In this demonstration, you'll see me simplifying the image, making it more colorful, and drawing with just a few colors to create an impression of metal and wood. For this image, the textured paper will help incorporate the effect of wood kenson pastel paper has two sides, please speak the smoothest side because even the smoothest side has a lot of texture in it, and that might be very frustrating to fill that in and to try to overcome the texture. So working on textured surfaces can be a challenge. And it's definitely more time consuming and that's why you can try drawing just part of the image. The first thing that I do Is that I sketch out the outlines on a separate piece of paper which is just plain sketch paper. And then I transfer the image onto my colored paper.

I use this light yellow surface to incorporate the natural texture and hue of the wood. If you use the transfer paper use white transfer paper so the outline is white. But if you use the window light to transfer the image, use an HP graphite pencil and then just tap on the outlines to make them as light as possible. In this demonstration, I recreate the feel of the wood, not by throwing out every crack like I've done in my previous demonstration, but by shading over the paper's texture to achieve the uneven surface. You'll see in the next steps I map out the darkest areas this beans gray and dark Indigo. I also add a touch of cobalt blue to see how this color work on this paper.

I'm basically testing out the colors in making the darkest nodes from the start. Because I always work from dark to light and I begin drawing from the shadows or, or the darkest areas first. This step establishes a form and the value range because I know that this is my darkest dark in everything that I draw On top of that is going to be a lighter than the darkest areas that I have established here. After setting up the darkest darks, I map out the highlights this ivory and white. Always remember that white is a cool hue and if your image has a lot of sunlight in it, you've got to add a warm color to your white. That's why I'm using AI very first because it's a warm white.

For the corporate handle, I mix cadmium orange and dark chrome yellow to draw out the darkest concave shapes in the handle. And I also use a mix of fiber in the white to play strong highlights on that. I use pure white on top of ivory and not in reverse when I say this light colors, it usually play heavy pressure to get the brightest whites. If you don't push your pencils far enough, your lights are not going to be as bright as they should be. I also add the same yellows to the wood and metal for Kali unit. onto the metal Lark I started by throwing out the shadows with Earth green, below Chroma green, meaning that it's great down to have less green in it and so it looks like a colorful gray.

And just see how I work on the edges. The outer edges look much sharper and outline in comparison to my stuff that shapes on the Math itself. When I'm developing my drawing, I always look at the correctness of each shape. So whenever I layer color, I fix the overall shape of the object. For instance, if this needs to be around, I make sure that I outline and say the right next to that outline so I preserve the roundness of the shape when I'm developing the woodgrain. Look at the basic pattern of life.

On dark, the woodgrain is darker shape like over here, dark and uneven line. And then I stayed right next to that line to develop the Dark Passage first, and then it's a lot lighter on the other side. That's how it catches the light. So dark light and then the middle tone in between. Of course, this saves differ, and they're very uneven in general, by looking at your image, this way you will be able to find and to develop the woodgrain the way it should be. And then it's important to overlay the colors.

So I have the dark gray, but then I overlay the general local color that I see in the shade, which is, you know, Yellow Blue. And the finer you make those lines, the better it's going to look. I find that when the green seems to be too complex, like there are mania lines of different kinds, I just pick the largest ones and develop them. I don't try to copy everything. I just want to get the overall sense of the woodgrain Give it the general sense of the light using a fairly light yellow, warm yellow colored pencil to save the metal because white by itself is a cool color if you need to have warmer color over here. I begin adding color to the vote, trying to figure out how I'm going to incorporate the paper structure into the drone wood grain.

Shade this cadmium yellow and cobalt below. I also play so if you and even lines with your spins gray to represent the cracks. Payne's gray can be replaced with almost any dark color. such as when the egg brown or dark Indigo. I'm using a light pressure and directionals up and down stroke to fill in the basic color of the wood. Basically it's a couple of collars.

The inside of the woods is a yellowish orange and the overall color of the wood is warm blue. I'm going to use up and down stroke and fill in The paper so all of this colored this paper has a lot of texture as you can see. But if my pencils are sharp, I can fill it in for the most part and I wanted to have some texture because it helps to give the feeling of the woodgrain anyways. Also, I think it comes to personal balance between the size of the paper and and the photograph that we use because a lot of times we want to draw smaller because it's so time consuming, but it makes it harder to fill in all the details. The same is true In the reverse, sometimes drawing large is great, but then it takes a lot of time to fill in the space.

