Watercolour Pastels For Beginners: An Introduction To Neocolor II Aquarelle Pastels. | Imran Mughal | Skillshare
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Watercolour Pastels For Beginners: An Introduction To Neocolor II Aquarelle Pastels.

teacher avatar Imran Mughal, Graphic Designer & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      2:43

    • 2.

      Class Supplies

      4:01

    • 3.

      Neocolor II Aquarelle

      2:36

    • 4.

      Application Methods

      8:35

    • 5.

      Wet Then Dry

      4:41

    • 6.

      Away From Paper

      8:18

    • 7.

      Tonal Values

      8:25

    • 8.

      Analysing Tones

      4:10

    • 9.

      Darkening Colours

      8:04

    • 10.

      Adding Water

      7:05

    • 11.

      Lightening Colours

      9:44

    • 12.

      Interaction With Other Mediums

      9:43

    • 13.

      Artwork Examples

      8:35

    • 14.

      Starting The Sketch

      11:36

    • 15.

      Building Layers

      7:04

    • 16.

      Darker Textures

      8:37

    • 17.

      Foreground Elements

      5:54

    • 18.

      Painting Details

      7:18

    • 19.

      Roof Design

      7:34

    • 20.

      Background Elements

      6:03

    • 21.

      Shadows

      10:51

    • 22.

      Inkwork

      8:21

    • 23.

      Heavy Strokes

      3:26

    • 24.

      Highlights

      6:28

    • 25.

      Class Project

      2:32

    • 26.

      Final Thoughts

      1:12

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About This Class

Heard of pastels? Yes - but have you heard of watercolour pastels?? Let me introduce you to the wonderful world of Neocolor II Aquarelle Pastels!

My name is Imran and I’m a graphic designer & illustrator and I am totally obsessed with sketching using traditional art mediums and have recently come across this fantastic medium Neocolor II Aquarelle – and after using it, I have become completely obsessed with it!!

 In this class I will demonstrate how to use these fantastic pastels by looking at: 

  1. The application methods
  2. How to create tonal values
  3. Darkening & lightening colours
  4. Interaction with other mediums

And then we will build a full sketch by using the techniques step-by-step for you to follow along and enjoy! All the materials required for this class and the outline of the full sketch will be provided in the class resource pdf.

 

After completing the lessons and the full sketch, you will be ready for your class project where you will be able to use the techniques and be inspired to create you very own illustration using Neocolor II Aquarelle Pastels.

And remember, when you’ve completed the lessons and uploaded your lovely class project on the project gallery don’t forget to leave a review on the class so other amazing students like yourself can learn from your experience and enjoy the world of Neocolor II Aquarelle!

So what you waiting for? Grab yourself a nice warm drink & treat, get your watercolour pastels and supplies ready, and lets get started with the class.

Meet Your Teacher

Teacher Profile Image

Imran Mughal

Graphic Designer & Illustrator

Teacher

I'm Imran - graphic designer & illustrator based in the UK. I have over 10 years experience in the field of graphic design and illustration in both traditional and digital output and absolutely love all things to do with art!

In addition to my full-time graphic designer role, I am also the art wellbeing lead for my organisation where I deliver wellbeing classes and advocate mindful colouring to relax and de-stress - check out my published colouring books for adults.

In addition to my design & illustration life, I am an active father of 3, oh and I'm naturally addicted to coffee! My illustration classes are all about getting back to basics mainly with traditional mediums and escaping away to relax with art!

