He In this lesson, I'm going to show you how to draw textures. I'm going to complete a demonstration of drawing dominance has a different texture. And you'll see me exploring my ways of describing the objects through textures. If you like my demonstrations if you enjoy and learn a lot in this class, please share my video course with your friends. This lesson incorporates everything you already know about colored pencil techniques. And you will see me using these techniques drawing doughnuts.

For this demonstration, I'm using Prismacolor premium colored pencils with a few other colors, kneaded eraser magic tape, then tracing paper, final fixative a large piece of printmaking paper in the light gray, it can be replaced with Stonehenge because the surface of this paper is very similar to Stonehenge papers. And I will also be giving the colored shirt next to each donut just to simplify the overall process for you to follow my demonstration. You can also simplify by drawing just one or two Donna. Please note that working on this project is quite time consuming. And I'm not discussing basic drawing techniques, but focused on color shading and textures. I lay out the drawing sequence of favorite donut.

What I did I filled in the background first and then I layered one color at a time working on all donuts simultaneously. By shading the background first, I create instant contrast to work against and coloring the darkness. It took me considerable effort to make this arrangement of Donald's because I aimed at balancing out every texture, color and shape, which required multiple rotations, changes of place, light and really shooting at different times of the day to capture strong shadows and there's lots of color this project was completed on a very light Gray printmaking paper that's often it doesn't show as the light gray in photography has minimal texture and the colors tend to blend on their own without employing additional blending techniques. I'm typing all graphite lines because they knew that array so it's a light donut and graphite, they'll show up once I begin shading. I begin throwing out the rotation of H fold with either seracote or Sienna Brown.

While the color looks risers here, it's actually a warm brown that I suggest the use for shading if you start working on this thing To the rotation of every fall in the donut is important You see me rotating my pencil and paper all the time to have the right kind of stroke to shape this doughnut. Notice how even my shading is I shade right to the edge, and I defined some of the edges to keep the drawing part intact. Later in the demonstration you you'll see that I keep redefining these edges over and over again with different colored pencils. This is done not to lose the edges and to preserve the drawing. Ever fold in this donut has a light and dark pattern on it. I begin shading the darks only and fill them in completely.

And then I will focus on the lights, introducing new colors after that. And once again watch for Fm solarization and the correct placement of the stroke. If you just say that aimlessly or up and down, you're not going to create the volume in this doughnut. So I feel then the shadow in every section of the doughnut, and you can see that it's very nice and even once I placed the background colors, I said the contrast to begin working on the donut is a sharp point I played around on white spots. I often shade with a warmer Color before I apply white because White is a cool color. And you see me doing this on numerous occasions where I shade with yellow or actual and then I begin adding texture is white.

I Bly yellow generously because I always go back and overlap the colors and it never hurts to to say wider area then you think you need because you always go back and overlap and make it narrower but because you keep overlapping the colors that becomes more colorful and the unified define the brown the answers to this piano and fill them in this this color in life. Rasha. artichoke is a nice, natural green. That works really well with this warm brown mix together. it deepens the shadows and it keeps them warm. And once again, I keep rotating my pencil to get the right kind of stroke following the curvature of every fold in the donut Well, I'm sorry.

Established my darkest darks, the shadows and then I placed my highlights I basically find intermediate values between these darks and lights. And I begin introducing more color into it shading with light greens and yellows to create these transitions between the shadows and the highlights, I keep layering and overlapping the same colors over and over again until I achieve the right kind of smoothness and transitions in tones. That's my goal to keep shading until I see a complete 3d effect in every photo that I create. And if I see that the edge gets lost I basically go back and re define it. Here you see me defining it with darker gray, because I'm using the same kind of gray in the background. And this gray basically unifies my donut in the background in terms of color.

Also, I constantly go back and look at my reference. Don't forget about that. You find new color combinations and you see more every single time you look at your reference. And don't forget that the form shadow makes objects appear around. That's why I say the form shadow in every form. Does every new step I keep defining the edges to preserve the correct rotation and clarity in each section.

