In this demonstration I'm going to show you how I describe volume of water by drawing one of the sea salt that I have. In this lesson, you will learn how to create the volume by using different pencil direction. Besides understanding the formula for the distribution of light, you also create an illusion of volume in an object is a directional stroke that either follows the form or goes against that. Without it, your subject will stay flat. Let's look at some examples to observe the curvature of objects and how you can apply This information to describe a new form in directional strokes. In the image of the flower, the flower consists of a large circle with several more smaller circles inside it.
When you sketch out objects like this one, you draw this circle first. And then place directional lines for every petal inside it. It's much easier to draw out the petals one by one, following the directional line of every pedal. When you begin stating you also follow the form to shape in the direction or curvature of every pedal. The cat is a complex shape it consists of several shapes, such as this one, this one This one and that one. And each of the shapes can be described differently Vizio shading and directional stroke for instance, the shape could be described as shading this way.
This sabe could be described as shading this way. This elongated shape could be described as the strokes going in this direction. And this oval shape could be described yet to be another directional stroke. Now you can discover your own ways of describing the form. Just remember To break down a very complex shape into smaller shapes and describe them differently. If I take this year, I would say, the black bars going this way.
And I would say the golden part going that way. If we take the earring, I can describe it shading this way. So the idea is to break down a complex shape into smaller shapes and find the directional stroke for every part of your object. We can look at another issue over here and think about the pencil stroke and direction that could be used here. For instance, once again, you break it down to simpler shapes, which is I can see one big shape over here. It's a triangle.
There is another shape over here, and there is a third shape, which is another triangle. And I'm going to say it every shape differently to describe volume. For instance, for this tape, I would follow the form this my strokes to create volume. For this shape, I would I would be using shorter strokes to describe the volume going in different directions. Because I'm thinking of volume and how it rotates in space. It goes out, curves and goes in.
And this is what I'm going to draw. If I draw this seashell, I will Start saving this way, then I would change my pencil direction going this way. And then I would change my pencil direction once again going that way. If we look at this save, there are many ways how you can approach shading it, but I would make it different from the sun that I would start shading like this, then I would change pencil direction, and I would shade like this. And I would change pencil direction and I would trade like that. And I would continue doing the same thing here.
For instance, I would say like this, like that, and going that way as well. Before you start drawing, once again, look at the overall direction or the policy. Have your objects in space. For instance, in this case, the directional line would go like this. So whenever you start drawing, you place the directional line and then you start mapping out the basic shapes going around that directional line. That's how you place your object correctly in space.
The donut is also Sokolove is a curving subsections that form a unique pattern. Here you see black directional lines that illustrate a possible direction for shading every section of the donut. When you begin staging, you use short strokes in one direction, then change pencil direction and accordance with the change in the pattern. The idea is not to shade in Long aimless strokes that flatten out the form. But to focus on seeing these directional strokes and seeing the changes in every object that you draw. Here, we can look at the structure of the cell to sketch it out correctly, the cell is broken down into three major planes.
The first plane is the oval over here. The second plane is the triangle at the bottom of the shell, and the third is the connecting shape in in the middle of the cell. Why is it important? When you layer and blend colors, you follow the contours and textures of the shell. You follow the form by varying pencil direction and stroke length you learn to draw subjects in three dimensions, you can follow the form visit your shading, or you can go against the form Vizio shading. Follow Goa games.
Follow going games the form, follow, go again. Here you can also create volume by using shorter strokes and going inside and out. There is a difference between the harder and softer pencils. For instance, this pencil is a little bit harder. So it keeps the pencil point a lot longer as opposed to this one Which is softer, it is brighter, but at the same time, it doesn't give the edge as sharp as the harder one. You can use it to your advantage.
Whenever you work on your drawing, you can use softer colored pencils, drawing out the background, which is a lot faster and you can cover up larger areas using your soft pencils. But whenever you get to the areas where you want to define the edge, you switch to your hardware pencil and basically draw out the edge like so and then say the right next to it. So the main advantage of using the harder colored pencil is basically allowing yourself to create a sharp edge. This pencil sells so great to make details. Here I also want to talk about the pencil strokes and how they define the volume. Most of the forms can be created via cross hatching because it smooths out the surface and if your cross hatching is very tight, you don't really need to blend colored pencils.
In this example, we can see circular strokes. These come in very handy when you draw around the highlights or your shade a very small area that shouldn't have linear strokes. You can see that this One looks much nicer than this one because I use lighter gentle pressure on on this one. In this example, you can see definite strokes. Sometimes they're useful to describe the edges and make them much stronger than general shading. This type of stroke is called stippling.