I love to sketch, draw and illustrate on a daily basis so fo... See full profile

Level: Beginner

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Transcripts

1. Introduction: Hello and welcome to my class. Watercolor Pastals For Beginners. An introduction into the wonderful world of Karen Neo Color Two Aquarelle pastels. These lovely pastals are an absolutely brilliant medium to use. And I only recently came across them, so I wanted to test them out to see whether they're any good. And when I started using them, I was absolutely obsessed. And as you know, I generally get obsessed on all traditional mediums in art. This one was another one that I started to build my own collection with. And I started using it on a daily basis to produce lovely little sketches in my own whimsical style. And that's what I want to explore with you by introducing you to this fantastic little medium. This class is for anyone who wants to learn and delve into the adventures of using these wonderful pastels. In this class, we're going to quickly dive into the class supplies that we're going to need to complete the lessons of the class. Then we're going to quickly delve into the ins and outs of what these wonderful aquel pastels are all about. We will then look at the different application methods on how to apply these pastels using three different techniques. We will look at how to darken our colors and lighten our colors within our limited sets or limited numbers of colors that we have in our palette. We will then finally look at how this wonderful medium interacts with other mediums like graphite, ink and markers. And then we're going to go straight into a step by step sketch and produce a lovely little illustration by implementing the techniques that we learned in the previous lessons. And on completion of your lovely little step by step sketch, you will be ready to start jumping in straight away with all the techniques that you've learnt and the experience that you've gained to produce your very own beautiful painting and illustration for your class project. So what you're waiting for, grab yourself a nice drink. Get yourself a nice little treat. Get your neo color pastel ready, and let's get started with the class. 2. Class Supplies: Okay, welcome back. Let's now quickly run through some of the class supplies that we're going to need in order to complete the lessons of this class. Firstly, if you look on the screen, we've got our wonderful neocolor aquarel set of our watercolor pastors. So I've got my 15 set over here, which is the one that I initially started with. Whichever set you have, just get it ready so that you're all motivated and all excited like me for the lessons in this class. And we're going to delve into what these are all about in the next lesson. Then we move on to our standard pencil that we have over here. So whichever pencil you have, just grab hold of it. If you have an erasor and a sharpener, that would be great. So moving on to the next item, we just have a watercolor brush. So whichever watercolor brush that you're comfortable with, just grab hold of it. Make sure it's nice and clean and dry, and then we can get ready to start using it in this wonderful adventure. And then we have a fine liner, a black ink fine liner. Now make sure that with the fine liner that you have, it does contain waterproof ink. Because we are going to be using water and paint from these neo color pastors. So what we don't want is it to smudge any of the ink. So having waterproof ink, fine liners, is quite important for the class. However, if you don't have it, don't worry. Just use whichever one you have at hand and there can be workarounds on that, which I will explain. And then on the right hand side, at the end, we have our paint marker. So I've just got a standard posca, white paint marker, and that's just to add in some highlights. If you don't have a paint marker, that's absolutely fine. You can use a white gel pin. But again, if you don't have a white gel pin, don't worry about it. This is just a nice to have additional medium for the class. Moving on to the top left hand side, I've just got a little container for my water, for my watercolor pastoral. So just make sure you have a nice clean container and fill it up with clean water. Over here on the top, I've just got a nice little roll of washy tape. If you don't have washy tape, don't worry about it. It's just nice to create clean edges when we're doing our little illustrations with our color pastels and water color. If you've got that, get it ready. And then finally moving on to our surface on this side here. And I'm going to be using watercolor paper throughout this class now. You don't have to use the same watercolor paper that I've just use. Whichever grade of watercolor paper you have, I do recommend that you use watercolor paper. Otherwise, you're going to get all sorts of kind of sogginess in your paper when you're using this. When you apply water, you can use thick cartridge paper with these pastels. You can actually use these pastels on various surfaces. However, for this class for sketching and painting with these, I would recommend that you stick to watercolor paper. And I'm going to be using cold pressed watercolor paper throughout the class. So get your watercolor paper ready. And then lastly, if you have any other mediums at hand. So for example, if you have any colored pencils or if you have any markers, do get them out because we will be testing the interactions with other mediums, with these lovely pastels. Whichever other mediums you have at hand, maybe there could just be some normal crayons or just some ink. Just get them ready. Have everything nice and set up on your desk or table. And that's about it. So again, the class applies very small and limited, so you don't need to worry and they don't really take up that much space. So let's now move on to the exciting world of neocolor aquarel, watercolor pastels, and dive into what these are all about. 3. Neocolor II Aquarelle: Okay, welcome back. Let's now quickly go through what neocolor two aquerl pastels are all about. Like the first generation, the neocolor two water soluble wax oil pastels foster the spirit of freedom, freedom of style, in the choice of colors, and in the scope of application. The brush stroke provides the finishing touch, presenting the pigment in a new light. That's what they say on the Car Neocolor two website. So check that out. What are these pastels all about? A little bit on the details. Pastels are water soluble wax oil pastels. They are soft, velvety in texture creating, and they don't produce any dust. They have superior covering power. They have excellent light fastness, so they won't fade over time and they have bright colors, and they have a diameter of 8.65 millimeters. When using these pastels, we do have to make sure that once the pastel dries after the application, then it is not permanent. Re, wetting it again will reactivate that particular color on the surface. But we will delve into that the later part of the class. The techniques for use are dry or wet drawings on any type of material. For example, paper, cardboard, even glass wood, leather fabric, and even stone watercolor coating. Glazing, scraping, soaking, doing an ink wash, monotype solid painting. Rainbow technique and application on light panels are all the different types of techniques that you can use with these pastels. However, we're going to just be concentrating on the simple technique of applying these pastals with water and a watercolor brush on standard watercolor paper. So that sums it up for what neocolor pastels are. Just ensure that you've got the correct neocolor pastal. Because this is neocolor two aquarelle, these are water soluble, it's not neocolor one, which were the normal pastals that were not water soluble. So just ensure that you've got the correct pastels before you start this class. Oki Doki, let's now move on to the application methods of these beautiful pastels. 4. Application Methods: Okay, welcome back. Let's now start off the class by going through some of the application methods for our lovely wax aquel, color pastels. So on the screen over here, I've got a nice little sheet of watercolor paper. And again, I'm using cul press watercolor paper. Throughout this class, I've cut this down into five size and I've just divided it up into three different columns. So column 12.3 and then I've just divided it further into rows. So I've got one to three rows here that are equally the same size. And then I've just got a little bit of space on the top with a row at the top, which I'll put down for labeling, what we're going to do in each column. So let's start off. So for this exercise, what we're going to need is two colors of our wax pastels. So I'm choosing a nice blue that I've got here on the screen. And then I've also got a lovely purple. So just grab hold of a bluish shade and a purplish shade. If you haven't got the colors that I've got here, then just grab hold of any two colors because it doesn't really make a difference what colors you use. It would be good if you have similar colors like me. If you've got that standard tin that I've got, then you're most likely going to have a blue and a shade of purple. Just grab hold of your blue and purple shade. Or if you have a red shade, just get hold of a blue and a red shade. And let's get started. They're going to look at three different application methods for using these lovely pastors. The first one is going to be dry and then wet. Let's just get a lovely pen and write down what we're doing so we don't forget the first method is going to be dry. I'm just going to write this down over here. Dry then wet. And all we're going to do here is we're just going to grab hold of our colored pastels or else maybe start off with the blue. So we've got the blue and I'm just going to layer down a nice swatch of color just like this. Just like using a crayon and just fill in this little rectangular shape like. So adding in a couple of layers so that we have a nice bit of pigment there on the paper. And you can see it just folds off so easily, especially on co, pressed watercolor paper because of the texture that it has. So with that one, I'm just going to add that swatch and that's looking good. And then I'm going to go onto my purple color, and I'm going to go ahead add my purple color in the next box, underneath just like this. I'm just going to go in and add in my purple color swatch over here that's looking fantastic. Just like add that purple color swatch. Then what I'm going to do is just get a bit of a zoom back on this, you can see. Then I'm going to use my blue again in the third box over here. Just add that blue swatch. What we're going to do with this third option is basically add in the purple on top. So I'm just going to grab hold of my purple, that same purple that I did here. And then I'm just going to go over it like so. So we have a mixture of colors. So you can see that just like that, the dry pastel on the paper, it just looks fantastic. It's just like a crayon, isn't it? A very well saturated crayon. So that's about enough there so we can move our pastels out of the way so that they don't come in our direction. So what we're going to do next is we're going to get our watercolor brush. So I've got my silver lined watercolor brush here. Get some water. So I've got my water over here in my lovely little holder. And I'm just going to dip in my brush like this. As you can see, I'm giving it a good dip. I don't want a little bit of water and I don't want too much. I just want enough that will cover the area and bristles of that brush. You can see over here. If I move this across, you can see that I've got a nice bit of water over here that covers it up. It's nicely saturated. And just like that, I'm going to go straight in onto my Swatch. And you can see that water is just melting away and going backward and forward onto that color. Just like that, it's melting away, that beautiful wax pigment. And you've noticed that you have some of the wax pigment texture still underneath. If you want to melt it all away, go over it again, just use these circular motions and you can see it's completely melting away, that beautiful textured wax. And you've effectively got a vibrant, gorgeous swatch of water color there. Look at that gorgeous, isn't it nice, an opaque, beautiful, vibrant saturated color? It looks absolutely fantastic. Now, the amount of water that you use on top of this dry pigment will depend on the results that you get. And we will explore that later on when we start looking at the illustration that we come up with. But this is just a great way. Of going in and seeing the type of results that you can get with a particular color. So again, I went in with a fully drenched brush, so I'm going to do that all the way across, that we can compare the results. And you can see it just creates this gorgeous, fantastic, lovely swatch. So I'm going to clean my brush now. So you're just going to go in here, clean my brush, make sure your brush is nice and clean, and then make sure you have a nice amount of water on that brush. Again, it would be ideal to have another pot container with clean water where you can pick up some clean water. But for this exercise purpose, I'm not going to bother with that because I'm not going to really muddy the water too much. But I do recommend if you have two pots, go and use two pots, one with clean water and one with normal murky water, as you would do with your normal watercolors. So just like that, I'm just going to pick up some of that water now, and then I'm going to do the same again for the purple. So you can see we started with dry and then we added in the water solution and it's gone wet. So it's produced this beautiful, vibrant watercolor swatch. Look at that. Gorgeous, isn't it? You wouldn't even know that this was from a pastal or a watercolor crayon. You wouldn't have a clue once this Swatch is done. So see it produces this gorgeous, beautiful, beautiful swatch. So give that a go. And this is basically the first application method of dry and wet using single colors. And then what we're going to do is we're going to move on and do the same for this one where we had the two colors that were mixed. So we've got the blue and the purple to come up with a third color just to see how it works when you're blending two colors together on the dry and then wet techniques. Again, I'm just going to go ahead and I'm going to clean my brushy brush. Fantastic. Just pick up a little bit of that water to make sure that the brush is nice and moist. Then again, just going to go straight in over here and start adding in to activate that beautiful color. And you can see it's produced this gorgeous blue, which is a combination of this one and this one that just looks gorgeous. That doesn't it? So much variation in color by just using these crayons and two different colors to produce this third color. Again, that indicates that you don't necessarily need loads and loads of colors to produce a variation in color. You can just go ahead mix the colors to create your Swatch and have a beautiful result to look at that gorgeous color. That blue, isn't it? Oh, I think it's a new color that. Should we give it a name? What should we call it? Should we call it, I'm just going to call it Beautiful Blues. There you go. Have as much fun as you want in it. That's nice and wet. So again, I'm going to just clean my brush to make sure that I've got a clean brush. Always a good idea to clean your brush after you've applied it to your watercolor pastors or any other type of water color. I'm just gonna put that to the side now. And I'm going to let these dry so you can see that the final result will be nice and matt. So what we can do is while that dries, we can move on to the second technique. 5. Wet Then Dry: Okay, let's now move on to the second technique. And the second technique is wet first and then dry. So this is basically a reverse of the first technique. So wet then dry. And this is an interesting technique that produces very different results. So let's just put my pen away, keep that to the side. For this one, what I've done is I've got myself some fresh water. So I made sure that I didn't use the murky water that I did when I was doing the first example. Got myself some fresh water there. And for this one, what we need to do is we need to just go in with our clean water like this. Get a nice bit of clean water onto our brush. And we're going to go ahead and just add in a little swatch of water here first. So we want the wet on first. And then we're going to basically work fairly quickly because we don't want the water to dry. We need to keep it nice and moist quickly. Move the brush out of the weight. And then I'm going to get my crayon color pastol. And then I'm going to go in, and I'm just going to lightly just add that onto the water, and you can see that it produces this gorgeous result, this beautiful textured result, just like that. Create that switch to finish it off. And you can see how highly pigmented the color is. It just adds this beautiful marbled effect into the water. And it effectively, exactly the same color as we did in the first one, but we have a completely different result. How fantastic is that? Do be aware that with this technique, when you're using the crayon or the pastel onto the water itself, onto the wet liquid, that you're going to have the tip of it to be still a bit wet. So just be careful that you don't just throw it anywhere. Otherwise, you're going to get pigment everywhere because it's still going to be wet and moist. I'd advise you to maybe put this in a separate container or just keep it on a piece of paper so that it dries off naturally. So I'm just going to move it onto the side where I've got a bit of paper. I'm just going to leave it there. And again, I'm going to do the same now for this next one. Then just again, just add that swatch of color quickly. With this technique, you do need to work a little bit quickly because it does depend on the humidity of your room or area that you're working in. I've got a lot of lights in my studio here, so the water does tend to dry out pretty quickly. So just like that, roughly the same size as before. Move the brush to the side and then using my purple, it's going to go in just like this, very light, not pressing down at all the actual pigment. The moment it touches, the paper starts melting away with the water liquid. So just like that, you can see how beautiful that is. It's very relaxing to do this. It can get quite messy to do. Be aware have a few tissues at hand just in case you start dripping this all over the place. But it's just a really nice, interesting way of applying water colors. So just like that, that swatch is done and the tip is nice and wet. So let's put that on the side and look at that. That looks fantastic, doesn't it? So let's do the final one. And again, we're just going to go ahead and just add in a nice swatchy, swatch of water, make sure it's nice and moist like it was before. And then we're just going to go in and just quickly use our two crayons pastel to keep calling them crayons. Crayons, it pastels. I'm just going to go in and adding that beautiful blue that we had on top just like this. And you can see my water is drying out pretty quickly, so I'm going to have to work fast. So then with the purple, I'm just going to go in with the purple like this. And you can see it's created that lovely blend of color. You've got this gorgeous marbling texture that's appeared and it just looks fantastic. That's about it for that one. Keep that crayon on the side and if we have a look back and compare the results, I know they're still a little bit moist. So we've got to really wait until they dry, till we compare and contrast properly. But just from the initial look of it, you can see you have two complete different results. And you're using exactly the same materials, You're just applying them in a different way. So that was the second technique. We've done the first one dry then wet. Second technique, we've done wet then dry. Let's now let these dry away completely before we move on to the next technique. Otherwise, we're going to have paints going all over the place. So let's just wait until these dry out and then move on to the final, and probably the most interesting technique. So let's do that next. 6. Away From Paper: Okay Doki, welcome back. Let's now move on to this final technique. And I'm just going to write down what this final technique is. This technique is called away from the paper. Away from paper, and I'll explain what this one is all about. But before we do this one, we're going to need an additional tool. And that tool is a mixing palette. So this is a bit of an odd tool. It's actually not a mixing palette, it's a flat palette. So with this one, this one is produced by Randash. Again, same brand that we have for our neocolors. And I think this is absolutely fantastic for this. It really enhances this technique. So we'll just get a zoom back on this so that you can see this a bit better. I don't want to lean this on top because we still have a little bit of paint that's wet. We don't want to make a mess. No, we don't. So this is basically a flat palette, and it's a double sided palette. So we have this side over here, and then we have another side. And if you notice that this back side of it over here is very glossy, it's smooth in texture, and this kind of main side is nice and matt. And this actually has a bit of a grit texture to it, so it effectively works like a bit of sandpaper. And this is where this next technique really comes into play, because what we're going to do is we're going to use our crayons past doors, and we're