Well this donut looks totally different and we are going to create texture as opposed to blending the colors to recreate the glaze and you'll see me use several methods to achieve just that. I'm shading the darkest darks on the rim and in the hole this dark amber and dark brown with medium pressure. I'm transitioning the scholars to make light of Alice in the entire donut with light pressure, amazing Yellow Ochre in the light and I overlap it over the brands. Once I've shaded the entire Donna, I put a piece of magic tape onto my drawing and draw the coconut sprinkles with a ballpoint pen indenting the paper I'm paying attention to length with overlapping and curvature of the sprinkles. They repeat the curving shape of the donut and should be placed to match with their rotation in space full of the day, move on to the next section and repeat the process until you cover the entire donut with texture.

When I lift out the magic tape, I expose the paper's original color, which is a very light gray. Once I color the doughnut more, you'll see the coconut sprinkle sepia brighter set against the shaded browns. I'm repeating the coloring this dark ombre, dark brown and yellow ochre to deepen the values. The coconut sprinkles become noticeable as pencil skips through the paper indentations I'm repeating the process of paper indenting and lifting out this magic tape to three times to build texture but in subsequent steps, I not only stayed through the pencils gifts but also around some of them to outline the edges this indigo blue for better definition in the dark. Mo when I use the magic tape, I strive to create the strokes that resemble these coconut shavings. That's why they need to overlap and look different.

They also need to be in clusters. When I'm done with the magic tape, I go back and redefine some of the edges making them a lot darker I basically shade around those lift outs to make them stand out more. I build contrast by shading around the flakes. It also adds definition To the edges of the flakes. With heavy pressure I begin coloring over some indentations to this aluminum slight cobalt below that you can replace with Prismacolor. powder blue, actual beach and white.

Not ever cockiness like is Why Some are light blue other say gray or ocher gray, you see white only in the lightest areas. Therefore, I'm coloring the flakes and then add the purest white only on a few of them. Notice how I keep changing my pencil direction to describe every part of the doughnut. As I keep shading the previously applied indentations become more and more noticeable. And I apply more pencil on the right side to make a darkroom. I began marking the brightest flakes using white and then I will continue coloring the using less bright colors.

See how sharp My point is to make the strongest edges around the flakes. Once the background is established the token is sprinkled even lighter because they're set against the dark Browns on a dark background. It's important to blend the dots out the edge into the background for a natural appearance. If you haven't achieved this, this shading blend the edge is the full blender. Notice here that there are no lights skips or white spaces around the doorknob. It fuses with the background completely.

Beginning students often leave signing on colored areas around the subject, making the background look like it sits next to oil around an object instead of under it. While the background share some basic collars with the entire drawing, there are major color variations happening due to changes in reflected light and cast shadows seen next, every dawn, the individual donors throw their local color into their cast shadows in the background, which makes the shadows look colorful. Therefore, I begin to block in with two three basic colors that are common for the entire image and relate the add additional hues based on the local color of each donut. The first color to layer is Pablo para vehicle below. Its present in the form shadow of all Almost every banner that I have and I block in with this color and add Pablo cobble blue terracotta and sepia and almost any dark brown will work here.

I add these colors to darken the values and I make them darker on the left even more. I'm also blocking in this yellow ocher in large mid value areas and I also love this color of the brands. The light passages in the background are shaded with actual and white over them. It's important to keep the edges very soft while simultaneously preserving the shape of every cast shadow. For that I'm shading and overlapping light the color Over the dark, vicious, crucial also just pay attention to your strokes. What you see here is that I'm making a choice for my directional strokes to represent the background and I'm sticking to it.

While the strokes can vary in the brush, it could be circles or it could be just horizontal or vertical lines or even cross hatching. But they must go around every donor. They Because it will flatten out the form. The background must stay behind the objects not next to it. That's why it's super important not to place marks going around each donut. eliminate these strokes so not to compete with the textures of the Donald's each if by layering and blending.

Now I begin using the local colors of the Donald's into the cast shadows. So does that allocated underneath each donut? For that I am saving this Permanent Red, orange Spanish orange. Depending on the color of the donut, it's important to let all these colors overlap each other and I will unify and blend them more there. Grace in my last step I'm going down and darken the entire background with 70% French gray in the deepest dark 30% warm gray and Bish Sienna in medium dark. This is a favorite things to donate to color.

In this step I focused on the form shadow defining it to this artichoke. I'm Shanna analyzing mineral orange or orange in the reflected light, it creates volume. Here I'm using tiny circle of strokes, and then I redefine the edge at the same time to keep the donor well blended face is back Round. This orange is a nice color to represent the reflected light on this doorknob. I keep the rat edge very soft to create the illusion and flow. Outline edges and lines of flatten out the form.