I also work in short directional strokes on every section to create volume. For that, I need to keep rotating my drawing paper as I'm shading, so the strokes are wrapped around the forms and don't become too linear. I add the warm light greens such as a shutter or an artichoke shading around the yellow to create value transitions between the dark browns and the light While I shade from white to yellow to shutters to artichoke after that the shapes turn to orange brown shadows that I have already done in my previous step. Once I work on the lights I keep layering and switching between the lighter colors and overlapping them. Please gray cools down the shadows. By adding new colors, I think of my values more than the color itself.

If it needs to be darker, I keep layering and layering until I achieve the right kind of tone. I'm shading with this orange hue and I keep reestablishing the outside edges of the donut and I put the same color into the reflected light or the folds because it unifies the colors and also makes it a little bit more warmer. Most of the Diamond simply layering the same colors over and over again until the right contrast and volume is shaved. Add 70% cool gray into the form shadow in every section. And this is very important to keep the form shadow in every section of the donut. I add mineral orange into the brown to warm up the color.

Once the basic parts are not light and shade is in place, I can add variations to the color scene in the light. When I apply white usually I use a very heavy pencil pressure to make it as bright as possible. I reinforce the texture is white for small dots in the light and add just a few tiny highlights on the left side with the Sakura touch. And in the final image you can see various subtle transitions in the light and soft edges between the light and the dark. At the same time, all the folds look seperate and rotate in the right direction. Look at your reference to see how dark the shadows are and how light the glaze is.

And then you start shading with this idea in mind because you know how light or how dark you need to go to achieve the right kind of tone, shading your donut You can pick your own colors for the rainbow sprinkles. I begin by placing a local color for every sprinkle. And I outline the sprinkles in then place a highlight and a reflected light in every sprinkle. I mean you can pick any color you like. Have fun with your pen, so must be a very sharp to do that whenever you work on details. It's just necessary to have the sharpest point possible.

And as you can see, I draw out every sprinkle and then I begin shading immediately right next to that line to create volume. I don't leave outline edges Just on their own, I always place a some shading on the sprinkle and as cast shadow under the sprinkle. Also I brass on my white a lot to make it stand out more so it looks as bright as possible. also put your sprinkles, throw out the glaze, it needs to appear natural and slightly uneven. Don't place the sprinkles next to each other. They need to overlap and just be different one from another.

And they all need to be different in length, a size and the rotation I always begin shading from The shadows. I'm coloring this public domain called Blue, which is light which has lilac hue in the shadow of every donut. I'm thinking how I can turn the form this values rather than focusing on colors on there. I begin developing the darks in the center and the outer edge of the donut is 70% warm gray, yellow ochre, crimson red and Humana to create depth. When the donut turns to light that you see as the top these dark colors will change to much lighter values such as yellows, warm, white, and light features which you which I'll color in the next step. As of now, you see the papers light gray color in the light crimson red is a very dark color and it works really well when whenever you want to deepen the shadows.

Usually when you add it into the shadow part of green grass for instance, it really darkens it and at the same time, it makes it look very colorful and natural in terms of color. Yellow Ochre is another color natural yellow. That looks beautiful on its own, and usually it's a very good color that you can use to blend other warm colors and just add warmth to your drawing. Because beginners start shading with yellow thinking that they are Creating light is this color but it's not the case you usually need to find a warm, natural yellow and yellow ocher just works beautifully. I work with actual shading around the highlights. It's a very nice natural, warm yellow.

It gives a lot of natural warms to the lightest lights in the donut and notice that I keep overlapping this Color a lot and it just blends the edges. I am applying more than I think I need because I would be coming back and overlapping this color this other heels and that would blend naturally with the rest of the colors. This heavy pencil pressure I draw is white to place the lights and soften the white edges with actual by shading around the white. I map out and fill in the shadow. As you can see, I outline it softly and then when I start filling it in, it's nice and even there are no gaps, no skips, no white spaces and this is very important because it is the show And that shouldn't have anything light that would compete with the highlights or the light areas in the donut.

