Hey, welcome to class, I hope you've been learning a lot about fun. Today I'd like to explain how to draw mental and reflective objects, reflective surfaces, all you want to do is just to see another formula. In drawing such things. I'm going to complete demonstration explaining a cow I'm trying to capture the colors and shapes found within a reflective object. And it's going to help you with your art. Drawing metal reflective surfaces and crystal is not as difficult as you may think.

Once you understand the basic principle behind that, observation is key. The first thing that is relevant to drawing any surface or subject is the accuracy of the shape. The better dressman you become, the easier it will be for you to keep the shapes, accurate, even or symmetrical as your shade is in the outlines. What this means for you is that when you draw a reflective cup, the shape of the cup itself must be accurate Miss symmetrical sides and perfect ellipses. Regardless of the surface, you create an ad. In the previous lesson, we looked how to create ellipses.

Please keep it in mind as we walk through this lesson. Set and in drawing metal and reflective surfaces you observe moving abstract patterns and colors. Unlike matte objects with diffuse reflections, shiny objects have specular reflections that change is your position there reflections and metal are mirror alike. And always move and change views your movement in relation to it. That's why it's good to have pictures where there is no movement so you can focus on studying the form and patterns of light on it. Students tend to want to shade metal with metallic colored pencils, which doesn't solve the problem because metallics don't look similar on white paper.

Instead, they appear quite dull on their own. The trick is to learn to see colors in the subject that get reflections from the environment it is in. The shape of the reflective object produces in reflects abstract lines, figures and curves to In this demonstration, I use Korean or political or colored pencils, some Prismacolor premier colored pencils Korean Bristol vellum, drawing paper tracing paper kneaded eraser, final fixative error and the current bashful blender. A Look at the color chart to see and match the colors that I'm using over here. I work on the outline on on sketch paper and then I transfer it onto my drawing paper. I work on the ellipses for the napkin ring to make them as perfect as possible.

If you want to simplify, don't develop the details in the flowers and the netting under the blade, which you'll see me do in the following steps. Like them the graphite lines to make them barely visible, because most of this still life is wide and the pencil marks will darken and enhance once they are Say that over in colored pencil. Another thing is to carefully watch the shape of the object itself. So once I erase the graphite line I or establish it in colored pencil, and you could basically use any light color that matches the color of your subject. And just repeat the outlines that you've done in graphite, and solidify them in colored pencil. You know, I'm watching the accuracy of my drawing at all times.

So once I finish up the lines, I'll go to the mirror and check my image in the mirror to see if everything looks correct. I'm going to begin living The dark, make sure that your pencil is super sharp. And you start from your outlines. And you use the medium to have a pencil pressure to create a perfect outline. Then you make the second outline here and then your shade in between these two lines feeling in the dark that she said. Of course, this dark varies so it could be a medium dark in here and as you progress, it's gonna be a lot darker on this side.

Therefore you just press on your pencil more and make sure it's darker than the rest of it. You need to be very Careful of this page not to go over the outlines. You don't have to start with black you can start with almost any very dark colored pencil. I will be layering indigo blue on top of that, and I know it works well. Once you get into the reflection you also want to define the edge but you don't outline it as sharply because of their reflection. And all the colors need to fuse one into the other.

That's why you keep layering and layering until you reach the value that you need. But the edge would say quite soft. And then remember you can always go back and outline as to make it sharper, but you cannot undo it. I don't like to draw this black a lot. First of all, it gives me a lot of bags blue. And secondly, Black is not a color is the absence of color.

That's why I'm just layering the foundation but the majority of shading will be done in other colors. You also have a deep shadow over here, but it's not black. And once again, you want to be very careful using black. Therefore, I'm just going to shade this black in the deepest shadow that I see and then eventually I will be switching to a dark color Because we have a paper napkin here, the edge must say very nice on the spot, no outlines. But again, as you can see, I'm mapping out the shape and I stayed right next to it. So the shape is definite, but at the same time it's not outline and give thinking of your stroke their direction.

