I know My draw is just a basic for you !! But still, I have tried...

What is Color

What Is Color?
Color is the byproduct of the spectrum of light, as it is reflected or absorbed, as received by the human eye and processed by the human brain. It's also a great design element!

Here's a surface level overview of how it all works:

The world is full of light. Visible light is made of seven wavelength groups. These are the colors you see in a rainbow: red, orange, yellow, green, blue, indigo, and violet—the Mr. ROY G. BIV you might have been introduced to in elementary school science. The reddish colors are the long wavelengths. The greenish colors are the mid-size wavelengths. The bluish color are the short wavelengths.

When light hits objects, some of the wavelengths are absorbed and some are reflected, depending on the materials in the object. The reflected wavelengths are what we perceive as the object's color.
Our eyes are the input channels, if you will, for this light. One portion of the eye is called the retina and it contains four types of light sensors. First are the rods, which record brightness and darkness and from which we "see" a sort of coarse sketch of the world. Next are three types of cones, each one optimized to absorb a different spectrum range of visible light. One set of cones absorbs long wavelengths, the reds. Another absorbs mid-size wavelengths, the greens. The third absorbs short wavelengths, the blues. Together, these rods and cones gather the information that our brain then processes into one combined image.
If you think this stuff is cool, Kimball's Biology Page's vision section explains the process in more detail and has a great scanning electron micrograph image of real rods and cones.
What this all means for the designer is that color is a function of light and biology—which means that no two people see color exactly the same. It also means that reproduced color can be described, defined, and modeled through a variety of mathematical and visual lenses called color spaces. Combine these two factors and you can quickly see how color—and its theory and use—can quickly take on the tone of a religious war.
The goal is to understand that color isn't an exact science and your job is to use it in the best way for your specific application.

Article "Hokusai"

Hokusai was born in 1760, in Katsushika,a district in the east of Edo (now Tokyo). His birth name was Tokitarō,[12] and he was the son of a mirror maker to the shōgun. As he was never recognised for the purposes of inheritance, it is probable that his mother was a concubine.[13] He started painting at six and at twelve his father sent him to work at a booksellers. At sixteen, he was apprenticed as an engraver and spent three years learning the trade. At the same time he began to produce his own illustrations. At eighteen he was accepted as an apprentice to the artist Katsukawa Shunshō, one of the foremost ukiyo-e artists of the time. After a year, his master gave him the name Shunrō, the name he used to sign his first works in 1779.[14] Shunshō died in 1793, so by himself Hokusai began to study distinct Japanese and Chinese styles and some Dutch and French painting. During this period he mainly concentrated on producing surimono, or New Year's cards, and advertisements, scenes of daily life and landscapes.[15] In 1800 he published Famous Views of the Eastern Capital and Eight views of Edo, and also began to accept students. It was during this period that he began to use the name Hokusai;[15] he used more than 30 different pseudonyms during his life.[13] In 1804 he became famous as an artist when, during a festival in Tokyo, he completed a 240m² painting[12] of a Buddhist monk named Daruma. Soon afterwards he appeared before the shōgun Tokugawa Ienari when he won a talent competition against an artist working the traditional Chinese style. Three years later he began work illustrating three books of the novelist Takizawa Bakin, with whom he argued. In 1812, the precarious economic situation forced him to publish a manual, Quick Lessons in Simplified Drawing and to travel to Nagoya and Kyoto to try to sign up students. In 1814, he published the first of fifteen volumes of sketches entitled Manga. These included things that interested him such as people, animals and the Buddha. In the late 1820s, he published Thirty-six Views of Mount Fuji, which proved so popular that he later added a further ten prints.[16] Later works included Unusual Views of Celebrated Bridges in the Provinces, A Tour of the Waterfalls of the Provinces and One Hundred Views of Mount Fuji.[17] In 1839, just as his work started to be eclipsed by that of Andō Hiroshige, his studio burned down and most of his work was destroyed. He died at the age of 89,[15] in 1849.[18] Some years before his death he is reported to have stated: At the age of five years I had the habit of sketching things. At the age of fifty I had produced a large number of pictures, but for all that, none of them had any merit until the age of seventy. At seventy-three finally I learned something about the true nature of things, birds, animals, insects, fish, the grasses and the trees. So at the age of eighty years I will have made some progress, at ninety I will have penetrated the deepest significance of things, at a hundred I will make real wonders and at a hundred and ten, every point, every line, will have a life of its own.[19]