And then I begin saving the glaze from the shadows once again, I find the shadows or a form shadow on the glaze and I put it in because it's like a dark note and I cannot go any darker from that. And then I would be just shading this lighter colors and bridging these dark VISTA highlights I'm adding a lot of orange into the donut itself to make it warmer And then I reestablished the edges is the same color. That means that whenever you start establishing the edges, you'll always shade right next to that line. Otherwise you're going to create cut outs instead of transitions. And then I take yellow ochre and I blend the outer edge just a little bit more to fuse it with the background. As you can see, I can Working from dark to light I apply the shadows then mark the highlights and I keep shading between these two notes to connect the values.

In this image you can see that I've already established the shadows the color of the donut itself. I have the sprinkles and now I'm going to work on the glaze and put the light values in the glaze. Let's work on the glaze to this these colors yellow or gray actual and wild fish seanna and bees which looks like pink on this paper shutters next therapy and life each. I begin shading this actual because it's the lightest color besides why and I play sit underneath my lighter tones to warm up the surface. To create a section in this donut, I draw the sprinkles one by one. You can pick your favorite colors and place them to make some of them stand out more than others I place a shadow and the sprinkle was public hearing called below 70% warm gray and the local color of the sprinkle.

I also outline the sprinkle for clarity. Once I have established color for the cast shadows under the sprinkles, I shade over them this bush Sienna bush the young is a great down Pink that unifies and blends the colors nicely as well as gray soft transitions into the light used in the glaze. Bu Sienna is a very nice color because it looks kind of gray. And at the same time it has the color that blends the lighter colors very well and it also fuses them together. That's why I use it often on almost all of my Donald's when I shed over the shadows using the BJU Sienna, it unifies all the darks and it lightens them up just a little bit and at the same time because it's not so bright. It doesn't create bright shadows which was important.

You want to have the lights on To be bright but not the shadows. And here you see me switching between the two colors I basically fill in the entire glaze using Luciana and yellow ocher and just keep alternating between these two colors and overlapping them. I vary my pencil pressure to make some errors brighter than others. Either than that it just working in these two colors. And as I keep saying I keep thinking of my values how light or how dark I need to go to say this these two pencils. I'm stepping back to see if I want to reinforce the whites and if the glaze appears well blended.

If not, I can stay with the full blender to achieve a very soon Mullah result. This light pencil pressure I deepen the shadows on the donut sides in Havana permanent thread and pumpkin orange. I shade with shadows and notice how I keep changing my pencil direction as well as the rotation of the stroke. Some of the strokes are very short and others are longer and I also have circular strokes. This is done just to see how colors blend. I varied the stroke to describe the rotation of the donut as well as the texture of the donut.

The peach is a very beautiful color and whenever you want to apply light colors and black The surface you really need to push your pencils and apply them using a very heavy pencil pressure. And this is what you see me doing here. I apply it over my entire glaze and I pay attention to the edges making transitions between the previously applied colors and that's why it becomes a unifying color because I shade over the glaze with this heel. And then I do the same as be seanna because it also blends and unifies all the colors. And then your last step Just don't forget to add some local color on the the spring calls and I mean local color if your sprinklers blue you add blue as into the your cast shadow and the last step would be aging white or establishing your white making it as bright as possible.

Well, this is a fun Donald, don't you think? Please keep looking at your reference as you start working on this demonstration and mixing bubble a pair of ankle below this pomegranate to map out the shadow in the center and on the left side of the Donner. Both cool colors that harmonize well with each other. I'm outlining the edge The hole this pomegranate and fill it in this medium pressure because Arad from the donut gets cast into the background around it. Once again, I keep filling in the shadows first and I keep them unified as much as possible there are no white spaces no escapes and out the edge of the shadows stays nice and soft. And I always put the form shadow first and I complete some shading of forming that form shadow.