going to apply it to the actual palette itself so that we have a little bit of pigment. And then we're going to mix that pigment with the water on the palette. And then once we've got a color solution that we're working with, we're going to pick that up and then put it onto the paper, and therefore, I've named it away from paper. So let's do this now. I'm just going to hold this at an angle because I don't want to lean on my sheet. So just like this, I'm going to hold this at an angle and I'm going to get that blue color. And all I'm going to do is just add that on, scribbling this onto the palette. Now if you don't have one of these palettes, you can still go ahead and do this technique. Even if you have just maybe just a paper plate or, you know, a ceramic plate, it will still work because the pastor will still come off. But having this particular one over here, this kind of flat textured palette, it just helps that pigment come off a lot easily. So don't worry if you don't have this or if you want to get one of these, then have a look at the class resource sheet where I'll show you exactly where you can get these from. They're absolutely fantastic and I in fact, use these quite a lot when I do my illustrations with this medium. So just like this, I'm basically creating a swatch on here. I'm going to do the same for the purple. Again, just creating a swatch. Just make sure that your crayons are nice and dry and there's no kind of residue of water on them from this previous technique that we did. So otherwise, you're just going to get this murkiness from the color itself going onto this. So let's just do this. There we go, We've got both of them here. And then all I'm going to do now is I'm just going to move this to the side. So let's just move that as a side for now. I've got my clean water. So with my clean water, I'm just going to go ahead and add in a nice swatch of water onto the actual palette itself. So let's just move this back over here so you can see this properly. So just like that, I'm just adding in water to effectively create a kind of watercolor ink. So we've got this wet water color and that's about it. So I'm just going to make sure that I just dab the excess off it from my brush so that I have enough to play with. And then I'm just going to go ahead and I'm going to clean my brush. So just get this on the side over here, Clean my brush to make sure I have some nice clean water on there. So get a bit of clean water and then just add it on to the blue, and you can see you've got this gorgeous, melty, melted color. You've got this ready to use water color for your exercise. So let's just do, maybe move this out of the way. And basically what's happening here is that the water color is going to stay as moist as possible because you've got a lovely texture however, it will dry off. But you've got more chance of using this in this wet form when you use it on this palette. It won't dry it immediately. So if we just grab hold of this blue from here. So I'm just going to pick off blue. I'm just going to really get that swatch into my brush over here. And then I'm going to go ahead, just put that on the side. Go ahead and just add that swatch just like I would with normal water color so you can see how beautiful that is. You've got this gorgeous even swatch of color and it just works fantastically well and it produces a wonderful result to look at that gorgeous stuff. Isn't it beautiful result, using exactly the same color but just applying it in a different technique. I'm going to clean my brush now. Get a nice cleaning, cleaning on my brush and then I'm going to go ahead and I'm going to pick in my beautiful Purple color over here. I'm just going to add that purple color in nice, clean, purple color swatch over here. Now again, it depends how much water you add onto that mixture that you produce. The more crayon pastole that you put on, the more saturated you're going to get and the more water that you use, the least saturation you're going to get. You're going to get a light tone. But we will work into that later on in the coming lessons where we explore how to create different saturation levels. So let's now do a nice mixi mix of both of these colors. So let's just do a nice mixi mix on the board to produce our third swatch. You can see we've got this gorgeous blue shade over here by mixing the blue and purple. And we're just going to go ahead and we're just going to add that on, and you've got this beautiful shade of blue. What a gorgeous shade that is purple and blue makes it fantastic. Look at that. So there we go. We've got our third shade, nice and light. It's just going to put my brush onto the side here. And now if we have a look at the whole thing, you can see that we've produced three beautiful swatches with two colors using exactly the same materials, but we have three different results. So I'm going to let that dry, and then I'm going to have a look at what the final result looks like, kid Oki, welcome back. Now, I've given this a little shaky shake in the air to try getting it to dry quickly. So you can see over here on the right hand side, the ones that you mixed outside the paper have completely dried. They look fantastic. The ones in the middle, the wet then dry technique, they're still a little bit moist, so they're moving around when I was shaking it in the air. But again, you can see this is what they're going to eventually turn out like, you've got this beautiful textured marble effect. And then the first technique, the dry and then wet produces the most saturated, beautiful amount of color. So you can see three different application methods. And what I tend to do is I usually do a mixture of maybe the dry and wet and then away from paper. Sometimes if I'm in the mood of using the wet and dry technique, you can produce some really gorgeous effect. But I do tend to use this in isolation because it does have a very unique look. And again, I'm going to be doing an illustration using each one of these techniques when we come to do that in the next part of the class. So let's leave it at that. Now, practice this exercise. Try doing this technique with different colors, add some colors and mix some different colors. Maybe mix two or three colors together and see what results you get. This will give you a nice introduction how to use these beautiful wax watercolor pastors. And then that will just give you some more ideas when it comes to producing your illustrations and your wonderful class project. To give this a try, try it with different colors and see what results you get. I'm sure you're going to have a lot of fun like I did. So let's now move on to the next lesson. 7. Tonal Values: Okidoki, welcome back. Let's now look at how to produce different tonal values with our beautiful color pastels. So if we look at the screen over here, I've got a nice little grid system set up. This is just the same paper that I used before. Five coal press, watercolor paper. I've got this divided into three columns and then on the left hand side I've just got a smaller square on the top with a bigger space underneath the middle column. I've just got it all plan. And then on the end I've got the columns split up into four different rows. So if you're following the example exactly how I'm doing it, then just divide up your page like I've done over here. You don't need to draw in the lines, I've just done this. So it makes it easier to follow for myself. So I'm going to choose a nice little color from my set, and I've got this beautiful orange color. This one is called vermillion. So grab hold of a nice deep color, maybe an orange, a dark orange or a nice dark red that you have. And we can start by adding in the swatches in each one of these boxes. So let's start off on the top left here. So all I'm going to do is I'm just going to go in and I'm just going to add a nice little swatch. So what I'm going to do is I'm going to just add in these swatches initially in all of the areas so that we can start working on them immediately. And we don't have to use any more of the pastel. So I'm going to quickly go ahead and do that now. Just ensure that you use the same color for all four of these swatches so that we can compare and contrast. And I'm going to move my pastel into the box again so it doesn't start rolling all over the place. And next what I'm going to do now is I'm just going to get my brush, make sure it's nice and clean. And then just go ahead and with the water, fresh water, just give it a nice little drench in fresh water just like that. What I'm going to do now is I'm going to work on this top left area first. If you have a look at the top left area here, I'm going to just add in my water on top of the Swatch. And you can see this is exactly what we did in the previous lesson when we were looking at the different application methods. And just like that with the same amount of water, what I'm going to do is I'm going to drag with my brush and bring it down. I'm going to do that. Then I'm going to drag it down. And then drag it down a bit more. Drag it down a bit more like this. And you can see that we have this very saturated look over here. And we've got a few lighter tones as we bring that down. And that was just with one kind of dip of the brush, so we didn't go in with any more water. So you can see it just gives you a bit of an idea where the tonal values can be added in by the water saturation on your brush. So again, as I mentioned in the previous lessons that it all depends on how much of your pastel you use in order to produce the deepest, most saturated color. So again, compare and contrast. What we're doing here is we're using the same color and we're using the same amount of color roughly in each one of these examples. Again, we'll let that one dry, and now let's move on to this one over here. So what I'm going to do is I'm going to go ahead and I'm going to clean my brushy brush. And again, I'm just going to get that water from the top of it, make sure I've got that same amount. And then I'm just going to go ahead and do exactly the same. But this time I'm going to drag the actual color. Once it all melted away, I'm going to drag that color further down like this. And then again from the middle, just dragging it further down like this. And again, further down all the way to the end. Now you can see it produces that lovely, nice lighter tone. Now on the screen, it's going to be quite wet, so there's going to be quite a bit of reflection with the light. So we'll let these completely dry so we can analyze them later. What you can also do is if you want to just clean your brush, if you've got these kind of like bottom areas over here, maybe just pick up some of that bottom area with your brush. Twist it around so you don't have too much saturation at the bottom. But again, have a play around with this example. I'm only showing you these examples so that you can have a bit of an idea of how to really stretch out these colors to produce various tonal values. We'll let these ones dry and we can move onto this middle one next, The same. Again, I'm just going to add in my water. And then just going to go ahead and bring this in really nice, just like that. And then this time what I'm going to do is I'm going to stretch it out about up to this point over here. So about halfway through, I'm just going to pull that color down with my brush so you can see I've got that nice bit of color going down. And then I'm going to clean my brush. And then I'm going to just pick up some clean water. And I'm just going to add that in this area over here. Now you can see that the water is slightly a bit muddy. It would be ideal to use just another pot of clean water, but for this example, it'll be fine. I'm just going to add the water at this bottom half area. And then I'm going to slowly just merge it in with the edge of what we pull down. You can see over here. That's just going to bring it in further down. And then I'm going to clean my brush again. Then from the top, I'm just going to drag it very lightly into this lighter area to produce this nice gradation of tonal value. And you can see that it looks absolutely fantastic. So just bringing it down like this, leaving the bottom part of it nice and clean. That's the second example in the second column. Let's now move on to the one at the end. Let's just do a nice little clean on the brush. Then again, with this one, what I'm going to do is I'm going to go ahead and I'm going to just melt that lovely pigment away. And just leave it like that. Make sure I get all that pigment melted away. I don't want to leave any speckles of dry pigment on there. Just keep it nice and moist. And then what I'm going to do is with my brush, I'm just going to roll my brush into that solution. And then I'm going to bring it to the next box over here. You can see I've just picked that color that we produced in the top one. And all I've done is I've just brought it down, not added any more water, just like that. And then I'm going to go ahead and bring the solution that I had from this one down into this box here. And you can see that the less solution we have, the more lighter the color is going to be. For the final one, what I'm going to do is I'm just going to do a dippy, dip in my water. Just bring that across over here that will have the least amount of pigment in it because we've got more water to pigment in our ratio. And just like that. Going to go ahead and do that then with a nice tissue. Just a clean bit of tissue. I've just got a bit of tissue here. I'm just going to dry off my brush like this and then move that tissue to the side. And then with this one at the end, what I'm going to do is I'm going to just dab that dry brush on it so that we don't have too much pigment just like this to get rid of that pigment. And what this will do is this will just produce a nice light tone once it's dried. And it will show you a variation in tonal values from the same color and it's just going to look fantastic. So just like this, I'm just picking up those kind of speckles to just dilute it further. And that's about it. So I'm just going to give my brush a clean, clean and put it to the side. What we want to do now is we want to wait for this all to dry up. And once it's dried, we can analyze and see what results we get. 8. Analysing Tones: Okay. Okay, Now we've got a nice little dry area over here. You can see that a lot of the swatches have dried out. Some of them are still a little bit moist, But that's fine. We can still look at what the results are like. So for the top one on the left, you can see we had a nice bit of saturation on the top where we had most of that beautiful pigment from that wax pastal. And then we just dragged it down very loosely. We're not using too much water, just whatever water was on the brush. And you can see you've got this nice little lighter tone areas over here and where the brush actually touched at the end, you can see you've got a few splodges of more saturation. So what you've got to remember is that when you're trying to do lighter tonal values, especially on the paper or the surface that you're working on, then you've got to make sure that you use minimum water to pull it down, especially if you're working in a tight space. So if we have a bigger space over here, like in this rectangle area or at the bottom, you can see what we did was we pulled down using the same amount of water at a further distance. And you can see that the tonal values stretch out much more. And again, we've got a little bit of blooming there because I just added in a little bit of brush stroke and the paper started getting a bit wonky. So do bear that in mind. It depends on the paper that you use. If you're using paper that's really kind of susceptible to kind of warp, then do bear that in mind. Better quality paper is less likely to warp as much. However, if you want to know more about the way to kind of stretch watercolor paper, then do check out my watercolor class for beginners, where I go through how to stretch a piece of paper perfectly so that you don't get any of this warping thing that goes on over here. But that's for another class and another time. So coming back to this, you can see in the middle we've got this beautiful tonal gradient of values where we had the most saturation on the top, we pulled it down. And then what we did different was we added water at the bottom. And then from the pull down, we just slightly merged them together with the water. And the color has spread beautifully to produce this wonderful tonal difference. And then on the right hand side, we just used the Swatch as it was pure, beautiful color saturated Swatch. And then we just lifted that off, bought it onto the next box, then brought that onto the next box, and then brought another swatch onto the next box. Each level it was diluted slightly and we added a little bit more water and picked up some of the excess with our brush. So give this a try, try it out with different colors. Maybe just do this on a bigger sheet so you can see how far you can stretch your color. Alternatively, what you can also do is you can also, actually you can use your palette. So if you have a palette, you can go ahead and actually use the colors on the palette. So if I quickly demonstrate this, if we have the palette over here, and I've just got my lovely orange color, if you start off with a nice orange color down here. And then maybe with the water, let's just add a little bit of water to this. You can just add a little bit of water so you've got your most saturated spot over there. And then you just want to add a couple more spots like this. And then with your brush, just add in some more water to dilute that further. And then again, clean my brush. Dilute this one further. And what will happen is, the more you keep diluting the lighter your values will keep becoming. So try that out if you've got one of these palettes or if you want to try to do it off the paper, like in application method three, give it a go and see what results you get. What will happen is it will kind of open up the options of the results that you can produce. So I'm just going to put that back onto the side over there. And that's it for this lesson. So try this out with different colors. Try it out on the palette if you want. And bring it onto the paper, give it a go, enjoy the exercise. And we can now move on to the next one. 9. Darkening Colours: Nutty chocolate, a taste of that one. Not bad. Not bad at all. Okay, welcome back. Let's now continue the class. I'll put my lovely coffee on the side. Take a few sips, of course, take a break while you're doing the class to energize yourself. We don't want to get lost in the wonderful world of these pastoral, magical crayons. So no, we don't. Let's get back to the topic. So, in this part of the class, what I'm going to do is I'm going to go through some of the techniques to use in how to darken your colors. Now, you may have a limited color set, that's absolutely fine. Usually with most color sets. In most materials, you tend to get the primary and some secondary. You more often than not, always get black and white. And these are the two main colors that we're going to focus on. And then we're going to come up with some other colors that we can use to enhance the darkening aspect of colors and maybe the lightning aspect of color. So let's dive straight into it. So on my sheet over here, I don't have any nice funky little grids or anything like that. I've just got a plain sheet of paper, because we're going to keep it really simple. So I've selected a nice green that I'm going to use to demonstrate this. And this one that I've got here is my favorite green, which is emerald green. This is a nice medium based green, so it's not a very dark green and it's not a very light green. So grab yourself a color from your set that's similar to the one that I've got. Just make sure it's not too dark or not too light. So now with this, what I'm going to do is, firstly, I'm just going to go ahead and I'm going to add in some color swatches over here. So just like this, I'm just going to add in a nice strip of color and I'm going to bring it down to maybe halfway length of the actual paper itself. So I'm going to start at this point, it effectively just creating this rectangle. And then I'm going to go ahead and maybe make it a little bit more thicker over here. And I'm just going to repeat this now three more times across the page. So let's quickly do that now. Okay, dog. Now I've got four swatches of the same emerald green color in a nice little rectangular shape separated. So what we're going to look at first is how to darken colors. So as I said before, black and white are usually the most common to darken and lighten colors. So let's look at the darkening side first. So I've got my black neo color. This is just a standard black from my set. So grab hold of your black color. And all we're going to do is we're going to very carefully just add a few speckles of this using this circular motion like that onto the top part of that rectangle that we've done on our first swatch on the left hand side, just like this. Just very gently and lightly, we're just going to add in a layer of color. And you can see just with the dry layer of that black going onto the dry layer of the green, we've already started darkening that green already, even in this dry instance without adding any water. So just like that, adding a little bit of black will automatically start to darken your color. We don't want to add too much of the black, because it will overpower the color. And you'll just get a really muddied black, grayish type of shade. We effectively want to just create a nice shade, darker tone of that base green color that we've got