I usually rotate my paper so it would be easier to fly the strobes that I need, but because of the filming, it makes it a little harder because I have to readjust my camera. I strongly suggest you not to jump between the collar stuff. Objects while coloring the napkin ring to begin to map out the darks in the ring and the fork on layer. I outline the darker shapes and fill them in discussion not black because it's less soft than Prismacolor and it keeps a sharp point longer, which is excellent for defining edges and working on details. After that, I say over the black this Prismacolor indigo blue just see that the shadows of the flowers are also the same color indigo blue. I'm looking at the reference folder to analyze the color scene in the napkin ring and the fork, usually golden silver reflect and produce abstract shapes in dark browns and yellow occurs.

The napkin ring is also reflective in reflects the paper now At the bottom and the blue sky at the top is fractions of other colors seen at the top side. Eventually, this silver napkin rain shouldn't have any texture and I will be using a blender to Blender completely. But a lot of your effort is then smooth layering to begin with. That's why you have to work on fearless most paper. sharpen your pencil often. Like when you get into the outlines.

You wanted to be a very sharp Again, I'm just trying to preserve the accuracy of my drawing. I do it every single time there's new color. That's how I keep the shapes in place. While you want to keep the shape, right at the same time, you don't want some edges to be very hard. Like this is a little bit in a distance. That's why we wanted to be softer and less definite.

I'm increasing contrast carefully by layering and layering this out putting harsh outlines because remember, I want it to be in soft focus. You can See how one color changes the whole thing about using black. It already looks very colorful but at the same time, it almost matches the color of the metal. And once I add some brown in here and blended it's gonna look like metal. Sometimes you can add a light colored pencil over the color layer and that's how you can blend that and you unify and make it look like at the same time. Watch for your pencil direction as you keep stating as well as look at Your values, keep checking them at all times.

I know that it's darker at the top and then get lighter as this progresses down. I'm going to reflect that in my shading. Mostly keeping my strokes parallel because I think it describes the form the best. And I'm going to erase a placeholder for the highlight we're saving up to that point. I continue working on the napkin ring I add lighter blues over the dark ones with coconut, 52 and 18. Once again I'm starting by outlining and I'm feeling in observing the values, how light or how dark I want to go.

I skip over the highlights, they must stay view wide, which means just basically uncovering them I shade over the indigo blue, so the blues into each other. My gaming bookshelf for the rotation and direction. So you can see I overlap the pencils a lot. One color goes over the previous one and I'm leaving this an even edge on purpose because that's how I see the reflection. In the metal thing. Also notice how blinding happens because I'm using a lighter pencil over the darker one.

So the game blending the colors, place something is the best thing to darken the form. You could just come back with the same color. This one is indigo blue and just clear it one more time. Basically it's all with layering, is the same colors just over and over again until you Reach the value that you want to have in your art. Now I'm going to use the range of warm Browns to fill in the lighter parts of the napkin ring. Once the blue section is complete, I shade the light metal section at the bottom and inside the napkin ring.

I use color similar to go you know 6466 29 and nine. Notice that the shading is very soft and follows the direction rotation of the object. color of the metal is not silver As you can see it it's just the combination of the colors mixed up together. In general, these are the colors of the gold they are not yellows, like pure yellows. They're more of a brownish yellow which is a natural color. This you find in nature once we get into the lightest why, like you have available Like here in here, you can outline the edge and leave this space uncolored for now, maybe we could come back and cover it later.

But because it's so light, let's just keep it on color. What you do, you just place the shadow right next to that line. And that's how you separate between the object itself and the shadow. pencils work here nicely, because they're not as soft and so it's easier to keep the point sharp for quite some time, and it lets me feel in the paper towels easily So I don't have a lot of texture. As you can see as I'm adding this warm Browns into the blues, it changes the color and it makes it look they're still there. Let me go alternate between warm and cold.

You get contrast and color temperature that also looks very nice in the drawings I see that this face is not pure white light. That's why I'm coloring This area we have our reflections from the flowers. So we're going to put a little bit of red in there as well. And there is a bright yellow stripe in here as well that's gonna say the yellow. Again, overlap your colleagues to make soft edges and draw a single yellow stripe at the top of varying using number two. This shadow is born Brown, just different values of brown naming is tough so the values it's darker at the bottom and lighter at the top, and there is a clear separation between the light and shade.

