Grayscale Coloring Basics Part 3: Color Along #2 – the Tulips


welcome back coloristas this is
Jones Flores you coloring coach for today so we have here our third video for
coloring grayscale with colored pencils the basics the first video is all about
the three tone rule which is you will see at the bottom left side of this
tutorial template the second video is about how I color the bee and then on this video I will show you guys how I will color these tulips from beautiful nature by Nicole Stocker so today we will be using colored
pencils from faber castell polychromos the list of the colors is on the
description below so I decided to use pink for this so here I have my light
pink medium pink and then I decided to use orange as my dark pink this is how
I choose colors its tones for the three tone Rose so each color that you want to
use choose three tones from it so the light medium and then dark my light
pink which is pink matter lake 129 I will test it out on this three-tone chart to check how it will look on the
paper so light pink or pink matter lake will go on to the light gray areas here as I test it out I am going to overlay
my medium on the light pink my medium pink is rose
carmine or Carmen 124 and I will use my dark pink so for my
dark pink I will use dark cadmium orange instead so here you will see the
transition from light pink to more dark next color we have green so for green I
will use light green polychromos 171 so again I’m overlaying my
light medium and then dark to make sure that the blending is smooth my medium green is leaf green 112 and
overlaying on top of my light green so basically I apply my colored pencils in
circular motion if you haven’t watched my previous videos I always emphasize
this so I wanted to have that smooth blending and smooth transition from
light and then gradually medium and then dark but for this one this is a a
flower and I want to add texture on it so probably I will use up-and-down
motion when I apply my colored pencils so next we have yellow and then I will be
using cream 102 for my light yellow and then for my medium yellow we have light
yellow glaze 104 and then for my dark yellow I have
Naples yellow 185 and therefore my outline highlights and shadows I will
have white 101 so for my shadows I have warm gray II number 271 and then
black 199 so the three tone chart will help us see our transition when we
are coloring the grayscale from the light gray area to medium and then to
dark so first off I will color the leaf using my medium green which is leaf
green 112 so right now I’m using upward motion
when applying this to create the texture for the leaf I’m applying this color pencil in a very
light pressure to make sure that I don’t flatten out the tooth off the paper this
will help me add multiple layers of the pencil so here in covering most of the medium
grey areas and then also a layer of those darkest gray next I have my white green 171
I’m overlaying on top of the previous layers that I did and also covering the
lighter gray area I’m applying in a very light pressure I want to make sure that I don’t produce
very sharp lines that it will stand out so when you are using colored pencils
you have to remind yourself that this is a slow medium and you have to give it a
lot of time to cover very large areas this is a cropped version of
the actual page from beautiful nature and it is the smaller version compared
to the actual page from the book this is to help me compress the time for this tutorial and now I’m using my dark green which is
emerald green 163 for this one I’m applying it to the darkest gray area for
the stem and again I’m using light pressure making sure that I don’t
create sharp lines that it sticks out too much and applying it on the medium gray area so next I have my dark yellow which is
Naples yellow and I’m applying it very lightly on all the
edges of the petals to create like the white is reflecting on it on the flower so next we have a pink matter lake 129 I’m
applying it on the medium to dark areas of the front of the petal I just want to
have that base color in there and then moving on with my medium pink which is
rose carmine 124 so slowly I will begin applying it very lightly on dark
and medium areas so slowly I will play it on a medium and dark gray area apply
it lightly and adding multiple layers to gradually increase over contrast so here
up and down motion is absolutely good because it adds texture to the petals but make sure that you apply it very
lightly at first so that you don’t create the sharp line we can do that at
the end when you have multiple layers in there so that it will look very flat next I have my dark pink it’s dark cadmium
orange 115 so here and gradually testing out how it will look
how my orange will look on my pink I have colored this image before so I’m
quite familiar with the details of this flower so I’m quite confident that I’m
doing the right strokes or the right shadows so here I’m using the line technicians
pretty small lines overlapping each other it’s got really up and down motion
but upward motion and sometimes downward the importance of having overlaying
lines is to create that natural lift for the panel here I’m using rose carmine124 now I’m adding on top all the layers that I did before and gradually easing
