Working with COLORED PENCILS - The Comprehensive Colored Pencil Drawing Masterclass

1. Intro: 2. BASICS: About Colored Pencils: follow me on social media. You already know that I use only color pencils. Sometimes I use graphite in sometimes a bit of the markers. But 95% of my work is with colored pencils, and I don't use any on urbane ings. And you saw Solans. So color pencils became very popular recently, and a lot of artists have decide to use them us, their main medium. However, people stay. Think of Creole and similar preschool color pencils when I tell them what I use for my drawings, because the color pencils had been used by Children Onley, so there were skeptical, and they don't believe that I don't use anything else. So many people still under estimate this medium and involved it only oil paintings. And so they look at the pencil drawing. So something cheap, childish and not believable. But we're not using cheap preschool color pencils, but a special high quality colored pencils manufactured for professional artists and a growing screening with the artist grade color pencils can look like paintings when used properly, so anything can be drawn with color pencils. And the quality of color pencils is very important that you can't use preschool colored pencils and expect to have great results. And using low quality color pencils will produce lower quality results and will cost you your willingness to learn and to create. And in the same way, using high quality tools will increase your feeling of success and inspire you to continue to draw. Although low quality pencils are more cheaper, which may sound like a good solution, I suggest not to use them. So why would you or anyone else, use colored pencils if I had to convince you? Because color pencils have many benefits, they're very good for detailed work. You can work lightly for soft look or with many layers to get the oil pain being effects is that you can see most of my drawings, so there were easy to carry and you can work almost anywhere. It is uneconomical medium, and you don't need many extra supplies. So even if you buy the most expensive color pencils that I always heartily recommend, you will still spend less than to stock up with markers or paint airbrush in our other tools. So working with corpulence is required. Last space and no drawing time and great snow smell so there is no mess like when you paint or so So it's very good and what I like the most about color pencils and that when we gently touched the paper with color pencils, nothing happens. Which is not the case when working with markers, old paint or watercolors. So we have full control or the color pencils, and we can create miracles just by changing the pressure on them. Then the color pencils are available everywhere, and there are lots of brands and constant while also, they can be built individually. I mean, a single color pencils, not the whole set. I mean, I will have booked the biggest set of personal color Premier wants, and since then I being purchasing Onley individual pencils that I use the most. So, for example, I need much more grays and browns than I need green or while its core pencils. And fortunately, I don't have to buy the whole set again and again every time I run out of the pencils that I used on a daily basis, so that will be very expensive. And so this is a very good deal. So there are two kinds of color pencils artist grade and a scholastic grade artist. Grade are professional colored pencils containing significantly more pigments and wax inside and or filled with higher concentration off high quality pigments than cheap color pencils used by preschool aged Children. So they leave a clear rich color and, uh, deep trace on the paper. So they're lifelessness is also measured and documented. The life US NIST means resistance to you. They raise, and the sunlight and core durability and water resistance are also notable. Features off artists grade colored pencils, so they're also available in in a wider range of colors, then scholastic grade color pencils. There are many types of color pencils, but we distinguished four main types wax based, well based water syllable and clay based. But I want to talk only about the 1st 2 because these are two pencils that I use, and I know so I don't want to talk about something that I don't have experience with. So the center of a color pencil is the pigmented interior, which is held together by a binder and a binder is wax paste or oil based said this bonder effects how the color pencil can be spread over the drawing surface s o. The works based binders can easily be blended, burnished and layered, so the colors can be easily mixed for achieving artwork. Rich in course, such colored pencils are Prisma, Color Premier and Karen Dash Ruminants 6901 so that we have all based ones, such as the very popular Polic Ramos. The lead of the oil based color pencils is much harder and produces a bit less reach cooler , so layering and mixing also go where good, but the wax based color pencils blend flatly better. 3. Which Colored Pencils I Use and Why: Okay, So let me show the pencils that I have at home. I have this big set by Faber Castell Polychrome most 120 pencils. As you can see, I have hardly used them, but they're very good. They're actually oil based, and I like workspace, school or pencils, said they have a lot of great pencils that I really like, and they are manufactured in six values, which is very hip, helpful for creating smooth Grady ins. So I have created swatches of color so here can see we have tale of lose that I really like to use when I call her the Sky. So the expenses are really good, but I rarely use them. Then I have their one to call herself Rentals. 72 pencils. Yes. So as you can see, I haven't used them yet. But the these are also very good pencils and I also have during broke ular. Also 72 pencils, so both pro color and color self are wax based color pencils. But I actually bought them to include them in my color pencil publication, which suggests the pencils word. The selected area and I also have these two brands included, but they're pretty good. I just didn't use them because I use personal cola Premier mostly, and it's like a habit. But as you can see, a lot of colors are very reach, some of them not not that reach, for example, of these big collars. But here we have a lot of rich colors. Separately, I'm going to use them. Then I have current dash Ruminants 6901 said. These are my second favorite, my favorite, our personal color premier. But there's only very high quality pencils and and wax based, and they can be easily blended with personal color premiere together. So I often used them together. They're a bit thicker than a pres, Michael or premier and much more expensive. But it really it's worth being for high quality pencils because it's really enjoyable toe work with them because they're so creamy and soft and can be easily spread courted paper. I usually use down when I don't have an appropriate to call or by personal color premier here we have a lot of skin colors and I like to use days to draw the skin, and I like this. There are numbers and French grays. And I often use kobo blues to draw sky that this air very good colors, and I really like them. And here I have Prisma color Premier. I have the biggest set off 150 pencils, so I think these are the most popular pencils among younger artists. So there's our wax paged, highly pigmented reaching color their goods for blending, burnishing, layering. And we can really create smooth textures. For example, skin human skin. I think these are the best pencils for human skin, of course. Luminous, as I mentioned also had scoot pencils. But as you can see here, we have much more. So I like to use this for the skin. I can create a lot of combinations of colors, and of course, it depends on which one is supplied first. So we have a lot of friends, blows greens as you can see. But what I like the most are Gray's goal graze, warm grace and French grace. I think that these are the pencils that I use the most, so there's air very helpful in adding depth to our drawing and creating smooths Great Aunt , which is very important thing in creating realistic drawings 4. Other Tools (Paper, Blenders, etc: I always use this bristle paper by far. Brianna, usually any four paper former as you can see the weights, 250 grams per square meter or 145 ponds. Which means that this paper is very thick. And so this is a very small space paper and, as I mentioned, very thick and start E so it can endure a lot of layering, burnishing, blending and it want wrinkle. So I really like working in this paper, and I use it for both my color pencil drawings and my graphite drawings. So just avoid using a common print paper That's not good, said this paper costs about $89. The 20 sheets it, but if you can't buy this paper, it can be any paper. It doesn't have to be fanny brand. It is important to buy smooth and thick paper. I often draw on great paper, and I used this clay by for Brianna. This paper is quite thinner than for Branta Bristol, but it's still one wrinkle. I recommend working on both white and toned paper, for example, when we draw, want animals didn't look good on white paper unless we color the background, and that's why I like to draw them on great paper. And I even used blue paper, so drawing them on Tom paper will made the drawings look more realistic and less bail and more complete. So the highlights will stand out and you will be able to see and evaluate the caller's more and better. So it's a very good thing for stretching your drawing skills. I recommend getting some pencil extenders so we can use up the pencil completely, and we don't have to throw out anything. I have this book, Age of two extenders by Darrent. So one is still there and of one is black that I just unscored this sledding ring and I insert my pencil and then I just screwed it back, and now I can use it. So it adds. The feeling of balance is just like when you're drawing with a new pencil. So this is very good and useful since we're using expensive pencils is that this thinner is good for personal color Premier color pencils and I'm using the silver one for thicker pencils such as current dash, luminous and Pollycarpus. And this thing or one is also good for hexagonal shape mental, such as some graphite pencils, but you don't even have to purchase it. I have this part of my old mechanical eraser and Prisma Corp American feet exactly into it . So just look around in your house. You might find some old ballpoint that you can use is an extender, or you just can created somehow are ask someone to make it for you so you don't have to purchase it. But actually you buy it once, and then you can use it forever. It will save you a lot of money because you can use pencils completely. But even after using this extenders, there will always be some part of the pencil, like 1/2 inch or one senator that would just fall out of the extenders. Then you can glue it to the pencil that you rarely use. So here you can see that I have glued it to the silver pencil that I actually never used, and then I can use it to the last Adam. Well, color pencils actually can't be erased, but I have this erasure by helix and I can eliminate a bitch of the pencil, and we can also create some patterns with it. I also recommend getting an accepted knife because this is also very good for removing some of the pencil, sometimes particularly bright pencil. And I use this still when I want to create highlighted. Here's So it's a very useful tool for growing the animal for in hair. I have a simple handheld sharpener. It costs like last in a dollar. I never used an electric sharpener because I can't control them. They eat up too much of the pencil, so I use only handheld once. A lot of people are complaining that Prisma Color Premier breaks, and since there wax based, they really do break more easily than oil based. So the first reason is you might be using a old sharpener, and I just want to try a pencil with my old sharpener. And as you can see, it does break and let me show the brand new one. I usually use one sharpener for like, 23 weeks, and then I replace it with a new one because it's very important. And let me just try to sharpen the same pencil, and as you can see, it doesn't break. And the second reason. Make sure they don't fall onto the floor because they want break. But delete inside. Probably. Will the third thing hold them next to the sharpener and not like this far away from it, because like this, to give them space to move separately, as I mean devoted and lead and just hold them tightly and next to the sharpener. And the fourth thing is two point slowly and gently, and I hope they won't break. Then I use the white markers or whiting gel pen to create highlights or the drawn areas, so it's very easy to apply. This does over the color pencils so can create some patterns over the drawn area. Anything. I mean, you can leave the parts of the paper white and drawn around them, but it's very difficult, and with these tools it's quite easier to create some things. And I have this one by unit Posca. One millimeter thick. It's quite thicker than that wants. So as you can see, so those are my favorite markers, so they're totally opaque in the high quality. I can apply highlights with this over my drawings, and I can also easily eliminate them with my finger or with an Exacto knife. I also use them for my graph of drugs, so there's a very helpful tools, but you don't have to run to the art store to purchase days. Just look around in your house. Maybe you have some liquid character like this one, and then you can also use it for adding tiny highlights. As you can see, it is also bake. It does the same thing so you don't have to spend money. You can even use a squash or oil paint or acrylic or whatever. I often use this wax, colorless blender, my personal color. Premier. When I draw animal for, then I want to soft and deferred to make it fluffy and a soft. So this is just a wax pencil with no pigment in it, and it can be used a smarter even for the background if you want to make it blurry or you want to soften the edges. But I don't use it for anything else and actually only for animal, for I usually blend with another pencil, and one more good thing about the stool is that you can go over it again with any color pencil I use an age be graphite pencil Castell 9000 by Faber Castell for sketching, and I also use a drying compass when I want to draw a perfect circle. I have this one. I can replace the pencils. I can insert any pencil so I can even create color circles. So when you use Prisma color Premier the wax binder from this pencils will create a so called wax Blohm or white, Hayes said. This is something like a layer of dust, particular if you use dark rentals. But don't worry, just wipe it out with the tissue and spray it with a fix. It do. I used this one, but you can buy something for pastas. For craft pencils. You can choose glossy or met, and I always go to my bathroom to spray it because it's quite stinky. So just do not inhale it. And after that wax Bloem want a beer anymore? 5. How to Hold & Control Your Pencils: There are different ways of calling the pencil, which also influences the richness of the color and the texture that we want to create. And you have to find which one is the most appropriate for you, which is the most comfortable for you. So the first is riding handheld or tripod grip. So this is the same as when you hold your pencil or a pen. When you write as practically only the tip of the pencil that reaches the paper, it is good for drawing contour lines and tiny details. I actually hold my pencil this way almost all the time because I have full control over my pencil. And the pencil lead is less likely to break when I press hard because I press hard like all the time. As so for even better control, your hand should rest on the paper and I use a separate piece of paper or tissue and Eileen my hand on it to avoid smudging. The second is the extended tripod grip. It is when you hold your pencil the same way when you write, but you grab it farther from the tip of the pencil like this. This is a very good grip for drawing the long straight hair, e.g. just try to have your hand as relaxed as possible and use quick, confident emotions like this. So here you don't have to touch the paper with your wrist. And this way you will avoid smudging. As you can see, our tone might also be affected by the way of holding the pencil in our hand. The pressure on pencil is also very important. And we can achieve different tones from a single color pencil by changing the pressure on it. And the third is the overhand grip. This is when you use the side of the lead to draw and you hold your pencil almost parallel to the paper and you press it with your finger like this. So this group will help you to color the large surfaces faster. So in this case you can't press hard because you might break, delete, but just hardly touch the paper with a full length of the weld sharpened tip of the pencil. It is good if you intend to do more layers when you color and the color should be two-way would enrich. And when you want to create certain textures, it's quite easier to use a pencil. And this group, if you stand up and move your arm from the shoulder, then we have underhand pencil grip. This is also very good for drawing the hair due to its looseness. So it is similar to the extended tripod grip, but you turn your hand a bit with your palm facing up and place your thumb bit higher up on the pencil. And to move your hand holding the pencil, you need to use a pivot for a moment. There are three kinds. So drawing from the wrist, drawing from the elbow, and drawing from the shoulder. And I suggest practicing all of these to train the musculus that you will be using for drawing. So just draw smaller and bigger circles like this and try to make them perfectly around. And also try to draw the straight lines without a ruler by using these three parts of the armor. So pivot. You will see how your circles and lines will become better and better after only a few days or practicing. I'm using here the underhand pencil grip. You can see how the first lines are pretty curvy. And as I keep drawing them, they become more straight. So after a lot of weeks of practicing, you will be able to draw a perfect circle without drawing compass and straight lines without a ruler. And of course, you will train the muscles that you will need for drawing. 6. Color Theory: so the color theory is important for drawing with color pencils because we have to make the color pencils in order to get the appropriate colors. While personal color, Premier said of 150 color pencils does provide a lot of colors. There are millions of other colors that we need for our drawings, so we have to learn how to create them by mixing the colors. And this is particularly important if you have only a smaller set of color pencils. There are three important terms that you will need to know for. Mixing the colors for your drawings is the hue, saturation and value. Hugh is the name off a color like yellow, red, purple, blue, green or orange. So there are three primary colors yellow, red and blue, which can't be created by mixing up the order colors. And every color is the result of mixing thes three colors with each other with other colors or with black, white and graze. Then there are secondary colors. Yellow and red make orange, red and blue make purple and blue and yellow makes green. Tertiary callers are created by mixing a primary color with a secondary caller, so yellow and orange. Make yellow or orange, orange and red. Make red orange read and part will make red, purple, purple and blue. Make blue, purple, blue in green. Make blue, green and green and yellow make yellow green. But fortunately, we have all these scholars already manufactured. Here you can see my swatches or prisma color premier. So here you can see, for example, red and orange that I mentioned. The red and orange make red orange. In this case, we have bail for 1,000,000. Then we have a least three callers for yellowed orange. It's summer sale of Spanish orange and yellow or orange, and there are a lot of water examples, so we don't have to make some of the colors to create these scholars. The saturation means how colorful is our color. So this is the intensity open collar, and here on the left side we have high saturation, which means that the color is very well read, and the last situation means that the color is lacking pigments. So here, as we go towards the right side, we're adding great color to it, and the color is less intense. So we are actually neutralizing the caller and I will be showing how to do this with color pencils in the next video color. Mixing volume means how dark or bright the color is so value can be called brightness or lightness, so in huge can be darkened and by adding black, which is called shading the colors enlightened by adding white, which is called thinking the colors, and I will be showing that with color pencils so you will see this in action. I often created colors for my drawings by applying Hugh the basic color pencils, a Subasic Claire. And then I create shadows and highlights over it, and I will be showing it in a lot of examples. So this way I changed the volume off my colored pencils, and it doesn't mean that we have to add black to color to decrease the value of the color. So in this case, we can do it by applying dark green over the mint stone. So here you can see how the caller looks absolutely different with different values, and this is very important when creating smooth gradin. But we will be talking about it also later, and I'll be showing all of these things in action with color pencils so narrowing down whenever you see the color picker like this s So this is the hue humans color and ah, then situation means when we're getting last pigmented color like this. Yes, there were going towards the great color. The volume means the brightness of the color. So this means how light were dark are color is and these are the things that are very important for color pencil drawings and the only things that we need to know. 7. Color Mixing: the most important thing when mixing up the color pencils is the order in which we applied the pencils, so the first layer of color will impact the final color and ability to work over it to build up layers. For example, if we apply dark brown first, as you can see, we won't be able to erase it. Not even with the next sector life, because the dark brown pencil will call her the fiber off the paper completely. But let me show you when we apply cream a super slayer, and now we can go over it with dark brown. And as you can see, it is not even dot dark. So you have to count on this. Sometimes it is very good and useful, but sometimes it's not. So we really have to consider which one we apply first. As you can see a press very hard and I can't create the color that I created in the left side when I was supplied, did Arab rawness first layer and I have to press very hard and I go over and over again. And no matter how hard a press, I can't create that dark or and Now let's go over it with an X Acto knife. And as you can see, I just remote dark brown and we can see the cream. Honor it. So this is very useful for drawing into hair. Also, I can see I can remove its even with my nail, which is not the case here on the left side, so I can't remove the first layer. So as I mentioned, this is a very useful thing sometimes, and I have shown this in the tutorials on hair and those of radios so I can see how I draw the hair this way. So this is very good, but yeah, we really have to consider which gallery apply First said. This is very important and let me show you one more example. I want to make stick orange and lime peel, and that this watch will be orange first layer and this watch on the right side. I want to make one more swatch. Those apply lime peel first, so here I want to go over the orange with lime feel, and here I want to apply lime field first, and now let's apply orange or dissed as a second layer this time and you can already see it's a totally different color. And as I mentioned, this is very important and we have to consider which color pencil we apply first, because you can see how it impacts the whole color and everything. And then sometimes we have to makes the colors differently, for example, to make the smooth, radiant. And now let's great the smooth Grady in between the two colors. So I'm not trying to create a smooth grading between the red and orange. So start on the left side and I pressed very hard. And then I just released the pressure. As I draw, there was the right side and under outside. I want to start with orange ended the same. So the press really hard here and to drop towards the red and to go over the red color pencil. And then I pick up the red pencil again, and I just want to feel in the areas that the that have clear edge between these two colors . So I want to make the edge between these two colors invisible. So this is a smooth Grady in, and this is very important, every realistic drawing so you will need this. It is important to practice. And now we actually we can't see where one color stops and the next color starts. And sometimes the caller's air too wicked. And we need less saturated color than we have to reduce the colorful nous by applying some gray colored pencil over them. Here, I want to create once Watch with crimson red on the left side. I mean, the one that won't be altered in here on the right side, I want to great one more and to go over it with warm great 30% to reduce the wickedness of the caller. I was talking already about this in color theory WHIO And now I'm actually neutralizing the color. But you can see so it this last week it s pretty darker. Maybe I should ever use one great 10% or 20%. But it's definitely less rent. And now let's try to change the value off Crimson Red. This is also something that I was talking about in color Very whio. So I want to create three swatches and I use cream son read by Prisma Color Premier So I often draw by applying the basic color first, Then I create shadows and highlights over that. So I actually I changed the volume off my basic color to give my object a round shape and to make it look less flat. Said this Watch in the middle. I want to leave like this. So this is a myth. Don't. And here on the left side, I want to make a darker and I used to skin red and I go over the crimson red to make it darker, said this Tuscan red. It's kind of dark red, so it's pretty good match for crimson red. OK, and now I want to lighten up this swatch in the right side. By going over with a white pencil, you might be asking, Why don't we just use being here? Or why don't we use a plane discover right on the left side, Then it will be visible that we use different color pencils. And this way the swatches look like a different values of crimson red at which is very important with when we want to shade something. So it is not good