Stargazer Lily- Colored Pencil tutorial

1. Introduction: Hey, guys, welcome to a new colored Mencil tutorial in which I'll be showing you how I rendered this beautiful stargazer lily flower. The entire tutorial is in real time with me explaining the entire process from start to finish and also sharing a lot of tips along the way which I've learned and discovered in my art journey. I start working petal by petal and first secure the lightest colors on the petals, such as the whites and the yellows. After that, I start coloring all the darkest areas with dark red from polychromos. This includes all the dark shadows and also the spots on the petals. Next comes deep scarlet red from polychromos for all the vibrant red areas, which are on the center of the flower. I follow it up with mid tones using rose carmine for the warmer pink tones and fusia for the cooler tones, both pencils from polychromos. I work in the direction of the form and the veins thus establishing the three D aspect of the flower right from the initial stages. I fill up the lighter gaps with more lighter colors such as pink medal lg and light magenta with every layer blending and smoothening out the colors. As the drawing does not have any background, I also color the outermost edges with light grays and blues to make it stand out. I use white luminu pencil for the final blending of all layers. After the app, the first application of all the colors, I come in with darker aluminum pencils and thus saturate each tone, making the layers look more smoother and more like a painting now. Every petal will have different areas of lights and shadows. Observe the reference picture closely and work around. After all the petals are done, I work on the center, and in the end, I once again work on the entire flow, adjusting the tonal values, and also lifting and erasing highlights with a battery operated eraser and a slice knife tool. This tutorial will come with a list of materials, including the pencils that I have used for this project, and also alternatives to some brands in case you don't have them. You will also find a line drawing, a copyright free reference image, and my final drawing attached with the video tutorial. I hope you enjoy watching this tutorial and working on this flower as much as I did. Colred pencils, as a medium, is a bit slow. So enjoy and trust the process. And with patients, you will be able to achieve beautiful results in your journey as well. So do give it a try and then share it over here with us so that the others get encouraged with your work as well. Till then by. 2. Materials: So let's quickly go through all the materials that we require for this drawing. For the paper, I'll be using Stratmoor Bristol lem surface paper size nine by 12 ". For the pencils, I'm majorly using fibocasle polychromos for this flow along with some cada luminance pencils, and a very few can Pablo pencils as well. Along with this, I'll be using a white prisma color and a white luminan pencil. A needed eraser and a normal pencil to draw, of course, tracing paper, and then a battery operated eraser. This is a slice tool, or you can use an exacto knife if you don't have this and a pencil eraser, or you can even use a tombo mono eraser. 3. Petal 1.a: Let's start with the first petal. I'm just going to take my needed eraser and lighten up the sketch. Just dab your needed eraser onto the drawing to remove all the excess graphite so that they don't mix with our lighter colored pencils. So I'll go in first with my prisma color white, Prisma color is a wax based pencil. So I'll be freezing all the very lightest white areas on this petal. I do this so that if we go over with other layers with very dark colors, and if we miss out any of the whitter areas, the lighter areas, we can always lift them off with a pencil eraser or with an exacto knife. So I always like to secure my whites with a wax based pencil. You can use prisma color or a Derwin drawing, whatever you have. Even illuminants will do. But polychroms white is a very transparent color. So try to use a very opaque white color. And with this pencil and going over all the areas that I feel that they are more lighter and also on the very edge of the petals where it's completely white. I don't like to leave any areas as the paper. I like to color it with white color. And our next color I'm taking is cream from Pablo. And this will go now on all our pale yellow areas. Keep your hand pressure very light at this stage. We are still in a very initial layers stage. So we don't want to flatten out the tooth of the paper very soon because we'll be coming in and giving many, many more layers. So keep your pencil points sharp and your hand pressure light. And I'm also following the direction of the strokes of the veins that I can see. And now this is cream from polychromos, which is more of a yellow, a pale yellow. And this will go in to all the yellow parts of this flower. So I'm securing all the lightest part of this flow so that I don't go accidentally with all my pinks and reds into these areas. It's always better to secure your lighter colors because in colored pencil, it is a little difficult to give your lighter colors on your darker colors. Next is olive yellow from Pablo again. To make these yellows look more greener. Next is light yellow glaze from polychromos, and I can see a bright yellow patch below over here, which I'm going to secure it, freeze it. And if your pencil lines are too dark, then you should just erase them off because they will be visible under your lighter colors. So all of the lightest colors are done, now we directly jump into the darkest stone. We'll be working on half of the petal for now in this part. So this dark red from polychromos. I'll start with the mid line. And though you're working with very dark color, and in the reference picture, you can see it very dark, but don't push your pencil into the paper too much. Don't use hard pressure. Go in with very light pressure and go over that line two to three times to make it more der. This way, You'll be ensuring that you can come in more with layers on this particular area. And I'm leaving some lighter gap for the lighter color. So just go with this with this pencil, only on those areas, which are that dark. So now I will be coloring all the markings on this petal. Observe the shape of every mark. It's not important to give the exact number of markings. If your drawing is still intact, then you can just follow the drawing. But observe the shape of the mark, try to look it more natural and realistic by observing your reference picture. For the lighter markings, I'm using very light pressure, making it very light. I'm skipping some of the video because it's repetitive. So the next color is matter from polychromos. This is a little bit lighter than the dark red. And I'm going over the dark so that all those lighter gaps are filled, and you will see and of grain texture in your drawing. So I'm giving a very light base of this color and leaving the areas that are lighter than this color. Think of these dots as your guidelines. It's very easy to get lost in so many details. So just these dots, these markings that you have done, they will act as a good guide for your coloring. And always move in the direction of the veins of the, the form of the petal. This way you will create the three D form right from your first stage. So now after this, I will take rose carmine from polychromos. This is more of a warmer red, which I can see more near the center of the flower. As the center of the flow, which is more of yellow and orange, it is reflecting that light. So