Hi guys, this is a bonus letter from my complete color pencil techniques video class. And in this demonstration I'm going to show you another way of drawing firm using colored pencils and markers. In the previous demonstration I showed how to their offer on colored paper using colored pencil soundly and this time around. You can see how you can add texture by combining the mediums. Whenever you look at the eyes have any kind of animal you have to have Observe several things, remember them. And when you start drawing, you basically copy this four formula into your drawing.

First thing is that you need to look at the shape of the pupil. And depending on the animal and the light, the shape of the vehicle is going to be different. Obviously, they have similar vehicles, it's just the, the become wider or narrower. So the first thing is to observe the shape of the beautiful itself. Secondly, the upper eyelid always cast a shadow onto the eye itself. So this area needs to be the darkest in the eye and sometimes when the pictures done not that great, you cannot really see it but you need to reinforce it in your drawing.

For instance, in the drawing that I'm going to complete, there is a very strong shadow, you can definitely see it over here. But when the light is soft, you need to look for it and see that it's darker right on the eyelid or we can see a very strong saddle over here. So when you draw Just don't forget to shade this area, the darkest. Thirdly, you need to pay attention to the values as well because the light passes through the eye and it's almost always the same formula. You see a much lighter area at the bottom of that. You can see it here and over here and in the image of the golden eye as well, what's going to give the realistic appearance to the eye is the highlight itself, which is the brightest.in the eye.

Sometimes it takes different shapes depending on the reflections, and what we see around the animal here is just this elongated shape. And here we see, actually the, the, the reflections of the window, so it's not like we see very strong dot, marking the highlight, but you need to look for such things. Otherwise the eye is not going to Fear error listed in this image, we don't see the highlight. If I draw it, I'm going to place a single dot somewhere in here for instance, and then I will repeat the same dot over here. The strength of the dots may differ depending on the position and rotation of the head. But usually, you want to make it look identical.

In our case, we can clearly see the beautiful and the cast shadow cast from the eyelid. The highlight in my slider area over here, all of these things you see me repeating when I start drawing. And one last thing is just to remember That, you know, animal's eyes have very dark outlined eyelids and you also need to copy this pattern into your drawing. So the pencils need to be very sharp, you need to be precise at drawing out the exact shape of the eye. For this demonstration I use corino 24 woodless colored pencils box with some Prismacolor premier colored pencils. I also use color line drawing paper fuchsia and you might want to have a full blender and Windsor Newton permanent marker white pen touch will give you a very strong highlights you want to stick to Windsor Newton permanent marker because it's going to give you much softer highlights.

I sketch out the outlines on a separate piece of paper, I transfer that outline onto my colored paper. Here you see main colors to use, but I also add more colors as I go. You have to watch the demonstration first and then go back and repeat the process. In the first step, I outline major shapes using black colored pencil. Sometimes I add a little bit of dark brown as well. You can see that the eye is outlined very sharply, but the firm itself is soft.

This is the darkest dark And all other colors are going to be layered on top of that. I Bly black with various pencil pressure to achieve a variety of dark values. Here I begin introducing the colors very slowly and I constantly look at my photograph to see those colors in them. Notice how often I overlap the colors. One mistake that students make is that they place colors next to each other instead of overlapping them. While most of the drawing is created via screen or pencils, they are a little bit harder than the Prisma colors.

And I tend to use Prismacolor premier colored pencils to fill in the lights. That's why you're going to see me filling In all the lighter areas in the drawing using Excel or these and then I add white on top of that. This orange just creates a nice, warm transition between the black and the light for you can try a variety To have very light colored pencils. It doesn't have to be actual for instance, it just the reason why I'm using these off white pencils because the floor is not pure white, you want to have white in the lightest areas and as the final layer, so all the previous layers need to have more color and be slightly darker than the pure white. You need to study the direction of the flow how it grows around the eye, because you're going to repeat that this pencil strokes and as you continue watching this demonstration, just see how Am I rotating my pencil at all times just trying to copy this stroke direction.

Now I begin to feel in the lights using Prismacolor premier colored pencils and my strokes differ depending on the area because the frog grows in different directions and it also has different length. I keep overlapping the strokes so they don't line up in in the line. My pencils are very sharp to make nice thin lines. I see a lot of yellow in the photograph and now you see me angling the clo throw out the picture. I begin creating the second layer of dark for by making strokes with dark brown colored pencil making these strokes in between the lighter ones. So I tend to create a variation between the lights and the darks and I just add depth to the third By making the strokes around the light of strokes and I keep moving around the eye is in this dark brown into the black.

Now I begin layering the light or for on top of the eye moving around the eye in the direction of the girl. Here I begin to feel in the abstract Turn of brown shapes I see inside of the eye. I keep my strokes off so there is no strong outline or strong edges and then I add this darker blue into the cast shadow of the eye because I see this color in the in the shadow and once again I keep my strokes off I outline around the I visit very sharp, dark brown colored pencil. These edge needs to be the sharpest in the drawing. So the edge around the eye is super sharp and it creates contrast with very soft for and then I fill in the reflection in the eye using a light gray frost and then applying the softest white on top of that.