if we use different color pencils. So no matter which color pencils you use just choose darker hue off it if you use a grass green just applied dark green over it and so on. And the very important thing for all those who want to drop orchards. And so I receive a lot of questions about that which color pencils I use. High makes the colors how I make the skin looking so smooth and so how I blend the colors. What I used to blend the colors. So I want to show you how I makes the pencils for light and dark skin tones, and I want to create a few swatches with a seashell pink. It's a beige color, so this is my first layer, so the seashell pink is a basic color, the first layer, and now I want to apply. Think rose. So this is the combination, usually when I want to draw the skin tone similar to mine, So the first layer is social, a pink in the second Larrys pink rose, and as you can see, it looks very similar to the tone off my skin. So if I applied being crow's first and see shopping is the second layer, that will be a bit different color and here I want to apply. Arazi Basia Second layer you can see it's a bit different color here and here I want apply clay rose, so it's going darker so you can see these are very different colors for the skin, so it's very useful to practice these combinations and I want to apply beige sienna in here for the fifth sweat. I want to apply sienna brown someone a draw skin. I usually apply one pencils, a basic color at what in this case is social pink, and I just cover the whole area. And after that, I go over with the watch degree highlights or with the dark brown or beige sienna, whichever to create a shadowed areas of the skin. You can watch longer tutorials in my how to draw skin section. Those videos I have included eight skin tones so you can watch a similar combinations of lentils and let me just show you. When I draw dark skin, I apply beige. See enough the first layer, Al. I'm just great two or three swatches, so it's beige sienna and so we can add a lot of water colors. For example, here s I want to go over with dark prone. I don't know. I just like based CNS, a basic color for the brown skin and then in depends on the environment and everything. So which will be the second color? And now I want to use chocolate here. You can see how it has already to hue to it, so it's a totally different color now, and it's worth practicing and creating your own swatches. For example, just apply basic caller, create like 10 swatches and then go over with different colors to see what kind of colors you can get this way, and then you just write down. What did you use and which order, and then you can use it for your portrait. It's in here. I want to apply dark number. So here we have eight combinations and really a lot of colors, a lot of times of skin to draw with 8. How to Choose the Right Colored Pencils for your Drawings edited: so how to choose the right colors for your drawings? The bestest to Chris Watch is just the way we did in the previous video and start with any color. The two supposed would match the best and then draw different colors over. This watches over this the basic color, and then you have to print out your reference photo and to compare this swatches to the colors of the skin on your reference photo here we concede that the first combination that I drew with social pink and the pink Rose matches the best. Maybe I would add a bit of white pencil. Let's try with the different reference photos or concede the first combinations also good, but with a bit of white. But for the mid tone is just a good color. I mean combination period and see my color palette that I created with Prisma color premiere for the skin. So I have written over dis watches which color pencils I used, and in which order. And then we have to create the holes in this watchers, which will put over the reference photos that we have to print on the paper. So this way we will see whether the color off the reference photo that we see through the hole matches with the color on our swatch, he said. This is a very good way of figuring out which color pencils to use and which combinations of color pencils to use for the portrait. So I often used a pen pick the color picker for artists that I have developed to help my students in choosing the right color pencils and graphite pencils when drawing from reference photos. So we just have to upload or reference photo and the selected area in the picture. And the APP suggests which color or graphite pencil is the closest match to the selective color. There's also a mobile version available, but this desktop version has the accuracy future, which shows how close suggested pencil is to selected color. So if that shows above 90% then we can use that pencil with confidence. And if it shows under 70% for example, then we should consider using the suggestive pencil or makes it up with other color pencil . So these are the paid APS, but you can buy them at a cost off a que color pencils and save you a lot of time in selecting the pencils and save you a lot of core pencils because you wouldn't have to create ah lot of swatches, so this is very useful. But if you don't want to spend money, you can use any color picker online or in photo shopped to check up for the colors. But the best way off figuring out which color pencil to use is experience practice and trying out different color pencils to see how they look when drawn. 9. Types of the Lines: okay, so we can apply the lines of color pencils differently and they will help us create what we need. So we have hatching lines. These are not crossing lines, apply next to each other in order to cover the area completely or partly. And of course, you would press hard. We will create small stakes chur. Then we have cross hatching, which means applying the parlor, pencil, strokes, clothes or next to each other in one direction and then placing the same time off the lines at an angle off 90 degrees. You know, perpendicular direction to the first drawing. Lines said. This method is very useful in creating some textures. Such a some kind of fabric. Of course, this is just representational. We should create it much better. It won't apply this texture to our drawing. I just want to show you and let me show stippling. Stippling means marking the surface with the numerous dots so some of the artists create a whole artwork only by stippling. So wherever we want to create the shadowed areas, we have to create the dots closer to each other. And when we want to create highlights, we have just to make the distance between the dots a larger. So what? It is important for us because some of the pencils, no matter how hard, repress and take care, we won't be able to click, create smooth texture. And then we have just to go among the areas that are darker and to apply dots over the lighter areas to make the texture even this way. So this way we can feel in all those annoying why dots of the paper that we can see sometimes that this is very good and also this is very good. If you don't want to make sudden progress, you want to call her slowly and you don't want to make mistakes and then we can scribble. It means just to draw the largest wherever you want in order to covered area. This is also very good for some textures. So here you can just relax and just scribble. And then we have the circle is a method which means applying overlapping circles like this . This is like just to show you how it works. And now I'm applying them one over another all the time, and I'm doing it fast. But you can see what I mean? So it actually helps us the cover the paper completely. And if we press hard, we can create even texture. This is very useful for human skin, and I often used this technique. And as you can see, I go over and Oregon until I create even texture. 10. PRACTICE: A Smooth Gradient: Okay, let's talk about smooth, Radiant. A smooth grading is very important in a realistic style of drawing. Because this way we make our two dimensional drawing. We make it three dimensional, and we give our objects around shape. So here I'm applying cool grays, color pencils by principal color premier. And they are actually month manufactured in a six values. So to say, an eso with these pencils, we can easily create smoke, Grady. And by applying them one next to I'm water, but still wait us. We're going to see we have the clean edge between them visible, so I'm applying. Cool. Great. 90% 70% 50%. And now a 30%. And I have 20% and 10% left. So as you can see here we have the edge. The clear edge is visible between these values. So this is not smooth, Grady, and it is pretty simple to do the with these pencils. So this benches are very helpful, but we have to create a smooth grating, a bit different. So I guess this is not smooth, Grady. And so, in order to create smooth ready and we have to start with a pencil that we want but usually can be the darkest and to press very hard. And then we just release the pressure. Sweet draw towards the highlights, so to say so we just released the pressure and I'm using cool great 1%. And I want to continue with cool grade 70% and I go over the cool great 90%. And I pressed very hard and then I dropped doors. The right side and I also released a pressure on my pencil. Others can see like this, and now I continue with gold grape 50% and I also go over to the area of the cool grey 70% where I pressed less and I press a pretty hard. So I tried to create a smooth, radiant so that the edge between these values between these color Bendel's is not visible or not visible, so the edges shouldn't be visible. And here also pressed less and less. And now I continue with school grade 3% and also I go over 50% right side and I lessen the pressure here. And so it's time for cool, great, 20% and we go over. Go where 30%. So same here just for us. Less and less. And then we can finish it with cool. Great. 10% like this. So as you can see now, the edges between these color pencils are less visible. But still, we have some work here. So whenever you see edge somehow that here you can see that I have also and just visible you just work more. Pick up the pencil, the darker pencil, and go over the area that requires to be darken darkened like this. Someone I'm using. Cool gray, 50%. And I just want to eliminated visible edges between these color pencils. And now, as you can see, it's a quite better. So we can't actually say where the one of the pencils of ants and one day another begins. So this is small sig radiant. So I suggest practicing this to create, to be able to create smooths Grandin easily. So practice this every day until you acquire this technique and if once you acquired this ah technique and creating smoke grading, you will be able to draw anything would ease. So this is the most important thing in a realistic drawing. Okay, so here we can work more or we can actually leave it like this. But I know you can see what means smooths Grady. And so this is actually the great in transition. But from dark grey to light gray. OK, but Granny and transition between the colors are actually smoothed. Reading can be created differently. So let me show you an example. On simple plan. I want to draw six plants. So actually the leaves and I'm using dark Green. The sketch it. So I don't even draw any particular kind of bland's Just like something from imagination or memory, I guess. So this shape, it's not important no much okay , something like this. So now I want to create highlights where the leaves bent, actually where I want them to bend. And I want to use the grass green to start to draw the lines from the boats and toward the middle area like this. And with each stroke, I lived up the late of my pencil, pressing lightly at the end of the stroke and lifting up slightly, didn't lead of my pencil. So this way each stroke would will gradually disappear into the paper like this. And so just stop drawing the line wherever you want the high life to be So which means that we breast very hard here the very beginning. And then we just release the pressure and a flight. Quick confidence, strokes like this. Okay, you can see how my lines are very pale and they're actually gradually disappear into the papers. That that was the purpose. Okay. And now we can do the same from the other side. Certainly start here a band of the leaf and we breast hard one drink each stroke, and we leave off the lead in the pencil as we finished a stroke here somewhere in the middle with this. And as you can see, it already looks kind of bent. But of course we're not done yet. Okay, we can go this side. And now let's do the same with the each leaf. So, as I mentioned, the smallest Grady in will make the objects appear around. So if we don't want our drawing and object or drawn object to look flat, we'd have to great, smooth, radiant. And it's quite easier when we're working with one cooler. So it's always more to the golds one. We have to create Brian Smooth reading between to the two different colors, for example, between the blue and red. Okay, so listen, the same would each leave. I'm still using grass screen, but it can choose in your pencil. I mean, you can use spring green or parent green. Those are also very good for the plant like this. You can see they look kind of shiny this way. So just practice this every day until you acquired us technique. And until you are able to do this with ease and then you can draw whatever you want easily . So this is very important to practice because this is very difficult to create with color pencils. That's why we have to. That's why I have to practice a lot. So here, also the same. I start by pressing very hard, and I just lessen the pressure. Isil lyft off the lead of my pencil. - So we're gonna see when you're breast very hard. You don't even have to blend because it looks smooth. I'm into Pres Mikel or Premier color pencils, so they're very good. But when you press a less so you don't breast very hard that you need to blend it somehow with another pencil. Or but sometimes we can leave it like this when we create some fixtures. Okay, it's the same here. So there's line in the middle and it's not really important. I just wanted to kind of make it look like the leaves of the plant. You can see how the ends of my strokes are very light because I released a pressure five as a finish each stroke. So if each stroke gradually disappear into the Baber, it will make the whole area look like small sig radiant. - So if you want it believe to bent like here, next to the end, then you create here to highlight because it will look a bent where the highlight is so here. I want to create highlights here at the top. So I want to great longer strokes here and to finish them here atop and then from this side , I have to create very short strokes like this. So this far here it's gonna like him in shadow. So we're going to darken it later. - And here, just one at the bends here. But the other end is summer on the other side. So we don't actually see it. We wouldn't see. That's why the highlight can be here at the top. The next thing is to draw the highlights because the station, they stay white and I want to use great green light. If you remember when I was talking about changing the wall, you off a color. So we have to apply darker color over that to darken it and to a plant lied color overdone to make it lighter. So here I actually want to go over the grass green and order highlights like this. And I pressed very hard because I want to blend. Actually did grass green. So I don't go next to the end because that should be darker. Just there's just here over the highlights and I actually pick up a bit off the a substance off the grass green on my under deep of my sub green light, and I apply a bit of it over to highlight, and this way I blend the edge between the sub green light and grass green, and so for down we have to go over and over again like this. So here, same. If it's still brought, you can go over with grass green again. You can even apply grass green, but very, very lightly, and then over with the white pencil. You don't have to have all the pencils. Just it is important to learn to use them. Here. You can see that it's too the high, like it's two lights. I just go over lightly with grass green again next to the edge, next to the edge of the strokes that I created with grass green. And then I blended. You can see that. I mean, actually, I had the edge, risible edge between the highlight and grab screen and our Cassie. It's gone. It's the same here. So we discovered here, the mid area, the ends of the strokes or off the grand screen like this. Here also, and I can see how it looks like bent. So if some of the highlights air are a bit brighter, it means that they are like more illuminated, then the orders. So it's not a problem, but we can always dark in them off and light in them obsolete. If you go over with a y Bensel and press very hard, you will be able to light and optic area. So no worries eso here at the top. We have to I actually want to raise this. Oh, what? Because it wannabe the dark since the Oper areas would be eliminated. I can't like this. You can see the edge between the highlight and the grass green. You just speak up the grand screen or any other pencil that you used and you just feel the areas to make the edge in between the two colors invisible so that that's the gold. That's the point. Okay, here also. Okay. And I have one in this one left and I pressed very hard because I want Teoh actually to color the highlight two because it should stay white. Okay, so, like, you see how it has it around shape and it looks bent. And now we can create some shadowed areas. If you remember, I was talking in color theory whio and color mixing video about how to change the value of our made tone. So for grass green, we can apply it dark green. So here, for example, into shadowed areas over the ants off the leaves. So this means that we're changing the value of this green and we are darkening it. And so this is also important. This will give even rounder shape to the objects. And so if you haven't watched that so please check up those videos because I have shared a lot of information, which is important. It's for working with color pencils. So here I want Sue shade the ends, the leaves. So here, for example, it would be very, very dark because Thea order leaves would cast the shadow. So that's why I have to breast very hard. You can see how now this leave, which actually cast a shadow over this underlying leave, looks kind of closer to the viewer's eye. And this the underlying the looks for order. So this is what extra the cast shadow does. I'm adding a bit of the black here and here also, so this area here would be very, very dark. And here also this spark okay, and the rest weekend shade with the dark green. And so just don't go over to highlight, can't know, even next to the highlight. So just like at the very beginning of the leaves and here at the ends like this, and of course you would relieve the pressure Also shade towards the center. I want to leave Assad to the same with each and every leave. If you want Teoh. Actually, if it doesn't looks most anyone want to blend it, Just go over with grass green and then you go over with sap green light. So using these three colors, we have to create smooth Grady in. So here. Also, if you still see those why dots of the paper? As imagine, just go over again with grass screen. So I rarely use AWACS colorless blender, for example, For these things, I don't use us for the hair and for Dan for the animal, for for things like this I don't actually use. But if you think that the that we can help you, just you can use that. Of course I mean, you should use it should experiment with everything here also, so this far can be kind of longer. Have longer dark area, and again we can blend with grass green and here this part would be an absolute shadow. This is actually the under the back side of the leave, and so we can call her it with the dark green here also bit of grass green. So as I mentioned, the point is to make the edge between the values, the invisible to make them flow into each other. I think this is the only one left that I have. And we can also make this leaves separate by creating the kind of reflected lights. For example, orders leave. Which kind of Bentz here? So I'm going were over with a white pencil since they because they we couldn't see what Where's the edge between the leaves? So just go over with a want same here, here also. Okay, Okay. The next thing I want to show you an example with flour. So for example, we can use like a yellowish colors like and I want to make the highlights with jasmine Some next to the yellow curls made me tone And the golden road can be kinda dark areas so but I don't want to make it like this. 20 are actually to change the value of the mid tone, but to make them to drop them next to each other because there's 23 callers are very similar, so they can be a blend together. They looked like that. The same Hugh. Just with different volume. You confined three colored pencils that are very similar. Like cream Also. Actually, Sand, you can see this. The sand is the darkest extra Can be MacDonald and cream can be like highlights. Okay. And let's strong here the shape of a simple flower. Eso like it doesn't matter. The shape doesn't matter just to look like flour. And I'm using yellow ocher. Okay, Something like this. Okay, I can draw here too. This. Okay, so something like this. Okay. And I know this time let's start with the darkest spark and I'm using Golden Road. So I want to start here at the end. It's like this. And to draw the stroke, start toward us the middle, the maid area, and here doing the same. So I breath spray hard When I started creating the strokes and I just leaped off the lead of my pencil slightly like this. And now listen the same way each petal, so I don't want to repeat myself. Same each battle of the same. You start with the ants and breast harder, and you just lessen the pressure just stroke before you left off. the late of your pencil because the each stroke has to gradually disappear. Okay, something said, that's all with the Golden Road for now and now let's continue with yellow ocher. So just go over the Golden Road like this, start two strokes or to go on the road and draw doors. The center and also released the pressure with each stroke and same here. Both sides like this. So just go over the golden Road to blend it and to blend these two colors together like this. And let's do this with each pedal. So now, even if I mean to go the road and, ah, yellow Oakar, they're pretty similar. It seems to be like to same to you, but they're actually not the same Hugh. So there. Different difference in hue, which can be seen. But since we're going over the Golden Road, we're adding a bit of young locker or desk so it won't be visible. The difference between the huge, which would make the case if we worked, for example with green and orange or tell the different colors, said this scores colors are very similar. That's why we can work with them like this And of course, you can always pick up the golden road again and go over the edge between these two colors , if necessary. And so again, I pressed very hard and I just lessen the pressure us. I lift off the need of my pencil with each stroke. But of course, you don't have to do this fast because I do this pretty fast. - And of course, if your hand herds because it's ah, normal. Okay, just stop it and just continue to the next day or later. So you don't have to draw everything in one sitting because when we breast very guard in our hand will hurt like a vessel I own. This one lived and there were going to blood Jasmine. That's a highlight. And here you can see that it already had looks around and has shape treaty shape. So to say it, the petals don't look flat anymore. So the coloring is is like it can give can change the shape of the object. OK, and now let's great it the highlights with jasmine A second. See, if you don't have jasmine, you can use ANC shell. This is pretty similar or even send so you don't have to use this pencils, the diet. And so I just go over the mid area over highlighted area, and I also go over the yellow Joker. So I'm not going next city over the Golden Road. But of course, we can arm over to go there. Us. Well, if we want to lighten up the area so here also, I pressed very hard and and I tried to make the edges between these scholars invisible. So this also small sig radiance but created prayed differently then and cool gray color pencils that we did in previous example. So it can be done this way that way. So you can see there's no big Contras between the highlights and the shadowed areas as it is here, in the case of this plant, which means that the pedals of this flower or less bent somehow they're like band. But not as much as, for example, these leaves here. There's no wrong contrast between the highlights and the shadows. So this is also something that we can suggest with coloring. Okay, So as I mentioned, we can go even over the Golden Road. We can pick up yellow ochre again and go over the jasmine. If we want particular here, next to the edges to make the ad just, like also look, bent this. So now we can even lighting up the highlights if we go over with wines or create some patterns. So here, in the middle of, for example, like this and then it will look more bent. We're actually glossy last, uh, met, but the battles are usually met. Kind of all. Well, what Michael look like? Well, like And we can also color this here, this in the middle. I'm not sure how to call it. You think jasmine have a golden road, create some betters. So this is actually not important. But if we want our flower to look complete, more complete, it also creates some shadowed areas. Amusing light, amber press. Very likely. So, for example, to make to strengthen the edge between do battles like this sell the line number seems to be on the most appropriate color printers, but I really breast very lightly. Just a suggest word edge between the two pedal. Is this okay? I said this is also an example of how to created smooths Grady in and should practice this one, too, because this is very useful. You can also dark in here to edge press for likely. I said the most important is the this Grady in transition between these Hughes sort of weekends say where one color starts and one another ends. So there is no clear edge between the two. He was okay. 11. How to Color a Sphere: I want to show you how to shade the sphere, and I want to create a a circle with my drawing compass. And I have this one where I just place my color pencil and I want to use Golden wrote Greatest Struggle. I mean, you can create a circle with the graphite pencil and then erase it. But if you have something like this, you can immediately use the pencil that you were going to use for the sphere. Look, I saw the distance between the needle and delayed of my pencil. I want to set up on one inch almost one inch or 2.3 centimeters. No, no. Let's draw a simple circle here in the middle. Just's