INTRODUCTION:

What is Art?
the expression or application of human creative skill and imagination, typically in a visual form such as
painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

How can you define art?

Art is the expression of ideas and emotions through a physical medium, like painting, sculpture, film, dance,
writing, photography, or theatre. If you love the creative process, maybe you'll devote your life to art.

Why art is important in personal life?

Art is
 any creative work of a human being
 a form of expressing oneself
 resides in the quality of doing; the process is not magic
 an act of making something visually entertaining
 an activity that manifests beauty (What is Beauty in Art?)
 the mastery, an ideal way of doing things
 not a thing — it is a way (Elbert Hubbard)
 the most intense mode of individualism that the world has known
 discovery and development of elementary principles of nature into beautiful forms suitable for
human use (Frank Lloyd Wright)

ART FOR BEGINNERS
What is the difference between art materials and art tools?
Art materials are things that can be used up, while art tools are instruments or devices used to create
art.
Art tools can include paintbrushes, palettes, scissors, paint knives, and pencil sharpeners, while art
materials can include paint, paper, clay, and other substances used to create art.
Art tools and materials for drawing and painting:

They come in 12 different softness/hardness levels. You can sketch with

them as well as outline, shade, color in, etc.

For Painting we use acrylic paint and paint brushes.

DIFFERENT DRAWING TOOLS AND MATERIALS

Graphite Pencils/Pencils – the most important tool in drawing

graphite pencils are that they come in different levels of hardness/softness and lightness/darkness.

range of pencils according to their softness and hardness.

1. Color Pencils
Colored pencils are like magic wands for artists. They are versatile and can be used for a number
of purposes. Whether you want to create stunning portraits, intricate illustrations, or vibrant
landscapes, colored pencils are a great choice.

2. Charcoal
Charcoal is all about expressive and bold lines that make your drawings pop.
One of the unique qualities of charcoal is its rich, deep blackness. It creates a matte, dramatic
effect and is perfect for creating dynamic and emotive drawings.
 3. Pens
Whether you’re sketching, outlining, doodling, or even adding some crosshatching, pens are your go-
to drawing tool.

4. Kneaded Eraser

This eraser is a great art tool for anyone wanting to get

into drawing. A kneaded eraser is something like a very
sturdy gum that you can shape any way you like to erase
even the smallest of details.

PAINTING TOOLS AND MATERIALS

1. Acrylic Paint
They’re water-based paints that dry quickly, allowing you to work at your own pace.

Acrylics are known for their vibrant colors and versatility, which means you can use various acrylic painting
techniques and create bold, opaque layers or thin them out for translucent washes.

2. Oil Paints
Oil paints have a unique quality that gives your artwork a luxurious and timeless feel. The pigments in oil
paints are suspended in oil, typically linseed oil, which allows for smooth application and blending.
 3. Watercolor

With watercolors, you can create beautiful washes, vibrant gradients, and stunning layering effects. The way
the colors blend and flow together are simply magical.

4. Painting/ Drawing Paper Pads.

WATER COLOR BRUSHES:

5. Painting Knife or Pallet

A palette knife is used to mix paint on the palette, whereas a painting knife is
used for applying acrylic paint on paper or canvas.

This way, you create texture and can add interesting details like lines, or
small chunks of color.

6. Painting Pallet
COLORED PENCIL TECHNIQUES

Stippling - Stippling involves placing lots of tiny dots on your paper. The dots can be close together, far apart,
or anywhere in between! Practice stippling by drawing dots that are close together and also by drawing dots
that have more distance between them. Also, notice the difference between dots made when the pencil is
sharp vs. when the pencil point is dull. Stippling is a great way to add some interesting texture to a drawing.

Hatching - Hatching involves drawing a series of parallel lines. These lines all go in the same direction. The
lines can be close together, far apart, or any variation in between. The pencil is lifted from the paper after
each line and then placed down again to create a new line.

Cross-hatching - Cross-hatching involves drawing a series of parallel lines (hatching) and then drawing
another series of parallel lines going in another direction on top of the first set of lines. This is a great way to
create shading in a drawing. You can create some interesting textures through cross-hatching.

Back and forth stroke - The back and forth stroke is probably the most common of all the colored pencil
techniques. This is probably how you drew with crayons as a kid! Basically, you just put your pencil on the
paper and draw in a continuous back and forth motion, without lifting your pencil off of the paper. This is a
good way to fill different areas of your drawing with a lot of solid color.

Scumbling - Scumbling is another technique you probably used as a kid without even knowing that it had a
name! Scumbling involves making continuous circular marks on your paper, without lifting your pencil. This is
another good way to fill in different areas with lots of color.
Colored Pencil Techniques: Theory

Before we dive into the creative process, let’s refresh our knowledge on drawing with colored pencils. The
character of marks and layer quality are among the aspects that determine the result, but let’s dig even
deeper.