Now I begin filling in the eye itself using this yellow colored pencil because I see a lot of this color in my reference picture. Pay attention to the stroke direction and how I keep filling it in. It's not endless The Strokes move around the eye to create the sense of depth and coverage. This is a recap video shot from a different point of view where you can see a sped up process. First I fill in the darks. Then create the mid tones and fill in the lights and this completes the first layer drawing that I Everything is filled in.

Now you can use gamsol and small soft brush to to brush over the entire image using just a little bit of Ganzel and it dissolves the big men. And you can see that the image gets much darker. You can apply gams all over the light areas as well, but it's not going to do much. Most of the time, it just darkens medium to dark colored pencils. So you won't see much change by applying it over wide but you'll see a lot of change in the darks and medium tones. You need to be careful brushing over the big men because you can Move it and add black into the white area of where you don't want it to be.

That's why you want to brush from the light into the dark. Let me get done, the image should look much darker. Wait for about 10 minutes to make sure it's dry. And then you can draw on top of that because you draw on top. paper it has a little bit of texture. And when you blend the pigments, it gets much easier to apply color colored pencils on top of that, because the surface becomes smoother.

Okay, and so from now on you just keep adding more color layer and more big men. And in this step you see me a layering on darker green into the cast shadow. And once again, I see you these colors, and I keep overlapping them to create depth. And like I use light, very light gray Why to strengthen the reflection in the eye and I apply my colored pencils is a better heavier pencil pressure to make the highlights look the brightest. Now I keep reinforcing all the colors that I've already applied. A lot of times I use the same colored pencils and just create darker values and who you see me using brown seanna The shading inside of the eye to create softer transitions between the colors.

And this yellow Vipers makalah looks very bright on this paper. And again, the heavier pencil brushes, the brighter it's gonna get. And then I keep switching between the yellow and white colored pencils creating the lightest variations inside of the eye. And I find this abstract shapes by studying my reference picture. And so I fly Prismacolor white on top of all this lighter colors, blending everything and just creating very colorful whites. This is possible because I have a lot of color underneath and when I start shading this white I use a habit I use heavy pencil pressure to blend the colors.

Walker is a very nice color to make soft transitions between the warm whites and the Browns inside of the eye. And once again I I increased my pencil pressure to make them even brighter. Jade green is a very nice color it's similar to gray but it it's colorful gray and I use it a lot throughout my demonstrations. Here. I keep applying it around I to create short the strokes are for you They are supposed to be white but because these error is in the shadow, the this white is going to be gray. And that's why I'm using Jade green to create those colorful, grayish white hairs.

After that, I repeat the same process and I apply warm brown shading over the floor and I blending the transitions between the colors. My strobes differ depending on the area I'm working on. I'm using this box of coffee and more wood let's call it on solace, but most collars could be replaced with birthmark collars and some See you see me doing just that because when you work on subsequent layers you want to use softer colored pencils on top of the harder ones because the paper is going to accept them as opposed to sticking to the same colored pencils like woodless they they are not as soft. And so if you work with them in three or four layers, they're not going to layer as well as Prisma colors. I go back and apply more color inside of the eye using yellows and warm browns. I add some brown in the shadow of the eye to darken it even more.

And then because I use this brand throw out the drawing it just adds unity throughout the picture because I tend to use very few colors if flying them throughout my drawing Then I begin strengthening the lights even more by applying the same colored pencils over and over again, observing the stroke, length and direction And this is the recap of the second layer application. You can see that the drawing seems to be done just the way it is here, but you can add extra dimension in texture into the firm by applying the pigment markers. So I enhance the darker for one more time by shading around the wider strokes and that completes this step. And Tasha is going to give you a very strong they're sharp edges and highlights. So it's best to use the Windsor Newton pigment marker of white so to create various soft straw Defining the white for this marker actually blends the colored pencils just a little bit and because it's not so bright it blends is the rest of the drawing.

I'm working with the marker the same way I've worked drawing the floor in colored pencil meaning that I repeat the same stroke length and direction and I keep overlapping the strokes. I usually rotate my paper just a little bit to make it easier to make the right kind of stroke. Some of the hairs need to be there short and move upwards and other hairs need to To be longer and move downward. So you just need to keep studying the reference for that to see these differences in the stroke length Once I'm done working with the marker, the strokes appear a little bit too bright. And so I just want to blend them in with the rest of the and that's why I go back to my light colored pencils and begin making even more strokes around the whitest whites and it creates a better transition from the lighter slide to the mid tones.

I also overlap my colored pencil strokes over the strokes made this the marker And finally, I go back to the redefine some of the darks in between those are lighter strokes using one of the darker Browns that I have. These actions helped me blend the pure white into the third even more. In the final image you can see the strokes made with the permanent marker A look quite natural and blend well with the rest of my colored pencil strokes. And because I've been working on this colored paper, I have a totally different unexpected result which shows their bright colors, saturated colors and at the same time the eye looks quite realistic thanks for watching guys. If you have any questions, please share with me using email or the Facebook group by