carefully because we need a perfect circle. Okay, so I want to use send us a basic color and to use gold around us. Darker volume off it over descent. And I want to use the cream for lighter values. Descend. So let's color the spear with the basic color I actually send. I'm just sent for Doug and I have imagined my light source on the top left corner, so I will have the highlights summer here this so it is important to this side. Where are light source is coming from and then we way. We have just shade according me and just carefully next to the edges to preserve. They're perfectly round shape of the sphere, and here in inner area, you can relax and just press very hard and use circle or emotions. Because the the circle is a month of is the best for creating small structure course, you don't have to create smooth texture, but this most texture is often very good for trying particular. If you want to draw the skin, deport treats. This is a very good practice, and now us. I am approaching to highlight here this tiny circle. I press less unless here's still like breast very hard. But us. I'm approaching the highlights. I brought us less and less, and you're also just go around pressing also very hard, and now here we can start dressing last. Just gradually lessen the pressure. Has your shade doors the highlight like this? So the basic color that we created with sand has to gradually disappear into the highlight for actually into the wides color of the paper, and we can achieve that only by lessening the pressure more Bensel like this. So don't worry it. This area where you pressed less doesn't look smooth right now because we're going to blend it. I mentioned cream cream is gonna wider while you san so we can use green produce. - And here also we just have to press less unless or as we draw towards the highlights like this . And as I mentioned to make it gradually disappear into the paper the core of the paper like this Now you can see it already looks like highlights makes this sphere shine. And I just use a single pencil. And only by changing the pressure you can see how we can create effects. But of course, I can't press harder than this. So I can't create darker volume with this with this pencil. That's why were you need to go over it with Golden road or similar pencil and I just want to blend it later with the with green. Okay, so just school over. Wherever you see, why dot the paper to school over and press very hard to feel it. Yes. Also I mentioned is the best if you use circular motion for creating small structure. And if you want to spread the color evenly, just go over the same area again and again. Okay? Okay. Now let's grace shadowed areas. So if our light source is coming from the top left corner, the self shadow will be created here. This is so called you can call the core shadow or self shadow. So this is darker than the basic color off the object. And we can leave tiny edge untouched. I mean, we won't be. We won't have to shade it. And now I'm using Golden Road next to this edge. I press harder, and then I release the pressure as I shade doors, the highlight. And of course, it has to gradually disappearing into the scent color. So somewhere here in the middle of Willacy And of course, it also depends on the light source. But since we dropped from scratch, we don't have lights. Or so whatever we do, it will suggest where would the light or scum from? And I don't press very heart. I also apply circle or emotions. I don't press very hard because I don't want to make sudden progress. I don't want to make it too dark. I rather go over and over again, pressing lightly so I can see the progress and I can stop in time. You're also next to the edge. So here we don't have actually reflected lights because let's suppose that this spears standing in some table So here we don't have we can go next to the edge and, of course, just carefully to preserve the round shape of the sphere. And I also mention Now we have to press Larson less as we shades away from this self shadow from the darkest area of yourself. Shadow, which is next found next here, next to the reflected light you can even use mineral orange. Would you send more yellow Oakar? But all this pencils are not too dark, so you won't be able to make it too dark. But of course, light amber or dark brown, they would be too dark for this color. So now, as you can see, it's getting its a round shape. Well, little by little. So maybe that's not even not a civil what I'm doing now. But if you'd watch time lapse video, you see that clearly what I'm doing now And that's why I had to explain. So here also, we can have some reflected light here a bit, and here we can shade next to the authority course. So it depends on where our spirits placed and light source and environments and everything . And so here, next, or actually very close to the highlight. I just hardly touched the paper because I don't want to dark and sand too much. But I have to make this golden road gradually disappear into the sand. And that's why I just pressed less unless and of course, here in this area, we can press harder. And now I'm going again here and I see that it's still too bright. So I just want to press harder this time. And no matter how hard I press, I won't be able to make it too dark us it by could have made if I want with Golden Rose this first layer, so that will be too dark. But ah hopes you can. You have to try this too, and to see how it would look. So to experiment with this because this is how I figured it out. What works and what doesn't work So we have to try so many things to to see one actually works and some of the things we have to try only once. And then we see it doesn't work or doesn't work for us. So you know what works for me doesn't mean it works. It will work for you, so you'll have to try different approach different a protest today shading to see which one is good for you. And now I want to press very hard here. And I was against it how I pressed very hard. I just kind of removed a bit. The previously shaded substance. That's why we have to do it carefully. But anyway, it already looks around. And that was important to create. Of course, if you see some tiny area that looks darker, you just eliminate that color substance with the sand again. Like this, You see some darker dogs. The golden road that is kind of gets together did get together and create some dots. Then you just remove it with sand or whichever eventually you used Subasic lore. Okay, so again, here at press align me and here, next to the adjectives very hard. Okay, This needs some more work if necessary, we can go over again with send to blend these colors together. And now, well, it's a blend the edge between the sand and the highlight using cream. So just go over to send Empress hard, and then you can actually cooler the whole highlights with cream. So cream is a very light pencil. It was still look highlighted, but it won't look glossy. So you have to count on these things. If you want something to be glossy, you just leave the highlight white. Now you can see it's gonna less glossy but still highlighted and express Ray hard to blend these scholars together and also use circular motion as you're going to see now that there is no clear edge between these callers and we have created a smooth Grady and and we have changed the value of the send and so many things that we were talking about, you can see actually in action and try yourself. Okay. And now to make this a spear appear even around her, let's create a cast. A shadow. So are light. Sores is coming from the top left corner. The cash shadow will be placed here and the lower right hand corner. So summer here we can start and I'm using a cool gray 20% and I call her next to this fear like this. So it the cash at her also has to have kind of a round shape. But of course, part of that shape has to be covered with spear like this. So it will also depend on the light source how far away from new Sphere it is. And of course, the line source had to be the darkest next to the sphere here in the middle. And we also have to make this cast shadow gradually disappear into the white to color the paper. And to do that, we have to press less here already edges to create a lighter edges. So of course, my sphere. I want to imagine it's lane table in a perpendicular angle. So it also depends on how we look at the sphere in the table. I mean, just like the way I draw. So the sphere is placed on the table and we are about the table and we're looking down on the table. So this is how I want to sphere the sphere to appear. If we have some side view on the table in the sphere den, the cash shadow will look different. And of course, if we place artists fear or any other object in the dark sunlight, we will have very sharp edges off our cast shadows. And we have some artificial lights. We will have blurry anges, which will gradually disappearing to do background or into the color of the table. So if we want our cash shadow too gradual disappearing to the white to color in the paper, we have to use a brighter volume by off Cool Grey, which is 10% agree 10% Andrew School uber gay anges to create a edges to create the edge, the cash shadow. And of course, we have to go a bit over to go grade 20% and then to breast less and less sweet shade away from the cash. Adam, you're also you should use circle our emotions because the cash at her, she looks very smallest. So just try to even lose spread Bensel. So as I mentioned we if we blazed our sphere and in dark sun lights, the cash add a would have clear edges, so there will be a clear edge between the cash shadow and a table. But then the highlight here would be should actually stay white because the light would be much stronger. You know how to fly Cool, great 20 game. Because this most Grady in between these two volumes there is not flawless enough. So I want to just a dark and your next to the cool great under 10%. I'm using Cooper and 10% again. So here also, as you can see, I have pre clear edge between the two values between two cool gray 10% and go great 200%. That's why pick up 20% again to color this area. Sometimes you should step it back from the drawing because on Lee, from the larger distance, you can see how it's most Grady in is and how flawless. So we're gonna see no matter what we draw, either to object or the shadow that it casts, we have to create sues gradient. So it is very important practice. I don't remember drawing something without having to create smooth, radiant. So no matter what, I draw some animals or poor trades object. Okay, And now let's darkened us here. The mid area of the cash shadow and I'm using cool grey to reverse ends. So the shadow the can shadow should be the darkest in the middle and next to the object. And then, of course, to gradually disappear into the basic color off the can shadow. We can even use a bit of cool gray 50% your next of the sphere very carefully, because this mental is pretty dark, particular for breast. Far. So just carefully go next to this year. And now you can see how to reflect that light at the edge that we actually didn't cover with. Golden Road looks brighter, and now it gives 12. How to Draw Fire: Okay, let's draw the fire now. And I want to start with the cream colored pencil and I just want to cover the whole area with Scream. And of course, we can actually leave out some areas that we want to lead absolutely white and just like this, just drop around them. Example. Here, I want to leave it white. So as you know, we have yellow and orange and even a red colors and fire. But I think it's not good to apply them first because they there are very strong. And, uh, if we apply cream or similar bright pencil first, we can always apply those pencils over this one, and it will make. The edge is between the colors blurring. It wasn't very strong. Colors won't Bedawi rich anymore, - so you have to press very hard two covered paper completely. So you just leave in some areas of white for some flames that have to be have to stay absolutely white because they're very bright. And once we go over with even with a cream, we won't be able to create down white collar anymore. - And now we can go over with Jasmine. It's kind of a darker color, then cream s so we can start creating darker areas. And, of course, it is important to keep. The edge is between the colors very, very blurry, extremely blurry. They have there shouldn't be sharp and with winter colors. So, of course, leave off the white areas and there is next to the white areas Should stay cream. I mean, I untouched cream, so you just don't go over them with with jasmine. And also, you don't have to go appreciation go or the whole areas. Some areas can stay cream. And here you can, uh, you shoot, actually, slow down and using circular motions trying to create small structure, of course, changed a pressure to so here also, just skip some areas. Leave them, uh, in cream. - Of course, if we apply cream first is the first layer that we can always go back. And Brian and optic areas, which would be the case if we apply, for example, orange first, then it's quite a record too. Create bride cooler over Dex. You see exactly which areas I have left. Actually, I haven't applied jasmine over the cream. So it there no beer, much brighter. You know, I can actually dig the cream again and just a little bit, too to blurry edges off the jasmine. The which is the fly. - And now let's use orange. Yeah, and here we can create some darker areas and also apply a circular motion where wherever you wanted to be darker and just course, go over to drawn areas. You can see that this I'm using orange. It's still pretty strong Kohler. But if we applied that it's a first caller, it's It's a very, very dark and strong soul. Somehow this is the baby illnesses decreased this way when we don't apply it to serve first lair and now, just at random, you just create some areas where we want smaller, bigger and also, of course, believe I'll do cream that you didn't cover with Jasmine maybe also untouched. And now we, of course, we go over to Jasmine but not overdo the whole area, so some tiny areas should be visible. Now you should press too hard because this orange good make to a strong call. Or anyway, if your breast for you can see that I have a life to some tiny areas in between this orange sections to indicate the flames. It doesn't born to grace small structure and to make all those wide dots of the paper invisible because this is what will make the drawing kind of photo realistic. If the texture is pale and we can see the lines or adults of the paper, it won't look like for dough birth. But of course, some people I prefer, does the drawings to be to look like drawing. Not like the door here also just changed a pressure when your bento to make some areas darker and so Marius brighter instead of making all the same. So and there are looks a realistic. When we do everything the same, use the same pressure. You can see the even. This pencil is toe to wear ridge. But if we used rad pencils that that will be too much. That's why I say orange pencils are just enough here for yellowed orange. Of course, draw far away from the areas that you left white. Those areas should be surrounded only with cream in this way will make them your shiny and actually illuminating. - You say that some of the areas don't look small step, but I'm going to go or dumb, wonderful loving steps to. So we're just going to blend them. No, I can use sunburst yellow too, to create it edges between the orange and jasmine. And we can also go over a bit over to orange like this and also over to Jasmine. Some areas. - So actually, just all are on the orange areas and just go off of it, ordered orange and also color some areas over D. Order jasmine and even over the cream I saw a random just draws on flames longer or shorter . Okay, that's it. Now weaken blended more. Well, let me go like this. And I hope that you have learned something And now try to make it definitely the different blames and song. 13. A Black Spider: Now let's draw a simple like spider. You can use my pencil sketch that you will find a touch, and so this doesn't have to be proportional or something. So the first step is to cover everything with the black pencil and press very hard to create absolutely black color. I thought you can change anything and make sure that you have drawn the outlines you want before you start to color because the black callers difficult to be corrected. So if you draw a bigger abdomen or longer legs or a seeker, that's it doesn't really matter. It would still look good, so the most important is to draw eight legs in two front legs. I said. This abdomen have to be on the back side and quite bigger than the part where is the head of something? So this isn't a brown side. It has to be a smaller. So this is kind of proportions that all of the spiders of this kind have, and so to make it a naturalistic us possible, and I want to light source to come from the left side. So I have marked some guidelines for the cast shadows against C. My image, but this is something that we're going to do at the end. So now this is This is a step that will take you a lot of time, and I really have nothing to say here. Just feel everything with black pencil and press very hard to create an absolute black caller and also leave the tiny areas of the joints like this of the lack. So just leave them untouched. OK, and now let's add two highlights. I use a warm great 10% and I just want to go over these joints that I left untouched to blend them together so you can see that they're still pree bright, but they're not done what anymore. So and here I want to create the highlights over tow this Harry back area of the abdomen. So if you press or a hard I'm using white pencil now you press very hard you will be able to line up the black area where is necessary, where this just go over their joints and create some additional hairs like highlighted. Here's just all over the body and elex and, of course, in the direction of their growth. He also whatever, Wherever we have left untouched, go and skipped so we can blend it now because that should stay in white. And I'm still using white pencil. You can see that I also go over to black area so that I just speak up a bit of black and and I apply. It's over the white area, and it will be like gray, and the color will be just appropriate for this produce areas. So everyone just same. - And now let's just add some additional highlighted hairs with the Whiting gel pen. I just created the lines, and I top then with my finger to make them kind of blurry and less white, actually, So it's one easier to create highlighted hairs with this tool, - and I want to work a bit more on highlights with the white pencil. So I have forgotten some joints to blend them. Okay, almost on. And now let's make this spider fluffy and Harry, by adding the lines all around it and I'm using a wax color was plundered by Chris McCullough, premier, And so the point is to place the tip of its over the spider or the edges are actually next to the edges and just to move it outwards. So you will pick up a bit of the black pencil and you would just spread it over to brat background. So everything should be blurry. All the edges should be blurry, and somewhere we have to create longer hairs. And some are very short hairs. But every edge should be blurry going this and just relieves the pressure. Does it finish each line in years? Quick confidence strokes. You can see how it appears fluffy already. I always use this. So wife scholars blunder for for blending Teoh annual far. So this is very good is usually the animal heart has to appear fluffy and soft, and this still is very good for death. So just to relieve the pressure, increasingly also finished in line and just gently take the blender off the paper to make the hair tinier bits. And I'm doing this actually pretty fast. Did you just take your time? This speed will come with experience with practice with time. But when you try this yourself, you will see how it works. You can see how it looks quite better and floppy, and it's really good. Okay, Mama song, I can see how it looks floppy. And like Riel, I hope that you're not afraid of spotters. Okay, I guess I have down with each leg the same. So that's it with this too. OK, and now let's create the shadows cast but a spotter and I use warm, great 10% here for the shadow cast little legs. So because this is a very bright pencil, so the legs cast the lighter shadow than the body. So we have to use a darker value under do body and here, next to the legs warm Great. 10% is just enough. So when you make sure that the shadows look natural, you can add more of this color, press harder or even use one great temp, 20% if you wanted quite darker. And so this is a very light color, and you can totally erase it with an electric razor if you make a mistake, okay? And I can see how it lifts off the paper. It looks gonna three d. - And here I want to indicate that this leg is quite above the surface when the spotter is standing. So I'm I want to draw the cash shadow acquired for order from it cause they're gonna see So the lack one look us of standing on the surface but a bit ago. And now I want to add warm, great, dirty just a bit to make a darker particular next to the legs because they're the The shadow is the darkest. I mean, the part of the legs that the duchess, the table or surface when is standing and here under did the body. So the cash at a war was always darker next to the body, and it has to gradually disappear. And to the white collar of the paper, also a shade away from the object. Okay, so that's it. You can darken because shadow more Who wants you can add more details. Who wants dark in something? Writing up something. And I hope that you'll have learned something and that you enjoy this one 14. 5 Basketball (Ball): And now let's draw a basketball bowl. And, of course, let's start with the circle. Just use but drawing compass to create a perfect circle. I draw on a four paper for months. Okay, so the next thing is to create the difficult patterns over toe basketball. I mean something like this, but I don't want to create exactly the same ball. Would you want to create different light source and but similar partners? I can. Now let's draw the patterns of the ball. Eso I want to draw one here so you can place them wherever you want, but wherever you place them, so they have to be the widest in the middle of the ball and thinner next to the edges because they're farther from from the viewer's eye, next to damages. So you will find this sketch my pencil sketch of that. If you don't like to sketch or you maybe that can be helpful. You see that? Okay, So just drawn to Paarl, Allies of lines followed to each other with this. Okay, so now let's divide the coloring into do faces as first to draw the upper part of the ball so that we want smarted and also to make it simpler. So I have imagined my life source coming from the top right corner. And so here we have to determine which Bensel we want to use this a basic color. And I want to use mineral orange so just carefully next to the edges. And of course, just escaped the stripes because we're going to color them. They're usually black, so we're going to color them later. Just draw are on them. So here I have imagined us. I measure my life source in top, right corner, and here somewhere I will have my highlights. So that's why I want to press lightly here next to the edges, still breast very hard. And now I start releasing the pressure to get see here because here somewhere I want to have my highlight. So just lesson to pressure to make this collar gradually disappear into the white color of the paper where we want to highlight to be no worse and you will see where I want my highlights to be. So it is important to create smooth, radiant between the mineral orange and this highlight. And now I'm going or to highlight pressing very lightly. OK, and now let's just feel the rest of the upper parts between these stripes. Just skip them and press very hard to feel the paper completely and use a while sharpened pencil when you go next to destroy jobs and next to the altar edge like this. So every time when I sharpen my pencil, I go next to the edge in Exeter Stripes and when it's ah, the tape is around, then I can cover. It's in the inner area and I still use mineral or injustice all the time. So this is pretty simple step yet. It has to be done carefully and after that we're going to make to create highlights and shadows That will be much more difficult. So this is just a simple coloring and we have to press very hard to feel the fiber of the paper. Okay, so now here also, I want to draw around the highlights that I want to make, like in circular shape, that which will go over this over the black stripe here. So, as you can see here on when my highlight to be, and then I want to press very hard around it, and over the highlight our press lightly like this. And of course, just skip the strike. And then we have to create a smooth Grady in between the mineral orange when we press hard and the highlighted area, by changing to pressure, can see here I press very hard. And then I lessen the pressure outside shades towards the highlight because the highlight should gradually disappear into the basic color of the well. And now let's just feel this operator. How presi hard everywhere. So as I mentioned, this is a very simple step, and I really have nothing to say. So I don't want to repeat myself, and then we're going to work highlights and on the shadow. Curious? - No , let's blend it the highlight with a white pencil and press very hard. Apply of circle emotion. That's it. Now you can see it becomes kind of darker, and here also go over lighter areas of the mineral orange, so you have to lessen the pressure. Also, you should blend away from the highlight and two great, a smooth scratch in between the highlight and the basic color but the ball and here also next to the edge. Let's lighten it up because the ball gets more like next to the edges, particular here, over already. Offer right area if our light source is coming from the top right corner and let's also lighting up here right above this stripe, it's kinda sunken area, which is usually highlighted like this. So I only here on the right side, and I just want to work more here to make this smallest. Grady in better. It seems to me this it's not flawless enough. So where you see a clean edge between the highlight and the basic color, just go over it with a white too color. Just go over the mineral orange next to the highlight, so the leading it up and to make it a saint's us, the surrounding highlighted area. So these values have to flow into each other without any edge visible between them. Okay, I think that's better. So now we can actually draw the Black Stripes, and I'm using a while a sharpened black pencil. So just very, very careful here because though you don't want to draw all the stripes, black pencil is difficult to arrays, so this is pretty