in the middle. So I'm just going to leave that as that. And I'm going to move my black to the side. And then I'm going to go ahead and I'm going to look at this one over here. So for this next one, we're going to look at a little bit of color theory. We're going to look at complementary colors. So what you can do is if you have a base color on the color wheel that you select, you can look at the opposite color on that color wheel, which is known as the complementary color. And use that color to darken up that base original color. So if you have a look at the color wheel on the screen, you can see for green, the opposite color on the color wheel is red. So what I'm going to do is I'm going to grab hold of a red now from my set. And this particular red that I've got in my set is called scarlet. This is a nice medium shade of red. It's not too dark and it's not too orange, so it's a nice color, that one. And again, with that, I'm just going to add the similar amount that I did with a black onto the top part edge of that green swatch. And you can see it's already started darkening it again, just like it did with a black. So just like that going to darken that up a little and that's looking fantastic. So do try this out with the complimentary colors. It's absolutely fantastic. I won't get into too much of details of the color wheel and color theory because we don't really need to know too much at this stage. We just need to understand that sometimes when you have a limited palette, you can use the colors within that limited palette to produce different shades of a particular color. So let's move the red to the side now, and let's look at our third one. So for the third one I'm going to go ahead and use a dark shade of blue that I've got. Now, all being this one wasn't in my set, this particular blue that I've got. But I'm just going to show you this to demonstrate to you just in case you have one of these or have another darker, bluish shade that you can actually go ahead and slightly darken the color hue of green or any other color with another dark color. It doesn't have to be a pure black and it doesn't have to be a complementary color. You can have other options that will slightly darken your primary color that you have. And what I mean by primary color is the initial color that you put on the Swatch. Because we know green isn't a primary color, green is a secondary color. So when I say primary, just for the purpose of this class, I'm talking about the initial Swatch that you're using. So the initial swatch, the primary Swatch that you're using in this is green. So just grab yourself a dark blue shade from your set, whichever darkest value of blue that you've got. And then go ahead and do exactly the same as we did before with the red and the black. Just add a nice little light layer on the top edge of that rectangle. And just like that you can see it already started to darken it. We'll see what the results look like when we start adding the water. So moving on to the final one. For the final one, what I'm going to do is I'm going to add a little bit of purple. Purple again, is another nice dark rich color that can be used to darken colors. It might not always work with all different types of colors that you use initially. But for green, sometimes purples can be used to darken the actual color itself. So I'm just going to add a nice layer of that purple on top of the green. So again, it's not effectively creating a shade of green. It's creating a kind of darker tone and darker value of green instead. Whereas with the black, we're looking more at the shade of green. And with the other colors, we're looking at different tones, darker tones, to make that darker green a little bit more rich. And that's what ends up happening. So you can see we've got a bit of a darker area on the top. So with this purple, I forgot to mention what it's called. This one's called violet, so you don't want to be using a light purple, like a lilac or anything like that. You want a nice deep purple. So if you have that in your set, then give that one a go. So I'm just going to move these onto the side now. 10. Adding Water: Okay. Dog. So now it's time to add in our water to see what results we get. So let's just get a little bit of cleanly clean water on our brush. Make sure your brush is nice and clean. And in order to do this exercise effectively, what we want to do is we want to, initially, we want to wet our green first. So over here you can see it. We've got our green swatch. Wet the green swatch first. Don't go into the dark color yet. Get a nice little blendy blend on that wet. Melt it out like butter is melted. So just like that, we've got this gorgeous, velvety water color. And then we want to start slowly blending it into that darker area, just like this, and blending it in circular motions into the darker area. And you can see that the black has started combining with the green to produce that beautiful shade of darker green. Now, you might think that it's not as dark as I want it to be, but that's absolutely fine. This initial kind of blend that we do is very, very subtle. It's minimal. We don't want to overpower it with the black. So what I tend to say on this exercise is blend it into the black that you've added on. Then get your black again, or whatever color you've got for darkening. And just add a nice thick line on top so you've got this nice thick line of black on top. And then what we can do is we can go in and start, maybe add a little bit more water to this. Now, just clean the brush. Then we can go in and start blending the edge of the black with the edge of the green that we've got. And I can see look at that, look, how nice that looks. So we're just blending this in just like this. Very gently and lightly bringing the brush across. Just bringing my hand on the other side to make it easier. Just like that. Do a nice, very gentle tap on it so that it starts spreading into the green. And now you can see we've got this beautiful, super dark color on top and it's melting away into the medium dark color that we've just produced with the emerald green and the black. And look at that, that just looks fantastic. So I'm going to leave it like that with just that nice heavy line of black. You can kind of wash it out a little bit if you want, if you really want to bring it down more, you can just pull it down. Drag it down as much as you want to just experiment and see how far it'll go and to produce the results that you're after. So just like that, if you're going to give it a little bit more, double dabble with the brush and looking fantastic, isn't it? Again, get a nice cleanly clean on the brush and we're going to go ahead and we're going to do exactly the same with all of these three. So just like this, I'm going to quickly go ahead and just wet the main part over here. And then go on the top area down here, and just blend it into that red. And you can see with the complimentary color, you've got this beautiful, rich darkness of that green. It looks so nice. I do tend to use complementary colors to darken when I'm doing my illustrations. I also use black a lot as well. But sometimes if I want to more deep, richer look to the color, then again I use complimentary colors. Do test this out with different colors on the color wheel, and you'll be surprised with the results that you get. That's looking fantastic. Again, all I'm going to do is I'm just going to get the red just to be consistent, just adding in that line of red on top. And then I'm just going to go ahead and do a nice melting melting of the mixed green with that red line, just like that. You can see we've got more of a deeper, more rich blend going on on the top over there. Look at that. Fantastic. That isn't it. We've created a beautiful tone and rich, vibrant gradient of dark green to a nice mid tone green. And we've used red. And nobody would have even guessed that you used red to make this dark. No, they wouldn't. So unless they've watched this class. So let's just continue with this. And again, what I'm going to do is I'm going to do exactly the same for the dark blue and the purple. And then we'll see what results we get. Koki, now we're done, you can see that we have some gorgeous results. They're very different. In the final finish, I mean, the paint is still a bit wet. Once it's completely dry, you'll be able to realize how beautiful and unique these results are. So initially we did the black blending into the green and we've got this beautiful shade of that emerald green. You can make it as intense as you want. But do be careful with the amount of black that you use because it will be very overpowering. Do it slowly and add it bit by bit. That's the best way to get the shade that you're after. And secondly, we went for the complimentary color and we added red to it. So again, same process. Do it nice and slowly add a little amount of red and then slowly build it up by increasing the level of the saturation of the red. And blending it in nice and slowly. Don't rush because when you rush you'll just get splodges of a certain color going in one direction. Just take your time with this exercise and you'll get some wonderful results. And then we did the same with the dark blue shade that I had. Again, if you don't have a very dark blue shade, just try it out. With blue, you're most likely to get a turquoise green color. But it will slightly change that tone of the green to produce a gradient. So again, you've got so many different options with these beautiful watercolor pastors that you can just experiment and create some gorgeous effect. And then finally, we went onto the purple. And with the purple we got some really nice subtle results. Darkening that green and making it look beautiful and rich. So again, four very different finishes. Let it dry and you'll be able to appreciate what you've actually done in all the four different examples. So that was the darkening part of this lesson. Let's now move on to how to lighten our colors. 11. Lightening Colours: Okay, welcome back. Let's now look at the next part of the lesson. And we're going to be concentrating now on lightening our colors. So if you look at the screen, we can see our darker colors that we darkened have dried out beautifully. And they just look fantastic, don't they? So what we're going to do is we're going to continue on this sheet. So what I'll do is I'll just move this a little bit higher up. And what I'm going to do is I'm going to grab hold of that same emerald green color that I had over here. And then all I'm going to do is just adding another swatch that's close. So the tip or the end of the previous one, just like this. So we're not doing a huge swatch. We're just going to put a small little swatch over here. And I'm going to repeat this all the way across. So let's quickly do that now. Okidok. Now you can see that I've got a nice little swatch of the emerald green just below our previous swatches. So on the left hand side, if you remember, we did black to just produce a nice shade of green. So what we're going to do on this opposite side is we're going to just use white, suffer white. I'm just going to get my white color pastor like I used in my previous lesson. And with this one, I'm going to go ahead and add in a swatch over here just below the green one. And I'm going to probably make it around about three times the length of that green swatch that I adjusted. So just like this, I'm just going to add in that white. I'm not going to overlap it because we don't want to get a puge kind of like swatch of color. We just want to demonstrate how we can lighten color with white. And again, I use white quite a lot to produce a nice lighter shade of any color that I'm doing. And it works absolutely great. So just about up to here, it's difficult to see on the camera because it's white, effectively on white paper. But just like that, a nice good swatch of white going on over there. And then I'm going to move across and I'm going to do the next one as well. So for the next one I'm going to go ahead and select a color that's lighter in value than the emerald green. So I've got this nice little yellowish green color over here. This one's actually called yellow green, so just grab hold of a lighter green that you have in your set. If you don't have a lighter green, if you just have one green, don't worry about it. Just skip this one and just observe what results I get on the screen with my lighter green over here. I'm just going to, again, just adding that swatch, so effectively it's similar in size to the white one. And again, with this one, you'll be able to see this a lot more. So just going in over there with my lovely light green. That's enough on that side. And then for the third one, what I'm going to do is I'm going to go and use a color that's close to the green on the color wheel to make it slightly lighter or change the tone of that color. And that is yellow. So grab yourself a yellow. You will most likely have a yellow in your set, regardless of the size of set that you have. So I've got this yellow, which is actually actually just called yellows. This is a nice middle yellow over here. And I'm just going to go ahead and add that swatch in, just like I did before. So that's looking fantastic. I've got a little bit of green on there already. So what you want to make sure is there's a tip for you to just clean out your crayons once you've used them. So if you've used the wet on wet technique, you may have some residue left of the previous color on your crayon. Best thing to do is get a piece of paper and once the crayon is dry, just rub it off so that you don't have any of that excess on. And you can clearly see, I didn't do that, and that's why I've got a few splodges of the previous color, but it's all good. We're not going to stress. No, we're not. Okay. So for the last one, I'm going to leave that as it is and do the ones that I've got here first. So what I'm going to do is I'm going to get hold of my brushy brush and give it a nice little whirl in that fresh, clean water. And for this we're going to start with the white. So I'm just going to go ahead and I'm going to activate that white area. So just like this, I don't know if you can see this clearly on the camera, but what's happening here is it's just getting activated. And I can see this under my lights, with my eyes, But on camera sometimes it can be a bit difficult to see just like this with the white. And then I'm going to go ahead and I'm going to start blending it in into that green swatch that we did before. And you can see it starts creating this beautiful pastel like color of that emerald green. And that's looking great. I'm not taking it all the way to the top. I'm leaving a little bit of it dry there. So we have this in stages, So I'm going to drag this down now, the top just like that, I'm going to drag it down. I've got a little bubble bubble there over there. Let's pop that bubble, right? Don't want these bubbly bubbles, so I'm just going to drag that down. And you can see it's getting lighter as we mix in more towards the pure white solution there. So there we go. That's about it for that. And you can see already, it's just created this gorgeous, wonderful, lighter tone of that green. Now, there's quite a lot of reflection on there. I'm going to see if I can just move my light a little bit away from there so that you can get a better idea. And I think that looks a lot better. I've got the light in my face now. Right. Let's just move that light on the side so you can see over here, we've got this really nice pastoral green. What I'm going to do is I'm going to go ahead and clean my brushy brush. Now to clean the brush and get that water and now I'm going to activate just this little green strip on the top over here. So just the emerald green. I'm not going to touch it into the white yet. I'm just going to add that water to activate the emerald green. And then just slowly and circular motions, I'm going to start bringing it down so you can see over here bringing that emerald green down in stages, we've got nice, darky, dark emerald green. And then it starts lightening out and creating that wonderful transition into standard green, to a beautiful light green. So again, I'm just going to give a little tip tab with my brush into the white area. So it's a nice smooth gradient, smooth transition. And look at that, that's fantastic, isn't it? So let's just do a nice cleanly clean on the brush. And basically I'm going to go ahead and do exactly the same for these two Ok. Okin. Now you can see all three of these have been done and you can see that you have different results with each of them. With the white, you can see you've created this nice little tint of that original emerald green and that looks fantastic. White is the color that I use all the time and you can use white to create a tint of your standard color in any variation. So do give that a go. Practice that with white, with different colors that you have in your palette or in your set. And then we went on and used a lighter version of that green. So if you have a lighter green, kind of like a lime green color or even a slightly lighter green, try that out with the base color green that you have and see what results you get. And then we moved on to the yellow over here. And that was just a color that's close to the base color that you have on the color wheel to try out whichever yellow you have. If you're using green and see what results you get, it's all going to be completely different from three swatches. And that just gives you so many opportunities and options for you to just start creating beautiful tonal variances and gradients in your artwork with a limited palette. So moving on to the last one. And the last one is going to be something that we've already looked at before, worth mentioning. So if we just get a nice bit of clean water on here, all we're going to do here is we're just going to add clean water at the end and we're just going to go and drag our green into that clean water. So just like that, I'm just going to wet my green. And again, this is just a nice way to get a different tonal value of that green, a lighter tone. So just like that, I'm going to tap it into the water, and that effectively gives you a lighter version of the color that you've got. And that's usually the similar principle with any water colors that if you add more water, you're going to get a less saturated color. But you can use that at your advantage by adding more saturation on top, and then adding more water at the bottom and letting it merge in. And then you've effectively got a nice little blend of dark to light. So that was it for the final one. If we have a look at all four of them, you can see that the results are very different. The water and the white look quite similar at the end. And the ones in the middle where we've added another color, they actually look quite similar too. So you get similar results with small little differences. So give this a practice to lighten colors with the color that you have in your set. And that's it for this part of the lesson. So let's move on now to the next one. 12. Interaction With Other Mediums: Okay, welcome back. Let's now do a quick little exercise and see how our lovely pastorals interact with different mediums. So if you bring your attention to the screen now, you can see I've got six lovely little swatches of a particular color. And the one that I'm using here is Oka. Try doing this exercise if you want to follow along with one color at a time rather than different colors, because you'll be able to see how the effect of a particular medium will be. But do test this out with different colors. So I'll just move my crown on to the side. And this has been nicely switched out and it's lovely and dry to the touch. Do not use wet mediums on top of wet paint, otherwise you're going to have an absolute mess. So ensure that the swatches that you do are nice and dry before you start adding on the mediums. Now, it depends whichever mediums you have at hand, just test it out. This is just an exercise for you to just find out how this medium interacts with the other mediums that you have. So let's get started. So let's concentrate on the top left here, and we'll start off with our lovely humble pencil. So over here I've just got a standard HB pencil and a four just to see what difference we're going to get. So, I'm just going to see how this works. You can see as I'm doing the HB on there, it's coming on quite nicely. My pencil is nice and sharp, so if I just do a little shady shade on top of those lines, you can see that it works fairly well. So HB pencil works absolutely great. Let's just get a darker tone now. So for the four pencil, you can see the darker the gradient and the tone of graphite on top will work absolutely fine. Just like that. You can see graphite works great for the first one. Graphite, we can say absolutely works fine on top of a dried watercolor pastoral. Let's move on to the second one. And the second one is, let's do ink. So I've got a couple of fine liners here. I've just got my micron pen and then I've just got this Uniball micro pen, this really fine tip. Let's see how these work out on this using the middle one. Let's just do the same, a couple of lines down, and you can see this works absolutely fantastic. Now this is a nice 0.8 nib, So it's a thick nib, it works absolutely fantastic. So again, you're just going to work in circles. Now you'll notice that you're getting a bit of skipping over here, so you do have to work quite slowly with fine liners in order to get a decent flow of ink. That's probably because of the material that's in the pastors that it's mainly wax. And wax does have a slippery surface to it, so do bear that