the center of the flower is more warm and then it becomes more cooler as we go out. And whenever you are selecting another color, always take that color and go over the previous color. This way, you will start blending all the colors. So this rose carmine, I'm also taking a little bit on the madder layer which we did. Now, this is deep scarlet red from polychroms, which is more of a orange red, vermilion kind of red. Next is Ruby R from Palo. Again, this is almost similar to e, which is more of a O bserve the direction of the strokes on the reference picture, how it is turning. But every layer you're giving, you're smoothing out, your previous layer, just making it more look like a painting rather than a drawing. It is too early right now at this stage. But slowly you will see the difference. And keep on sharpening your pencils in between and so that you're not just moving with your pencil on the very top layer of the paper. Now I'll be coming in with fucia from polychromos, and this is a vibrant pink color, which is there on almost the outside of this petal. You can work with lines with hatching or in a circular motion. But for this particular draw, I can see more of lines. That is why I'm using lines very next to each other. And in the end, you should not be able to see of the texture unless you want to create that texture. I This tutorial, every part is very repetitive, so you can just pause your video at any stage and then just catch up with me because I will be skipping a lot of parts, which is very repetitive. Otherwise, it will become very boring and very long. So I'm leaving some areas which are lighter than this pink. And I'm taking those markings, which we did with dark red as a guide as to where I have to apply this pink. Again, going over the areas which are more darker pink with the same fusia. Now, this is middle purple pink from polychromos for a more purply look. Here you can see I'm moving in circular direction, so this is also creating one kind of texture, a very soft, fuzzy looking kind of texture. I'll darken some of these spots as well. Now, this is light magenta from polychromos, and this will go on the very outer periphery of this petal, as of any pencil line that I can see, which will not look good if we put color on it. If you're not sure about any of your colors, then just go very light. Just like watercolors, even in colored pencils, it is very easy to make anything more darker than lighter. I'm working around that bright yellow patch that we have done. So this is the reason I just freeze all the very lightest color so that we don't miss it by accident. I'm also going over the fucia layer just to fill in all those blanks. And this is pink medal lake from polychromos again so that I can just fill in all those lighter gaps in between the fucia layer. Using lighter colors over darker colors will further blend your layers and make it look very smooth, and you will get a good gradient of color as well. This is still pink mater from pink mater from polychromos. We already have a layer of white color as a base, which will further lighten this pink pink tone. Observe the direction. This is middle purple pink again. Oh. Futia from polychromas. Further darkening the brightest pink areas, deep scarlet red from polychromos, O. Now, I'm taking paints th percent from Cards, and we will start giving the shadows on the white areas of this petal, which is on the outside of this petal. So I'm going in a circular motion. I want it very soft. And since we are doing this flower without any background, I will not be leaving the sides, the edges of the petals completely white. Otherwise, they will just vanish, and the petal will look incomplete. So we'll be giving a lot of grays and blues on the periphery of this petal. If we were going to give a background, then you can leave these areas bright, white. But if you're not giving a background, then you have to come in with a lot of gray tones. So with this color, I'm only going in the very dark shadow area, and this is silver gray from candash luminance. And with this, I'll be filling up almost all the white areas, just leaving the very brightest highlights on the petal. If you get confused about your white areas, about the highlight areas, then always compare the very brightest white with the rest of the white areas, and you will feel that not all your white areas are completely white. As you can see, I'm not completely gone over all the white areas with this gray pencil, just leaving some very brightest highlights. Next, I will come in with white luminant spencil, and I will go over all these gray areas. So this will further blend both the grays, and I'm also going in on the pink, which will also blend and burnish these layers. But at the same time, I'm not going with very hard pressure. This is still you can say light to medium pressure because I want to give more layers on the petal. Burnishing usually means that you go over with your light pencil with a very hard pressure, which further blends all the layers. And now, whenever you go in with your white pencil into the lighter areas, just see to it that your pencil is clean. Otherwise, you'll be depositing those pink colors onto your lighter white areas, and it will be a planter. So here, I'm blending all the layers with this white pencil. Moving in circular motion in opposite direction than the strokes, which we did with pink colors. Now, I again come in with cream, and I further further brighten the lightest yellow areas. So first layer is done on half of this petal. So now we need to come in again with the same colors and make it more dark and saturated. Because with the application of lighter colors and white, your layers will look much more lighter. So now we need to adjust all the tonal values. And now with the screen, I'm also going into some pink areas just to warm it up. This is crimson aubergine from luminance. And with this pencil now, I'll be further darkening all the markings on the petal. Luminance is a mixture of oil and wax based pencil. So And it's much more very pigmented. So I like to come in with this pencil in my very last stages where it will just brighten up that color and when you feel that you are not able to do more layers with polychromos, then that time when I bring in aluminum pencil, I'm able to give at least a couple of layers more. It is that pigmented. For the base layers, I like to use polychromos. They are very good for base layers. But then for the last layers, I like to come in with luminans. But if you don't have luminans, and if you only own polychromos, then you can do the same thing with your polychromos as well. You don't have to think that without the pencils, this drawing will not be done. And this is crimson zine again from luminas, and this will go into all our very dark red areas. You can complete this drawing with whatever pencils you have, even a limited number of pencils that you have. Just try to use color theory, try to mix colors to make it more darker, different colors to make it more darker. For example, you can mix dark indigo with your dark red to make it more darker. Don't go for black immediately. Black will just make your shadows and your darks more dull, to keep it more bright, try to use blues and purples. So I'm coming in with more details now at this stage. I'm observing the reference picture now very closely. And there are a lot of more activity around those markings. So the more time you spend on a particular area of your drawing, there and more details you will start observing. And the color changes and the tonal value changes as well. Take your time. Colored