In this lesson, I'm going to show you how to draw textures. I'm going to complete a demonstration. Sometimes you want to go beyond regular cross sketching or burnishing to create fun and unique textures. Three major techniques you can try arriving that we have discussed before, people indenting and the application of various directional strokes that I'm going to show in this lesson. Before you start shading, you should plan out which parts of your drawing become rubbings and which areas are good for indentations varied strokes arriving seem to work best on larger areas. While people in the painting is good for working on smaller details, their strokes can describe numerous surfaces.

Well, I bet you've tried placing a coin under your paper when you were a kid, and then shading over to this graphite pencil to see the design emerging on the paper. And this is the idea behind this technique. In these images, you can see examples of textured objects that I placed underneath my paper to make rubbings. As you can see, it could be charms, pieces of wood, even some old earrings can offer you a wonderful possibilities so you do have to play around and experiment to figure out which one's work best for you. You have to test all the surfaces because you want to see the results before you even try applying them to your drawings. If pencils are soft and paper is not too thick, there are things will show up quickly.

You can also vary the pencil pressure and adjust that as you keep rubbing the surface. Paper indenting is good for adding very small details and texture like you see in the image detail of the Seabiscuit drawing. This is a great technique to make white whiskers very thin branches or veins in the leaves, and to make other super fine lines were leaving a thin near line would not be possible Otherwise, the pen strokes on tracing paper should imitate the real texture of the object, look a random curve, change and rotate in accordance with the shape and its linear perspective. In other words, you apply this texture by following the form of your object. So how can you use it? plan and indent your paper before you begin shading the drawing.

Just place a piece of tracing paper over your drawing paper. They the corners this masking tape and the make indentations over it was a pan there the havior the Then pressure, the deeper the marks villain them into your paper. Here you see me using lines and circular strokes to complete the paper in the painting the pen marks they'll show up in subsequent staging. lifting out is a very useful technique that serves the purpose of getting rid of pigment where you don't want it to be. But it's also great at establishing textures to the soft edges such as backgrounds, grass, feathers, highlights, and many more. colored pencil never lifts out 100% that's why it's vital to reserve highlights on white paper where you need them.

However, you can do considerable lifting out using the following methods The first method is the use of magic tape. For general lifting out and specific shapes. You can create a specific shapes that you want to lift out by drawing these a ballpoint pen on magic tape and pulling it off the page. You can do this multiple times creating various textures and we've done it several times. The demonstration of the lemon shows you this technique very well. The second lifting out method is using the kneaded eraser.

You can use it for light values and textural effects to the soft edges. This eraser produces soft lifting as you can see in this image mounting party could be used for more aggressive erasing and lifting up. It's very similar to using the kneaded eraser but it's stronger and it is more aggressive at lift outs. You can see how bright three dots look being lifted out multiple times. This can be handy developing textures and backgrounds or subjects that require the preservation of soft edges. Please remember that mounting points is not an eraser, therefore you you complete the lift out not by dragging the boots across the surface.

But by placing the boots down and up. You can see Tombow Mono eraser it's super helpful for lifting out tiny details these Small eraser is irreplaceable because I can fix a lot of my mistakes getting into small areas where regular erasers just won't work. It makes great lift outs and hard to reach small areas. And lastly, you can try lifting out with an exacto knife that also gives you some texture and a sharp lift out that you should use with caution. It's best to use it in the end of the drawing process because it can permanently change the paper surface. Depending on the blades rotation, sometimes you can make a lift out to reveal the previous heel if you scratch out at an angle, but other times, you can make an incision like mark that permanently changes the By Sophos, which is basically just crapping it and we've been using this method throughout the lessons.

This is an application that gives you numerous textures almost any subject but glass. The following project explains how you can make textures in for this bear strokes. You can also make textures by applying acrylic paint or permanent markers on top of your colored pencils. Once again, it requires quite some experimentation and testing the materials on this separate piece of paper. Usually you need the verifying Painting brush or a marker that has a super fine point to make fine strokes. In this demonstration, I'm using coin or woodless colored pencils, not bollock colors.

And these woodless colored pencils have names as well. I also use Prismacolor premier colored pencils can some color line paper in full share Fisher, Hugh Grant Asheville, Blanda and the final fix itself. This transfer paper is optional. Refer yourself to the color chart to see the basic use that I'm using in this demonstration. Please pay attention to the fact that Korean or pencils are harder than Prismacolor premier and the similar to Quran darsh Pablo in hardness and color intensity. Therefore, while the dark and medium values are okay for drawing the light the colors by Prismacolor show up more on paper due to their softness.