in mind. Again, if I go over this really slowly over here, you can see that the ink does flow on but there may be areas that it doesn't adhere to that wax surface of the pastors. Fine liners do work, however, just make sure that you've got a nice thick point, because a thin point will probably skip a lot more than this. Let's just test it out with the Uniball. So this one is a very fine tip. This one, again with the Uniball. The ink flow of this pen is actually a lot more than the micron pen that I add. That's also another factor, the flow of ink of your fine liner or pen that you're using on top. So you can see here, the ink flow is so much better on this one, you can add a couple of dots on the top and you do get a little bit of slow ink release on the wax, but that's just the nature of wax, so fine liners generally work very good. Let's just move them to the side. Let's now move on to my favorite tool, and that is fountain pens. So I've got a couple of fountain pens here. Let's just look at the standard fountain pen, my Lamy Safari. This is with a medium nib, with a medium nib fountain pen. You can see, look at that. We've got no skippy skipping on this one, have we? Because we've got that beautiful flow of ink from the fountain of that reservoir in the pen. And it's working great. So you can see that the ink flow is absolutely fantastic. You've got this beautiful sharp contrast of ink on top of your wax pastel, watercolor crayon. So this one works great, and this is the one that I use more often than not. But let's just move onto a more thicker point. And this one is my favorite food pen, so this one has a lot of flowing ink. You can see there, look at that beautiful stuff. Look how nicely that's flowing on to that swatch. No skippy, skippies. So look at this beautiful wiggle, wiggle, lines there and a couple of dots. And I use this food pen quite a lot. If you want to learn more about fountain pens and food, a nibs and all sorts. Then do check out my class. Fountain pens for beginners. I cover a lot of things in that ought to do with fountain pens, But let's get back to this class. Let's now move on to this one over here and we're going to look at colored pencils. So for colored pencils I've got two types over here. I've got my prisma color pencils, which is a wax based pencil. And then I've got my lovely fabric castel polychromos, and that is an oil based pencil. So two different types of materials that we're going to use within colored pencils. Let's use the prisma colors. This is wax on wax, basically. Wax on wax. So let's just use this. And you can see this works really, really nice. It slides on perfectly, it adheres beautifully to that wax pastel. And you can see you've got these beautiful, lovely lines with the colored pencil. So prisma color will work absolutely fantastic. Let's move onto the polychromos and see what we get. So this is oil. So remember this is oil. Now you can see that it's not actually going on very well at all. It's hardly coming on and that's because this is oil going onto wax. And you're going to get a lot of slippery surface movements on this, so you're not going to get much of this kind of color adhering to that wax surface of the pastor. As you can see, it's hardly coming on and I've got to press really, really hard onto this. So I would say avoid using these polychromos oil based pencils, Stick to the prisma color wax based pencils and you will be good to go. So that was the colored pencil sample. Let's now look at another one of my favorite tools, and that is lovely markers. So I've got two markers here. I've got a water based standard creola marker, and I've got a brush marker from Windsor and Newton. So let's start off with the water marker, the creola, and let's see how this works. So just like that, you can see that's looking great. So there's no problems with the water based markers. They come on beautifully. So water based markers, fantastic. Let's see how the alcohol based markers do. Let's get that brush pen and let's just add it on and there we go. I didn't think there was going to be any issue with the brush pen, sir, with the alcohol markers. These work fantastics. You can see it adds on adheres to that lovely surface of that wax pastels. So that's markers. Markers work absolutely fine. Finally, let's now move on to our paint markers. So I've got a nice, lovely Posca paint marker. You've seen me using these in a lot of my classes. If you watched any of them before, one of my favorite go to, especially to add highlights, let's just give this a shaky shake. And then I've also got a standard jelly pen over here, just a gel roller pen for white marks. And we'll see if that works as well. So let's just move that one to the side. Use the paint marker first, look at that beautiful with the paint marker. The paint marker works absolutely fine. So you can use all sorts of colors with paint markers on top. If you want to add some more interesting details and highlights, you can see the paint marker just flows beautifully on that waxy wax surface. For the paint marker, it thumbs up and then let's see, the roller jelly pen, does this work? You can see that this actually is working. It's not as free flowing as the paint marker was, but you do get some nice lines on it and you can see you're getting a little bit of skippage there, but that's sometimes just the nature of these roller pens. You've got to roll them around a little bit in order for that ink to flow. It's not necessarily just because you're on this wax surface. This sometimes happens on other surfaces as well, but I wouldn't say it's as free flowing as the paint marker, so it does work. So if you have one of these, that's absolutely great. You will get some lovely little details. So that's just a nice little summary of how different mediums interact with these beautiful wax colorful aquerl, neocolor pastors. So that's a nice little exercise to complete. Give it a go. Try it out on different colors. You may get different results on lighter tones of the wax pastor compared to darker tones. Give it a go. Get yourself nicely familiarized with your beautiful colored wax pastels, and now we could move on to the exciting stuff. 13. Artwork Examples: Okay, welcome back. Let's now start doing the exciting stuff and start building a beautiful little illustration. And incorporate the techniques and the methods that we learnt in the lessons before. So if you bring your attention to the screen now, I've got a little example of a nice little quick sketch that I did with my beautiful neocolor pastels. And you can see over here, there's quite a lot of detail. It's a very loose style of sketch and all I've done in this is used pencil to do the outline. And then I've got a nice little bit of base color with my beautiful pastors. And then I've used the tips of the pastors to just go ahead and create these lovely texture marks. And you can see that you can produce wonderful, vibrant, gorgeous results with these pastors. So the application methods, if you remember that we did earlier on in the lessons, can vary. And you can choose whichever application method that you like. Initially, I tend to do the colors off the papers. If you remember the third method where we were doing the color application off the paper, on the palette, I do tend to use that probably about 80% of the time. However, I let that dry and then I build some textures with the pastels themselves on top of the dried paint. And then you can produce this gorgeous little effect. And then you can do some nice brush work from the paint on your palette, or even the paint that is actually on the paper itself. So you can produce these beautiful little sketches like this. So if we have a look on the right inside here, I'll reveal the one on the right. So on the right over here I've got another sketch. This one is done in a similar fashion to this one over here, but we've got more flat colors and less texture from the paint, and I've done more texture work using my ink liners and my fountain pens. You can see this is a very much outlined drawing. So again, with this one, the application method is just to place the actual color itself from off the paper and then just use it to apply onto the paper itself. And then just let it all completely dry and use black and white marker ink to start creating a lot of texture work like you can see over here. And building a lot of this hatching work and cross hatching and stipling to produce a different effect that we had from this initial one on the left hand side over here. Again with this one, this is all done with paint. Very minimal pen work. In fact, there's no pen work in here at all, there's just pencil outline. And then we just go straight in with the pastels and apply them off the paper and then directly onto the paper. On this one we've got the application of the pastel away from the paper using a palette. And then we let it dry and we just go ahead and do some outlining work and some highlight work. Again, this is a quick method to do a sketch. And this one takes a lot longer because we're building in these different values and shadows using the paint off the paper, and then using a little bit of the crayon on top of it to produce this wonderful cozy, lovely, vibrant effect. So let's just have a look at the other one over here on the left hand side. So over here I've got a nice mixture now of both of these techniques where I've got a lot of layering like I had over here into the kind of elements over here. So you can see in this green area and in this red area we've got nice build up of layers. But also in addition, I've added some outlining with my black markers and my fine liners and also my lovely fountain pens. And then I've got some nice highlight work that I produced with some beautiful white marks using my Posca marker. So again, this one on the left is a combination of both of these styles and you can go ahead and use whichever combination you like. Again, this is just to give you an idea of the type of results that you can produce. So let's just maybe look at a bigger drawing to emphasize this a bit more. So as you can see on the screen now, I've got this nice one over here. So if I just get a zoomy zoom back on this, you can see this a little bit better to move that one out of the way. And you can see over here, we've got a really nice, lovely little drawing, nice square drawing with a lot of details over here. So again, this one, I've got no ink work at all. This is all just pure pastel work and the majority of it is off the paper. But then I bring in a little bit of those details by using the pastel on top of the dried paint, and then a lot of fine brush work using the pastels off the paper, like we did in application method three. And you can produce some really nice, beautiful results, like you can see over here with the markers and with the actual paints themselves. So just a little bit of Posca marker for the highlights and the majority of everything else is just done with the pastel, so you can see how versatile these are. They are so vibrant and they can be so opaque as well. A bit like acrylic paint, so it's not necessarily just purely transparent. You've got a nice bit of opaque, beautiful textures of paint, and that's where the advantage of these pastels kick in. So that's a nice little sketch there. Let's have a look at another one. And on this one you can see I've got that similar format. So on this one we've got more of the line work. And on this one I actually went in with the pastels first. So we did the dry and then wet methods. So we went in with the dry pastors and I blocked in a lot of the colors that you see over here. And then I wet the pastel with the brush, just with the dry and then wet technique like we did in method number one. And then once everything was dry, then I went in and started adding in some details with the black fountain pen and then some nice white highlights with my Posca marker. So that was an example of going directly onto the paper and then wetting like we did in the application methods. And let's have maybe look at another one over here. So another one that I've done here is more using the paint off the paper and then applying it again and then letting it completely dry. And then we've got some nice inkwork over here. So a lot of inkwork to produce the textures compared to the other ones that we did. And you can see you can have some wonderful results. And finally, let's just have a look at the last example that I've got over here. So you can see this one is nice and vibrant with a lot of beautiful details going on. So this one is all done in absolute pure pastel work. So the neocolor pastels have been used to do this entire painting, so I've not used any white markers. So you can see these little white areas on the mushroom heads over here. What I did on that was I left them white, so that's just the white of the paper. This example is just pure pastel work. So again, it's off the paper initially and then a little bit of texture on the paper using the dry pastel and then just slowly building it up. Now this type of application and method for painting is the most time consuming. This one took me quite a long time to do so for your initial sketch that you do, I would not maybe spend too much time on it, just do a small little painting like this, like a little kind of rectangle or square. And we're going to actually do this and once we've spoken through all this artwork, we're going to go ahead and do an example of one of these styles. So just give it a go for your initial sketch and painting, and then maybe for your class project. After about two or three attempts, you can try doing a nice big, more complicated piece like this, but it's entirely up to you. So that was just a quick little run through of the artwork that I personally produce using these pastors. And now we can move on to producing a nice little sketch that you can follow along and get all excited about. So let's move on to that one next. 14. Starting The Sketch: Okay. Okay, welcome back. Let's now do our exciting little sketch with our neo color pastel watercolor crayons. So on the screen over here, I've got three simple little materials. I've got my wishy washy tape, I've got my standard HB pencil, and I've got a nice little piece of co, pressed watercolor paper. This is the one that I've been using throughout the class. So what I want you to do is I want you to just go get yourself these three items. If you don't have any washi tape, don't worry about it. All you need is your paper and your pencil. So just get that nice and ready. So let's just use our washy tape to just quickly go ahead and tape down our piece of paper. And then we'll start with the sketch, Oki Doki. Now we've got our lovely piece of paper tape down. I've taped it down onto my board over here so that it doesn't move. And this will produce a nice little white border once we've finished our painting and illustration to give it a nice clean edge. But again, if you don't have washi tape, then that's absolutely not a problem. Just follow along the best you can. So for this one I'm going to come up with a little sketch. So just have a look at the shapes and designs that I'm coming up with. I'm going to keep it really simple like I usually do in my classes so that you can follow along in an easier fashion. And then at the end, once I've done the sketch, we'll start doing the exciting stuff. And remember the actual outline of the sketch will be available in the resource pack so you don't have to worry about following me at the speed I'm going because I'm just going to make this a little bit fast. So just have a look at the reference image of the outline of the sketch, so you can just copy it down and then you're ready for the next step. So let's quickly do the sketch now. Okay, do key Now we've got a nice little sketch. As I said before, have a look at the resource sheet where I'll give you an image of just this outline. You don't have to have the exact same sketch as me. If it's similar, great if it's not, that's absolutely fine. It's all about just putting all the techniques that we've learned in the lessons into a nice little illustration. So what I'm going to do next is I'm going to go ahead and start selecting some colors. So I've got myself a nice bunch of colors over here that I've selected already for this initial stage. So basically what I'm going to do is I'm going to use these colors to start laying down a little bit of a foundation layer underneath everything so that we have a nice, clean, crisp color. Now, I like to always do this off the paper like we did in application method three. However, if you don't have a palette that you can use to do it off the paper, that's fine. Just go ahead and use it directly on it. So you've got the dry and then wet method like we did in application number one. So what I'm going to do is I'm just going to get my palette over here on the screen. And I'm just going to go ahead and start swatching my lovely colors over here. So I've got this lovely olive green color. So this one is actually called moss green. It's called moss green. This color, if it's a color that you want to use, then this one is called moss green. And let's just put that to the side. And then my other green that I've got over here is called chromium oxide green. So this one's chromium oxide green. It's a slightly lighter color than the one before. So I've got a nice little balance going on over there. And remember, you don't need to have these exact colors. You can use whichever colors you have. And then I've got this lovely gray color. So this one's called light gray. And you're just going to go ahead and swatch my light gray over here. And it's effectively, this first stage is just doing a color palette of all your colors that you think that you're going to use. Because what ends up happening is that once you start, you'd like to add a few more other colors, a few more tints of a particular color. And that's all it is. It's just emerging as you go along, and that's the fun of it all. So I've got my next color here, and this one is turquoise blue. So for this one, let's just put the little swatch down here. And that's why this palette is so good, because it's completely flat. And that texture allows you to just get a nice little swatch of color onto the palette. So you can effectively use it like water color. So the next one I've got here is this beautiful crimson algerin, huge, nice, dark, deep red color. Let's just put that down here. So just like that nice bit of dark crimson over there. And then I've got two really nice light shades. These peachy light shades, the first one is called. Desert rose, so a bit of desert rose over there. That will give us a nice swatch. So a nice light, kind of peachy color, I think that'll work fantastically well. And then I've got a darker shade, which is an Apricot. So this one's called Apricots. Just next to that one, I've got my Apricot over there. And that's about it for the initial first layer of color. So I'm just going to get my color wet with my water. So just a little bit of water on each one of these. And what I'm going to do is I'm just going to wet them on the palette as it is. And then just going to spread out that color so that I've got a little bit to pick up from. So again, clean the brush and then I'm just going to wet that color. Just add a little bit of water to it. And then again cleaning my brush. And I'm going to do that for all of them now. Okay? Okay. So you can see my little swatchy, swatches are nice and wet, so they're ready to use. Just get my pencil out of the way. So let's just slide this onto the side over here. In fact, we could put this over here on the top so we have easy access. So what I'm going to do now is I'm just going to go ahead and I'm going to lightly wet the areas that I want to put this on so that we have a nice, smooth gradient. So for this area over here, for the sky area, I'm just going to add in a little bit of that water. And you can see my water is a little bit murky. So do have two pots of water. It's always a good idea. But again, I don't have much space on table, so I'm just going to stick to my one pot of water. So I'm just adding in a little bit of water there. And then I'm going to pick my blue color up and I've got blue on there now from my swatch. And I'm just going to dab that on, to just like that, dab it on, and then maneuver it around. It's effectively this wet on wet technique that we normally use with watercolors. And I just want this really nice pale, light blue shade that goes on the top. I don't want it to be too saturated at this point. Just like that, I'm just adding in my blue. Maybe I pick up a little bit more color there. I've added a little bit more color from that blue, from my palette. And I'm just going to literally just drop that in. What that will do is it will spread across wherever you have the water. Just like this, we're doing this lovely wet on wet technique to produce a nice, subtle, beautiful shade for the sky area in our made up little illustration just like that. I think that's enough. And we're going to let that one dry off now, but we can start working on some of the other areas now. What I'm going to do is I'm going to give my brush a clean, clean, make sure it's nice and clean. And then from my palette now, I'm going to pick up some color directly from the palette. I'll just bring the palette over over here so you can see that red crimson color that I had. I'm just going to go into that and do a little round motion there to pick it up. And then from that, and we're just going to go straight into this roof area. You can see that gorgeous, beautiful crimson color. Nice and vibrant, absolutely fantastic there. Just like that. I'm going