And sometimes you can create textures with the with these kind of stroke. It just play a crucial role in drawing some must be very definite and descriptive. Like I have a definite line over here that describes the chain and other lines must face off such as this one. Usually in drawing, you want to have lines that appear and disappear. So if you look at the outline of the face to see That the line disappears, reappears and it disappears again and reappears. Over here it applies to any type of drawing.
If you look at this image, you'll see that some lines have a much harder edge. And other Lions have a much softer edge. In this example. You can see harder edges going around here and there are much softer edges on her nose in the skin. Usually harder edges describe detail and you can see blurred edges where colors are similar in value. In this demonstration, I'm going to use Pollock color pencils and some Prismacolor premier pencils, Caucasian or colored pencils.
Cheaper, kneaded eraser and a Sakura Dutch pen. Because cookie nor polar color pencils don't have the names but have the numbers, it may be difficult to follow the numbers. That's why I would suggest referring to the color chart in your reference to see the actual colors that I'm using. But you can also begin thinking how you can achieve similar results using the colored pencils available in your box. In this reference photo, we can see that the light divides the shell into two parts. The top part of the shell receives a lots of light with a few scattered, teeny tiny highlights is seen on that surface.
The bark of the shell is in the shadow which is Important to note once you begin picking colors and shading it, it needs to be darker and gray consistently, despite the noticeable white stripes running throughout. In the demonstration, you'll see me simplifying the pattern on the seashell. I use a very light green for outlines instead of a graphite pencil to minimize greased. Then I block in a single warm green. I simplify the object by focusing on major patterns I see in the C shell. Instead of trying to copy every dot I focus on the general breakdown and curvature of the shell.
As I discussed with you before, this garbage determines the direction of my shading. I add dark brown into the darker spots with caution or 33 which is similar to dark brown and I also use Prismacolor black raspberry. I say the cells interior inside the oval using one color only altering my pencil pressure to record shifts and don't. I use caution or number 30 which is medium warm brown area remember not to shade up and down or straight across. I absorbed its concave shape and copy it with my strokes are updating my pencil and paper as I move across the interior of the seashell. This drawing helps you understand how you can adjust your pencil pressure to rotate and curvier strokes in accordance with the objects form.
The Strokes must be descriptive of your objects form. And by adjusting your pencil pressure, you can create different tones and rotate the object in space. I shade a white stripe in the middle of the shell is Caucasian or 29. I make sure to curve it around the shell I map out the green lines cast shadow gives a physical presence to any object I always incorporated into my life to anchor my objects to the space around it. Here you see me use caution RS number 7071 3033 and 65 which are all medium grays and dark warm browns. My next step what I'm going to do is to make the shadow look colorful, but I'm also looking at the values to make sure that the shadow is deep enough.
The goal is to make this edge softer than the shell itself. So whenever you call it, just make sure that this edge stay softer than the edge on the show here. This part But as close to the shell is going to be the darkness. And as we move away from the shell it gets lighter. I use medium pencil pressure shading the cast shadow, allowing some paper to show through. I work on the color of the cast shadow Now, while it's not final, I can bring it to a high degree of finishing in this step, I use number 57 and 29 which is light blue and light ocher.
The sharper my pencils, the smoother my shading is going to be on this paper, which is a beautiful paper to use for colored pencil drawing. At this point, I stepped back to check the shape of the shell and it's her station and I also look at the cash though. To see if it's dark enough in comparison to the C cell. Once you get here, you need to rotate your pencil this way. And when you switch to the outer cell, you need to rotate going this way. You also need to pay attention to the overall color and you will be coloring and going this way and filling in all the greens that you see that skipping the white parts.
One major thing that you need to watch out for is the light itself and its direction. Because the light comes from above, you see one half of the cell being lit by the light and it's a very strong light When we get to the Terminator, or the area where the object turns into the shadow, we get a very dark area. So this part of the shell is going to be a lot darker. That means that you're going to pick darker pencils to depict the darkness and the color of the cell. And when you're here, you're picking up lighter pencils to depict the light. And obviously, you're going to have a few highlights in this part of the shell because it receives the light coming from above.
I want to separate the shadow. I'm making out the shadow part that I seen here. One thing again, one thing that I am watching out for is to make various So sad oh that doesn't have a hard edge and then I will begin following the curvature of the direction I can use different councils essentially. Same thing, I'm just darkening this area following the curvature and also noticing that the top part on the inside of the shell is a little bit darker. That's my also i'm going to use this this one to develop the orange light. But I also see a cooler light in there as well.