pencil is a slow process, but enjoy this lowness of this medium. And once you know the technique, and if you're doing it in a proper way, keeping your pressures light and with a sharp pencil, then you will you will be able to give as many layers that I am able to give. And the process becomes very relaxing and very therapeutic. This is deep scarlet red from polychrome. I want to further This is a warm. This will give a nice glow to the center of the petal. Always select a reference picture which has a beautiful combination of lights and shadows that will make your drawing also look very interesting. And this is fui now. So I'm coming in with the same pencils in the same order also to further darken our layers and then to further give more details. And with so many layers, the surface of the flower of the petal has already started to look so smooth, thus eliminating all the white grainy texture, which is our goal. Rose carmine from polychromos. And pink medal lake from polychroms. Middle purple pink from polychromos. This color will go, especially on the folds of this petal where you can see some shadow areas. And I'm going in circular motion. Just to create that soft fuzzy texture. And this is light magenta. Just extending the pink areas into the lighter white areas. Now I'm going to take light ultramarine. This is from polychromos, and I'll just give some of this color to the gray white parts, just to create interest. And this will further deepen the gray tones without dull it. Just making it more brighter. I like to use blues with grays and purples with grays just to make the shadows and the gray areas a little bit more interesting. So This color you might not be able to see on the reference picture, but I like to use this whenever I give gray tones. Very light, I'm using this with very light pressure. Light magenta from polychromos again. And now with white, I'm just going to blend all the areas and call this petal done, especially the half part. Of course, we'll be coming in with more details when the whole painting is done, and the whole drawing is done. In the final stage, we will be giving more details like lifting out some of the texture or lifting out some of the highlights. But for this stage, this much is fine. In the next part, we'll finish the other half of this petal. So see you there. 4. Petal 1.b: So Let's continue working on the other half of this petal. Here again, I have taken Prisma color white pencil, and I'm going to give a base of this color base of white color on all the areas that are lighter and white color. Just lighten up your sketch if you haven't. Oh Oh h. Now, this is scream from Pablo and this will go on the top of the petal. Next is scream from polychromos. This is olive yellow from Pablo, and we'll start giving a light green base to all the greener parts of this flower. And this is earth green yellowish from polychrom working around the light filament, going in with very light pressure hand pressure. Now, taking oxide, a very dark green from polychrome and I'm going to darken the darkest areas on this green part. Taking dark indigo to further darken the green areas. And this is olive from Pablo. I'm going to go over the dark areas thus blending it with the other layers, and with romoxide green, I'm just going to further darken the darkest areas. Earth green yellowish again. Taking pains grade 30% from luminance, and I just want to create more shadow in this area. O olive yellow from Pablo. This scream from Pablo is going to fill up this filament. Earth green yellowish from polychromos. Now we jump on to the darkest part of the petal. We take dark red and start coloring all the markings. Now this is matter from polychromos. And this color will go into all the darker red areas. In some places, I can see a of diagonal strokes. Follow the direction that you can see on the reference picture. Working around the anthers h. I also keep going to the areas that we have already worked on This is rose carmine from polychromos, and we'll start going over the matter which we had done. So this will fill up all the lighter parts of the red areas. And as we did in the left half of this petal, the center of the petal is. Rose carmine is a pink Okay. Moving in the direction of the vein, and this deep scarlet red from polychrom this will go in all the bright red areas. This will further deepen the red and will also give a nice orange glove. And now, let's take from polychrome and fill up all the bright pink areas of the petal. Leaving the areas which are white. And I'm I'm coloring it in a circular motion to create that texture. Still working with Futia. This is silver gray from us, I will color the white areas. Oh. Oh. Leaving some pockets of very bright highlights. And I've also ignored those polins, which have fallen on the petal, taking some artistic license. And now, this is pain's percent, and I'm just going to some of the darkest parts of these gray white areas. And taking white and we'll start blending all the layers. So I'm still going in with light pressure. I'm not burnishing the layers. We still have to do a lot on this metal. I'm just cleaning off the white pencil on a paper so that I don't ruin the lighter parts of the drawing. Taking silver gray again from luminance and I'll finish this part of the petal. Spain's great 30%. This area is quite in the shadow. M and then with white again, I will blend the colors. White luminant pencil is a great pencil to blend because it's not very waxy at the same time. It's a little bit opaque, more opaque than poly. Now I'm taking light ultramarine to just give a tint of blue into all our gray shadow areas. C Okay. And stay tuned till the end, because in the end, I will be coming in with my battery operator eraser and the sliced knife tool to remove some highlights and give more contrasts. So now, our first layer is done. So I come back again with the darkest red, which is crimson aubergine from luminans, and I start darkening all the darkest spots. As we have gone on these dark spots with so many layers, so they have become light. So once you finish coloring all the areas, finish that layer, then you have to come back again with more colors and adjust all the tonal values. Next, we take crimson and in from luminance. Keep on sharpening your pencils, especially at this stage, you need to come in with a very sharp pointed pencil because that will just penetrate all the layers and make the layers more smoother and make the drawing look like a painting. Here, I'm further darkening the red parts. I'm still going in with very light pressure because after you've given so many layers, if you go in with very hard pressure, you will start seeing a wax bloom, which we don't want. And this is purplish red from us again for our very bright pink areas. I come in with scarlet now from luminance. This is a very bright orange red color, and will instantly just give a nice glow to all the orange areas. As I told you, luminance is a very highly pigmented brand pencil. So you don't need much, but it really gives you that extra push, especially in your final layers. And using scarlet over pink will further brighten your pink areas. This is fucia from polychromos. And I'm going into the same pink areas again. So this will further fill up all the white part of the paper you are able to see, the grainy areas. So more I have in my final stage, the more closer, I'm holding the pencil because I'm really now concentrating on very small minute part of the drawing. Okay. Taking middle purple pink for this shadow region over here. Avoid using browns and blacks for your shadow areas. Try to