to spread this as the base color. And once you've done the base color part of the painting, then the exciting thing happens. And then you start adding in details. But then again, this is the exciting part as well. How can art not be exciting? Every step is exciting as the other. Of course it is, right? So I'm just going to repeat that and do that over here. Now, I'll quickly get that one done. Okidok. So now I've got my red of the roof. Let's now start filling in some more of these areas. So I've got my lovely, peachy peach color over here. So I'm just going to grab hold of that peach color, nice and moist. And again, with that peach color, what I'm going to do is I'm going to go ahead and start adding that peach color to these triangle elements over here. So I'm just going to quickly go ahead and do that. 0 ki dokes, you can see now we've got some nice light shades going on over there. And just like that, I'm going to go ahead and I'm going to use my green for these areas over here. My lights are green for these little bumpy bumps over there. And then I'm going to use my gray for these kind of backdrop areas there. And I'm going to leave the actual frontage of the house and the side of the house white. So I'm not going to color them in. So I'm going to quickly go ahead and do that now. Oki Doki. So now you can see that we've done a nice base layer of undertone using really nice light colors. So just remember if you don't have the light to shades in your set, then just add a little bit more water to them on your palette or wherever you're mixing them outside your paper. And that will produce a lighter tone. If you remember in the lessons, were produced lighter tones of a particular color by adding more water. That's all you need to do to create a nice light base color for this particular drawing that we're doing. We're keeping it nice and light for this initial stage. And if you've gone really dark with your color at this first stage, don't worry about it. No stress at all. We're just going to keep moving on and learning from this practice sketch before you do your class project. So let's let this completely dry now and then we can move on to the next step. 15. Building Layers: Okay Oki, welcome back. So we can see now that our lovely base layer has dried out and it looks beautiful and light and crisp. So what we're going to do now is we're going to start building in some more values to create that beautiful, intense look with some details. So the next step will be to use the same colors that we had initially and start building in more texture. So what I'm going to do here is I've got my three colors, my two greens and my peachy color here for these foreground elements. And basically all it is, is a case of selecting the same color. So let's start off with the peach, peach and make sure there's no bits and bobs on our sheet. And we just need to basically go in and lightly using the dry on dry method. So we're just going in dry with our crayon pastel. And you can see I'm just coloring in this right side area of this element. I want this area to be nice and light, so I want the dark to come in from here. So we're going to effectively build up color layers to produce this. So again, that's about enough for that part. And then maybe have a little bit on this side over here just to create a visual difference. We don't want everything to look flat and the same. So again, just a little bit on this side there. And then I've got that one on this left hand side. So we'll just go in with the left hand side to add in a little bit more colorer. Just about that much. That's enough for that. And then I'm going to get the green that I did for these bumps at the bottom here. Again, I'm just going to go in with that green. And you can see when you go in with the dry crayon over the paint that's already dried out, the first layer of paint, you can get this beautiful kind of difference of a darker to lighter tone just with the crayon itself just there. I'm just adding in a little bit there. And then maybe a little bit on this section over here again, Just follow along the best you can. If you're adding your color in different areas, it makes no difference. Just do it how you prefer it. I always prefer to have nice dark bit of color towards the bottom, left or right hand side and emerge it into the lighter tone on top. Again, that's enough for that green for that part. And then we've got this kind of more paler green color here. And then I'm just going to do the same for these elements here. Very lightly, not pressing hard. That beautiful pigment of that pastoral just comes off beautifully. And then again, on this side, maybe have a little bit on this side, I don't want to over saturate it with dark. And then on this element here might have a little bit down here. And I think that's about it. So now all we need to do is we just need to get our nice clean water. Get our brush nicely saturated. And then we're just going to start maybe with the right hand side here. We're just going to activate that color that we had on top. Now remember, this color isn't permanent. So once it's dried, we can reactivate it again. So do bear that in mind when you're putting dry on top of the paint that's already dry and then you're re wetting it or reactivating it, then you're also going to start moving a little bit of that color underneath. So do bear that in mind. It's not like normal professional watercolor paints that you have the pans or the kind of tubes that go permanent once they're dried and you can build layers. That's kind of the main difference between these and standard water color paints. You have to just bear in mind that you're going to end up reactivating what's underneath. So just like that, you can see I'm just slightly wetting that crayon that I put on top. And you can see it's created this beautiful gradient from dark to light. How easy was that? So again, I'm just going to go ahead and do that again for this one. So just like this, just going to go in very lightly. Don't use too much water for this, otherwise it's just going to go all over the place and it's going to start blooming. We don't want to have those cauliflower blooms in this section, we just want it to be nice and gentle. A very mild gradient going from dark to the light tone. And try not to press too hard or brush it in really deeply, otherwise you're just going to be lifting that color from underneath and then it's just going to start causing you some problem. So again, I'm just using the brush to just tap it onto this lighter area just to create a speckled effect. And just like this now I'm going to go ahead and continue doing the same for all these elements and then we'll see what results we get. Okay? Okay. Now you can see that we've melted away the dry crayon that we added in as the second layer. And you can see how that enhanced the look of these elements. It's effectively added a gradient from a darker tone to a lighter tone. And how easy was that? That was so easy to do. Just a little bit of crayon on the dried initial paint and then we just wet it with our brush. If you notice over here on this particular one that I've got down here, I've gone ahead and spread that color out a bit too much so this can happen. So you just got to be a bit wary not to use too much water on your brush. Otherwise, you're just going to layer that color on the entire element itself. So don't worry if this happens to you while you're doing it, especially on this practice sketch. It's just for you to get used to handling these pastels and the water content that you use to build these layers, just keep going even if it covers the entire shape. So what ideally you want is you want it to be like this over here, where you've got that second layer, a dark, deeper color on this left hand side, and the remains of the first lighter layer on top. So you've got this gradual build of texture from dark to light. So let's let this now completely dry. It's really important that we let these layers completely dry before we move on to the next one. So once this is completely dry, we can start working on adding in more darker tones. 16. Darker Textures: Okay, now our lovely little paint has dried, so you can see the effect that it produces. It looks really nice, that doesn't it? So the next step is now to start adding in another darker layer. So it's entirely up to you. If you want to start building the layers gradually and slowly, you can do it. But for this example, I'm going to go in a little bit fast and I'm going to go into the darker tone straight away. So ideally on a normal illustration, if I'm spending a lot of time on it, I would basically go in with the same colors and slightly darken them like I'm going to do right now. But with this particular example, I'm going to go ahead with the most darkest version of each color. So let's start going ahead and creating our dark version. So initially what we need is we need our color that we used for the actual shape itself. So for these shapes, the triangles, I've got my peach peach. So I'm going to add in that each peach color over here, get a good amount of that, each peach color. Just make sure I don't get it all shaken off and onto my paper and ruin my illustration. So that's a nice bit of a swatch there on that peach color. So to darken this color, if you remember, what we said was to darken colors, the best way is probably just to add a little bit of black. But for this instance, because this color is a very warm color, I'm going to go ahead and use a darker orange that I've got. So I've got this really nice dark orange color over here. This particular one I think is called Vermilion. So with this one, I'm just going to add in a little swatch of this vermilion color. And what that will do is it will intensify that apricot, peachy color that we've got rather than going in immediately with the black. So with that I've got a nice bit of peach, and then I'm going to add in a little bit of brown as well. So for this one, I've got this lovely, it's called Toledo Brown. A bit of Toledo Brown over here. That will give it more of an earthy darkness. And then just at the end, I'm going to have a little bit of black. Good old black. Just to kick in a little bit of beautiful, rich darkness. So just a little tip of black there. So what we're going to do now is we're just going to get our brush, clean brush, and start creating this color. So I'll show you this on the screen here. First we want to go in to our base color. So we've got our base color over here. Just make sure you can see that. Just like this, I'm going to drag in a little bit of that orange just to make it a little bit more vibrant. To effectively just change its composition a little bit and tone. And then maybe bring in a little bit more. So we've got this new color over here. Just dragging it down, should move that out of the way. So just dragging that down over there so you can see that it's a lot different from the original tone. So with that then, with the same brush, I'm going to bring in a little bit of this brown. So we're just going to go over the brown like this and just add that brown. You can see that with that brown, we've started creating this more darker, more deeper Apricot color. And that's what I'm looking for, a darker, deeper color of this Apricot. Rather than just go straight in with a black, I want to have a nice deep version of this color to give it a beautiful, rich, dark look. So finally with the black, then I'm just going to go in with my brush, just tap it on the black, and then just bring it in gradually just to give it that element of darker tone. So again, maybe just a little bit more. You can see I'm only using a little bit of that black. I'm not going in fully with the black. Just a little bit will take you a long way and I think maybe add a bit more of that red. Just have a play around with the color that you have. Add a nice vibrant red or an orange to this apricot color. A bit of a dark brown if you have it, and then a bit of a black. Now, if you don't have these colors that I've got, then that's no problem at all. Just add a little teeny weeny bit of black to your color, and that will give it a darker tone. So you can see there, I've got this really nice darker color and I think I might just add a bit more black to it. I want to go in quite dark at this stage. I'm not really that bothered about building ever really little tone like I normally do. Otherwise, we're going to be here forever, aren't we? So let's just quickly go ahead and use this color now. I think I'm happy with that color. Just move that palette to the side now to make sure that it doesn't go all over the place. And let's start off maybe with this side, so you can see, there we go, We've got this nice kind of like brownish, tinty shade onto our peachy color. Actually, I'm going to add in a little bit more of this red color just to make it a little bit more on the orange side like that. That's a lot better. So let's just get that now. And just dabbing it on to the bottom left hand side, you can see that beautiful, vibrant red is coming out and just going over the areas. And this is all I'm going to do now. I'm just going to create this nice stippled effect now with the tip of my brush, using a lot of the paint on the bottom right hand side, on the bottom corners and where it joins the other shape. And then as I'm going upwards, all I'm going to do is I'm just going to add these little stipples in like this. So just follow along the best you can with whatever color that you've created. And that will be great, just like that. Just a few stipples over here and spreading the stipples out wider as we go towards the top. Just like that, I'm going to leave that as it is. And then I'm going to go ahead and do the same for this area. So for this area, just get a bit more of that paint on my brush, that beautiful color that we've just created on my brush. And then just go in into this left hand side with those stipple movements, just like that. And then just bring it in over here. And for this, I want this area to be nice and light. So effectively, it's like light coming in from the top part of this made up lovely little scene just like that. I'm just adding in these broad strokes, the nice thick, heavy, broad strokes. And then as we're going this way, I'm just going to go ahead and make them little stiples a lot smaller and tighter. And then that will create this kind of like illusion that we have some texture going on in this triangular shape. It could be a nice pile of sweets or candy floss that's just laying around outside these houses for you to just have a little snack on. So be whatever you want. But let's get back to the lessons. So let's not wander away in wonderland. Let's just enjoy this process. You can see I'm just building in this little stiff stipple. Now again, you might end up building it in, in a different way from me. That's absolutely fine. So for this one, all I'm going to do is just continue and we're going to do basically the same step for this one. So if we just continue with this one, and then we'll quickly move over to that one and see what results we get. Okey Dokey. Now you can see we've got this nice little patterned texture building up dark from the bottom sides all the way going to the top and dispersing into a lovely little color shape. So what we're going to do now is we're going to go ahead and do exactly the same for these other elements over here. So what I'm going to do now is I'm just going to go ahead and I'm going to give my palette a quickly. 17. Foreground Elements: Before we do the green because we don't want to have murky murkiness on our color just with a clean tissue. I'm just going to go ahead and give that a wipe that's looking great. Move that to the side. Now we can start building in our green colors. For the greens, I've got my medium green over here. And then let's just get the board back on the screen with the greens. What I'm going to do is I'm going to add in the green over here, just like I did with that orange color, just like this, adding in that green, nice deep swatch of that green. And then I'm going to go ahead and I'm going to use a darker green that I've got for this one. I've got green that's actually just called dark green. And I'm going to go ahead and add this on over here. Nice bit of dark green here. We want this to be nice and dark to create this beautiful texture. And then I'm going to go ahead and add in my black. So just a little double double of black over there. Again, we don't want to overpower with the black, but it is very useful to create a darker tone. So let's get our water on here now. So just like before wet the first color, get a nice spread of that initial color over here. And then with the same brush, just wet that second color. And you can see that green is quite vibrant. So just add it in very gently, so you're just going to scrape off a little bit of that green. Just add it in very gently to that initial green color. And you can see it's kind of livened it up a little bit. So you've got this other shade of green that we've just created. Now we want to basically go in with the black. Now it's going to darken it with the black. And you can see that's going to intensify it even further. So look at that gorgeous, that green, isn't it? It's a beautiful, like foresty green that we've just created with just a few colors. So that's looking really nice. Maybe just a little tip, more of black in there. And then just mixing it in between both of these colors to get our color that we really want. So I think that color is looking really nice. That one over there, it's going to balance the whole image very nicely. So just like that, make sure I've mixed it in well, so you got yourself a beautiful swatch of dark green. So let's just move this to the side. And again, what we're going to do is we're just going to go in and start building in this text, just like I did before. It'll start off on this end. You can see we've got this beautiful shade of green. Take your time with this. Don't rush. I'm doing this fairly fast because I'm recording this class, but you just want to take your time with it and don't worry if you get a big splodge like I've just got over there, it's absolutely fine. Don't stress about this. This is just a little technique to just enhance your illustration. You don't even have to do this technique if you just want to go straight in with color and leave your illustration completely flat or just add in bold stripes of color, That's entirely up to you. This technique. I do this personally because I just love creating these textures. It just gives this next dimension to your illustrations. And it's just my particular style. So it's just interesting to try out different styles. So you can see how quickly that's just changed the look of that little item we've just added in the stipples. And then I'm going to go back into it and darken this area, make the kind of marks a little bit more broader with my brush, just to make sure that we have a variance just on the edges. Just going to dabble it onto the edge there. Just like that, keeping it nice and sharp. That is looking fantastic. Just on the edge, on the top there, building that in, just covering it up. And you can see that lighter shade that we have is coming through the gaps. And that just looks fantastic. That doesn't it? Look at that beautiful stuff. Didn't think you could do this with pastors? A no. You can do this with these beautiful, magical, aquaal pastors. The kind options are limitless, just keep going with this. And then once this is done, we'll move on to these other ones and then we'll see what results we get. Ok, now you can see that we've created these beautiful elements with these gorgeous little designs. And it was just a simple case of just doing these little dots, making them darker from one side, and letting them become lighter on the top by spreading out our beautiful paint with little teeny weenie stipples. So you can see just these little techniques can just enhance the shapes of your illustrations and make them look absolutely fantastic. Let's now let this all completely dry and then we'll move on to the final three little shapes that we have and use a little bit of a different technique for that one, so I'll see you when this is all dried up. 18. Painting Details: Oh, that was really nice. That oh, I think this new blend is really hitting the spot, that one. Oh, very good. Okay, De ke, welcome back. Let's just get the coffee on the side. That lovely new blend of aromatic Arabica, beautiful coffee. Anyway, let's get back to the class. Let's now have a look at our three little elements that we've got left to do our beautiful pastoral crayon design work into. So what I'm going to do now is I'm going to go ahead and grab hold of that green that I used for these three little round shapes that I've got. So it was this lovely green over here, and that was chromium oxide green. And I'm going to darken this color with a red. So if you remember, when we looked at darkening colors, we used complimentary colors to darken our green. And that's what I'm going to do with this one, to just give it a more rich darkening of that green color. So just get the palette on here, make sure the palette isn't wet from the back. We don't want it to murky up our lovely sketch. So just like this. So I've got my green over here. Maybe put the green on top down here. Nice bit of green. We don't need too much for this because we're just going to be adding in some lovely, lovely details. That's about it for that one. Now I'm going to get the red, and the red I'm using is my crimson red that I did for the roofs. So a nice dark red over here. That should be enough for this. So let's just move that