So any color like this one was help To make a streak of the light over here, also the attention to the shapes on the inside of the show. For instance, I'm seeing this white triangle, but it actually is a shave that continues into the shadow. That's why I'm going wild. Like so. Then I would start feeling that shadow for Michelle making sure it is dark enough and when it's false, that way it's going to be even darker. I work on the interior of the seashell again, layering more Color this time I say this Prismacolor, yellow orange or coffee no number 42 and attach of Prisma color yellow shutters or koshien or number 62.
If your colleague appears to show what you can do, you can take your kneaded eraser and the color of the lines, whatever you have in here to list out the pigments. Remember, colored pencil doesn't erase completely, but if you need a more modest list out, you can do it. I'm also seeing some warm, a lime green inside this error. Therefore I'm going to use Little Green over my previously colors and that will make it more colorful. I see some green over here as well. Usually the red is the complement of green.
So some sort of a combination of fun works. As you can see, I've changed my direction and I actually go across because it also moves that way and this color is so light My strokes are amazing. But they helped me blend the colors. There are subtle shifts in color. going to use this last green colored pencil and recreate those color. I finish up working on the shells interior by drawing around the room.
Make sure to leave some people wild where I see a few highlights along the left edge You can also use Prismacolor peach and these for the lightest stones present near the rim. Remember, it's all about creating softer and smoother transitions. Therefore, some of the colors, though, just that I began developing the green stripes in the middle of the shell and was four shifts in color and temperature between warm and cold greens. This is a place where we can see a clear division of light and dark, this side is going to be all light and this side is going to be a lot darker. Therefore it just makes sense to start from the darkest area over here. Developer placed a nice soft shading, which is a mix of cooler green and gray.
And then just keep moving up paying attention to the light and color temperature because essentially I'm using two colors like warm green and green. And in this part of the shell, I'm seeing light cool green, but this part of the show was going to have warmer yellowish green. You If it's difficult for you to separate between the colors, it's difficult for you to see the color temperature. Just ask yourself if your color looks bluish or yellowish. If it leans over the yellow then it means that it's a warm color. But if it leans over the blue like the one I'm using right now, it's a cooler color.
And lastly, you can also look at the lightness or darkness of a color. This one is quite dark, cool green, but I can find another color in the box that that is going to be lighter. But stay on the cool side like this one. Once again, Forget to overlap your colors. I have a little bit of gray applied over here as a placeholder, but I'm going to use Moreno here as well as darker gray, and even a little bit of yellow offer like this one to make this gray, very colorful, and I do see these colors in the in the shell, so it's not like I'm making them up. But I guess I have trained myself to see those colors.
That's why I'm asking you not to paint by numbers, but focus on the value and color temperature of each color you use. And then eventual It will be easier for you to figure out what colors to use in a specific area. Otherwise when I tell you to use a particular color you use it but you don't think much about it you just say this. But once you start thinking how light or how dark you need to go and analyze the color temperature, it's gonna get easier after a while to see that there is no white in this strip of gray only if you like the reflections that I can pull out my magic for the needle Raisa so right now I'm just feeling this in because this is my turning point whereas the the break up between the light and the shade and again I've rotated my people sideways and that makes it easier for me to shade in the direction I want to shade in.
If I see teeny tiny highlights, I let them go because I know I can come back and put them in this Sakura touch fan, but if I see a bigger highlight or a large space that has white and then I make sure I leave that area wide and narrow color. If I color it, even this white colored pencil, I lose the luminosity. And that leads to the loss of transparency and the illusion that she you want to create. I'm not copying this very complicated pattern here. What I'm doing, I'm kind of following the curvature and defining these lines a little bit more. And then I'm gonna start shading in between those lines and just being advanced to a slight changes in color, temperature.
Or change to the parts on itself. It doesn't matter if you screw with half a little, nobody would ever guess. So as long as it looks three dimensional and that's almost the general shape. And the pattern seems to be the same throughout the show you're doing well. Because I'm using hardware pencils and and paper that has that has almost no texture. You can see that I fill it in and I basically don't even need to blend the colors face.
They blend on their own. It happens because the paper has a very limited texture and when you use hard pencils, they keep the Poland for a long time and it's just a lot easier to fill in the teeny tiny touch the dots that she might have otherwise that's why you don't see me blending. In this demonstration I will use the colorless blender at the end probably on the cast shadow just to fuse the colors a little bit more. But I'm not sure I need to do so. On the on the shroud itself. Okay, the colors on this edge, need to stay super light.
And I need to break define the shape just a little bit. But make sure you don't Make a very sharp edge here, it sort of needs to disappear into it needs to disappear into the side of the paper. Before just make sure that the shade there is soft layer around this area. You do need to have color on the edge. So if you don't, the shell is not going to turn out the way you make these lines make sure that they rotate and they don't look flat or straight because if you make this line straight, it's going to flatten out the shape. Therefore, make sure that you carve these lines in accordance is the shape of the object.