So just be considerate of that as well. After that they say this Van Dyck brown and I make sure The point is beta sharp and I outlined the keyhole and the log along with some Juniper green. I say the metal is the light touch of Cadmium Yellow because it's very sunlit and this warms up the surface, including the highlights. I often have the same colors I've used before. So I tend to outline and say the shadows with dark indigo and earth green. I shade is a combination of light yellow and white to make the strongest highlights on the keyhole.

And then I start shading this light pressure using Earth green and cool gray to create transitions between Earth green and the Life. I come back to the greenish middle block and create transitions of tones in it. Since I've already established both the lights and the shadows I now need to create transitional values connecting the two poles. I do this by controlling pencil pressure layering and overlapping the colors. Blending happens naturally because I keep layering and overlapping increasing the patents Pressure is I go with the beach eliminates the paper section I do, I can see that amount of layering in slightly different directions. And eventually it just the pencil strokes fill in the texture, the original texture of the paper.

Also, it's not just about the color but more about the value I continuously check how light or dark I want to shade a particular area which determines the amount of layering because everything you draw, you should be thinking about tones more than about colors. I also deepen the edges on on the metal using cobalt blue and this cobble blow huge against to unify the college in the woods While I'm working on my drawing, I constantly check the symmetry of all of my shapes. For instance, as of now I can see that this shape This multimeter code is this one. And I begin to think how I can fix that. So it looks more symmetrical. I'm looking at the shape over here and then I'm making a line and it tells me that the shape needs to get carved out a little bit more.

And maybe I could bring this shape slightly down so it becomes more symmetrical with this one. I'm also looking at the symmetry of this, this space and so on. And as I'm coloring, I'm not on liberty, values and color I'm also constantly improving the the appearance of the shapes slightly different than the pictures, but I'm trying to make it as easy as possible When I get into the detail like colors, I press on the pencil a lot to get the most color out and you have to press a light colored pencil. A lot also unifies your colors. When I see the light of slide I press on my behaviors and I there Ah mania times to make the strongest light And if I see that the light gets less strong over here, I'm just shading across the form to blend the pencil but I'm not pressing on it as hard anymore because I know that this space shouldn't be as wide as this space.

And this is true for any kind of drawing you need to understand where you see the strongest slides, put the main and then basically comparing to that strongest light. If I see that the shape looks too light, I would go back and just color over just a little bit. So it's not bright white. As you can see, it's just a very slow process and you have to enjoy it. Well if you lose patience, it will be best to simplify the shapes even more. When you look at the shadows for the darks, you must remember that the shadows have color as well as the light.

That's why it's important to find darker colors and put them in your shadows. drawings very colorful by me They're seeing the shadows and seeing the color in the light as well because White is a cool color on its own. It's not even the color. Therefore, you have to search for the color. I see all the colors that I'm using in my pictures. But what I often do is I just below I decide on the color scheme and I basically push particular colors more than others.

The surface is to give this feeling of the metal what I'm doing, basically policing, darker passages the middle So the highlights, obviously, you can see me layering a lot. So it's not in some process. I just keep thinking how light or how dark I want a particular shade to be its shadow. Also, please step back from your drawing so you can see it from the distance because it's going to tell you How light or dark enough to push your values and also look at the symmetry and the crispness of the edge. Some of the edges need to stand out more and it is your choice what you want to hide highlight and what you want to disappear in a drawing. For instance, over here, the edge should be softer because it's in the shadow, but it's still present.

And I'm going to have sharper edges in the light to bring it into focus more. If I see the shadow is too dark to always do, I'm just shading this white over and then it lightens it and also blends it If you've done a lot of shading, and it seems like pencils don't layer over anymore, what you need to do, you need to go outside and spray drawing lightly selected dry, and it's going to have a little bit more tools to let you draw over at the game. There is a lot of detail over here. But again, it just depends how much patience you have to work on it. And also, if your drawing is very small, it's just becoming too difficult to work on that detail. I also see that the metal is very yellow as always here, it just doesn't quite work.

So I'm going over to my light and warm yellow unifies the entire surface and makes it look more sunlit. I can do the same with other colors for instance, this gray to unify the surface and to create subtle transitions If I want to go more detail, I start from my phone as much as possible. And the first thing that I'm doing, I'm just drawing out the shapes that represent the grayish blue part of the metal. Some of the like slight shadows. That's what I'm trying to catch. So you can see it's a slow and laborious process.