simple step, but has to be drawn very carefully. - And now, since we're approaching the highlight, that area, the stripe that goes over the highlight, it shouldn't be black anymore. But it should be kinda gray or maybe even white. Here, in the very middle of the highlight eso, I'm using warm gray, 50% and now already 30% because also, this tribe has to gradually disappear into the highlight so it wouldn't be visible over to highlight. So it's not good if we draw black stripe over the highlight because the stripe would be highlighted, too. And so now I'm using black pencil here again, - and here again I want to use warm gray 50% and I go a bit over the black. And let's use warm, great 30% and 20 to make a smooth radiant. We're just trying to so both orange park and the stripes have to be highlighted, and I just want to outline the stripe with form gray 50 so I don't cover the stripe and a mental just I just trying to both edges when this I just want to blend a bit more with warm gray, 10% and now we can draw here this is tribes just very carefully. These stripes next to the edges should be very were actually quite Sener then the stripes in the middle of the ball because we would see less of them here, next to the edges. And now let's darken this side of the ball on the left side. So actually, we have two dark and devalue the pumpkin orange and I use burned Oakar so this upper area shouldn't be too dark. I mean, here under the left side because the whole upper half of the ball is would be eliminated if our light source is coming from the top right corner. And so here, about this almost horizontal stripe we have kind of bottoms are actually sunk in and protruding areas. You can check up sort of reference photos or something to see how the this specific kind of ball looks and actually the patterns that it has also here at breast very hard, because I want to create the sale of shadow of this protruding area and you can see that I have left almost the same thickness off the stripe right above the stripe. This is actually sunken area, but receives more light than this, uh, some shadow about it and I want to use a bit of pumpkin orange. They're kind of similar to burnt Oakar. Yes. So this is a very good pencil to change the value of the mineral orange to make a darker so would with the help. Also days do pencils working darkened the mineral orange because there similar colors, just different values were very similar, so they can work well together. - So here also the point is to create the smooths, ready in between the highlights and the shadows. So in between has to be the basic color, and these values and Don's have to flow into each other. And this way the whole ball will appear around. And now let's work of it more. Here on the left side, in the upper half, you can see that I'm using public Ramos here. I just become couple of Martin violets because the pencil lead is harder and I want to press harder here to create gonna darker. And But if you have only personal color, Premier Sienna Brown is a very good pencil for this area. - If you exaggerate with shading and you want to lighten it up. You just go over again with the mineral orange and you can lighten it up. So if you already for the second stage of the drawing, which is, in my opinion, a bit more difficult than the 1st 1 then start creating the darkest shadows first using dark number. So if our light source is coming from the top right corner, we will have the self shadow here overdosed lower left area, and I will just show you now what kind of shape you have. Two. Great here, and I'm using circulars. Um, here. So circle emotions because I don't want to use any cross hatches or hatches because the texture of the ball has, like on the Stein e protruding of darts. How to say and the circle is a magical is here is the best to use. OK, and now let's cover the whole lower half off the ball with mineral orange. So the same basic color that we use for the upper half and just go over the brown area, the or dissed self shadow and just carefully here over the edge is try to make them like, but that's smooth scrapie in between them but we will work a bit more on this later. So for now it is important to cover everything except for the stripes and press very hard to feel completely the fiber of the paper and just carefully next to the edges, the outer edges and next to the stripes. Okay, And now, before we started shading the lower area of the ball, let's feel dis tribes with black color. And since there wouldn't be highlight on the lower part of the ball, the stripes should be totally black everywhere. So if you have created your sketch correctly, as I mentioned, some making just tribes in the middle wider and those next to the edges comfortable, narrower. Now you only have to call or dumb. But here also, you can change anything so just carefully and use a well sharpened black pencil. - And we just did the easier part of the work. And so now we have to shade the whole lower area of the ball, and this is not only difficult to do, but it is also very difficult to explain to, because how I did do it, it's not clearly visible as it was in the previous steps So it's all about feeling the pressure you apply to your pencil. And so the most important here is to make a great in transition between the created, this self shadow and basic cooler. But here I want to use but a polychrome Miss Red Violet and also dark number. And they're brown by Pressman color premier. So here I press harder next to the self shadow, and then I just lessen the pressure as a shade away from it like this. So again that great in transition is very important and here it's pretty good to create. So we have to create a great in transition between the dark number and Merrill Mineral Orange, so that's difficult. But if we really want to learn something, we have to get out of the calm person and to do the difficult tasks all swell and out, not only the easier work, so this is a very good practice here. You can see how I'm feeling this area with the dark brown, so it really thus take a lot of time. But it's work practicing and learning, - and I just want to color just area with Indian read by polygamous. If you have only Prisma color premiere, you can use terracotta and now I want to go over. The edge is between these do Vollers with the dark brown again because still, I can see a clear edge between these two colors. So I use both pencils that I used for this area, and I want to create the smallest ingredient between these two colors, and I press very lightly because I don't want to make it too dark and same here under the self shadow. I want to color this area. You can use terracotta and also to create smooth Grady in between these two values and colors. And now we have to shade also these two areas. But let's make them a bit lighter than this one on the left side. So this in left side, it should be the darkest, and here also we have to create a reflected light so that reflected light is delight that reflects from the surface. When is the ball is standing, Or actually I want to draw like jumping balls that not to stand over the table but to be a bit in the year, and I want to create reflector lights so quite higher from the lower edge. So here's summer under this line that I'm creating here, and I is dark number here to shade that sunken area next to the stripe like this. So just pay attention to the done protruding part. Or actually edge that this fund everywhere, next to just drive and I also use here in your ride by Polygram's you can used terra cotta . So as I mentioned, I want my reflected light to be sorry here. Not makes the beat lower edge, but a bit a bit about it. And here to create a reflected light. We actually have to shade around it because we're reflected. Life should be two lights, and it's enough if we just shade around it and you will see immediately, or I will leave it untouched. Maybe we will have to letting it up a bit with white, but we don't know yet, So if we draw from reference photo, we can see exactly what kind of reflector lights we have or highlights and shadows. But we when we drops from from scratch, we don't know. So this is basically the same, like when we shade this fear, just it's bit complicated. So here I want to shade right next to the edge. I use dark number, and here also it is important to make it law Reg darker and then just did to make it lighter and lighter gradually like this. So just lesson to pressure like this. So we need to create that to make that ball appear around. And now let's continue with terracotta and, of course, next to destroy jobs. We have too great a sunken area so that sometimes sunken area has to be shaded and sometimes it has to be highlighted. Depends on where it is found. Okay, and now I just want to let in it up here of it. There were 42 reflected light that I mentioned just to make this area a bit lighter. Okay, lets call or just tiny section here on the right side with terracotta. So this shouldn't be too dark yet quite dark. Erred. And the surrounding area just want to prove my stripes so you can always add more off black , but it's hard to remove to eliminate, to erase deploy pencil, So use this pencil very carefully. And here I want to shade with dark brown, particularly above the reflected light, to make the reflected light even lighter because we should actually make it lighter with the white pencil. But we can make it ladder by shading the surrounding areas, and here also, I want to shade above the reflected light with Derek Autumn and also under. Now let's let it up here in the very middle. So, as we're gonna see, I don't agreed to hire a Europe like a light next to the edge, but quite above it. And this will make the ball even rounder. And here also, it is important to make this colors flow into each other's. So just used minera or into to use for the basic color and white and then again, if necessary, terracotta. But to make it the edge between these colors invisible so they should flow into each other . - OK , and now let's darken this edge with the dark number and press for online B. So this edge shouldn't be too dark because it will be also gonna illuminated from the table below it, so just carefully but you, if you overdo, you can always go over it with the color to use this basic color. So if you go over with mineral orange, you can just eliminate the dark number. Which wouldn't be the case if you applied dark amber, a subfloor purse layer. I just want to dark in this area, but more with the dark brown and here to add a bit of dark autumn because this area above their reflected lights still seem to be too light. Okay, So, as I mentioned, I want to draw jumping ball, which does standing over the table. So we need a guest shadow and I want to use warm grade 200%. So this Ah, the shape of the gas shadow should be gonna elliptic like this. You just to draw horse into the lines all the time. And you don't have to press very hard over this. I want to go with the warm grade 10% to make the outer edges of the outer edge off the cast shadow kind of blurry and to make it disappear into the what's color of the paper. Okay, I hope that you enjoy this one, and that you have learned something so pleased to have free to ask many questions because it's not even easier to mention everything. Sometimes I repeat myself. Just please ask me any questions. If I haven't mentioned something or you need don't know something more. 15. 6 Fabric Folds: We can't let me show you how to draw fabric faults, but I found the best way for creating the rant fabric policy. It's to apply the shadowed areas first, so I want agreed the shadowed areas with dark number. And then I'm going to go over with Crimson red, which is spring Chris Lowe's and pencil, and it will be visible. I mean, the dark number will be visible under delayer off crimson red is it? Just press harder when you want shadowed areas to be the stronger and then lessen the pressure on his shade towards the highlighted areas. So here have also to change the pressure and to create that smooths Grady ins. And then when we apply Crimson Red do like almost the the work is done then. So here we have to to pay attention to everything to values and to smooth Grady ins, and it's quite easier to do now, then two, then to draw a layer with crimson red and then to go over with the dark number. So I mean, I tried. I have tried a lot of combinations, and this seems to be very, very good and successful. You can see how I change the pressure. So I used the same pencil and when I pressed very hard, it's almost black. And when I barely touched the paper, I can create a very light areas and, of course, over delighted areas. The crimson red will be more visible so you can create your fault wherever you want. Just try to make some of the parts darker and some bar the lighter. And of course, that smooths gradient in between. It is very important, so it doesn't have to be the same. Plus mine, you can create the shapes of the folds, difference shapes and and, of course, different values. So this is also very good practice using colored pencils. Here we will see how did Dexter looks when we apply delight er pencil over this star pencil . It is interesting because some of the prisma color premier color pencils are not translucent. And so in some of them yes, example create crimson red is translucent, and I really like to use this pencil often and because also it produces very small Steck stir and some of the pencils of clumps together like China blue or electric blue. So that's why it is also important to create swatches so that you can see when you choose the color, so which can create very smooth texture. And sometimes we don't need small structures. Then you can use those pencil that clumps together. So if there are also good for some textures, but for a very small stature, you should use it some. Something like crimson red or any of the red pencil is good. So here you can see that I have some lines, press with the dark number and then I press slightly around them here, here, here, in the lower area. I want to press and I just release the pressure as a shade upwards. Here also, everything depends where we want our life source to be to imagine our light source and we have to shade accordingly. Okay, And now we can finally go over with crimson red and just press very hard and go over to the dark number and everywhere else. So this is a simple step, and here you can see how that we can see the dark number under delayer off crimson red, and now it looks just good. Just the way toe fabric folds. Look and go over even over to darkest areas. So just everywhere to cover the dark number completely and press very hard. - Okay . And that's it, uh, here can create some highlights. Over. Just go over with white, and you can try with the current colors. 16. How to Draw 1-point Perspective Landscape - A Beach in the Maldives: Okay. Now I want to show you how to draw landscape in one point perspective. So we need pours on the line and we need one ish ing point. And I want my when is she going to be here in the middle? And I want to draw the beach. Indian, Maldives, in the middle. I want to draw a road which quads from the island to the or water villas us if a viewer was standing at the beginning of that road. And so I want to draw two lines, starting in a divination point in making delights farther from each other else. I dropped them towards the bottom and I want to draw to over water villas on the left side of the end of the road and under outside. And I want to draw to double horizontal lines here. These were represented floor of the house is and just here, right under the horizontal Uihlein. Yeah, let's make the road. And here and now we can draw vertical beams which will hold the roofs off the villas and the let's draw a bit of them under the floor like this. Now we can actually raise this horizontal gwahd line. It will be still visible because we're still needed. But it seems to be too dark. And now let's drop the roofs. They can actually be A fan is shaped, but I I want to drop that directors to shapes over those villas. You can look for some reference photo if you want to study them, or you can just do the same as me and try to make this to roof the same as much as possible . And if you're satisfied with your sketch now, we can call our this time I want to use Public Rama's Taleb lose for the sky, and I start with Ella Bleu, as you know we have. After that, we have ah, brother Hugh, which is middle fella blue and and we have life. Saleh Blue. So I want to make describe the darkest here on the top, and then to make that smooths great and from the dark blue to the bribe blue. And then we have to make this God brought us next to the horizon. So if you have Prisma caller, you can start with China blue at the top and as you drop, don't worth it just released the pressure and then you can go over the lover area of China blue with the blue while it lake. And then you can do the same and finish with Horrible. But here, in this case, we have three the similar pencils in three different hues manufactured by pulling chromosome. It's what easier to draw like with this pencils. - You know, I just go over the lower area off the sellable with, uh, middle of available to blend the edge between this to Hughes and oppressive very hard. So as you know, polychrome Mazar oil based. So they're not that creamy and soft like Brisman core premier. But if you press very car, you can really create some nice texture and small structure, so you're very good. I don't often use them, but I use them when I don't have any appropriate color pencil by Prisma core Premier Danny . He was following promise, but it's very rarely because I like the brisman colder premier. They actually have a lot of colors, very good colors for the skin, and I really prefer Prisma core Premiere and I use auto brand on Lee. If I really can find in a set off 150 pencils when I can't find any a good answer for Dad. I mean 150 pencils are really enough in a really good deal. But there's they're millions of millions of callers that we have to produce, so they don't have not a factor that move. And that's why I like to use luminess or polychrome. Sometimes that's like you're the same else. I'm finishing this, uh, area with a mid middle fella blue. I press less and less as you can see, - and now I just want to go over it with Line Saleh blue. And also I pressed very hard over the lower area off the middle, Saleh blue to make that credit in transition between the blue callers and, uh, to make them flow into each other. But if if also could see, I also have gonna visible line. But that's not a problem. But we have to make that US followers as possible here. Now I just want to breast less unless and now I want to us. Ah, last blue hue. I want to apply powder herbal by personal color Premier here just right above the horizon about my quad line that I drew at the very beginning. I can still see this off line. Although I had raised that like I still see. - And also I just go over the lover area off the life Allah blue. So as I mentioned this part of the sky right above the horizon hasta better brightest. Because usually it looks like this in pictures. And, of course, just skip the roofs of the villas. Just drop carefully next to the Dail of one of the rooks. And I just want to make it more flawless by going, uh, over again. It was possible and I can go over the darker areas and I just want to Brighton them off. And now let's it color the roofs and I want to use form Great, 30% by Pres Mikola Premier So drawn these straws in the direction they're use really placed over the roof. I know. Let's do the same here in the right side to Corder writer of And now I just want to highlights some straws like here no left side and, yes, some of their straws to make them, then out to make them highlight it. And they used the white color pencil by public Rama's because this is a very hard and I can create tiny highlights with this pencil. So it one break and same here on the right side. And now we can draw some shadowed areas here on the roof because this part receives less lights. And I used warm gray 70% by Prisma core premier. He was bullied dramas You can use hungry four or five and just here at the bottom off. This Stroh's like this here also I know. Let's just blend this shadow parts with the warm gray 50% I know we can draw a thick line which you represent the horizon, and I use Coppin Hallion blue here by personal color premier that you can use any other similar dark blue color pencil like indigo blow or even denim blue. If you use polychrome, Mazer can use Prussian blue or even Kabul's blue greenish and just think one. I like this and I want to create some waves with the same council like funny lines. And now let's blend it all was possible. If you use polychrome is, you can use cold one to blend this and now we can start growing the water and I want us the first layer I want to apply with known Photo Blow By Bruce McCulloch Premier Lightly like this and we have to draw on Lee horizontal strokes like this. You compress a bit harder in some places, toe create kind of waves that you can see. Did I do like this if you use fully. Chromosome e k was actually light cobbled Turco's for this, but you have to go over with some sky blue. It may be your life, Ella Bleu, because this water in Mel Dave's is usually something between blue and green. And so we have to make something colors here and now us a second layer. I want to use light aqua by personal color. Premier and I just go over to previously drawn the areas on the same here. I don't press too hard and just potentially here next to the road. Don't want to call it, - you know, I just want to blend it all with the white color pencil by first Makor Premier. As you can see, it becomes blurry and, uh and looks much smoother. So I I'm actually eliminating those wide dots and I blend these two callers two layers of different colors to get her. And you can say that I'm just, uh, achieving the right color. You have to learn to make some pencils. If you don't have Dr Pencil just experimented with them on a separate piece of paper and try to layer one pencil and go over dead with a daughter and then just may change the order because it really does matter which Pantelis obliged us a first layer in which one is a second layer because the calls were different depending on order on which delayer Czar Bill and now here also on the left side. And as you can see, I draw a horizontal strokes all the time. So now article not cross hatches. Nothing here. Just horizontal strokes. Work fine for this water. No, we can call her here. This floor with the villas and beams I use here cold grey, 90% for days and you can apply that over the water us against C and I want to is black core pencil here for the areas that I suppose that would get less light so you can add a lot of details chairs or something, or tables or some fans, anything you want or even people. But I just want to drop the beans and floor and kind of tiny fans. And now I want to create their reflections in the water. And I use cool gray, 50% here, just approximately. How would they like mirroring them in the water to give this water the effect of being a water? Actually, and then we can draw the road. And so here it is important to create the brightest, the next Davila's and as we draw the road towards the bottom to make it darker and darker and for death, cool grays are very good because you know that we have six huge and I want to start with Google 10%. And I just want to go with 2030 if you dance saw towards the bottom and I want to make that great in transition. I was always to make it flawless, so it will give the picture death, and it will make it look more realistic. Of course, if you use public Ramasar, just use cold. 12345 six is maybe too dark. And now, here I want to use cool grey 70% and for this, uh, two boards along the both sides of the road like this. So I want to make it a darker like this. So this board should also be darker, closer to the viewer's eye and pale when getting off order. And that's why we can press a harder here next to the bottom. And we can always brighten it up with white or cool your 10% here it's against, see like this And here also the bottom. I want to use Cool grey 70% and I press very lightly here. - And I'm just going to blend it with cool gray, 50%. And to make this edge between two areas separately, drawn areas and visible. So I was always a sign already mentioned. The flourless Grady in transition could be achieved if you go over the previously drawn area with the darker now Hugh and then again with the previously use pencil. Until you achieve that smooth grey aliens, - you know we can drop the area between the water and the sand and using cool, greater percent eso. This area can be smaller and weaker. It's gotta can actually cast shadow of the shadow cast by the waves over the mortar sands Here Also just going to use docker pencil And now we can color the sand. Uh, I'm using sand by Prisma color premier, but you could have been used Jasmine or ex shell. If you use polychrome owes, you can use cadmium, yellow or not Pelosi alot and melted. I hope that you enjoy this one and that you want to experiment with this one point perspective. Just tried to draw street with buildings and just go from this one ish ing point with ruler . Create the walls and everything inroads. And I hope that you enjoy this one and see with the next tutorial. 