Don't make them too straight, I rotate the paper. So it becomes a lot easier to say m color my lines, and that's what I'm suggesting for you to do here. And then when you're when you're done mapping out the darkest score, so you just start shading around them following the light on darkness. And then once again, this side of the shower is going to be a lot darker than the top part of the shell. Therefore, you cannot have bright lights on this side of the shell. Therefore, even the light and white parts of the shell need to be colored slightly.
And as you keep coloring you keep thinking of Volume. And once again you need to find the form saddo that gives that volume places first and then go from there shading the reflected light and moving into the light. I add a little bit of fluid into my general grayish color that I see in the shell. I'm also in fractions of other colors into the grays as the shadow was reflective and as reflects lots of color that around objects again, because this isn't the shadow color and the white does well, but I'm using a very light pencil brushes. The sister has a major division of light and shade right in the middle. That's why I focus on the bottom part of the shell In this step, which is darker than the top.
I use this information to pick the colors in accordance with values not color alone. And actually, you can apply the same colors you want to use in the light, but shade this heavier pencil pressure to that to darken the values at the bottom. So essentially, you could use the same colors but you use heavier pencil pressure to make them darker at the bottom. When you say this, this scholars make sure you follow the forum It's curvature and don't make the lines too straight and long. The idea is to create volume versus soft shading that curves around the shell. Because of the combination of colored pencil, paper and harder pencils used in this project, extra blending is not needed.
Hard colored pencils such as coffee nor Bran than to blend on their own when used on this colored pencil paper. If you use different supplies and see the texture building up at the moment, make sure you also blend your strokes with the colorless blender at this step. up the space around your subject to make sure that the paper stays white. I'm now working on the top part of the CSL shading with the same colored pencils but lighter pressure. I'm going to feel in the general tones that I see over here which are warmer, lighter greens. And then I'm going to develop a stripes of cooler greens going this way and at the same time, I'm gonna keep track of the lines that I used.
In here to make sure that it still appears three dimensional as I'm looking at the picture and analyzing the light, and I'm seeing that the highlight is going to be here. And that means that everything else around that highlight needs to be a little bit darker, even if it's white, because nothing is right here. I'm giving a light coat of yellow to this side of the show. And then I'm going to build more color You can see me rotate my paper to apply soft strokes following the curves of the form. I identify the patterns of color between the curves and fill them in. I also pay attention to the edges and make sure they stay rather soft between This patterns of color.
I don't outline them. I overlap the colors to create seamless transitions between the hues. If you want to blend a very light era but it has a little bit of color for sure do you please your color for us and then we use why visit fair fair with council pressure To blend it in, just like what I'm doing here. Why is a cool color by itself. Therefore, when you ask why you cool down your color as well. I hear I'm noticing that the cast shadow doesn't look even.
And that's why I make a decision to apply a Prismacolor 30% warm gray across the entire shadow to connect and blend all the colors that I have already applied. That's why the shadow remains very colorful but it also becomes gray. Fade Thank you attention to the outer edge of the cast shadow. Make sure that The line is not sharp or heavily outlined. The cast shadow under the shell can be shaded in many ways. However, smooth horizontal, directional strokes always work well to separate it from the subject itself.
Oftentimes the surface the paper surface becomes too waxy after considerable layering and blending. And as a result, it doesn't accept any more pigment. To overcome this challenge, I usually spray my drawing outside using a little bit of final fixative. I let it dry completely. And now the surface is ready to accept a little bit more pigment. When you get close to the finish lines the back and evaluate the contrast, which has values and pay attention to your edges.
The cells should have shifts and don't rotate and space but most importantly, it should imitate the curvature pattern we see and that the edges should be sharper around the rim and much softer in the contour line of the shell and the cast shadow. On what I see is that I need to darken this area a little bit more and probably darken this space even more and leave this a little bit lighter. So my shell rotates and space even more and then I was placed final highlights dissipater heavy pencil pressure and Prismacolor white to blend the lightest green tones in the light. Finally I use sucker up and touch to make teeny tiny highlights. And I clean up the smudges around the shell is a kneaded eraser Once again, if you look at the ROI, and you see that doesn't quite look right, first thing to check is your uneven shading.
You shouldn't have any gaps. It should be a nice and even a second. Pay attention if you actually left the people wait for the highlights. Most of the time students color color their highlights and it kills the luminosity that you need. Just see if you have lots of graphite lines and try to eliminate the graphite lines Erase just matches. I apply the final fixative outside.
Elisa Remember to create volume is different than some pressure, create volume this color gradation and overlapping. Create volume is different strokes and create volume by always saving on the hard surface, which means placing your paper on the hard surface to Have easier layering