it pressure to make sure that I’m getting all the pigments of this
color into the paper I haven’t done this before this
colouring with mixing pink and orange so I’m still testing out and that’s
the importance of having light pressure when you’re doing your first few layers
it prevents you from overdoing that layer or that color and it prevents you
from making mistakes so I’m testing testing out if the combination of this
colors is the one that I want is the perfect color that I want for this
flowers and I add more layers on it and then slowly blending out this colors to
make sure that I’m getting the right tones that I want so here I’m overlaying
mostly on the medium gray areas and avoiding that lighter gray area so that
I will still have the highlight on this flower again I’m going back and forth
with my light pink and my medium pink to make sure that I have that rich color
in that in there the more different tones that I have there they’re
realistic and more vibrant it will become at the last stages when
coloring grayscale it’s important where the shadows and the highlights are you
need to know where they are it’s important so that you know where to deepen or make the colors darker that’s one secret when you are creating
a realistic artwork or colored page this picture is absolutely perfect
when demonstrating light and shadows as you see that the upper petal where I put
on some yellow or dark yellow those are the areas where light touches and a
little bit shadows are in there if you are new to colored pencils this
approach of going from from light to medium gray and then to dark it’s
because you would want to have a very dark outcome and then realizing you were
too dark and want to lighten it up it’s quite challenging you can use eraser and
other techniques but it won’t be as light as it was previously so going
light to dark is the best way so that if you think that it’s too light and you
need more contrast you just add another layer or you just add more shadows on
your artwork so here you can see that I applied my
light pink or pink matter lake 125 on top of the lighter grey areas of this
flower and then here I’m increasing my middle or my mid medium pink which is
rose carmine 124 in doing that line technique again to make sure that I
still have those details showing up by the petals so this techniques we will also apply
these to the other flowers on the background but the only difference
is that we have more lines overlaying lines on this flower which is the center
of our picture here now I’m using my dark cadmium orange 115 to add
shadows and to increase the contrast again I’m using a line technique
overlaying little lines to make sure that I have the texture of the panel so if you are coloring along and
wondering why sometimes I’m stopping it’s because I’m looking at the monitor
and making sure that I’m still recording and sometimes I’m backing away and
making sure that I’m seeing what I’ve done so far and if you’re looking just a few feet away from your artwork you’ll see that it will need
more colors at some areas and then I go back also if you are coloring along and you
chose to follow the colored pencils that I am using please feel free to add more
colors you don’t have to stick to the three tone rule we created that so
that we will simplify when you are choosing colors so for me I have a sixty
piece set of Polychromos pencils and so far I find it kind of complicated to choose
my color then following the three tone row simplifies it and saves me time before polychromos I use prismacolor for
the longest time of the colorist and there is quite difference from the two
Prismacolors are quite creamy and rich so it’s easier to apply on to the paper
while polychromos are quite harder and it is quite perfect for
adding detail so those two combined really work on combining wax-based
pencils which are Prismacolors and oil-based colored pencils like
polychromos it is best if you apply polychromos first and then your
prismacolor the reason behind this is that oil-based colored pencils you can add
multiple layers almost unlimited it will just depend on the paper but with wax
based colored pencils the layers are limited so if you use Prismacolors
first the surface will be waxy and it is difficult almost impossible to add
another layer of oil-based and then so if you want to combine both like I
did I mostly use prismacolors for my background so that I will achieve that
smooth background and sometimes I add polychromos for the details
so if I want to combine those I make sure that I lay on my polychromos first or my
oil-based and its first before I use prismacolors so here as you can see the color values have improved and I have a lot of layers
in there so now I can add pressure just a little amount of pressure on the
colored pencil so here I’m using gray warm gray the second 271 on those little shadow shadows which I don’t want to deepen I don’t want to
add more colors in there to make it darker but I will just want to add
shadows there so I use gray it doesn’t make the values increase but it adds
shadows in their which is perfect so now I’m using black 199 to
outline and also to increase the shadows so again work on it very slow
don’t try to hurry up because it will show so here I’m applying it on light
