Ballpoint Pen Portraits: Learn hatching techniques for portraiture | Mala Iwa | Skillshare

Ballpoint Pen Portraits: Learn hatching techniques for portraiture

Mala Iwa, Artist/ Designer/ Teacher

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8 Lessons (20m)
    • 1. Trailer

      1:16
    • 2. Loosen the hands

      0:51
    • 3. Angles

      0:58
    • 4. Value scale

      0:48
    • 5. Layering

      1:34
    • 6. Why layering?

      0:50
    • 7. Planes and curves

      2:25
    • 8. Portrait demonstration

      10:50

About This Class

Are you looking to learn how to draw portraits with ballpoint pen? well, look no further, this class is for you! 

Hatching and cross hatching can be a pain to understand and using a ballpoint pen does not make this any easier - I know . . . But it does not have to be!

What you will learn in this class:

  • How to loosen your hands to gain muscle memory and confidence just before you start drawing
  • How understanding angles can help your drawing in respect to pen strokes
  • Telling tones apart
  • How hatching and cross hatching work through layering
  • How planes and curves affect your hatching and how it can make or mar the illusion of volume

Level: Beginner

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Transcripts

1. Trailer: 2. Loosen the hands: Why do you need to lose in new hands? First, it frees detention in your hats before you drop. It makes you build muscle memory and gives a little bit of confidence just before you start . 3. Angles: Now let's talk about angles. First, I would suggest you look up a protractor, See how angles work. I want to use angles to make you understand hatching Le'Ron and also to show you a deliberate what flew to arrive in at a desired. If you're just starting out, you may want to use the angles, religious with us. You get the hang of it, it becomes more funding treated process kind of Mexican. 4. Value scale: value, skill, value, skill or color scale is basically a fancy name for a greedy int. Here. You need to be ableto different shades, tunes. I mean, like people to tell them apart that way. So you were basically just make a greedy int from light tones to dark tones by simply adding all reducing pressure. Simple, right? 5. Layering: Now, let's go a little bit further and talk about earlier. What is leery? This is the art of Lady in another layer off Ha Jin over on existing Leo off Hodgins with the intention to make it darker. Now let's see how it works. - Now that is me doing practical. 6. Why layering?: why leering layering gives me a level of control unpredictability. Unlike street of tonal variation with changing pen pressure like you can see now, the problem with making Grady into by I didn't all reducing pressure. One. It makes it messy. I mean, check the edges of this lines, and the white spaces between them is just all cluttered up on. Like I said, Mrs To, it just becomes hard to three. It is highly unpredictable. Now that is a prize you don't want to pay, especially for an unforgiving media such as. 7. Planes and curves: on this rendering lines do not follow the proper orientation off the planes, so it doesn't give the illusion of over here lines here for loathe proper orientations off the plane. So it gives this illusion off. Claims usually have different orientations. Because of this fact, your strokes must follow orientation off the plane to convene the proper illusion off off that same subject, no. 8. Portrait demonstration: now desperate would Flint into practice First . I covered the fees with delight. The year just now I, Adam Morley, is too beautiful. Depth following this gives an illusion of depth. Yeah, - in the darker parts, just like Cleveland. I'm Adam Morelia's until expat stock as I went on, not just simply adding pressure until the end of work, okay?