercises leading up to it, just as a practice, or you can just go straight on to your actual apple itself. From these exercises, just use this method that I'm going to go through over here and everything so let's move on. I'm going to start off with a beautiful green color over here. So on that picture, I'm looking at it and I can see some green there. So I'm just going to add a little bit of green here, not going to worry too much about making it accurate. So just green on this side over here. I'm going to leave this right hand side without too much color so that we can mimic a bit of light coming in from the side, just like that. I'm going to add this leafy green there, and then I'm going to keep a bit of willow brown and really bring that in overlap it. I'm just going to overlap that, use circular motions, just to effectively just color in this shape and I'm ensuring that I leave that beautiful white on the edge, just like that. Then what I'll do is I'm going to get that charcoal gray color and I'm just going to add in a line of that charcoal gray. Just so on the edge, just on this left hand side, and that's about it. I'm just going to give this a bit of a shake because I've got some sediment on there, just like that, that's looking lovely. What I'm going to do now is I'm just going to go ahead and wet me brush and have a nice bit of a drench on the brush and then I'm just going to go in and add some water in to this white side first. So just like this, I'm adding in water to the white side, very, very, very subtle and just adding it in. And then I'm going to slowly start bringing the brush over in this upward and downward motion. And you can see it's just creating that beautiful willow color and effectively just bringing it to life and it's just making it real and gorgeous. So just like that going over the beautiful green. And you can see, using this technique of having the water on the edge, it just made it so easy and simple just to add that color. And so what I'm going to do now is I'm just going to go ahead and do the same for that dark charcoal color, but you do have to be careful with dark colors. They are overpowering, so I'm just going to be very careful while I do this. I don't want too much of the dark going in. This is effectively just going to add a bit of an edge outline to it. And look at. M han moved out of place, and it just created this weird and wonderful bump over there. But if that happens to you, don't worry about it. I want you to relax and chill because that actually looks quite nice and natural, doesn't it? It's a happy little mistake, isn't it? Well, I say there's no mistakes in art, so I'm going to say it's a lovely little abstraction. So there we go. I've just colored it fixed it as I'm going along. And now I've got a bit of that dark charcoal gray colour on the tip of my brush, so I'm going to give it a rinse to make sure that meat tip of my brush is nice and clean. And then I'm going to just add in a bit of water again onto this side, just to make sure everything stays nice and moist. And just like that, you can see we're getting a nice movement of colour going from light into kind of the main tone of color and just kind of just working it in this circular motion, just to really fill it up and make it look decent. Now, I'm happy with that, I'm going to put my brush away, and now I'm going to go straight in with that beautiful willow color and I'm going to go and as the surface of that is still wet, I'm just going to go in and draw in some lines like this. That will add some detail to the overall shape and you can see just by adding these lines. Bumpy wumpy curly wly lines like this following the kind of shape of this stork that I've got. It's just added that extra depth to it, hasn't it? And then just like this where the white area is, I'm just going to drop in some very gentle lines here and kind of the top part of the stork and you can see how easy and quick that was to fill and that's it. I'm not going to leave it like that. I'm not going to go into too much detail. I think that's a really nice little lovely little shade of color onto the stok. So what do we need to do next? We need to add this now onto our lovely apples. And that's all I'm going to do now, so let's move that to the side so that you can see, you can see it on the screen. I'm just going to follow this lovely step by step process to create this wonderful stock that we have on our apple. I'll do it first for this one, and then I'll do it quickly on the others. I've just got to make sure that this is dry. Otherwise, I'm going to get smudgy, smudgy everywhere, and then I'm not going to be happy. No, I'm not. So I think that's dry. But just to be safe, what I'm going to do is I'm going to grab hold of that lovely little card piece that I had to make sure that I don't do any smudgy smudgy. Always a good idea, nice little tip that to cover your artwork. Some paper or some card so it doesn't smudge your beautiful artwork. Let's just line this up next so that you can see it, and we're just going to follow this. What we did first was we added in our lovely colors. We got the green. With that, again, I'm just going to go in and I'm going to start adding in my lovely green like this. Onto the shape of the stalk. Again, the shape of the stalk isn't important. As long as it looks similar or resembles what you've got in your image, it's absolutely fine. A little bit of green on the side