Welcome back to class. In today's lesson you will learn about color gradation and arriving. In this demonstration, I'm going to show you how to use the pyramid stone. But I will also explain how you can create textures by using other objects as well. Also, I'm going to talk about common mistakes that artists make and how to fix them. The first common mistake is not shading right to the edge of the contour line.

Most students start shading close to the line but they don't shade right to the edge, leaving white spaces like this which undermines your ability to create volume whenever you say You must shade right to the edge. For instance, if you have the cast shadow cast from a cup and that the cast shadow you know, citizens will start saving the shredder kinda like this and leaving the space uncolored over here, which is a big mistake because you want to place the shadow right under the object. And to do so you have to outline it, but the tone and color of your outline should match the tone and color of your cast shadow. That's why I'm always outlining something first, and then I continue saving immediately to make sure that it looks like the cast shadow. So just remember, whenever you draw, make sure that you shade right to the edge of your outline.

Sometimes it's very difficult to do in one direction, all you have to do is just rotate your paper and go in a slightly different direction or, you know crosshatch to achieve the same result. The second most common mistake is an even or sporadic layering of a color. Basically, if this is the shadow area, it must be a nice em even having no gaps or an even color. This even kind of shading kills the illusion of volume. Finally, the third big mistake that students make is that they use a very soft graphite pencil that leaves very dark outlines. And not using the eraser to clean up the lines, you do want to have a very light line.

That's why you should use an H or HP graphite pencil to make the lines and to give them light. You want to do that because when you start staging in in a much lighter color, these graphite lines tend to intensify and it's impossible to erase them after that. Again, it kills the illusion of volume that you need to create. Also, as we keep saving, if you're not careful enough, you're going to have lots of smudges on the page. And colored pencil needs to be very nice and clean. So just make sure that you clean up your drawing as you keep saving or basically using a clean piece of paper and putting it under your hand to protect your drawing from smudges.

Clean up after each session shade evenly so you don't have any gaps and remember the shade right to the edge. In the following demonstration, I'm going to focus on creating arriving using the pumice stone. But I also want to introduce you to other ideas and show you how you can create textures using other objects too. Make it work quite well, you have to have a three different paper. If you work on bristol board, it's not gonna work because it's just too thick. I usually use broken jewelry, or just random objects that I find around the house.

And I test them out on a separate piece of paper just by starting drawing over them. Of course, you have to be careful not to make a hole in your paper if you keep doing it. But most of the times it works pretty well. You can create the entire design for your background, just using one or two objects. And here you see the examples of my arriving once again that enrolls quite a lot of experimentation, and you must remember that the paper needs to be quite thin to make it work. The secret to creating beautiful images is to layer colors, softly and even lamb.

Power gradation means applying your tones from light to dark in a gradual manner is subtle transitions of values. This technique is very necessary to describe the roundness of the form. When you draw think of every object as around shape. Including even seeing the tiny details like stems or flowers or the lamb that we are going to draw here. To create a subtle transition, you could either vary your pencil pressure or Alejo colors several times, one over the other to create smooth effect. By adjusting your pencil pressure, you can adjust the lightness or darkness of your shading.

In this demonstration, I'm using the Prismacolor premier colored pencils in the view pablos a thin drawing paper and full blender. Sakura pen touch, white bam, the BMS stone the magic tape the final fixative And the kneaded eraser. Here you can see the main colors that I'm using to draw the lemon. Please understand this you can replace or mesh these colors This is your brand. This photo was taken in a box setup placed next to the window. Beautiful morning light gives strong shadows to reveal the bright color and texture of the lemon.

In this grayscale image you can see the values not the colors. Transfer the outline because this lemon is such a light object. I use cannery yellow for the lemons outline and the yellow ocher for the cast shadows outline instead of using graphite pencil. It eliminates the possibility of color contamination with graphite in subsequent shading Then I take the piano stone and place it underneath my paper. I technically and spoon in the rabbit over the lemon area on lamb, I avoid getting into the shadow or the background space. Then I leave the pumice stone under my paper as I begin shading with a sharp point of yellow shutter or here you see that the pencil skips over the uneven texture of the stone creating texture in the lemon.

Next time crease my pencil pressure in the form shadow to make denser coloring this cannery yellow And then I place the same two colors in the cast shadow without using the stone. This image shows the new so arriving of the surface this a pyramid stone. Depending on the texture of your stone pencil hardness and pencil pressure, you'll be getting various results in texture. Therefore, it's important to try this technique out on a scrap piece of paper first, before committing to your drawing. In my second step, I begin building layers working in one color at a time. To begin layering the cast shadow I use sepia to outline The Lamin at the very bottom, and then I say very softly to turn a line into a soft shadow.