Pressure

One of the important variables is pressure. It refers to the effort that we apply to the paper with our pencil.
Pressure affects the value and intensity of the color.

It’s possible to mark out three basic levels of pressure: light, medium, and heavy. However, if you try pressing
harder or lighter while drawing, you’ll discover that there are many more transitional levels. The pressure
scale may be easily expanded to five or more steps.

It is commonly agreed that the best option is to start lightly. This principle is valid for the few first layers of
color. If you press too hard right from the start, it may cause damage to the paper. As a result, the surface
won’t be able to accept more applications.

With each subsequent layer of color, you’ll need to apply more pressure to make the pigment stick to the
paper. Therefore, you’ll naturally change the level of pressure from light to medium or above medium.

Layering

Applying heavy pressure isn’t the only option to get a dense, solid covering. (In the image below, you’ll find
the proof.) All three samples were drawn with medium pressure, but the quantity of layers differs.

The more new strokes you add on top of the existing ones, the fewer specks of untouched paper you’ll see.
Therefore, if you wonder why your artwork looks grainy, it may be a sign to apply more pigment.
In the image below, you’ll find two results of layering. In both cases, there are two layers drawn at heavy
pressure, but the sequence of color application is different. Based on the experience, the underlying color is
dominant.

Pencil Angle While Drawing

The Sharpness of the Pencil

Colored Pencil Mark-Making

Colored pencils can produce a variety of marks. Organizing them into a cohesive system may be a challenging
task.

If you read a dozen articles on this topic, you won’t find two classifications that look completely the same.
Usually, they have just several terms in common. It’s also not unusual to find a mark-making technique
named or described in a different way. If some drawing method doesn’t have an official title, it gets an
invented one – artists often come up with their own names.

I find it easier to divide the mark-making techniques into three categories: directional lines, circling, and
creative marks.

As the name suggests, directional lines flow in the same direction. It may be vertical, horizontal, or diagonal.
The similarity creates consistency.

It’s possible to mark out two groups within this category: hatching and, what I call them, shading or soft
strokes. From a visual standpoint, these groups may be considered as extreme examples of the same
technique.

Hatching is a series of marks. Usually, they have the same direction and character. Hatches may be straight or
curved. Each line is clearly visible. To create hatching, the pencil should be lifted from the paper after each
mark and then placed down again to create a new one.

Applied on top of each other, layers of hatching create cross-hatching. Each layer usually has a specific
direction. Combined, they demonstrate a net-like effect.

Hatching may give your artwork a sketchier, more stylized look.

Shading is a bit different because the pencil moves back and forth without leaving the surface of the paper.
There are turning points where the pencil changes direction. This kind of movement allows creating a
smoother, more unified look. The covering has a soft transition between the lines.

Multilayer shading, where each subsequent layer has a different line direction, usually has an extra smooth
look.
If the marks are placed close together and there are no gaps between them, shading will be perfectly
seamless. Drawing with a sharp pencil tip increases this effect.

The second category is circling. This technique involves drawing small circles that overlap each other, usually
at light pressure. The movement resembles continuous scribbling, but the marks are tight and uniform. To
create a smooth covering, make sure that only your fingers are moving, and not your wrist.

Circling makes it easy to produce an even base with a gradual transition between colors and value. Working
with a sharp pencil at light pressure strengthens this effect.

Larger gaps between the marks and increased pressure will give your sample a more stylized, textured look.
The image below illustrates the difference in space between the circles that form the sample.

Sketching the Mandarin

I start with an underdrawing with a graphite pencil.

My fruit has an unusual form – the upper part is slightly elongated. I also add a couple of leaves. They
present a nice difference in terms of texture. The surface of a mandarin is rough and bumpy, and the leaves
are smooth.
I highly recommend creating a quick value sketch before proceeding to colored pencil applications. Is the
object lit from above or does the light come somewhere from the side? A preliminary sketch allows marking
the lights and darks beforehand, so you can focus on the techniques, colors, and textures later on.

Embossing and Creating a White Underlayer

Some artworks require that a specific area should be left untouched. It may be a highlight zone or just tiny
details like hairs or veins. One of the ways to preserve the original appearance is embossing. This technique
may also be applied to an area that is already covered with pigment.

Embossing means pressing onto the paper with a pointed tool, creating indentations. It is quite difficult to
access the indented areas with a pencil tip, so they will stay untouched.

The embossed marks can be of any length. It’s even possible to imitate stippling.

Another way to save the lightness of a zone is to cover it with white before applying any other colors. In this
case, soft, creamy pencils work better than dry, chalky ones.