there starting off with that. Then going in with that willow color right in the middle of the stalk again, because this is small, it can be a little bit more fiddly, take a bit more time for you to do this. But just take your time again. Don't stress if you mess it up or if you put in too much of one color and not enough of the other, don't worry about it. Just follow it through and you'll be fine. Then finally, that lovely charcoal gray color very gently, just adding it into the edge over there, like so. And that's about it. What I'm going to do now is let's wet the brush, make sure we've got an ice cleanly clean on the brush just like that. Now I'm going to add in that water onto that side like I did before. Then just going to drag me brush down over the colors and let those beautiful colors merge into each other. Look how gorgeous that looks. Beautiful stuff. Okay. So let's just wet the edge where we've got that beautiful dark color there, and then let that merge in a little bit as well. It's absolutely fine. Again, take your time with the stock. Don't worry about it. If it doesn't work out how you planned, just keep going with it. And I think that's about it. For that, put the brush away, get that wow, beautiful willow. Just make sure that when you're adding in pencil work in a small area, you have the tip really nice and sharp. Otherwise it might not work. It was a lot easier doing it on this because it was a lot bigger. So if you feel that, you're going to add some pencil marks in it like this, and it's just kind of kind of maneuver that water that's already there, then leave it. And I think that's what's happening with me now because we've got too much water on the actual stork itself. So I'm just going to add a couple of dots just to add some details. We don't really need to put too many lines on this because it's just a small little sketch. So I think that's fine as it is. We'll let that dry, and then what I'm going to do is I'm going to go ahead and I'm going to do it for the other ones, and then I'll see you once that's done. Ok doke. Now, I've added in the color on the stalks, and you can see, it's nice and lovely and kind of unique, but we have quite a bit of water on it, so I'm just going to let that dry naturally. I'm not going to use me hair dryer to dry it because if we put too much force on it, it's going to splatter everywhere. So I'm going to let that just relax and dry away into the atmosphere and create a beautiful blend of color. And if we need, we can add in some details with that willow colour on top once it's dry. But I don't think I need to do that for this exercise. I'm going to save that for my project. Again, we just quickly went through how we could color this in on a bigger sheet just so that you have an idea, and this is the technique that I'll be using in my class project when I go to do it. Give that a go on a separate piece of paper and then just incorporate it in the best you can on your Apple sketches and then we're nearly done with our sketching stage. We've basically done the first layer, we've done the second layer. We've added onto the stork and then we're just going to do some final little tweaks for the final third layer, and then you're going to be ready to do wonderful class project. Exciting stuff. I'll see you on that one. 14. Final Layer: Welcome back. Let's now finish up our lovely sketch with the final layer because, yes, everything is nice and dry, then lovely little storks have dried up and they look absolutely fantastic. So you can see, just like we did our pattern on our bigger stork, we've got a nice little pattern on our teeny weenie apples over there. I hope you've tried this out and followed the steps step by step. This last part now is just adding in some final highlight and we're going to move on to that one now. For this, I've got two lovely colors here of my intense pencils. I've got the antique white, the 2300, which is generally the white that you get with the sets or any sets that you get with intense. Then I've got my sun yellow, the 0200 that I've been using throughout this class for those yellow areas of the apple. And all we're going to do is we're just going to use that same dip method to just add in some white and yellow highlight dots on the right hand side of our apple and just get it scattered around so that we have nice bit of detail in some highlights. But we can also use another medium, if you like. So over here on the side here, I've two gorgeous posca pens. Yes, then posca pen markers, fantastic medium that acrylic paint in a marker. But because I'm doing ink tense, I'm just going to follow along and just complete these apples just using my intense pencils and I'm going to save these markers and any other type of mediums for my full sketch, which I'm going to move on to next. So I think I'll keep these to the side. I thought I'll just mention it to you. So just in case you don't have a white in your set or you just got a couple of colors. If you do have these acrylic markers, you can even use these when you're doing the dots for your apples with the red colors and the darker red, it's absolutely fine. But because we're just doing this simple exercise, let's stick to our ink tents, so I'll keep these on the side now ready to use for my full sketch, which we're going to be doing next after this lesson. So let's get back to this lesson now. So like I said before, I'm just going to add in some