Remember that don't outline your subjects very heavily unless your outline matches and value is the subject or background. I'm saving the Donald stop this shutter us Which is light green is yellow color. I add beach in the reflected light on the right side of the donut so the orange transitions to peach. Every time I take a new color I keep reestablishing the edges and I'm doing this scanner well here I'm going to lay in the foundation for texture by placing white specks on the donut that Villa represent tiny sugar granules. So shade the red center. I'm making dots disappear sharp white.

I shade with their ads around that tiny white dot I'm using creams and they're at pomegranate permanent red. The left in the side of the red center is darker than the right. I enhanced the form shadow at the top of the donut. This overlapping strokes of artichoke, I very pressure to blend the colors and to transition artichoke into the light. Amazing warm red Prismacolor permanent thread to make the gem brighter. I'm enhancing the colors of the donut in the light using these yellows Spanish orange, bubbly yellow, yellow ochre yellow, chartreuse.

To make the whites brighter, it's not just about shading this by using heavy pressure. It's also about shading this darker colors around the whites and moving in small soft circles to create colorful shadows. It just must look uneven and irregular to imitate the sugar clusters. Since I've done the highlights, now, I begin shading the intermediate tones using several colored pencils. I basically fill in the space between the white sugar and the form shadow. I'm using a random circle of strokes to overlap the colors evenly.

This kind of stroke doesn't create linear strokes and they overlap and blend very well. My choice of colored pencils depends on my reference. I actually see these colors in the reference picture. When I switch to yellow shutters, I apply this color visa heavy pencil pressure to blend the colors even more. This color cools Down the some of the shadows and crease a nice play between warm and cold. I shaved around the sugar clusters to make them stand out more and it also cools down the yellow surface that I have around the white And then I deepen the values to be a scanner that blends all the previously applied colors.

Shade with lemon yellow over some of the white clusters to make just a few of them as wide as possible, and the rest of them need to be colored just a little bit not to compete with the brightest whites. The Sienna softens the edges between this new library the shadows and bright yellows. I need to overlap the Sienna over all the colors of light in the shadow and extend its shading into the yellow to create subtle value transitions. This is a unifying color that blends and lightens up the shadows graying them down shoulder. Luciana is applied in various soft Sakuma strokes to overlap that colors and to blend them nicely Decrease the appearance of texture. I can make magic they lift out on the doorknob and then color them this white pencil When you lift out the on the size of the donor revealing the paper slight gray color, it looks like sugar granules in the shadow without additional color.

I laid the same colors multiple times to each Eve. This saturation and contrast that I want to have based on my reference picture. I repeat the process overlapping the same Colors one over the other and thinking of my values and also transitions, the smoother transition the more realistic it looks. I am bcnf in the reflected light I don't have to use a language here but if you work on a different kind of paper that has some texture you might need to blend the Donna you don't need to use solvents because it's a light on it so just using a full Blender would be sufficient. And just once again you keep checking if the outer rim of the doorknob blends into the background seamlessly Stepping back to look at my work from a distance and see if my color application remains very soft and the brightest sugar granules of the widest in the light.

Just like in previous Donald's I map out the shadow is public periodical below for unity and I add parabola purple or Prismacolor magenta and 70% French gray. As usual, I begin drawing the form shadow frost and I keep rotating my colored pencil to describe this form shadow. This becomes the orcas era on the glaze I'm using a combination of Chateau Spanish orange terracotta and don't occur, the shade the donut from dark to light on its sides and I keep in mind that I need to blend out the edge into the background. Once all the darks are set, I can continue working on staging in the light As you can see I'm a blank Spanish, orange very loosely to cover the papers color And to give the base for the pink lace I add Wyatt in heavy pressure of this yellow orange color and these previous colors warm up the surface and white doesn't look as cool as that would look like if it's placed on its own.

I continue shading with this magenta color but my stroke changes and I use a very light pencil pressure to fill in the glaze on the donut. I'm shading the beam glaze this gamma Nick bar and peach to create medium Dawn's had the donut stop and light pitch XL BCM and why to create the lightest areas on the left and bottom reestablish values and edges business Pablo Theremin called Blue Continue my layering this peach. Most of the glaze has this color, but because I'm applying it over the previous layer shade the darks. It has different color combinations in different parts of the donut. know just how I keep rotating my colored pencil to shade every particular area and about the does it makes the shading nice and even. And at the same time it helps me with the volume or rotation of the object.

Next I switch to even lighter color which is XL and blood in the lightest parts of the glaze, which is like it's on the left side of the doughnut. And I layer white with a very heavy pencil pressure over actual. If I need to warm up some of the areas, I would just go back and add Spanish, orange or any other warm yellow hue that I think I need. Otherwise I'll continue layering with white and beach and light beach, overlapping all the colors. And every time I use the same colors, I basically increase my pencil pressure that helps me with unification of all the hues and it blends the colored pencils on their own. I actually don't use the blender to do it.