It's very dark in here. That's why I will come back to this face in darkness. This is a dark brown color pencil. Otherwise it's just not dark enough at this point but as you can see, colors begin to blend nicely just by layering them one over the other. There is no Blender in the process. I darken the deepest shadow inside inside the napkin during this cookie nor so 33 while I'm shading, I'm being attention to the structure of the ring.

If it falls apart, I go back and strengthen the edges with a sharp pencil. This edge must be very nice and soft in comparison to this one. That's why just be extra careful when you're shading because you don't want to see a line in here. Crush shadows are always very soft while you can use one Iran the highlight make sure you don't color the highlight itself. It means to be free of any shading and lightest light is basically the color of the paper. Everything else could be colored but not the highlight.

The flowers should stay soft and non intrusive and just support the focal point rather than compete visit that's why I try to keep the flowers simple of is there soft edges and no details. Arad is a very strong color and I don't want it to overtake overtake that my still life. I will also gray them down more in the next step. I'm chasing this cookie nor number eight and 47 And the first gallery is a cool darker ad that I am applying over the indigo blue shadows. The second color is a warm red that I'm using in the light. I'm throwing the same reds into the night napkins during stop reflection.

I use a very light, cool green pencil to fill in the bathroom. On their software, I say the best number 24. Lots of times I have to update the image to make the right shape of the error. I'm using 10% one gray area defining the car and then I'm shading over this to grade down a little bit. This space is not white. That's why I'm using gray that's a very light gray in black Step you can gray down the napkin ring using French grays and the warm Gray's because the light is warm so the silver reflects warm, light and that's why I'm taking this colored pencils to do the job.

The goal is to burnish the surface becomes nice and smooth. If it's not achieved with grades, you can use full Blender over it. It just depends what paper you're working on. If a smooth blending happens while You're layering colors. You could use the same grace to gray down the paper napkins and the plate as well. But again you have to have some color underneath this gray.

First Year reestablish the form and reflection layer down a warm gray over Previously flying colors. In order to burnish the surface you have to press on your counsel a lot harder. And usually it's the case for light colors do you want to use them with heavy pressure and that's how you land. If the reflection is not white but close to it, you can color it to this gray pencil. Basically this reflection goes into the sides. That's why you need to think how it extends into the side and use the same color in there.

You want to match it. You can also gray down the shadows Do you have placed some color before and now is the time to go back and basically gray down the shadow it also smoothes it out. And that's how you get powerful shadows that I agree. But they're not boring gray. Just like this inner shadow, it's darker right under the object. And then it gets lighter as it moves out.

Also use white to blend the surface. For instance, I have this color underneath. But I see that this area is not white, but like the MySpace. So I want to like an attack. A little bit more and I'm using a very heavier pressure. It's lying white over the color.

And again, you want to expand that in the surrounding shapes haven't applied in gray on the blue part because it's very strong and I don't see anything in this section. Blender just helps me to smooth out everything completely. up I strengthen the colors in the background by reapplying the same color scheme. SOC used before and blending everything. I also blend the napkin ring and the fork with a pencil blender. I look at the edges and I want to make them look crisp on the ring and somewhat soft on the fork.

In this image I don't want the flowers to overpower my focal point which is the neck and this the napkin ring. Therefore, I'm actually not working on the details in the flowers. Moreover, I'm using 90% French gray to darken and gray down the shadows that I see in The flowers themselves and gray down the petals. There are no big changes in values there. There is no definition. There are no details and the edges stay nice and soft.

I'm doing this on purpose. So when someone looks at my drawing they look at this part and not their. Arad is a powerful color on its own. And if I develop the flowers more, it's just going to overpower what I have in the focal point. I'm moving my pencil in a circular motion because I don't want to create sharp edges. I want them to remain nice and soft and almost invisible.

It's something like I'm like I'm saying I don't care about the flower so like I care about this. Now I'm working on the paper napkin and the fabric napkin. Both are white but the textures differ somewhat. The paper napkin is a bit rough and has a pardon this dots while the fabric napkin is soft, there is no design on it to make the texture in the paper napkin, you can either in them the paper or create small circles with a sharp pencil later or you can even try combination of both methods. If you decide to in that Your people use that tiny circles you see in the paper napkin. Be aware that they drew the wrap around the napkin.