Article "The Great Wave Off Kanagawa"

About the Art:
Artist Kristen Cumings was commissioned by the Jelly Belly Candy Company to recreate Katsushika Hokusai’s The Great Wave Off Kanagawa completely  out of Jelly Belly jelly beans. Cumings used a wide range of colors to capture the intense blue of the waves and the white of the foam caps. The artist went to great lengths to recreate the intricate details of the original work, even using only three beans to depict the fishermen kneeling on the boats caught in the waves.
About the Original:
Hokusai’s The Great Wave Off Kanagawa is a woodblock print published circa 1830 and is one of the most recognized Japanese works of art in the world. Depicting large waves engulfing traditional Japanese fishing boats off the shore of Kanagawa, the woodblock is of the Ukiyo-e genre— a style of art that features landscapes and tales from history. The piece was the first in a series of 36 works by Hokusai that depicted Mt. Fuji from 36 different angles.
The print consists of three main elements: the agitated sea, three boats, and Mt. Fuji in the background. While many believed the waves to be the result of a tsunami, a direct translation of the print’s title states that it is a “wave of the open sea.” Being endangered by the waves are three oshiokuri-bune, or Japanese fishing boats, that are noted for their speed. On each boat several fishermen can be seen either sitting or kneeling, with some using oars in an attempt to steer the vessel. At the print’s bottom is a snowcapped Mt. Fuji. The mountain, part of Japan’s national identity, is considered sacred and plays a significant role in the history of Japanese art and culture. It’s believed that dark color around Mt. Fuji indicates that the image takes place during the early morning and that the sun is rising from the vantage point of the observer.
The process of producing The Great Wave Off Kanagawa was complicated. First, Hokusai painted the image using a brush on paper and silk. The work was then taken to an engraver who attached it to a wood panel and carved out each line and detail. The relief was then inked and a new piece of paper was placed over the panel to create the print.
Original copies of the work appear in galleries all over the world including the Metropolitan Museum of Art in New York, the British Museum in London, and the National Library of France.
Based On: The Great Wave Off Kanagawa
Artist: Katsushika Hokusai (Japanese, 1760-1849)

STEP 1.

Let's begin by making two shapes, both of them will be for the heads and faces for these two wolf pups. Sketch in the facial guidelines, then move to step two.

 

STEP 2.

Here you will begin sketching out the actual shape of the wolf pup's head which should include the ears and fluffy cheeks.

 

STEP 3.

Next, draw the large eyes, then draw in the snout, nose and mouth or smile. As you can see these wolves are going to be friendly.

 

STEP 4.

Next up, you will draw the top part of the other wolf pup's head, then draw in the eyes, snout, mouth and fluffy cheek. Notice how this pup is not smiling as big as his/her brother.

 

STEP 5.

You will now color in the pupils as well as draw out the eyeballs. Next, sketch in some detailing inside of the ears, then draw in the noses to detail. Add some definition to the wolves coats too.

 

STEP 6.

Here you will begin drawing out the wolf pup's body to the right. This will or should be drawn in a side view manner. Draw the lining of the back, then draw in the hind leg, back paw and front legs and one paw. Also sketch in some fluff on the back side and chest.

 

STEP 7.

Draw the tail as well as the other paw. When that is done you can draw out the entire body for the wolf pup that is laying on the floor. Make sure that you detail the body with some fluffy hair from the coat. Remember, wolves have extremely heavy coats. Erase the mistakes if you made any, then you are done.

 

STEP 8.

Now you can start coloring in your two wolf puppies that you see here. I hope you enjoyed this lesson on drawing wolf puppies.