And then I mix in the family into the darker parts of the donut as well. Because it's a low Chrome Chrome I think it works well is the rest of the colors. I'm using magic faith the complete lift out for the shoulders back at the top side. I stepped back to check on the softness of ages and values. I'm using Canva and 70% French gray this light pressure to define Dark Ages inside the hole and on the outer edge to blended into the background. I'm using a light pitch on the right side of the donut to lighten up the And then I began creating transitional values between that light on the left and the form shadow on the right.

With speech, you can replace speech for nectar. These are similar colors, you're gonna get a slightly different result. But all of them work well together. I also want to say that you always get a different result even if you repeat using exactly the same colored pencils and my method of application. It simply happens because we press on our colored pencils differently and it affects our layering and depending on the number of layers in pencil pressure The resolve would always differ. But because you seem to work in the same fashion over and over again, it becomes a part of your process.

And eventually it will be easier for you to make the judgments on your own. I'm applying a mix of light beach and the wide with heavy pressure over the pinks to blend and to brighten up the color scene in the light and the highlights and then you bridge the gap between the highlights and the shadows by tweaking the colors and shading the stem to create a range of failures. Also, colors a little bit brighter because I'm using grace next to them and it just creates this contrast. I'm using what this heavy pressure for the highlights on them. They will seem brighter when I'm placing darker values around the white. Please know that this donut is very similar to drawing donut number fi, only the colors for sprinkles may differ.

That's why the colored shirt is basically the same as for donut five and therefore To that, and the instruction for the previous donor. While the colors are similar, the shape of the chocolate glaze is different. And I'm beginning staging from dark to light is usual. I'm about the donuts chocolate glazed in a single color using dark burn. I skip the lightest areas and say there around them with light pressure. In step two, I fill in colors for the sprinkles.

I say the outside edge is beyond awkward terracotta, yellow ochre and public yellow. I also layer the second color in the glaze by shading this deeper and burnt ocher I softly erase the small curving shapes and feel in this light gray Using Luciana to gray down the lighter passages on the outer rim to blend the edges creating the reflected light. I'm erasing yellow XL and why in the brightest yellow light near the whole This is our last or not number time. I'm outlining and filling in the hole is dark amber and 70% cold gray. I'm shading lightly with this color on the inner side of the doorknob. I'm shading the outside and the rain is from Aqua yellow ochre.

They begin filling in the glaze for life colors, and then I place white on top of that to mark the highlights. I add 90% one grade is light pressure to grade down the whole further. Now I have established my belly on loads of the lightest light and the darkest dark and I begin shading all the values in between this I'm blending the author of the donut into the background. And this stuff I developed the shadows on the glaze and drop the leathers. I'm defining and filling in parts of the leathers there's a sharp point of mixing this Permanent Red, orange and yellow to vary my values. I'm using a sharp point and heavy pressure to make the lightest strokes in the wide present around the DS and then I begin coloring the lines So is this orange I basically cover the entire ladder but I leave the lightest part on colored and then I deepen the shadows with gray.

On the right side of the letters. I add Spanish orange in the light areas of the glaze because these glazes bear light, all the color, some freaking light as well, but they have some color that when I mix them up with this white are gonna look beautiful and give me these colorful whites. Fill in the shadow in the glaze with 70% cold gray, some Jade green, and the little ghetto Pablo therapeutical below and now I just throw in more color into the letters making them brighter. You can play with your ads and just pick different colors for the letters. Notice that I work on the letters in the same way I feel in area d and then deepen the shadows and mark the highlights. On the opposite side.

Shadow in the glaze and mixing Jade green 70% Cole gray in public there and info below. Here you can see that I've done shading the shadows on the white glaze. And when I begin layering much lighter color over this place, it's going to lighten up quite a bit, but the shadow is going to be darker giving me a range of values and volume. Well he work on the light in the glaze. For that I'm using a combination of actual light speech and white inherit pressure to fill in the light glaze around the levers. I'm shading this Excel, but you can replace it with a light cream to say the lightest parts on the glaze.

I'm applying these colors there's a very heavy or cancel pressure and light beach begins to blend. All the darks that I have in the glaze I'm using stockless frogs to achieve I'm pressing hard on the wife to make the brightest whites. You can blend the donut is the full blender. If you work on textured paper, I step back look at my drawing and if I need to brighten up some of the strongest highlights, I use Sakura found. It makes the strongest highlight Am I spray is the final fix itself. device outdoors.

Data is done. This demonstration was a hell of work. It just took me like five or six hours to fill in ever Donna. Just remember that. When you start working on that plan ahead and just figure out if you want to draw one doughnut at a time or if you want to complete the entire demonstration. Thank you so much for taking this ride with me.

I hope you learned a lot and please check out my bonus demonstrations whenever you have the time. I