17. How to Draw Kiwies - Part 1: Okay, let's draw these TV's, but I want to draw them a great paper course. You you can draw them in the white paper as well. I want to make this inner light area prominent and it will show are better on great paper. OK, and now let's sketch out the outlines and I used a graph eventual furnace, so I don't want to use any agreed method or something. So just draw elliptic shapes. It doesn't have to be the same or proportion or something doesn't have to be in the same place else in the reference photo. So for something like this, I don't actually was agreed my hood and just Mark departs that you need to him. So I actually want to align the shapes of the cube and to huffs, and I want to draw the seats and press pretty hard the seas, because I want to see them throughout the colors that I'm going toe blind hers, and you will find this sketch on great paper and also on white papers. You can draw overdone if you want. You don't like the sketch, you will find it. - Okay , and let's draw them piece by piece and I want to start with the health piece here. Live side. I s spring green and I want to offline this the half off the key first. And let's feel the flesh or actually the whole area between the skin and the seats. So the best is the draw, the the fiber actually Inder direction fiber. So each stroke should radiate from the center of the keeping. So this way it will look more natural. So circle ism or something, cross hatches is not good here, only strokes like this and just pressed very hard. So if you draw this on white paper, you should use apple green instead because this coolers will be different on on paper, you can always take a separate piece of paper and try out the pencils before you apply them to your drawings to see how they will look. End up kind of paper that you have. So some of the strokes can go in between the seeds. Just pay attention to the other edge that has to be clear and sharp, so not took over or the background. That's why all line first. So I make sure that I won't go if it. I don't want just to separate news to keep these creative dark line throwing them so that I can see where is to enjoy doing them okay. And just patiently cooler all around, Same way. So like this, you can see that each stroke radiates from the center because the fiber of the key V looks like this so you could start wherever you want or skip some areas you can call or it just the way you want. You can start lower area you want to, so this is not important. - Okay , Now I want to just agreed one more layer and lime feel. Just go over the drone area all around and why one more layer and also go a bit over deceits this time. So color closer to do center in between the seats. Okay, Now let's highlight the Farber's. So I used great green light for just answer. The point is to use a light green color here and to create highlights in the middle of the green fibers like this because it looks too flat for announce that we have to grease some highlights. So just go over the seeds or in between the seeds and continue in between the fibers you can't use even a wife pencil just okay . Now let's air draw the core, which is a pretty simple step. And I used cream here and just breast very horn and go a bit over the seeds. Or in between the seats, the loves of the seats. And here you can see the benefits of drawing on great paper because this core is much broader than the color of the paper. And so it appears it pops in the page, looks prominent. Even if you draw this on the white paper, you should also you scream for this first very more and just blend these colors together here over deceits because there is no clean edge between this court and the fiber, but kind of small scrappage. And I want to apply, but warm gray 10% as well. Okay, I'm Dutch it. And now we can strengthen the outlines of the seeds with well sharpened black pencil. Just go over. Damn you, bro. You can see them. Your initial sketch pencil sketch under the layer of colors and just go over it pressing very hard. - And I want to use a bit of dark number to cover the whole area where the seats are found. But I press a very lively because I still wants the seeds to be clearly visible. And in order to make these seats shine, we can create. But why dots over them with the winding jump in for a white marker and see how the it looks awake now and just go all around and apply dot over every seed. - Okay . And if you're satisfied with the left slice, you can move to the right slice and using the same pencils and methods that we use for the left one. And let's cover The whole area was spring green. I'm in the whole green area, so the same here. We have to draw first. I want to offline. It's and after doctor, draw those spokes that radiate from the center, so I don't want to repeat myself. Just pay attention what I do. I want to repeat myself because this is just the same one in what I was talking about and also pressed very hard. Can I use Spring green? If you draw on white paper, you can use Apple green And now let's add a bit of flying feel. Just go over the grand area. Now you can see that I don't even draw in direction of the fiber because I want to blend. But and now let's, uh, created highlights using great green lights and here also just go in the direction of fiber and among deceits. 18. How to Draw Kiwies - Part 2: - get in here also lets the dark and deceits with a black pencil. So just go over the sketched lunch seeds. And here also, let's use dark number cooler a bit. This roves the seats. What this impressed Miley, it's We shouldn't make it too dark. Just pressed lightly and go around like this. OK, and now let's color the core with cream for a savory horror. - I just want just striking some of the seats with a black pencil so you can always go back and dark and something lighting up something. And here also, I want to use the warm gray 20%. Two Planned a bit order cream as same here. Let's apply it. Why adults over the seats with awarding Melbourne to make them shine to make them appear wet, and you can top which a finger want. It's what to make it a bit blurry or if you wanted to be less white, I want this. Okay, now let's great here. Dining Cast shadow the shadow that is cast by the left Slice over a bit. Here, order Dhiraj slice and I use Dark green, and I just go Or here, next to the left slice like this sent our first lesson last us A shade away from the left slice to make this dark green intimate into small scratching between the dark green and basic Korb. Keep me on the right side, Right slice like this. You can see that now in this left slice look like closer to viewers, - OK , and now let's start the whole Givi where only the skin is visible. So this area should be everything that smooth. And I used Sienna brown for this. So he rehabbed, applying like dining, cross hatches, hatches, everything to make to create it keeps his hair skin. I saw on I press very lightly for now. So here we can use cross mantras, circle or emotions everything. And so if we pressed hard it will create very small structure. But we don't need that here, so we now have to press very lightly. As you can see, it looks exactly like no que vous skin. So sometimes it is good to press hard, but as you can see sometimes not really good. So depends on the textures that we want to create okay and just covered the whole area efficiently and just carefully next to two slices. So not to go over. Don't you know? Let's great highlights and shadows and I use beach beige to create a highlights. And so the highlights and the shadow should also be should be smooth but rather Harry. And let's just create also the shattered areas. And I use dark number here, some that next to two slices secure, particularly in between and, uh, in this area wanted to slice it's meat. You're each abated arcas because it will receive last lights. And then we have just a lesson to pressure a sweet shade away. Um, this shadowed area like this. So this will make Dickie. We look around. I just want to add a bit of black. - I don't like this highlight here, and I just greatest. I go over with the Santa Brown again and let's darkened a skivvy all around with dark brown , but press very lightly, just here next to the edges like this. And then we can create a highlight here. They're just in a reference photo and in a speech beige No worse, this highlight shoot gradually disappear into the basic color McEwing. And now let's use a bit of flying bill to give a touch green to this skin and try to go between tiny hairs that you created with the Sana brown. So don't dress car because it shouldn't be smooth. - Okay , so here you can add a big ups. Tina Brown. If you want somewhere and change something to wants, I just want to make this edge between the highlight and the strong skin. A bit blurring should be sharp just to create tiny hairs already highlight kind of press bird lightly here because the high Lushan to look shiny and and smooth. But it also has hairs this part of the skin. But to hear our quite liner and also create some hairs with beach beige, it also don't cumber. OK, and now let's use the same mental to create a skin already to house. So I start with seeing a brown and just carefully here next to do green fiber. So here also it should be Harry can discovered whole areas, and here this spark in the middle of can be a bit lighter, particular just edge between the green long fibre and skin. I just want to dark in here. These rules so so mentioned. You can always go back, and when you see something that you didn't see before, you can change it. Often you can see something one, the whole surrounding areas finished then you can not, is the things that you could not notice before. And let's continue with this one. So this one is almost on, because here we can't. We have very small area visible and the reg slices like has a bitch larger area to to cover . It's the same here with the same pencil. Forget in here also. Let's great some highlights and shadows, but before death, let's add that layer off lime feel. Add a touch of green to this skin because it looks more natural with the Dr Green like this and just press for and lively. So don't try to blend these areas. - And let's use dark number to create the shadowed parts. We're actually here just, um, Ortio left slice the cast of the shadow or this area, so this has to be very dark. - Then let's shade a bit here, right side to make it look around. And, of course, let's creating highlights in the middle. You're also going to see that I'm stippling because I wouldn't want to create it. The hairs like highlighted hairs. And now, if you're satisfied with the keys weaken, you can actually create a shadow cast by bikinis over the surface. And I used French Grey 90 here right next to them because the cash shadow is always the darkest next to the object. And then it becomes lighter and lighter. Well, said moves away from the object. So here just pressed very hard. They're here. I want to continue with French grace 70% and now I use French gray 50%. So every time ladder in letter while you to create us smooths Grady int because, as I mentioned, the cash shadow should be gradually disappearing into the surface. You can even use a warm ways or cool raise for the cast shadow. - And now let's use French Grade 50 to create the cash at on this side. - And here, next to the kiwi in the middle of the cash at, I want to use French graze 70% because it should be why darker and right next to the Kiwi. I want to use French grain 90% and of course, let's blend thes edges between these values to make that dad just blurry using the French graze. And that's it. I hope that you have learned to draw this Dexter's and that you enjoyed the story alone and free to ask me. I didn't mention something. You want to know something more, I will be glad to transfer. 19. How to Draw Lips and a Cherry - Part 1: okay now lets you draw this picture. But I want to use the greed method and let me place degreed or this reference photo for us in the grid row image editor for artists. And I want to top eight calls. Make them black. I think maybe more like 12. Yes. Okay. And that's quite better. And let's include leveling, and you will fund both reference photo and reference photo with agreed attached. Okay, So I want to create agreed with them with 1/2 off one inch for my for the with and the height of myself. And I would just mark dots your upper area like this and same here in the lower area. And now let's just connect these dots and the use of five age pencil. This is a very life pencil, but we should press too hard because it's a hard pencil and chicken damage to paper. - OK , and now let's do the same for the Rose. So we have seven rows and same here. I want to mark half off a inch for them. Height of the cell. It's like that's about one point two centimeters. Same here. Okay, now it's connected dot Okay , and let's just level them. Oh, here we can start from whichever born we want. And for example, now here we have three. See, between the two and three C line, we have the corner, the last corner off the most, as I want to start with this one with this part. So between two and three seats. So here somewhere I have the off line off the corner and now just fall on the all lines from south of Cell and just, uh, create the same for the corresponding cell. Of course, you can change something if you want. You don't have to draw the same different shape or to add something or to omit something. But I just want to draw the same so that you can. I don't want to confuse you. I want to make it simple for were you to learn eso keep checking the cells of the reverence photo and it's for me. It is simpler to goal all around and to keep outlining instead of drawing cell by cell. But you can try that, too. Maybe that's a that works better for you. I mean, you go like three, see and foresee and five c and you draw like that and, uh, order. Okay. And here I am Almost. I have completed this cause mine and I just have to connect it. Okay? And now I want to draw the inner outline of the lips, your next the deed, and same between the three and four in si. No. - And here I am in the right corner. No, I just want to continue. Don't work. I lined Loralee. So here we actually have it. Jerry can That's it. So I can see her offline both lips. And now I want to continue with Jerry. So here I have to highlight. And the seven column, dear Oh, like, here in the middle of the law area and just want to market like this. - And sixth calm, dear. Oh, - and here we also have cast shadow. This done. We can draw that too. And order lip okay. And then we can draw the deed were just, like, a bit complicated. But just ago, cell by cell and it focused on a single cell at the time. And here don't press a very hard with mental. So years of five age and I breast very lightly And as you can see, it's still quite visible. But I will have to erase pencil before before I started cooler. - And I will be attaching my pencil sketch with the great over it. And we don't agree. And here we have the shadow cast by the Oper. Like so I'm one too. Sketch this. Do so. You have to to offline whatever you need whenever you need to. And it doesn't mean that you need the same outlines that I need. - And here I want to off line day junk. And also here we have one too visible. You can say I'm here. - Okay , so this is how much of the outlines I need. - Okay . And now we can and raised. Agreed. So this electric razor loves me to to raise better and for size Lee and our just scan it this sketch now and attach it for you. Okay. And now we can start coloring so you can choose any part to start with. And I want to call her the lips first. And he was a scholar like by per smokler premier for dad. And use a wash sharpened pencil for coloring the Wallace line. So when you sharpen the pencil, you start first with the own lines and just carefully go next to the edge and just trying to give the edge clean and sharp like this and just go over again and again until you create you reach schooler until you spread that evenly. Like this Eso here I pressed very hard because my pencil is not that well sharpened anymore . And now I can't colored in your area which can be done with with around. So I done it. Doesn't have to be while sharpened can also use permanent rent or crimson red So it doesn't have to be or even popular red But I used scarlet, red and here also just carefully. Next to date, lower edge twinned it offer labor and deeds and for death. I'm just going to sharpen my pencil again. And to use a wash sharp intent they order for the INGE. Okay, so just carefully and extra deet And of course, you should drop this fast. Just take your time And I just want to place my hand on my a piece of nylon because I don't want to touch the paper with my skin. And here also just carefully next to the edge and press very hard to spread the color evenly. And I would just continue to the longer leap to color that too, just very carefully and slowly next to the edges. 20. How to Draw Lips and a Cherry - Part 2: and let's just color this, uh, shadow that the stem cast with that's gonna read. And now we can go over it with, uh, Scarlet Red, - Okay . And let's finish the lower lip too. And just skip this stunt, - okay ? And since the lips look flat for now, let's give them a round shape with highlights and shadows. So let's start with highlights and here, over to upper lip. Just go over the upper area, which is pre highlighted here and burnish it. So we have to lighten up. This is honest Lake caller with a wife and saw and then to still gradually released the pressure on suit burnish downwards. So here, in the middle of this important and in the corners here, we don't want to create any highlights. So here in the middle, in the offer area, the leap has to be the brightest because it receives the most light. But in this case, work having reference photo and weaken check up for the Tom's. If you over do this, you just go over with them Scarlet lake again, and then you can darken the highlight. If you find highlight to right, you can always darken it with but the basic color, you see? Okay, you know, it can do the same here in the lower lip. And so in the very middle, it has to be the brightest. And then we have just to relieve the pressure as we burnish away from the center of the highlight eso here in the very middle along Totally to give Dilip a round shape. So this is a very delicate work. And, uh, it is important to to change the pressure on your pencil appropriately like this. And you can see it already looks less flat. And we need to to create this flawless gradation between the highlight and basic color of the label and same with shadows. - So here in the middle life breast very hard and I a less under pressure us. I work away from the center of the highlight. Same here. Just go along the lake and breast less and less. And here, next to the corner as against and a reference photo, Duleep is very, very light saw it has. You have breast very, very hard here. And to make it much brighter than any order one of the lips in here also in this corner, - you can see that I'm using circle emotions. I'm stippling scribbling whatever I need to to lighten up the areas and to make them us most us possible. - So the leaps have to be the brightest in the very middle and because the lips are place placed under around Blaine. So the mid area here in the middle of the lips, received more light than in the corners. That's why we have to press part of here in environmental. And then we have also to make them around vertically and to change the phone in the middle here along the name. But you're going to lower early. - Okay , You know, let's great the shadow areas and I want to use Crimson Lake and just gonna read sometimes grant for the very dark areas just here and the upper lip. You're in the corners next to the corners and just go over lightly again and again until you created the caller that you want. That is like a quite dark yet not too don. So here again, I'm using that's gone red and here also in this corner. And don't forget to leave all the edge next to the edge D basic color for to reflect the light you can see in the reference photo. There's a reflected light from the teat and everything, so just don't color the edge next to detection. What's more, maybe we're going to a lightening up later here. Also, if you order shading, just go over with with the pencil that you used for the basic caller. And now let's use Crimson Lake for less dark, shadowed areas. So just here, right above the reflected light ls just light enough to reflect that light of it. So with a white pencil, just go over the edge here to create reflected light, and it will give really even around her shape. - So this is actually delight reflected from the teat. Christie are white and the lips are wet and it will reflect, or the lower area of the lake. And, of course, after having drawn the gum, this reflected light will be even more prominent, and then we'll see what we need to lighten it up more. And let's continue with the cream some lake to create a shadowed area. So to great, actually, the self shadow he here, right above the reflected light and here about the reflected light to press harder and just released the pressure as a shade upwards. Okay, and here we can go over the loralee next to the edges very carefully and press harder next to the edges and then just lessen the pressure. Also have shade in words, the leap to make it look around. So here in the lower area, actually would allow early. We don't have to use Tuscan red because that's too dark. And since the op early receives less lights in the corners, you need to use Kwai darker. And so for the lower lip, we don't need this current. So Scarlett Lakers and off is dark enough, - okay ? And I can see how it looks much around her. I mean, when you compare this to did to the step when we only applied for scholar Scholar Lake, it's a basic color. When it looked flat, you can see the difference on the highlights and shadows really make difference. So would help off shadows and highlights. You can make two dimensional drawings into three dimensional and let's just great some highlights with a white marker here over the lover or little upper and lower leg like this , I guess in reference photo and just stuff on it If you I want to make it blurrier Our last white to stop with your finger. So create horizontal lines and dots. And here in a more area to I can see how the lips look, how the lips look shiny 21. How to Draw Lips and a Cherry - Part 3: you know was the next thing. Let's draw the cherry and I want to use cream some lake for the darker parts and grimsson red for the lighter parts. So these do colors are busy basically the same, just like a different volumes. So Crimson Lake is a big, darker value. And let's start here to darker areas with Crimson Lake and we can actually release the pressure. Also, we shape towards the centre because we're going to color with the Crimson red with this. And also, I believe the edge the tiny area next to the edge for the crimson Red because that will be gonna reflected light. So here, just carefully next to the d. Because we're outlining the teat when we call order cherry. So just very carefully because you can change the shape of the heat. But if you accident accidentally go over the teeth, you can always erase. That would an electric razor a bit, but you won't be able to raise it totally. And then you go over with a white ink job, man, and you can make it white again. And just skip this thumb. - Okay ? Now we can use a crimson red and I just want to create this reflected light with you crimson red pressing lightly and I go over with the white pencil and we can now cooler the whole cherry completely with a crimson red supper is very hard and trying to took over the paper evenly. So I use here, circle or emotions. And of course, I go over the Crimson Lake areas and here in the middle, next to the highlights, we have to press Miley. So this highlight in Millikan stay white and just drop around it and next to it, pressed lightly and it will make the cherry appear shiny. And I was going to see in the very middle of the highlight Looks good like this. It makes the cherry your shiny and maybe we don't even have to blend. It can stay like this Can I just sharpened my pencil to draw the edges very carefully to preserve them perfectly round shape, the cherry. - So here we have to apply a bit of white, handsome, lower edge of cherry, too. Create a reflected light, an honor it We can add a bit Tuscan red. What a cast shadow and we can light it up this highlight. We want even more with the white pencil. You can even apply wide marker and just stop it with your finger to make it last white or blurry. So I still use crimson red, - get in a weekend lighting up here the edges for the reflected light But it will be more visible after we we'll have drawn the surrounding area. Then we can end with more of it. And I want to darken here more with the Crimson lake and just go over the areas that I did with Crimson Lake. And I just want to go again. And I also want to add a bit of those Go red, make a bit darker the south shadow here and of course, the edges. And, of course, to line up the edge with white. You're also this area is to be darker. I want to use this Keret for this, you know, here we can light and all pure despair area in the middle next to the highlights and just a lesson to pressure. What is you burnish away from it. Here we can apply some dots with a what worker? You can find them too bright just stippled over done with crimson red. And now let's color to stem with Kelly Green. And we have to line up the upper area with the white pencil to make it appear around, - unless just dark into a large area which receives last light with a well sharpened dark green pencil. You know, before we will move forward. Brett, let's just cooler the darkest areas with a black pencil and this air here next to the dog on their dis dude. And here just very, very carefully because black pensa can be erased. And so here we have to breast very hard. Okay, Suit here. Also, we have the black area between the gum and a cavity and here next to okay and no lives with the same here in the love side. - And of course, your next to this them just very carefully with a well sharpened pencil. And here we have a bit on there. Just tell, you know, let's create this cast shadow that the stem casts over to dunk. I forgot to sketch it, but, uh can find its position approximately here, and I use blank raspberry for this, but I don't press too hard you can also use those Conrad. And now I just want to color to Deng with being crows. And I pressed very hard and I go a bit Order this guest shadow set Rosy beige is a very good cooler for highlighted gum and dunk and also rosy beige and clear owes These scholars are good for the gum for Deng and so here let's cooler everything else that is, uh here next to the D is gone. Okay, And here also dried side Ok , And now let's use rosy beige to dark and at this stung a bit it still seems to be too bright. It's in particular here on the left and the right sides to give it around Rounder shape like this And since we need here a bit of reddish Hughes, I used mahogany red to apply here next today Anges dunk! Yeah, I pressed less and less as I shaded tourist A cherry? No, of course we can blend it with Glaros. If we want the tone to be more reddish, we can apply. I'm how gonna read per sumer lightly and then blended with being crows or rosy beige. - And I also want to use a bit of raspberry for the darker areas. Deng here in the side, most of the same here. So I apply mahogany red next to the edge, and I just collapse under pressure. I was a shade inwards, and it will give the edge around shape. - Now we can actually shade this, um, gum in it. Shadow with him, Mahogany red. And I also want to use black raspberry here next to the blank. And of course, we have to greet a smooth Grady. Um, between did black Anna Pink Rose. You also to make it a bit more reddish over with MMA, how good he ran. 22. How to Draw Lips and a Cherry - Part 4: you know, it can blend it with being grows still still here next today. Being girls, we have to use mahogany red and I want supply Bit of Glaros, gorgeous whole area and a game mahogany red to make it a bit darker. If necessary. - I can blend it with Glaros and, like transferring to make, uh, gradation between the black and can hear this area. No, no, we can cooler. They said part of the dog that is in shadow with a black raspberry. So it's almost black. But so this area is not black. That's why we have two cars with a black raspberry and very carefully next to the teeth and also next to the cherry. And as I mentioned now we can see what her too reflected. Light over the edge of the cherry is light enough or we want to. Don't let it end up more. So here we can start using whole gonna read, and they're here. We have the end of the guest of shadow. Very sharp edge between two shadowed area and, uh, illuminated part of the dung. No, it's cooler here with the black raspberry. This area, which is not black And yet this very, very dark here and here next to that black areas. Okay. And here also and very carefully under the deed with a well sharpened like raspberry. - And also very carefully here, next to the stem. - You know, we can use Mahogany ran here for areas that in shadow, but not in a deep shadow. - Okay , Yeah. I just want to run it being crows and on some mahogany red. Okay, So now to make this dunk and inner area of the most appear what? We can apply some. Why thoughts? To make it look went. Just open it, you know. So So if you don't want them to be to Bryant to just stop with your finger. Well, it's what? - So if you don't like what you have created with the white in Japan, it every moment which you're now or with any colored pencil. And here I want soup created shadow cast by the cherry. That's what a dog. Just little part gonna use black respirator for this. And now it blended with Clay Rose. And now I can actually add a bit of Rick reflected light or edge. Okay. You know, we can drug heat and let's start with the gum. And I used being gross for the illuminated gone between the sheets like this. So here also very carefully, I'm here for the shadowed part. Off the gum, we can use a raspberry so here between the lip and to eliminate it gone. It is to come, which is shadowed the upper lip. Guests shadow over it, so it has to be darker, and it has to be darker than the reflected light over the Not really. So use a wall sharpened raspberry. And here of this, the gum and a shadow can be drawn with raspberry. Enough with being grows. - And let's continue here in life side with unlimited gum and being grows. And here, in the shadowed part, we can use the raspberry. - And now let's color the teach. So the date of, of course, why reputation and stay wide Onley some of the highlighted areas, for example, here or did indeed we have, like one vertical highlight like this, and arrest has to be shaded with great 10% and the offer area where the upper lip guest shadow or the heat has to be shaded with them. Cool, very 50. So is that the same would arrested a deal like this. So this is school very 50. And now, as we work inwards, we have two great bigger shadows like this. I still use school very 50%. And here between the teat press very hard. Let's do the same here. - So we can color this to its around the highlights with cool very 10%. So the whole teeth, except this this vertical I liked and same here. But here we have bigger highlights in the middle of the deep. I just want to your school Great tree to Grady Space between the teat. So here we have bigger highlight and the middle order feeds and the rest can be colored with him. Cool, buried 10%. And here also just check up for the highlights and the reference, What award? They're found and shade around them. I still use Google 10%. But now, as we shade in, words did have to be shaded with gold braid. 