In this video, I'm going to demonstrate using Prismacolor pencils on cans and paper of different colors. We're going to use a cool color, in this case blue, and then a warm color, which is that orange sienna kind of color, kind of like reddish brown color. And I'm going to be using the exact same Prismacolors for both drawings that I'll be doing. I'm going to be doing two spheres on each paper. One sphere is going to be done with warm colors, as you can see, the one I'm doing right now, and the other sphere is going to be done with cool colors. So I want to talk to you about the idea of working on toned paper. We've already done that. We did that last week when you did the paper in the box assignment, and we definitely took advantage of using the tone of the paper as our middle ground. When we're working with colored pencil, it is possible to do that too, but we're working with a full complement of colors here. And so, and sometimes we're going to be masking the color of the paper by applying the color pencil in a heavier way. Right now, I'm layering the pencil. So I've got a light touch. I'm letting them be kind of sheer. I'm not pressing heavy. And you always want to start your drawing that way by starting, starting it with keeping your pencil a light touch on your pencil so that you get a sheer tone. So I could have colored that in really heavily, but then it would have eliminated my ability to show different value changes. When I use the blender on top of what I've done so far, you'll see how the color will look more intense. Because these prismacolors are very waxy. And what happens, the colorless blender kind of meshes that soft color into the texture of the paper. And then everything appears to be more brilliant. I also like the way colored pencil looks on a toned surface. Some people might think that it's a little bit duller, but I do think it creates a really nice depth, something that isn't as achievable when you're using white paper. So for the red sphere, I used a couple of different reds. I used a medium red and a darker red. And I used a little bit of red in the shadow and blues in the shadow. With the blues sphere, I'm using a couple of different blues, a medium value blue and a darker blue. And I'm not going to be putting any, or I won't be using a very much red in this one because I want this one to look blue. So the red here, even though it's not exactly the complement of blue, remember orange is a complement of blue, I'm using the red to dull some of the blue so that I can create a little more depth. So you see that finished one on the top, on the blue paper. The colors are still very sheer. They're not opaque and the blue paper is showing through. Now I've started the red and I'm starting by creating the blue sphere and I'm using the medium blue pencil. And then I now I'm going to be switching over to a little bit of a darker blue pencil. And again, I'm going to try to create the idea of a three-dimensional sphere by showing a variety of values as if the light was coming in from the right hand side. And obviously the shadow is being cast on the left side of the sphere. So when you're drawing anything, whether you're drawing with pencil or you're drawing with colored pencil, it is a good idea to let your strokes follow the form of the object. So in this case, it's a sphere. So since this is a textured ground, my strokes are going to be showing and I want to kind of make those strokes follow the contour of the sphere. Shadows, you have to be really careful with shadows. You never want to make shadows totally opaque because a shadow isn't an object. It's the absence of light that there's an object preventing the light from hitting that surface. So we're pretending that our spheres are on a flat surface. So the shadow cast is this kind of elliptical shadow that you see me draw in here. And I'm not going to be using the colorless blender on the shadows at all. I never use a blender on shadows because, again, when you do that, the density of your color increases and then the shadow tends to look more like a separate object and it's not really a shadow. Another thing you want to be careful of is that the shadow should really be a duller, darker version of what the surface is. So in this case, now I'm using a warm paper. So the shadow is going to be more on the red side, a dull red than it is on the blue. Again, on this paper, I'd use the blue to darken and dull the shadow, but I'm certainly not letting the shadows appear blue. If you can see on the blue paper, the shadows do appear a darker blue and any red that I used was only to neutralize the blue and not to make any red into the shadow. Although when you're working on white paper and you have an object on white paper, sometimes the color of the object is reflected into the white surface and you'll probably see that in other demonstrations. But for now, with the tone paper, we're trying to keep the shadows just looking like they're a dull color, just similar to the surface of the paper. So again, I'm just going back a little bit and darkening some areas using blue and then switching back to the red. I'm always switching back and forth. So now that these are done, I'm going to use the blender, the color of this blender. And when you're working with colored pencils, it's fine to use a lighter tone to blend. And when you're doing that, it's called burnishing. So in the case of this red sphere on the blue paper, I could be taking a lighter red, which would be a shade of pink. And I could be burnishing the entire sphere. But what happens is when you use any kind of colored pencil to do your burnishing, then you're also changing the color. You're making it lighter. And I really want to do that. I want to do to see how just the burnisher, what it does to the colored pencil when it's a colorless. So you see that this red sphere now compared to what it looked like a few minutes ago, looks a little denser. It's not bright red. And I wouldn't expect it to be bright red unless I really did a heavy, heavy application of the prism colors. But as I said, if I did do that, it would be hard to get the different gradual value changes. So you just saw me rub the colorless blender on my fingers. And you might have heard the sound of my rubbing it on the paper. That's just a clean it off because when I was using the red, I don't want the red to come into play now on the blue sphere. So I'm rushing this one using the colorless blender. And again, I'm not going to burnish the shadow. And you're going to see that the sphere is going to look more opaque than it did a few minutes ago. And it's not that one is better looking than the other, but the burnishing definitely makes a difference. So here's now on the red paper. And I went right into the blue sphere so I didn't need to clean my colorless blender. And I'm going to be burnishing this one. And you're going to also see how that sphere is now going to look more opaque and less sketchy because of what happens with the blender. The blender matches the prism color that's been deposited on the paper and gives it more of a smooth or finished appearance and less sketchy. So anyway, again, I want to remind you do not do not blend or burnish shadows because then they will look just like their own object. They won't really look like a shadow anymore. So we don't want that to happen. We want these to look realistic and natural. So you can see now that this blue sphere is a lot more solid. And actually because blue is a darker color than red, the blue sphere on the red paper looks more blue than the red sphere on the blue paper. And again, that's because blue is just a darker color or the blues that I'm using here compared to the red. And so the red doesn't cover the blue as well. In the next demo, I purposely chose to work on blue paper to demonstrate drawing and coloring in a red apple. So in the next video, you'll see how I am using the color. The red color is more intensely on the blue paper and the final effect definitely looks like a red apple. So you'll see that in the next video. So here are the four spheres. One, two on warm paper and two on cool paper.