highlights. So I'm going to start off with the yellow one first. So we'll build up to the lightest. And yep, that lovely dip method that we've got, just dipping in my lovely pencil there. Nice bit of a dip, shake it off so we don't want too much going on. And then all I'm going to do is I'm just going to start off again on this left side apple and I'm just going to drop in a couple of these dots. Now, you might not be able to see the dots immediately, but you will see them once they've dried. It all depends on where you actually place them. And how much kind of pigment you've got on your tip. If you've oversaturated it with water, then you're not going to really see it that well. So do bear that in mind if you're thinking, Oh, I can't see any of this, I can't even see it on my lovely apple design. Don't worry about it. Again, I'm just doing this for completeness, just to show you how to hide in some lovely highlights onto your beautiful objects like this and you can see it just looks great, doesn't it? I'm just going to give it another dip on that tip just like that. Keeping it very, very light. I'm not going to oversaturate it just in this kind of right hand side, where we've got a bit of the dark then maybe just a little bit on the stalk there at the bottom to show some type of a reflected light going on there, and that's it. So I've done that with the yellow now. Let's move the yellow to the side. Let's now move on to the white, though, go to dip that white in just like I did with the yellow. I'll just show you over here. Nice dippy dip on the white. And remember, this is opaque, so the white should go on nice and opaque onto our lovely apple here. So again, just going to drop these little dots of white randomly onto this right hand side, and you can see it's very, very subtle. It's not very sharp, and that's absolutely fine. You're just getting these little speckles of white here and there, and it just adds to the overall image itself. But do remember when you're adding lighter colors, you do need to add them onto the darker areas more to get that contrast and that nice sharpness. If we had a couple of whites here, just like that, get a dip on the pencil, shake it off, and you can just dab them on like this. And you can see that it's just looking fantastic. Very subtle. We don't want to overpower it. Just give it a nice firm little diby dab like that, and there you go. So we've got a bit of white there. My areas a little bit wet there, so I don't want to kind of merk it up too much by putting too much white on and maybe just add a little bit of white. Kind of highlight areas on the corner here of the stork and it's very subtle, but I think it gives it a nice touch. All I'm going to do is, I'm just going to repeat that now, go in with the yellow first, then go in with the white on the other two, and then that's it. We're going to leave this exercise as it is, and then we can move on to the exciting stuff where I go through a full sketch, which will take me quite a long time, so I will speed it up, but I'll speak about that after I've done this. So let's get back to it now, starting with the yellow, and then I'll see you once I've done the same on the other two apples. Ok doke. Now we're done, so you can see them little, lovely subtle dots of yellow and white. They're very subtle. They're kind of, like, muted into the actual colors themselves, but I think it just adds a lovely little touch, and it's just kind of a finishing layer onto our wonderful little so that's it now. So I'm going to wait until this completely dries so you can see the final effect, and then I'll show you from different angles what this looks like, and then we can move on to the exciting stuff and do our full sketch. So let's wait until this dry and maybe have a little tea, maybe another chocolate, or a treat, whatever you like. And I'll see you once that's done. Okey doke. There we go. It's lovely and dry and it looks beautiful, doesn't it? So, look at that. Absolute gorgeous mat finish on those little teeny weeeny sketches of our Apple. And you can see on the other angle what it looks like compared to the actual lovely picture itself. Again, we're not looking at perfect photorealism or any type of realism. It's just sketching, loose sketching, enjoying the colors and the flow and using different techniques. So I hope you've given that a nice go where you have three lovely apples and you've used the techniques that we've gone through in this class, and especially the ones that we did in the first main class of this intense pencils so that you've got something to work towards. So after this sketch now, if you're following along, what I want you to do next is do a full sketch using your beautiful colors, work on something a little bit bigger, and in fact, that's what I'm going to do. Let's maybe talk about that on the next one. 15. Full Sketch: Okay, welcome back. Now we're ready to do our full sketch, and this is going to go all out in spending our time designing this lovely apple again, whereas before we just did some quick little sketches to see what the textures and techniques would bring in terms of results. So you can keep this as a reference. And what I really want you to do is concentrate on a nice single sketch now. So if we just move this to the side, I'm going to use the same reference that I've used for the particular sketches of that apple. I've got it on the screen again and I'm going to use a