use more brighter colors, and then maybe you can add your black. So this is dark red again from polychromos. And now with white, I will just blend all the lighter parts of this side of the petal so that it just looks more smoother. With this, I'm calling this petal done. Of course, we are going to come back to it when the entire drawing is finished. We will be coming in with more adjustments. So I'll see you in the next part. 5. Petal 2: Let's work on this petal. I have turned my board. Again, I'll go over all the graphite lines with the needed eraser. I do this petal by petal so that I don't lose the very detailed drawing. And again, with a prisma color white pencil, I start giving the base color and go over all the areas that are white and which has got a little bit light color. I'm not going in the very darkest areas with my white pencil. Now, this is light yellow glaze, and we'll give the base for this very bright center part of the petal. Always start with a very brighter underlayer. This way, all your top layers will automatically brighten up, and we don't want a dull looking painting. I like even the shadows to shine. So giving an undertone underlayer of bright colors and light colors will really make all your layers shine, especially polychromos, which are oil based pencils. They are transparent. So these colors will definitely shine throughout. Now, for the greener area, I'm using earth green yellowish from polychromos. And taking olive yellow from Pablos. I'm going to go over both the colors to make them blend with each other. And I can also see some green area on this folded part of the petal. And this is earth green yellowish. Oliive yellow from Pablo. Taking dark red and we'll start giving the very darkest stones on the petal and even the vein. Next is murder. H Always start with your darkest color. In that way, you will achieve the darkest value very fast, instead of going with all the light colors and then going over it with your dark pencils. That way, you have already laid down so many layers below the darker pencil. And sometimes you might not be able to achieve that darkest stone. That is why I always like to start with the darkest pencils, and then I go over it with the all the lighter pencils. The technique is almost similar to oil painting where we start with darker tones, and then we keep on going over it with lighter top layers. So look out for the darkest color which you see in that particular area. And then on top of this, I'll be going in with deep s colored red in the more reddish areas. So the matter that we have used as a base will make this area look dark red. And where it is pink, the matter that we use as a base will make the pinker. I hope this all makes sense, whatever I said. And this is also helpful. If we don't have a particular shade of color because how many ever pencils we have in our box, there is always going to be one shade that you will not have. So if you don't have a very dark red in any of your color pencil brands, then you have to mix more layers below and then go over on top of it with the reds that you have. So color mixing is done on the paper when you're using color tensil as a medium. So we can make any color darker or lighter, and then we can also change the tone of the color. So if you want a very olive kind of green and you don't have that particular shade, and you can always use green with a warmer yellow or green with a little bit of pink or red to make it more or yellow. This is from polychrome. And again, I will go into the areas that we have already done and then extend that color into the more warmer pink areas. So, for example, if you don't have Roskar mine in your box, you are using a limited polychromos box, then you can just take pink medal leg and mix it with cream or ivory to make it a warmer pink. So a little bit of color theory knowledge will help you in doing any drawing with a limited amount of pencils. In fact, I really enjoy working with the limited number of pencils. That way, I get to mix different colors and tones and make the drawing look more interesting. So now I'm coming to Fuia, which is a brighter pink. Of course, some of the shades are irreplaceable like this fute over here. It's the brightest pink of all the sets. And it is very useful, especially in such pink flowers. But again, as I told you, to make a pink look brighter, I sometimes use orange, bright orange to mix with it. So that will definitely, give a nice glow to your pink color. These are just some of the tips that I have shared and I practice. So the more you practice, the more you draw, the more shortcuts, you learn and more you learn about your colored pencils and how they mix with each other, which colors to use to make certain pencil lighter or darker. This is p medal lake, and now I'll be just going over all these areas that we have done. This will eliminate all the lighter white grain of the paper. So not every time I use white pencil to blend, you can just use any lighter pencil, which is suitable for that particular area. He again. Light magenta from polymers. Now I'm going to start working on the back side of this petal. I'm going in circular motion to create that soft, blurry look and silver gray from luminance, and I'll fill up the lighter area, the white area of the petal. I'm not going to leave anything bright white. Because if you compare that with the brightest white of this petal, then you'll see that it is quite gray. This is pains gray 30% of darker gray. And giving a very light coat of the color and giving more darker gray where the petal is touching and then going over it again with light magenta. And then light ultramarine and with silver gray. This is earth green yellowish, And silver gray again. And I'll start working on the edges of the main petal. I'm defining the edge over here so that it doesn't get lost. And as it is, we can see a gray line pains great 30%. Oh Oh And then with white luminan sencil, I just go over all the gray and the pink areas to blend it. The process is exactly same for all the petals. It's very repetitive. Take your time in doing this drawing. I know it becomes a little bit more repetitive and boring, but then the end result is so n, push yourself through. The challenger for this drawing is of course, the pinks and the reds, like how they both are mixing together to create the warm red and the cooler pins, how they are coming together. So the challenge is how you blend these both colors on the paper. Now, I take crimson bigene and I start going all over all the spots to make it more darker. We have given one complete layer on this petal. Of course, it's just not one layer, many layers. But then we have finished covering the base completely. And after that, I just go in with the dark tones again. Crimson lizarn from luminance. Try to create good contrast in your drawing or your painting. Wherever you see very dark, very bright colors, apply those. And wherever you see very light and highlights, leave those and make them as light as you see on the reference picture. The more contrast you have in your drawing, the more your drawing will just pop out from the page. So don't be scared of going too dark. And this is scarlet again from luminance, which will further brighten our warm reds. I'm also going over the fucia layers with this scarlet to brighten it up furthermore. Taking mad now. This part of the petal is quite in the shadow, and so it's very dark. No. Whenever you're giving any dark colors go and go with multiple layers. Don't darken everything in one go. That way, with different colored pencils in that layer and with more layers, you