Welcome back. In this lesson, I'd like to explain my drawing process and before I do that, I want to say the logic behind drawing in general. So, you look for that formula in any subject that you try to depict three dimensionally. As I told you before, there are different formulas for various objects. We are starting out with simple forms. So you can see highlight, a form shadow, a cast shadow and get used to seeing this formula in any object that you draw.

Glass and metal have a different formula. We are going to explore it at a later stage. I know that most of you want to get the list of colors And then just start repeating steps by using those colors. But I think your understanding of throwing comes from learning to see the formula of the big thing in your subject, three dimensionally. And then just starting, thinking of it logically, picking your own colors and pushing them to certain value you want to have when you draw while we are going to talk about color in our different lesson. Let's look at the value scale.

And value means light, lightness or darkness of anything that you draw. So for instance, versus the lightest value, which is why, and then that the darkest, which is black. When you start drawing, you refer yourself to the value scale to see how light or dark you want to go with your subject. For instance, over here, the highlight is white. It's basically the color of the paper. And it's some colored part.

So when I place it next to my object, that's the value that I'm getting. When I look at the form shadow, I decide how light or dark I want to say that and I'm thinking of values as opposed to colors when I start working on the form shadow. Obviously layer the form shadow on the white egg is this value. But when I look at this add, the value would be much darker. Sometimes I screen to see the value, I think, between these two. So the idea is that when you start shading and layering your colors, you think of values more than color to make sure that you make the area dark enough to make it look three dimensional.

And then when you look at the colors of this layer, this ad has a lot, a lot of red orange, and the orange by itself has a limited range of values because it simply doesn't go to black. For instance, if I pick another color such as violet, it's a Very dark color. And you can create earring a wider range of colors. And it could be the, the violet is so dark, it could be very close to black. That's why when you pick your colors, you think of the values, how light or dark a particular color can go. When you start shading.

When I look at this, it has a wider value range, simply because it has the lightest light, which is the highlight and that has a range of middle tones. Then we hit the form saddle, which is the darkest area on the egg. And then we have a range of dark values that transition into the reflected light and then we have a cast So that also has a range of values going from a very dark value to the middle tone. And when you step back from your drawing, you need to assess your values how light or dark, you should be a shading. idea. Ideally, you use just a few colored pencils to save in your particular area.

And basically, you develop your darks by multiple layering in different directions. Another thing to keep in mind that that pencil direction plays a very big role in the big thing, the subject three dimensionally. So in my drawing process, you'll see me rotating the beeper many times to develop drugs going in different directions. Learning to see the value or shades of favorite color is a skill That takes time to learn through practice. If you is the name for the color and it's any color like red, yellow, green or blue, Chroma is the purity of a color such as pure blue or pure yellow, the brightest color usually has the highest color intensity, they will be discussing the properties of here in Chroma in other lesson, but as of now you just need to remember that you want to be more attention to your values as opposed to colors because it will set you free to make your own decisions in picking the necessary colors.

To help yourself see, don't make sure to make black and white print out and use it along with your color image. So when you step back from your drawing You look at the values more as opposed to color. Here you see the color chart. I'm using Prismacolor premier colored pencils here. But even if you have a different brand of colored pencils, just refer yourself to the color and match it with your brand. Before you begin coloring, ask yourself how light or dark you should shade your object because it determines your pencil pressure and the color that should be.

Also find the highlights and make sure you don't color them working on white paper and figure out where you have the darkest values and the form shadow transfer you line. If you sketch directly on your paper, just make sure that your outline drawing is very nice and clean colored pencil loves clean paper and hates messy, dark graphite lines that actually killed the illusion of depth. Because when you start shading this light pencils over the graphite lights, they're going to become much darker and it's impossible to erase them and that's why use the kneaded eraser and tap on the lines to lighten them up as much as possible. Here I begin defining a form shadow on both eggs using 70% cool gray. I also add the cast shadow under each egg And that's how I start working on every drawing, I start shading from the shadows. I begin working on the brown egg and focus on the shadow area of the egg.

I use barrel light pencil pressure filling in the form. I also use the same color in the cast shadow because objects always cast a little bit of their color into the shadows. Another thing is to overlap your colors. One mistake that I often see that students make the layer the colors next to each other. But actually cross hatching and overlapping the color makes all the difference. Make sure your pencils are aware sharp.

Sharpen them constantly throughout your drawing process because it greatly affects the layering of the pencils and it minimizes the texture that you would be getting when you start shading. A lot of times if the paper is quite smooth, it's all about layering you don't really need that much blending after that. Unless you start working on your fixture, you can always refer yourself to the black and white image. To see how light or dark you should be shading the objects When I start drawing, I always think of my objects having volume. And to help me describe that I usually rotate my paper throughout the drawing process to make the strokes following the form. It's very important to create volume by rotating your paper and describing the object because the strokes if you just make along horizontal or vertical lines, the object is gonna look flat.