on the side. Get myself some nice clean water on brush, and let's start melting this away. So I'm just going to add in water onto that green there. And then I'm going to bring in my red slowly into that green. And you can see it started darkening that green. So just like that, I'm going to bring in maybe a little bit more red. And you can see we've got this lovely olive darkened green color into the mix. Now what I might do is I might actually go ahead and add in some dark green to this as well. So if you remember, I had some dark green that I used for these areas. So maybe adding a bit of dark green because that green oxide color that we've got it more towards the yellow side, so I don't want it to be too yellowish. I want it to have a little bit more of a sharper green. So you can see here now we've got this nice green, dark green color. And then if we add the red now to that, we'll get much more of a darker shade. So you can see that beautiful that isn't, it's a lovely, lovely, dark shade of green. Now we can mix it into the olive, and you can see now we've got ourself, a gorgeous, gorgeous color. So what I'm going to do, I'm going to bring the rest of that green in. I really want to intensify this. I'm not using black at all, I'm trying to keep it nice and rich. So again, bringing the red. And now we're going to get ourself, a beautiful, dark shade of lovely green. I'm just going to add a little dip of water to this solution to just make it move a little bit more better. And you can see it's nice and opaque. Just mix it all up. Beautiful stuff. So just like this, I'm just going in with the tip of my brush. So that's about enough. Let's just move the actual palette to the side. We don't want it to interfere with how painting to just move that to the side. And what I'm going to do differently here is we did a lot of stipple work and a lot of pressing the brush down to get these textures. This time what we're going to do is we're just going to draw in some lovely lines. So if you just have a look on the screen here, what I'm going to do is I'm just going to go ahead and I'm just going to draw in some beautiful lines coming in like this. Just like that. Broken up lines effectively branching into the base of this shape. And that will just add that visual difference. I do this quite a lot in my illustrations using these pastors and just generally using water colors. I like this effect and I think it looks rather nice. You can see here and just creating these wiggly lines overlapping some of them, just filling in the gaps, and it creates this lovely weavy pattern. And then on the edge there, I'm just going to add a bit more of the green and where the shape meets the other shape, I'm just going to fill it up with a bit more of that dark green. So there we go. How easy was that? Quickly just added in some squiggly wiggly lines and look, it's completely changed the composition of that shape. So I'm just going to go ahead and I'm going to do that now for the other two, and then we'll step back and have a look at the whole picture. Let's do that now, okay? Okay. Now you can see we've added this beautiful little pattern with our brush, using that gorgeous color that we came up with from our pastors. And it's looking really nice. We've got this nice mixture of different patterns and textures just growing in towards this kind of for mid ground of our illustration. So now what we're going to do is we're going to let that dry and we're going to think about these roof areas now. And we're going to basically go in and start adding in some details on these beautiful red roofs. But before we do that, what I'm going to do is I'm going to go ahead take this paper off my board that I've got on my table. Because I need to rotate the sheet to just make the whole thing easier for me when I'm doing more straight lines on the roofs. So I'm going to quickly go ahead and do that now. But make sure that if you're going to do this, don't remove the tape from the corners of the actual sheet itself. Just fold them in and that's what I'll do. So let's just get a zoom back so you can see what I'm doing. Oki Doki. Now you can see that you have folded back my tape. What part? It was stuck on the actual surface itself. So just like that, I folded this towards the back so that I have a free moving sheet now. So just make sure if you're doing this that you'd be careful not to remove the tape from the actual paper border itself. So now I've got a nice sheet that I can maneuver according to the angle that I want to work into. Again, if you've watched any of my classes before, you'll notice that I love to just tilt the paper towards the angle that's most comfortable for me. And I suggest you do this as well, especially for this next. 19. Roof Design: What we're going to do is let's just move the painting a little bit towards the side and let's get our colory colors out. So I'm going to wipe out that green color that I had. I don't need that anymore. Don't need none of that. Lovely, gorgeous, dark green. So we'll just move that to the side, and what we're going to do is we're going to go ahead and we're going to use our red, because for the actual roofs we used this beautiful crimson red. So, we're going to go ahead and we're going to get ourself, a nice swatch of this red. Move that to the side, and we want to intensify this, so I'm going to go ahead and just use black. So little bit of black over here, and maybe we could add some blue. So if I could just find a nice dark blue color. So I've got myself a nice dark blue color over here. This one's called indigo blue. You can use whichever blue you have, whichever darkish blue shade you've got. This is actually a little bit more on the purple side. So I don't know why they call it indigo blue. This is a bit more purple, but it is a nice darkening color. So I'm just going to get my water now and let's start creating this lovely shade. So first of all, again, we're going to activate our red. So adding your lovely water to your red. And then we'll start adding this indigo color into the red. And you can see that started to darken it fairly quickly. It's nice and sharp, and that's looking fantastic. So let's just drag most of that in. So just dragging that in so you can see we've got this beautiful, lovely, dark shade of red now. So with our black, I'm just going to maybe add a little bit of black in there. We don't want to intensify it too much, we just want to have it nice and dark. And you can see how gorgeous that color is. Look at that beautiful, dark shade of red. Now, I think that's about enough. Let's just get ourselves a nice amount on our brush. And again, this technique where we're just drawing in these details, it all depends on your kind of level of brush that you're using. If you're using a brush that's too thick, you might find it difficult to do this. So if you have a brush with a nice thin tip, then you'll find it easier. But again, you don't need to go ahead and follow these details the exact way that I'm doing them. If you're more comfortable just going in with a colored pencil or a pen, just doing these details, that's absolutely fine. Do whatever you're comfortable with. I usually just like to use the medium that I'm working with and maybe just add in ink effect towards the end. But that's entirely up to you. So I've got myself a nice bit of that paint. Let's now move this out of the way and let's get our lovely, lovely illustration. Get them crayons out of the way. Let's get organized. So I'm going to hold my paper at this angle, because this angle works for me pretty well. Actually, let's just go completely vertical with this. So I'm going to start off on this one, so I'll see if you can get a zooming zoom in. You can see this a bit better. And that started curling up. Let's move that little one at the back. It's trying to peep out, isn't it? Let's just have a look at this. So what I'm going to do is now I'm just going to go ahead and I'm going to start drawing in some nice thin lines across the top part of this shape. So if you're going to do this the way I'm doing it, just follow along, but take your time with it. Don't stress if your lines are getting too thick, don't worry about it. We just want this to be nice and flowing. So again, just like that, I'm just going to go ahead and repeat these lines going this way. Okay, so now you can see that we've got these nice lines coming in. I've left some of the parts broken up. It just adds to that organic look. So I'm going to go ahead and I'm going to repeat that for this next one over here, because we're in the same direction, we might as well do it at the same time. So again, I'm just going to go ahead and I'm going to start doing the lines for this one quickly now. Oki Doki. So that one's now done. Let's just turn our piece of paper around. And now you can see just by adding in, those are lovely lines, it looks like we've just got these beautiful beams going across the roof area. So what I'm going to do next is I'm going to go ahead and start doing lines that are coming this way. So let's quickly go ahead and do that now. Looky, Okay, that's looking fantastic. That isn't it. We're just going to continue now, doing the same on this one now 0 ki Doki. Now you can see how just adding these lovely cross hatching lines with our dark color on top of the light, has completely enhanced the look of these roofs. And they just look fantastic. So in addition to this, what I'm going to do is I'm going to do a line on the edge of the other side of the roof using the same color. So I'll just quickly do that now. Okidok. Now look at that. That looks beautiful. That doesn't it? It's actually all coming to shape now. So what we're going to do now is we're going to let that dry up to make sure it's nice and dry. And don't worry if you've done this and your lines have gone won key Again, I've got some gaps over here that are actually left on purpose. Because I like to have this to look organic and not so like ruler like, perfectly straight. And again, you don't need to stress about making little mistakes. There's no such thing as mistakes in art. It's a learning experience. So let's move on. So what I'm going to do is while that dries up, I'm going to go ahead and maybe just see if there's some areas of this that I can just quickly touch up. I can see over here we've got a little bit of an area that's left a bit too much. So I'm just going to go ahead and just darken that, just like this. For this, what I'm going to do is actually I'm just going to leave it as it is. I'm not going to bother too much about it and I don't want you to stress too much about it. But you can keep going on and on in a painting style like this to just keep adding details, but then you're just going to be at it for hours and hours. And that's not what this sketch is about. But if you want to spend hours and hours on it, then you can save that for your class project. So let's move on. So let's get a clean, clean on the palette now. So I'm just going to clean that palette. I don't need that paint anymore. Let's quickly clean that now. 20. Background Elements: Oki doki. Now I've got a nice clean palette. So what I'm going to do now is I'm going to focus on these like hilly hilly areas now. And if you remember, we used this lovely light gray color. So whatever color you used, just get that color out. And let's start creating a darker shade of this. We can add a little bit of just horizontal or vertical texture lines on it just to make it balance out within our picture. So I've got my gray hair. So again, I'm just going to go ahead and I'm just going to add in a nice amount of that gray. And this gray, what was this gray card again? I think this was called light gray here. So this one's just light gray. So if you've got the same color, then just create your lovely light gray swatch. And with this one, what I'm going to do is instead of adding black, I'm going to just add a little hint of this blue. So we got this indigo blue. So I'm just going to add a little teeny weeny hint of this indigo, bluish purple shade and see what we get. So let's just add in some water to this now. So we've got this beautiful, pale, light gray color. And if we start bringing in some of this indigo blue tint of purple into there, you can see it started to darken that up. So you can see it, effectively becoming a violet color. And I don't actually want a violet color. So what I'm going to do is I'm just going to go ahead and I'm going to go and add in some real blues. Let's get some real blue out of here from my palette. So I've got some nice standard ultramarine blue here, and I think that's going to do the tricks. So we've got, no, this one's actually called night blue. I think this blue is rather nice as well. So if I'll just show you on the screen here. Yep. That blue is going to make it really nice. So let's just add that blue to it, and you can see we're getting that gorgeous blue shade from that light gray. So you can see we've got this lovely kind of light shadowy type, shade of bluish gray mixed in. And it's just fantastic because these pastors are so nice and opaque. You can just create so much texture and color with them and that just looks fantastic. I think that probably enough intensity for the blue might have to add a little bit more of that gray into it. So let's just get a bit more gray. Let's just add in some gray over here. We don't want it just to be blue lines, we want it to be nice grayish blue lines, just adding a bit more of that gray to mute out that color. Let's just go ahead, do that. Make sure we don't get any drippy drips on our painting. I don't usually tend to blend colors on top of my painting like this. But look what I'm doing for you guys. I'm doing this so that you can see what I'm doing with the colors when I go ahead and blend them so you don't miss a thing, the things I do for my lovely students. So let's just do this now and get ourself a nice bit of that blue. So we're going to move this back to the side now. And then again with my brush, just make sure that we don't have too much water on there. We don't want too much water on it. Otherwise, it's just going to splodge all over. So a nice amount that's within the bristles will work. And we're going to go ahead and do a tilted tilt on this so that it's nice and comfortable for me. But before we do that, we just need to make sure that this area is nice and dry and yeah, that's all dried up so we can start working on this. What I'm going to do is I'm going to start on this with the left side over here. And I'm just going to follow the line of my side edge of my paper and tape and all it is is just a case of just drawing in these lines coming down like this. Just like that, broken up. They don't need to be straight, just nice and broken up. Then all we're going to do is we're just going to keep them as and tight as we can together. Again, try keeping them as thin as you can with the tip of your brush. And what that'll do is that'll just create this beautiful texture in the background that won't interfere too much with our midground. And just like that, I'm going to continue and follow this pattern all the way across. And then once we're done, we'll see what results we get, okay? Okay. Now we're done on that one. So that was a nice little therapeutic exercise. That wasn't it. I enjoyed it a lot. But as I said, if you don't want to do this, if you think it's going to take too much time or, you know, if you don't like to do these fine details, then absolutely skip this part and just leave the color as it is for this practice sketch. So now let's now move on to the next one. 21. Shadows: Okay, welcome back. Let's now have a look at our lovely illustration, which is completely dry now. So on the screen you can see all our beautiful textures and patterns that we've created look absolutely fantastic. The next stage now is to add a little bit of a shadow to the different elements of our illustration. So what we need is a shadow color. So basically what we're going to do is we're going to grab hold of a blue and a brown color to combine together to produce a lovely gray. So grab yourself your blue and brown. The ones that I've got here are ultramarine for my blue, and for the brown I've got that Toledo brown that I used before. So let's just move this to the side and see what we get with our lovely swatches. So I'm just going to add in a bit of blue over here. And what we want to do is we want to have a nice solution of our gray tone. Because effectively what's going to happen is it's going to layer on top of our illustration and patterns. And it's just going to add a nice subtle tone of shadow work to just give it that other dimension. So just like this, I'm just adding in my two swatches so we can put them to the side now That should be enough. And then make sure my brush is nice and clean and let's start getting a bit of color moisture on there. So a little bit of blue on there on that one. And then I'm just going to go in to that brown with the same brush, just like that. And you can see as I'm using a bit of that blue onto the brown, the brown consistency and color is changing. It's changing to a more dulled out brown. So we're just going to slowly start adding that into the blue. And you can see there we've got ourself, a really nice grayish blue tone. So that's just looking fantastic. I'm going to bring that blue into it a bit more. So just like that, I've got this lovely gray color. So again, it all depends on the type of blue you have, what shade of blue and brown you have, You will get different shades of gray. So again, there's a bit more blue in that one, so I might just bring in some more brown to kind of effectively mute it out. I want to have like an earthy gray tone, so a nice earthy gray tone will work absolutely fine. Now if you have a crayon that this particular color, you can just go ahead and use that pastel or crayon. So just grab hold of a gray if you want to just use a gray. I mean, I've got a nice gray over here. This warm gray that I had, which was actually called Bage. We could actually add in a little bit of this. So if we just add in a little bit of this, it will give it more of that warm gray color. And I've also got this color here, so this one is actually called light gray. With the light gray, we can even add in a little bit of light gray maybe here on the side. And then just drag them in into the actual colors themselves. And that will give it a bit more of a rich color by adding in some actual pigment of grays themselves. Just like this. I'm just adding that in, you can see it's brightened it up a little bit, so that's looking great, just like that. Just keep mixing your colors and once you're happy with the type of tone that you've got, then we can start adding in some water to this, because we don't want this to be too sharp. We want it to be nicely watered down. So it looks very subtle in our pictures, just like this. And I'm going to water this down fairly heavily, quite a lot of water onto this. Just like this, you can see we've got this lovely grayish tone. Now the best thing to do is grab yourself a little bit of paper. So whatever paper you have, some spare paper, and just test out your gray tone before you put it on your picture. So I've just got this kind of Swatch paper here, so we'll see. You can see that actually quite dark. So what I might do is I might go ahead and add in some white to brighten it up. So let's just grab hold of me. White. So I've got some white over here. So I'm just going to go ahead and add some white into this area just like that. Just adding in a nice bit of white down there in the corner. You can see that nice bit of white gray on there. And then I'm going to go ahead and wet that white. And then slowly bring that in so you can see we've got this nice grayish, light gray tone over here. And then you're going to mix it in a little bit more into that solution, and you can see it brightened it up. We'll have a look and see what that looks like on the paper before we start applying. The worst thing is that once you've done a beautiful illustration and you started adding shadows in this next stage, and then you've got a color that you didn't like or it was too dark, or it kind of wasn't what you preferred it to be, then you're going to be a little bit disappointed, because once it's dry, then it's dry, isn't it? Even though this isn't permanent color, you can still really mess up your illustration at this stage. So if you don't want to do shadow work onto your illustration, you don't need to do it at all. So that's entirely up to you. But I just thought it was worthwhile showing you that you can still add shadows to your illustration. So you can see this was the first one we did that was quite dark and that's so much better. That isn't it? Look at that. Nice bit of light gray on that side. So a bit more water to the solution, and then we'll just test it here. Lovely stuff. Look at that gorgeous gray. So let's just move this out of the way so we don't start throwing things on the floor. Okidok. What we're going to do now is we're just going to pick up that gray color solution that we had. Then we're just going to slowly start adding this to our illustration like this. I'm just going to have a little bit over here where I've got the side of this house just a little bit down here. And again, not going in too heavy with the color, Just going in nice and light. We don't want to use too much water, we don't want too much blooming again, just like this. Then I'm going to bring in this shadow down here. You're going to drop in, effectively shadow coming in from the back of this shape. And then another shadow line coming in from the back of this shape. That's looking great, just like that. Just adding