Here the color of the eye has warm light green in the center and the cooler light green around the eye that they are going to enhance by drawing on toned paper. These colors pop on bright drawing papers such as can some color line fusa. Also wipe and off white colors get more punch drawn on this paper. In this project I'm focusing on colored pencil shading this various strokes and color development as opposed to The technique of drawing shapes correctly, which is fundamental to basic drawing. In this black and white image, you can see the breakdown between the light and the shade. Once again, the black and the white image helps you see the values as opposed to color.

To begin establishing the darkest darks, I outline and fill in the pupil and the outer rim of the eye the sharp black I pay attention to how I vary pencil pressure to shade slightly lighter values in between the lines there. No strokes go beyond the sharp outline in the room. After that, I'm about the four in black I'm paying attention to the four hairs and how they have various links and directions. The upper eyelid has long hairs that curve around the eye. While the error between the eyes has very short, tiny hairs. The space under the eye has short and medium length hairs that I can define the short and medium length strokes that move around the eye from right to left.

In other words, all three areas the upper eyelid, the under eye area and space between the eyes have different pencil direction and the length of the stroke. I basically copy this pattern by rotating my rolling as I keep moving around the eye making individual strokes of varying lengths. All strokes should have soft edges. I'm using a very sharp black pencil to make strong outlines, shading around the highlights. After they tell me in this block, I'm going to use the three colors, a warm browns and yellows and continue layering the four. The most important thing to understand about a layering is to see the general length and curvature of the firm.

Need to understand what shape is curved around for instance, this is the nose and therefore all your strokes follow the curvature of the nose and also see how long the hair is because it's very short here and that's why you need to use shorter strokes to copy that. But once you're done with one section, you go ahead and you move around and again you follow the curvature so your stroke continues to resemble the lines you keep alternating In the pencils depending on the color that you see, but generally you stick to three colors as of now it makes it easier to unify the entire picture. You don't jump around with different colors and finish one section and forget about the rest of them. But you want to do you want to create the system for yourself how you layer color. And the easiest thing is just to layer color one key at a time.

Once you must have the system can do this. Complete every section from start to finish but as a beginner it's just very difficult to navigate. To navigate among, among all the colors that you have available and layering one at the time is helps you unify with colors and to control your values in a more efficient way, once I was stablished all the darks in single black, I can fill in medium dark tones with other colors following the same pencil direction and softness and not feeling incomes lately because I know I have some white or off white color showing through the general layout of brows. So I'm leaving some of the people to show through for now. And I'm gonna use the magic tape a little bit later on to create passages that they would be able to fill in just white. Going Just don't forget to overlay your color For instance, you have this black over here, you can let's leave it like that you'll always add a little bit of other colors into your to make it colorful and to blend with the rest of the image.

Just like that, I'm going to move around the eye itself. And the ones the game pay attention to the length of the hair and how it grows around the shape for instance, the eye is around so they have a long here, curving around the eyeball, like like so. Then we have a wireless patch going this way. Then the hair transitions into this area and we change the direction. There is a slightly different direction here and we are going to see the curvature going around the island. Again, and that's why you're going to see following this curvature, that's how you're going to create volume in this picture now I'm using a dark, warm brown collar to fill in these and even curvy lines that I see in the eye.

I'm making various soft, circular strokes. Next, I'm shading this coin on natural sepia or Prismacolor dark brown at the top of the eye. That's the cast shadow from the eyelid that is crucial to the natural appearance of the eye. Don't outline the shadow but shade softly or rotating your paper to curve at more around the eye rather than making it straight and linear, which would flatten out the form. I overlap the hues over black to achieve smooth transitions between the colors. As you can see my shading is very nice and soft.

Where I keep overlapping the same color over and over again to make very nice soft transitions. I also pay attention to my values. That's why I keep overlapping the same color to make a darker I see the same color at the bottom of the eye and I'm filling it in. There's a medium pencil pressure. Next I use the same color and apply it around. I in the for This makes a very nice transition into the for.

I'm also aiding some black into the cast shadow because I want to match the value of the shadow which is very dark. Next, I believe is the materials to understand which ones work best on this kind of paper describing the texture. The first thing I'm doing is that I'm using their magic tape and I'm drawing on it and then lifting it out. After that I'm trying Windsor Newton pigment marker. And I also finished up this Sakura pen. And I also use white colored pencil.

As you can see, they give different results. And that's just personal preference which one you like better. I'm opting in for the use of the magic tape in the far I keep throwing on the tape and lifting it out. Rotating my paper going in the direction of the flower girls. It is important to create these lifts out following the direction of the flower. And this is how it looks like after the initial layering in black and a few browns.