I made the mineral orange and Spanish orange into the yellow side of the donut. In this and in the next steps, Caribbean or Advil will take the most work because I will Alternate pencil pressures to make a variety of values in one column. For that I am constantly thinking how light or dark I want to shade in the various the pressure to fill in the doughnut going around the highlights. I keep shading the reflected light with this fairly light cool Arad which is a beautiful color on that song. I keep overlapping it over my previously applied darks and led blends the edges I'm marking the highlights of his white pencil. I'm mixing permanent thread this mineral orange to get the lighter warmer as you see at the top of the red glaze.

I complete a lot of mine drawing, mixing mineral orange, which is a light fast version of orange. I mean that's a slightly different hue but you can replace it and I mean this orange is permanent Rab and that gives me the color for most of the glaze in the light. I also say they're on the highlights but I overlap over the edge of the highlights slightly to make it more even. And to keep the highlight as part of the glaze. I'm shading this actual over this color, this medium pressure to lighten up the values even more in the middle of each section. I basically create a transition between the form shadow on the rise and much lighter colors on the left, I basically create a transitional value in between these two values.

In this picture you can see how I create volume by applying and layering the same colors with different pencil pressure to achieve different tones. to color the white cream, I'm using white peach XL nectar and Spanish orange nectar blends arats in the areas around the orange light You should use white pencil to make highlights in the white cream. As you keep shaving always think of your reflected light and the foreign shadow and highlights. And because you push your pencils and you pick your colors knowing this information, because the form shadow is going to be the darkest, the reflected light is slightly lighter and the highlights are the brightest lights in your drawing. And then I keep layering and layering the same color over and over again, increasing my pencil pressure to achieve the saturation or brightness of the color that I want to have. Getting the right tone in this section of the donut.

I'm applying Spanish orange freely because I want to knock out the color of the paper and just leave the highlights white and it gives me a very nice warm undertone. On top of which I'm going to build my transitions in the light It's very important to create a variation in tones. Otherwise everything is gonna look flat and basically the same. The students have a very big problem figuring out how light or dark to push the colored pencils. But if you just keep looking at your picture and thinking of these shadows and the highlights, it becomes a lot easier to shave your doughnut or anything that you draw notice How uniform my shading is. That means that when I shade I keep the strokes so close to each other that they blend on their own.

And you see no escape so white spaces This is one of the reasons why this Arad glaze looks so smooth and unified. A lot of it has to do with the quality of shading itself. And once again, just pay attention to the stroke to his direction a bit because it describes the volume. I'm shading this neck area you could you could replace it for peach and create this nice light tones with that overlapping over the previously applied around a look. I keep Rotating my pencil to cancel out the lines, shading the glaze. And a lot of this done just using one or two pencils and changing the pencil pressure and pencil direction to describe the form and to add the brightest Lights, I'm throwing a few thoughts in the life, just the soccer up and you can blend this a full Blender if you work on textured paper because the glaze must look very small.

Most of this donut is white and it is in the light and you'll see me tackle this challenge. First I map out the shadows on the glaze with fat blow Caribbean cold blue. I'm saving the outer rim of the donut with rose yellow ochre, permanent red and terra cotta. It's done loosely and without a new definition. Once the contrast is set against the background, I begin mapping out The shadows to this public Arabian cold blue. I use the same color throughout this drawing for color units.

So basically I start every drawing with the same color mapping out the shadows. I'm placing a colorful gray shadow in the glaze by mixing public area and cold below this 50% French gray and the Sienna. I'm using blue Sienna to fill in the reflected light in the glaze. And I'm also using the same color on the top of the glaze around the shadows because it's going to create transitions between the shadow and the light. For the white glaze, I'm using these XL and why and why it is the strongest and brightest. Wide but a lot of it is done with actual and Bs.