will make the petal look more realistic. And as I told you, all the layers, they shine through whatever layers you have done in your first or second layer, they will all be seen in the final output. This is deep scarlet red from polychromos. And Rose carmine from polychromos. I'm also going to take Ruby red from Pablo, a little bit more darker than Rose Carmine. And pink madder lake again from polychroms. For the very light pink, and also, if I go over all the darker areas, this will just eliminate all the white of the paper. Taking white pencil. And now I'm just going to define the top part of the petal which we have already done. Just give a nice edge. Keep your edges very crisp and clean. Light ultramarine in the darker shadow areas. This is silver gray again. And with white, I start blending and lightening some of the areas. Taking crimson aubergine again. If you feel that your darkest markings have gone a little bit lighter, you can again, again and again, come back and tweak them as long as you keep all the layers I mean, do all the layers with very light pressure of your hand. This is dark. And then Earth green yellowish. With this, we finish the this petal and in the next part, we'll come on to the third petal of this flower. This is olive yellow. O. 6. Petal 3: So Let's start with petal number three. Again, I will lighten the sketch with the needed eraser. And come in with white prisma color pencil. Give a base. Cream from Pablo. Now, this one has a lot of cream on the center part of the petal, which is getting all the light. So whenever you're doing a flower, don't do all the petals in the same way. Every petal will receive lights and shadows in a different manner. So every petal has to be considered as an individual thing. That was screened from polychromos, and this is light yellow glaze. When I'm further brightening this yellow part. And with earth green yellowish, I will be going in on with the green. H olive yellow, and then we'll blend the yellow and the green on this part. This is cream again from polychrome, and I'll give the brightest color which is shining, that reflected light. And this is earth green yellowish for the darker green area. Aiello from Pablo. Cromoxide green from polychromos to further darken the green area. And this is pink madder lake. Unlike the last petal which we did, the folded part of the petal is much in the shadow. That is why we had used light magenta. But this one is receiving light and it's looking quite brighter pink. S. And always move in the direction of the strokes that you see on the reference picture of the way the petal is bending and I'm taking light magenta for the shadowy parts. Silver gray and will fill up the white area of this petal. I also try to bring that color into the pinker areas to just give a a shadow because after all, it is the behind side of the petal and the top part of the petal is casting a shadow on top of that. Paints percent. Giving more shadow where the petal is bending. This is white luminance, and I'll start blending all the layers. Now, we come to dark red and start working on the main petal. So as always, start with the darkest color. And I'm going on the, the mid rib of the petal. Leaving some gap for the lighter color. Oh Next is deep scarlet red from polychrom I'll be going over the dark red and also into the areas that are more orange red. M. Next is middle purple pink. We have good shadow where this petal is bending and cling. O. Next, we'll take dark red again. I want to give a layer of dark red on this purple pink and for our midtones. Also filling up the lighter gaps that we have left. At the same time, where it's very light, I'm just going over that area with very light pressure. And of a bright future. Okay. H light magenta from Poly chronos And pink medal lake from polychromos again. Filling up all the lightest pink areas, fui I'm skipping a lot of repetitive parts of the video, so kindly pause the video and just see how much I have done. But whenever I'm changing the pencil, I always will show it to you. It's only that all the pros A this process takes so long time, and I don't want to make the tutorial longer than. And I'm sure by this time you already know the process, and I try to keep the same pencils in order. Keep the same pencils that I'm using. This is silver gray from luminans. So by the time you're on this third petal, I'm sure you'll be you have able to figure out the process. Per and take frequent breaks whenever you're doing such a big project, I finished this drawing in two whole days. Because if you start getting tired, then you will rush through things, and I don't want you to do that. So take frequent breaks, maybe after every petal that w, you will keep the energy flowing and keep the energy fresh. And now I'm taking cold gray three. This is from polychromos, for more darker grays. And observe the direction of the strokes that I'm giving. The petal is having a nice bend. It is bending towards the right side, it's falling towards the right side. So all those, it's only possible to show it through your strokes. That way you are giving a nice three D effect to your two D drawing. Oh light ultramarine. And with um, just going to blend all the layers. I'm cleaning my pencil every time I go into the lighter areas. Oh. Oh. So I'll take crimson aubergine and make all the spots darker. Crimson zine from luminan I'll go over all the darkest red areas. H. Now we take deep scarlet red. This this crimson z again. And scarlet from luminance. I'll be applying this color almost wherever I see very bright colors. This colt will really instantly brighten up your pinks. Ruby red from Pablo. Okay. And this is purplish red from us, a more purply pink kind of color. Next, I'm taking white from luminan and blending the layers and this is rose from polychrome and futia from polychromos. Cal grade three from polychroms. Wait again. When you're blending, you can go in opposite direction to blend the layers well, and his middle purple pink from polychromas. And dark red again from polychroms. And his fui Earth green yellowish. Oliive yellow from Pablo, back to earth green yellowish. This is oxide green from poly. Still darkening this side with crimson zine. And with this, we finished this third petal. 7. Petal 4.a: So let's start with this big petal. And since it's a bigger one, I have divided it into again two parts. So here, I'm lifting off the excess graphite with a needed eraser. And then with prismacolor white, we will start giving the base wherever it's light and even white in color. The sequence is the same. For all the petals. Once you have figured out the process and what pencils to use and in which sequence, then the whole drawing becomes really easy and the process becomes simple and relaxing. It's only in the first one or two petals that you have to figure it out. That there is a little bit of anxiety and stress, but otherwise, then the whole process becomes very easy. So this is cream from polychromos, and I'm covering all the very pale yellow areas with this. Don't forget to leave all the filaments. Work in the direction of the veins and the form of the petal. And that is why I like to rotate my drawing board, and then also, of course, the reference picture. Just be comfortable so that you don't hurt your wrists in the long run. And this is light yellow glaze from polychromos, and I'm just going to brighten up some of the light yellow parts. Earth green yellowish from polygramos. Oliive yellow from Pablo. Now, let's start with dark red and tackle all the darkest areas on the petal. It's just f. Um Uh Uh Now, this is deep scarlet