20% here I want to use in 30%. So all the way shade in words we have to use cool, great 20%. And this deep to even with great 3%. No, it's good dinner here with cool, great 10%. - If you forget to leave out the highlights, you can always apply them with a white marker or with the winding jump in. So it is important to use darker and darker volume else way. Shade them inwards. So here it can add some dots. Order gone to make it look shiny. Never over the deeps. Okay, you know, I want to start using great 20%. Of course, I am between the deed spiffed e a little bit of a jury to blend it to make a seeker line. No, I can tolerate with cool very 20% and I was way shade the inner deeds. We can start using 30% and conducting more orders necessary. You can even use a bit of cool grey 70% and also raspberry because the color off the most and dung and gone will be reflected Ordered deet. Now let's just Shadab it here too. The lower teat and I also use school graze Here, here I want to use cool grey 17 created is the bridge hearts and I go with boobery 50 here to color death to that is in shadow and again. Cool. Great. 50. And so here we have the brightest area. City can stay white and harass. We can shape here with his employees. Want to school very dirty here. Also, we can use a bit of France berry because the color of the dog and the gum will be reflected . You're also are too deep. - Okay , I think that's it. I have hope that you have learned something here and just let me know if you have any questions. If I haven't said something that you'd like to know, I'll be glad to answer. 23. How to Draw Green Sneakers - Part 1: Okay, let's draw green sneakers from this reference for this photo, but you can use any other color. It doesn't have to be green. You can just change the few in any softer editor, and you can take a look at the reference photo and use the colors that you want. And let's start with outlining. So I'm using an HB graphite pencil. I don't want to use any degreed method here, but three hand. So there's not much to say about how to sketch you Eater used the great Matt Matador sketch freehand! And, uh, you can see what are your sketches, proportional or not, But feel free to send me your sketch any time so I can help you and give my feedback. So the point is to make it us proportional is possible. And, of course, you will find my special sketch attached so that you can use it if you don't like the sketch or you want only to color to practice coloring with color pencils, you can download and it and printed on your drawing paper. And now let's cooler. I used spring green a Subasic color, and so let's just call her the whole area of this canvas and spread color lightly across the areas that need to be colored. So here we can use overlapping circles like diagnose Cross Hatcher's anything because this extra shouldn't be smalls, because this kind of fabric look very harsh. So here you are allowed to scribble and to call her just the way you want, because the green area shouldn't be evenly covered with color. So if you're a beginner, you should draw the first layer, barely touching the papers so you can see the color in action and learn to control the pressure of your hand. And once you're happy with the placement of your first layer, you can draw over its and, of course, just go around the sewing stitches and everything else. - And now let's shade old the older shadowed areas with dark green. So wherever you seen reference photo that the shadow is cast, order the green canvas. It should be dark, and so we have to dark into value of this off the spring green music using dark green and, of course, Presbury Horn. Next, the laces or right under delays is and just gradually lessened to pressure, also shade away from it because it should flow into the basic color into this spring green . And so they should be a small scratch in between these two values. And now let's offline the suing stitches. So just go all around each tiny stitch with a well sharpened green until I mean dark green and to create gonna tiny guest shadows because there shouldn't be like a clear edge between the wife stages and green canvas. There should be a tiny cast shadows that is cast actually by the stitches and also just outline the islets with a well sharpened green pencil. - And now let's create the shadowed areas over the green. Callous so areas that they received last light. But the press very lightly and also creates small scrapie in between these two values. And you shouldn't make it smaller because this green canvas looks too flat for now, and we have to shaded a bit because not every part of it is receiving same amount of flight . So some of them are like a little bit in self shadow, so we have to shade it 24. How to Draw Green Sneakers - Part 2: Now I want to use a bit of pressure on Green to create the to shady areas. In between, these two follows that we created with spring green and with dark rain, so to kind of make smooth Grady and in between these $2 this pencil is pretty good for done . - Allow . Let's caller the holes of the island's using while Scharping Blood Bench ill. I use a fine point marker here by stab alone. You can also use anything black pants of black markers. - And now let's ah, cooler the thick black stripes along the rubber, also using a black pencil. It's a simplest that, but it has to be done very carefully because we can erase a black pencil. You can even use the graphite pencil that can be easily erased. And then when you make sure that everything is in the right place, you just go over with the left until and now let's just create the highlights over this. Over these, the black stripes just breast very lively because the black color, when highlighted, is not black is always gray can . Now we can Shadab it the islets with the grape Anselm, so not the whole areas of the islands just a little bit to make them kind of shiny because they're not this white to create a self shadow and just go all around. I was against the actually in the reference photo. And now let's great the cash shadow that delays cast like over each otter. Using a cool grade, 20% or 30% they're here. I want to use dark, great pencil to color this area, and now we can draw the logo and, um, the letters here over this area, - you can use dusk a red or crimson lake for the star, and you can use spring green for the letters. And here I just want to shave a bit off this laced with their graphite pencil. And what if the warm grade 20% And now let's color the rubber all Tsos using cool, great 30%. - And here in the front part off the rubber outsole, we have to create gonna cross hatches, and I also use cool right drew percent here and now let's use a well sharpened black pencil to create a cast shadow under the sneakers. - So here in the front areas, we should create, like, why bigger shadows? Because this areas are lifted up, they're not placed on the surface and we can draw here. The other edges the cash shadow using cool grade 20 or 30% or also warm grade. So I hope that you enjoyed this tutorial and that you also have created something good, and I like the sea or drawings. 25. Colored pencils 1: Okay, so let's start with the lead of this yellow pencil. And I want to use canary yellow and just the color here, Everything carefully next to the edges and pressing hard. Then I go over with yellow shot russ. The yellow pencil has a little bit greenish hue to it. We can add it with yellow shot russ. I want to create the shadows here on the right side using Indian yellow bicros. This is a pretty new pencil like two years ago started manufacturing in here. I press on the right side, then I press and as I shade to the left side here, everywhere we have to create that smooth gradient between these colors and to give around shape to the pentls and lets, and I want to add a little bit of green ocher here on the right side, pressing lightly. And then I pressed less and less towards the left side. And I want to line it with Indian yellow. So both of these are by Rondas aluminous here on the left side. We can create some highlights with a white pencil just on the left side in the edge to make it a little bit lighter. Just a little bit more of green ocher suppress harder if necessary. If you want to make it darker, we can color the body of the pencil. Here I want to use a little bit my ruler just to make sure that I make the straight line like this. I can color it all the whole area with the canary yellow by prisma color. And just draw vertical strokes all the time. Never horizontal or cross hatches. Only vertical strokes like this. Okay, so this is the easy part. It's just hard to actually to go over it with darker and to create that gradient between these tones and volumes. I press very hard. We have highlighted area on the left side, then we have mid tone in the middle and shadowed part on the right side. I wanted actually to put my light source on the left side when I took a photo because I wanted it to be this way. He also, I want to go over with yellow chartres, can see how it makes it a bit greenish here. You can see how much that smooth gradient and how it matters and why it is important. Because now this pencil looks so flat. We have to give it a round shape by creating a smooth gradation between these values. Now let's go with the green ocher on the right side. Same here. We pressed harder on the right side and then as we shed towards the left side here also just vertical strokes f the time, this color is also good. On the right side, we have dark orange pencil, it will also reflect that color. If on the right side was a blue pencil, then here we would have to use different color. For example, some more greenish color because the color of that pencil would reflect on this one. Of course, I want to use Indian yellow next to it. Here I press harder. Next there is the area shaded area. And then I press less and less as I draw. There is the center, there's the left side. Now I lessen the pressure and I actually hardly touched the paper here in the room. If you have some vertical strokes visible, it's just okay. When you take a look at this reference photo, you can see that on pencil, you have some of vertical strokes, A little bit of green occur. If I want to fill in some areas here on the left side, of course, we can use a white pencil to lighten, opt to highlight the side. It will make the pencil even more. Here we have to press very hard, remove this yellow color. Because here we have two layers yellows. The first was canary yellow and the second yellow shot throws this way. We also blend the area and it will look very smooth. Same here, just vertical strokes here. Also we press very hard on the left side. Now we press less and less as we shade away from this highlight to make it gradually disappear into the basic color. Appear somewhere in the middle, and then it will look around. It might look pretty simple, but it's not actually even some imperfection. If you can see in my drawing that I have some strokes like different and imperfection, it will make it more realistic because without any imperfection, it might look like vector drying or something like that, like digital drying. So it's good to have some imperfections. I also want to use a little bit of yellow ocher pylomins just to add one more color. It will always make it more realistic and less flat. And of course here we'll have like a reflection from orange pencil. And I also want to apply a bit more of green occur. So if it's not dark enough, you can always dark in more then we'll see later when the orange pencil is done, whether we need to shade here more, how they will actually relate to each other. But for now we can like this just a little bit of yellow ocher. And here, so we can darken a little bit necessary. I just want to add a little bit of pumpkin orange here next to the orange bencil. And also a bit of yellow Ok crew light here using a ruler and an electrical ray, just like this. I want to create a vertical highlights also let's create a highlight with the white in Japan. So here we have one vertical highlight that has to be almost white. And also here where the lead. Let's color this wooden area, and I want to use brown occur 10% by dash aluminum here. Also, we have to draw vertical strokes horizontal. Same here on the left side where you have highlighted area and shadowed area on the right side. Here in the middle, I want to use brown occur 50% here. Also, we have to create that gradient. This texture, it shouldn't be smooth. We do have to blend it, that's why I don't want to press too hard. Now here on the right side, I want to use brown occur. This is the darkest one of these three values of brown ocher and as you can see now it has a round shape. So again, I want to banker 50% here. Again, I want to use burn ocher, just this next to the edge to make it darker. Okay. So for now it's okay. We can always go back and change something. For now, I think it's okay. Okay. So now here in between I want to use dark flesh, my cards luminus and I want to try straight decline here, so I don't want to use black, that will be too dark. Now I just want to add a little bit of yellow ocher and also golden rod here next to the edge, just to blend this dark a little bit. Also I want to use a little bit of pumpkin orange, because I'm going to use it for the pencil on the right side next to it. That color has to reflect a little bit on this yellow pencil. And of course to blend the edge of this dark thick line that I did with dark flesh, a little bit more of yellow ocher and also a bit of green occur by luminants to blend it all. Okay, so the pencil next to this one is the mineral orange. And I'm using mineral orange by prisma color here. I'm starting with the lead very carefully, next to the edge. Now let's draw the shadow pot with pumpkin orange. So here on the right side and same here. I press harder on the right side and then I press less and less sheet towards the high light. Here we have some pattern that we can create. Also here on the left side, I want to use a little bit of white pencil. I don't press too hard a little bit here. We can have broken or something lead. Also, I want to use Terracota here under right side to make a little bit darker. And same here, I pledge less say, shape. There's the left side, there is a highlight the same everywhere. We have to create that around shape by creating this smooth gradient. These thes and the values should flow into each other flawlessly without any edges visible. We can do delete with the same pencils, mineral orange, the basic color. We can also highlights. If you don't have a whiting Japan or you want to use color pencils, you can just draw around the highlights. Just make sure to sketch it in the right place and just draw around it. Same here. Only vertical strokes like this. Here I press hard. And here also I want to use a ruler. It's okay to use a roller if you need it here. Also, I go over a little bit over this thick dark line that I created with dark flesh. Just to blend it, the edges. Use a make up brush to remove the dust parts of the pencils. I don't want to record that because don't want to look good in time laps. But I always mention what I use, It's not good to eliminate these things with fingers. We can smudge it. We could smudge it. The big make up brush is just perfect for this. Let's also create a thick line with dark flesh using a roller just here between these two pencils. Okay, now I want to start shading here on the right side using terra cotta here. I want to a little bit to go over this thick line that I just created with dark. Just to blend it here, we have to press harder over the edge, next to the edge. And then to lessen the pressure as we shade towards the left side. And to create that smooth gradation between these tons. If we just color and leave it like this, then the pencil will look flat. These shadows and highlights are what will make them, will give them the three D shape. I want to use pumpkin orange next to it here, somewhere in the middle. For the midtone, same here. I also press next to the previously drawn area, then I release the pressure as I shade towards the left side. Here. I want to highlight this area on the left side with the white pencil a little bit and just vertical strokes all the time here. I don't want to press too hard because I could remove too much. I want to apply a little bit to lighten up this area, to highlight it here. Next to the stick light, I want to apply pumpkin orange. So all along the line now I want to apply a little bit more of terracotta. I wanted to make it a little bit darker, a little bit of natural act by Luminans. You don't have to draw this fast, so just take your time. The speed will come with the experience and practice important to draw fast. Little bit again, I naturalized, but now I press very, very lightly. Same here, a little bit over the lead, on the right side of the lead natural acid by luminous. I want to create here the highlights in the ruber and an electrical eraser. And here also to this main highlight, we have shorter, less bright highlight. Now let's blend it a little bit with a white pencil. You can also create here more, but that won't be much visible. But it's okay. I want to shade a little bit more with natural acid by cards luminus. If you shade it too much, you can go over with the pasty color that you use. I used mineral orange. Okay, here I want to go a little bit with bar sienna or the allo pencil. And also a bit right next to the edge with pumpkin orange. A bit more of the ciena luminous same here I lesson of pressure as I she towards the left side. So I feel that this right side should be darker. Now comparing to the orange pencil, it looks too bright, which is something that we can't notice when the paper is so white. It's now hard to create to make it much darker because the first layer was lighter. And this is often pre, useful, depends on what we want to achieve, but it might be useful, again, a little bit of pumpkin orange here, Nice today, the edge. Now let's draw this wooden part. And same here. I want to use brown occer, 10% on the left side for the highlighted area. And just vertical strokes like this. And then we want to create a mid tone, which is brown. Occur 50% We press slightly next to this highlighted area and then we press harder as we shade towards the shadowed area on the right side. The same here. As always, we have to create that smooth gradient between these stones in order to make it look around. As I said, we should make it too smooth. This area should be smooth. And here on the right side I use brown. Occur again, I press hard next to the edge and then I press less and less like this stores the highlights. So again, I don't press too hard. In some areas, the pulp of the paper is visible through this brown ocker, which is very good. In the case of this texture, this is exactly what we need here. We don't want to make it smooth. What's random lines over the lighter areas, like darker lines or the light areas will make it look more realistic. But this is exactly where we have in the reference podell, darker lines or the highlighted area. And again, brown occur 50% here. I also want to use precision knife to create its tiny, tiny highlights and next to them I want to use brown ocher here. Also, I want to add a little bit of whiting Japan to make this highlight even brighter. And here we have tiny reflected light. Here, I just want to use a white pencil for it. 26. Colored pencils 2: And to shade around with natural acids. Gets to the next one is the red pencil and I took a picture of scarlet lake by prisma color. I also want to use this pencil as a basic color for this pencil, but it can also be like crimson red or poppy red or similar pencil. I'm same here carefully. Next to the edges I press very hard, you can take a picture of your pencils. You don't have to draw these. Then you place the light source where you want it to be or after this drawing, you can experiment with different light sources to practice this way. For the shadowed area, I want to use dusk and red. Same here. I press hard next to the edge and then less and less as I shaded the throws the highlights. I guess I say the same all the time. If you make it too dark, you just go over it with Scott leg again, I will make it a little bit lighter. Here on the left side, we can use a bit of white pencil to highlight this area. Now here the opposite would also press harder. On the left side, we want to make it lighter. Then here, just to gradually to lessen the pressure as we approach the mid tone in the middle. Only these vertical strokes, we don't want to use horizontal strokes here. Just a bit to highlight here. And I press harder this, I just want to strengthen this line between these two pencils with dark flesh luminant as I was shaking over its bling of it. Okay. You can also strengthen this line here between the red pencil and the next one. It's the same with dark. I know we can color the whole area with Scarlet Lake pressing hard. Now I want to create darker tones. Perylene brown by card. Same here. I press harder here, next to the edge, and then I press less and less as she, towards the highlight, towards the left side. And here a little bit on the left side. Much, just a little bit here, next to the edge. Also, you have to press hard over this decline between two pentel, release the pressure as you shade away from it. Now, I also want to use a white pentel here for the highlights. I press very lightly here. We press harder in the middle of the high light. And then we press, and as we draw all way from the highlight towards the left and the right sides here. Also highlight should be much brighter here, just a thick line. You can use a ruler if you want, and then you want to clean the tip of your pencil because it will pick up the red pencil and you won't be able to lighten up with this tip anymore. That's why often I clean the tip of my pencil, my white pencil. I know you can see how it's getting a round shape. After we have created the shadows and highlights, it now looks surrounder. It is good to step away from your drawing cases like this and to take a look at it from a larger distance. And then you can notice some things that you don't notice when you close to it, when you draw it. For example, the shapes and the values. Or you just take a picture of it and you can see the thumbnail in your phone. And then you will see how it actually looks. You can realize the things that you can't see while you draw. I want to use a ruler of it, white pencil, and I press very, very hard. It's better, it's straight. And here also, we can add a little bit for white ding Japan here if you don't like the high lights that you have created even with a white pencil or with a whiting Japan, just go over with your red pencil that you use as a basic color and you can easily remove as, don't be afraid of creating highlights with this whiting Japan. Here we can darken a little bit more if we want and highlight. If the highlight is lighter, the surface texture, the surface actually will look shinier. It also depends on what kind of texture we want to create. In the case of shiny texture, we have to press harder to create brighter highlights. Also, if we want to enhance the highlights, we can create darker shadows around them or darker basic color around them. I also want to use a little bit of mine bilomins just to make here a little bit darker, this area and also here the lead on the right side but just very carefully because the spence dark, so we don't want to make it too dark. We can create the wooden area. The same here, brown occ, 10% bioluminas on the left side for this highlighted