different watercolor paper. Previously, the one that I used on this one was a normal smooth surface, hot pressed watercolor paper, and it was just a normal grade watercolor paper. It wasn't 100% cotton. It was just a normal paper grade watercolor paper. But now I want to use a nice decent quality paper. I'm using a cold press paper that's 300 GSM. And it's arches. In fact, it's a beautiful arches, cold press, 100% cotton watercolor paper. So try using different grades of paper to see what textures you can produce with these wonderful pencils. I'm going to go ahead and do that. I'm going to use this nice small cutout size. It's approximately a five this size. So I'm going to use this and I'm going to use all the techniques that we've gone through in the first class in this class using these lovely apple kind designs that we going through exactly the same things, not doing anything different. And then what I'm also going to do is I'm going to use some other mediums to really make this into a lovely mixed media sketch. I'm going to go in with a lot more detail than what I did before. I'm going to think about adding in some shadow work, using my Posca markers for highlights, and also using some lovely brush markers like these, these water based brush markers to add in depth with some darkness overtones. But again, whatever mediums you have for this full sketch, if you want to follow it step by step, you can do, but it's just to give you an idea of what you can do with these intense pencils that we've got these wonderful intense pencils and other mediums so that you can really explore this medium and start creating some gorgeous results. If you don't want to follow this step by step, then that's absolutely fine. Just watch it. The actual video itself is going to be sped up because I'm not going to spend over an hour drawing something and expecting you to watch it step by step. So it will be a nice, quick video where you can see what I'm doing and I will talk and explain what I'm doing at what stage, and I can't wait to get started. But I think I might have to get myself a drink first. So let's get ourselves a nice tea and then get our reference picture up, get comfy, relax, remember what mediums we're going to use and tidy our desk. I think that'll be a perfect way to start our full sketch. So I'm going to grab myself a T. I'm going to let you sit back and relax and watch me design this lovely apple scene with the apple in there. I might add in a little color background or whatever I feel like, depending on the tea that I'm drinking. So let's do that now. Back. So I've just got myself a nice ginger tea, and I'm ready to do my sketch. So I've started off with a nice pencil outline of the apple. You can see the apple on the top right hand corner, the same reference image that we're using, just drawing in some rough kind of contours and lines. Then I'm going straight in with that beautiful sun yellow color, just like we did in the exercises. Then we're going in over with that beautiful poppy red. And again, it's going in dry first method, just like we did in the class lessons. And then at the bottom, we're adding that gorgeous chias, and on top of that, I'm also adding in a bit of that leaf green on top to create some beautiful blends of color. And then with a bit of willow and then having a nice sip of me lovely ginger tea. And now we're ready to add in that lovely, lovely water to create that gorgeous blend of color, just like we did in our class. And that's what it's all about building in these beautiful colours, just giving them a nice little wet with a damp brush, not oversaturating with water too much. Let the ink tente work for you. Let it create that magic. Then now what I'm doing is just drying it up with my dryer, and now it's nice and dry and I can work on the stork. Again, just added in those same colors like I did before, the willow, the leaf green, and that beautiful charcoal gray, giving it a nice little dry again, making sure that we're nice and dry in between our layers. And now I'm adding in that texture, creating some hatching lines and cross hatching lines with the chias and the poppy red. And then just following that same kind of lesson structure and method of going in layer by layer, and then just building in more and more detail. I'm spending a lot longer doing this than I did with the exercises, you can see, it's really bringing out that contrast. Now what I'm doing is adding in some green dots here and there and just giving them a little bit of a wet with that charaz at the bottom and a bit of charcoal gray. And you can see it really brings out the deep contrast in this lovely, lovely little sketch. It's looking more realistic, although we're not working on realism. It's just sketching. So it's nice and dry now again. Now I'm going to go in with my posca markers rather than going in straight. So just testing them out and going in with those little stipple dots of the yellow. It looks really nice. It just brings in those kind of extra highlights and then adding in some white marks on the right hand side, just to give it a nice little pop of color and add another dimension to the sketch. Now I'm going in with my Lumos colored pencil. It's a dark shade of black just to add in some kind of dark lines and tones, just to give it that effect that I always like to do. Again, this is very stylized because this is my personal way of drawing what I really like to do. You