red from polychrome. It will be going over the dark red as well. Rose carmine from polychromos. Taking it over the deep scarlet red as well. Always try to incorporate your previous color layer. That way you will be blending that layer with your new one. Earth green yellowish. So here, I'm mixing green and red, which are complimentary colors to make it a little bit dull gray, rose carmine again. Because we have a lot of shadows over here. So instead of using gray, you can also mix these two colors. These are comment as complimentary colors, they give you a beautiful neutral color. Now taking and darkening the red areas. And then with white luminans, just going to start blending, especially the lighter areas. Fuca now. Pink medal lake from polychromos. Leaving a thin white gap between both the petals, rose B and deep scarlet red from polychromos. We're tightening up the drawing now. Trying to fill up the g of the white green of the paper. Let's take dark red again. Mile purple pink from polychroms? And white again. Oh. You can go over the spots. Also. We can always come back and darken the spots. Light yellow glaze. I'm going over the red to up the red color. This deep scarlet red. Fuca. And then pink medal lake from polychroms. As it goes towards the end of the petal, it's receiving more light and it's becoming more lighter pink. Futia from polychromos. And this is deep scarlet red from polychromos. Try to make the center a orangish a possible. And this is silver gray us, a very light gray leaving some lighter gaps wherever I can see the highlight on the reference picture. And this is cold gray three from polychromos. I'll go over the shadows where it's wrinkling and the parts which are not getting light back to silver gray. And we are filling up the brightest white also with this gray because these are the edges of the petal. If we leave completely white, then they will just vanish of we will not be able to see, and it will look. Taking u and blending the layers. You can move in circular motion, you can move in opposite direction than the previous layer this way. All your smallest part of the paper will start getting filled up, and the result will be a very smooth paint like surface. Crimson gene for our darkest reds. And this is crimson lizine. Further darkening the reds. It's all about adjusting the total values. 00 published red from us. Scarlet again from luminance. Next, take from poly. And now you'll find that the pinks are looking much lighter after darkening all the reds. I'm darkening the pinks over here. And with white, it's going to smoothen out the pink areas. Ppish red from luminans. Dark red from polychroms, We'll continue working on the other half of this settle in the next part. 8. Petal 4.b: So I went ahead and colored all the spots with dark red. And now I'm taking deep scarlet red, and I'll start working on the red areas. So you can pause the video there and just finish up all your all the spots by using dark red polychromos. This is middle purple pink. Moving in the direction of the strokes that I see on the reference picture. Deep skit again. Rose carmine from polychromos. I'll go over the deep scarlet red. And this color will go in all the very pink colors. Going very lightly over the yellow areas. Um, Observe the direction the strokes are changing on the reference picture. Now coming in from poly Oh pink made from polychromos. H. Leaving some gaps in between and also filling up the spaces in between the darker pinks. And now this is silver gray. A. So I'm leaving the gap where it's the brightest highlight. Otherwise, I'm going over with this pencil over the entire edge of this. And this is pain's gra 30% from u. And with this, we will work over the shadow areas. And now with lumine let's blend the layers. I'm still using light pressure, light to medium pressure. I've increased the sp bit. Taking coal grade three from polychromos, back to normal speed. And this is light ultramarine polychrom O silver gray from luminan Now, crimson and we'll start darkening up the spots Next is Crimson Alize going over some of the spots, which I feel they are more this scarlet from luminance. Fui from polychromas. This is dark red from polychromos, and then deep scarlet red from polychromos. Let's take again. Deep scarlet red. Some of the petals are too red. Some of the petals are too purply pink. Observe your reference picture properly. This is again. Middle purple pink from polychromos. Ruby red from Pablo published red from mins. Oh. And the scream from polychromas, going over the ruby red and the gross carmine layers, making it more orange, more war, earth green yellowish from polychrom I will give a tinge of this color on the petal as well. O This is light magenta from polychromos. Light magenta will brighten up your light shadow areas. And with this, we finish this petal as well. T. 9. Petal 5: Let's start working on the fifth petal of this flower. Taking my prismuc white pencil, and I'll again cover all the lightest areas of the petal. And here I have sped up the video. Oh. Next is light yellow glaze from polychromos. Just a reminder that don't forget to watch the last part of this tutorial, which is the finishing touches, where I come in with an electric eraser and my slice tool, and I'll be giving in more details and more lifting techniques. I'll be showing you more lifting techniques to reveal some of the highlights. So this is earth green yellowish from polychromas, and now olive yellow from Pablo, and I'll just blend both the colors. Same technique for all the petals. Dark red again from polychromas. Deep scarlet red from polychromos. This petal is also quite red in the center. Rose carmine from polychromos, which will also go over the deep scarlet red that we have done, phi from polychromos. Middle purple ping from polychromos. And light magenta from polygromos. And this is cool gray three from polygromos. Oh. Now, let's take silver brad from luminance. And I'll go over both the colors that we have applied in this area. Now, with white, let's blend all the layers. L et's take crimson age from lumens and starting the dark spots. This is crimson serine from luminant. Let's start talking the red areas. Let's take scarlet from us. And this is from Polygram. I'll go a little bit over the scarlet as well. U U U published red from luminance, Pink from poly Let's start filling up the gaps in between the pink layers. Cream from polychromos, a little bit of yellow reflected light in this shadowy region and then I'll take pain percent to darken the shadows. Fuchia. I just want to give a little bit of pink tinge to the shadow, the back side of the petal. And then with white, I'm just going to blend everything. H. Deep scarlet red from polychromos. Cream from polychromos. O olive yellow from Pablo. And we are done. Oh. 10. Petal 6.a: So let's begin the last petal on this flower. So as always, the first step is to give a layer of white with prismacolor white pencil. So I'm going with this all over the areas which are white and which are also having some highlights. Again, in this part, I'll be working on one half of the petal. Breaking down a big subject into smaller parts will keep you motivated. Small achievements, small success will just keep you fresh. Taking cream from polychromos. I'm going over all the pale yellow areas right in the middle of the petal, middle of the flower. I mean. Of course, by now, you will be knowing the process completely. This is light yellow glaze from polychromos, and we'll brighten up the brightest yellow areas. Let's take earth green yellow she from polychromos. This is chromoxide green