area. And in the middle of, we want to use brown ocher 50% And same here, just vertical strokes like this. I just want to highlight here a little bit more red pencil to lead some still using brown ocher 50% I draw carefully next to the red areas because I don't want to pick up the red color and to apply to this area, I don't want to go over that area. The red area with the spencil here on the right side is just the brown oc, the darkest one of these three values here. I don't press too hard because I don't want to make this area too smooth because this texture is just not smooth. I'd rather go over again and again until I make it dark enough because I don't want to press too hard. Okay. Then we can go to the next one. And before that I just want to draw the line between these, This timing using black pencil just carefully. And here, next to between these two. I also want to use a black pencil because these are darker pencils and the space between them is absolutely dark. Here I took a picture of Lilac pipers color premier. I want to use this one. So here I want to start with the lead in here on the right side. I want to darken it with violet precor in the same here. We press harder here, next to the edge. On the edge should be the darkest, and then it should gradually flow into the mid tone here in the middle. Then we also have here highlighted area here, somewhere on the left side, not exactly in the middle. Again, I use a violet here for the shadowed areas. And here in the middle, I want to blend it a little bit with parma violet, so all of these are by prisma color and the white for the highlights. Now we can also color the whole pencil with lilac by prisma color. And same here. I press very hard, just want to skip this highlight here in the middle. So here also this line. We don't want to make it straight because it will look like digital drawing or something like that. So I have to make it a little bit different, a little bit wavy. In this case, it looks the same in reference auto. But if it wouldn't, we just have to make it a little bit different, as I said before, to create some imperfections here. Also, we want to use the violet to shade this shadowed area again. We press hard here, next to the edge. And then we lessen the pressure as we shade towards the left side in order to create that flowless gradation of, of these domes. And here on the left side, also I want to use here, Wallet, this is a little bit darker than lilac, so it's just good for this area. And again, same here. I have to just repeat myself. So we press hard next to the edge and we press slightly towards a highlight here. Also, we can use a little bit of white for the highlighted area. I just very carefully, not to make it too bright, you will notice how the colors sometimes gather form tiny groups. Okay? And you can lighten them up or darken, depends on what you want to achieve. Some of the pencils are just like that. They don't create smooth texture, but you can easily remove those tiny, tiny groups to say the white pencil, for example, to fill in around it to color the, the lighter areas with the darker pencil. So we have to find a way to make it as smooth as possible. As I said, some imperfections, these tiny gatherings are just okay, that will make it look more realistic. Same here. I want to draw a vertical line with the white pencil. Here I press a little bit harder, then I want to blend around it a little bit to blend it. Also, I want to shade here the mint tones with the parma violet just carefully, because dispensers are pretty dark, So as to prove here a little bit to create the mint tone. If we create too strong contrast between the shadows and highlights the texture, actually the pencil will look. Some pencils are shinier. I can also try with that. Here I use violet. I go over the edge also, between these two pencils. And we can add here a little bit more on the right side and for the mid tone Parma violet. And again, violet, where we want to make it darker here just to create a reflected light. It, and also let's create a highlights the whiting Japan. Now let's draw this wooden area with the browncer brown ocker, 10% in the left side. And then we want to use brown ocher, 50% in the middle. Same here, so we don't want to press too hard. We want to create that harsh texture here. Here on the right side, brown ocher want to sharpen a little bit, the next to the edge has to be sharp edge. Same here. Well now go a little bit over the mid area. Pressing lightly, pressing less than we press on the right side. Here in the reference photo, you can see some crack or something like that. So we can create a with the wall sharpened brown ocher like this. We can even add a little bit of dark just to make it darker. And brown ocra, 50% for the mid area. I just want here to strengthen this line between these two pencils with darker that looks much better. And just a blend the edge on both sides. You know, the next one is the blue pencil. So here I want to use genuine coble blue bioluminus and I want to use middle cobble blue to shade the right side of the lead and the pencil the same here. Harder pressure next to the edge and lighter pressure here in the middle. Of course, a bit of white for the highlights. And the same pencil here, genuine cobble blue by Rash Luminus. And here also we can create take line with the black pencil between these two pencils like this. And I continue with Janine, cobble blue. I actually took a picture of China blue by prisma color, but I wanted to use the pencils by car. I said, it doesn't matter. It can be any blue pencil or you choose the one that you have darker value of it. Whichever works. I see here at the bottom of my head, tap masking tape. White masking tape because this is the edge, so I don't want to color over it. If we want to make a nice frame or something, then it's a good idea to put the masking tape. Now let's create a shadowed areas with middle cover blue also. Same here. We press harder here next to the edge. We have to press slightly in the mid area and towards the highlights. I seemed here on my life side, still using metal color blow. I just go over the edge to blend it and then press less as she away from the edge towards the highlights. And then the pencil will look around each and every pencil, I do the same, but I'm not sure that you listen to have watched the, the whole video. Maybe you just watch one pencil. That's why I'm repeating myself. I do the same things. Page pencil, I want to use a little bit of Prussian blue here. Next to this is a very dark pencil. I want to make here, this area a little bit darker again. We press less and less towards the highlights. We actually towards the mid area, so we have to stop before we reach the mid area. We have to press very, very lightly and then to hardly touch the paper before we finish shading towards the high light. We can go a little bit here, next to the edge on the left side. And then we can blend it all with middle cover blue. And I'm still using Prussian blue by current Dutch Luminslend actually to color the mid area with middle compound blue. This way we don't have actually to highlight the mid area to pre highlights with a white pen because the basic color that we used, genuine cobo blue, is just right enough. Maybe just saw a bit of white. We'll see at the end of the when everything is shaded And again, middle cobble blue permits a little bit of press blue here. I just want to sharp pencil to create a nice clean edge. Let's create a highlighted, a vertical line here with a white pencil and a ruler like this. And we can blend little bit around it and here a bit of the highlights with the whiting Japan. Just make sure to create the same highlight, each and every pencil, They all have to have the shadows and highlights in the same places. Now let's color the wooden area with brown. Occur 10% by luminance. Same here on the left side, we use the lightest pencil. The lightest brown occur this 10% Here in the middle, we use brown occur 50% So we press slightly, as I said before, press slightly because we want to create that harsh texture with the wood. We want to make it smooth here. On the right side, we use the darkest value of brown occur, just very, very carefully next to the edge. Of course, use a ruler if you need it. 27. Colored pencils 3: If you accidentally color the background, just try to erase it as much as possible. With neuro electric eraser, it's easier. Then you can cover that area, tiny area with the whiting open, then nothing will be visible here. Again, I want to use brown ocher, 50% the mid tone for the mid area. Just try to make these wooden areas a little bit different. A little bit on some panel, at bit lighter. On the other panel a bit as you can see in the reference other there. Just the same. It will make the whole drying more realistic. It won't look like flat and everything the same. It's good to make a little bit different, different things, just a little bit of the highlights or the lead with a white pencil, also at the same place that you did with the previous pencils. Okay, so the next one, I want to use Aquamarine, Ypres, Macolor. This was the pencil actually that I took a picture of, it was included. Before we draw a green pencil, I, I wanted to include one which is greenish, blue, bluish green, something between blue and green. The same here we have to make a little bit different. So this is a little bit bigger lead, just it is in the reference photo, a longer visible lead. It's good to make them a little bit different. Here on the right side, I want to use cobot turquoise Turquis to shade this area. On the right side, cobalt to sometimes I have to check fransation cobalt tuquis. I just want to create highlight a little bit here with the white pencil. If you use currents you can also toco blue. This is also something between blue and green. Then I wanted to include between the blue and green pencil here. I want to just a little bit to make a lighter with light aqua. Also by Chris Mccollar. Let's draw here the line between these two vents with a black vent and a roller. Okay, let's, I know let's color everything with the aquamarine. I know. Let's color everything with aquamarine. Now, here on the right side, I want to press a little less. So I want to be able to apply darker pencil. Same here. I press slightly next to the edge here. Also, I try to create gradation between these values because it's not a always easy to apply the dark pencil over the light pencil. And to actually create a dark value. Then we have to press slightly the first layer with a lighter pencil, then it will be easier to apply the darker pencil and to make it dark enough, let's use cobalt turquoise. Same here, we press very hard next to the edge. And the lessen the pressure to the mid area, the midtone. And it is important as always, to create a smooth gradient between these values. Here I press less the same here on the left side, and I still use cobalt turquoise by color. And here I'm just like girl gently touching the paper with Cole turquoise. So as you can see, that smooth gradient is very important if we don't want our trying to look flat. We have to learn to shade to create that smooth radiation between the values, the colors. And of course, to learn to change the pressure. Because we can achieve a lot with a single pencil only by changing the pressure here. I want to use light for the, with a highlighted area. A little bit of white, very gently. But first let's create that highlight. As always, the white pencil here, I press very hard, then I press slice here in the bottom. We can blend it a bit on both sides of the high light with a white pencil. And as always, if we are happy with a pencil, we can finish it with the wooden area. The brown occur 10% on the left side and brown occur 50% in the middle and brown occur on the right side. We're also going to draw the cast shadows at the end. You can see them in my sketch already just to make it the moralistic. And three D, so they won't look flat. It will add really a lot to, that's a third dimension. I'm still using brown ocher. And here I want to use brown okra, 50% and I press lightly. And here also I want to create highlights, the white thing job then. And for the green pencil I want to use grass green bioluminus. And for the shadowed area I want to use dark sub green also by luminus in the white foot highlights. Just create this line between these two pencils with the black pencil. The sharpening bit here also can you use the grass green? It can also be grass green by prisma color and for the shadows, dark green. So here on the left side and on the right side, just the way we did for the pencils on the left side, we can lighten up here in the middle. First, let's create the highlights with the white pencil and the Rover. And now I can blend the highlights and I want to continue with the shadows using dark sub green aluminums. And let's go for the wooden part. The brown occur 10% on the left side, the brown 50% in the middle, Ron occurred on the right side. And again, brown are 50% there is a mid dawn. I know I can create highlights here with the winding job ban. And what's the white pencil here? Now we have only the brown pencil left. And I want to use light umber by prisma color. And I want to use dark number for the shadows on the right side. Vipers, mal color here, a white for the highlights. And I want to create here a line with the ruler with the dark umber. Okay, and now we can color this, the whole area with light and now dark umber on the right side for the shadows. Here next to the edge, press slightly because here we have that reflected light. It should be a little bit lighter than here. This self shadow, we can even go with dark brown watch is a little bit lighter than dark umber and same here. We press harder here over the self shadow and then and less doors, the highlights here. Also on the left side next to the green pencil, we have to create the shadowed area us to create the highlights with the white pencil. And we can now blend around the highlights, the white penta, and here I want to use dark brown for Dominic tone. Now we can create the highlights here at the whiting jet tie. Now we can create a wooden part with brown ocer 10% on the left side and brown ocer 50% in the middle. Brown occur on the right side. Now we can create test shadows. And I want to use cool gray, 20% by color. Just here on the right side of the pencil. The same shape of the lead. It will look like cast shadow. Just make sure not to smudge the colors of the penols. Of course, this area should be smooth, as smooth as possible. Let's also just blend the edges with cool grade 10% just to make them a little bit blurry. We can also use a little bit of cool grade 30% here. The deepest shadow here inside the gas shadow, because here it will be the darkest gas shadow. So the same here, cool gray 20% So here inside, cool grade 30% I press very hard because I want to create the smooth surface here, smooth texture. Let's add also a bit of cool grade 50. Just here at the bottom of the ca shadow can a little bit darker here. I want to continue with cool grade 20% Of course, to blend the edge all around with cool grade 10% Now we can go to the next one. I want to erase my sketch lines and then cool grade 20% and now a bit of cool grade 30% and also 50% You can also use warm gray or French grays. And the same here go away 20% This shadows will actually make the pencils look more rod. It will give them the three D shape, the third dimension. And now, cool, weight dirty, and a little bit of 50 here at the bottom. Pie here, right next to the pencils. That gets less light. And then we blend the edge with cool 10% I just saw a bit. And let's go to the next one. And just want to sharpen my school grade, 70% As I can see here, the light, the ca, shadow is a little bit closer to the lead than on the yellow one. So you can also take a picture of pencils and experiment with light sources and use different pencils. And to practice, you can even try with hexagonal pencils and now cool 30, now 50. And to blend the edges with cooly 10% so here again, cool 20% now gray 3% and also 50% here at the bottom. And let's blend the edge with Co rate 10% It's the same here. Co rate 20% and now 30% and now 50% So of course we use deeper values for the deeper parts of the cas shadows. And let's blend the edge with cool gray 10% I know we can make this phone as well with the Colgray 10% and here we have to make all along the pencil, so just try to make the same thickness everywhere so you can use a roller you want. Here. Also we want to go with cool gray 30% closer to the pencil. And with 50 here next to the pencil, can use cool gray 50% I just want to make this calf shadow of it thicker here. Cool grade 20% Then I'm going to shade the edge with cool grade 10% And that's it. I hope that you like this one. Please let me know the comments. If you have drawn, please it up so I can see it. 28. Burger - Part 1 upper bun: Let's start at the top and I want to use natural arrested by cash lumins at the top. So just carefully next to the edge. Here we have to create darker color at the top, and then gradually to make it lighter and lighter. So here I press very hard at the top. And then I release the pressure as I color downwards. To my pencil. So we have to create nice clean edges. A edges. Okay. If you use poly, you can start with. So you can see here I press less and less as I work downwards. And then I will use another pencil a lighter pencil. Okay. Now I want to go over a little bit with burnt occur also by alumina, same here, I just go over the natural set and then I press less downwards. Here, we don't have to create the smooth texture because as you can see, there is a texture at the top of the we have texture here or the bun Here also applying circlesm technique. Sometimes just like tiny overlapping circles like this. As I said, I press harder on the top over the previously drawn natural resid, and then I release the pressure as I shaved downwards and I use burnt oc bumins we have here to create a gradient transition between these colors. And we have the values at the top and the lightest values at the bottom of this upper cut the bottom. Okay. If you want to draw sesame seeds, you can just leave the areas for the seats and draw on. You can also use an electric era when it's all and tiny parts for the seats. I'm not sure. Maybe I will do that at the end we'll see. Probably I will do that just to show you how to do that. Now, I want to use terracotta. Here is a continuation to this terracotta also by aluminums. Here we have to use a lighter colors. Okay. Okay. Some still using terracotta by cumin. So here just carefully next to the edges. So here next to the lettuce, we carefully to preserve the shape of the lettuce. Here also on the left and right sides next to the edge, it has to be darker and then lighter and lighter as we shade it inwards. This way the bob we have a rod shape. As you can see, as I press less and less it has a rounder shape. Okay. So here we have a highlight, and I want to go over the highlight. You have to draw this fast. Just take your time, pause the video and and draw slowly. So here I don't press too. Just a little bit her when I go or the upper area. And I'm still using in. Seth next to the lettters We have to carefully and actually around the letters. Here in the middle in the lower area, we have to create a little bit than on the left and the right side of it because we have highlights and here we don't really have highlights and a like this. Okay. Okay. Now I want to use burnt cer 50% and just to go over this terracotta same here, I press the top or the mid area and then I press and I saw. I just want to go over terracotta. I use burnt ocher 50%. Then I want to use again natural acid here. Just a little bit. I feel that the edge is visible and also burned. Okay. And again, burnt c. For the mid to Okay. And here I want to use burnt ocher, 10% by luminance for the lighter areas a little bit highlighted. And here next to the letters carefully and then we can color here the rest area. Okay. So here we have a very bright highlight. We have to press very lightly. So it's almost white. But still absolutely white. And, again, I want to use Burn cer 50%. Just a blend edge between these two values. And of course to some of the parts of the highlight, less highlighted. Okay. As you can see, I'm applying the circlesm technique. So a lot of overlapping circles like this. So we have here to change the pressure on our pencil in order to create different values. Even if you have just a few pencils, you can still create a lot of values just by changing the pressure Oh. Okay, so now we should be focusing here on a tiny area of time. And so let's finish here this left side. So if we can see this is burnt cer 10%, which is pretty bright pencil. It now looks highlighted and it's still not white, so we don't need it to be white. When I see something, I just go back and add some color or whatever. I want to change. Okay. Here at the bottom, you can see the reference all. We have a yellowish greenish yellow color. We have to drop that. We see that in reference all we have to drop that and I want to use here Indian yellow by dash just a little bit here. It's going to reflected color reflected from the letters over the pan. Okay. And then if we can go over with Burnt cer, 50%. Whichever color you see in the reference photo, no matter how odd it is the logical mind tell you that it shouldn't be there. You just use that color, and it will be good. Of course, more colors we use, the more realistic it will be. We always have some re light reflected colors a little bit to create a variety of colors and values, it's always good for a realistic style. Okay. So here also Okay. So here I want to brighten my high light a little bit, and I'm using a white pencil. Same here I apply circlesm technique, just tiny overlapping circles. Here next to the lettuce, I press and then I press and because I want this highlight to gradually disappear into this basic color. Okay. So if you can't actually make it brighter, you can use an electric eraser and erase little bit, and then you can go over with white pencil again and you will be able to easily brighten up this area. I can see it looks a little bit light. And then to enhance this highlight here in the middle, we can a little bit darken it a little bit more. Just to give it even a round shape this way. So here in the middle. Okay. I think in this case, it's not good to draw like cross hatches or horizontal or vertical strokes because that will be visible. I think this circlesm technique is perfect here. Because this is just the texture that we want to create here. I don't want to make it too dark. Okay. Okay now here we can move to this area on the right side. And same here I want to use burnt 10%. So I here to cool the rest of the area. So I have a video about the types of the lines. Please check it out. Watch the whole video, and you can also practice these lines and then you will see which lines you have to apply for which texture. Okay. So it does matter how we apply the lines, how we create texture, what types of lines we use. It's always important. Here we have to use a little bit of terracotta. I can see it's clear this edge between these two values. We have to break that edge and to make it fly flow to make them flow into each other without visible edge. Okay. And this right side also has a highlight, but it's a little bit darker than the highlight on the left side. Okay. I also want to use burnt occur 50%. And here I press or the mid area. And then I press and as I shave towards the highlight. So here we have a highlight. Okay. Here, I want to light up this area a bit with the white bent. Okay. And same here, but offer 50%. Okay. Okay. And here we also have the reflected light reflected color. So I'm using Indian yellow. Since we have a lettuce under it, if we had tomato, this should be reddish area. So it's always important to create that reflected color. I don't want to use a little bit of white. Okay. Some white fan panel for the highlights and burned c 50% from the midtones. I can also add some texture or the highlight to make it less shiny. So we don't want to make a shiny highlight in this case. Just a little bit of some texture over it. Okay. I just want to darken it in some areas, which doesn't mean that you have to. So when the area is drawn, and we can see some things that we have to change if we have to I I want to use natural acid. When I want to create Doctor volumes. I know I want to add a little bit of dark brown just next to the edge. I just want to make it little bit. And I was very carefully here next to the edge. I have to use shop and pencil. Okay. And also a little bit of natural. Okay. Okay so now the next thing we're going to move to the lettuce, and I want to use Apple green basic color for lettuce. I use apple green by prisma color premier. Here actually, I just want to color the whole area with a pencil and or the highlights I will press slightly. Okay. 29. Burger - Part 2 letuce: And I want to go over the highlights with sharp Rus sharpen. It also I press my color to apply sharps over the highlights, press lightly with the apple green over the highlights. And then I go over with shot rose for the mid Tom. Actually basic color, I just this apple green and I press harder here. Also have a little bit highlighted part the same. Here we go with shops for the highlights. So here also we have to create variety of values of bed like a yellowish green which is also important to use. Then we have a dark green by prisma color just to create this. Darker values just go over. We have midterm highlights and shadows in between these, we have lots of values that we have to create by changing the pressure. So these tiny shapes, they don't have to be exactly the same as in the reference photo, just approximately here. I use only three pencils, but of course we can use much more. If we use three pencils, we just change the pressure to create more different values. Here we have one tiny overlapping part, so it has to be lighter. Then we have to enhance it by shading much more around it. The same here. I do the same all the time. I don't want to repeat myself. Now shows a highlights lantern has the highlights we can draw around them with a dark green. I press lightly and can also press depends on the, the value that we want to achieve. We can also create tiny lines, so those wins that we can see the leaves, we can add also those details to make it more realistic. I also like to go a little bit with white, whiter highlights here. In the lower area, we have two little bit darker colors and less highlighted part here is the part of the lettuce that is in shadow. And then here also we have to create tiny ins, with a white Panther, for example, this tiny Ts, if it's not dark enough. We can also add a little bit of black, but pressing very, very widely, so we don't want to make it absolutely black, just pressing it lightly and then we go over again with dark green. So it's the best, I think it's the best to work from top to bottom so that we won't smudge the drawn areas this way. You can see how I change the pressure and I can create a lot of values with a single color here. I'd like to add some things that are not there in the reference photo just to make it a little bit different of a little bit of shot, this is a yellowish green. These areas should be a little bit yellow somewhere, particularly on the highlights or next to the highlights. Of course, we have to create dark dark areas with dark green. If you use candas, you can use the dark green basic color. You can use the grass green does these tiny, tiny wings and details an apple ring. So here in the lower area, we have to press harder with dark green. It's the same here for the highlights. I press lightly with apple green. For the mid tone, I press hard with apple green. And then I go over with charts or the highlights like this, and I use dark green for the shadowed areas. So this dark green we can actually create cast shadows. The shadows that overloping parts cast over underloping parts. And these deep values will give a depth to this area. I use the white canto to enhance the highlights. I also want to use a bit of black just to create different volumes. Are actually darker values are here at the bottom again, I use apple green by Pres Mccullar. I press slightly for the highlights and then I go over with shots. This is shots bit yellowish green and then I use dark green to go over the apple green for the shadowed areas can sit a little bit of black. And let's create those tiny, tiny wins. Tiny details, highlighted wins, the white pencil. You can also use a precision knife to create the, oh, yes, the letters should look somewhat, so I can apply a little bit whiting Japan, somewhere like here, for example, just to make it look wet. Here, we have to use darker green. So dark green. All right, under the bob, I need a little bit of black. See here just a little bit of a I still use apple, green prisma color. This is I share my basic color, same here. I just changed the pressure to create different volumes and I also use short Russ, I don't white pencil to create the highlights. I just wanted to make some changes here. Goodbye. So here I want to add some lettuce that we actually can't, that we don't have in the reference photo here. Also use apple green by prisma color, Oh, a little black, to create deeper shadows. Just to give it more de, the drawing. So I can see how the black color also helps to make it more realistic life. And like three D, I guess so, again, using apple green here, also the basic color. Then I create some highlights with a white and also shots, and then I use dark green to create shadowed areas. Here I draw a random, this is not in the reference photo, just approximately, some lettuce call relief. And so I tried to make a lot of values of green. And let's create some highlights with a white thing up there to make the letters look a little bit wet. If you don't want to make them too bright, just tap your finger. And when it tries, I hope you can remove that even with your nail, with a color pencil. So don't worry if you like to make some mistakes. Okay, now let's draw tomato. Here. I want to use Scarlet Lake by Praise Mycolor. 