don't have to go in so much detail in your full sketch or your class project. So what I'm doing now is I'm just taping up my piece of paper, which I should have probably done from the start. But there you go. You learn as you go along and you just forget because you enjoy yourself so much. So what I'm going to work on now is the background. And with the background, I've just added in that willow colour on the bottom and a nice light shade of blue on top. And then I'm adding some white on the top, right hand side, and then going in with a darker blue on the left, just to create some layers. And then on the left hand side, I've just added a darker shade of the charcoal gray. And then I'm going to wet the lighter part first with some nice, decent amounts of water, just letting it all blend and let those colors create that beautiful blend in the background. Same again with the bottom part, again, going into the lighter shade first and then just overlapping with the darker, and it creates this gorgeous gorgeous effect, doesn't it so quick and easy to do. So I would recommend that you try doing especially when you're doing your class project. So everything is nice and dry now. Now I'm going to use the dip method. But this is another technique I've actually used over here in the class, so I'll slow this part down a little bit. So what I've actually done here is this is actually a technique that I did in my watercolor pencil class that if you've watched that, you would have seen me do this where I actually go ahead and I the brush first into the water, and I pick off the color from the tip of the actual pencil. We've not covered this particular method in this ink tense series yet. We've actually covered this in my watercolor pencil class. And this is an additional method that you can use if you want to go in with just pure color on a brush, like you would do with normal watercolor. It's really nice to kind of try different techniques out as you go along. So do try that out in your class project or try it out if you're following along in this whole sketch. And that just gives you some nice subtle colors where you don't have to worry about dipping the pencil. You're just using the brush like traditional watercolor. So again, all I'm doing is adding in a little bit more water, a bit more pigment from the pencil, using the brush, and then I'm just spreading it out so we have a nice bit of dark where we've got a little bit of shadow, and then it's the drying process again, very important. As I keep saying, to dry between your layers. And now I'm just going in with that beautiful willow color again on top of what's already dry, adding in a little bit of the charcoal gray, and then just giving it a nice little wet just to create some more texture lines and give it that kind of other dimension to stop it from looking too flat. And there you go. There's the reveal, tape removed. Final little bits and bobs. Now, we're going to use that dip method. We'll be going straight in with that poppy red to really add in some more nice elements of color to the overall sketch itself. I think that just adds further depth and texture to this sketch. I think this is about it now. So all I'm doing here is I'm just drying it out. Final dry using the dryer. If you don't have a dryer, just go for a little walk, go for a little break, have a tea, and see how it goes, and it should dry fairly quickly. So all I'm doing now is just adding in some more little ditty dots with my white posca marker, giving it a little dry. And then what I'm going to do is I'm going to go in with my brush markers. So my brush markers that I use are really nice water based brush markers. The tones that I've got are the gray tones, warm gray and cool gray. And I'm just using these to mute out some of those highlights and just add in a little bit more bit of shadow work just to give overall balance to the overall illustration itself. And again, adding in a bit of cool grade there onto the foreground and the background areas where we've got the blue just to add a bit more interest. Okey doke. Finally, the actual design is complete. So I spent quite a long time on this one. I think it took me well over an hour, but I did it in stages. I took a few breaks while I was doing it, and you can see the overall kind of design looks quite nice. It looks quite kind of jazzy and quite themed in its color and its mood and atmosphere compared to the nice bright colors that we had for our sketch exercise that we did. But again, that's my particular style, as I mentioned before. I like to use a lot of contrast in my artwork. I just think it gives it a lot of character. Again, with a lot of my work that I do, I write some poetry to go alongside it. So it's a specific style. But again, if this isn't the style that you want to do, if you want to keep it nice, airy and light and vibrant and beautiful then go ahead and do that. Try using some of the methods that I've gone through in this full sketch by adding in maybe some colored pencil, color pencil that I was using, the Lumos one over here, just to add in some hatching lines over once everything is dry and then maybe adding in some gray tones with some water brush colors if you have them. Then maybe using some Posca markers to just add in a couple of highlights and dots, see what it does, see what results you get. Now you've got yourself a nice library of techniques and skills using ink tense pencils to