This some lift of Don Davis magic tape In this step we focus on the color of the eye, unlike the for the end result of layering should be seamless. Some blending is a full Blender may be unnecessary if your layering is quite rough. I begin by drawing the triangle a reflection in the eye with quinoa, pears blue or Prismacolor indigo blue and the feel at the end of his white. I'd begin shading diverse strokes that move away from the beautiful red color I call it is this warm colors. Green or light green or Prismacolor spring green Prismacolor shutters and Prismacolor yellow sheets rose I all up over the cast shadow to avoid leaving tiny uncoloured gaps I begin the shading that I this cooler greens are updating my paper and my hand to capture the right direction going around the eye because the eye is around.

This light called Green really pops on this kind of paper and then I switch to a different light called Green which is which is green and continue transitioning and creating variations in color. See this Prismacolor wide with light pressure in the Like this area of the eye when I say this wide, I just pay attention to the edges as well and I make them nice and soft and once again I keep layering the brown to deepen the values and make them darker. And then I placed all the highlights that I see in the eye. I made them bigger than they should be because I know that I'm going to overlap this wide with some other light colors and then I can continue layering cooler greens. Feeling in the eye of following the direction and curvature of the eye. Just to remember not to make the strokes looking too linear.

I overlap this gray over the previously applied cool greens just to make a nice transition between the colors and to deepen the hues and make them more colorful. This yellow shutter rose is a very bright color and led to works really well with this bright colored paper. I pay attention to my stroke direction and I put this color in where I see bright lights. And then I continue mixing light coal greens with light Gray's. I build up my lights by continuous layering of the same colors. This natural yellow color Witch's light ocher gives me a very nice, subtle and warm transition between all my previously applied colors.

As you can see, I'm applying white on top of all my previously applied colors. That's why my whites always Look, they're colorful because I already have some color going and then I just keep like lightening it up this pure white. I'm using a current dot full blender to blend the eye, including the cast shadow. The eye needs to look glass like and blending is very necessary. If you're working on textured paper like I do. I add this blue into the deepest black oval array of the eye and finish off this Prismacolor violet they're blue and violet add color to basic black This kind of blue just adds more color into my already quite colorful I. I also keep redefining the edges as I'm shading.

And I continue doing so this every dark color like dark brown or black. You see me switching between blending and redefining the edges for clarity. I keep updating my paper to make the right kind of stroke even when I keep blending the image. This is very important. I just want to create a soft transition between the shadow over here and the eye itself. They must remember that the eye is like a dome.

So the shape of the eye is around. And it's very important to keep it in mind because when you start shading you say repeating the curvature of the dome if you say a Muslim From left to right or upside down, it's going to look flat. That's why it's very important to keep shading following the curvature of your object. In this step, you see a repetition of layering with the same colors, where they begin to melt one into another because of heavier pressure. I add curving light brown lines into the eyes that must remain soft and not too linear. I continue intensifying the color and just paying attention to various subtle transitions between the hues.

I'm aging cooler green now to create the transition between the cast shadow and the light seen in the eye. Also, the color of the shadow is not just black or brown. It basically has the same colors as the RA has over here. It's just it's a lot darker. And that's why you pick your pencils in accordance to these values that you see not just the shoe itself. I'll send you stuff have a glass like appearance that means that everything needs to be Philander really well in the eye and around the eye as well like over here but there will be a nice contrast between the textures that we are going to see around the eye.

The smoothness of the eye itself. This is why highlights to reserve the space for them, but they seem to be a little bit too big. And now I'm just coming back is the gray to blend the edges. I'm also thinking if and when I'm done, I might retouch This highlights and make them stronger. Also here we want to blend the edge. That's why I'm using light gray.

So the edge is soft but the wire itself remains strong and I can't reattach it was white. Once again to make as strong as possible Just not the entire reflection as why that has a light the blues in their reflection and that's what I'm trying to capture here. I'm using Prisma color yellow shutter offs and white to add a few light spots sat next to the brown curves in the eye. I add more white into the highlight only. It's my brightest light. Now also have a lot of green, light, warm and green around the pupil when you start developing details inside of the eye, just make sure that the edges stay there and nice and soft.

You don't want to create strong lines inside of the eye everything needs to be seamless and transition smoothly at one color into the next one line into the next one. Also, there's brown spots that are over from, you want to create fractions of other colors being in there. Right now is too wide. I'm going to show them the distances here by placing colors right next to those lines or even overlapping some of them This is a very light, cool yellow that pops on this paper and also intensifies all the colors and just blends really well is the rest of the eye. It is a cool yellow because it leans towards the green. So this black has some blue in it.