from polychromas. I'm also going to take permanent green olive. This is also from polychrome. With this green, I'm going to darken all the areas on all the petals which are this dark green and color. I'm also going to take chromium green pee. This is more of a grayish green The rooxide green was more of a bluish green. This is more of a grayish green, which we require for some of the shadow areas. Next, we will take Oliviero from Bablo. And here, I went ahead and colored the darkest red with dark red from polychromos, as we have done on all the petals. And now I'm taking the deep scarlet red from polychrom and I'll go over the dark red areas. Just going into areas which are this color and leaving the areas which are lighter than this color. Rose from polychrom And next is from polychromos. Middle purple pink from polychrome. And this will go into all these shadowy areas. Per Again, taking from polychrom O. Next is pink medal from polychrome and with this will color all the very light pink areas. And now let's take silver gray from lumin and start coloring the edges of the petal. I coal grade three from polychromos, for the shadows. I'm also taking this color underneath on the top of this petal, which is going underneath the overlapping petal. Now with white aluminu pencil, we'll start blending all the layers. Let's come back to the darkest color, which is crimson, age, and start coloring all the darkest spots. Crimson Eliz from Lumens a deep scarlet red from polychromos. And this is scarlet from lumens. Oh. Back to deep scarlet red from poly chromos rose carmine from polychromos, Let's take light yellow glaze from polychromos. Cream from polychromos. I'll be going a little bit over the pink areas as well. L et's take purpish red from luminance. Oh. Fuca from Polygramos? Light ultramarine from polychroms. Light magenta from polychromos. And then white lumens. U U U U U middle purple pink from polychromos. Again, white, just lighten up this part which is a little bit erased. Dark red again from polychroms. Deep scarlet red from polygramos. Again, and we'll continue the other half in the next part. 11. Petal 6.b: So again, using re from polygramos, I finished all the spots, and now I am taking deep scarlet red and going over the dark red that I have already applied. So here, I leave the lighter gaps where I can see lighter pins, and I continue with deep scarlet red in the areas which are discolor and darker. Next is middle purple pink from poly, and here I have turned my board and my reference picture. A So this color will go in all the shadowy areas. Following the direction of the strokes, Next is from polychrom we'll start giving all the pinker layers M a rose from polytue over the pink layer. But this is more of a pink area. H Now let's take pink made from polychromos. And very lightly, I'm going over the lightest areas. Taking silver gray, and let's color the white part of the flower. A Next is pains grade 30% from lubinans, for all the darker shadow areas. And then with white, let's blend all the layers. Oh, let's take crimson, Ezerne. From luminance. H Deep scarlet red from polychromos. Here I have just sped up the video a little bit. By now, you know the process very well. It's just repetitive sequence of colors. Rose Carmine from polychromos, O pink made from Poly chromos Oh, Futi from polychromas. T purpish, red from luminans. This will go in all the shadowy bits where we had done middle purple pink. And with white lumin I will again blend the very lightest area. Rosa mine from polychroms, and then green from polygromos. I'm using a little bit hard pressure here. This is luminance white. Dark red from polychromos. Again, white aluminum pencil. With this, we finish all the six petals on this flower and in the next part, we'll work on the center area. So see you there. 12. Center: After finishing all the petals, let's work on the center of this flower. So we'll start with all the anthers. So I'm taking dark red. I'll be using the same pencils that we have used for the petals just to create a harmony between all the parts of the flower. And I will start with the darkest areas, the darkest tone that I can see on these anthers. I hope they are called anthers. Please correct me if I'm wrong. Now, these have a lot of textures. So I'll be using more of a circular motion, more of a scribbling kind of movement with my pencil. As you can see in the reference picture, it's not a very smooth object. So a wavy line, and I'm only going into the areas which are these dark. Correcting the shape as I go. Keep a very sharp pointed pencil because it's a very tiny area, and we'll try to give as much details as we can in this very small tight space. The next color I'm going to use is dum orange from polygromos, and I'll be going over all the areas most Next is deep scarlet red from polychromos, and this will go again on the dark red layers to make it a little bit more orange red. Now to brighten up our mid tones, I'm going to take dark chrome yellow. M and go over the dark cadmium orange we had applied. With light yellow glaze, I'm further going to lighten some of the lightest and brightest areas. We work from dark to light. Now I take crimson bigene from luminance to darken our darkest values. This will go on all the areas that we have covered with the dark red, making it darker. And instead of giving just smooth straight lines as we did on the flower petals, try to give more scribbly round circular motion kind of texture. And this is crimson lysine again to further make the darker colors more red. A lot of layers on this tiny one. And this is deep scarlet red. And again, dark cadmium orange on all the lighter areas that we have left, giving a nice texture on the edge. Similarly, we will go on the second one. Again, I will start with dark red on the des areas. So only look out for areas that are this color and darker. Oh. Next, I'm going to take light yellow glaze just to freeze the very brightest areas. And then with dark cadum orange, I'm going to fill up the mid tones. Little bit going over the dark red as well. That light yellow glaze that we have given will just brighten this dark cadmum orange in some places. Dep scarlet red from polychromos. A Crimson zine from ums. Let's darken the darkest value. Leave some pockets of light to show that texture. And then dark chrome yellow for the lighter areas. Take crimson bagine to further darken the very darkest toes and then dark ium orange from polychrome again. This is crimson lizine, and I'm just going over the petal and even with dark red. Now let's start with the third one in the same way. Now, this one has a very tone, which is almost looking like black, but we directly use black. I'm giving a coat of dark red first. Crimson bagin now I'm taking black polychromo, because we already have nice red layers underneath, so this black will also look very vibrant. If you directly use black, then it will look very dull. And now this is crimson from. F. So observe each and every anther because they are going in a circular motion, they will be receiving light in a different manner. So don't color all the anthers in the same way. So here, I've given a yellow base, and then I'm going in with dark cadmium orange, which will brighten up the midtones. And the light is coming from the right hand side. So the top right is nice and shining. This is deep scarlet red from polychromos. M. The video is a bit spader because we're just repeating the same steps on all the anthers. Crimson. Try to make your darkest values so that your lightest colors will just shine. Dark red. Now, I'll start on this one. Creating