30. Burger - Part 3 tomato cucumber: The same here, very carefully. Next to the edges, the other edges. And I press hard. So here, as I'm approaching the highlight, I press less and less in the highlight. I want to use poppy red, which is a bit lighter. And again here I want to use Scarlet Lake. So now as we go inwards, we have to use darker pencil. And the next one is Crimson red. And here in the shadow I want to use Tuscan red. So here of course, very carefully around the lettice, so this area have to be very small. Let's create a highlight here over this band area with a white pencil. Let's just go over with a white pencil and press very hard. We want to make it look much lighter. There should be gradual transition between. These is when it highlights a midtown. I don't want you a little bit of black here between these two areas. And also created the shadows cast by the letters. And here also on the left side, we have a little bit of highlights, something like this. So we just go over with a white pencil. We press hard, then we can make it brighter here. This upper area, I want to go a little bit over with nectar, nectar by prismacolor, down with poppy prismacolor here Under the letters, we have to create cash shadows. It should be dark, very dark. I'm using black right next to it. And then I want to use Tuscan. And then to blend it so bit with nectar. So here I want to use a precision knife, just a remote, the pencil over the edge here on the right side, I want to draw one more tomato, it's an onion in the reference photo, but I want to draw one more tomato, something like this. It also has to have a round shape. We just have to create the highlights in the same areas. And then we can add like something similar to the one on the left side and it will look good, so I use Scarlet Lake here in the shadowed areas, I want to use crim, sunder red. So here I want to use cream sonod and write under the letters. I want to use a black pencil here in the, for the shadowed area, I want to use dusk on the red highlight in the middle and shadowed areas on both sides and left on the right side. This way the tomato slice will look around. It's always grad cast shadow, the shadow cast by the letters. It's the same here on the right side. I use Scarlet Lake here for the mid tone and then poppy red here in the middle. And now with white create a highlight. I want to hear a little bit of crimson, red, and also Scartded lake. And here also on the right side edge, can be a little bit highlighted. So we go with white under the letters. We can use dusk and red. The great tiny cast shadows. Oh, and I want to, is there a little bit of black here? I guess so. Now we can draw cucumber. Next, I just want to raise a little bit of schedules. And I want to use most green by prisma color. That's a basic color. Okay? So this is small green by Pers a color. I want to color the area completely. I press hard. Now I want to go over withdone green, also by Pers Ma color. This is a very good drawing for practicing using a lot of different colors. It's not easy, but we have to practice not only the easy things to draw, but something a little bit more complicated. I suggest working on a single area until you're completely satisfied with that and only move to the next area. I just want to create some highlights with the white pencil to make them a little bit lighter. And also, I want to use a white ink job then to draw this, to create this tiny, tiny highlights, like tiny dots to make it actually look wet. Now let's go under this lettere, the upper part of the cucumber. And I'm using a black pencil to create shadowed areas here. Right under the lettue tomato, it should be almost black. Then we have to make it lighter and lighter as we shaded downwards. And don't forget about these waves, just to make it darker inside in the middle of the waves like this. Let's go over with Ladone Green. I press lightly here and I also want to go over the previously shaded black parts. And let's also use green light. The same here we go, even over the black areas. Now let's create some some highlights with a white pencil and also here over the edge with the whiting Japan to indicate the whiteness of the cucumber. And then let's draw also this one cucumber is the same here I'm using moss, green super layer. Just want to sharpen it to draw nice clean edges. If you don't want to make it complicated, you can draw straight slices of cucumber. But I suggest trying with something complicated like this. Just for sake of practicing, every time when you feel that you struggle with something, I suggest doing that and to practice that until you learn and not to avoid something that's difficult. Okay, just like this with moss green. I just want to add here a little bit of moss green. So here the same, we go with a black pencil and we press hard right under the tomato. And then we release the pressure as we shade downwards. The same here we create and we have to create these waves the same here. We use a little bit of Aldon green, go over the black, then sub green light. So all these by prisma color. And the little bit of moss green here, I want to use a little bit of darker green. Disagree some darker areas. 31. Burger - Part 4 ketchup onion cheese: See here. I know we can create the highlights with a whiting Japan just to make this cucumber look white. Okay, now for the catch up I want to use Crimson Lake Piper is colomer because I press too hard and then I break the lead of my pencil. And I want to use Black Raspberry to create he shadowed areas to catch up. Now we can create the highlighted area here in the middle with a white pencil, such as press harder in the middle of the high light and then les and less as you blend outwards. Let's create the highlights with a white thing, jot down to make it look wet. That same here for to catch up. On the right side, we go with crimson red. And now let's create a shadowed areas with black raspberry, so here right under the tomato. And then it highlights it with a white pencil. And then the details with the whiting Japan to make it look wet. And now let's draw the onion. I want to use Dahlia parbo, and I press lightly. I think, that they used dispensers for the very first time. I've never used this before. So it's interesting to try new colors to work with new colors. So this is Dale purple. By press my color I press lightly. Now I want to go over with Parma violet. And also to press very lightly, I just want to add my extender. And now again, I want to go over with Dalia Purple. Just a shot from my pencil, we can create the high lights or the onion slice with a white pencil here, somewhere in the middle. It's approximately the same area where we created highlights of the tomato. They should be in the same area, the same places. So in the inner area, we can, we have to use a little bit lighter pencils. Well, actually you can use this one and press very, very lightly, so should stay white. And then we can a little bit blend it with a white pencil. You know, let's create highlights of the morning with a whiting. Japan says, this area here looks a little bit empty. I want to just add a little bit more of ketch up. I'm using a crimson lake. Refer to shadow. Want to use black raspberry here under the tomato and a little bit of white. And then we have to a little bit of the highlights with the whiting Japan just to make it look wet. Okay, so the next would be the cheese, and I want to use yellow C here in the shadowed areas, and then I want to use sand. So all of these are prisma color, of course. So just carefully next to the edges, the red color, because we can pick up a bit of red color and then apply it for the yellow area. I clean the tip of my pencil. I go a little bit over the red area, and here the thickness of the cheese I want to draw with the sand because it gets less light, just like this. Okay. Since this illuminated area, I want to color with Jasmine. I also, by pres my color, I press very, very hard. Okay? Just like this. So I want to go a bit over this thickness with yellow of grow and here under the cucumber and in the shadows. And then we can go over a little bit with the send. So this area should be very, very small. So here we can create a bit of the highlights, you wonder spans, it receives small lights. Just go over with a white pencil. Then here next to the edge. Now let's create a deeper shadows with barn occur bylina. So here right under the cocomber and here also under the onion. I want to blend the edges with the yellow ocher. Okay, now let's make this cheese shine with a whiting pan such as here, over the edge like this and here, where the cheese meets the catch up. 32. Burger - Part 5 meat: Okay, now it's time for the meat. I want to use dark umber to draw the darkest parts of the meat here. Of course, right under the cheese the met doesn't get any light at all, so it should be absolutely dark brown like absolutely dark. That's why I'm using dark umber. Here's we have to create this tiny details, the darkest details of the meat. And here the lower area, the so called self shadow, should also be the darkest. And I want to create some areas with black raspberry by press color. Also to use dark flesh bicomins here, I don't want to press too hard. And also I want to blend a little bit with Beijing, Siena by Mccoll. And also again, a little bit of, and again, a little bit of black raspberry, so it has a reddish hue to it. I also want to use a little bit of black here, right under the cheese. For the highlighted parts, I use Page Siena, just the blended. So these are the pencils that I use and dark flash bioluminas. Let's also create this area here on the left side, the same with dark umbrea to create some details. And the darkest parts, now I want to add black raspberry. And also dark flesh and again dark umber. I want to play with the bag A like this. You know, we can add the highlights with a writing. Then this way the meat will look fatty and the same here. So it's a little bit to darken this shadow and the top on my finger to make them less white. So again, we can go there's the right side, I use dark umbra here for the darkest parts and here right under the cheese and the water area should also be a little bit darker self shadow. The bottom can also add a little bit of black, and then we add a reddish tos with black raspberry and then I want to color the rest with the dark here. I changed the pressure to create different volues. Here also we want to use that Circosm technique because like cross hatches and straight lines won't look good here. They won't create a good texture for this meat. Circosm technique is also good Here I also want to is a bit of white pencil. So here also I'm using good dark thumber. I know black rasberry. Oh no, dark flesh. Awesome Siena. Again, I want to add a little bit of black raspberry. I also want to add a little bit of burnt, just areas at random, so the flesh and also black at the bottom. And now we can create some highlights with the white pencil and also with the white thing job an the lights move towards the right side. Same here, I use the brown, the dark umber, I need the cheese. And here at the bottom. And just carefully around the letters. I know we can add the details. And now, black class. I don't apply this color everywhere. I don't want to apply this reddish color. We should create a variety of colors. As always, I want to use dark flesh. This one is by luminus, be a and also branch ocker, and I get a little bit of a black raspberry and also go highlights with a white Ncl and with a white thing. Job then. I know we can work here on the right side also with dark. The first to mark these darkest areas, tiny details. I see something that I missed. I go back and just to edit. I know a now I want to use black raspberry and also dark flesh. And now be see, you know, and also a little bit of burnt cer, particularly here in the opera area and also black here in the shadowed areas. I want to create highlights with a white pencil. Now I can go over with the why thing job then. When I don't like the highlights that I created with the win job pen. I'll just go over it with the pencil and I can easily remove that if I want to make it thinner it so I can easily removed. 33. Burger - Part 6 letuce: You know, let's draw the lettuce using the same pencils that we used before. So here I use apple green. So here I press slightly and I go over with hatches. And here I want to use dark green for the shadowed parts. And again, I feel green in the white pencil to make the highlights unnecessary. Anyway, shots, and again, apple green as a basic color. And then I create some shadowed areas with a dark green, can also use a little bit of black right under the met. And again, dark green for the shadowed areas. Alibit of black right under the meat. So here I want to press very, very lively with app green and I want to go over with chats to sharpen my pencil and also a little bit for white and again the basic color, apple green. It's the same here, dark green for the shadowed areas. And I want to create a lighter lettuce. I press lightly with apple green and then I go over so they're the same all the time. You know what s and the white the create the lighter parts and tiny ways and details. Oh my God. It's again the same here, Apple green. That this area should be darker because it's in area shadowed area here. We have dark green here. For this here, this overo area, I want to make it brighter and I press leave with apple green. And then I go over with shot dress, the same here. Then dark green for the right, under the meat and in the shadowed parts. And also I create the wins with this color, a little bit of white just to make some of the highlights a lighter. So here again, we have highlighted part of the letters. I press lightly with apple green and then I've And I still use apple green. I don't want to repeat myself, so this is the basic color. And dark green for the shadows and for the highlighted parts. Oh, a bit of black per. Sit here in the deep shadow, so there's all of this area left. I'm still using apple green by color. If you use cards, ominous, you can use grass green. Look, you know where to go. Oh, go at the darker green. So I use dark green all the time. So this highlights and shadows. They don't have to be in the same places as in the reference photo just approximately. And of course, the shapes can be different. Can I have to be the same figure? I want to have a bit of black. You know, I want to create highlights with a light pencil sharp in my pencil. 34. Burger - Part 7 lower bun: So as I mentioned, we have to create a lot of different values. And I also want to add a little bit of charts, some tiny details of wins, something like that. I can now draw the lower area of the pun. I want to use dark umber here, just to outline like this. I want to start with brown ocher by alumina. I press very lightly, so brown ocher, 50% here. This lower area should be darker. Again, seeing the reference photo is brief, pale, but I want to make it more colorful. Just as it is on the right side, I use burnt ocher here at the bottom and also again darker here at the bottom where we have to press hard to make it darker and to press less and less associate upwards here, I want to use dark brown byluminaus same here. I press harder at the bottom and then I press less and less. Say she words here also I want to use burnt occur 50% circle Ism technique. Tiny overlapping circles like this. The same here, like cross hatches or straight lines. Horizontal or vertical lines are just not good for this texture. Here I want to use burnt ocher, A little bit of dark brown. Here just to make that transition between dark umber and these ocker penlsujust. The strength in the bottom, in the dark umber. So here we also have to create the shadows lettuce. I want to use the brown ocher as a little bit of dark brown pressing and lighting. Okay, so now we can move towards the right side. And same here, Uber at the bottom pressing harder. And then we have to press less and less as we shade upwards in order to create that round shape, just a little bit of white. So here I want to use brown ocker 50% and here next to the dark cumber at the bottom, brown ocker and again down ocker 50% I also want to use lit burnt occur 50% okay. And here. Right above the bottom and dark Uber for the bottom. So this area here gets no light and it should be very, very dark. A little bit of burnt ocher just to give the color the same here. And you can also use, you have luminus here. Also I want to apply a bit of Indian yellow right under the lettice, just the way you did the upper part of the bar. It's the light, actually the color reflected from the lattice. This is Indian yellow by a luminus. I think any yellowish color can be good, of course, to create the cast shadows. Shadows cast by the lettuce or the bar and brown occ here. So now you can see how these letters popped on the page. That looks more due to these cast shadows. I have some tutorial, some three D draw, so I suggest watching those and trying to draw, because these cast shadows really make difference. Can all set some D like dots or something. Even if we can see that in a reference photo, we can add that we can take a look at the different reference photos and then combine the details and so on again. Now let's work towards the right side, cumber at the bottom. Same here. We have to create that smooth radiation from the darkest volue between the dark and the mid tone, and of course between the mid tone and the high light. And we can do that with a single pencil, just by changing the pressure. I want to use an occur next to the bottle and also burned occur bilominso and I want to burn to occur 50% just to feel in to color this whole area and I want to use brown cer, 50% a little bit of dark brown here and just to strengthen the dark, dark umber and again burnt. Ok, I can make it a little bit darker here in the middle since we did the same with the upper part of the fun. So they should look the same. Similar, similar highlights in the same places. Again, are brown the same. Here we want to add a little bit of Indian yellow next to the lettuce. The same. Here we have two creative ca, shadows, an amusing brown ocher. I want to use dark brown here at the top. Forget it, so I'll get last lights. And same here. And I want to create a cast shadows with brown ocher here. I also want to use dark brown right tendered the lettuce. A bit of darker here. I know we can continue here The rest of the area with the dark umbra here, as you can see in a reference photo, this can be a little bit darker. So I want to call her in completely with darker. And of course I lessen the pressure as I shade away from the edges. So here also I want to light burnt Ober circle Ism technique. I know also burn talker that was brown walker, This is burned talker. So these two pences, I combined these two pens. I love it. Highlights here of the white pencil and I want to created the cast shadows with the dark brown, a great highlight here. And that's it. So I hope that you have created all this texts and that you have learned something. Please let me know and see where the next to yo. 35. How I Record and Edit my Drawing Videos: I have been asked what I used to record my drawing with use while I use my Samsung galaxy s six edge gloss. I mean, I've been using it like for four years. Eso this one is not even supported anymore, which is something that I'm really happy about because I don't get any abates anymore. So I have placed it on a piece of cardboard and I have caught all the whole for the camera was against C eso bedspread difficult for me to draw like this because this car board is on my way. But I want to record that in a perpendicular angle so that you can see it properly. So this isn't flickering. I consume it. It has a lot of settings. As you can see, it can adjust shadows, highlights, hue, saturation, brightness, contrast and more. What I like about the settings is it has a wide balance, which is very good for me because I'm working under artificial lights and I can set up the white balance. As you can see, not only I have full HD options. There's also ultra HD, which is really something that you won't find on order phones. So it records and before files that I put in my Windows movie maker. And here I can speed up the videos or slowed them down. And I can add music I can arrayed so I can on my voice voice over and so I can add some text. And so But I can do much more here. And, um so this windows born makers pretty enough for me. So this is what I used to create. My weed is for you. 36. How to Edit your Drawings: Okay, So when you work with Brisman color Premier already the next day you will see something like white haze over your drawing particular. If you use wear dark colors something like a layer of dust that you can actually wipe out with the T shoe. So I suggest spraying the drawings with fixative. I have this one. It's for graphite pencil for charcoal for past ALS. So it's also good for color pencils, but it's pretty stinky. So that's why I'm spraying it in my bathroom. So they're not to inhale this and just spray it. And that wide Hayes won't appear anymore, and when it dries out, you can actually scan it. I have this cannon skinner and bring your room. It's like costs, like about $40 or less. But as you can see, the scan picture is liking Kontras. It also can't has kind of a white haze over it, sort of. We have to increase the dark tones, and I'm using the Windows Photo Gallery, this history Graham to increase the dark does and to increase the bright does like this and us against. See, now it looks like my drawing, and now we can show it online. But if you don't have a skinner, you can just take a photo of your drawing and just make sure that it's quite illuminated place. For example, I have this box. It's like kind of like books, but I created it for myself. I just stick to paper, too. Carton box. As you can see, I'm taking a picture in daylight and so that my drawing is illuminated from every side so that the whole picture can have the same wide balance I can let me show you. One more example of this is also my skin drawing. And first of all, I want to crop it like this, and I just click Crump and now you can see also it has, like, kind of white haze thought we have to increase the darker areas here in history from like, this can see Now the black areas become black and here on the right side can increase. The brightness of the white areas can become white, and you can see now it looks quite better, and also here I can see that it's to read. It also might happen when you scan your drawings, so I just want to reduce the tent. You can also make the shadows only the shadowed areas darker like this, See? And also to make them brighter if you want. And here can straight in the photo you can even a sharpen it he want. And here you can see one more example. So here in history grown, we increase the dark, the darkness like this and then you can zoom in and here we can see how the white paper is not want on all and we can brighten it up with this. Underwrite scientific instagram. Right this and see Now it's absolutely white, just like our drawing paper. And you can see it now looks much better. So here we can also making a shadow stronger like this or when I ran house, produced a caller or even make it even darker. Okay, that's it. I hope this would you helps. And here you can see before anything and after anything how different it is. So if you want to show your drawings and Internet, you want to show them just the way they look and not like. You know, when you take a picture or does require some anything 37. Inspiration Gallery: