Hello, welcome to class, I covered the color theory and the use of grace in color theory lesson I'd like to focus on some applications of using grace when you try to draw something white like by white fabric. While I don't have a video, just the slides, I think I can cover a lot of ground and expand your understanding of color theory even more. You will also be able to draw fabric on your own. Unlike bean colored pencils, don't mix the gray. That's why we can't really mess up our color mixing or get you know, wishy washy Gray's that easily happen in watercolor painting. Your goal is neutralize in desaturate colors without shading this complements companies do manufacture colored pencils and various grays to use for this purpose.

While most people love the vibrancy of colored pencil art, the right use of Gray's can help you create sophisticated color palette in your drawings. Gray's neutralize or just saturate colors creating subdued hues, gray spots, the vibrant colors back which is very useful in landscape drawing or portrait drawing. grays blend colors that I applied over the colored layer Gray's bring sophistication to the color. So how can you use Grace? Grace it be a very boring say that straight On white paper, it's best to establish the colorful base and then shade with a gray pencil over it. We've done it before but I still want to reinforce this idea that if you see a gray shadow, try to spot some colors reflected into it and shade this those colors first, and then apply some gray over.

This is how you're going to make beautiful Gray's. This is the color by itself. Again, that's 30% warm gray. right in the face like 70% French gray and that's the color by itself as you can See the grace on their own kind of look kind of boring on white fever. But they really make the collar look very sophisticated placed over any color that you have in your still life. And once again, what that does is it lowers the Chroma of your original color, making it less color intense.

And here you see the swatches of Prismacolor premier Gray's. I covered this information in the color harmony lesson. If you forgot about it, please just watch it again. To understand how grades work, test the akalis on a separate piece of paper, pick your color palette, make the color swatches and then apply there is Grace over those color swatches to see how each of the grades affects you. hues refer to the information about the Munsell color system. In the previous lesson to gray down the colors, drapery and dynamic wrinkles take a big part in drawing clothing still life fabric and curtains.

While the complexity of faults discourages beginners from drawing fabric, this subject actually follows the same drawing formula previously discussed. Therefore, the same rules apply in analyzing light in its direction and how it travels across the form. always tried to find the form shadow that makes non reflective objects it be a three dimensional over here I want to show you the principle of observing the light and how it turns the form on the fabric. directional light comes from there And hit the fold. You can see a lot of light over here. And then the fold itself has a concave shape and then it curves out and moves back in.

You need to become observant of highlights of form and cast shadows and the reflected light highlight the form shadow that runs very close to the edge of the fall. Then there is some reflected light over here. It has a little bit of light, but it's not as light as this face. And then we see a cast shadow over here, cast from this fold. And then basically it repeats itself you're going to see a lot of light and then the fabric turns away and you'll see a form shadow and so on. This fabric is green.

But you can see a similar principle. This is the fall and the light comes from the right. That's why we have a lot of light on this side. And then we see a form shadow and then reflect that light. It's sort of mutes into the fabric where we see the light again. By looking at this to false, you basically search for the light, the form shadow and the cast shadow if you haven't yet.

The second thing is to look at the color temperature. As a simple formula to remember, if the lights are warm this they are warm here. There is a lot of yellow in the light then The shadows would be cooler. You could say that this is gray. But this gray consists of bluish violet, that gives this gravestone and then we can see a lot of blue. Over here for instance, and here's the reflected light, we see a lot of bluish color over here.

If you look at this fold in terms of color temperature, this space, the lighter space is warm. But when we look at the straddle it's gray and cool. And the reflected light is also cool. And then the cast shadow again it's grayish but it has a lot of different colors mixed into it varying from Brown to bluish gray. If you look at this fault, this green the lighter part of the green is going to help warmer tones warmer green because of the electric light, but the shadows become much cooler. This is very important to remember when you start picking your colors and shading you're still life thinking about the curvature and the color temperature warm and cool and the overall shape itself.

Now let's look at the folds more closely. When whenever you want to draw something you should visualize it three dimensionally. A study how the fabric gets fooled sculpted or wrapped around the surface it sits on. Over here the fabric wraps around the Buddhist culture creating tension, wrinkles and folds. Understanding how the shoulder pulls the fabric helps you Draw the faults because most of the faults form in that area and travel across the border until they turn around the waistline. begin drawing fabric that has no pattern on it, because you can focus on the fabrics movement rather than on party detail.

Once you understand the basic form, and begin to see changes in light in the fabrics movement, you can add patterns. You need fabric patterns to work to your advantage in describing the volume. That's why pay close attention to how buttons repeat the curvature and the movement of the folds, curving and wrapping around each fold. Simplify images by throwing major faults and patterns only if necessary. Always study how patterns change shape and form perspective in accordance with the false curvature Some may look strange, others squeezed. In this picture the deep blue fabric flows freely wrapping around the net it creates loose falls that are easy to repeat and drawing.

The fabric also has a quite simple floral pattern that can be established over the general of folds. Notice how some flowers get cut by the wrinkles or a curve around the fold and disappear on the other side. In other words, you draw the general curvature of folds and wrinkles, and then add the pattern over it not to get confused with all of the information information at once. In this image, you can see how both fabrics are all over the table producing folds, strong highlights they find the fabric flow, the largest pole to the left in the Light turquoise fabric has a strong highlight in the form shadow. This the reflected light, because shadow is the darkest in value. Seeing the shadows and highlights and copying it into your art makes the fabric look three dimensional on paper.

In this reference picture, you can see once again how light turns the form. You can also study the difference in warm and cool light. And because the single light source is an electric light, the light areas of the fabric of warm while the shadows are cool. In this demonstration the slides I'm going to illustrate how to see color in white and use Gray's so I'm mostly using Prismacolor premier colored pencils on Stonehenge worldwide drawing paper. I also use a colorless blender kneaded eraser, white transfer paper, sketch paper, and HP graphite pencil. believes that refer yourself to the color shirt to see the main colors that you can replace and you know find in your color box.

If you're a beginner, consider drawing part of an image focusing on one fold on layer. And you could also draw quite small because it takes quite a while to finish a piece. As you begin following the steps, constantly refer to the picture to study the light and the colors further. Work on the outline on a separate piece of sketch paper that matches the size of your drawing paper. You can trace the image from the photo, but in doing so you're skipping a very important skill every good artist needs understanding of forums. sparser relationships, gesture and linear perspective.

I usually trace the outline using an HB graphite pencil. Most often I use transfer paper transferring my draw, drawing from a sketch paper. If you draw in graphite, make sure that your lines are very light because you're going to say this very light colors and graphite is going to reappear and kill the luminosity that you need. I'm using dark amber and the light pencil pressure to map out the darkest areas in the folds and the background. And I keep my shading there are light and soft on fabric with overlapping directional lines. Here use medium to heavy pressure in saving the world.

For the wood to create uneven but soft lines, I use Sienna brown imitating the texture of the wood. It's important to shade very softly right next to these lines to make the base for the wood. I also vary my pencil pressure to achieve different varieties of darkness. It's not about changing the colored pencil so the older time it's more about varying my pencil pressure. To bring color into the white fabric, I studied a light and light light temperature as shown in the reference image. And then I put the observed colors underneath the local color.

White is the local color white fabric but I also see a lot of other colors underneath white. And so I draw fabric from shadows with light cereal and blue and lilac. I also add Sienna brown to the mix in warmer areas at the top. By placing the shadows I begin to create volume in the fabric and that becomes an underpainting over which I can lay the grace later on. So what you see me doing here is that I established colorful shadows first and and later I'm going to use grace over them. Please refrain from rushing to draw in full color by adding colors one at a time throughout you can control your values and and lights.

Just keep looking at the values and map out the shadows you In the rest of the drawing. In this step, I keep thinking of the fabric three dimensionally and how each fold hangs balls and rotates differently in space. Don't forget to apply the right kind of stroke to describe the volume. I use very short directional strokes observing the light direction and its strength. The light comes from the left that's why the fabric is going to be the lightest on the left side. In the previous steps, I ended up in the shadows and now I'm going to draw the lights in late that create transitions between the two.

The fabric on the left receives the most light that must remain the lightest area in the drawing. It's also a warm light so it can be national goldenrod beach and sunlight beach works well to define the light warm values. I also use the same colors later on to continue saving other faults. Because this paper is white, be mindful of reserving space for the highlights and leave them on colored it will give signed to the white fabric. The light comes from the left which means that the fabric is illuminated the strongest on the left hand side. And then each folder receives less and less light as it moves to the right.

Changing its strength or color intensity from very high to low, and its color temperature from warm to cool. To develop the shadows further, this step I say this 50% cool gray over the form shadows. I do it with the light And just keep layering the gray. To see how much darker I need to go depending on the value. Usually at this step, all the previous colors should show through despite my layering in gray. I also tried to soften the edges between the form shadows and the light, making transitions with cloud blue and 20% cold gray.

I usually use medium pencil pressure to see how these colors soften and blend the colors beautifully. To gray down areas in deep shadows on the right side, I shade with 70% cold gray to gray down areas in lighter shadows. I draw this 50% cool gray And my previous coloring should show just a little bit. These Gray's create a unified appearance, darkening and cooling down the shadows. I also layer this the same soft circular or short strokes to keep the fabric soft and fluid. It's very important to repeat the curvature of every single fold.

If your strokes are going to be harsh or too linear, or too straight, you're not going to get the illusion of fabric that she wants to create. If you notice that some lines become too dark, hard or too linear, by accident in your artwork, just use a kneaded eraser or Tombow Mono eraser To do gentle lift outs to shade the wood here, I analyze the color temperature which is warm, and I lay a golden rod Sienna brown and dark ombre, preserving the light strength because it's the strongest in in the middle of the road and then it's very dark at the bottom and medium dark at the top. As the light travels from left to right, I usually step back and evaluate if the right side of my drawing is darker than the left. And if it's not the case, I darken the right side of the fabric by layering the same colors or graying it down more in the shadows with 50% or maybe 70% gray and depending on my previous progress even if some polls have highlights on the right.

They cannot be as bright as on the left and must be slightly less bright. That's why I color over the highlights on the right of his beach and light beach to make sure it doesn't compete with the highlights on the left side of the fabric. I use the same color 70% Gold Gracie and a brown light surreal and blue violet and beers to deepen all colors and shadows. For color variety. You can also add Jade green shade over the blue areas and 20% gray can replace cloud blue. Once again, I step back from my drawing to see what I need to work on.

If I don't like something, I just want to understand what I what I don't like and basically try to fix that. Usually It's all about softening the edges and letting some of them be more sharp. And a lot of times, it's about darkening the shadows and making sure that the highlights appear strong enough. I apply light colors over the darker ones with heavier pressure to achieve seamless blending of edges between the colors and edges in the light to medium bellows. If it's not enough, I blend this current dash full blender is just in pencil pressure in accordance with my needs. If you try to blend with gams, gamsol over here, it might not be very effective, effective because the values and colors are very light and the fabric must remain quite soft with gentle transitions and I think gamsol just made So look, two hearts.

If you feel like blending is not happening you can also apply sharp, soft white colored pencil this heavy pressure to blend the edges around the highlights on the left side of the fabric and don't forget to spray it with the final fixative