that texture by using dots. Light yellow glaze, and then dark cadmium orange. Just fill up the whole ane. Dark grom yellow. Again, crimson bigen working on the darkest values. And then crimson Eliz deep scarlet red. Again, Crimson and his rain. Dark rome yellow for the lighter values. I'm taking black again. Ohh crimson aubergine. And then crimson lysin. Here, I'm also going over the petal, which is surrounding that ana. I'm taking cadmium orange now and just going over the petal with this color. This will be a good addition to the petal. Now, let's work on another one. This one is quite in the shadow. H. And fill it up with the top right corner with light yellow glaze and the dark cadmium orange. And fill up the whole anther deep scarlet red from polychromos. Crimson aubergine. And then black. Crimson ez taking dark, growing yellow. The last one, dark red, T Again, light yellow glaze, dark adnum orange. Crimson aubergine. And then crimson z, both from luminans. Oh. Deep scarlet red. And with black for the very darkest area. Again, crimson at his and with dum orange. I'm also going over the petal, just giving it a orange glow. M. Now all the anthers are done. Now this is chromium green opaque. Let's work on the green areas and the filaments. I'll start by darkening all the green areas which are surrounding this filaments. I'll also use a little bit of black to darken it more further. Use it very lightly. Oh. Again, chromium green opaque. Go over the black now. So this will blend both the colors to make a darker green. When you don't have a green which is darker than the one which we are using, just add other colors and then just blend them together. Taking earth green yellowish. Now this is may green again from polychromos. This color is a little lighter and more yellowish than the earth green yellowish. It's more brighter. Light yellow glaze Again, earth green yellowish and with light yellow glaze, and is going to blend that into the background. Take olive yellow now from Pablo. Next is cream from polychromos, and I will fill up the filament with this color, and to blend all the colors, I'll use a luminous white. Now, I just want to give a crisp edge to this filament, so I'm taking deep scarlet red. So with white, I'm just going to color the brightest areas. Again, Olive yellow from Pablo. Earth green yellowish, and again, white luminans. The filaments are very smooth, so try to smoothen it out and blend it nicely with your white pencil. Green opaque, and olive yellow from Pablo. This is permanent green olive from um, sorry, from poly Oliive yellow again. At any point you feel I'm going fast, then just pause the video and catch up and work along side my progress. I mean, my work. And now, the last bit of this drawing. So I'm again, starting with dark red taking dark cadmium orange, fill up the very brightest orange parts with this one. Taking crimson to darken it and crimson. No, sorry, this is purplish red, from luminans. Now this is black. This to make it a little bit more darker. Again, purplish red, I'll just fill up that space. Let's work on the green part. This is permanent green olive from polychrom I'll start with the darkest green. Leaving some highlighted area and taking may green for the lighter area and also going over the other green. This is chromium green opaque, and with white, we will blend all the layers. Dark rome yellow. With this, we finished the flower, and in the next part, we will come with all the finishing touches to the entire drawing. 13. Finishing touches: So now we have come to a finishing stage. Our entire flower is done, the petals and the center and everything. But now I need to do some total value adjustments, and also by using these tools, I'll be removing some highlights. This is the slice tool, a knife tool, just like an exacto knife and a battery operated as. So with this tool, I'm just going to scrape off some highlights which we have missed when we were doing the individual petals. So I always do this step in the very end when after taking a good amount of break, this way, I understand where to give where to adjust more of your I mean, where to lighten your lightest value values and if you have to darken your darkest values. So with this, I'm just going to scrape off some of the brighter areas. I'm also going to use the pencil eraser to remove a softer highlights. Clean your pencil eraser whenever you're going into lighter areas. And now with a white aluminum pencil, I will go over the areas that we have scraped off. So this will just fill up those areas with white pencil and make it look soft and not very harsh. Even in between these spots When we are working on the petals and the center, we are focusing only on those areas. But then it's very important to look at your drawing and the whole flower and compare the values on the whole drawing. Oh. I'm taking dark red, and I'm going to darken this area furthermore. And this is crimson aubergine, again, if you want to darken any of your spots. Now, this will differ from drawing to drawing, whether you really require that darkening. So just check your values. This is fusia, wherever I feel, I need a little bit more of pink color, or any of the values should be more lightened, or I smoothen out it more So this will be done in this stage, and it's a very important step. So take a good amount of break after you've finished the whole flower and come to this stage with fresh eyes. Just don't abandon your drawing before doing this. You have worked so hard and you have come up to here. So another ten to 15 minutes more, and you will see what a world of difference the step will make. I'll be using the same colors, but just enhancing some colors, lightening some areas. Taking deep scarlet red. Again, on this petal, I will see if it requires any highlights to be lifted off. This is crimson and then deep scarlet red. You can either use a slice knife or a pencil eraser if you want to lift out more smoother and softer highlights. So I'll just sharpen my pencil as with irregular sharpener. And then on the erased areas, I go over with white pencil. Oh Some petals may require a little bit more attention than the others. Oh. Here, I come in with cadmium dark cadmium orange, and I'm also going to give a little bit of glazing of this color on the petals as well. It will just give a nice glow to the pink areas. I immediately brighten up that area. Now I'm going to use this battery operated eraser, the point of which I have gone over a sand paper to make it a nice fine pencil like point, and I'm just going to lift up some of the very brightest highlights on this flow. This is a very useful tool in your colored pencil kit. If you don't have it, then you have this eraser. With very less effort, you can just lift off the brightest highlights. Again, I'm just going over the anthers with this eraser, just lifting off more light. And again, taking dark cadmium orange, and I'll go over this petal with that color. So I'll continue giving all these adjustments, and I'll see at the end of the video. Oh. Oh H Oh, O O O With this, we finished this drawing. I could just go on and on adjusting all the colors and giving more and more layers. But I think this looks good, and I'm going to stop working on this. So I hope you enjoyed watching this tutorial, and I just wish you give this a try. It's a compilation of a lot of techniques of how to make your drawing more like a painting, how to smoothen out layers. And here, I'm just going with my needed eraser, just lifting off any colored pencil dust that have fallen on the white of the paper. So see you in the next video then, bye.