Then I change my color to mineral orange and English red light to fill in the warm brown color that you see here. Continue layering colors in the cast shadow, use 90% warm gray, there's a very light pencil pressure to fill in the entire shadow crossing over previously applied colors. Then I switch to Pablo bone Sienna to shade the rim of the cast shadow I add more cannery yellow mineral orange and 30% warm gray to deepen values and to intensify the color After that I usually take a small break deeper into your soul and and blend the entire Lamin. Try to use less solvent rather than too much and let it dry completely before continuing your work. Here you see me using cotton swabs instead of small brass, but I find that the brass usually works a lot better The shadows should look a lot darker and smoother after blending.

I then add burnt ocher in the light and soft circle strokes to create the form shadow on the lemon. Now my goal is to unify the colors in the cast shadow. I layer the same hues but change the pencil pressure from light to fairly hard to burnish the surface and fuse the colors. I usually work with cannery yellows, but Spanish orange and 30% warm gray to blend the shadow completely. When you use gamsol and you work over the blended area, you'll notice that the colors layer much easier after the blending. And this gray unifies all the hues in the shadow leaving it's very colorful Now my goal is to focus on the lemon itself and develop the middle tones and the reflected light at the bottom half of the lemon.

For that I will need mineral orange or Spanish orange cannery yellow, burnt ocher artichoke, yellow, orange, yellow ocher and light all of by Pablo. Notice that there is some green In the lemon, use a medium tone natural warm green hue like artichoke to shake a large area below the form shadow overlap but over the previously applied Brown. To add more texture, put the pyramid stone under the paper again and shade over it with artichoke in sakala strokes. This color transitions nicely into the reflected light. Add some light olive or a light a warm green at the bottom and on both sides of the lemon. It's a very light color that gives a slightly green tone to the previously applied yellow.

You can also say this this color in the reflected light at the bottom of the lamp Money. I use a very light touch of Spanish orange to define the lemons bottom edge and then say along the edge visit controlling my pencil pressure from light to medium. I also use light circular strokes that are not linear and don't cut through the shape. At this point in time, you can see the general texture of Buna stone in the lemon. The Robin technique requires quite a lot of experimentation. Also, pay attention to the fact that different textures have been a stone.

The papers thickness and pencil pressure, the last fact the outcome Here I have established general values. And now I can focus on the details. Once the basic values I established, I begin working on details in texture, a combination of grass green and artichoke establishes the darker values and additional bond ocher or English red light in those colors adds sophistication and deepens the value found in the greens. I draw the sticker of his garage Green light olive and Spanish orange and feeling that Tanya aligns with some black The top part of the sticker has some yellow shot rolls over it to blend the edge and the bottom part that is closer to us has the sharper edge and no color is added in in the white I'm placing a piece of tape over the area where I want to create more texture. I take a ballpoint pen and make a few uneven strokes visit a drawing right on the tape.

Then I lifted and some pigment is lifting off revealing lighter yellow areas. This is the texture I can use to enhance by drawing around this uneven areas. To create volume in tiny dots use burnt ocher and mineral orange to place very soft and even dots over the say that lemon To create the brightest highlights as tiny dots, I use Sakura pen. Please don't overdo the highlights by placing them all over the lemon. Just focus on the lightest light where you see them at the top part of the lemon As you can see, I am applying this to colors in tiniest circular strokes. My ID is to create light and shadow areas to reinforce the texture.

As you can see, I say the darker side of each dot with the pencil and the other side stays lighter with some yellow peeking through. And that's the illusion that I'm creating. If it's not the case, take yellow shutters on white to shade the light side around the dot. The result should be then even textured.to create texture in the light parts. I burnish the uneven light areas this white colored pencil with a light touch of burnt ocher and mineral orange, a crease slightly darker and even passages around the white As you can see I repeat the same process over and over again until I reach the desired effect Another thing that you may have noticed this is the fact that I use very few colored pencils, but I shade all around my drawing with the same colors. And that's why it becomes very colorful, applying very few colors.

Please take this instruction as a guide. And don't be afraid to play around with your colors and the subject. Eventually you'll do just fine. Well, in this final step, I evaluate my values colors and edges from the distance. I always step back to see it from the distance. The lemons should look a three dimensional and they appear separate.

From the cache shadow in texture, strokes and tone. If it's not the case, I usually continue working on it until I achieve my goal. I can see that the cast shadow in my drawing is too dark in comparison to the grayscale picture and therefore I use a white colored pencil shading over the entire cast shadow to light and adapt quite a bit. Once I'm done, I applied two coats of final fixative in the valve ventilated area to protect my drawing against humidity and UV light. This that completes this project. Practicing form shadow and highlights on every object that surrounds you during the day.

Place your favorite object on the lamp and manipulate the light to see changes in shadows.