That's what people like about college pencils to be able to work on Usually, when you have a design where there is like a dark line or a dark color here, it's basically you place the dark state right next to it and then you use lighter pencil on the other side to make the shape so I have the dark line here and I'm going to have a lighter side by moving my hands Next to that line and see it creates this sense of depth in the line itself. illusion of that chip. I come back this light gray and I feel soft light Again, I colored some ears right but they're not feel the right so I go back and shade over over them lightly so I create subtle transitions transition between the middle zone and the light. Once again, check for the symmetry. If you want to get the brightest highlights, I think you should use them And so by Prismacolor premier or if you have a set of luminance colored pencils, you could use those, the pencil cores, they're soft so you can achieve the strongest highlights possible with these two pencils.

I think this part of the metal is very yellowish because of their eyes. That's why I'm using this orange color in a very light pencil pressure just to go over the general color Now I'm going to get to the top part of the marquee and basically do the same thing by noticing where have the strongest winds is on on the right side, marking them And again, I know that these are yellow lights, and white is a cool color. I will be going back and layering a wash of yellow, warm yellow over it. But the first thing that I do, I mark the highlights. And again, I'm watching the symmetry a little bit off here, so I'm just I will try to fix that. So it's close to that one.

It happens because if you're saved endlessly not thinking of the overall shape of the object, we tend to lose the object. So we always have to outline the object first, but the outline itself should mesh with the background. That's how it's gonna look right? What I'm doing now. I'm also lining the shape this the gray that I'm using. Anyways, like here the outline is too low too strong so I'm gonna reduce the Chroma and make it softer.

Once I'm done marking the strongest slides that I see in the picture, I'm going to work on the shadows and then find various bits of in the shadows and the light. Noise again, don't forget about the overall shape. The color of red is basically a mix of grays and oranges and once again you've got to absorb the overall shape of an object and then start coloring thinking of tone or value as opposed to color Give it a warm, yellow, and then better light pencil pressure to stay over the object. All right, so this white is not cool anymore. It has this warmth that we need. So after we've done the highlights and the deepest shadows, what we need to do is to create transitions between the dark and the light.

And this is where it gets tricky for most people, because we tend to simplify the range of those and most of the time you just don't have have enough values going from light to dark. And what I'm thinking of is shading these different values by using a single robot pressing on it differently. And that's how I'm controlling the values or lightness or darkness of a particular area. I'm constantly looking at the photograph, and I'm just comparing, for instance, how light or dark this area should be in comparison to that or how dark it should be in comparison to this and that's my As I keep saving so the goal is to have a range of values as well as the surface because this part of the drawing doesn't have any texture, they have texture in the handle and in the wood itself. But the metal, the feeling of the metal comes from very subtle transitions and blazing of all the colors.

And blending happens naturally when you have a set of very sharp colored pencil. We just layer the color and overlap up to the extent that The colors begin to blend on on their own. And because of continuous layering, and overlapping, eventually the area becomes filled in this color, and then it just, it becomes filled and smooth and you don't really need to blend anymore. Usually students start blending to earlier event there is not enough pigment on the page. You've got to have enough color on your page to blender, otherwise it's not gonna work. Another solution to give the one to two this area is to use Very light pencil, such as ivory, because it has this warm tone if you compare it to white pencil White is just a very cool color and this one has a lot of warmth and therefore you can basically use this one a lot to blend the colors as well to work on the transitions around the highlights Next I have cadmium orange to both metal and the handle.

I shade this white over parts of the greenish metal in order to blend the edges more. I use Prismacolor white to make the strongest highlights on the handle because I find that polychromos White is not soft enough to do that. These colored pencils are on the harder side, although they have a lot of pigment in them. So I always end up using Prismacolor white on top of all of my highlights to make them the strongest Forget to spray the drawing lightly outside so the pigment doesn't smudge. It depends when you want to spray because if it gets to vaccine, you cannot layer more color and you need to spray it lightly and then your paper is going to accept more color. So you see me work on the book behind and around the handle.

I mainly use polychromos ivory to shade over the light yellow and cobalt blue in the world. It's great in you call it a light warm glow. My reason for doing so is to establish the clear edge and contrast between the corporate handle and the wood behind it. You always need to consider your background space that basically helps you Define the edges and values in your subject. That's why I feel in the background at the same time as I work on the metal handle In my final stretch, I'm dealing with the woodgrain and the item to simplify every picture work on and so I create an impression of wood, violating the papers To show through my pencil marks, I don't fill them in completely on purpose because I want the metal part to look smooth and the woodgrain to look textured. Lastly, I say this cup of blue Delft blue Koval green and earth green to create the color of the paint that would layer the white, ivory white, and the combination of grace on top of that they'll unify blend and grade on the surface.

And when I'm done, I spray my drawing one more time using the final fix. Thanks for watching guys. Have a great day. Bye bye