in these shadow lines here. Then a little bit more of the paint. We've got some shadow coming in from this side that's looking great. And then just a little bit of shadow coming in from the side of that building, which is effectively creating a cast shadow onto this. And then maybe just a few shadow lines where the windows are not really too bothered about the windows at this stage. Just like that, you can see we've added some nice shadow work again on this house. Now what we'll do is we'll do exactly the same. So just nice bit of shadow over here. And then just make it come out so that we don't have too much concentration in one area. And then once this dries, this is going to look absolutely fantastic. So again, some shadow over here. And then that's about it for the houses now, maybe throwing a little bit of shadow over here on the edge, just very gently, lightly. You don't need to press down hard. Again, this is entirely up to you whether you want to do this or not. I just like to do this to add that extra dimension to my illustrations. So if you don't really want to do this, if you think, oh, I don't want to add any more to my lovely illustration that took me so long to do, then absolutely fine, just leave it as it is. So just like that bit of shadow on there. And now we can add some shadowy elements to these small foreground parts. So we've got a bit more of my lovely gray colors just over here. I'm just going to add in that shadow. And you notice I'm not rubbing my brush into the actual paint. I'm just lightly letting it glide. So again, nice bit of shadow there. Little bit of shadow onto this end. And then again with this one nice little bit of shadow. Just keep it nice and gentle, don't want to murky up our beautiful design work. Then again, over here, a little bit of shadow in this recess part at the bottom. And then the same on this area without trying to murky up, then beautiful details that we had. Just keep it nice and a little bit more on this area over here, just like this. Then again, a little bit down here, keeping it very subtle and light not going into hard. Then in this area we've got some nice bit of shadow going on there. And then maybe just a little bit down here, just like that. And that looking great. We're going to let that dry now. And then maybe add a few bits over here where we've got this backdrop down here. Just a little bit of shadow going up into this area. Again, you don't need to do this because if you don't want to go over your beautiful lines, that's absolutely fine. We are going to do a final bit of detail work with some ink right at the end, which will really make this all pop. If you want to just leave this part and just do that, that's entirely up to you. And again, we may have a little bit of shadow going onto the roof here to just throw in a little bit of gray like this. And then maybe a little bit of gray like this on this area, just from the cast shadow. And then maybe a little bit darker down here. Now you can see as I've dragged that down, it's brought a bit of that red down. So you've got to be careful not to drag over the color that you've already got, but that will work fine. What I'm going to do is I'm just going to use a little bit of water and then just blend this out just like that. So that's the advantage of the water color not being permanent. So just like that, I've just blended that out so it's absolutely fine. So just remember that the color underneath will get reactivated. So do be careful when you're doing this stage. And again, if you don't want to do this stage, if you think this is going to mess your drawing up, then just leave it. So just watch me do it on this. And then maybe have a practice before you do it on your own illustration. So that's about it for the shadow work. Just adding in a little bit more depth. Now we're going to wait until this completely dries out. We've got to make sure there's no moisture here. We just want it really nice and completely bone dry. And then we can move on to adding some more details with a few other mediums. 22. Inkwork: Okay, welcome back. Now we have a nice completely dry sketch of our lovely little illustration. And you can see it's looking fantastic. So these final steps now are going to be to add in just a little bit of detail using black ink and white paint marker. My Posca paint marker. So for the inks what I'm going to do is I'm going to use my micron pen, my fine line and micron pen to bring out some of the details. And then I'm going to use my fountain pen, which is a medium tip, this lamy Safari. And that will just give it that extra depth and detail. So let's firstly start off by using the fine liner and adding in some details to the front part of these houses. So what I'm going to do is I'm just going to tilt my page like this to make that angle easier. And again, if you don't want to do this stage, that's entirely up to you. If you want to leave it as it is, you can go ahead and do that and just watch me filling these details. Or if you want to follow along, then that's absolutely fine. So let's now add in some nice lines that are going across like this that will represent some kind of bricks that are going on the front part of the panel of this house, just like this. All I'm going to do is I'm just going to add in these nicely spread outlines, like going over the shadow part as well that we added in. And that now what you can do on this is you can actually vary it. You can have some thin ones with a little bit of gap, some bigger ones just to vary it, make it look organic, they don't have to be straight. Just keep it nice and simple just to add a little bit of that additional texture. Then what I'm going to do is tilt it back and then I'm going to add in some brickwork lines that are going vertical, like this, just randomly dropping in. Then brick lines to represent some kind of layering of bricks or these kind of like panels or wooden panels that you get in front of some houses. But again, you can do whatever you like, design whatever pattern you want on this. It's entirely up to you. So that's it for that one. I'm going to do exactly the same for this one, and then we can start working in some details on the side. So, let's quickly go ahead and do that now. Ok, Okay, now what I'm going to do is I'm going to go ahead and start adding in some really thin lines on these sides. Let's start off with this one over here. And all it is, is a case of just adding in some really close lines that are going in the same direction of the side of the roof. What that will do is it will just add extra bit of texture to the drawing and make it stand out from this other end of the house, just like this. I'm just going to add in these lines with my fine liner. So let's just quickly go ahead and do this now, Bucky. And now let's just continue on the other one and do exactly the same like we did before, Bucky Ok. So you can see now we've added that extra bit of texture on the house with our fine liner and it looks fantastic. So what we're going to do next is we're going to go ahead and we're going to switch our pen and actually go to a thicker pen. So we've got my lovely little fountain pen here with the medium nib. And with this what I'm going to do is I'm going to go ahead and start outlining and designing in these windows just like this. I'm going to follow the shape of the windows and I'm just going to come up with a design for the windows quickly. Now, just like this doesn't have to be accurate, just follow the lines that you put in. Maybe add in a few more lines. It's entirely up to you. So I'm going to quickly go ahead and do that for this and for these two windows, and then we'll have a look at what it looks like. Okay, I can see we've come up with a nice little patent designed for the windows, So just do your windows with a thicker pen. If you don't have a fountain pen, that's fine. Just use the same pen that you had with the brickwork that you did to the fine liner or whichever black pen that you have, it will work absolutely. Great. So what I'm going to do now is I'm going to go ahead and I'm going to Outline these edges over here with my thicker pen. Just like that drop in these outlines. And what I want is I just want a nice edge to it so that it stays prominent and it separates the shape from the other shape. And then again, I'm just going to turn this to the side, give it a thicker outline over here, thicker one down there. And then just basically follow the outline. You don't have to do this, but I personally like to do this because I always like the outlined look. What I'm going to do is I'm just going to go ahead and start outlining each of the elements within the house. And then we'll have a look and see what we get. Ooky dog. Now you can see it looks so much more nicer. We've got this nice, clean, black outline to the shape of our lovely houses. Now you can add in as much or as little detail as you like. I want to actually add in some more lines with my thin fine liner. So I'm just going to quickly just tilt this up like this and on this edge I'm just going to drop in a couple of lines coming in like this so that it covers the shadow part that we added in so that the shadow part doesn't look too abstract. And just like this, I'm overlapping the actual line itself. So this shadow line that I put in, adding in a couple of details just over it so that it blends in to the actual design itself. Just like that, throwing in some more brick lines. Just have a play around and see how much detail you want to add in. Or if you don't want to add in any detail, then that's absolutely fine. So what we want to do now is we want to go ahead and start looking at these elements and see how much more we can bring out with some ink work. And for this I'm actually going to use a thicker point. So I've got myself a lovely food pen, so with this food nib pen, we can get some really nice thick lines. And if you've watched my class on fountain pens, I've demonstrated this pen. If you want to check that out, go ahead, but let's get back to the class. So with this, I mean you're probably not going to have this pen unless you are a fountain pen enthusiast like myself. But if you do have this pen lying around, then do grab hold of it because this is great to add some detailed texture work onto bigger elements. But again, if you don't have this, then skip this part or just use any black fine liner that you have at hand. You can also use a black felted pen for this as well. So if you have a brush pen or a black felted pen, grab hold of that and see if you can follow along with that. Again, don't worry about getting the same results like I've got here. This is just a practice sketch for you to just practice those techniques that we learned in the earlier lessons and have a go at experiencing how different mediums interact with this wonderful colored pastel. 23. Heavy Strokes: With my food in a pen. Now what I'm going to do is I'm going to start off over here on this side. We'll start with this element. And I'm going to darken this line. So I'm going to go ahead and darken this line. You can see we've got this beautiful thick ink coming out. And I'm breaking up the line because I don't want a solid line. And then just tilting my pen, I'm just going to go ahead and just adding some broken lines. And you can see with this pen, you can just have so much variance. The flow is great, it works beautiful on top of this pastel work. And I'm just going to add in these beautiful random dots over this darker area just to bring it out a bit more. So just like that, what I'm going to do is I'm going to go ahead and I'm going to outline adding more texture on the left side, on the darker sides of these elements with this pen. And then we'll see what we get. Okay, Do key. Now you can see we've got a beautiful, nice bit of contrast and ink texture going on over there. It looks absolutely fantastic. So just use whichever black ink you have. And if you don't have it, that's absolutely fine, just leave it as it is. So what I'm going to do now is I'm just going to go ahead and do a little bit of outline on the kind of areas on top over here. So you've got these hilly hilly areas that we've got down here. So let's just tilt this to the side because my ink is still a little bit wet. So what I don't want is to have it all muddied up, just like that. Just a nice thin little line over there. And then we can just follow this line all the way across just to neaten it all up. So just going to drag that down just like this. A quick little line going across there, and then another one going on top over here, just like that. Follow the design that you have. It looks really nice. Let's just give that another turnaround, fantastic stuff. What you can do is you can actually go ahead and start adding more details, but we'll leave that for now and just do some finishing touches at the end. Let's now move on to adding in some lovely white highlights. 24. Highlights: Okay. Okay, welcome back. Let's now adding some highlights with our white Posca pen. So grab hold of your Posca pen if you have it. If you have a white gel pen, grab hold of that. If you don't have either of them, that's absolutely fine. Just watch what I do here to show you how to add in some nice little white highlights to some of the elements of your illustration. And then maybe if you decide to get yourself one of these markers or a gel pen. A white gel pen, then you can try this out for yourself. Again, all the resources and all the items that I've used in the class supplies. And in addition to the class supplies, the extra items are all going to be listed in the resource pack. So do check that out and refer to it. Let's get our Posca pen out and we just need to do a nice shaky shake on this. Now open this up, make sure you don't open up your pen over your illustration just in case you get some leaky leaks on it. So I've got a nice thin posca pen marker here. And what I'm going to do is I'm just going to start adding in a few dots of white, beautiful marks just like this on these elements over here. I'm just dropping in some nice white marks onto the dark areas just to give it more visual interest and to make it pop a little bit more just like this. Again, you don't need to do this, it's not necessary. But I just like to do this in my style of sketching. Again, just a few white marks in those areas. And just down here, just a few white marks to show some little dots of jewels and sweets and beautiful candy that's just floating around in our illustrations, that white dots down here, just to break up the darkness that we've got from the ink. Again, just a few more down here. And then just on the left hand side over here, just a few little whitey, white dots down here just to give it a bit more interest and make it look fantastic, just like that. Then over here on this section over here where we've got the roof, what I'm going to do is I'm going to go ahead and I'm just going to add in some white dotted lines that go across the tiles to effectively just add a bit of a highlighted edge to the edge of that roof, just like in this row that we've got of tiles. And then maybe in the second one, I might just adding another dotted line like this, just following the shape of the tiles. And you can see that just adds a little bit of a high light. Then again, maybe just on the top ones and maybe a few in the middle just to show that we've got some light coming in from the top and it just makes it look a bit nice. We're going to do the same on this one here, so I'm just going to tilt this around so that we don't get it all murky with the ink because the ink is still a bit wet like this. What I'm going to do is we're going to go ahead and do some nice little dotted white lines going across the top. Don't want to do too many. We don't want it to be too over powerful. We want the eye to have a look at the whole picture, at a glance with some nice little elements popping out. Just like that. I think that's enough for there. It's very subtle with the white gel pen or the white paint marker. Again, in this area over here, I can see I've got this highlight area that I can use to just go over the shadow that we painted in. Again, just a couple of dots there, maybe a few dots here. Just adding in those lines, what you can do is you can effectively use this as a correction medium. You can correct any areas that you may have some overspill paint and you just want to kind of add in some highlights. Like again, in this shadow area, it was quite heavy with the shadow that I put here. So I'm just going ahead and I'm just kind of like blending it out with my white marker. And then it looks like that I meant to do it on purpose, but, you know, I didn't. So that's just a great way to go ahead and just fix up those little areas that you may want to fix. So again, over here I'm going to just turn this around. I know this is getting very spinny, spinny on the screen with me turning my sheets around. But it just helps me with my lines. So just like this again, I'm just going to go ahead and just adding some of these lines just to make it blend in to the actual background or the texture of what I've got. And it just adds another nice little effect and gives it a nice overall sharp look. So again, just turn around and have a look at this again on the screen. Look at that fantastic stuff. So that's it for the white paint marker. I think I'm going to leave it at that. And we've pretty much finished our sketch. So I hope you enjoyed doing these steps. Again, if you didn't have the materials like the white marker or any dark incliners or fountain pens or anything to do the outlining with, don't you worry about it at all? No stress at all. It's just an exercise to give you an idea of how different mediums interact with these wonderful neocolor pastels. So the only thing we've got left to do now is remove our lovely tape to reveal the gorgeous white border that we have. So let's quickly go ahead and do that. Oki Doki. Now we have a beautiful, complete illustration. I hope you followed this illustration step by step like I did, but if you didn't, that's absolutely fine. Just give it a go, try it out with whichever mediums or materials you have. That will just give you a practice because that's what this sketch is all about. It was a practice run for the more exciting part. And yes, that is your class project. So let's now talk through what your class project is all about. 25. Class Project: Kidoki. Welcome back. Let's now quickly run through what your class project is all about. So we went through what neo color two pastels are. We went through how to apply them using the different techniques that we demonstrated. And then we looked at the different levels of saturation and how to dilute your lovely colors to produce different tonal variances. And then we looked at how to darken our colors and lighten our colors with the limited palette or the limited colors that we have in our set. And then we looked at how other mediums interact with these beautiful wax oil pastels that we've got. And then finally, we did a beautiful complete sketch where we incorporated all the techniques that we learned in the lessons. So your class project is to, number one, follow all the lessons that we did in the class. So follow all the exercises that we did, the different techniques, the saturation, tonal level exercises, the ones on darkening and lightening colors, and then testing out whichever mediums you have. So follow along with those exercises for part one of your class project, and then part two of your class project is to do the complete sketch that we did step by step on the screen. So give this an attempt to follow the best you can to get this practice run. So that was number two. And then finally, number three, design your own beautiful illustration from what you've learned in the lessons in this class. And then once you've completed all of that, take some gorgeous pictures of your beautiful work. All of the work that you've done, the exercises, the practice sketch, and your own class project sketch. And then upload it onto the class project gallery so that we can all see and learn from each other and experience your wonderful journey into Neo Color two Aquarelle Pastors. So that's it, That's all you need to do for your class project. I bet you can't wait to get started. I can't wait to see what beautiful stuff you produce. Some gorgeous artworks. I can already imagine what you're going to produce. So let's get started. So make sure you get yourself nicely hydrated. Get yourself a little tree to get yourself a little cake. Make yourself a nice warm drink, and get them pastels out, and start your class project. 26. Final Thoughts: Oki, Oki. We have now come to the end of the class. So hopefully you would have enjoyed this lovely little journey. You know, I did. You know, I'm absolutely obsessed about my traditional art materials, and this was a new one for me as well. I've only recently started using this material, so jump onto this adventure with me. Start exploring this lovely little pigment rich material. Aquarelle, Watercolor pastels. Absolutely fantastic stuff. So thank you so much for your time. Please make sure that you upload your class project to the class project gallery so that we can all see your wonderful artwork. And do leave a review on the class once you've completed your sketches and finish the class. Because that will help other students like yourself find the class and so we can build this wonderful little community and enjoy this adventure altogether. So again, thank you so much for your time. Thank you for your continued support. Keep sketching, keep well, keep focused and stay positive, and I'll see you on the next one. Take care of yourself and peace.