Another advantage of a white underlayer is that you can remove the upper layers of pigment with an eraser
and restore the whiteness. In the image below, you’ll find an illustration of this effect.

To make the left part of the sample, I applied Chinese White first, then added Dark Cadmium Orange. The
right half was created by applying Dark Cadmium Orange directly on the paper. Then it was the pencil
eraser’s turn – I erased two lines on both sides of the swatch. As you can see, the white underlayer made it
possible to fully restore white.
Creating the First Layer of Color

I apply Light Chrome Yellow to the area around the highlight. I also add this hue to the sides of the mandarin.

The remaining shape is covered with an even layer of Cadmium Orange. These two colors may overlap each
other to form a seamless coating.

The goal is to create an illusion of the rough, uneven texture of our fruit, so I’ve chosen the circling
technique. I keep the pressure light. The paper’s surface shouldn’t be worn out too quickly.

I also cover the leaf with Permanent Green, working in a shading manner. The marks repeat the direction of
the leaf. The character and softness of marks will help to create an illusion of a smooth texture.

Layering

With Dark Cadmium Orange, I increase the density of the colored covering. The specks of white paper are
gradually disappearing. The pressure is still light. The bottom part of the mandarin gets an additional layer of
strokes. As you can see, the circling technique creates a textured effect.

I add Permanent Green Olive to the leaves, applying more pigment to the darker areas. The manner of
drawing is still soft and directional.

I draw the veins of the leaves. At this step, feel free to increase the pressure slightly. After the veins become
visible, I emboss them. These details will stay crisp, no matter how many layers of color will be added in the
next steps.
I add Middle Cadmium Red to the fruit’s core shadow, giving our mandarin more volume. I also apply it to the
areas under the leaf and near the stem. This red accents the shift of color temperature, making the artwork
look more realistic.

Now I have to increase the pressure because there are several layers of pigment already on the paper.
However, the change is minor.

I also add Middle Cadmium Red to the darker areas of the leaves. Applied on top of each other, contrasting
colors create a deep, muted, and realistic shade.

Burnishing – The First Phase

With Dark Cadmium Yellow and Cadmium Orange, I increase the density of color even more. It’s time to
smooth the existing applications and get rid of unnecessary white spots. It’s also a good idea to reduce the
highlight zone.

Now the pressure is from medium to above medium. We already have a decent amount of pigment on the
paper and we can transfer the pigment locally, from one area to another, with a pencil tip.

It’s possible to say that we no longer layer the applications – we’ve started burnishing our artwork.

Burnishing is technically a blending method, but it is different from simply layering the colors. Burnishing
means creating a solid area of pigment where no paper texture is showing through. With this method, you
can add a polished feel to your artwork, so it resembles a painting.

This effect is achieved by applying a pencil, usually of a light color, on top of the existing layers at heavy
pressure. Technically, you can use a pencil of some bright or dark color to perform burnishing too.

Other popular tools can create a polished effect – for example, a colorless blender or various paint thinners.
Additional Work on the Values and Textures

The fruit still looks a bit flat. With Raw Umber, I deepen the core shadow in the lower part of the mandarin. I
work in the circling technique at medium pressure. Apply as many layers as you need to get a nice solid core
shadow.

It’s also possible to leave some dots here and there to convey the texture.

With Middle Cadmium Red, I add dots and small circles to reveal the roughness of the fruit’s surface. The
pressure varies from above medium to heavy. Keep your pencil point sharp enough when working on details!

I cover the leaves with Permanent Green, using directional lines. I add some green dots to the lower part of
the mandarin to achieve the interesting effect of mixing contrasting colors.

With Permanent Green Olive, I work on the areas between the leaves’ veins. The strokes still repeat the
direction of a leaf. I keep them smooth and soft.

I also add this shade to the cast shadow on the peel, under the leaf. This subtle addition not only indicates
the proximity of a green object, but also deepens the shadow.

Then I apply Middle Cadmium Red on top of the leaves’ darker areas. The color becomes richer and more
complex.
The Final Burnishing

The artwork is almost complete. With Chinese White, I burnish the upper part of the mandarin and its leaves.
I focus on the areas with the unwanted specks of white paper. However, the visibility of the tooth adds to the
textured effect, so it may be a good idea to leave some areas.

In the lower part of the drawing, I apply the white pencil only in a stippling manner. Dots and short strokes
help to convey the texture.

As a final step, I create a cast shadow under the fruit. I start with Raw Umber, then apply Permanent Green
Olive. Middle Cadmium Red acts as the top layer. I keep the pressure from light (at the shadow’s outer edge)
to medium (right under the object.) Repeat this sequence or add any color that you find suitable.
ACTIVITY 1 Geometrical Shapes

ACTIVITY 2 Flower
ACITIVITY Scenery