So to define the volume, you think how you can apply the strokes to make it look around. At this point, you can see that the form shadow and the cast shadow are two darkest areas. And that's why when I begin layering colors next to those shadows, I know that they need to be a little bit lighter than my strongest shadows. Use the same yellow orange to put the orange reflected light into the white egg All the life I control my pressure greatly from lights I also overlap I make sure that I leave the highlight on color and create a very soft edge around the highlight. In this step you want to continue layering colors but again you refer yourself to the black and white image to see how light or dark it should go as you keep shading. I use a very sharp point to deepen the Browns on the left side and bottom side of the egg under the form shadow.

And you can see the previously applied gray blends with these colors. I also overlay some artichoke and yellow orange in the reflected light at the bottom of the egg as well. Now I'm blending everything including the cast shadow using the pencil blender. I don't want to use the solvent over here, because I know that some of the colors would look too dark if I use the solvent. That's why I'm using carbon dash full blender to blend the surface. As you can see, I'm blending the objects going in different directions.

This helps me to minimize the strokes and to create volume. Once again, you just want to remember that your strokes matter. And even when you start blending your strokes define volume One of the main secrets to making the objects appear around on paper is the correct placement of highlights. To make the brightest highlight on white paper, you simply leave the space white. You basically don't color the highlight your shade with your light pencils around that. If you use white colored pencil over the highlight, it just kills the luminosity that you need.

However, you do need to use your white colored pencil when you want to create soft light tones that you can blend with the white pencil. Okay, this is the last step and this is the time for me to focus on details and texture as well as on adjusting the tones. Most of the time I use the same colors that I've used before. I always step back to see the image from the distance because it helps me to judge the values of how light or dark I want to go. And also I can see if the edges look clear, or if I need to soften the edges. For instance, the eggs themselves need to have Have a much sharper edge in comparison to the cast shadows.

After you've done blending, it doesn't mean it's the end result you can actually come in and continue shading over. Like I layered more of a warm brown answer over here as well as some orange. Also, you can see that even after blending the surfaces is still kind of textured, it happens because that paper has a little bit of paper towels. So you cannot really blend it completely using the pencil blender. You could use gamble to dissolve the pigment completely, but I'm not interested in that simply because this egg has a little bit of texture and that you You'll see that I'm going to layer more texture on top of this. And this this one is supposed to be white.

As you can see it has a lot of color already. What I'm gonna do right now I'm just gonna use white and there have a pencil pressure to burnish the surface completely, it's going to wipe them in, and at the same time blend that. So this egg would look very nice and smooth and almost wide in comparison to this one. Another thing that I want to talk about is that when you follow a demonstration and you try to take the same color center repeat the same pattern of layering. What you actually need to look for is the value how light or dark you're supposed to go. As opposed to just Speaking the right color, for instance, I've layered the same colors over and over again over here, simply because I know that the light is coming this way, it hits the surface here, then there is a terminator or the form shadow, and then everything falls into the darkness.

And here is the little bit of the reflected light. When I layer, I make sure that this side of the egg stays a lot darker than this side. And it's easy to see when you step back from your drawing and look at it from the distance. And you may compare your drawing to the black and white printer because it's going to help you see how dark you're supposed to go over here as opposed to this part. So now I'm just going To continue burnishing the surface of the egg. I'm going in circles and little circles.

So there is no stroke left. And when I get to the highlight I'm not going to use wise pencil in the highlight itself but I will go around and smooth out the surface around the highlight. Also, I use a very heavy pencil pressure, like the heaviest I could do. You can't really screw up your drawing using light pencils as opposed to dark one when you have dark fantasy is to be more careful of is late. When I burnish the surface, I go in a different direction as opposed to the initial layering, so I get to read the strokes and make sure that the surface is perfectly smooth. I'm not blending this part on purpose because I think the texture of the paper adds to this and has the texture.

Like you can see lots of random dots. And so I'm putting those in making sure that they look different like some of them are smaller and others are big and also spacing them out as randomly as possible so they don't look clustered in one spot. And then there is nothing in the rest of the egg Make sure that you clean up throughout your drawing. And also use your kneaded eraser and just go around the edges and make sure that the paper is perfectly clean. Because if you smudge it over, it just leaves, spots and marks you don't want to help because it greatly affects how they receive our drawing. If it looks dirty, and there are things all around your subject, it just doesn't look any good.

Make sure that you clean up this they need that eraser and then the other thing is that it's not Laughter blend colors. One time usually, you just repeat the same process of shading and blending, thinking of achieving your goals. Also, when you're done Don't forget to apply two coats of final fixative in a well ventilated area to protect your drawing from humidity and light. I often step outside and braid so I don't have to inhale the fumes. I usually use grown backer final fixative because it really gives me beautiful results because the all the colors become bright, even and uniform. Thanks for watching, guys.

I'll see you in our next lesson.