He In this lesson, I want to show you the principle behind the ROI increase now, what you need to look for to the ROI it realistically. And I'm going to complete the demonstration illustrating my technique of throwing crystal. Once again, it's just another formula of seeing things. I hope it's going to help you in your explorations of council drawing. In drawing crystal, you should aim to break it down to the general pattern first, see if the glass has patterns with around squares, array cards and so on. You want to be perfect at repeating this pattern as it curves around the form.

Then you'll look at the abstract shapes and colors found within this pattern. And basically aim to cooperate the largest shapes found within the design. The more sophisticated the general pattern is, the more work you have ahead of you. That's why either draw big so it will be easy to put all the abstract designs you see in your drawing. or pick a crystal vase is a very simple pattern. I'm drawing on black and colored papers.

You apply the same principles to make highlights as you do those On the white paper, but use a white colored pencil to shade the highlights as opposed to shading around them on white paper. The darker the colored paper the brighter your highlights will appear on it. Pay attention to the fact that white is a cool color by itself and often the highlight should be warm. In realistic colored pencil drawing, it's best to use some light color placed underneath the white. That's why artists often shade with light warm colored pencils first and then use white. Usually, the application of wider acquires shading visit better heavier pencil pressure using the softest colored pencil possible.

In general glass will look like glass if all transitions between shapes and colors are smooth and major highlights are quoted well. Blending is their acquirement. Otherwise it's not going to look like loss. In this example, you see one section taken out from the crystal picture. While crystal looks complicated to the raw when you break it down to small sections and copy the big shapes and highlights inside each section, it's the wall. If you just start out big crystal glass, this is a very simple pattern.

Take pictures to catch the reflections and begin drawing by observing the pattern of crystal cuts. I'm using Prismacolor premier colored pencils with a few other pencils noted in the color shirt. Going on black drawing paper wire transfer be by NIDA direct Mesa final fix itself and Karen gosh full blender. I took several pictures of my crystal pitcher and decided to use this one because it seems like it's the easiest to reproduce for the beginner. And you will also see me simplifying it as much as I can, but at the same time it would look quite realistic. The steps would show you how you can approach drawing the crystal transfer outlines with a white transfer paper.

I spray the paper with a light coat of a final fixative I don't like the glossy fixative so I usually use semi gloss or matte, and the spraying makes the colors appear brighter. Then I take sharp soft white colored pencil and my about all the lights and sparkles I see in the image. The top part of the glass picture consists of six dorms that reflect the elongated shapes inside each of them. I use different pressure to make a brighter and softer whites depending on the strength of the reflection. And I also use Prismacolor premier colored pencil luminance has the same softness, but every other colored pencil is just not as soft as it needs to be to shade all the whites. I'm not particularly careful about the size Have the white spots that I'm filling in because basically, you want to have some white underneath your color to make it stand out more.

In any case, therefore, I'm okay at me making the wire bigger than they probably should be. At this point. All I want to do is just to map out all the whites all the highlights that I see in the image. I'm not gonna quote him, every single sparkle every single white spot that I see, I just want to concentrate on. If you made your shapes what I'm looking for, is basic, big save that I can relate to as I continue drawing And also there are many areas where it's not white, just a little bit lighter, but I want to make an under painting in white as well. Just making sure that I don't press on my pencil as hard making out the lighter areas as well.

By controlling your pressure, you can create different degrees of white, and that's what you see me doing here. I chose to work on black paper because the majority of the image is kinda dark and it just makes sense I could have used on paper as well. Some of the colors would talk more on tone paper. This is A wonderful paper by coffee nor live drawing. What I like about it is the fact that it's very smooth, but at the same time, it has enough tools to grab the pencil. And I just love how easy it is to wear the colors, basically doing no blending at all.

If you found solace sharp and you keep layering the color, it just kind of blends on its own. And I think it's a beautiful thing because it cuts on your time considerably. Whenever I work on textured surface, it's so hard to fill it in and to blend that and then a lot of times you just get exhausted and not want to get to give up. The only disadvantage to this paper. It's still a little bit thin, but the surface is so beautiful. It doesn't really matter to me.

I can always Mark My fever I also underpinned with wild some areas that will be colored green in the next step. But I'm doing so because I want the green to be a brighter. Say that all worldwide. I'm thinking in terms of pattern design, and I notice how the crystal arounds rotate in space and change their shapes on the sides of the picture. I start by aging one color at a time. And he you see me work with a single green colored pencil number 62 you can definitely replace this car This one you have in your box.

Just test it on the side of the page to see if it's warm and bright enough to show up well in your drawing on black. Once I've established my wife, now I can go back and feeling the second largest category of colors which is the green and that's the warm green. I'm starting filling in with the lighter green. And then what I have in here is a lighter green then gray and then a lighter green. again and this time around, I'm watching for the general say of the greens. tribe's.