start creating some beautiful artwork. Give this full sketch style a go if you really want to try applying some of these techniques to maybe another fruit, a strawberry or a pear or a banana, whatever you fancy eating on that day. One of your five a day fruits. You should be eating your fruits. Absolutely. Not all about chocolate. We need to go healthy, as well. So draw whatever you like to eat, apply this kind of method of dry first, and then letting it dry, building the layers, using some cross hatching, using the dip method, using other mediums for your beautiful class projects. And I can't wait to see what you produce. So I think now I need a rest, and I'm going to go out to the coffee shop, get myself a nice coffee, get myself a nice little treat. Yes, indeed, and then I'll come back and then we'll do some final thoughts. 16. Final Thoughts: Okay, Dokey, welcome back. Let's now just wrap the class up with some final thoughts. Hopefully, you would have gone through the step by step process to create the wonderful three Apple sketch that we did using the different layering techniques and application methods. And then that would have hopefully inspired you by watching my little kind of exercise that I did to complete this sketch of this apple. I know I went through it pretty fast because we sped up the video. However, if you want to watch kind of a real time version of this, then just let me know in the discussion or just send me a little email or contact me, however you like on social media, and I might be able to even upload this up as a bonus in real time. It took me approximately just about an hour, maybe hour and 10 minutes to complete this one. So if you're interested in that, I will put this on as a bonus. But generally, it's not really about watching every step of this. The most important part is that you went through the techniques and the differences that we did when we actually creating these beautiful three apples. That's what this class is all about. It's not about realism. It's just about really exploring the capabilities of these pencils, and then you can go in with as much or as little detail as you like. So, you know, I enjoyed myself. You know, I had a couple of treats while I was doing this, and I hope you did as well. And if you haven't done this, then have a look at those videos again, maybe refer back to the first class, the introduction intense pencils. You might be able to pick up some things from there. There was quite a lot of resource with that original intense introduction class where I gave you a resource pack with that as well. That was part of my published book series. And again, with this class, there is also a digital version that I have, which goes into more details and has some more reference pictures for you to check out. So do check out the links in the description of the class if you want to go further into that or if you like a digital version. Again, these are all available in my digital section on Skillshare. So do check them out if you can. Please give the class a go, please give the exercises a go and create your beautiful art project with the techniques that we've learned and do share it on your class Project Gallery. If you share it, we can all see it and be inspired by your beautiful work, and we can get others onto this wonderful adventure of intense pencils and art. So also remember to leave a wonderful little review on the class when you've completed it and uploaded your lovely class project to the Project Gallery. And again, leave me a little comment in the discussion, ask me any questions you like. This is an open arena for us to learn from each other and really to create this lovely community in art that I'm always talking about so that we can relax and so that we can just chill out, get away, escape away from the day to day grind of this live because, you know, it can get us all wound up and grinded down till we need a little escape into a world where we can just relax and have our little adventures. So hopefully, that's giving you some inspiration, and it hopefully gives you a kind of kick start into delving into the traditional mediums of art. Do check out my other classes on Skillshare, have a look at what I do on social media. I'm constantly creating artwork using different medium because, you know, I'm absolutely bonkers about art and especially traditional medium. So do check that out. Stay in touch. Don't stress. Don't worry about anything. Take it step by step. If you make a mistake, don't worry. I don't want you to start panicking and thinking, Oh, I've messed something up. There's no big deal. Just relax. Have a nice cup of tea, have a nice bit of coffee, have a nice chocolate or a treat or a black forest gato. Whatever tickles your fancy, to have it, enjoy it, have that lovely meat where you're relaxing with. And hopefully we'll be able to learn together and really take control of our mental well being and our physical health. So thank you so much for your time. Thank you for your patience and thank you for your amazing support. Without your support, I can't do this. I can't create these classes and spend time with you. So thank you so much for everything that you do for me. That inspires me and motivates me to produce more classes for you so we can get together and enjoy the adventure of art, traditional medium. So take care of yourself. No stressing, only enjoying, and I'll see you on the next one. Please.