Next I place the colors for the shadows seen on both napkins this Prismacolor Parma violet and Prismacolor 20% French gray this some 30% of warm gray. When I shade I think of the volume and rotation of the napkins in space. My strokes describe the rotation by shading following the form Do we have the warm light in the napkins, I don't like using pure yellow I pick my colors in the family of yellow occurs the A which is a natural yellow and I shade the light areas with a very light touch I'm using Covino 29 Once again if you work on this demonstration, don't forget about your highlights and just leave them on color. Amazing the same they're light green into the fabric napkins shadow is a sharp wind, I placed Prismacolor 90% French gray in the cast shadow right under the napkin, rain and napkin in my last step to draw the paper towel and then left.

What I'm trying to achieve is the curvature of the object because it curves like this and curved out. going this way. It's important to observe because you place the shadows in accordance with the curvature The fork pushes on the napkin and that's why they see the wrinkles that called under it called out. We see the same thing happening over here it curves like this, and then it pushes down and the napkin pushes out. Above Now You See Me place the deepest shadows that I will lighten up a little bit with the light Gray's and maybe some white. The purest White is going to stay uncolored because it's the paper color so it's based on color.

In my last step, what I'm trying to do is just to focus on the curvature more and blending separate sections together. Keeping through the highlight About I will develop if you dots to make the texture on the napkin. This is the white towel as well and they see a little bit of a plate and here I will be trying to separate between the plate and the fabric. In my last step I work on softening the transitions in the white napkins and placing texture on the paper napkin in particular You'll already see paper indentations as I have just shaded them, I can increase the appearance of texture by placing darker strokes around each circle. This Prismacolor farmer violet, or a gray and Prisma color white on the other side. I maintain this pattern of placing dots that wrap around the paper napkin.

I use grace data shown in the chart. I use a lot of Prismacolor 10% warm gray to gray down the colors and to create light value transitions Both napkins this heavy pressure. I shade this Prismacolor white around the highlights in the fabric napkin to blend the edges and to unify the colors. I keep the napkin ring this crease edges and soften the rest of the image around it. As you can see, I've indented the paper here. That's why you see some white spots shine through.

But if it's not enough to make the white for the dots that you see, you can use the magic tape again and then just do lift out. Just like that. You want to observe the curvature of the shape and the general direction. Those white spots are taking. But that's how you can take a few white spots out. And then you basically go back and color the darker side of each spot.

And that's how you're going to make it look three dimensional. So the idea is to color around the white spot and color a little bit more, make a darker at one side of the dots. And if you do it correctly observing the curvature and just looking at the pattern, you'll go well it's nice to kill us and you don't need to have patience with it to make it work. To make the pattern on the paper napkin, I did paper indenting in the beginning of my drawing, but I also came back and added the purplish shadows on one side of every dog that I seen here and then I came back was white and added a touch of white on the other side of each circle. So what you actually see is a formula you add a darker value on one side and you finish that up with white on the other side and you need to look at your picture to see What side is dark and what side is light and also, not every circle is definite.

Some of the circles go around and don't appear as circles. That's why you just study a picture and see how it's placed on the paper napkin. Once you think you are done with the drawing, just step back from it and see how it works from the distance. For instance, I placed a sharper edge over here to make it stand out more, but made sure that this space is soft, so it doesn't compete with this area. The same is true about the napkin ring. This is my focal point.

That's why I have sharper edges over here. More details right next to it. And then I have a few details here. But then as they move, that way, the area becomes softer and less definite. I made sure that the flowers are not developed completely, and I grade them down so they don't compete with the focal point. I also made sure that this space is nice and soft.

This is a fabric napkin that goes and the paper napkin and I wanted to give the edge nice and soft. And the same is true for the plate. I didn't want to outline it, because it's not my goal. My focal point is this one. That's why I keep certain edges nice and soft. And the same is true about this area.

I kept that soft. So it doesn't compete with the focal point. And this step completes this demonstration. Thanks for watching guys. I'll see you in our next lesson. If you need help, just shoot me an email.

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