So you could either alternate between those two three colors or just stick to one color and fill it in completely. And then you know work your way around the ceiling, the gaps. It's up to you. As you can see when when I fly green over the white, it appears to be a little bit lighter extend this green into the black because you always overlap your colors a little bit as you say. So it's nice to extend that and when you overlap you get a more sophisticated color. This gray appears to be a little bit too dark for this.

Otherwise, I've decided that I'm just gonna continue filling stuff in in green for now. And then I would go back and fill in all the colors, the great colors that I see. And I'm using just two grains. Here's another combination of Annihilator darker green first and then finished up this the lighter green over it. I mean, the grain itself is only a little bit darker than in the reflection. That's why to darken this, I want to fill it in in darker green thrust and then you know and then add light like In over it and keep watching how you save.

Because the paper is very smooth, you can basically blend your image as you keep saving. I can see it's a little bit darker at the bottom. That's why I'm switching to this green the same year here and then as it gets lighter the thoughts on using another green. Also by looking at the image, I'm seeing that the green areas are a little bit darker in value, then it is in my drawing. And I mean this choice because this green looks like Good on this paper, it's not too dark and it's not too bright. Although the value of it doesn't quite match what I'm seeing in the picture it is on the lighter side.

But once again, I'm making this choice because it just looks good on this paper and I know it's gonna work better than using a dark green instead. Hope it makes sense for you guys. And just like that, I'm continuing feeling out the crystal feature. I'm still on the loose I just want to fill in big shapes. And then I'll come back with details. On top of that, I don't want to work on the details because they then I lose the big picture.

As I'm feeling and I'm just looking at abstract shapes that I see happening in every section of the image and I know that the colors and shapes are very slowly here. That's what I'm trying to create is my stroke. I want to add a little bit of green in this gray area as well because all colors get reflected and I see $1 version of agreement here. Once I'm pleased, great or it's coming grade down more and what makes them even more You'll also want to throw in the same colors into the background. There are going to be darker and gray. But you still want to have a little bit of the same color that you see is the reflection in the background.

This is very important. Otherwise, the crystal feature was the look separate from your background and not part of that you don't want to have that you will lose the illusion of glass. If colors don't repeat themselves in some other places around the subject. I'm adding darker green At the bottom of each green stripe scene in the dorms, I overlapped but over the lighter green to make a soft transition. I also put the darker green into the background because the picture reflects the colors and the background has great down greens and blues in it. Now let's add more color.

Because this paper is so smooth colors tend to lay very smoothly and blending is not needed at all. But if your work on paper is a slight texture, you will need to remember to create soft transitions between the colors via layering Blending is a full blender. I'm shading softly around the edges of the Firemen's shaped whites in the picture with turquoise below. This color can also be replaced with almost any light below an aging just a bit of this color into the cat crystal as well. The space that you see on the right edge of the picture and the gray stripe on the small white pyramids is filled in with a combination of 70% French gray sienna. I'm using parallel up and down strokes to fill in small white shapes.

I'm keeping the edges they're soft. I'm using the grace to color the background and to fill in the gaps between the green stripes in the dorms. I'm shading this 70% cool gray here. I spray the drawing outside the left the dry and continue working on strengthening color and details in my last stretch of drawing. What I'm trying to do is to make these glass domes look more like glass, I can see that they're a lot lighter at the top. And basically, what I need to do is to unify all the colors by blending them more and reestablishing some of the colors that I think could be a little bit stronger.

Also, this is the point where I can work on some details, maybe add smallest tribes, but my main thing is to layer some more lighter color over the top part of each glass dome to make sure that the if used together, a little bit more and look more blended. I'm using Jade green right now. But Indian self grey will do just fine. Yeah, at the final stage, you do want to avoid using hard pencils. They're not going to layer as opposed to softer pencils like Prismacolor or luminance I strengthen the brightest whites with white colored pencil again, using a heavier pencil brush. And as I'm re establishing the highlights, I'm also softening the edges around them to make sure it looks blended enough and not separate from the rest of the image.

I always go back and redefine the edges because I want to preserve the original shapes of small neurons I made in tiny colorful sparkles and cannery yellow and orange in in these shapes. You can also add Prismacolor indigo blue into the darkness abstract shapes is seen in their arms. While I'm darkening the background with 90% warm gray, you can also try shading this 90% cool gray in some parts of the background for variation. You can also use 90% one gray to define the edges in the cut crystal. If the form gets lost, unlike in the reference for the background is almost black in this drawing. It's just a matter of personal preference.

I think the dark background here works better than in the original picture. And you can also try shading with lighter Gray's in the background to get the light values. I just want to see more contrast in the final drawing. You may think why bother coloring the background, which is black if it's almost black in the end anyway, but it just doesn't look finished when it's on colored. Black is not the color on its own. It's the absence of it and pure black paper looks very adult and there is always some light passing through the object and while the reproduction may not show all the information we see with our eyes, we can definitely see the difference looking At art in person and this step completes this demonstration.

Thanks for watching, and I'll see you in our next lesson. Bye