That's why I'm adding the blue. I can lay a more black over it as well. It's important to make these lines very sharp in comparison to these that need to stay very nice and soft. I could lay I'm on black or dark brown. On top of this there is some brown close to the edge. This way you're getting a very powerful black, which remains dark as well.

If you'd like you can create smaller details the word variations inside that I use Form Brown. And instead of making a line, create a very soft shadow. Use a circle a stroke and just develop the parts and let you see. If you make sharp straight lines, you don't flatten out the form Usually when you see a one shape let's say this is a brown shape, there is always a little bit of light. All right next to you need to experiment with the pencils which one is going to be seen? But basically it's dark, light, dark, light, dark light.

And again, this shouldn't be a line shadow Then you can blend the eye. If you haven't achieved bonusing via layering, a lot of times I layer so many times that that blends on its own. I keep softening the edges around the highlights we use the Jade green and just adding this color around to blend and to unify the colors. I'm going to use much pressure to feel it in this lighter color going around Using favorite and favorite pencil fresher, and eventually it's going to show this so first I'm doing the same thing in the eye as well. Jade green, light, cool. grays are very similar and they blend the colors really well.

I just keep being attention to softer transitions between the values. I keep building the layers by lightening it up. Once again, it's like on the right side Eyes of the eye, and I'm going to use white pencil to burnish this face and to light up. When I start applying wide, again, I just use a much heavier pencil pressure and keep filling up in and blending the edges. The heavier the pencil pressure, the more blending is going to happen. This step that I look sprayed to finished and I continue working on the furrow from now on Here you see me say the lightest patterns in for observing hair length and direction.

It's crucial to overlap the colors in soft strokes. I say this Prismacolor be use Prismacolor XL and 10% warm, warm gray. I also use green or light ocher that can be replaced with Prismacolor burn Hawker. Basically, you see me alternating between several light colored pencils, where I begin building up the texture of the firm. I'm absorbing the length and direction of the fiber. And I keep making the strokes overlapping the colors, thinking about values and Bounce all direction and just general overlapping.

So my strokes, look and even and at the same time, coherent I'm moving around I because this is how I have the four girls around the eye. And I basically just call this movement creating texture. To make the whites have stronger You can also say this darker pencils around the white areas. If you want some of the hairs to pop even more I add Prismacolor white in the lightest area of the floor moving around the eye. I go outside and spray my drawing lightly and vis a fixative so I can work on it after that I keep alternating between warm and cold white. Defining the texture of the for here, the strokes are even in very short and again they move around the eye.

And here you see me adding some definition by placing dark brown next to warm white. Don't forget to keep rotating your paper to make the strokes in the right direction. It's simply impossible to make the right kind of stroke every time. Looking at the other drawing from the same position, you have to rotate your beeper Constantly as I move away from the eye, the stroke changes and the hairs become longer. And you see me failing in the throw around the eye observing this kind of texture, the strokes are becoming longer and they move around the eye as well. The reason why I use other colors besides what White is that is because of values not ever as wide and I'm absorbing the values and that's why I'm placing other light colors besides white.

Also some areas are warm and I'm picking colors that have this warm destroying becomes very colorful and beautiful when you have find your way of alternating between the warm and cool colors. If everything is very warm in your drawing, it just doesn't look right. You need to add some cooler colors to have more depth and dimension Here the strokes are very short once again, and I'm moving my pencil from left to right to create nice and even strokes overlapping each other. At this stage it looks pretty finished but I want to increase the level of texture in the third. And the last stretch is just using the same colored pencils and layering them the same way one more time. In the final step, I lay at the same colors in the four again without working with the full Blender because I've sprayed it in the This step, the drawing paper can accept more pigment.

And I can intensify all the colors, including black and white. Some blending in the form occurs because of multiple layering in single directional strokes. Just see how smooth there is and how much texture we see in the eye spray the artwork again, once it's done in this drawing that's going to be a bonus demonstration. You see a very similar process of color layering where the lightest texture of the floor is achieved. There is Windsor Newton white marker, and Sakura pen touch marker. This marker has a very soft white that makes it possible to lay the light as here's the some caution.

The Sakura bank gives very bright highlights that you can see as dots. They have very hard edges and should be used sparingly. As a result the forgets Rafa appearance was bright the whites in comparison to a more than natural appearance present in the previous drawing. Thanks for watching. If you have any questions, please let me know and I will see you in our next lesson.