pressure making sure that I don’t create very sharp lines it will be very
difficult to smooth it that out there if you feel that you can’t see the details
of this flower you can find a reference photo where you can base the details or
the colors that you want to make sure that you don’t feel lost or you don’t
feel that this greyscale is not working that well for you since I have yellow
eyes that I can still see the details there and your sighted so that plays
well for me but certainly a reference photo will help to make sure that you
have a lot of details in your work so my techniques are not the correct
techniques but these are just a little help if you think that you want to learn
more about grayscale coloring or coloring using colored pencils so these
techniques will just help you but it’s not the correct one don’t feel that
you’re doing it wrong if your technique or your current technique works well for
you then keep doing it and just try if this technique helps it will help you
increase or improve your work then it’s great I’m very glad as this
tutorial helps me so now I’m adding details on the petal
so again two small lines upward motion and overlapping each other or overlaying
each other and now I’m going back to my medium pink
which is Rose Carmen 124 and adding another layer on top of the black
this is to increase my color values and the secret to have that vibrant result
that we are all aiming for here and adding a little pressure so this is
quite a heavier pressure compared to the first few layers and now I have my
yellow light yellow glaze 104 and then here I’m using my light green
171 and testing out the transition from the
stem to the flower so we’re making sure I have the right colors in there and
doing a light pressure to make just to avoid mistakes here I’m using my middle
and medium green which is wheat green 112 so now I’m going over the other flowers
this time I’m using my dark pink which is my dark cadmium orange giving a
light layer and then my medium pink which is rose carmine-124 is not
adding a lot a lot of lights or details making sure that I’m doing a smooth
effect this is because I want to blur those flowers in the background and have
the focus on the flower that is on center so here and going over with my
pink matter lake 129 now I’m using cream or the light
on very light gray areas cream 102 here I’m adding pressure that is almost
burnishing so I’m quite pushing the colored pencils
onto that paper I want to create the highlight and add texture so making sure
that the pigments are actually pushing onto the tooth of the paper or surface
over people so burnishing is a technique when you apply your colored pencils
very heavily or pushing it to the paper this blends out the previous layers that
you apply so it’s actually a good blending technique so only use burnishing technique at the
end or mostly on the latter part from your coloring because it is
quite difficult to add more layers when you have finished so here I’m now increasing the contrast of
the leaf and stem I’m using my green 171 apply it with moderate
pressure but not burnishing this the importance of having a sharpened pencil
and making sure it’s not dull is because you want to have an accurate line when
you’re doing an outlining or details so if you are using a dull pencil the
pigments are or the pigments won’t be able to reach to the tooth of the paper and it will leave
you that grainy effect so I’m slowly building the contrast for
the flowers in the background here I’m using my medium pink so I have
decided to use shades of yellow all the background and for sure I will apply it in a
circular motion because I want to produce a very smooth background and
avoiding sharp lines or visible stroke lines so we’re done here is the uncoloured
page this is my finished page which was scanned and here you see that I’ve done
my background if you want to see how this backround was done it is the same
technique I used on the bee so if you haven’t watched the bee video tutorial
please watch it and I hope you like it and you find it very helpful so for this
tutorial you see that on the scan image it is very vibrant which is as it is in
person and you’ll see those texture on the petals that it is showing I hope
that you have learned from this tutorial and I hope that you like and subscribe
so thank you very much for watching this is Jones Flores your coloring couch
bye guys

3 Comments

  1. Vani Kurup July 19, 2017 at 3:12 pm

    Hi Jones! 😍

  2. tammynwes April 14, 2019 at 11:03 am

    This was a great tutorial series! Thank you for taking taking your time to do it, and for sharing with us. And I very much appreciate the download of the page so that I can practice. I’m disabled, and on a very tight budget, so it was lovely to be able to color the page along with you. I followed along and colored during chemotherapy, and boy, the time flew by, lol. It was a great distraction. I’m saving for this book-I hope no emergencies or unexpected expenses come up and I can get it next month.

  3. Darlene Renfro August 10, 2019 at 10:51 pm

    Thank you, excellent mini course . Just started grayscale very nervous but now I have greats tips to complete a beautiful picture with confidence.

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