I am applying wide this very heavy pencil pressure going over these colors to create strong colorful whites at the top to create this light texture in the white sugar glaze. I'm aiming for random little circle strokes, applied this havior pressure. First I place the highlights with white colored pencil. And then I mix this in three colors to create light tones in the glaze. I also overlap these colors over the previous lucre, that shadow and that unifies that all together and makes the shadows look softer and not as bright This donut looks darker despite being in the light that happens because of the chocolate glaze. You'll see me saving this donut recreating this glaze and making out the Donna's chocolate glaze in a single color dark amber visit touch of Pablo periwinkle below.

You start shading from dark to light, keeping the lightest areas and shading around them this light pressure I build the foundation and create volume using just one or two colors. I'm using the mana eraser to softly erase small curving shapes in the glaze. I basically vary my pencil pressure a great deal and I you know, I say that around the lighter parts or the donut looking at my reference I'm making my choices for colors in the rainbow sprinkles. I am drawing this public oval blue, mean public yellow and Prismacolor Crimson around. Some of the sprinkles would look brighter and lighter just because you placed a darker color. Right next to every sprinkle.

If you see areas where the glaze looks really dark you just use your Dark brown to fill in all these areas between the sprinkles so they look nice and even. You can see me use the same color shading the inner side of the Donna. I keep overlapping this alliance found self pressure and it has a unifying effect. And also I'm defining the edge at the same time where I see it's getting lost. And this is a continuous process yours shade and redefine some of the edges to keep your drawing nice and beautiful. And then I go back and work on the glaze.

I find major sections in the glaze and then I begin shading them making darker values to define these sections, and I'm using a soft circle of strokes to describe the form. I'm shading the outer edge was bronc ocher terracotta, yellow ochre and Pablo yellow. I think if you keep your strokes to straight and linear and maybe if they're too long, you're going to lose your sense of volume. The Strokes needs to be placed in the right direction following the form and they need to overlap each other and just be as soft as possible. Because the glaze needs to look nice and blended it shouldn't have any texture at all. Once I have placed the darkest values and mark the highlights, I can begin working on bridging these values to these lighter tones.

I begin layering the second color over dark brown in the chocolate glaze. I'm using Luciana to gray down the lighter passages you see in the chocolate glaze that are going around the outer rim of the donut. This color blends the dark edges creating reflected lights seen in brown view cnn gives me in this nicer reflected light that doesn't look too bright. chocolate glaze in the dark and medium dark. I'm using crimson red Hannah and Sarah quarter. Family is a beautiful color that adds a lot to this chocolate glaze.

And that's great. It's nice and smooth transitions. Whenever I use light colors, I apply them IVs increased fan salt pressure to get as much color as possible. And again when I shade this Hannah and other colors, I'm just thinking how light or dark I should go. I was stablished my shadows and now I'm working on the lightest parts in the glaze. And that's why I'm using these colors because they're much lighter than the dark brown that I've used before.

And because I keep overlapping these lighter colors, they blend and create nice facade. transitions in the light part of the chocolate glaze. Notice how I'm rotating my pencil to get different pencil strokes that describe the form and blend the edges. chocolate glaze in the light. I'm shading this pumpkin orange and bond ocher this heavy brush QU si means defining the top edge with Bish Sienna, and then I create subtle transitions with Hana And I finish up drawing this donut by re establishing my highlights making them as bright as possible. And also the actual is white in the lightest parts of the yellow rim.

Notice that they're not huge and the shape of every highlight should be exactly the same as you see in the picture. That means if the highlight is small and circular, you repeat just that you make it small and circular because it affects our perception and how they're array that in the drawing you need to outline sharply under the sprinkles with dark Amber. Create definition. This is what I'm doing here. I'm also using wide this heavy pressure to make single highlights on top of each sprinkle in the light. In this final image, you can see how smooth the glaze looks and the color of the donut itself.

Looks very different from the background. And you can see how the outer edges of the donut blend really well with the background that at the same time they stand out. And this is very difficult to achieve. It happens because of the deliberate shading and outlining of the edge at the same time and shading right to the edge. Also pencil stroke and pencil direction determines the difference between the object itself and its background.